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anotherclassicpretence · 2 years ago

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Okay, random Star Wars: Rebels ramble, feel free to skip, because it is really long and mostly praise that someone's probably already described better than me. Also, spoilers for seasons 1-3.

Rebels is so good? Genuinely the first and only Star Wars media that truly drove me crazy 'cause the writing, the score (Force theme I love you and how you're subtle but potent in every instance), the characters, even the art style? Made me cry actual tears with their moments of brilliance.

TCW is so widely considered the superior one but the "The Last Battle" episode in Rebels made me have more feelings about the Clone Wars than all 7 seasons of TCW. Like, that little homage to the show with the end logo and score? Had me crying, the futility and destruction wrought on the entirety of the galaxy by that war only affected me after that episode. It gave a lot of emotional context to the events of TCW, I felt a weird fondness for the TCW characters after this episode. Also, captain Rex in Rebels is dealt with beautifully.

All the "big-shot" characters are dealt with well, actually. Ahsoka, Vader, Obi-wan, even Maul- none of them seem overdone, or like they're stealing the show, but their lines are powerful. The final few minutes of the S2 finale, where there's a montage of everyone's fate, and then the fade-out on a hopeful note despite the horror of everything? Made me have incoherent thoughts.

Vader walking out completely exhausted, the lightsaber mark on his helmet, limping physically and emotionally? I felt that scene- I felt the pain and conflict in his heart even in that simple walk- in the way he tried to negotiate with Ahsoka, in that uncertainty in his eye before he suppressed Anakin again, in the way (someone else has pointed this out, borrowing it) he says "revenge is not the jedi way"- it's not a taunt, not really a tactic to make her back down- it's a final lesson to his apprentice. And then, that walking out with the owl (I guess it's an owl) having its happy little flutter over the devastation of that planet? Showed me how powerful yet broken Vader is.

Even Ahsoka's "I won't leave you"- it's not with any real hope that he'll turn. It's a way to seal a gushing wound she knows will never heal otherwise. Her guilt is a factor, but so is the jedi way she claims to have left. She will stand by her loyalty to Anakin, even if it kills her. And implying that it does kill her, but still showing her silhouette in the blinding light for a second? dfjiwrgbju I know she comes back, because spoilers from Mandalorian, but I'm beyond excited to see how.

The Spectres have my heart, every single one, and I love how all of them are taken seriously. I won't get started on any of them cause I won't be able to stop. They seem realer, more human, more attached to each other; more like a family, in a nutshell, than any group in TCW (for me, at least). The slow unravelling of their personal histories is done realistically, and the absence of OP heroes whose lightsabers can cut through a thousand droids kinda... elevates the plots? All the Spectres use their respective skills, their plans are dynamic and refreshing because of the different approaches they take, and each episode explores different planets and peoples with a closeness that I feel was absent in TCW. They aren't just tactically judged- we feel an affinity for the Rebels' cause through their respect for the people they help. The Ghosts of Geonosis episodes, with the last surviving native and the egg, are a nice example of this.

S2's finale, with Ezra's temptation and Kanan's blinding, sets up S3's conflicts beautifully, while still showing that the family's love for each other will carry them through, together. The fact that their responsibilities have grown, their risks and reach expanded, their individual demons demanding resolutions- all of it prophetizes danger, but hope that goodness will prevail- which in my opinion is the point of all of Star Wars.

It also sets up the Rebellion and the Empire as each other's foils, and does it well- it gets too on-the-nose sometimes (Saw Gerrera episode) but I think the episode where Zeb and Agent Kallus are stuck on the ice moon maintains subtlety while driving this point home. Kallus isn't bereft of honor, he's not inherently cruel, and he starts off with good intentions, but the Empire's way of doing things is calculated to quash any and all warmth or camaraderie. Kallus watching Zeb getting rescued by his team, with all their concern and joy, and contrasting that with the cold welcome he himself receives, the dreary and desolate quarters that are his home- it truly makes his defection believable, and it endeared his character to me. His changing relationship with his own sense of duty was conveyed in a lucid but not overt manner. Also, on the subject of foils, someone had mentioned that Kanan and the GI are such a pair, which I didn't really see, but I think S3 is doing a good job of setting Hera and Thrawn as each other's foils, with their approach to, or rather philosophy of, leadership- both are effective, but one will ultimately best the other. No, I'm not completely basing this off the screen cutting back and forth to their faces during part 1 of the S3 finale, why do you ask?

For the point of camaraderie, you also have the examples of Imperial training- no referring to each other with names, "there are no friendships here", the encouragement of disdain for each other- it portrays how many of the Imperials have had so much of their humanity taken away that believing in the Empire's grand vision is all they have left to console themselves. On the other hand, we have the Rebels treating even Chopper as a sadistic and cranky crew member. The droid double agent episode? Love. This can't be Chopper, he's too polite. They actually name the Attolan base after him.

Also, S3 gave us Grand Admiral Thrawn. Gold star. Stupendous. Villain of the year. I know he's going to wreck shit in the S3 finale, cannot wait to want to punch him. The politeness, the level-headedness, the cold, calculated cruelty; this guy is Competent, and his voice actor has my undying respect. Impeccable example of a voice "so soft you can hear the ice settling on his tongue". I'm starting to feel bad for how his accurate deductions never work out because everyone implementing them simply isn't on his level. Alsoo this may completely change with S4, but there's this quote someone used about Julius Caesar- "he is a man of violence, but not a violent man"- which I think describes S3 Thrawn pretty well.

After TCW's episodic cardboard villains, and the other extreme of invincible master deceiver Sidious, Rebels' Thrawn and Callus (first 2 seasons) manage to be an actual recurring threat whose plans are clever enough to challenge the heroes. Whenever Vader shows up, you can see why he's feared- not just for his prowess in conflict, but for his intelligence and perception- the crumbling Imperial resistance on Lothal in S1 suddenly does everything right when Vader shows up. He's only thwarted by having two ships collapse on him, and Ezra's reaction makes it clear that he Did Not expect Vader to brush that off, or survive at all.

Also, character arcs? Maul's despondency and craving for solace, for revenge against the Sith, whose ways he can nevertheless not give up? Kanan's growing acceptance of the Rebellion's bigger purpose and his own reconciliation with the Force and his changing identity as a jedi and teacher? Accomplishing the mark of a true master- trusting their apprentice and letting go because he knows he's done his part teaching? Ezra is... too long for this post. Also, Sabine and Zeb's reconciliation with their family/planet? All the Rebels restoring each others' faith? Even the minor characters- Fenn Rau, Hondo, Callus (don't mind me, this guy just became my blorbo, I absolutely cannot with him in the ice moon episode)- they're all fleshed out really well.

In summary (as if I've actually structured this) Rebels has a lot more heart than other SW media for me- the emotional beats which often fell flat in TCW worked on me here. Every time the Spectres made a decision saying "you are my home, you are my family"- it felt earned. I was genuinely upset even when the Phantom was destroyed. S4 better not come for the Ghost. Rebels really captured the humanity of the galaxy with these touches of how the Rebellion came together- the episode with the B-wing prototype, the squadron team-ups, the local recruits throwing off the yoke of the Empire. The success of the show, I think, was they made it small-scale. The little details took up entire episodes, and I personally couldn't stop watching.

On the subject of ships- Kanan and Hera activated the rijwasbkgie switch in my head that I had, until now, only observed in you fine bloggers.

Just to mention stuff I didn't like- the Inquisitors were cool, but ultimately forgettable. When the Seventh Sister opened her helmet I legit thought BARRISS OFFEE???? for a second, but alas, it was not to be. Also, Azmorigan- slimy, unnecessary, looks and acts like the vibe of the Denethor tomato scene come to life.

To conclude, if you like Star Wars, watch Rebels, especially if you've already watched TCW. I watched in that order (skipped Bad Batch because I'm not sure I'll like it) and it made TCW's points about violence and courage more poignant for me. Also, you get to see a badass character use the Darksaber right when you thought she couldn't get any more badass, and Kanan Jarrus offering free therapy via training to everyone, including, fortunately, himself. The lightsaber duels are to die for; Twilight of the Apprentice boasts probably the best-choreographed duelling in all of Star Wars- the Inquisitors against the jedi (and Ahsoka) and Maul, blind! Kanan defeating Maul, and the Ahsoka/Vader fight that I'm completely normal about? Poetic cinema.

#star wars #swr #star wars rebels #spectres #thrawn #ezra bridger #hera syndulla #kanan jarrus #ghost crew #sabine wren #zeb orrelios #chopper

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gale-gentlepenguin · 4 years ago

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ML Analysis: Love Rival: Why Kagami works but is still hated and why Luka doesn’t but is loved

Now this will be my most controversial Hot take, a lot of you already saw the title and are already organizing your complaints. I don't care, you are free to do so.

In a previous post, I discussed what makes a good love rival and if you want a good explanation of that, click the in bold link.

This is a VERY LONG POST, so I am posting a read more. I would love to hear your thoughts on this analysis. Do you agree? Do you disagree? Did you want to include something? Let me know.

I think in order to organize this post I will be splitting it up as follows.

Why Kagami Works as a Love Rival

Why She is Hated for it

Why Luka Doesn't Work as a Love Rival

Why He is Loved despite it

Final thoughts

So lets get to it

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Why Kagami Works as a Love Rival

Kagami Tsurugi was introduced in the episode Riposte, where she is established as a straightforward, no nonsense fencer that wants to be the best.

Her introduction is solid, she establishes her base and what the audience is supposed to know about her from the getgo. We also get the impression that Kagami when introduced would be a rival to Adrien, as they are competing in Fencing, which makes for a nice twist when they end up getting along and Kagami begins the task of being a Love rival. She starts off as a foil for Adrien, but then the reveal is she is actually a character foil for Marinette.

What also helps Kagami is that the show is mainly from Marinette’s perspective, so we get to see Kagami as Marinette does, as someone that is competing for Adrien’s affections, cementing the Rival aspect of the Love rival. Kagami clashes with Marinette causing Marinette to in turn be more upfront with her feelings and push harder to try and win over Adrien. This is something a good rival does, pushing Marinette forward and making her have to try. This rival aspect of Kagami’s character give Marinette urgency, which is something that is needed in order to drive Marinette towards a conclusion, whether it is to pursue Adrien or move on.

Now as a love interest, Kagami establishes her relationship with Adrien in a different way then Marinette. Kagami’s straightforward nature allowed her to tell Adrien how she felt much earlier on, she pushes and asserts herself. This contrasts Marionette’s approach to wooing Adrien, and also has an interesting parallel to how Chat Noir handles his feelings towards Ladybug. Acting as a mirror towards that relationship. While Kagami is not flirtatious like chat noir, she is upfront about her feelings. She puts it out there and is understanding when Adrien isn't ready to respond, much like how chat noir is with ladybug. But the difference being that ladybug and Chat noir’s dynamic has a bit more complexity to it. Regardless, Kagami checks the boxes needed to be a true love rival.

Now the last and most crucial part about Kagami is the character at the core. Cause in the end, we know her and Adrien’s relationship wont be endgame, and interestingly she will be better off afterwards. Ikari Gozen does an excellent job filling in more information about Kagami’s character. In this we get to see that Kagami’s life doesn't revolve around being Adrien’s love interest, she is someone that has her own struggles and wants to find freedom in her own way, be friends with people, but she is awkward. Her development from this and Loveater shows how much she has grown on her own, how she has come to see Marinette as a friend, how she understands that there is more to life than just fencing. She wants to prove she is good enough, and wants to show she is worthy of friendship and love. Those are themes and traits that can be cultivated and grown. Kagami’s greatest appeal is that she can grow beyond her role as a Love rival, and that is why she succeeds.

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Why She is Hated for it

Now despite all of these great qualities Kagami has demonstrated as well as how perfect her character is for such a role, the fandom is mixed about her, some even down right hating her. Interestingly enough, the reasons they dislike Kagami is not because of her character. Especially when you consider the rise in popularity of Marigami. Its because of 3 other factors outside of Kagami’s control. Over-saturation, Writing, and Fandom trends.

Over-saturation seems like an odd choice but it perfectly describes the situation. In season 1, we are introduced to two other female characters that were reoccurring characters AND were romantically interested in Adrien. Chloé bourgeois and Lila Rossi. Now both of them can be considered antagonists, and that is kind of the problem. Two reoccurring female characters already have a thing for Adrien, and both of them are jerks (that being the lightest term I can use). Now we know Adrien would never end up with a bad girl, but that impression starts to stick and make it seem like a pattern. That Adrien only attracts bad people (excluding Marinette). By season 2, when Kagami was introduced, it just seemed to the fans like, “Oh great, ANOTHER one”. Despite Kagami being a good character, and someone that actually cares about Adrien outside of the shallow aspects that Lila and Chloé were invested in, fans were ready to write her off and, with how the show was written, you couldn't really blame them at the time.

The second is a bit more obvious, the shows writing. The largest offender being Frozer and Oni-chan. While Oni-chan was salted on by fans a bit excessively, I have no real defense for Frozer, Frozer was an awful episode and everyone involved should feel bad. Kagami suffers like many ML characters do from poor writing, now this doesn't destroy her character like many would like you to believe, but she gets portrayed in a more negative light when the intentions are not meant for it. Its a bit harder to explain, but just know poor writing and assume Zag interference was what caused issues.

The Last one is something that is a bit more controversial, Fandom trends. Now in season 2, fans really, REALLY, did not like Kagami. The first two reasons having a large impact on that, but what really made it hard for Kagami, was the fandom itself. Since she was introduced first, certain lovesquare shippers LOATHED her appearance, HOW DARE she jump in and disrupt the love square! There are more words that were used, most of which are very degrading towards women and I would not want to repeat. Kagami took the brunt of the fandom backlash, the one that ‘Ruined the Lovesquare’. And when season 3, or as I call it, the season of Salt, fans really hit her hard with hatred, the Adrigami fandom took a lot of salt from toxic stans, some of which didn't like adrigami because they hated Adrien and didn't want him to be happy. It is gross to think about and its tragic that she is hit hard by hatred simply for things outside of her control.

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Why Luka Doesn't Work as a Love Rival

Luka is the alternate love interest of Marinette and was introduced in Captain Hardrock. He is Juleka’s older brother and is a guitarist.

His introduction is not terrible, but it is not as strong compared to other characters, but I do believe it sets the mood for what he is as a character. His character is the friend’s nice older brother musician, thats kind of it. It sounds like I am being mean but that sums up his character. He isn't really a foil to Adrien or Marinette in anyway, there is no shocking twists or clever parallels to be made, its just Luka. Simply put, Luka doesn't work as a Love rival.

Luka isn't a rival character. He isn't competing with Adrien, he doesn't clash with Adrien in anyway that would help him develop. Adrien and Luka get along fine, there is not a single bit of tension or conflict between them. This isn't a good thing when they are suppose to be competing for the same girl. I already hear what you are thinking, ‘But Adrien likes Ladybug.’ you're right, why isn't Luka interested in Ladybug then? Why is there no clash with chat noir? The point of a Love rival is to push another character towards something, to be a measuring stick. Luka doesn't do that for Adrien, and that is why the rival aspect fails for Luka.

The next course would be the love interest part. Surely Luka is someone that works well as an alternate love interest for Marinette? You are somewhat right, he does work better as a love interest for Marinette rather than a rival for Adrien. But that doesn't make him a good love interest for her. In my take on Love rivals, there needs to be three criteria met to be an effective love rival/love interest, an unequal development of both character, a differing connection that the two share, and a character underneath that can exist outside of the relationship. Luka fails to meet 2 of these criteria. The unequal development of both of them, Marinette has shown some development from her interactions with Luka but the reverse is not provable, we have yet to see Luka really change because of his relationship with Marinette, we don't know how much Marinette has helped/hindered Luka with his struggles, the best argument I could think of was that Marinette helped him be more bold in silencer, but really that sort of falls flat because he has shown bold actions outside of that. Captain hard rock said that he wasn't really good at expressing himself with words, but he shows pretty capable of doing so with people outside of Marinette, like his sister, or expressing anger to Bob Roth, so I don't really see how that works. The other criteria he fails to meet is having a character should the relationship end, Luka’s relevance is tied to him being the other guy for Marinette to choose, we as a viewer have no concrete reason as of yet to see him grow or change after the split. It doesn't help that Luka has even encouraged Marinette to go after Adrien on multiple occasions. People say thats because he is truly selfless and ‘Because he cares’ but really it just shows how little interest he has in trying to win her over, it almost comes off as insulting to Marinette. The only thing that Luka managed to pass was by having a different dynamic with Marinette than Adrien had with her. But that dynamic is shoulder to cry on. I guess that explains why salt fics really try to make Luka into Adrien.

Luka’s character in itself isn't awful, he isn't a bad person or anything of the sort. He is inoffensive and thats the problem. A love rival is suppose to be a point of tension, one that pushes, one that causes development, a force that at its core is meant to help the characters grow, and Luka just isn't the character to do that. He isn't a love rival, or a love interest. Luka is a wall, a wall put in between the two main leads in order to cause a divide without causing tension.

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Why He is Loved despite it

Luka isn't a love rival, and yet despite it he is one of the more popular characters in the fandom. It was something so mind boggling to me, what did this character have that made him so well liked in the fandom? Why wasn't he as hated as Kagami was during her introduction? I found myself coming up with three reasons why this was the case. Luka was so loved because of Necessity, writing and Salt.

Much Like Kagami suffered from Over-saturation, Luka had the Opposite problem. Marinette’s other love interests all ended up losing interest by the end of the episodes they were in. Nino, Nathaniel, Theo (though it was for ladybug). All of them just got paired off with someone else shortly after. Marinette didn't have another person outside of Adrien that was potentially going for her attention. This necessity allowed for Luka to slip in and fill the gap. The fandom saw him show up and were excited! With Kagami *ruining* the lovesquare, they needed someone for Marinette to help mend her should kagami ‘Win’, and Luka won by default. So Luka was the one the screeching fandom saw as there answer.

The next key that helped Luka was the writing of the show. The problem with the writing in the show is that often the writing will clash and hurt the strong characters of the show. Luka, as someone that does not have any strong defining features is flexible and easy to write for the writers. It makes it easy for him to be written in a way that wont infuriate people because of bad writing. He is able to coast by without having his character be in jeopardy. In a way, he has nothing to lose.

The last factor is of course salt. Now in fandoms, salt is used as a means of criticism or used to describe problems with characters. Luka is someone that people don't really have a problem with, which during the season of salt, made him perfect for all those fics where they needed someone to be on Marinette’s side because Adrien was ‘the devil’ or Lila was an extra mean jerk. Luka didn't have any problems that were agitated by salt, so he was the perfect replacement for Adrien when the writer wanted to hate on the blonde. Luka was the substitute, he was the easy fix that took little effort to include. He was a nice older brother that already liked Marinette, perfect fix for any situation. Its rare to see Luka written in a negative light without his character being warped so far that he is a completely different character.

Luka is loved not because of the things he is, but simply because of the things he is not. He is used more as a means to an end rather than as a character. In the writing, he is more of a wall, while in the fandom he is more of a stand-in. At the end of the day, I don't know what is more tragic.

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Final Thoughts

Kagami and Luka are characters that were introduced in order to spice things up and add development for the main characters. I find that in some ways they do achieve that goal, but in other ways they fail. One of them embodies the spirit of a Love rival while the other embodies the love obstacle. Regardless of this analysis, your thoughts on Kagami and Luka are your own and you can love and appreciate them as you see fit.

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If you want to support my insanity. Buy me sushi please

#ml #ml analysis #miraculous ladybug #love rivals #love rival #Gale's analysis #Here is a f***ing thesis on them #Kagami Tsurugi #Luka couffaine #luka critique #luka salt #Im tagging it because I will get that one angry anon that complains I don't tag it #adrigami #lukanette #lovesquare #ml fandom salt #ml salt #salt talks #lovekagami

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it-fits-i-ships · 3 years ago

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Combing through every single episode of Jurassic World: Camp Cretaceous for Yasammy moments to write meta analysis about part 2 (parts 1, 3, and 4)

After Yaz breaks her ankle we have this moment of Sammy expressing her gratitude and admiration, Sammy wants to let Yaz know she sees how strong, brave, and deeply caring Yaz is but, as Brooklyn points out, Yaz isn’t in a place to hear her and needs time and space to process her feelings about Sammy’s secret double life as a spy, she goes into self-defense mode and pushes Sammy away again Just as a side note, I find it really interesting how Brooklyn reaches out to Sammy to give her advice about Yaz, Brooklyn is the one who caught Sammy spying and it’s Brooklyn’s phone that Sammy stole and accidentally broke so I think it’s very cool of Brooklyn to step in because she can see that Sammy is hurting over her fallout with Yaz and is in desperate need of a supportive friend Sammy definitely backs off trying to talk to Yaz but continues to show her care and concern in little ways like asking the group if there is another way to get to the dock besides going on foot so Yaz doesn’t hurt herself more, on the monorail when Ben gets carried off by Pteranodons and they assume that he’s dead it hits all of them really hard, Sammy starts to panic and Yaz forgets for a moment that she’s supposed to be mad and instinctively comforts her before remembering all of their circumstances, Sammy can’t help herself when she sees Yaz fall as they’re running for the dock after the group has to abandon the monorail and rushes over to check on her, Yaz is clearly still angry and refuses Sammy’s help, but by the time they actually reach the dock we can see that Yaz has realized she really does need Sammy’s help and support (both physically and for emotionally) and that there are worse things that could happen than Sammy telling some lies for her family’s sake, at this point we can see that Yaz has decided to work on forgiving Sammy and trusting her again because she initiates contact with her by casually placing her elbow on Sammy’s shoulder at the dock This trend of re-establishing their bond continues as the show enters season 2, in which the group is still stuck on the island and has to find the emergency beacon, we can see Yaz and Sammy huddling together for comfort and to keep each other safe when they have to hide behind a fallen tree from some dinosaurs, we also see Yaz lean on Sammy and give a relieved sigh once Darius gives the all-clear and she stays there for a while, when Yaz accidentally brings up Ben we can see that she’s still processing how much his apparent death has affected her and the rest of the group, Yaz is now clinging to Sammy not because she is afraid Sammy will stop liking her or talking to her like she was in season 1 but because she needs the positivity, support, and encouragement that Sammy brings to her life in order to help her through all of the emotional turmoil that being on the island is putting her through Also, Sammy helping Yaz up, helping her walk, and otherwise supporting her in any way she can is just so sweet, I know Sammy is a very positive and helpful person and she does what she can for everyone in the group but she has always gone above and beyond when it comes to Yaz, she even convinces Yaz to stay at camp and rest while she, Brooklyn, and Darius go look for supplies (with such a gentle tone and soft expression that Yaz has no choice but to embrace the love and care that Sammy is putting out there), Yaz clearly wants Sammy to stay with her but I think Sammy realizes that it’s not good for Yaz to only depend on her so she gives Yaz a warm smile before she goes but she still leaves with the others so Yaz can grow and Sammy can contribute to the whole group, this sets up the beginnings of a much healthier dynamic between Yaz and Sammy in which they can have their own lives and friendships outside of each other Yaz has clearly forgiven Sammy at this point as we don’t see any kind of bitterness in their interactions at all and after the group makes their tree fort and they have some time to rest and relax away from the pressures of constantly running from dinosaurs I think Yaz really starts to

process her deeper feelings for Sammy, she wants to spend more time with Sammy and get even closer, we can see how eager she is to join Brooklyn and Sammy on their venture out into the jungle to locate the weird frozen flower patch that Brooklyn stumbled upon a while back, Yaz definitely strikes me as the type of person who has never been in love before so with everything else going on (and with her mind full of much stronger fears of losing the others in the group, especially Sammy, which I will talk about more later in this post series) her feelings are bound to manifest strongly We can see that Yaz is now actively playing that question game with Sammy, getting to know her better, and exchanging witty banter back and forth, obviously Yaz cares about all of the people in the group on some level or she wouldn’t have been so upset when they thought Ben died but notice how she is much more interested in talking to and learning about Sammy than she is in talking to and learning about Brooklyn, however she does try her best to loop Brooklyn into the conversation once Sammy cues her to Can we just take a second to appreciate the silent conversations that Yaz and Sammy have? I’m a sucker for some good non-verbal communication because it means that the characters are very close and feel connected with each other, there’s also the fact that since Yaz wants to be around her again Sammy spends so much time making physical contact with her, touch is clearly one of Sammy’s main love languages Yaz goes to help Sammy when the gun case falls on her only to be stopped by Tiff (who tries to prevent Yaz from running away to get help) and Sammy tackles Tiff to the ground to get her to let go of Yaz, honestly I know that Sammy realizes that Yaz getting free is their best chance of getting the help they need but I think it’s really telling that she went so hard, Yaz is clearly her favorite person on the island and Sammy isn’t about to let Tiff hurt her, I also find it really telling that when Yaz sees Sammy and Darius on the security camera monitors she looks relieved and excited and then we get a set of shots that imply she’s looking just at Sammy, this is followed by such a soft, warm, loving expression from Yaz that it melts my gay heart, and of course she’s incredibly concerned when she sees Tiff and Mitch approaching During their organized stampede, Yaz has to abandon the Jeep and, without hesitation, she leaps from the car into Sammy’s waiting arms, this is a mark of a great amount of character growth for Yaz because she not only trusts Sammy now but literally trusts her with her life, we also get an adorable moment when they are dismounting in which Sammy helps Yaz get down and holds both of her hands, when they all go in for a group hug we see Yaz place her hand on Sammy’s waist (as I mentioned in part 1 of this post series, that seems like an unusually place to put your hand on a friend and neither Sammy nor Yaz do that with anyone else in the group), when Sammy is listing her favorite people in the group as she and Kenji are hanging out in their gondola she mentions Yaz first while in Yaz's own gondola she is visibly longing to be over with Sammy (especially seeing how much fun Sammy and Kenji are having pushing on the sides of the gondola) instead of having to face Brooklyn and the fact that they are not close at all, just like when Sammy left Yaz with Kenji this feels almost like a deliberate move on Sammy’s part to get Yaz out of her comfort zone and forming closer bonds with the others (though I think it’s also an excuse for Sammy to spend some quality time with Kenji who definitely seems like he’s become a brother figure) We also get this moment a jealousy in which Yaz seems a little salty that Sammy is hanging out with Kenji (though on the surface it is about how they are messing around instead of helping, Yaz’s comment is definitely tinged with jealousy), this feels very much like the reaction of someone who has romantic feelings but doesn’t have the experience to properly interpret them and who has not been able to

talk about them or put a name to them, she clearly wants a closer relationship with Sammy but Yaz is unable to thoroughly define the relationship she wants which leaves her feeling like her needs aren’t being met in situations like this, in that sense she has fallen into a bit more of an insecure attachment again, she feels threatened by Sammy’s other friendships because she and Sammy haven’t differentiated their relationship from that of the friendships they have with the others I would just like to point out the lingering hug they share in which Yaz is clearly nuzzling Sammy’s neck and the fact that Yaz goes over to stand next to Sammy when she moves to hug Brooklyn, there’s no heterosexual explanation for that, or the way Yaz holds and comforts Sammy after pulling away from that dinosaur (if you look closely you can see Yaz rubbing Sammy’s arm with her thumb) And the scene where Yaz explains that Bumpy likes her so much because she keeps snacks in her pockets and then shares some of the snacks so Sammy can feed her too? Absolutely precious, we love to see Yaz being so soft with Sammy, like the way she calls out to her when part of the group goes to search Kenji’s dad’s penthouse for gas to put in the boat, or the way Yaz checks on Sammy while Ben’s siphoning gas from the limos in the penthouse’s garage, it’s clear here that Yaz also wants Sammy to be able to rely on her sometimes, to confide in her, Yaz doesn’t have time to respond in that moment because of yet another dinosaur attack (I also think that she was having a hard time responding because on some level Yaz is also afraid to go home) but the fact that she asked in the first place shows a lot of character and relationship growth, she even goes to check on Sammy later once they’re back on the boat, Sammy does the talking then and uses Yaz more as a sounding board but the gentle smile Yaz gives when Sammy walks away with the solution to her problem is absolutely priceless

#jwcc #yasammy #longpost

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dtrhwithalex · 3 years ago

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TV | Leverage (Season 1, Rewatch)

Rewatch of the first season of TNT's LEVERAGE (2008-2012), created by John Rogers and Chris Downey together with Dean Devlin and his production company Electric Entertainment.

In anticipation of the show's reboot / revival / sequel LEVERAGE: REDEMPTION coming to IMDbTV on 09 July this year, I am rewatching the original 77 episodes and writing about my favourite moments and things from each episode, season by season.

(Just a note, this first season was aired out of order, so the dates won't actually form a chronology, since I'm going with the intended order rather than the one they were aired in.)

101: THE NIGERIAN JOB

D: DEAN DEVLIN. W: JOHN ROGERS & CHRIS DOWNEY. Original Air Date: 07 December 2008.

I have lost count of how many times I have seen this episode (or any episodes of this show to be completely honest), but it holds up every single time. It is one of my favourite, if not the favourite TV pilot episode I have ever seen.

The way this pilot sets up who the main characters are and what the core of this show is, is simply perfect. The introduction of Nate at the bar being approached by Dubenich, then the intercut between him convincing Nate to do the job and the actual job happening -- just wonderful. The same goes for the individual introductions of the other players. Nate's comment about Parker ("no, but Parker is insane") which plants a thread for the rest of the show already, the flashbacks of each character to exemplify who they and what their talents are, combined with the episode then showing you those talents and what Nate can do with them -- which is, of course, his talent -- sets up this whole show so well.

So many seeds that come to fruition throughout the show are already planted right here. Nate's mentoring of Parker to become his eventual successor as Mastermind ("Haircuts, Parker, count the haircuts" -- "I would've missed that"), Eliot's role as protector, the iconic overhead shots and the gloating, the alternate revenue streams, "Hardison dies in Plan M" -- it's all already right here in this episode. A brilliant piece of writing. Hats off to Rogers and Downey, no questions asked.

Rewatching this episode made me think of what this show is about, in its essence. Yes, it is about standing up for those who can't do so themselves, taking on the bigger bad, showing how corrupt and terrible the world can be, but also how much good there is to still find in the world. But also, this show is about a lonely man being actively bullied into the family he didn't know he needed or wanted, but will eventually come to realise is the one thing, the only thing that is keeping him alive. LEVERAGE is the story of a man and his crusade to avenge the death of his child, but is is very much also the story of a man who finds a reason to keep getting up every morning in the four people who are on this crusade with him. And this pilot episode already holds the seed and the potential of all of that. And that is why this show is to this day still my favourite show of all time, because it is utterly perfect in every way.

102: THE HOMECOMING JOB

D: DEAN DEVLIN. W: JOHN ROGERS. Original Air Date: 09 December 2008.

I absolutely love how John Rogers was like okay first episode, some greedy asshole who does whatever he wants for his own gain, we'll take him down a notch. Episode two? Hmm, oh yeah, the government is completely corrupt, filled with rich greedy assholes who do whatever they want for their own gain and always get away with it. Not on my watch (I love him very much, thank you).

This episode, once again, so good. The re-introduction of every character in this new reality of Nate's crusade is just as brilliantly done as the original introduction of them all. Sophie at an audition (love the John Rogers cameo here) completely butchering it once again, Eliot beating up some thug, Parker stealing valuable art, and Hardison doing what he does best: creating a beautiful office-slash-home space for the team, putting his all into their backstories, the equipment, the behind-the-scenes workings of what they need to get the job done. My man.

The message of this particular episode is also just something I am very fond of. The rehab facility doctor's words in the beginning, and then in the end again -- "people don't just show up to help. that's not the way the world works" -- as well as Nate's ultimate answer to her, "so change the world." That right here is the message of this show. It's already right here, all up in your face, episode two.

I completely adore what this episode does for the character dynamics already. The detail Hardison puts into the other's backstories, the interactions around the conference table, Eliot sharing his knowledge, Nate explaining the money laundering scam, the whole thing about laws being in a wooden box, Sophie elaborating why she knew Congressman Jenkins was lying to her -- they don't just work together, they already start giving the others insight into their talents and their knowledge and share that. It's beautiful. I especially adore the shot of them at the end, everyone leaning against the car while watching Corporal Perry and the other veterans debating what to do with the money. They are already so comfortable and at ease with each other, leaning into each other's spaces. They're family. You can see it here already.

Absolutely fantastic episode. For a long time, whenever I thought about The Homecoming Job, I somehow associated a more negative emotion with it than with other episodes, but I don't quite know why, because this is a brilliant episode and I love watching it.

103: THE WEDDING JOB

D: JONATHAN FRAKES. W: CHRIS DOWNEY. Original Air Date: 13 January 2009.

We love Jonathan Frakes in this house and every single time his name shows up with the director tag on this show, I know that I will enjoy every last second of the episode I am about to watch. Frakes directed the hell outta this thing. The Wedding Job is an absolutely excellent episode. Dan Lauria as our main baddie Nicky Moscone is perfect casting and there are so many great comedic beats in the scenes with him and Nate. Everyone, generally, is so weirded out by Priest!Nate, but Moscone just takes the weirdness in stride. This episode holds a very special place in my heart because it contains the introduction of my favourite FBI duo -- McSweeten (McSweetheart, as we call him) and Taggert. I adore these two bumbling fools so much, and I am so glad they kept being brought back, because they are both just so lovely. McSweetheart especially is very dear to me because of the D.B. Cooper Job from the last season (where, I ask, do I start my McSweetheart for Leverage: Redemption campaign?). Overall just such an excellent episode, really. So many great moments between our main characters--Sophie and Nate and their little "relationship" problem, Hardison and Eliot talking about marriage, Parker pretending she was waiting in the screening room to have sex with Hardison, Hardison appreciating Eliot's cooking. I also absolutely adore the beginning, the four of them convincing Nate that Teresa is definitely the type of client they take on. And Nate's resigned "Yeah, okay, yeah. Let's go rob Nicky Moscone. A guy who kills people and lives in our city. Yeah, let's go do that" as if they weren't going to go above and beyond any of that in the five years they will spend together on this crusade of his. You're so precious, Nathan. Of course, the ending of this episode is beyond brilliant, and lives both in my heart and my head rent free. It is such a magnificent found family moment. Getting Teresa the restaurant back, the news footage regarding Ray's appeal, and of course, Eliot cooking for them all, and them celebrating together, all of them. It is such a beautiful moment.

104: THE SNOW JOB

D: TONY BILL. W: ALBERT KIM. Original Air Date: 27 January 2009.

I adore what the client says to Nate in the beginning of the episode: "You work hard, you play by the rules, but when you need help, you really need help? They let you hang. They let you hang and it's your kid who pays the price." This show hammers home its message so many times in such great character moments and it makes watching these brilliant people take on these greedy bastards and robbing them for all they've got that much sweeter. It is such a satisfying thing to watch. Especially because they're all so damn good at this.

This is a great episode but it is infinitely funnier if you know and speak German, because it makes the scenes between Sophie and Eliot absolutely hysterical. And the delivery of the line that Ute Ausgartner says when she discovers they replaced her with Sophie is just wrong enough to crack you up.

Again some wonderfully brilliant comedic beats -- the Frakes cameo in the hospital waiting room, Parker casually hanging off the ski lift, Hardison and Eliot arguing over who puts dye in the dead body, Eliot carrying off a pissed of Parker, and so many more.

This episode also, for the first time, really gives insight into Nate's drinking problem. We had the one moment in The Homecoming Job, but this episode starts to explore it more in depths. And something that I've always appreciated about this show is that it never glorifies the drinking, but Nate is also never vilified for it. It is a fact of Nate's life and they explore different aspects of it, and everything is done with such care (which does not surprise me one bit since this is John Rogers' show).

The ending of this episode is also, once again, so beautiful and nicely done. It is just so incredibly satisfying to watch these greedy bastards get what's coming to them, and to see the clients be compensated beyond anything they'd ask for.

105: THE MILE HIGH JOB

D: ROB MINKOFF. W: AMY BERG. Original Air Date: 20 January 2009.

Another fantastic episode (you will realise that I will say this about every single of the 77 episodes this show has)! Amy Berg wrote some excellent stuff for this show, and this episode is one of them. Always a lot of great character relationship moments, and absolutely brilliant comedic beats.

I am very fond of the fact that here, in the early days, we have the whole team present around the table during the client meeting. We see all their reactions and inputs here already, and not later when Nate or Hardison (usually) relays the information of their next job to the rest of the gang. It's a very lovely moment.

I am also very fond of the entire recon bit at the GenoGrow office. Sophie's French rave-girl act, the others having to climb stairs, Hardison's absence, the cut from Parker's bomb to the microwave at the HQ, Nate, Eliot and Parker yelling "Oh it's right behind us, it's chasing us!" and grabbing Sophie on the way out, meanwhile the security guys completely buying it. Absolutely brilliant, all the way through.

Both Hardison's adventure at GenoGrow as well as the others on the plane contain so many great comedic moments. Hardison's Spanish maintenance guy act, his interactions with both Cheryl and Steve (talking into the cupboard? His fake meeting and getting Steve to take a dive? The whole birthday thing? A+ all around. Amy Berg, everyone) and of course the reaction he has to the plane safely landing on the highway ("lord I was so scared, I wanna cry and call my momma" I love him so much, y'all). I also have big feelings about Nate's pep talk to Hardison, "you can do this, I trust you ... the only guy I can count on in a situation like this." Sir, I am experiencing an emotion alright.

The sequences on the plane are of course also absolutely fantastic. Nate and Sophie's domestic, Parker's day job and her interactions with Marissa, Eliot being a big softie who holds Marissa's hand all the way up to the in-flight bar and hugs the woman he sat down next to when they safely land (womaniser, big softie. tomayto, tomahto). Also big shoutout to the fake names Nate and Sophie have. We love our DOCTOR WHO references in this show. I love these nerds very much, thank you.

106: THE TWO HORSE JOB

D: CRAIG R. BAXLEY. W: MELISSA GLENN & JESSICA RIEDER (GRASL). Original Air Date: 16 December 2008.

This episode also holds a very special place in my heart because it contains the introduction of our dearly beloved antagonist, Mr Jim Sterling, the absolutely amazing Mark Sheppard. We love Sterling in this house, yessir (again, where do I have to address my Jim Sterling For Leverage: Redemption campaign to?). Every moment he is in is fantastic, but I especially adore the conversation he has with Nate at the race track (especially the "Nathan Ford is a common criminal" -- "Common. That's just hurtful" bit of it).

This, of course, is an episode by our wonder twins, Glenn and Rieder (now Grasl), which they ended up naming the in-universe safe company after. Always fantastic work when the two of them are involved. Some amazing character moments again here.

We get to see some of Eliot's backstory with Aimee which in turn gives us two fantastic moments with him and the women of the team. I love his interaction with Sophie at the racetrack: "I like Aimee, I do. I mean it, I like you both, Eliot. I just, I don't know what comes of chasing the past, you know." -- "Well Sophie, sweetie, I don't think you and Nate get to serve me that particular meal." Just fantastic moment between these two, who I like to call The Conference of Mom Friends whenever they are in scenes together. The other interaction is with Parker in the car: "We need you to do this. I need you to do this." I adore Eliot and Parker's relationship and this already is a very early glimpse at the dynamic they develop which will eventually lead to beautiful moments like that in the ice cave in The Long Way Down Job in season four.

I also love how it is Hardison and Parker's discussion about horses that ultimately reminds Nate of the Lost Heir con. Aldis' delivery of "Wilbur loved Mr Ed! He loved him like a second cousin twice removed" is absolutely brilliant. Unsurprisingly, however, my favourite interaction of this episode is the one Eliot has with Aimee at the end: "You're never gonna be the kind to settle down, but I'm glad you found a family." -- "Th-those guys?" Yes, Eliot, those guys. You might not know it just yet, but that is absolutely your family, and the fact that an outsider already comments on it this early is simply perfect. My deepest gratitude to you, wonder twins.

107: THE BANK SHOT JOB

D: DEAN DEVLIN. W: AMY BERG. Original Air Date: 30 December 2008.

Amy Berg on the typewriter once again (typewriter? Alex what are you talking about this was 2008...)! I really like this episode a whole lot. An excellent one for Nate/Sophie, as well as Hardison/Parker. I have a huge soft spot for my crime children pretending to be law enforcement. Any combination of them is good, but Parker and Hardison as FBI agents especially is just exquisite.

This episode is also just fantastic for illustrating some of the small town criminal activity that happens from the top down. Judge Roy's entire bit about how "these little people" will do and say whatever he tells them to do and that, because he is the law in the town, he gets to decide what is actually true and what is not. To then have Hardison fake security footage and them turning the story against Judge Roy is of course poetic justice. I adore the moment when the bank manager Frank decides that sticking with the false facts these random people have come up with is the better choice than having the judge remain in charge.

I also really love the interaction Derrick has with Sophie and then later with Parker, as well as the moment of uncertainty in-between. His "I don't know what to do with that" when Sophie tells him she's a thief is so funny and so good. The turn of "but they're criminals....then again" when he looks out of the window on the way to Parker is also just a nice moment to illustrate exactly what Parker then later says, "sometimes bad guys are the only good guys you get." Ethics and justice are such muddy concepts and especially in situations like Derrick is currently in, there is no way of knowing who is actually good, who is bad, and who is just trying their best. It is a lovely moment and once again, one of those great instances of "important message within character moment" that this show does so well.

Of course, I am also very fond of Hardison's mention of DOCTOR WHO, his "Geek power baby, stay strong" line, Eliot's fight scene with the crack dealers ("stay in the car!"), Hardison's bullshitting the demands at the bank (Hall & Oates!) and, of course, last but not least, the return of my favourite FBI fools, McSweetheart and Taggert, getting yet another win laid in their lap by the Leverage crew. This episode is filled to the brim with greatness.

108: THE MIRACLE JOB

D: ARVIN BROWN. W: CHRISTINE BOYLAN. Original Air Date: 23 December 2008.

An absolutely excellent Nate-centric episode! We finally get a bit more of a view into Nate's past, aside from the ever-present flashback to Sam's death at the hospital. I really like the relationship of Nate and Father Paul, which I think is very interesting and so well done. Through Paul we get another side of Nate, which may have stayed hidden otherwise. I am also very fond of how Maggie is introduced here. She doesn't get a voice yet, but we learn about her through Nate, Sophie and also Paul, and I quite like that. It sets up expectations for her appearance in the finale, which is really intriguing.

This episode has so many great comedic beats as well, and I barely even know where to begin. From the team's inability to deal with Sophie's acting talents (or lack thereof) to the whole "It's not Santa" gag, the amazing faces Sophie pulls when the mark tells her about Bibletopia, Hardison's "God will smite us" thing -- there is just too much good stuff in this episode.

One of my favourite interactions in this episode was on the construction site, after Grant takes what he thinks are his meds.

Sophie: What is that you just took? Grant: Xanax. For my nerves. Parker: Actually caffeine. With a dash of dextroamphetamine. Eliot: You have him speed? Hardison, shrugging: He beat up a priest!

The look Eliot gives them then with a half-shrug, an expression which cannot be described as anything but "aight, fair enough" -- just absolutely excellent.

What I also really loved about this episode, is that we get to see more of the HQ than just the conference room. We have the team meeting in Nate's office, we see Sophie picking through her mail, Hardison making space so he can build fake Saint Nick statues. Added to that, the team is setting into such a nice familiarity with each other. Eliot brings Sophie a cup of coffee to the meeting in Nate's office. The fact that they all do get mail at the office. This is their space. I love it so much.

What this episode also gives us, is a first instance of the con possibly going side-ways because of how convincing it is. I adore that their possible downfall will never be incompetence, but rather over-competence. They are so good at what they do that sometimes their talent comes to bite them in the ass. We see this again, a bit different, in The Juror #6 Job.

The ending of this episode is very dear to me. It is a very lovely moment between Nate and Paul, but also Nate and the team. It creates such a beautiful moment of intimacy between these characters, which I think is done with extreme care, and it shows. This episode also very nicely sets up a nice sort of grounded-ness for the next episode, which I think the subject matter really deserves and needs.

109: THE STORK JOB

D: MARC ROSKIN. W: ALBERT KIM. Original Air Date: 06 January 2009.

This one and the next episode are excellent Parker-centric plots and this one in particular also has some wonderful Parker/Hardison content. Nate, also, is just very good in this episode as well. Keeping the tone the last episode established especially toward the end, this episode has such a nice grounded-ness to it. Nate's first meeting with the client is so careful in a way, and we don't always see that. Generally, Nate is careful and considerate in this episode, I think. Even when Parker goes rogue, he is so good with Parker (I attribute the brashness entirely to his director role here). It meant so much that he doesn't shoot down the idea of coming back for the other orphans, he knows how important this is to Parker (and Hardison).

With this episode we learn that both Parker and Hardison have grown up in the foster system. I really adore the conversation they have at the van after they find out about the orphanage -- Hardison telling Parker about his Nana, Parker's fear that foster system will be cruel to those children, Hardison's "I like how you turned out" -- it is such a lovely and meaningful moment. This and the "we're a team" / "a little more than a team" moments are such great instances that highlight the importance of these characters and their relationships in this show. It isn't just some crime procedural where every characters is replaceable at any given moment -- this show is about people, and about these specific people.

On a lighter note, I also really adore Nate and Sophie's dynamic in this. How they coach Parker and Eliot individually but at the same time, while also arguing about Sophie conning Nate back in the day, is just brilliant. Their "delightful banter" as Hardison calls it, is so good, and I absolutely love that Nate figures out the way to con Irina is the same way he would have to con Sophie. It's just too good.

David S. Lee as Nicholas is also incredibly good, although since watching THE LIBRARIANS I always expect him to swoon over a blonde and call her Duchess any minute.

110: THE JUROR #6 JOB

D: JONATHAN FRAKES. W: REBECCA KIRSCH. Original Air Date: 10 February 2009.

The lighter of the two Parker-centric episodes, but a brilliant one nonetheless. This episode also brings us the introduction of Peggy played by the lovely Lisa Schurga. We love Peggy in this house and, once again, I ask: where do I address my Peggy For Leverage: Redemption campaign to?

This episode is great for many different reasons, one of course being that Hardison is so good at what he does, that Parker's alias has to go to jury duty. What a talent, we absolutely have no choice but to stan. I love him so much. Other fantastic things that make this episode absolutely excellent are

- Nate's "there is not some evil conspiracy lurking behind the curtain of every routine civic activity" speech which he then has to retract,

- Sophie teaching Parker about persuasion with the help of Eliot who is absolutely precious in this interaction,

- Eliot's friend Donnie, who poses as another employee from the company Sophie pretends to be from, who then turns out to be Scottish,

- Nate and Sophie sending the kids off to work at the door, with a briefcase and handshake for Hardison and a snack and high-five for Parker,

and Hardison's entire act as a lawyer. He is so good. Of course his stalling is brilliant, but the turn-around once he has to actually try and win the trial? A masterpiece. I love how he tears the doctor apart for his drunken airplane misconducts, but what takes the cake by miles is of course his closing statement. He is just, so good, and such a goodhearted, wonderful person. I love how he directly addressed Parker. Hardison is full of sunshine and I love. him. so. much.

And I would be remiss not to mention how incredibly fond I am of the rest of the team watching the feed of the jury room from the HQ with such proud looks on their faces as Parker leads the other jury members and they vote in favour of the plaintiff. This is their girl and she's done so well. What a brilliant episode. My love to Becky Kirsch, honestly.

111: THE 12-STEP JOB

D: ROD HARDY. W: AMY BERG & CHRIS DOWNEY. Original Air Date: 03 February 2009.

Another episode, another instance of me asking the question: Where do I address my Hurley for Leverage: Redemption campaign to? We love Hurley! Drew Powell is absolutely fantastic, I adore him. Also huge shoutout to Joseph LoDuca for that absolute banger of a song that plays during the intro and the credits.

This episode has some fantastic Eliot/Hardison moments that are very dear to me. The two of them looking for Hurley and fighting over Hardison's slushy spill is just lovely. The whole car bomb sequence is also just completely brilliant. It's such a step in their relationship and I love it so much. The moment of "D'you want me to kick it?" / "God, I'm gon' die" is a wonderful comedic beat in this tense situation, but it is the bit after that I really adore. Hardison figuring out how to trick the bomb and then,

Eliot: What's our margin of error here? Hardison: 'bout half a second. Eliot: Run the ba-bag of bricks by me again? Hardison: Are you ready? Eliot: No.

I am just, so fond of these two. Also the fact that Eliot's hand shakes when he reaches for the cables and waits for Hardison's signal always puts me all up in my feelings about him. I also of course adore the scene at the rehab facility with Hardison's "I'm with him. No, I am with him. See, he thinks the flirting makes me jealous, but it doesn't. But if you was like Brad Pitt or Denzel or somebody, oh girl it would be on." It love it so much.

Nate, of course, is also just great in this episode. His entire experience in rehab is another wonderful insight into his character, his issues, how he sees himself and so on. The hallucination of Sterling says so much about him. I think this also very nicely sets up how Nate behaves in the finale double episode.

I also really want to mention Parker here, because Parker in rehab is also something I am very fond of. I love the moment where she pickpockets the Koreans searching for Hurley and then so innocently comes to Nate to confess what she's done and tells him in this tiny voice "I didn't meant to, it was just instinct." I love her so much. And her, at the end of the episode, skipping along and then running toward her people, jumping on Eliot while tossing her stuff at Nate, and then going to hug Hardison, is such a lovely moment. I love how the three of them then walk toward the car arm in arm, too. I love these kids.

112: THE FIRST DAVID JOB

D: DEAN DEVLIN. W: JOHN ROGERS. Original Air Date: 17 February 2009.

First half of the first finale! I gotta say I really love the David Jobs very much. It is such a fantastic first finale. I really adore how the opening of this episode is mirrored in the opening of the second half.

Given the set-up of the previous episode, I really like how for a first time watcher, this opening sequence very much looks like Nate is completely off the rails doing his own thing getting revenge on the man who, basically, killed his son. It isn't until Blackpoole introduces Nate to 'Portia' and we see Sophie turn around that it becomes clear that we're on the con, which I think is done very nicely. Only then giving the viewer the "how we got here" part is just great.

This episode of course also brings us, finally, Maggie (yes, I'll ask again: where do I address my Maggie For Leverage: Redemption campaign to?). I absolutely love how she is introduced here as Eliot's date. I also love how absolutely terrified Eliot looks once he realises that she isn't just anyone, but Nate's ex-wife. Maggie is such an excellent character, and I adore her. I also am very appreciative that this episode holds the singular moment of jealousy Sophie has toward Maggie. After her momentary outburst as Maggie tells Nate she hasn't stopped caring about him, we never see it again. Even better, once Maggie learns about Nate's crew, Sophie and her even become friends. And it is lovely.

We also have some great Parker/Hardison moments in this episode as well. I adore Parker and her enthusiasm for their "little naked man" and Hardison being weirded out about it (and turning the little David around so Parker can change in private). I, of course, absolutely love the kiss (and Eliot's grinning question at Sophie who of the two of them Parker had kissed) and then the theft of the First David. Hardison is so in awe of Parker and it is a sight to behold.

I also quite enjoy the "downfall" in this episode. Sterling showing up (we love the bastard), the fight between Eliot and Mr Quinn, the conversation about Sophie conning them on the roof, and then of course the final confrontations on that same roof as well as the HQ. This whole thing of "and then I asked myself, what would Parker do?" / "but then I thought, what would Hardison do?" is just brilliant and lovely. It shows how far they have all come throughout this first season and how much they have learned from each other already. I am very fond of it.

I am sad about the offices being blown up, though. As much as I love both McRory's pub and Nate's apartment in Boston, as well as the Brewpub in Portland, I've always really liked the LA offices as well. It was their first home and it was lovely. I am however very happy that Old Nate made it out unscathed.

113: THE SECOND DAVID JOB

D: DEAN DEVLIN. W: JOHN ROGERS & CHRIS DOWNEY. Original Air Date: 24 February 2009.

And the last episode! As I've said above, I adore how this opening sequence mirrors that of The First David Job. Similarly, I also love how until Sophie notices Parker's laser pointer and Eliot sees Hardison, as a viewer you assume they are on the job together, which is again the reversal of the first half of the finale. Just lovely storytelling, I adore it. Speaking of mirrors, the scene in the MC Hammer mansion where Nate inconspicuously manages to get them all thinking about the con together and putting their differences aside once more, also mirrors one of my favourite scenes from the first episode of season two, where the team does the same to Nate.

This episode on the whole I also just marvellous. Eliot's awkward date with Maggie, Nate finally telling Maggie about Blackpoole's involvement (or lack thereof) in Sam's death, the team involving Maggie in the planning of the con and her, precious as she is, questioning Nate's ability to just get people to do what he wants -- it is all just so good. I love Maggie on the con, too. Sophie coaching her, how good Maggie is at it immediately. Just lovely.

Then, of course, the entirety of the con from the moment Nate shows up at the museum. Sterling hurrying all over the place trying to figure out what Nate's plan is, finding out about the mummy, the release of the gas, the evacuation, the David statue replicas, them finally getting in and finding Nate alone in the exhibit room. I adore that shot of him leaning against the display case with the two Davids still inside, only highlighted from the open hatch in the roof. It is such a beautiful shot. I really enjoy Nate and Sterling's dynamic here, too. And I am very happy that Maggie gets to punch Blackpoole just like Nate got to in the episode before. They both deserve to give this man hell.

The ending of this episode and therefore this season always has me in all of my emotions. If I didn't know there would be more after this, I would just go lie down and weep for a while after watching it. The trademark overhead walkaway shot is of course a must, but the fact that they stop, that all of them hesitate, thinking about turning around, thinking about changing their minds. And then it cuts to black, and if this had been it, we would've never known! Ah, what a show, what a first season. I am completely in love with this show, as pretty much everyone knows, but I just -- this show is so damn good. It gets me every single time. Every time.

[image taken from the electricnow website]

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jonroxton · 4 years ago

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can you talk about chlark beyond chloe? personally i think it's weird that the writers kept adding kisses and weird romantic moments without any pay off. i don't know much about the fandom back then but i think the writers were baiting fans since clark/chloe seems to be the second most popular ship after clex. second i personally think chloe would never be happy with clark or anyone tbh and she doesn't seem like the type of person who would have kids so the finale was weird to me.

this got looooong :)

0. it WAS weird, and the choice to never not once go for it with them was to the story's detriment. I'll get into it a little later on in this post.

Re: shipping in sv fandom. there was definitely drama (clana was HUGE when the show was airing and every ship was basically derailed by it lol) but I stayed in my clois lane with a small circle of fandom friends much like I do now. a good measure of clois fans were fans of lois and clark from other mediums, come to sv just for lois and clark, myself included. we were pretty insulated as a fandom even back then. I do remember seeing more Chlark after the S5 finale (when Chloe kisses him goodbye), but those dropped off after Jimmy was introduced right away in S6. The most drama I encountered was with Chloisers: Chloe fans who believed wholeheartedly that Chloe was Lois. They hated SV!Lois and were convinced she would die so Chloe could take her name and job and place by Clark's side, thus a Chlark endgame. this was a popular theory amongst that fandom even into s9, when the clois ball started to roll for true.

bait and switch

a lot of Chlark is rooted in this notion that chloe WOULD be the best thing for Clark, the ideal Lois, the true best friend, the human hand guiding him through Earth's troubles. she would be could be the BEST possible lois archetype for Clark. it's not a wrong interpretation. she was specifically written as a lois-and-lana-proxy (teenage lana is a reporter in some AUs and even some as an adult as a tv correspondent) and she's given many lois-ish traits (tenacious, secretly crushing on clark and in denial), but this interpretation is deeply flawed. first, because lois does eventually enter into the picture and she has her own defining traits that, when compared to chloe, make chloe seem much shallower than realized. secondly, within the complete context of the story, her position in the greater narrative is not as ~the one who got away, the way it did very early on in S1-S4, but one who clark tolerates.

they're friends because clark is forgiving and chloe has staying power. their friendship is riddled with insecurities and unknowns the characters create for themselves. their dynamic is defined by conflict, not resolutions. this is not made easy by the fact that chloe is such a strangely written character, but ultimately she is positioned as a counter to clark achieving his happiness. not a thematic narrative foil but an obstacle clark eventually relents to.

2. and it has been so from the get-go

S1 is the best season for them and the single season which actually considers Clark's side in this dynamic. everything about them later on can be explained with how they are in this season. and that's the problem. when they're 14 it's nice teen angst drama and works perfectly to establish the dynamic. when they're 24 it's at best a pattern, at worst regression. we expect certain behaviors, dismiss them too, when it's children, at least I do. clark and chloe never move beyond the dynamic they establish in s1 and early s2. in essence, clark and chloe remain children around each other. they have many discussions in the later seasons that make at least one appear petulant.

so S1 clark has just been told the greatest secret of his existence and he imprints on lana hard that same night (right AFTER jonathan tells him, he meets lana at the graveyard and talks to her for the first time EVER, a lot of childhood imprinting going on in SV). all of s1 follows clark's heartache over lana, watching her from afar and figuring out a way to be near her. this pain is exacerbated by the fact that he believes he caused her her greatest grief: the death of her parents via the meteor shower which he arrived in.

here the first beat of the chlark dynamic is established: chloe's job and passion – the wall of weird and her pursuing the meteor infected oddities of SV - directly affects clark in a negative way (he's suicidal for much of s1-s3). so her crush on him is countered with her unknowingly causing him great grief. om top of that: clark becomes part of this passion of hers and she eventually begins to pursue him as a story to be uncovered, very superman yes. here tho, it causes nothing but strife for them and paints chloe in an awful light (and clark too, highlighting his refusal to open up). I personally enjoy this aspect of them in s1. bc they're so young I give em a free pass and it's a good conflict playing around with old superman tropes, but it makes for a fraught friendship.

3. the second beat

is that neither chloe's crush on clark, nor his asking her to stop pursuing his truth, do anything to stay her. her tenaciousness becomes intrusiveness and inconsideration (many of her accomplishments irt the daily planet are directly bc she betrays clark). she simply will not listen to her friend and does not believe his livelihood and autonomy is worth losing a story over. this is literally the opposite of comics/live action lois lane, who in various versions drops the clark reveal story to protect him. this passion turns vindictive pretty early for chloe, who eventually pursues stories about clark out of jealousy and entitlement (against lana also).

4. the third beat

is that clark doesn't ever see chloe as romantic prospect except this time in s1. the tornado trapping lana pulls him away from any solidifying of the clark/chloe dynamic, and that's that. but we know clark was willing to go for it in early s2 when he apologizes to chloe about running off on her. it's chloe who decides not to go on with the relationship. clark is visibly confused, but also 15 so he can't see that chloe is putting on a brave front to protect herself from clark running off again. I liked this too as it's another play on superman tropes, but my sympathy for them stops here.

5. and stays here

these beats are the entirety of this dynamic. everything about chlark can be distilled down to their childhood. it's why I don't hate them completely, bc I have a lot of love for kids who hurt in such a way and that time is never easy. in s8 (I think its s8) when we get a flashback to when they meet as kids (more imprinting!). little tenacious cute chloe kisses insecure clark bc of the funny awkward tension, acknowledging it, and then immediately takes it back because they're better as friends. (also they’re like 11 lol)

every single romantic moment with them is undercut either by chloe herself, or by the presence of other storylines/romances the writers wanted to pursue. the lack of integrity in chloe and the lack of interest in clark, regardless of how sincere their connection or how messed up, is a central part of their dynamic that needs to be reconciled with their friendship. and its exhausting bc there is never a point they are ever truly comfortable around each other.

6. to a fault

knowing the secret doesn't change chloe's methods. it doesn't make chloe clark's great confidante. if anything, it complicates matters for both because their relationship then becomes about the greater good and clark's great destiny. everything chloe does becomes about that, which in theory sounds awesome, but is executed much the same way as s1!chlark: by reiterating behaviors that highlight the negative aspects of that loyalty and the negative aspects of their characters.

the single time they do actively examine what this loyalty means and how chloe's hero complex complicates things for chlark is with s8 and davis. she protects davis with the skills of subterfuge and secrecy she developed as clark's friend. and it costs her jimmy and a lot of her personal integrity as a character. tho ironically it makes chloe the strongest she's been as a character. this is the first time clark is forced to view chloe as an enemy and he never quite recovers from discovering the dark depths she’s willing to go to.

it's an arc dealing with the established beats: how far chloe is willing to go for a kryptonian (very far), how much she's willing to do for him (A LOT and all of it illegal), and what it costs her (jimmy). it deals with her jealousy (always second choice) and her motivations (uncovering the truth). this great want that she struggled with for years is turned on its head and examined, revealing just how weird and dark her hero complex is because obviously davis is not clark. davis/chloe served to highlight more than any other arc how it's really too bad that clark never saw her that way, because she has so much love to give and when channeled, it's a great force. only it's a great force for evil. clark has to confront that it’s not just lex but his other closest friend who is willing to go so far. they backtrack hard in s9 and s10 but they keep this underlying wariness in clark towards Chloe throughout. it’s not anything new, but it’s no longer subtext that clark doesn’t fully trust chloe.

7. And that's the rub

in the end. chloe and clark have many storylines they're in together and chloe's important.... to develop clark and as a counter to clark. clark never instigates anything, not once, for 9 years! when the show did give us Moments TM, clark is reacting, not actively making choices to connect to her. if anything, clark is incredibly awkward about chloe when they become intimate. he doesn't seem to know what to do with her crushing on him (the elevator scene is a great one to show just how awkward chloe makes him feel). more than that. clark never tells her his secret. and later on, chloe doesn't tell him half the crazy wild shit she does to protect him bc she knows he would disapprove. I still hold that the only reason they work is bc clark is a forgiving character and would give her chance after chance after chance. that's the watsonian explanation, but the doylist explanation is that the writers just never cared to explore them beyond this point.

8. and what was beyond that point?

they would've been a great counter to lexana in S6 and early clana (clark finally having a gf who knows). it’s playing the clark/Chloe as a straight lois/clark proxy before actually pursuing lois and clark. it could��ve been the precursor to davis and caused an even more personal conflict! the kiss at the end of s5 was their chance. they could've written chlark devolving much the same way lexana did in s6 (or not). but again. the writers never went that far and clearly never wanted to. it kept chlark forever in this stage of childhood friendship always on the brink of collapsing, tittering either way. it's also tough to speculate bc clark's just not into her. in fact he becomes more and more wary of her, to the point where he believes she can do horrible things, and he's right. the stories continually make their methods complete opposite.

they go out of their way to show chloe realizing how happy clark is with lois. and even play a joke on the fandom by literally turning her into lois and seeing the sparks between her friends. it's almost... cruel but it does serve to show how clark is when he's smitten and he's never looked at chloe that way except during the dance when they were kids. other unrequited dynamics have at least some spark from the desired, but nil from clark. clark is into chloe in late s1, but she shuts him down, and when he seems to be into her again (damn that s5 kiss was a good one lol), she shuts him down again. it's just a weird writing choice all around, and that they kept nuggets of it throughout the show is the thing I cringe at most whenever I rewatch.

9. bait and switch 2

with hindsight it is definitely ship baiting and that sucks for that dynamic bc without it their friendship would’ve been the stronger, or at least not full of so much negativity. all it did was remind everyone that chloe’s been duped since she was a kid and that clark is both stupid and strange for never noticing and letting her get away with shit just bc she’s the most loyal. I don’t ship them and even I get frustrated lol

#mystuff #smallville #superman #anti chlark #sayruq #my meta

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icefire149 · 3 years ago

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so this is kinda very random (if it's too random or too hard to write no pressure to do it) but I was thinking of #12 from the "i love you" prompts for hannah x charlie (i don't know what their ship name is or if they have one lol)

Hi there! I'm sorry this took a while to get to. I can't emphasize enough how exciting this was to work with. I know when you asked for this there were a couple posts going around with this ship and that was the first time I ever considered Hannah/Charlie. I really hope more people explore their dynamic more. I enjoyed taking a crack at it here.

I'm sorry if it's not what you were hoping for. From start to finish this took a crazy number of turns that I wasn't expecting. It kept worming away into it's own thing. Right off the bat the spring time part of the prompt flew away. Still, I hope you enjoy it <3

#12 – When we lay together on the fresh spring grass – Hannah/Charlie

“Thank you for bringing me here.”

The seasons were rapidly changing from summer to autumn. Any human today would know from a single look at a calendar. It was strange sometimes to think of how far humans have come since the garden and how much of the world they’ve been able to understand through reason and design. For Hannah, she knew from the moment the Earth shifted under her feet. And now the composition of the air just wasn’t the same as it was a week ago. Shortly, even the humans and the trees would start to notice the change in temperature.

It was normal. Routine. The world kept spinning day into night and summer into autumn, and so forth. Since being flung back into the crown jewel of her father’s creation, Hannah couldn’t help but wander back to some of her earliest thoughts. She could still remember her hesitation when the spark of creation breathed life into mortality.

At the time she hadn’t the experiences or the vocabulary to explain her abstract feelings, but now she could equate the feeling to the sharp sting of a slap to the face or a thorn lodged in the heel of her foot. The Earth cycled seasons and spun around the Sun. The garden sprouted leaves, fruits, and flowers that quickly shriveled and crumbled before sprouting forth again. The humans were built with a carefully constructed system of oxygen, blood, and electrical impulses cycling around the body. It was marvelous to behold, but what was an immortal, unchanging being supposed to read between the lines?

Her father created the archangels long before everything else she knew. The rest of her siblings were made lesser, but until more recently she always believed they were still just as loved. Maybe she was just blinded by her grief and denial. Everything mortal came next, but humans were the ones her father plucked and planted in his favorite garden.

It was because of the humans that her father started altering her siblings. All of them. She never knew what the end goal was to vessels until all of Heaven had to confront the ugly truth: their father left them eons ago. And now, every time Hannah was caught in a crowd, she couldn’t help but wonder if the person who’s eyes lingered the longest was the one who’s skin and bone he’d slipped under.

“Of course! I can’t believe you’ve never done this,” Charlie turned her head on the ground to face her. The tip of her nose twitched as a blade of grass bounced free from the rest laying under her cheek.

“Since the fall there just wasn’t time for something so trivial,” Hannah answered, moving her gaze back up to the clouds slowly rolling by. “And before that…..every angel had a job and that’s just what we did. Nothing more.”

Moments like these were still completely foreign and strange to her. A month ago Castiel received a phone call during their travels, and suddenly their mission was no longer the top priority. Locating the wayward angels was still her mission, and she spent much of her time at the Winchester’s bunker researching while he…..focused on curing the mark of Cain.

It wasn’t the ideal situation or even the one she’d hoped for. It dimmed her and diminished herself to a flatline, because a part of her dared to hope that Castiel could offer her companionship. He was her friend, but he’d stuck by her and saw her in a way that Hannah wasn’t expecting again. Not since the siblings she’d lost when the Winchester’s came onto Heaven’s radar. She tried to establish a connection, even using human methods she’d observed from her vessel’s memory, but he just wasn’t receptive. Nothing clicked until she observed Castiel around the human men he gave everything up for.

Whenever he was in proximity to Dean, his true form would come alive in ways she’d never expected. Despite the damage done to his being, Castiel would still twist, and turn, and hum in ways that were almost too much to bear witness to. And she knew that he was trying to keep himself from doing that in her presence. A part of her liked to think it was because he was trying to spare her feelings since he just didn’t connect with her in that way, but she knew it was because he was embarrassed and desolate. As humans would put it: he wore his heart openly on his sleeve. But, it was beyond the limitations of human perspective.

But since staying at the bunker, Hannah had met a handful of humans. Mostly over the phone, but it was a Miss Charlie Bradbury that showed up one day at the bunker's entrance with a dozen movies and snacks, and a very puzzled look. Since then she’d been a frequent presence during Hannah's research.

And a welcome one at that. At first Hannah wasn’t sure what to make of the exuberant woman. Charlie would talk for hours about a million different things. It was odd to try to conceptualize how many ideas a human brain could hold, and Hannah spent an entire night doing just that after a busy afternoon that rolled into a busier evening discussing the delicacies of numbers and computer programming.

Hannah still wasn't sure how computers could help her mission, but there was something about Charlie's confidence in her own abilities that the angel couldn't help but automatically placing her faith in the human.

“What was your job before things started getting crazy? Dean says Cas was a soldier.”

“He was. He still is,” Hannah started. “I...I wasn’t built for the front lines. My duty was what the majority of the host was given: protect and watch over the souls in Heaven.”

Charlie’s eyebrows pinched together. “That’s it?”

“Of course.” Hannah sat up. She could feel the grains of dirt on the palms of her hands and particles caught in her hair. The rays of late afternoon sun reflected off the surface of Charlie’s car and made her pupils contract. Frowning, she turned to move the nearby road out of her periphery. “It’s one of the most important jobs in Heaven. Each soul generates their own paradise from their stored memories. Maintaining that happiness is everything."

“What about you?”

“What about me?”

Charlie rolled over so that she was laying on her stomach now. One of her feet kicked up and moved idly in the air. The corner of her mouth twitched until it decided to curve into a teasing smile.

Hannah still didn’t understand what connections Charlie was clearly making. It was utterly confusing. “I don’t understand,” finally she admitted out loud.

“Did watching over the souls make you happy?”

Hannah’s head fell to the side. This wasn’t the first time Charlie had asked her something that made her stop and reevaluate several aspects of herself and her memory. And just like the last few times it elicited a tiny pulse, a thrill, through her being. It started when she realized that Charlie kept purposely putting herself into the angel’s orbit. Charlie seemed like she genuinely wanted to know her.

“What?” Charlie’s smile widened.

“You asked an incredibly unusual and strange question. My happiness is irrelevant. That’s much more of a human thing. Angels weren’t built for that. But-” Hannah thought about those old days and the souls under her watchful eye. She enjoyed that privilege to bear witness to their joys. She could still remember the way her wings would puff with pride. “I did find great joy in my work.”

“I’m glad,” Charlie said, before laying her head down in the grass. There was a note of sadness buried deep in her tone.

They sat like that in meditative silence for a while, and the sun dipped further in the sky. Finally, Charlie continued, “You know, people think angels are watching over us while we’re living. Like you guys are ready to jump out and help us when….when we need someone most.”

The idea put a soft smile on Hannah’s face. “It’s a lovely notion.”

“A pipe-dream,” Charlie frowned.

“Well, there were angels stationed here on Earth with the job to watch. That might be where that very idea came from.”

That put a look of surprise on Charlie’s face. “But do they help?”

“Not unless Heaven commands it, and that….” She shook her head.

Charlie sighed deeply before standing. She started brushing the dirt clinging to her jeans away.

“You wish for divine intervention.”

Charlie’s surprise quickly morphed into something unreadable. She kept silent.

Hannah stood up, and for some reason it pained her to see the light dim in Charlie’s being. “I’m sorry,” she said keeping her gaze locked with Charlie’s. And she meant it, truly. “You needed help beyond human capabilities, and no one was there. You were alone.”

Charlie nodded, and led them back to the car. They drove in silence and Hannah spent the entire time trying to figure out what went wrong. Again, and again she replayed that final conversation, but humans were still too difficult to puzzle out.

It wasn’t until they were back within the bunker walls that Charlie’s demeanor seemed to equalize back to normal. She brightened even more meeting Hannah’s eye. “Thank you for that.”

“Of course,” Hannah answered. She honestly wasn’t sure for what exactly, but her instincts told her it was about their last conversation. And that was all she needed to lift her spirits after that car ride.

Charlie took a few hesitant steps towards the hallway that led to her room. She looked over her shoulder. “Will you still be around tomorrow?”

“Mmhm,” she hummed happily. Charlie asked her that same question every day since they met. She wasn’t sure why, but she enjoyed the extra burst of light that would emanate from Charlie’s soul the moment she gave the same answer.

Ask me more writing prompts (I’m using these as warm ups so send a number and a ship)

#spn #my writing #i'm sorry there wasn't a direct i love you. this ended up being more about the promise of a love blooming #the idea of beings who have been hurt and left alone wanting to connect. wanting to be seen and recognized.#i hope that was okay enough

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demonologist-in-denim · 3 years ago

Text

Review of Falling Skies by VivatRex

The first Crowley redemption fanfic I ever came across was Falling Skies by VivatRex. This was shortly after 8x23 aired, and at the time, there wasn’t much fic out there involving Crowley that portrayed him as anything other than a villain. (There still isn’t, to be fair.) And there definitely wasn’t much out there in which Crowley actively sought redemption, much less worked alongside and eventually earned himself a place among the Winchester extended family. So the fact that Falling Skies was a slow burn Mooseley fic was just something I was willing to accept in order to read what I was desperately looking for in a Crowley fic.

I was inspired by this post to go back and reread Falling Skies for the first time since it was completed in 2015. All 328,000+ words of it. It’s certainly the longest fanfic I’ve ever read. And I’ve read fanfics that more closely align to what I’m looking for – but because this was my first Crowley redemption fanfic, I’ve never forgotten it. There are parts of it - scenes, even single lines - that I vividly recall. There are scenes and dynamics and plot points in this fic that were significant influences on my own writing, and are so deeply entrenched in my understanding of post-cure Crowley that rereading this fic felt like some tantalizingly familiar part of myself echoing back to me after a long absence. This is the longest review I have ever written, but then, it is a very long fic.

To quickly summarize the fic, Falling Skies begins after 8x23, with the angels falling to earth and Sam having collapsed from attempting to abort the demon trials. The overarching plot follows Dean, Sam, humanized Cas and resentfully cured Crowley as they attempt to deal with the fallout of Abaddon’s return and the shuttering of the Gates of Heaven. Along the way, a new villainous angel makes a play to rule both Heaven and Hell, angels and demons battle out their differences on Earth in a massive slaughter, and the Man Tablet is discovered, which reveals that the ultimate apocalypse involves merging all the known planes of existence into a hellish nightmare. Throughout all of this, Crowley struggles with a blood-born conscience that begins to form itself into a soul, a mental and emotional link that now connects him and Sam due to the incomplete cure, and rival selves: the cunning, successful King of Hell and a man haunted by his past, longing to make amends. It’s equal parts Mooseley, Destiel, and a season’s worth of near-world ending scenario.

Scenes from this fic that I’ll never forget:

The opening scene is Crowley in the church at the end of 8x23, beset by guilt and shame as he can feel for the first time in hundreds of years the depth of pain and suffering he’s caused.

His reaction shortly after the aborted cure to remembering he killed Meg. “Crowley’s stomach twisted in a painful knot at the thought of Meg…The unspeakable acts that hadn’t seemed unspeakable at all at the time…He promptly rolled down the Impala’s window. He leaned out, vomiting onto the road.”

The scene in which Crowley admits to Sam that he wouldn’t have been able to live with himself after the cure, “if you’d cured me, I would’ve hung myself the minute I found a long enough rope.”

The scene in which Crowley faces the demon who tortured him on the rack, and sees himself in comparison to that demon, hears his own awful words to Kevin, “What you people fail to under is that you are nothing” and “it makes him sick to what little remained of his soul to think that his mindset had been similar to this…only a few months prior. That he hadn’t been much better than this, once.”

Fergus’ death scene was particularly memorable. Driven by fear of his own impending death and going to Hell, he accidently kills someone he loves, and takes his own life by hanging. It’s not ever the backstory I would have imagined for him, but it was written with real heart behind it.

Having chosen to complete the cure, that Crowley receives complete forgiveness. Whatever substitutes for divine authority in this fic restores his soul fully, forgives him for all his past sins, and frees Crowley from the ruinous effects of damnation. “He’d been forgiven. Crowley sobbed into his hands.” It’s not the story I would have written for Crowley, but at a time when Crowley redemption fic was almost nonexistent, this was powerful.

In a rare moment in which Cas is being a self-righteous asshole, Dean remarks that “you’re really reminding me of someone…a douche bag I met back in ’08 who threatened to throw me back into Hell if I didn’t show him the respect he deserved.” Later, after he’s had time to calm down and begins to feel guilt, Cas asks “The ‘douche bag’ who raised you from Hell. Did you hate him?”

This fic offered a lot of the emotional struggles and scenes, the waypoints, I wanted to see along Crowley’s road of redemption.

His struggle with embracing more human emotions and perspective. His subconscious and then intentional rejection of the monster he used to be.

Being offered a choice between more power and more humanity, and after a long internal struggle, choosing humanity.

Ultimately choosing the Winchesters and (Crowley’s own conception of) the greater good over demonic self-interests. Choosing “one tiny forever [with people he cared about over] a never-ending existence” without them.

Crowley grasping – and openly admitting to valuing – humanity for its own sake. And that while in becoming less demon and more human, in becoming family with the Winchesters, he may lose his powers and influence, his immortality and near-invincibility, that he gained everything else. “Love, friendship, family, redemption…It’s all worth it!”

Crowley in this fic is written as having that change of heart and perspective because of and for Sam’s sake, and I very much write all of that happening for Crowley’s own sake and born of something innate to him, but seeing all of this in a fic assured me that I wasn’t the only one who thought that redemption was possible for Crowley. It meant a lot to me at the time. I guess, considering I was willing to reread this whole fic again all these year later, it still does.

Crowley admitting – to himself and to others – or directly referencing feelings of guilt, remorse and shame for his actions. It wasn’t explained away as just the effects of the cure. Something deep inside him had been changed, restored.

The very first scene resoundingly validated my own understanding of 8x23 – Crowley caught up in the flood of emotions brought on by the cure, seeing his actions for the first time as truly monstrous, hearing the cries of his victims. Holy mother of sin, the things I’ve done.

The admittance to himself that time alone in the bunker’s dungeon, in the dark, was too much time left to self-reflection and memories – the nagging of his conscience when he’d rather suppress it entirely.

The rawness of his emotions, his unfamiliarity with how to process them, “it had been a constant struggle not to start sobbing like a bloody child since Sam had almost cured him.”

His increasing hatred of other demons, not because of their disloyalty or incompetence, but because of what they symbolize: their delight in suffering, the misery they cause, that he was anything like them and might still be – or worse, might regress and become again.

In canon, Crowley asks Sam where to begin looking for forgiveness. He references wanting to make amends again in 10x17 when he tells Sam he thought making changes to Hell “might matter.” But after the cure, Crowley in canon never really expresses one way or another whether he thinks he’s capable of or can earn redemption. We’re left with subtext that suggests Crowley thinks he’s too far gone for that – or has been convinced that that’s the case by the attitude of the Winchesters and Cas. Fanfiction, this fic, offered up what canon couldn’t:

Crowley admitting to hating what he was and wanting to be better. Saying things like “I’ve been past the point of forgiveness for a very long time” and “There’s no forgiveness, not for a thing like me” and hating that.

Feeling beyond ashamed to have so thoroughly damned himself beyond any hope of redemption. “Even now, he would never forgive himself for all he’d done – and truthfully, he didn’t believe he deserved forgiveness.” Crowley feeling that way both kills me – because it’s not true, dammit – and fulfills a perverse need to see the character suffer through all the necessary growth to actually become that better self that is worthy of that redemption.

Crowley admits his own efforts are “not enough!...It’ll never be enough” compared with his sins. In canon, Crowley never says as much, but plenty of other characters, particularly the Winchesters, are more than happy to come to that conclusion for him.

Again, I am amazed – looking back at this fic – of how much of Crowley’s road to redemption that this fic established for me. One of the waypoints was Crowley coming to a point where he recognizes and then internalizes that being a demon is bad. That seems obvious, but Crowley had so much to gain from being a demon. Did gain so much, compared to his human life. But in becoming a demon, souls lose something, something of immense and irreplaceable value.

After the aborted cure, Crowley “had all the souls of the damned behind him, and he’d never felt weaker.”

And then there was the matter of watching what other demons did, the harm they caused – seeing the consequences and aftermath of the pain and suffer he had caused, how that effected the people around him, the people Crowley now cared about.

There’s coming to grips with the understanding that possessing a meatsuit is a horrible, violating experience for that person.

And that being this broken, corrupted thing is something Crowley wants to get away from, forget about, suppress. And as he increasingly becomes one of the boys, it’s something he tries – without success – to put behind him. “Would you believe that I’d almost forgotten?...Forgot what I was.”

Crowley’s road to redemption, his “transformation” in this fic, is slow. As appealing as the plot point of the demon cure was in canon, I couldn’t imagine the reforming of a soul of the demonic smoke to be anything other than slow, painful, and complicated. It had to be that way, it had to be something of value, to be a redemption that was actually earned.

Crowley’s humanity shines through a little at a time. In most of fanfiction, we go straight to the heart of the matter. That’s what we’re here for. But it’s so much more impactful when the glimpses of Crowley’s feelings and humanity are rare, and veiled behind snark, dismissal, and misdirection.

Crowley has moments of both begrudged self-reflection and open admission. He surprises himself in moments with the sincerity of his own remarks.

Grapples with longing for humanity and the good aspects that come with that, as much as he hates human weakness.

He often considers himself not human enough, and is hard on himself for that.

He learns to ask for help, and the scene in which he asks for help in completing the cure is something I longed to see play out in canon.

There is a scene where a character can see Crowley’s true form – what an angel sees when looking at humans, demons and other beings – and can see that it’s healing from the corrosive effects of damnation and being on Hell’s rack. This is something that I’ve never explored in my own work, but have often thought about and wondered how to visualize for the reader. Visualize Crowley “regaining pieces of his soul,” as Eliot in Leverage recently put it.

There are moments in the fic in which Crowley’s demonic instincts and humanity align, have the same goal, which is something I love and would have wanted to see explored in canon.

At one particular vulnerable moment, Crowley admits to the cure having saved him – “You saved me” – from the damage done to a soul corrupted into a demon. Saved him from himself, stopping him from doing more evil in the future.

The tragedy of that, of course, is that the Winchesters didn’t save Crowley intentionally, didn’t do it for Crowley’s sake, and because of that, Crowley in canon could only begrudge having been transformed from an “icy, unfeeling, ruthless, perfect” demon into a “messy, emotional” shadow of himself.

Even as Crowley laments “not being human enough” in this fic, he is also conflicted about not being demon enough.

The part of Crowley that still revels in depravity and violent strength, in ultimate power, can’t stand the idea of being weakened by human nature. He can’t believe he’s starting to feel all those rainbow, feel-good emotions that make such fools of the Winchesters and their kind.

Equally, not being demon enough undermines Crowley’s legitimacy as King of Hell. If he isn’t the most ruthless, sadistic, uncaring monster out there, he isn’t fit to rule Hell. And not being the king, who is he? And from where does he obtain his power, his means of security and self-preservation? It is as much an existential crisis as it is a matter of wanting to hold onto ill-gotten power and authority.

Giving into his more human side, “would he even be able to rule Hell,” or would he be reduced back to the nothing that he was before bashing his way through the ranks?

And if he gives up humanity for being King? For power? At least then “I’ll have power. I’ll have respect. I’ll have the best a demon can have. The best I can have…It’s all I can do.”

Even in admitting letting go of humanity secures him power, Crowley admits that he chooses that because it’s all he thinks he’s worthy of, a sad consolation prize. Crowley never admits as much in canon, but I absolutely read all this as the reason for his inability to let go of Hell and move to join the Winchesters sooner.

Crowley’s perspective on being king in this fic and how that perspective changes over the course of the slow burn is perhaps the greatest strength of the fic.

Throughout much of the fic, Crowley legitimately loves being king. He loves the authority, he loves the power. The fic leans heavily on his cunning and strategic mind, something that canon failed to capitalize on after Crowley became a second-tier member of Team Free Will. While reading, I honestly believed that the author was writing a Crowley that loved the crown and would begrudge giving it up.

But slowly, what he loves about being a king cannot outweigh everything he hates about Hell, demonkind, and what being king costs him.

Very much in line with canon, Crowley gets to a point where he is forced to admit to himself that despite all the perks and benefits, he actually hates being the King of Hell.

He believes he has to keep being king to keep Hell in line and less of a threat – just like in canon. And uses that as a justification, along with love of power, to remain trapped in his own personal hell.

A few aspects of being King of Hell that the fic explores that canon doesn’t include:

The brilliant idea that “Hell chooses who leads it.” Demonic loyalty shifts from an unsuitable leader to a powerful alternative, and when that loyalty shifts, the power of Hell shifts from to that particular demon or Knight of Hell. That’s what gives the king (or queen) of Hell their immense power and legitimizes their authority. Love that idea – it almost makes it like a…demonocracy.

Crowley feels responsible towards the overall protection of demonkind. This is somewhat suggested in canon, such as when Crowley refers to Bobby Singer as being a surge to “his kind.” But it doesn’t have quite the paternalistic quality to it, compared to in the fic when Crowley gets angry that Abaddon is using “his subjects” as cannon fodder against angels. “Yes, they were traitorous, weak-minded prats, but they were still his.”

But the most significant aspect of Hell and demons this fic explores – in my opinion – is how Hell turns souls into demons. Falling Skies delves into Crowley’s own torture on the rack, “he kept seeing flashes – brief, vivid visions, memories” of “blood and laughter and screaming ad begging and pain.”

Souls are strapped to the rack and torn apart, “destroyed brick by brick…violated and torn down” and then, made into a demon, “pieced back together into something else…something evil. Something poisonous and wrong.” This unmaking so as to create from the ruins departs from the idea that a soul caves or gives into to evil in Hell, and instead invests in the idea that it is something done to them, that it is a perversion of everything that they are, which in my opinion is a much more compelling take on demons.

Hell doesn’t only take a soul’s humanity, it takes their memories as well. Crowley references how “his torture in Hell had been enough to erase almost every part of his human life. He honestly only knew the barest details of the man that was Fergus.”

What he does remember is primarily the bad memories, as if Hell intentionally allowed him to hold onto those memories to either fuel his damnation or to discourage him from being nostalgic for his human life.

Much of what Crowley actually feels, even as a demon, is suppressed, “drowned in smoke”, numbing him to his actions and clouding his own thoughts and emotions in Hell’s influence. “He’d never realized how much he’d lost, how much he’d blocked out, how much he hadn’t even thought was worth remembering.”

All of this significantly influenced my own ideas about what it meant to be a demon – to be a semi-cured demon – and Crowley’s existential struggle.

Some smaller, more personal characteristics of Crowley that this fic influenced in my own writing include:

Crowley being a cook, and rolling his eyes at the boys fearing he’s going to poison them

Crowley referring to or thinking of the Winchesters as “his humans” rather than him being “their demon”

Crowley stating in fanfiction long before that final scene in 12x23 that he “always wins”

pointing out how even before the cure, he has carried his own weight in the saving-the-world department. “Who helped you stop the apocalypse? Me. Who helped you take out Castiel when he tried to pay god? Me. Who helped you stop Dick and his cronies? Me! ARE YOU NOTICING A TREND HERE?”

In this fic, Crowley takes a younger meatsuit – the son of his canon meatsuit. Which made me very uncomfortable and felt hypocritical, because by this point, Crowley is very much one of the good guys and should have had qualms about that. But then angelic powers make it possible for Crowley to take that meatsuit and the person is snapped back into existence, whole and unaware, and Crowley is visibly relieved by that. Vessels and meatsuits has always been something that the canon never properly addressed or explored. And while Crowley taking just a younger version of his vessel felt like ageism here, at least the author addressed the moral complications of his choice.

Crowley’s central, guiding concept of redemption and what it means to do the right thing was also established for me in this fic.

He has the chance to murder the demon that tortured him, that led him on his path to damnation. The demon attempts to play the mortality card, telling Crowley to “kill again and blacken your heart even more.” And Crowley, in perfect character, replies “in for a penny, in for a pound.”

Crowley truly believes himself to be beyond redemption, but that he can use his damnation as another resource in the larger fight for what is right. If he’s already damned, no reason to hold back – he can do the ugly, messy things the others can’t, what might even need to be done to secure the win for Team Free Will.

He reflects on his changing perspective of morality, how he thought good and evil were just human concepts that got in way, that people mistakenly draw line between good and evil when really it’s a spectrum that people move up and down all the time.

What he comes to believe in, with his semi-restored humanity, is choices. “That night that Sam had injected him with human blood, that night he’d come close to being saved (or doomed?), he had seen the darkness inside of himself, and he had hated it…there was good and evil within everyone, or at least the potential for it. What mattered was what side you chose, or at least which you chose the most often, which you kept trying to fight your way back to…For the time being, Crowley was not evil. And really, he rather liked that.”

That idea of Crowley fighting his way back to a better version of himself, to his morality and humanity being defined by his choices – that is central to me in Crowley’s character and road to redemption.

Much of Crowley’s relationship with the boys post-cure for me was based on this fic as well.

With the cure coursing through him, seeing Dean as an actual person for the first time.

His professional respect for them morphing into admiration, into protectiveness, because “they tried. And that should count for something, damn it.”

His understanding that the boys’ don’t just use people up – they do so by giving them something to believe in, something to fight for, and letting the cause use them up.

Dean making a deal with the angels to kill the King of Hell, and being unable to go through with it, then choosing to stand between Crowley and the angels.

Crowley recognizing his and Cas’ similarities, discussing with him the benefits and difficulties of being human or semi-human.

He and Cas getting a drink together and sharing their woes.

Cas admitting that his old angelic biases being in the way of seeing before how alike they are.

Crowley and Cas joking that in their team-up, Crowley is Dean and Cas is Sam.

Idea explored in this fic that I loved and want to flesh out in a fic:

Closing the Gates of Hell means all the demons, including Crowley, will be trapped down there forever. And a) Crowley considers or b) the Winchesters consider without telling Crowley - turning him human so that he won’t be trapped down there with demonkind.

A third or even second attempt at the cure might not be possible, or not take full effect.

Turning a soul into a demon takes proper time, that “hurrying the torture, letting out the souls before they’re fully cooked…churning out demons with bits of human still left in them. You’d think it would make them less dangerous, but it just makes them a hell of a lot worse. They’re out of their minds and out of control.”

And I very much appreciated that it referenced the reality that in killing a possessed meatsuit, the boys were killing a victim, a possessed person. That is something that sort of fell away and became an acceptable collateral damage, and never sat very well with me.

Falling Skies also introduced a loyal lackey for Crowley by the name of Laharl who I loved as a character. Crowley very much needed that someone in later seasons.

Castiel attempting to heal Crowley, and him suffering an instinctual fear that the angel intends to smite him.

The boys – and Crowley – struggling with the unwelcome knowledge that if Crowley chooses to become king again, there will come a time when their interests don’t align, and they will have to be enemies again. How much Crowley doesn’t want that, can’t bear the thought he might hurt them again.

I know this is a really long review. And I honestly don’t expect anyone to read it all the way through. I wrote it more for myself than anything. Because, even though there is plenty about the way that I write Crowley that differs from the way this author did, there is also so much here that influenced my understanding of him and his road to redemption. When there was no other fanfiction about Crowley fighting his way out of the dark, about choosing the Winchesters and to be better, there was Falling Skies. And I will always be immensely grateful for that.

Read the fic on AO3

#spn #spn fanfic #crowley #fic rec #happy sulphur saturday

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honeybeeadventures · 4 years ago

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ALICE IN BORDERLAND || a honeybeeadventures review

FULL DISCLOSURE: This review may be a little bit biased and that's gonna have to be okay this time because boy, do I LOVE this show.

If you're a fan of foreign tv shows and you haven't heard of Alice in Wonderland by now, then you may be living under a rock. This show, which premiered during the holiday season of the treacherous year known as 2020, is Netflix's most popular live-action adaptation to date. Yes, that's right, adaptation. That is because Alice in Borderland is based on the manga of the same name written and illustrated by Haro Aso.

This time, I will try to hold back all of my spoilers since this show is full of twists and turns and honestly, deserves a blank first impression going into it. I want to make sure that everyone who watches this show because of my review gets to experience it fully without my recapping the events haha. I will try to summarize without ruining anything, though.

Alice In Borderland is a Netflix Japan Original Adaptation of the manga that bears its namesake by Haro Aso which originally ran from April 2011 to April 2016. The show premiered on Netflix on December 10, 2020, and just 14 days later, a second season was confirmed by Netflix.

The show follows Arisu Ryohei and his friends after they witness fireworks in the middle of the day and are dropped into another world where most of the people in Shibuya are gone and the only way to survive is to risk their lives playing games that extend their visas and their right to live in that world. Every game is treacherous and usually ends with a loss of life, though some games do have finite solutions that can save players and preserve their well-being. Along the way, Arisu ( a name which is the Japanese way of pronouncing Alice, by the way ) meets a cast of characters that will seem fairly familiar to you if you've ever seen, read, or really have ever even heard of Alice in Wonderland by Lewis Carrol or any of its adaptations.

I typically talk about diversity when I review shows, however, as this is a Japanese show, it's not really fair or easy to judge them on that metric because of course, everyone in the show is Japanese ( as they should be since the manga is set in Tokyo ). However, I will say that in the show, there is a character who says that everyone is free to sleep with whoever they want, no matter what gender and there is also a character that is a part of the Alphabet Mafia ( LGBTQIA+ ... I should make a glossary for this blog lol ). While only one ( confirmed ) members of the Alphabet Mafia isn't a lot, it is based on a manga, and considering the manga is written/illustrated by a Japanese man who was in his 30s at the time, I'm gonna chalk that up as the progressiveness of Haro Aso while still wanting to keep his audience.

Now, down to what you really came here for. I'll list the scores below before we get into why I gave them these scores.

Originality of Content: 8/10

Production Quality: 9/10

Resolution: 6/10

Acting/Cast Members: 10/10

Ability to Keep Interest: 10/10

Provocation: 8/10

Obviously, this show did really well by my standards, and here's the breakdown so you can see why.

Originality of Content: 8/10

If we're being honest here, Alice in Borderland definitely isn't the first manga/anime based on the premise of playing a game to survive or get somewhere in the world ( see: Kakegurui, No Game: No Life, .hack//, Gamble Fish, etc. or Rengoku Dead Role which is actually...very similar to AIB ). However, despite this, it still feels like there's some strong originality brought to this concept. Combining the Japanese love for games and a classical western story gives Alice In Borderland just what it needs to easily become a fan favorite. As someone who really favors game-based anime and manga ( because I really favor game design ), I think that the way that Alice In Borderland is a refreshing nod to the genre.

There's a couple of reasons for this but I'll boil it down to just two. The first is that it's not predictable. The issue with a lot of the game-based animes that I'm familiar with is that they are fairly predictable since most games work the same way, but with Alice In Borderland that is different. The rules to each game that is played seem so simple that they seem deceptive but they also seem complex in the way that a riddle is simple yet complex. Every answer that first comes to your mind is probably going to be wrong and you need to think about it more deeply than that. Sometimes, when the rules of the game were being explained, I found myself wanting to pause to see if I could figure out the solution of the game, too, as I watched Arisu think of it, as well.

The second reason is that Alice In Borderland keeps things fresh with its cast of characters. Rather than some characters being evil because that's 'just the way they are', Alice In Borderland really speaks to the effect of the pressure that is put on young people to succeed and how that can end up in them being more mentally lost than they were, to begin with. It also highlights struggles with gender identity, self-worth, complex family relationships, and living up to one's potential. It does this in such a way that even when a character is downright evil, such as Niragi ( IYKYK), there is almost a feeling of pity for them. This isn't because you sympathize with their actions but more so because it isn't difficult to see how the pressure of life turned them into this monster that you are now watching there. I also enjoyed the fact that there wasn't as much dramatic irony in this show as in many others. While dramatic irony is never a necessarily bad thing, it was nice to genuinely be surprised when a character did something instead of knowing that someone was plotting behind someone else's back.

Production Quality: 9/10

This is a statistic that comes with an asterisk of context and that context is that before this, I had been watching Uchu Sentai Kyuranger and if you know what the production quality of that is like then you understand how it may have influenced this show's score a bit. Even without the comparison fallacy of the two, though, AIB scores high in production quality for one reason more than any other to me. For a show with a lot of blood and death, I wasn't unwilling to believe that these people had actually died. Yes, I'm sure that no actors were harmed in the making of this series, however, if I was a little more naive, I might've doubted that a bit. After all, Live Action adaptations are definitely not known for their believability. I will give AIB the benefit of the doubt in saying that this concept wasn't that difficult to pull off since most of the injuries were similar to what you'd expect on your typical action movie set ( compared to...you know...something involving sci-fi or fantasy) but even in the scenes where people get their necks blown off by explosive collars, it looked like they were nearly decapitated...the way that you would expect if someone's neck was blown off by an explosive collar. All in all, if you want to believe it, you will. It's definitely not a hard stretch.

Resolution: 6/10

Okay, okay, so if you've read the manga or have even glanced at the r/AliceInBorderlandLive subreddit then you know this is kind of an unfair score since...well, they're not done. There's more to the story and the eight episodes that we've seen thus far are only about a third of what AIB has to offer since the manga has two sequels, one of which will be finished on Feb. 18 of this year. However, I will see that statement and raise it with "What if it hadn't been such a great success?" I'm all for ending on cliffhangers to force the network or in this case, Netflix to continue your show but since the first season of AIB covers so much of the storyline, it almost feels wrong to end it short the way that it did. I did like how they had the big reveal of the villain at the end and the way they showed what was coming next but it did feel a little anti-climactic when I realized I was on the last episode since it seemed more like a mid-season break type end instead of a season finale. Since there is a sequel to AIB, I wasn't feeling too discouraged but it's definitely something to think about when watching. If you don't plan on reading the manga, you might be left content starving and questioning until sometime near the end of 2021.

Acting/Cast Members: 10/10

If I was just scoring this show on acting, then it would've gotten an all-kill because each and every single actor in this show from the side characters like Nijiro Murakami and Dori Sakurada to Kento Yamazaki who plays Arisu himself is beyond talented and amazing. It is important to remember that all of the characters in this show had a life before they were transported to the Borderland and in this twisted world, something about the changes that make them different than before so in a way, these actors are responsible for not only playing the characters but also the characters past selves before this growth period in which they change into something either completely opposite or completely different than who they were before.

Somehow, this cast manages to take characters that are already so established ( in the manga ) and become them to the point that looking at them within the role and looking at them outside of the role, it almost seems as if they are really two completely different people. As I said before, some of the characters in Alice In Borderland have a correlation to characters from Alice in Wonderland and have their own unique backgrounds on top of that. This gives to the depth of the characters and makes them dynamic but on top of that, it makes them complex, and yet, these actors seem to have the act of embodying these characters down so well that it astonishes me to see them in other roles and know that it's the same person.

I'll be breaking down my three favorite performances to give you a bit of insight on the reason why this show's cast is well-worth looking into.

Dori Sakurada as Niragi Suguru

So let's be honest here, as much as we all like to pretend that we're immune to someone being attractive just because they also prove to be an awful person, but if we're being honest with ourselves, we're not and I am most certainly no exception to that rule. Dori Sakurada is a handsome man whose good looks are only matched in quality by his amazing acting skills. If you're familiar with his work then you know exactly what I'm talking about and if you're not, then I'd recommend watching 3B no Koibito ( Available with English subs on Youtube ) or Scum's Wish ( Available on Rakuten Viki ) to get an idea of how varied this man's acting skills are. In AIB, he plays a character that is somewhat villainous and can almost be classified as your stereotypical movie sociopath. Yet, still, there's something intriguing beyond just his good looks. Dori Sakurada's performance breaths new air into the lungs of the character of Niragi by not only becoming the villain but also, by picking up the mannerisms and master gestures associated with the character that make him such a memorable part of the story. I haven't seen Dori's full Filmography but the character I have seen outside of AIB are a complete left turn from this character which makes me think that the casting director at Netflix Japan needs a raise for having chosen someone who looks so sweet to be such a villain.

Nijiro Murakami as Chishiya Shuntaro

When it comes to characters that become scene-stealers, Chishiya Shuntaro is definitely one of them. This character is so powerful that I, even, named my cat after him. That is a fact of which I am not ashamed. From the second episode of the show, when we are first introduced to him, he becomes an integral part of the framework of the game he is involved in and it is obvious that we will see him again. That being said, there is no way to word Murakami's performance besides 'integral' as my friend put it, "I literally could not imagine anyone else playing this character." As Chishiya, Murakami takes on such a life and ease in the character that it's almost difficult to believe that the sly facial expressions paired with his nonchalant air are not in his nature and are, in fact, something that he donned for the role. I look forward to seeing not only more of Murakami as this character but exploring more of his filmography in general.

Aya Asahina as Hikari Kuina

Kuina as a character is someone that the protagonist does not meet until a few episodes into the show but when it comes to backstories and characters with rich personalities, she shines compared to a lot of other characters I have seen like her. I won't spoil her backstory for you since she's definitely someone who represents something that's a little bit rarer in stories from more reserved cultures but she definitely deserved a mention in this category due to her amazing acting skills and her flawless stunt scenes.

Ability to Keep Interest: 10/10 || Provocation: 8/10

While the rest of my stats got their own individual evaluation, these are going to be combined and the reason for this is because they have the same reasons for their scores. As I mentioned before, Alice In Borderland takes a new spin on the 'play games to live' genre that is so common amongst anime and manga and for that reason, it was able to keep my interest so much so I finished watching it over the course of two days. It was also a deeply thought-provoking situation because the nature of the games and the backgrounds of the characters forced me to think up my own games and my own ideas of where the characters whose backstories are not explained could've come from. That being said, a lot of the thoughts that the show provoked did end up becoming depressing, especially after reading the manga because I discovered that some games could not have had a better outcome due to their simple rules and that made me very sad because even if I am not attached to or fond of a character, I still do not enjoy their downfall.

Overall: 8.5 = DING! DING! DING! WE HAVE A KEEPER!

Overall, I enjoyed Alice In Borderland enough to have rewatched it one and a half times since I first watched it a few weeks ago. As someone who rarely goes back to shows that involve plot twists and suspense because I already know what's going to happen, that really says a lot for not just the storyline but also the acting and amazing intricacies that are in the show. I still feel like each time I watch it, I glean some new detail or fact that I hadn't thought of before and I come to understand the games a bit more with each passing scene or episode. I also feel that the more I rewatch the show, the more I sympathize with even the villains and come to value and understand their motivations and roles. 8.5 out of 10. I WOULD RECCOMMEND.

Thanks for reading!!

#alice in borderland #aib review #alice in borderland review #tv show review #netflix review #alice in borderland netflix #nijiro murakami #dori sakurada #niragi suguru #chishiya #chisiya shuntaro #kuina hikari #aya asahina #kento yamazaki #kakegurui

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stereogeekspodcast · 4 years ago

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[Transcript] Season 2, Episode 2. Stereo Geeks Special: The CW’s Walker

We can't believe we're saying it, but we've enjoyed the first six episodes of The CW's Walker. What is this reboot of the 90s action show doing that's so unexpected and downright subversive? In this spoiler-free review of the first half of the opening season, the Stereo Geeks duo dive into why we're loving the show and why you should give it a try.

Walker promo image courtesy The CW.

Listen to the episode on Anchor.

Ron: Welcome to a new Stereo Geeks Special! In this episode we’ll be reviewing the first 6 episodes of The CW’s Walker.

I’m Ron.

Mon: And I’m Mon. Please note that this is a spoiler-filled review so if you haven’t caught up with the first 6 episodes, please watch them and return to our podcast!

[Continuum by Audionautix plays]

Ron: This show is adapted from the 1993 series, Walker, Texas Ranger. It was conceived by Jared Padalecki, and Anna Fricke is the showrunner. There are numerous women writing and directing the episodes. Despite the source material, this show is surprisingly subversive with regards to masculinity, gender roles, and race.

Mon: The original Walker, Texas Ranger TV show aired in the 90s, with Chuck Norris in the lead. The show was also inspired by a Chuck Norris film from the 1980s. So, as you can imagine, it was a punch-fest. Now we can't really attest to that, because we never saw it. We only ever caught the trailers on TV.

I have to say when you and I launched this podcast, I don't think we would have imagined that we would have even watched a single episode of the Walker reboot, forget actually dedicating an entire special to it. But here we are!

Ron: Well, I think part of the reason why we're actually talking about the show is because of Jared Padalecki. As Sam Winchester on Supernatural for 15 years, Padalecki has wormed his way into a lot of hearts.

But Walker is nothing like Supernatural and Cordell Walker, Jared Padalecki’s character on the show—yeah, he is no Sam Winchester.

Mon: The first episode really had me worried. It started off with a female character being fridged, and the entire storyline was confusing. Do you remember how many times I turned to you and said ‘I'm so confused. I'm so confused.’?

You were introduced to every character, and seemingly every character dynamic as well. All of that in the first 45 minutes. It was too much, and it was too messy. But the end of the episode really made us want to come back. And I think the success of this show really lies in the fact that every episode makes us want to come back and meet these characters, find out what they're doing and how are they surviving.

So, who are the characters?

Ron: As we’ve already mentioned, we have Jared Padalecki as Cordell Walker, the titular Texas Ranger. Alongside Cordell is his partner in crime—or in law enforcement— Lindsey Morgan’s Micki Ramirez. She is the first female Texas Ranger, and the first Latina Texas Ranger in the show.

Cordell’s wife, who we meet briefly in the first episode, and she returns in flashbacks in subsequent episodes, is Emily, played by Jared Padalecki’s real life wife Genevieve Padalecki. And fun fact, Jared and Genevieve met during Supernatural.

Keeping it in the Supernatural family, we have, Mitch Pileggi, playing Bonham, Cordell’s father. As Supernatural fans will remember. Mitch Pileggi played Sam and Dean's grandfather, Samuel Campbell in Supernatural.

We also meet Cordell’s mother, his children, his brother—who's also the ADA. And we also meet Coby Bell’s, Larry James, who is Cordell and Micki's captain, and has been Cordell’s long-suffering friend. There are several other characters that we meet as well. And all this happens in the first episode, so as you can imagine, it's a bit clunky.

From episode 2 onwards, it seems like they have a bit more focus. You don't have to meet every single character; they come in from time to time when they're needed in the story. And I think, overall, that kind of helped our connection with the show.

Not having watched the original, we don't really have a bouncing off point, but we do know that there was a lot of action, not much on the drama, not much on the emotions—there wasn't much human connection. I think a lot of people were hoping that they would just get something like that with this show. But Walker isn’t like that.

From the first episode onwards, it works really hard to balance the police procedural side with the family drama and dynamics. And six episodes in, I think it’s done a pretty good job.

Mon: It's been really successful in bringing these two rather disparate angles together. And what it does very well is to structurally interweave these two parallel storylines. We go from the investigation to the family drama and then we go back again, and it's not cyclical, as much as it is interwoven. And that structurally makes the episodes very interesting to watch.

Ron: But more importantly, the way they’ve balanced these two sides of Cordell’s life is actually pivotal to how the show proceeds, because Cordell is a single father now. He doesn't do a very good job of just being a Ranger, or just being a dad, and he's at the point where he's trying to figure out how to do those together. And it's actually quite amusing when you're watching it because you're like, ‘shouldn't you be with your kids right now?’ And then other times you're like ‘don’t you have a job to do?’

Mon: I feel like it's really important for us to see both these sides, not only of Cordell, but also of Micki, because it's always great to see how the job impacts the characters’ family dynamics, and the other way around. Because if you're being pulled out of your investigation because your kid did something ridiculous, or you're abandoning some kind of family trip because there's another bad guy on the loose, there will be explosions somewhere or the other. And it just makes it more relatable.

Also, we might be seeing some new pattern in The CW shows because Superman & Lois is doing something similar, right? And so's Black Lightning. They're constantly trying to show us what it's like to be a working parent. But since this is The CW, the working parents can’t just go into some office job— their office job happens to be being a Texas Ranger, or being superhero.

Ron: And that's really the crux of the show. So maybe that's why people aren't enjoying it because it isn't just, you know, fisticuffs and guns. This show is very much about subverting toxic masculinity. Walker isn’t pure as driven snow, he's definitely layered and tortured, and he does things that are questionable. But the important thing is that Micki, and the people around him, call him out on it. I especially love that about episode 6—which is fresh in our minds because we just saw it—but it's not something you see often.

Mon: I feel like in the pilot episode they kind of leaned in towards what people would have expected of Walker, being a reboot of the original Walker, Texas Ranger show. But it doesn't pan out like that, because as you said, toxic masculinity is nowhere over here.

But there are consequences to the actions that Walker takes in the pilot episode, which we see in episode 6, and that is a nuance that you need in the 21st century. We have moved beyond just watching people beat other people up. We need to know that there are people behind those fists, and that's what we’re finding out.

Ron: We started watching the show because Jared Padalecki was in it. But according to my research, Padalecki has been thinking about the show for a while.

Mon: I've been hearing about his name attached to a Walker reboot for a long time. And the only reason I think it finally got the green light is because Supernatural was announced to be coming to an end in 2020. It's been on hold for a while.

Ron: It's funny because in the initial concept apparently Padalecki was going to produce the show, and the Jensen Ackles who's going to be stepping in as Walker. [laughs]

Mon: I can see that. But you know, Ackles would have brought a kind of swagger that this version of Cordell Walker doesn't need. And I think it would have changed the dynamic a lot.

Ron: I totally agree with that, especially because Padalecki seems to have got the idea from reading a story about a policeman who walked away from his duties because he did not want to continue separating children from their parents, just because they were immigrants.

Mon: Wow.

Ron: Yeah.

Mon: That explains the undertone throughout.

Ron: Exactly.

Mon: We can't tell you too much…

Ron: …but it's what have you read that.

I'm actually very curious to see where this first season goes, because that kind of story is playing a certain part in this. We've seen it pop up quite a bit just in these first six episodes. Will they take it forward? How far will they go with that? Not sure.

Mon: It will be a bold move to really tackle immigration, immigrant problems, head on in a show like Walker. This is why we need a blank canvas. You do a reboot, you do something different. You bring it to the 21st century.

Ron: According to Padalecki’s interview with Variety, this is what we said: This is not a show about a martial artist kicking minorities in the face; this is a show about a legit Texan saying, ‘Hey, I need to hear the whole story before I make a decision.’ So this version is less about what goes through somebody’s fists and feet, and more about what goes through somebody’s head and heart.”

We've definitely seen that in the first six episodes, and following the events of the sixth episode, I think we're gonna see a lot more of that.

Mon: Exactly. They're not being completely in your face about immigrants and minority communities, how they're treated and the issues that they face, but that's definitely there.

Ron: So one of my concerns when I started watching the pilot episode was that, oh, we have a white family at the center of the story. The problem with having a completely white family is that everybody around them is also white, but this show doesn't do that.

For one, Micki, who is Cordell’s partner has a massive role; she's basically the second lead. We also have Captain James played by Coby Bell, who is a Black man, and he is trying to make a difference in his department. The Walker showrunner, Anna Fricke spoke to Variety about the characters of colour on the show: “This was always supposed to be a show that was set up to have conversations on both sides of the fence and that Walker is a character that can see things both ways — we call him the edge of the coin. We realized that unwittingly we were set up to have those conversations in the characters of Captain James, who is a Black man, and in Walker’s new partner, who is a Latinx woman.”

So, she went on to talk about the pilot episode especially, because it did get delayed in production. So they went back to the writers room, and they worked on a few things. So this is what she had to say about how the pilot was changed slightly to reflect the circumstances of 2020. “Given that we had the extra time, we tweaked the pilot slightly in that Captain James, as a newer captain who was promoted while Walker was gone on a case, is really here on a mission to bring progress into the department and to keep an eye on corruption.”

Now considering everything that we have seen in 2020 and the police violence that has been, well, it's been there in the US for a long time, but in 2020, it's just—you couldn't avoid it. So, the Black Lives Matter movement definitely had an impact on the show. I'm kind of surprised that there aren't other shows that are following the same example. 2020 threw everything out of balance, but writers rooms had the opportunity to really absorb everything that was happening around them. I like the fact that the Walker team went back and said, ‘You know what we can do something, we can show what's happening in the real world through our show’. And that's why, I guess, we’ve seeing so much of the subversion.

I think what we’ve seen till now is only a taste of what's to come, really.

Mon: Oh, I agree with you. Listening to what Anna Fricke had to say about Captain James, I want to see more of that, because right now, he's almost comic relief—which I love, I really love that about him. But you can tell that there is a serious story and a serious character simmering beneath what is seen.

And this is a really clever move by the writers room so far. They are going with the easy route—family drama and investigation, but they're slipping in these moments which are making you think, which are bringing the reality of the world into the fantasy of the show.

In the first episode, Micki highlights some of the racism that she's had to overcome to be a Texas Ranger. In episode two, Stella, Cordell’s daughter, she acknowledges her white privilege and how it lets her off the hook, but not her Latinx friend.

And throughout, we see the same thing—a person of color is accused of killing his boss. Did he really do it? This seems too easy; it's constantly happening in every episode. It's a pattern. And I feel like it is crescendoing to something major. Is it going to be a realization of just how harmful some of the Texas Rangers’ actions are in the real world? Or is it going to be something different? We don't know.

Ron: Whatever we've learned so far about the show is making me question why they've kept the name of the show, just Walker.

Mon: Ooooo. Good point.

Ron: Especially now that we know what the inspiration for the show was for Jared Padalecki. Hmmm.

Mon: Wow, that’s really making me think.

I really like how refreshing this show is. It could have just been an easy reboot; they could have just cruise controlled throughout the entire story. It could have been about guy loses his wife, he's drunk, he meets new partner, they build a romance, kids go on living their life—none of that is happening so far. There are real questions being asked here, and it's thought provoking.

It's entertaining but it's also thought provoking. And I like that; that's a good mix. I mean let's be honest, when you cast Jared Padalecki as Cordell Walker, you know you're going to get a different kind of hero. He's not just going to be broody. He's not just going to be an Action Man; there's going to be layers. And that's what we get.

He definitely comes across as somebody who is burdened by his loss. He's also a little bit arrogant, but he's coming to terms with the fact that he has made mistakes in his life; he's constantly continuing to make mistakes, and he has to address those. But he's also funny; because like, he's a real person.

He'll suddenly act out not realizing the consequences, or he'll say something because he got excited. He is so normal. And I really liked that because there are these instances of comic relief and you're like, ‘that came out of nowhere, but I really needed that’.

Ron: It's funny because we’ve kept mentioning how we watched the show because of Jared Padalecki and how, because he was Sam Winchester, it was just a natural progression. But watching Walker, I'm not getting anything of Sam Winchester. I'm commending Jared Padalecki for his performance because Sam Winchester was last year, Walker is just a few months later.

The person that Sam Winchester was, was kind of young, needed direction, always turned to his older brother. Walker isn't like that. Cordell is a grownass man with teenage children. Somehow I just can't get over that

Mon: And the fact that Sam Winchester was such a rule follower, whereas Cordell’s middle name is basically rule breaker. I just really like that. I mean, we know that an actor is supposed to be able to disappear into new roles, but it's always funny when you go from 15 years as one person and then suddenly he's just living in the boots of Cordell Walker.

Despite that, I have to say that the performances throughout are very The CW. Either people are speaking rather staccato, or they're a little bit singy-songy and melodious. I feel like they need to up the ante a little bit, because this kind of show, with its drama and its family dynamics, it requires a little bit more nuance. But it hasn't really affected how I enjoy the show.

Ron: I think for the most part, Jared Padalecki and Lindsey Morgan are doing a very good job. I love the chemistry between the two characters, they feel like their partners, and it makes it really fun to watch. The parents, played by Mitch Pileggi and Molly Hagan, that's a dynamic that I'm very interested in watching more of. I don't know where they're going with it, but it's not what I expected.

Mon: I feel like they’re teetering on the brink of being a soap opera with Abeline and Bonham, but they're constantly restraining, so I want to know what they're planning to do with them. Because I feel like Bonham, especially, he's changed since the pilot. He's not the person who we were introduced to during the pilot episode, and that's a good thing because I didn't like that guy. With Abeline, she's a very different kind of character, and I almost feel like she's an antihero,

Ron: Or is it Bonham who the antihero?

Mon: Oooooo

Ron: There is some tension between these two characters. We aren't given much information. They’re eking it out for the audience, and it's so unexpected. Every time they come on screen I'm just like, ‘What is going on what is happening with these two?’ Sometimes they're happy to be together, a lot of times they're not. I feel like we're gonna get to know something which is gonna change how we watch the show.

When it comes to acting, I think the young ones, Violet Brinson, who play Stella, and Kale Culley, who plays August, they've taken some time to settle into their roles. It's one of the same problems that we kind of have with Superman & Lois, where Superman and Lois are great to watch, but the children? Not so much.

Mon: Yeah, I would say the weakest link in the show is definitely Stella and August, especially August. I feel like they want to do something with this character, but he's just been left behind. With Stella, she's almost the conduit for some of the drama, some of the flashbacks, and some of the race-talk that is happening. But with August, he's not even an angsty teen; he's just there.

Ron: But I think that relates to how this show is gender swapping a lot of moments. Stella is basically the troublemaker, and it's an understandable reaction because she is grieving and her father wasn't there when she was grieving. So she's acting out just to get attention, which is something that teenagers do. August, on the other hand, is the ‘good’ child. He’s a saint. He doesn't do anything wrong. He immediately allows his father back into their lives and Stella is the one who's questioning, ‘why?’. This man was gone when we needed him. She wants August to stand up for them. But August doesn't. He wants to keep the piece. That's a fun little subversion that I’ve been wanting to see in shows but this one is giving it to us.

And then there are these other little things, like Stella is playing soccer. I have not seen soccer in an American TV show, so that's really unexpected. It's usually American football, or it’s lacrosse, like in Teen Wolf, but soccer? Not so much, so that's fun. You see August kind of helping with the cooking, but he's also very interested in photography. And that's a creative field that we usually see female characters get into. What's also quite interesting in Walker is that both Stella and August are taking after their mother. They do things that she used to like doing, that she was interested in, that they did with her. Their father, not so much, even though he was also absent so they would want to do something that he likes. But it seems like they're genetically predisposed to want to be like their mom, so that's fun.

From what we know of Emily, she was quite multitalented. She was a photographer. She was a great mom. She was a good friend; she was a wonderful wife; she was a handyman. And Walker, on the other hand, is terrible with tools. We don't usually get to see things like that.

Mon: In a way, Walker is defined by only two things: his job and his family. But Emily, despite having such curtailed screen time, is this fully-fledged character, who was so amazing in every way and everybody is like, kind of, always wishing that Emily was there, and not Walker. I don't know if they intended that as a subversion, but it sure comes across as that.

Ron: What Walker does well is that the subversion isn't just limited to the Walker family. Like we see Micki, is the Ranger, but her partner, Trey, is a nurse. Now, this is something that used to drive me up the wall about most shows that were, you know, in any way action-oriented, sci-fi, fantasy. Female characters were almost always relegated to the role of healer or nurturer, male characters got to go out there and fight. But here, it's exactly the opposite. Micki is the one who is going out and fighting, whereas Trey is the one who is there to help people and take care of them if things go bad.

Mon: And not just medically. He's also an emotional support for a lot of people. Like he's there for Stella, he's there for Walker. He's also there for Micki. So again, that's why we need a refreshing change from what we've always had. And I like that it’s the CW which is doing it because, yeah, they’re kind of on the map because of their superhero stuff, but we've always found that even with the superhero stuff, there have been times when we felt like they could have pushed some boundaries, but they didn't. And with this show, I'm not saying they're like, completely breaking every possible glass ceiling. I'm just saying that they're doing a very good job of making some cracks.

Ron: I mean there is a strip club scene which is not what it looks like. That's all I'm gonna say.

From episode 2 onwards, every story has been really, really exciting. So, from a writing point of view, the show is also doing a really good job. I've actually found myself surprised by the direction of some of the stories, and that's quite fun, considering we've watched a lot of police procedurals in our lives.

Mon: At this point, it's easy to get a little bit jaded with pop culture. This is our entertainment—action stuff, superhero stuff, we are for it. But you need to innovate. It's a tough landscape, there's so much new content coming out, so much of it is in the same genre. What I feel like with Walker is that, mostly because of Padalecki, he's gonna draw in a completely different crowd, which is the Supernatural crowd. And because it's on The CW, you're also getting eyeballs from an audience who is kind of watching Riverdale in the evenings. And then they got Walker. And you need that balance, because so much content is cruise control. And as we said, this show could easily have been that, but it wasn’t. And it's trying very hard not to.

As we said, there is a certain pattern, because in every episode, you're like, ‘Wait, did they just do that?’ And it makes you sit up and take notice and wonder, ‘okay in all these years, why did no other show have this particular scene?’ And more than anything else, I think that's what's making us come back. It's like, how are they innovating? How are they being more creative and more innovative with the same established storylines and dynamics.

Ron: I'm going to give Walker props for even trying to do things differently, because you just mentioned Riverdale, and that show is entertaining, but it's been so cliched from the very start. And considering its audience, I really would have wanted it to do something a little bit different. There have been times when I’ve watched Riverdal and I thought, ‘Oh okay, that's a little bit different.’ But honestly, it just doesn't try that hard.

Mon: No, in fact, some of the messaging in there is problematic to say the least. Young people are watching it, and, well, young people are on The CW a lot, and I do worry that they need to get a strong message about what's right, what's wrong and what you should be questioning,

And that's what Walker is doing. It is acknowledging the privilege of this family. But at the same time, it is also telling us that they have their own struggles. Are their struggles greater than other people? No. But this is the story that we’re being told, because we need the audience stand in, and as we know the easiest way for the audience to walk into a show is through somebody who apparently looks like them.

Ron: The people around the Walker family are people of color. So you have Micki, you have Trey, you have Captain James, Stella's friend, August’s possible love interest, they haven't got there yet. Even Cordell’s brother Liam, his partner is a person of color. So you've got this in with the Walker family, but around them, you’ve got all these people of color who we definitely are interested in and invested in. It could have easily been the other way around, and I would have liked that, but I'll take it.

Mon: I think the smart move by the writers has been that not only do we have an in with a white family, but we're also looking through their eyes to understand the different viewpoints of the people around them. And essentially what's happening is that no one is being made to feel alienated in a circumstance or an environment that they feel is their own. So, the fact that the white family has a ranch, and stuff like that okay, yeah, that's aspirational for a lot of people. But you also have the Black captain who is new. So you have that audience who is enjoying being part of a club, if you could say, that hasn't always represented them. And then you have, of course, with Micki, and the dichotomy of being a Texas Ranger, when the Texas Rangers are such a problem for the Latinx community. So it’s this inclusivity, which I guess we’re really, there for.

Ron: And that's all just within the first six episodes, so I really don't know where this show is going to be going. I'm very excited by its direction. And I'm really surprised that from all the shows that we've seen Walker is the one that's making us think, ‘well, this is doing something different’.

Mon: Yeah, and I think it's fortuitous that we are recording this episode after episode 6. That was some episode! A lot happened, they packed in a lot. There were a lot of twists and turns too; a lot of bombshells in there. And it's actually making us rethink how we have viewed some of the characters. There are some revelations coming and I don't think we're gonna like it.

Ron: Well, I for one, am totally invested in this show. Episode 6 felt like it was a turning point. According to Anna Fricke, the showrunner, things are gonna be happening. I cannot wait to find out what they are.

So, there you have it. We're really enjoying the first six episodes of Walker, which is not something we thought that we would be saying on our podcast.

Mon: But we’re glad we are. Because, you know what, if you haven't caught this show because you think it's not your kind of show, give it a shot. And give it a shot beyond just the pilot episode because you're in for a ride.

Ron: And some really great characters.

Mon: Absolutely.

Ron: Have you watched Walker? What did you think of it? We'd love to hear from you.

You can find us on Twitter @Stereo_Geeks. Or send us an email [email protected]. We hope you enjoyed this episode. And see you next week!

Mon: The Stereo Geeks logo was created using Canva. The music for our podcast comes courtesy Audionautix.

[Continuum by Audionautix plays]

Transcription by Otter.ai, Ron, and Mon.

#walker #the cw #jared paladecki #supernatural #stereo geeks #reboot #podcast

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dazais-guardian-angel · 4 years ago

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Hi! Since you seem to be into a lot of different stuff can you share anime recommendations? If you have any. Have a lovely day!! You seem like such a sweet person

What 🥺🥺🥺 a-awww, thank you so much anon!! That’s so kind of you to say... I’m just a nut crying feels into the void over my obscure faves over here, without a consistent one fandom anymore a;lksfklkfg though I guess now it’s just egg, but thank you! ❤️ I have a lot of anime recommendations I can give, but I don’t know what exactly you’re into, or if you’re looking for anything in particular...? But I can definitely list some!

The big popular ones you probably already know about are My Hero Academia and Attack on Titan, I’ll get those out of the way first. I have my gripes with MHA and it has a lot of flaws that can’t be ignored, but overall it’s a really fun and high-energy and uplifting shounen series that has some really beautiful messages and moments, with a wonderful and touching main duo of main characters, and amazing animation and music; it’s as popular as it is for a reason, it’s just such a feel-good show and I’d always recommend it, even if I do complain about it sometimes haha. Attack on Titan on the other hand, I know hyperbole like this is like ugh really, but I really do mean it when I say it is an absolute masterpiece in the making; the first season feels very run-of-the-mill, typical shounen, which I wasn’t a big fan of like everyone else was at the peak of its initial hype years ago, but the show changes and evolves so much, beyond what you could ever imagine, honestly, and now by this point, when it’s almost at its end (the manga is literally ending a week from today), I can almost definitively say it’s one of the best anime out there. Everything in it is foreshadowed from the very first episode, the puzzle and mysteries unfold so masterfully and it all ties together so well, the story’s themes and the characters are all amazing, the music is GODLY and so is the animation, it’s just perfect, please please everyone watch AoT.

Bungou Stray Dogs is also pretty popular, and is one of my personal favorite animanga of all time; it’s a mystery/supernatural action semi-steampunk series with a huge focus on the characters and some AMAZING found family dynamics, seriously if you want found family for the love of god watch BSD, I love all these characters and their relationships so so much. Season 3 isn’t as good an adaptation of the manga, sadly, but the first two seasons and especially season 2 are absolutely amazing, and I would recommend the manga in a heartbeat as well. Noragami I adore for much of the same reasons, with the besttt found family dynamics and a really great balance between comedy and drama, though with Noragami in particular I would for sure stress to read the manga afterward, because the anime falls short near the end of season 2 and leaves so much unfinished, and the manga is absolutely phenomenal, one that like the rest of these will probably always remain in my top ten manga.

If you like shoujo, Akatsuki no Yona is my favorite shoujo of all time, with - once - again, wonderful found familyyy in a historical setting, really lovely slow progression of character development, and some fantastic action and music. The anime leaves so much unanswered and unfinished so the manga is an absolute must here, but I still just have to mention it because the anime is just so damn good in adapting what it covers, especially combined with the OVAs still waiting for that season 2 *cries*.

Assassination Classroom is a comedy/drama(??) shounen that ended a few years ago; it’s VERY funny and entertaining to watch, with an almost seamless transition into high emotional beats that left me speechless at how invested in and attached I suddenly was, and the ending, I’m not exaggerating, made me cry harder than literally anything else I have ever watched in my life, it is that devastating. Highly highly recommend AssClass yes that’s the nickname, I love it so so much, but be prepared to have your feels hit by a truck.

Free! is a really good sports anime with really great characters, and yes I am saying this completely unironically, I highly recommend Free’s first two seasons; just please for the love of god pretend season 3 does not exist. Run With the Wind is my other favorite sports anime that is CRIMINALLY UNDERRATED, it’s so motivational and uplifting and all the characters are so damn nice and endearing, and it has a fantastic score by the same composer as MHA and Haikyuu’s osts; EVERYONE WATCH RWTW IT IS SO SO GOOD.

Made in Abyss is another anime that is likely to never fully conclude the manga’s story, but the one season and movie that we do have is an absolute animated masterpiece in every imaginable way, so I would be remiss if I didn’t recommend it; it’s haunting and beautiful and very hard to watch at times, but so so worth it. Princess Tutu is, to me, the best magical girl anime of all time, dark beautiful fantasy with a wonderful four main characters and one of my favorite “villain” redemption arcs ever, not to mention one of the best enemies-to-lovers story arc I’ve ever seen. Of course my other favorite magical girl anime is the much-loved Puella Magi Madoka Magica, that is also dark but not without a purpose, twelve tightly-written episodes that wrap up perfectly by the end, with not a single minute wasted.

Poco’s Udon World is my favorite fluffy slice of life show; it’s also criminally underrated and SO sweet, it makes me cry every time I watch it with how goddamn precious it is, and I so wish more people knew about it. No.6 is a great short bl romance/sci-fi anime, and Romeo x Juliet is one of my favorite older romance anime, based on... well, the title is self-explanatory.

Mystery is my favorite genre in any media, so I have a lot of these haha. Gankutsuou is a supernatural mystery/drama/suspense/thriller based off the famous novel The Count of Monte Cristo, and it still remains one of my favorite anime of all time; the tension builds so WELL with each and every episode, the story is so gripping and so so tragic, and it always makes me cry by the last few episodes; a very underrated gem (also it has one of the most unique animation styles I’ve ever seen). Gosick is another mystery anime I adore, though it’s more of a slow-burn romance with some episodic mysteries before diving into an overarching plot; it’s actually what I tell people is my #1 favorite anime, just because the Victorian aesthetic is so me, but it’s so unknown that I never really get a chance to talk about it, haha. Mawaru Penguindrum is a mystery/drama/comedy anime that is extremely bizarre and philosophical, it’s honestly impossible to explain without just seeing it yourself alkfglalksdk, but it has a lot of family feels and is extremely touching and satisfying by the end despite all the weirdness, at least to me, so I always try to recommend it, though it won’t be everyone’s cup of tea. Erased is another fantastic short mystery/drama/suspense thriller, with some really moving moments and wonderful atmosphere and tension; the ending falls a little flat, but that doesn’t ruin how amazing the rest of it is (and I’d also recommend the live-action Netflix version, which has the proper ending from the manga). And I guess I’ll throw in Moriarty the Patriot too when it comes to mystery/crime thriller anime, which I’m still currently watching and is still ongoing, but I absolutely LOVE it so far, more people should be watching and reading it.

I have a lot more I could list too, to be honest 😅 I just pulled some of my favorites from the list on my About page ahaha, and a range of popular known ones to more obscure underrated ones. But I hope some of these suit your fancy, anon, sorry I tend to ramble ALKSDFKLFLSKDF I just wanted to be thorough since I didn’t know if you were after a particular genre or not! I hope you have a lovely day too! ❤️

#replies #me: i can list some #me: *summarizes fucking all of them*#take a shot every time I use the words 'masterpiece' 'absolutely 'definitely' 'of all time' or 'found family'#vocab level over 9000 👌👌👌#not me not including hxh or ph #self care bitches 😌#Anonymous

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theshinsun · 4 years ago

Note

KNB for the fandom ask thing if you’d like to!!

(sorry this took forever, work was crazy this week ;;-;;)

send me a fandom and i’ll tell you…

the first character i ever fell in love with:

Kagami. (I know, right?) I started watching the show when I saw the way he was drawn, and came to really love his character throughout seasons 1 and 2.

Side note: I really only fell in love with Aomine once I saw how he looked in the manga, and got more into his backstory in late season 2/early season 3.

a character that i used to love/like, but now do not:

Idk I used to like, unironically like Himuro, and subscribe to canon’s endgame portrayal of him as a harmless nice guy (with no personality to speak of). Now I like him, but like... only in the sense that he can be used narratively, and to comedic effect. I also still like his play style, but I don’t like him like, as a person.

a ship that i used to love/like, but now do not:

I don’t really wanna bash any ship in this show, since the characters are loose (read: underdeveloped) enough for their actual ship dynamics to kinda be up for interpretation.

The one example I can think of, though, for a ship I used to enjoy that now kinda bothers me, is KiKasa. I just don’t see much genuine affection between these two, and yeah I get that people show their love in different ways and all that, and there is definitely something there to work with if you read between the lines, but still... I dunno in canon it mostly seems one-sided at best and antagonistic at worst to me.

my ultimate favorite character™:

...C’mon, you know who it is. The number one spot has to go to Aomine, every time. Someday I’ll write a whole in-depth character study to explain why, but if you want the thesis statement, it’s this: Aomine is the most interesting, developed and multi-faceted character in the entire series, and you can fight me on that.

prettiest character:

If we’re talking manga, then Aomine, but since he looks like a raisin in the anime, I have to give the award to Midorima, with Mibuchi coming in a close second.

my most hated character:

Heh. Uh... funny story, it used to be Hanamiya, or possibly Haizaki, but now I think my hatred for Akashi has actually surpassed them both, because we’re meant to dislike them so at least they serve their most basic function. Whereas Akashi’s arc is so forced and anticlimactic it’s infuriating, and that’s before even getting into his personality.

my OTP:

You know what, it’s still AoKaga. After six fucking years, they still have my heart. If I can bend the rules and slip in an OT3, I’d say AoKagaKuro, but otherwise, if I had to pick one ship, it’s those two idiots with their rival dynamic, interesting chemistry and essential narrative function of pushing each other to get better.

my NOTP:

Like I said, I don’t want to bash any ship, but if I have to pick one that just grinds my gears, it’s AkaKuro. I just... don’t get it. I mean, I get it, I know why it exists, but I don’t get it, you know?

...I dunno, if that’s your cup of tea, more power to ya, but I personally don’t ship it and I don’t think I’m ever going to.

favorite episode:

Episode 37: I Look Forward To It.

Ah, the onsen episode... I know this one by heart.

Okay, I guess I should explain myself, because on the surface this looks like pure empty fan-service (on both sides), but this episode actually has some really great character and plot-related moments. It’s the part I always jump back into when I re-read the manga, because it’s where things really start to kick off. Seirin’s been beaten down and hopeless and finally have their chance at revenge, and they find out in this episode that they’re going to be getting it right away. There’s some really great Seirin and Touou bonding, some more evidence of Momoi being a data-gathering badass (though her actual appearance in this ep bombs the Bechdel test and kinda just rubs me the wrong way).

My favorite part, though, is Aomine and Kuroko’s confrontation in the bath house. I’ve heard someone say once (and I agree) that this episode shows a whole team of naked men (and two naked women) and yet the scene with the most sexual tension has everyone fully clothed. It’s also just a super emotionally-charged moment, full of saying things without saying them, and Kagami showing up to declare Seirin’s intentions of victory is the cherry on top. I love this episode, I’ve probably watched it about a hundred times, but I’d gladly watch it a hundred more and that tells me it’s my favorite.

saddest death:

Himuro’s character development. I mean uh... Kiyoshi’s leg breaking, yeah, that’s totally it. Actually, him leaving at the end of season 3 is really sad, we don’t get many third years retiring in this show but that hit just as hard.

favorite season:

Season 2. It’s where the show kicks into high gear, and the plot really gets rolling. It’s well-paced and exciting up until the middle of the Yousen game, and shows so much awesome development for the characters it introduced in the previous season. Everyone gets some new abilities, but my favorite reveals have to be Kuroko’s Vanishing Drive and Overflow (that moment when Izuki gets “erased” in the Seirin/Touou game lives in my head rent free), and of course the Zone. Season 1 is nice and season 3 has some really iconic moments, but season 2 is great from start to (almost) finish, and that makes it the strongest of the bunch.

least favorite season:

As I said, it has some iconic moments, but KNB’s weakest season by far is its finale. For one thing, it focuses almost entirely on a single game, and so that game drags on forever, beyond the realm of enjoyment until it becomes tedious to get through. Besides that, though, it goes out of its way to introduce plot threads and characters that don’t really go anywhere (Haizaki and Ogiwara come to mind...) the animation budget takes a noticeable beating, and so do the trajectories of two of Season 2′s most interesting antagonists (Himuro and Akashi). The main saving grace of this season is the Teiko arc, but, enjoyable as it is, under a critical eye it’s still a lengthy, pretty unnecessary detour that stops the main narrative dead in its tracks and all but kills the tension for the final game.

character that everyone else in the fandom loves, but i hate:

Would it be gratuitous to say Akashi, at this point? It’s funny, because I never really liked him, and didn’t understand why so many people did, but I never had any strong opinions about him until recently, when I started looking at his character up close bc I’ve run out of reasons not to. Again, if you like him, that’s totally fine, but I just can’t agree.

my ‘you’re piece of trash, but you’re still a fave’ fave:

Uhh... Imayoshi, I think. I don’t know what it is about this guy, but I love him so much. He’s a shit, and he knows it, but he’s also smart, and funny, and kind of just a big dork? Severely underrated character, with a really unique look (I don’t care if he doesn’t have eyes except when he’s pissed, it’s good character design, you guys are just mean).

my ‘beautiful cinnamon roll who deserves better than this’ fave:

Oh, Kuroko... sidelined in your own damn show. I’ve heard people argue that Kuroko is not the protagonist of KNB, and in fact it’s Kagami, and just... whether that’s true or not technically, it just makes me sad for Kuroko bc once again he’s being overlooked in favor of other, more flashy characters on screen. Maybe that’s the point, but still, I don’t see this guy get nearly enough attention considering his name is in the fucking title. Kuroko is every bit as valid and interesting as the other GoM, and the other members of Seirin, often even more so, and he deserves all the love.

my ‘this ship is wrong, nasty, and makes me want to cleanse my soul, but i still love it’ ship:

Pretty much anything with Haizaki, but because this is me we’re talking about... AoHai. I used to be interested purely from a hatefucking standpoint, but recently I’ve seen some art and short little ficlets, and... have started to maybe ship it... unironically? Um. Yeah, so that happened.

my ‘they’re kind of cute, and i lowkey ship them, but i’m not too invested’ ship:

KiKuro. I don’t think I’ve really talked about them before, I love their backstory and dynamic, and I tend to write them together off on the sidelines, but I’m not very passionate about this one. Maybe because it is often used as a background ship, maybe because they both work better with other people (side tangent: their dynamic instantly becomes more interesting the second you throw a third person in the mix... doesn’t matter who it is either, KiKuroKaga? AoKiKuro? KiKuroMomo? I could go on) Idk. It’s sweet, but I don’t often give this pairing a whole lot of thought on its own, maybe I ought to...

#shin speaks #answered #knb #i can't get into these things without giving long detailed answers anymore can I #side effect of analyzing my favorite show and breaking it down until I barely recognize it I guess #I've got a full essay on the successes and downfalls of KNB coming in a bit #so uh #prepare for that #thanks for asking! I hope this doesn't piss anyone off too much #lmao

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radioactive-butterfly · 4 years ago

Photo

There was Spike, on another day of duty, doing the very same things he used to do, every single day. Routine. Repetition. Manlabor. Hard, stiffened joints supported Spike's workforce on yet another "cattle task". He was sick of that, but he had no other choice. He had to make a living, and that shitty job was the only thing he had at the moment to do. A boring-ass, repetitive, stupid job; but an honest job, nonetheless. Spike was so filled up with anger and frustration that he couldn't muster to look at the passer-bys. He had a pretty normal life: normal grades, normal high school, normal college, normal career choice. Yet there he was, a victim of circumstantial unemployment rates and civil unrest due to the new automation wave from the joint effort inbetween the now Unified Eastern Bloc, led by Russia, China, Japan and Malaysia. Thailand was also starring in the automatons algorithms. It was a disaster for the West, that felt shortly after Britannia's downfall.

Yet, Spike cared none about this shit. All he cared was that the United States remained Unified, and still reigned free (or as free as liberty can be) in the Americas. Spike couldn't complain much about his life, especially compared to those low-life latinxs, who lived mostly in those dirty and gruesome favelas, menacing communities that could mean the end of your life in the blink of an eye, would you dare to not behave properly in the strict rules that they themselves create for them. Such an outlaw place was, of course, nowhere near where Spike lived and worked: downtown valley, East Coast, on the West Side of the Greenwich meridian, near LA. A richie’s place.

Spike’d had a somewhat of discriminatory preconceived notions of the latinxs folks, associating them with crime, robbery and smugness. This sickening repetitive job had this kind of advantage: Spike could let his mind fly high, because the shit wage that was paid was more than enough to keep a relatively decent lifestyle.

Pretending not to notice, but still taking a glance at the new passerby, Spike took notice of a distinct dark-skinned person walking near where Spike was cleaning his spot.

"You're not from here, white boy" said the dark-skinned person. Spike kept his cool, in spite of a single teardrop of sweat befalling on the back of his head. It wasn't routine for Spike to have a gun pointed at his head; regardless, Spike was used to having his life on the line.

"Bold of you to think I'm white" retorted Spike, on a surge of audacity.

After stopping to take a deep breath and blinking heavily,

the dark-skinned person replied:

"You're a jackass, but you at least got a vein of comedy in you, so I'll concede to you the honor to know the name of the one who'll kill you: Elektra."

"I don't intend to die right now, m'lady" retorted Spike in a surge of adrenaline.

By letting go of his stable gravity center, letting loose of the hang of his legs, Spike quickly dropped into the floor while at the same time striking his elbow against Elektra's elbow. The impact of such a blunt made them shoot the gun in an unconscious reaction. Spike, though, a war-veteran, was well accustomed to gunshots and kept his adrenaline-rush cool whilst at the same time keeping the adequate and precise amount of tension and bloodflow in his members, so he could be ready for any action in that moment of life-risk-gambling.

With a quick Tiger Palm strike on Elektra's gun, he struck it away from their grasp. He felt an unusual tenderness when their hands swiftly, briefly, though intensely, touched.

Using his mop to swipe even further Elektra's gun, he prepared for a fight to the death against that uncanny, unusual, yet somewhat of a hot dark-skinned person. The reason behind their death threat to him was unknown, yet he had no time to think about trivial motives now. He had a fight for his life to fight, and Elektra was an opponent of respect: it wasn't anyone who managed to make Spike drop an ice-cold sweat of nervousness.

In a sound-blasting fast kick, Elektra managed to go to knockout Spike. Had he not spent a gruesome, yet valuable short-intense-season-training with the Brigadiers, he would have fainted to that blow. Moreover, his agile reflexes granted him the privilege to see Elektra's strong leg just above his head, quickly stroking his also spiky hair and blowing his hat off. Spike had no other choice but to let his soldier side kick in and to get ready for a serious battle.

However... Spike's air missed from his lungs in a rapid gasp when he saw that Elektra wore a chest armor, instead of just a normal shirt. Why the fuck do they had such a piece of armor in the place of a normal cloth?

He couldn't help but to keep his eyes on them, whilst also noticing that they had a collar. What was the meaning of such a piece of garment, carefully placed on their neck?

By carefully managing his breath and his composture, Spike could notice that Elektra groaned while throwing their strikes. The groans that Elektra let out were uncanny, and somewhat feminine. This caught Spike's attention.

Elektra's aura was also beyond warmness — it had an intrinsic hotness that, probably coming from their sweat, inebriated Spike in the heat of the battle.

The battle raged on, and they were intense in their lashing out of their fierceness. None of them intended to go back home that day, probably sick and tired of blindly following others’ orders, or simply not giving a fuck about anything else but the heat, the melting heat of the moment of such a dynamic exchange between two persons with nothing else to lose anymore.

Spike struck the first hit, and to his yet another surprise, Elektra couldn't help but to let go an unexpected feminine groan when struck on their back. This raised Spike's suspiciousness bar, and this also made his breathing get more intense as the two of them danced the dance of Death itself: their life on the line, in an unusual barter of sensations and blows: anything for the sensation of feeling alive, maybe for Spike.

Elektra threw another one of their deadly kicks, much to Spike's surprise, and yet again his military training permitted him to survive that deadly blow: he dodged with a catseye's reflex instinct.

He gained the upper hand, cornering Elektra against the wall.

Elektra resisted fiercely, defending themselves with a martial posture. Spike projected his hips forward to gain space and dominate Elektra, who was cornered up with their back against the wall. Their heavy breathing’s scent could almost reach Spike, had he not projected his head backwards for safety against their deadly punches.

Spike had Elektra cornered. He could end the battle in an instant. But, once again, their necklace stood out from his perspective, and he quickly understood that Elektra was a woman. She also immediately realized Spike's perceptiveness, and her eye showed the almost imperceptive glance of lust, tinted with the melting heat of the exchange between the two warriors. Spike realized what was supposed to be Elektra's top secret, and she perceived Spike's realization. The stakes of the battle between the two raised above the normality of a life and death battle.

Spike let loose of his ferocity for a brief instant, with a self-dominating smile. He displayed an over-confident attitude, which maybe was intended, to make Elektra more comfortable and less hateful towards him.

Using one of his infamous tricks, he let from his sleeve a button and played with it with his fingers, whilst keeping his stare at Elektra's feline eyes. The intent behind this attitude from Spike was clear: he showed that he would rather massage her nipples instead of beat her.

Elektra didn't take such audacious move lightly; she took it to the heart. Yet, nonetheless, a part of her displayed willingness to engage in a more intimate contact with Spike. Such part was shown for but an instant in her facial expression.

Spike was taken with infatuation from her menacing look. Was it just infatuation, though? Was it the height of the flame of a burning yet ephemeral passion? He let down his guard for a nanosecond, a piece of time that was abruptly taken by Elektra, who lashed forward towards Spike.

Elektra jolted towards Spike, as he enjoyed more and more the exchange between him and her.

Whilst Elektra was displaying a primarily frustrated stance towards Spike, he was thrilled and excited with this sensual and misterious person that came out of the blue to kill him. Spike was used to putting his head on the line, though this time was totally different: he developed emotions AND feelings towards the person he was fighting against. This had never happened before, since Spike was like a lone wolf, untethered by the nefarious grasp of love... until now.

One more kick from her muscular legs and Spike could not not think about the remote, yet not impossible, possibility of getting between those legs in a different activity than a fight.

Now it was Elektra who threw a Tiger Palm against Spike, who dodged miraculously to his right, saving his skull from being crushed mercilessly against her wrath.

Their eyes crossed and Spike felt the air on his lungs and belly freeze against Elektra's heat. Spike was usually regarded as being hot and athletic, but what the heck was wrong with that girl? She kept striking him furiously and he kept enjoying it more and more. Spike was treading the thin line between life and death and he cared none about that, only about getting more of that feeling of being alive; that joyful experience shouldn't ever end on a draw. Who would penetrate the counterpart's defense first?

Spike wouldn't say it out loud, but perhaps he wished to be penetrated by her, only by her, and only that first time. Maybe this allowance from him boasted her self-confidence to the point that, this time, she was the one to corner Spike with a martial uppercut that caught him by surpise.

On a transient moment, Spike noticed against the sunlight the casting of shadow on Elektra's collar, and then suddenly everything became clear to him. They were both equal. They were the same: warriors destined to engage against each other until one of them died: either a small death or the grand death.

Spike jolted his mop forward, aiming for Elektra's mouth.

She dodges and he lungs his body forward, trying to conceal his hardness from the battle.

Nonetheless, Elektra perceives Spike's erection, and she herself becomes filled with a craving for more.

Spike himself, in spite of being erect towards Elektra's body, keeps his upper head cool, without, though, not displaying a pleasure in his expression towards Elektra. They both knew about each other's intimacy to a deep level, and they both were enjoying this exchange to the fullest.

Without a second moment to think about it and to give in to her desire, Elektra quickly reorders her blood flow from her hip area to the knees on a deadly strike against Spike, who uses the mop's counterweight to help him avoid the lethal blow on his crotch.

She lunges forward and penetrates Spike's ぜたいぼおぎょ, almost rendering him useless if not for his mop, who stuck firmly against her forearm.

She grabs his mop, and he suddenly realises she was also hard from this exchange. She wanted him to come near her, perhaps not to strike her down, but to kiss her softly. By the force she grabbed Spike's mop, he realized she wasn't overkill on this exchange, and she was helding back to not erase his beautiful yet shameful existence from the face of the Earth. Yet, she couldn't not get excited about this fight, and so couldn't Spike not be astonished by her presence of Spirit.

On an instant of lust, she grabs with both hands Spike's wood and pulls him towards her. Spike gasps at this unprecedented move, and butterflies swarm his stomach. What the fuck was happening to this veteran's training?!

She Scorpion Kicks him, and he notice that her well-developed glutes hold her butt firmly even when stretched. Spike couldn't not desire this woman with everything he had.

Her fierce and callused palm destroy Spike's mop, and he noticed how well-developed and fierce she can be. Elektra is rampant against Spike, and he's enjoying it somehow.

He uses the counterweighted part of the mop against his muscular body to swiftly go for her cheek, but Elektra prevents this foolish attack by dodging it majestically.

Spike's whole body stiffens at this point. He displays no sign of mercy, tensioning all his muscles and all his tonus Crane Stance power, concentrating his life against Elektra's might.

Elektra turns away her look, probably intimidated by Spike's fierceness.

Spike uses this opportunity to carefully almost strike Elektra, abd she lets out a high pitched gasp that also makes her blush in embarassment.

Spike couldn't resist any longer. Had he continued the fight against Elektra, he would probably give in to his animalistic desires and would lose his nectar against that woman. Spike used the gambit of the beginning of their fight in his favor now, running from her and her deadly presence.

Elektra does what he wanted, after all. She goes after him. Spike wanted to be held, not in a fight, but against her arms, tenderly. This probably wasn't the wisest move of his part, but at least he got to take a look at her armor... and her loaded gun.

"Stop or I'll sh-shoot!!!"

Though Spike didn't stop. He was too far beyond that now. At this point, all he knew was to run away from that powerful woman. He jumped what could as well be a bottomless cliff, way too far away from the deadly claws of Elektra.

And she herself didn't give a damn anymore about her duty. Fuck that. She went after him, to at least get his number, or better: to get between his legs.

#korean novel #japanese novel #novel

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dogbearinggifts · 5 years ago

Text

“He Made Me What I Am Today”: Thoughts on Pogo and Complicity

It’s taken me a while to understand this fandom’s hatred of Pogo.

He’s never been a favorite character of mine, but I’ve always liked him. In the show and in the comics, he serves as a sort of surrogate father figure, providing the siblings with much-needed level-headed advice and guidance free from abuse. In the show especially, he’s stern yet kind, intelligent and understanding of the children’s limitations. This is precisely the sort of parent the Hargreeves siblings needed.

So you can imagine my surprise when I found fans expressing disgust toward his character—some going so far as to cheer his gruesome death at Vanya’s hand.

Vanya, it seems, is at the center of fandom’s disdain for Pogo. Many arguments as to why he allegedly deserved what he got center on his actions the day Reginald had Allison Rumor her into forgetting her powers, and on the fact he never told her the truth. These arguments tend to treat Pogo as the only truly rational adult in that house since he lacked Grace’s manipulative programming and Reginald’s sadism. Because he was the only one who saw Reginald for what he was, he had a responsibility to stand up to him and put an end to the abuse. According to this view, Pogo chose to be complicit in Vanya’s abuse. He chose not to stop it, he chose not to undo it, and it is this choice that makes him irredeemable.

What it fails to account for, though, is that Pogo isn’t the only clear-headed adult in that house. To say he chose to go along with Reginald’s orders is a drastic oversimplification. Because, like Grace, Pogo too was programmed to never disagree with Reginald. Like the children he cared for, he was abused into compliance; and like Vanya, he was made to forget the power he possessed.

Pogo Is a Product of Abuse

In the comics we get a moment where Five, having donned Reginald’s monocle, sees Pogo as an apparently ordinary chimp suffering in a lab*. The show implies Pogo’s origin with a single line: “In all respects, Sir Reginald Hargreeves made me what I am today.”

I want you to ponder that for a moment. Pogo wasn’t born with human intelligence or a human personality. He was born as an ordinary chimp with no more intellect or insight into the universe than other chimps possess. Then, one day, he’s taken captive. His captor torments him. He hurts him. He leaves at night and returns in the morning to hurt him again, and again, for hours and hours and he doesn’t understand, doesn’t know what’s happening, he only knows it hurts and he hurts and he wants it to be over but it’s not over—

And then one day it is.

It’s over. The pain ends. The ongoing fear and despair comes to a halt as Pogo understands more than he ever thought possible.

Reginald could have explained every step of the process to Pogo, once he had the intellect to comprehend it. Or he could have kept the details somewhat vague, but made the link between Pogo’s newfound sapience and the horrors he endured clear. Whatever the case, it stuck with Pogo for the rest of his life.

Everything Pogo has—every word he speaks, every thought in his head—is the result of those experiments. Every aspect of his life exists because he was held in that lab for perhaps months on end, dragged from cage to table and back again, pricked with needles and cut with scalpels. Without the horror Reginald inflicted on him, Pogo would still be an average chimp living in a jungle somewhere, unable to comprehend things we humans take for granted.

No one is more aware of this than Pogo.

His Attitude Toward Abuse is Fundamentally Broken

Reginald didn’t need to abuse his kids. This fact is so apparent it almost need not be said, and I only say it because by the end of the first season, all seven of those kids either know this or are in the process of learning it. Exclusion from the family dynamic, exile to the Moon, being locked in a tomb with the dead—none of these things were necessary, and the people who suffered them are aware of this.

But in these cases, it’s obvious that the methods used did boundless harm and negligible good. Vanya’s exclusion left her depressed and bitter, with few social skills and no friends to speak of. Luther’s exile sent him spiraling deep into suicidal depression, led him to self-harm, and robbed him of whatever ease with social graces he might have possessed. Klaus’ stints in the mausoleum left him with untreated PTSD and a crippling fear of the dead, leading him to cope through drugs and alcohol. Each of those kids can tell a similar story: Reginald put them through hell to try and make them stronger, and instead they were broken almost beyond repair.

Pogo’s abuse, on the other hand, worked as intended. Reginald planned for it to give him sapience and high intelligence (in the comics he’s referred to as Dr. Pogo) and that is what it did.

I’m certain that, given a little time and a conscience, Reginald could have devised a way to grant Pogo his intelligence without the need for experiments or persistent cruelty. A man who can grant humanlike intelligence to an ordinary chimp is a man who can refine his methods to make them as painless and noninvasive as possible, but for whatever reason Reginald chose the most sadistic method. The abuse was not necessary, but it’s a part of Pogo’s origin story and a part of his past.

The horrific abuse Pogo suffered resulted in a clear, tangible benefit for him. If that sounds twisted, it’s because it is. Pogo’s abuse is twisted, and his story is twisted. Rather than backfiring as it did in the cases of the Hargreeves siblings—and in real cases where parents resort to abuse to make their children stronger—it did precisely what it was meant to. It made Pogo stronger. It improved his mind. It gave him everything he never knew he wanted.

So when he sees Vanya being locked in a soundproofed room or watches Luther depart for the Moon on a pointless mission, his thoughts are almost certainly not on what sort of awful man would visit those horrors upon his own children. Chances are, they’re on how some good must come of this. While he suffered in that lab, he couldn’t have known he would wake from those horrific, invasive, degrading experiments stronger than he ever thought possible. Surely Luther and Vanya and all the other children will emerge from their own suffering stronger than before.

He Doesn’t See Reginald the Same Way the Siblings Do

It’s rarely addressed in fandom, but Pogo and the Hargreeves siblings come into Reginald’s care in markedly different ways, and they are intended for markedly different roles. The children are adopted as infants, presented to the world as Reginald’s children, and brought to the dining room table each meal. They’re given rooms in the upper stories of the Academy and, while not treated in any way resembling decent or humane, are at least granted the status that comes with being the child of a reclusive billionaire.

Pogo, on the other hand, began as a science experiment. When the torture he endures attains its goal, he is never treated as anything more than a butler. His room is sparse and in what appears to be the servants’ quarters, and he is never shown seated at the table with the rest of the family. When speaking to the very children who seem to regard him as a secondary father figure, he calls them Master and Miss—deferential even as he exerts authority.

To the siblings, Reginald Hargreeves is Dad. He’s cruel and unreasonable, sadistic and uncaring even when it would behoove him to show a modicum of kindness. Under his roof, his authority is absolute—but that authority extends only to the outer walls of the Academy. If Reginald had never adopted them, Klaus would still be Klaus and Vanya would still be Vanya—hopefully with more confidence and less trauma, but they would still be the same people. Their personalities and intelligence would have remained constant regardless of who raised them.

Without Reginald, Pogo as we know him would not exist. Philosophy and physics, morality and mathematics would have remained foreign to him. Even if he had lived and died as content as a chimp can be, he would have gone to his grave without enjoying a good book or understanding why people seek out music that makes them cry. Reginald might be Dad to the siblings; but to Pogo, he’s God—reaching down from on high, plucking Pogo out of the dust and demanding his will be done.

It’s an understatement to say that Pogo knows Reginald is smarter than he is. His intelligence and personality exist because Reginald possesses the capacity to grant intelligence and personality to animals like him; and if he has the power to bring animals up to a human level, then his intelligence must far outstrip even the smartest human. He’s brought Pogo to a level on par with the children he cares for, but he hasn’t brought Pogo up to his level, because that level is so far beyond that of an ordinary human that it’s impossible to conceive. As far as Pogo knows, Reginald Hargreeves can see in nine dimensions and remembers every point in human history.

The programming instilled through religious abuse can be overcome. Those raised to see their deity as an all-powerful version of Reginald Hargreeves—harsh and demanding, quick to find fault and quicker to mete out punishment—can and have conquered this view and managed to either renounce faith entirely or define it on their own terms. It can be done. But it’s also extremely difficult. The abusive deity survivors are raised to worship is all too often made out to be a deity with humanity’s best interests at heart, whose abuse will eventually bring about humanity’s good.

From all the evidence we’re presented with, it appears something very similar has happened with Pogo. It’s doubtful Pogo worships the man, but it is clear he not only reveres him, but trusts him—and trusts that the crimes he perpetuates against his own children will ultimately benefit them.

He Tries to Mitigate the Abuse

He doesn’t step in and try to stop it. We see him assisting Reginald at several points—pointing Allison toward the security footage, withholding the truth of his Moon mission and Reginald’s suicide from Luther, holding the door as Reginald ushers Vanya into that soundproofed chamber. He’s never enthusiastic about this support—in Vanya’s case, he is clearly pained by what he’s enabling—but he doesn’t put his foot down and refuse to do as he’s told, either. But he doesn’t treat the children as Reginald does. If anything, he strives to be Reginald’s opposite in as many ways as he feels he is able.

If later seasons reveal that Reginald rose each morning and made a list of ways to make Vanya feel unwelcome in her own home, I would not be surprised. He places her at the end of the table; he makes her stay upstairs while her siblings get tattoos; he refuses to let her be in the family photo. All of his actions toward her, large and small, made it clear that she was inadequate and that he barely considered her part of the family. Yet when she returns to the Academy for Reginald’s memorial service, Pogo greets her warmly, addresses her with the same honorific he uses for Allison, and tells her “This is your home, and it always will be.” Reginald may have treated Vanya as unworthy of his approval, but Pogo treats her as her siblings’ equal.

From the quick temper he displays at Five’s insistence he be allowed to time travel and the obvious fear the other siblings have of him, it seems clear Reginald’s punishments were anything but fair. Discipline, it seems, was a chance for Reginald to vent his anger on whichever child displeased him, rather than a means to correct bad behavior. But when Klaus steals the box and throws the journal away, Pogo doesn’t fly into a rage and toss Klaus out on the street—or do something even more twisted—as Reginald might have. Instead, he confronts Klaus, informs him of the error and why it matters, and gives him a chance to correct his mistake. Reginald’s discipline was likely capricious and disproportionate; but if this example is anything to go by, Pogo’s approach is stern, yet consistent and restrained.

Pogo does deliberately withhold information from Luther and, to a lesser extent, Allison. He places Allison in a room where she’s sure to find the relevant tape, effectively sending her and Luther off on a wild goose chase. When Luther discovers his Moon mission was a sham, Pogo’s attempt at comfort can sound an awful lot like damage control. However, these deceptions are undercut with a subtle layer of kindness. He lures Allison to the relevant tape with footage of herself and her siblings as children—footage that includes her deceased brother, which is comforting and cheering to her. He is quick to refute Luther’s assumption that he was sent to the Moon for his own personal failures; while his reasoning that “After your accident, he wanted to give you purpose” has the ring of an excuse (and a flimsy one at that) it’s offered when Luther is clearly spiraling and in desperate need of something to hold onto. It’s clear in this scene that Pogo isn’t simply trying to cover his own ass; he cares for Luther and wants to ease his pain.

Pogo Probably Doesn’t Realize He Could Have Done More

When I was a kid, I watched a show called Recess. (Late 90s and early 2000s kids probably all just cracked a grin.) If you haven’t seen it, it followed a group of fourth grade students and their adventures at school, outside of school and—mostly—at recess. There were a lot of colorful characters on that playground, and one of them was Ms. Finster, an assistant teacher who monitored the kids at recess and served as a recurring villain, relishing each and every chance she got to foil lovable troublemaker TJ’s plans.

In one episode, Ms. Finster hits on a plan that she calls The Box. She draws a box and, when TJ misbehaves, makes him stand inside. It’s just four chalk lines on asphalt, but it triggers something in TJ’s brain. When he stands in The Box, he sees the asphalt rising up to hem him in, pulling him further and further underground as his panic rises. He isn’t imprisoned. He can leave at any time, and to an outsider this much is painfully—even comically—obvious. But to TJ, he’s trapped.

Pogo could have stood up to Reginald. He could have done it when Vanya’s powers were taken away, or he could have done it on a random Thursday. He could have taken Luther aside and told him the truth of Reginald’s death or he could have sat everyone down and explained Vanya’s powers before shit hit the fan. I’ve said elsewhere that the characters in this show are responsible for their actions, but Pogo is responsible for his inaction.

Yet this inaction is not the result of a moral failing on Pogo’s part. He didn’t sit back and choose not to tell Luther or Vanya the truth or remain complicit in their abuse because he wanted to see them suffer. “I had no choice” is what he tells Luther. To us, it’s obvious that Luther’s response—“There’s always choice”—is correct.

But it isn’t obvious to Pogo, because Pogo is trapped in a Box of his own. It’s a Box made of abuse both physical and mental, of a twisted gratitude toward the man who tormented him, of a lack of faith in his own conscience. Pogo is complicit in the siblings’ abuse, make no mistake. Of all the people living in the Academy, Pogo probably stood the greatest chance of overthrowing Reginald and getting those kids into a more positive environment. He wielded the most power in that situation, and Reginald knew this. And so, as with Vanya, Reginald made Pogo forget his power. It took longer. It involved more pain, more mental manipulation than direct mind control. But in the end, what Reginald did to Pogo was far more effective—and arguably more sinister—than what he did to Vanya.

Her powers, after all, could be reinstated simply by removing her medication. Removing barriers around your own mind meant to keep you dependent and doubtful, with no physical evidence to prove those barriers are gone? That can take a lifetime.

*********

*It’s been a while since I’ve read the comics, but I do remember that chimps with human intelligence are just kind of a Thing in that world. I don’t remember if Pogo’s sapience is made out to be a product of experimentation or if the experiments he endured are separate from that. However, since Pogo is apparently the only superintelligent primate butler in the show’s ‘verse, it seems the implication is that he gained his intelligence from Reginald’s experiments.

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