#because it's implied in this episode grapple made the arc; or at least helped with the construction maybe

[just-absolutely-super]

since when did Hoist become the resident Autobot doctor?

where's Ratchet?

[fallindomino]

how i would have changed s2 of hsmtmts

obvious disclaimer but im not a screenwriter or anyth so im not claiming what i want is best, this is just for fun lololol

okay so first of all nini would still have dropped out of yac but she wouldn’t have gone back to east, she would have transferred to north bc she was too ashamed to tell anyone she left at first and maybe she still wants to explore who she is away from ricky and the others

nini could join north’s batb and this way maybe we could have some playful rivalry with lily and nini and more scenes with antoine shdhdjdj also it could have been a great opportunity to flesh out lily’s character so those scenes where she reaches out to ricky and her confession at the end of the season actually make sense lol

speaking of ricky ,,, i think he should have left the play at some point hear me out. he only joined in the first place because of nini and barely wanted to do it at all once he realized he wasn’t gonna be able to perform with her. he could have joined crew and been a manager with natalie or smth considering he rlly does see the theater gang as a second family. also this would leave so much room for ej and ricky development and bants since ej joined the av club and began to pursue film. they could have some convos where idk ricky asks ej how he figured out what he wanted to do after duke didn’t work out and ricky could actually develop some interests that arent the play or nini ,,, maybe fucking art club i mean he did p good on that centerpiece for carlos’ quinceañera.

with ricky not being the beast anymore i think seb should take his place that would be soooo good. and since seb isn’t chip anymore carlos won’t make those snide comments about chip being a small unimportant role and we can just cut that whole fight bc it was dumb and bad. we could still have seb being insecure that carlos is only dating him bc there aren’t really any other gay guys at school. in a heartbeat is great and i did like ricky being supportive in the background it was kinda funny too idk dhdjdjfj

ooh i almost forgot abt rini ahshdj okay so i still think they should break up. but in my version there’s no ricky pulling an ej 1.0 and deleting comments off of nini’s insta, cause with ricky in art club and nini at north trying to figure out what she wants i think one of them would realize that they’re going in different directions and only got back tgt because they made each other feel safe cause what they had was familiar. this could be triggered by ricky mentioning smth abt nini at yac and then nini breaks down and tells him that she dropped out and is at north and doesn’t know where she’s going. and then they can both realize they aren’t good for each other rn and have a less tragic mutual break up.

honestly i really liked the scene of nini taking charge after miss jenn freaked out cause with the character detail of nini giving every person in the cast of productions she’s in a thank you note she just seems really like someone who is suited to lifting others up. this could still be explored at north, maybe she could help lily through her issues that were briefly implied in ep 11 and nini realizes she wants to be a drama teacher and encourage kids to go off book and put themselves into their acting, something she couldn’t have at yac.

okay now ej ,,, so like i said in ricky’s section, more bants between them cause i feel like friendships kinda fell by the wayside due to all the relationships so more friendship !!!! also the scene where ej tells his dad he’s not going to duke shouldn’t have been an ending scene, it should have been fleshed out with his dad pushing back saying how he pulled all these strings to get him in and ej saying he doesn’t wanna go if his own hard work couldn’t get him there. and also more scenes of ej doing av club things !!! and realizing he rlly likes film and wants to do it OMG IT WOULD BE SO COOL IF HE BROKE THE FOURTH WALL AND ASKED THE DOCUMENTARY CREW ABT THE FILM INDUSTRY god i would love that. the only scene we rlly got of ej doing film things was at the quinceañera which made me kinda sad. uhhh also i just wanted to specifically mention how ej got mr mazzara that job at cal tech bc it really showed how he wanted to be there for people not just for gina, who he had a crush on, but for mr mazzara who supported him outside of romance, so i wanna keep that for sure.

gina !!! okay so i mostly liked her arc in this season, the only changes i would make would be to flesh it out a teeny bit (god this hypothetical s2 would have to be like 22 eps at least shdjdjdjfj) anyways besides ashlyn singing home to get gina to stay i think there should be a scene where they actually talk in her room abt how gina feels safer when shes on the run (second chance reference ilysm) hhhh and also a scene of her and carlos actually working out compromises for their choreo cause i liked that bit of development too and fleshing that out would make gina an even better foil for lily, who felt a need to hog the spotlight like gina used to. with gina’s own arc fleshed out her character would feel more whole independently from romance and portwell would be even more rewarding than it is in the current s2. the only thing i would really change abt portwell is that they would kiss !!! in the finale but thats bc im biased.

ashlyn should have gotten a more fleshed out storyline about being insecure about not being a good enough belle or the typical belle. there were some throwaway lines when north did their typical dramatics but the only two real scenes that showed it were when ash talked to big red about it and when she was telling nini she wanted to do a run in “home” bc lily did it. ashlyn should get more screen time where she has to grapple with the reasons she doesn’t feel good enough and big red can still support her but also gina too bc i would like more roommate besties interaction.

kourtney could still date howie, that harry potter shit was cute but there needs to be smth else for kourtney’s arc. idk she’s still into fashion so maybe she could be out here trying to create her own line or smth? this doesn’t have to be resolved in s2 like making a wholeass line takes time and she could work on it into a potential s3. kourtney just didnt get much outside of howie and the stuff at the beginning of the season where she said nini inspired her to be independent and that's why she got a job was just dropped?? so i think that fashion could fill that for her if she’s still dating howie cause like having her whole arc just be the pizza place kinda overlaps w big red’s mini arc abt how he wasn’t settling for hospitality, its what he wants to do with his life.

ik what ur thinking. anna, even if you added more episodes, where would u find the room to add all these plotlines?? well first we cut (most of) the seblos fight, so thats some time saved. honestly most of the time that we r going to gain is going to be from cutting ms jenn’s time. things like ms jenn’s and nini’s car ride would get cut, but mostly all of ms jenn’s romances would get cut down. considering she’s the teacher and isn’t actually a character with an arc how does she have THREE love interests this season?? like all of the weird tension between her and zack can be cut, like just some short scenes of them being competitive can stay. all of the stuff with ricky’s dad can go bye bye we don’t need it. i did like her w mr mazzara so most of that can stay i just didn’t like how he said he would give up cal tech for her, ew no that would be gone.

the MENKIES !!!! this is the last thing im gonna address cause in a perfect world every character would get a long fleshed out arc but then the season would be waaay too long and also im mostly trying to work within material the show gave so this is mostly made up of “realistic” deviations from what actually happened. lol idk what that even means it just makes sense to me. but anyways!! uhhh bro idk i thought them dropping the menkies was funny but it also made the finale really BAD lmao. in this finale, seb is the beast, east still had to deal w the fact that they’re underfunded compared to north but no one is injured, lily is less of a poorly written character and maybe ppl are even rooting for her, and wow i just realized i never actually said what role i think nini should have in north’s show. OOH she could be student director instead of lily cause lily both being in the play while also directing was weird considering omg i just checked and according to her wiki page shes a FRESHMAN?? and they let her be student director? lol hell nah. okay so with all that in mind ,,, the menkies should have been the season cliffhanger instead of portwell. east and north should both be nominated, both schools perform at the menkies, and then the award winner is about to be announced and THATS when it cuts to natalie and the end of the season.

one, this actually gives more tension for a summer s3 as we would be waiting to see the consequences of whichever school won. also i bet people would be wondering if nini’s gonna be transferring back to east or staying at north. people would also prob wonder if ej would be getting the scholarship if east won and what that would mean for his interest in film.

lmao that got longggg and idk if anyone’s even gonna read this but it was fun to do :D

[itsclydebitches]

RWBY Recaps: Volume 8 “Refuge”

Happy Saturday, everyone! Welcome to week two of… fourteen? Is that how many episodes we’ve got this Volume? Man, we’re going to be here for a while.

There’s a ton to unpack in “Refuge,” but as promised I want to delve into the opening first. Given the scattered, symbolic nature of our intro I think it’s easiest to just chuck out observations in list form. I’ll segue back into cohesive recapping in a moment.

So, what have we got?

The glitching between a happy, whole Atlas and the burning wreckage we’re now dealing with. That works well given both Atlas’ tech-focus culture and the ways that tech has led to some of our biggest tragedies (hijacked army, framing Penny, etc.)

Ruby looks scared and is standing behind the rest of her team, separated from them by the title. I’m not really feeling that theme so far though, given Yang’s incredibly weak challenge, Ruby’s immediate forgiveness (during her talk with Penny), and the fact that she’s still working with half the team who vocally support her, particularly Nora. Unless something drastic changes, the idea of Ruby being the outsider here is silly.

We get shots of the girls with their past selves superimposed over their bodies and weapons. I like the message here—they carry those versions of themselves with them—just not how it’s contrasted with Ironwood’s image of an earlier Atlas now burning. So that’s all he is now? Everyone gets to embody their growth except for him? His past is erased to focus solely on our current predicament? I’m not picking up any redemption flags here…

Robyn’s hand reaches down towards Clover’s badge, which then circles to show off the Ace Ops. The final image contrasts an angry Harriet with a defeated Qrow. At least, I hope they’re contrasts. It’s going to read as absurd if they somehow end up working together after Qrow helped get her leader killed.

This morphs into Qrow alone who sits, devastated, until Robyn offers him a hand up and they both smile. I’m not a fan of this symbolism after the prison scene we got this episode. It’s like Qrow might have thought about his choices until Robyn’s anger reminded him that, oh yeah, he can be angry at Ironwood instead. These two teaming up, when their last team-up led to a death, is worrisome to say the least.

We get our horrifying image of Salem looming over Oscar as he clutches his head. The group’s weapons fall. This makes sense given this episode’s kidnapping and the team’s sheer inability to do anything to stop it.

Jaune stands determined—also makes sense with his trend of giving “pep talks”—while Ren and Nora stand apart, facing opposite directions. Nora looks back though.

Paralleling them are Winter and Weiss who also face opposite directions. This is becoming a common visual theme: Harriet and Qrow, Nora and Ren, Winter and Weiss. Here though, Weiss looks determinedly ahead while Winter stares down at her feet, unsure. Ugh, I just know they’re going to have her betray Ironwood too.

We get a brief glimpse of Whitley and Willow, not a whole lot to go on. Then we see Salem turning her chess pieces into grimm—literally changing the game—while Ironwood’s white pieces are turned to dust. I could make a quip about how white is supposed to go first, but the initial move was made thousands of years before Ironwood existed and thus he never stood a chance, certainly not when his own allies are actively working against him… but I won’t lol

Watts is smiling at a terminal while at his back Pietro works at his. More opposites. Pietro’s reflection looks to Penny even as his body continues to work, his heart contrasting his head. Penny, in turn, looks upset as her reflection flinches at something off screen and the glass cracks. Watts hacking her, perhaps?

We see the new teams as a cherry blossom (I think?) floats across the screen. It melts in Ren’s hand while escaping Nora’s. Honestly, I’m not sure what to make of that just yet.

Ruby and Yang share a look—undermining their supposed conflict this volume. Couldn’t we have gotten sister unity over the last three years instead?—and a fight against grimm starts up. It freezes as Cinder walks through it, hopefully implying that the group’s attention is on the wrong threat. While they concern themselves with low-level grimm, Salem and her allies are walking free and wreaking havoc.

Then Cinder screams and clutches her grimm arm as things go up in flames. I hope that’s not a death flag given that we’ve teased her death twice already and we only just got a glimpse at her backstory. Also, I think it’s worth mentioning here that there’s a “Summer is the Hound” theory gaining traction which, frankly, I think is 100% unsubstantiated. It’s a fun crack theory, but not something I’m inclined to take seriously until we get some actual evidence behind it. There is, however, potential evidence for people becoming grimm in general: Salem falling into the pool and Cinder receiving that arm. That’s not much though. So while I’m far from convinced that the Hound was once human—let alone that it was Summer—there is something to the theory that Salem may be able to control Cinder via her arm like she controls other grimm. After all, she knew Cinder was alive despite everyone else thinking she’d perished. They seem to have some sort of connection that hasn’t been explained yet and now that Cinder has willingly walked back into Salem’s clutches, she may not be able to walk out.

There are shots of all our other villains, the Lamp and the Staff reflected in Salem’s eyes, and Jinn’s blue smoke, perhaps suggesting that we’ll see her again, or the entity residing in the Staff (if they exist).

Atlas glitches back to normal—a false victory?—before the ice breaks and Team RWBY falls into the darkness below. Volume 3 vibes all around. There’s light above them emanating from the Staff, but as Ruby reaches for it grimm arms circle and pull her deeper. I hope this means that the group will suffer the defeat we need to keep Salem as a legitimate threat, but we had very similar imagery back in Volume 6 and they made it out of that situation just fine, so.

“Happy Ever After” glitches into “Happy? Never Again.” Which isn’t ominous or anything. We finally end on the classic RWBY image of Crescent Rose buried in the snow underneath the shattered moon.

On the whole I think the opening is strong and I like a lot of the symbolism in it, though I do question how much will actually end up being relevant to the story. My only gripes are that there are too many different styles going on—it feels like three or four different Volume openings slammed together—and the fact that it also feels overly long. I don’t think it’s actually any longer than our Volume 7 opening, but it seems that way to me, perhaps because of those varying styles breaking things up.

So that’s what we’ll be watching for the next twelve weeks! Let’s move onto the actual episode.

We open on the image of Clover’s bloody badge in Qrow hand, the same one we got in the trailer. I theorized last recap that we’d be getting the rest of our trailer/promo material this week and I was almost entirely correct in that. This moment, retrieving the bikes, fighting off the grimm, Watts getting hit, Oscar carried away… all we’re missing are some eye closeups and Nora powering up her hammer. As said, it makes me nervous for what the rest of the Volume holds. I can’t decide whether the footage wasn’t ready to be included in promo materials that early, or if RT is just determined not to give us any information past the first two episodes…

Regardless, this is supposed to be a moment of grief and all I could focus on was Qrow’s hand. Specifically, the lack of detail in it. On the whole, I’ve been very happy with the engine upgrade and I quite like RWBY’s animation now, but a closeup here draws too much attention to how, sometimes, they’re just not animating their characters in a way that looks natural. Where is Qrow’s wrist? Why is his palm perfectly smooth? Stylistically that’s usually fine, but when given the chance to stare at it you realize how odd it looks. 

Says the woman whose own drawing skills suck but, ¯\_(ツ)_/¯

But we’re talking about the important bits in this episode! Out of frame Robyn is heard yelling, “This is your fault. You realize that, don’t you?” We’re meant to think that she’s telling Qrow this, especially with how he’s bent guiltily over the badge, until we cut to reveal Jacques right next to them.

I wish Robyn was saying all that to Qrow. It would mean that she was ignoring her own responsibility in Clover’s death, but at least it would have started an arc where Qrow has to grapple with what he did. Not the awful moment that’s coming up.

Before that though, Jacques claims that he’s the “victim” here who was “duped.” His hands may not be clean, but “at least I’m not a murderer.” Look, I’m not here to absolve Jacques of anything. The guy is an absolute shit stain on the Remnant world. However, he’s right in his overall point even if his words are BS. Meaning, Jacques is not a victim and he is a murderer, but he is not the one responsible for Clover’s death. Robyn has plenty of things to be furious at him for, but this is not one of them. Ironically, here we have Jacques functioning as the kind of villain the show wants Ironwood to be. He is a murderer because the company he runs exploits faunus and forces them to work in dangerous conditions (see: the death of Ilia’s parents). He is culpable because he a) had control over these conditions and b) has full knowledge of their flaws. He’s a racist who cares more about money than lives. His informed choices then led directly to deaths. Ironwood? Not anywhere near the same thing. Overlooking the “Omg Salem is here and I have to do something about it” context, he did not try to arrest Robyn. He did not force Qrow to resist arrest, or Robyn to get involved, or Qrow to break Clover’s aura, or Tyrian to stab him in the chest. Ironwood had no control or knowledge of these events, so he is not responsible for Clover’s death in the way that Jacques is responsible for the faunus’. RWBY is giving the right arc to the wrong character.

Robyn then insists that Qrow didn’t kill anyone. He didn’t strike the blow, but he certainly helped! Look, Qrow is one of my favorites, but I’m not about to claim that he didn’t have a hand in getting his friend killed. I seriously can’t believe the show is ignoring this.

We then segue into some, uh, questionable dialogue choices. Jacques is a “snake with a mustache”? Sorry, I can’t take Robyn seriously at the best of times, but definitely not when she’s tossing out laugh worthy insults like that. Nevertheless, this “snake with a mustache” is guilty because he “helped that man tear us all apart.” That man being Watts.

…why are they all in what amounts to the same cell with barriers dividing them? I suppose we could make the argument that they’re being held in some secret facility, given that they’re in this dark, garage-esque space with no lights and no other prisoners. Some sort of maximum security setup that... doesn’t have any other inmates and no additional security? Hmm. Then again, the power is supposed to be out and I don’t really trust RWBY’s ability to craft consistent backgrounds. I feel like they’re packed together merely because that’s plot convenient, not because it makes any sense in world.

Watts looks pretty comfortable in there though and Jacques is likewise full of confidence. He says that by now Whitley will have already called their lawyers to get him out. Now, non-imprisoned people know that the apocalypse is currently underway, as Joanna will later put it. No one is lawyer-ing at the moment, but it will be crucial to see whether Whitley is trying to get Jacques out despite the chaos. How faithful is he to his abuser? Can Willow start undermining Jacques’ influence now that they’re alone?

Jacque’s confidence thoroughly pisses Robyn off and she screams, punching the barrier between them. Keep this in mind for a second. 

A moment later two guards show up to take Watts somewhere and… oh no. Please don’t tell me Ironwood is going to team up with him now that Penny has written him off? I know the guy has (presumably) already killed someone, and he must assume he’s killed Oscar, so we’re definitely in full villain territory despite the stupidity of it… but please don’t start working with Salem’s henchmen too. You know what? I’m not going to assume the worst until I actually see it. RWBY gives me enough nonsense as it is lol.

What I really want to talk about is that hit. 

I’m somewhat concerned by a lot of the fandom’s reaction to this moment in comparison to another. Who remembers Volume 6? That scene when Qrow punched Ozpin directly into a tree? Now, I’m not keeping track of who says what when—this is a generalized reaction—but I saw a lot of posts defending that action. There were numerous justifications for the punch, but the three big ones were: 1. These characters are fighters and they’re used to it, 2. These characters have aura so it’s not that bad, and 3. Ozpin totally deserved it. Now, the problems here are that 1a. I don’t think punching someone when they’re crying on their knees is justified, whether they’re a fighter or not, 1b. Qrow was likewise punching Oscar, a totally innocent kid, 2. We had established earlier that Oscar was having trouble remembering to activate his aura and didn’t seem to have it active then (no ripple effect, he’s rubbing his jaw afterwards), and 3. Ozpin’s crimes are, as explored on this blog, not nearly the horrific actions that the story and fandom would like to paint them as. The point is that despite all this, lots and lots of fans said it was totally okay to punch Ozpin&Oscar. What’s the big deal? they asked. Now, lots and lots of fans—mostly when the trailer first dropped—say it’s not okay to punch Watts. Despite the fact that he’s also a fighter. Despite the fact that his aura has broken. Despite the fact that he’s not currently a threat (seated on the bed/Ozpin on his knees). Despite the fact that he’s responsible for helping Salem try to take over the world. If we were to make a case for who deserves to get hit, Watts is a WAY stronger candidate in my opinion, yet he’s the one who a lot of fans are scrambling to defend. Why? I assume it’s because hitting him feeds into the generalized police state/dictator theme Ironwood has been thrown into. It helps villainize Ironwood for fans to go, “Poor Watts. He’s done horrific things but no one deserves to face police brutality.” I agree. The only problem is that a lot of those same fans seem to have gone, “Ozpin can get over it. He deserved to be hit! I would have done a whole lot worse to him…” So is the difference only that one attacker is a military professional and the other is… a huntsmen professional who soon after that scene starts working for the military? Yeah. The show continually ignores that the group aren’t the rogue heroes they pretend to be. They worked under Ironwood for weeks, if not months.

The show isn’t clear about its morals and neither are the fans, with both changing tactics whenever it helps blame the character they already don’t like. When Robyn punches the barrier, do we really think she wouldn’t have hit Jacques if given the chance? Why would it be heroic for her to hit the Evil Man but it’s not okay for the grunt minor character to hit the other Evil Man? These morals don’t change just because you like Robyn and don’t like Ironwood. 

Jumping ahead for a moment, we get another example of this hypocrisy with Joanna. A reporter is informing the people that the military seems to have stopped evacuations and there is an unheard number of grimm hanging out overhead, both things that are objective facts. He’s reporting as he should, sticking to what’s known and provable, and thus is, notably, not some lackey of Ironwood’s who is hastily presented as evil. Yet Joanna treats him like he is. She snatches the microphone from him and, when he starts to protest, threatens him with her weapon. After she’s done hijacking the feed, she shoves him on her way out.

Look at how scared this guy is. These are our heroes? This back and forth doesn’t work. Prior to his random killing spree, Ironwood took his fear and frustration out on some furniture, yet the show acted as if he was hurting real people. The mere possibility that he might use violence and intimidation to achieve heroic goals—getting Amity up/escaping Salem—was enough to label him as an antagonist because the understanding was that you can’t act like that no matter what your intentions are. Yet our current heroes can use as much violence and intimidation as they want to achieve their own heroic goal of warning the people? Do we think the story will encourage us to be critical of the group if they start beating up a bunch of Atlas goons to reach the access point? Of course not. And it’s that flip-flopping that’s the problem. Your heroes have to function differently than the villains in order for them to be heroes. Under that logic, our heroes haven’t acted like heroes since mid-Volume 6 and it’s getting harder and harder to watch.

Especially when we take the scene before this into account. Yup, we’ve still got Qrow gunning for Ironwood. Robyn bemoans the fact that they can’t do anything, to which Qrow replies, “We can do something. We can kill the man who put us here.” I… feel like I shouldn’t start repeating myself given how long this recap is—we’ll be here for forever lol—BUT I hope everyone reading this understands precisely how little this makes sense. How god awful a choice it is. I mean c’mon. Robyn attacked Clover unprovoked, Qrow teamed up with Tyrian, he broke Clover’s aura, Tyrian murdered him, Salem is here, and now he’s sitting in a cell with Watts and Jacques… but Ironwood is the guy he wants to kill? REALLY, QROW? THAT’S WHO YOU’RE GOING TO GO AFTER? I really can’t with this show sometimes. RWBY, put your clown makeup on.

We get a cut to Ironwood’s image just so there’s no confusion about who Qrow wants to help kill next and Joanna threatens that reporter who, you know, is also a citizen in need of help and protection… Her “General Ironwood has abandoned you, but we have not” sounds absolutely ridiculous when we just watched her intimidating this guy to get what she wants. ‘You can trust us! Unless we randomly decide we don’t like you.’ I have other things to say about Yang calling out that racist woman later on, but she gets props for helping her regardless. Honestly, I don’t get that sense from the cast very often: that they’d help you even if they don’t agree with you. They certainly didn’t offer that to Ozpin, Ironwood, or the Ace Ops.

There’s a very long shot of a scared toddler staring out the window, just to hammer home how young and innocent Mantle is. Seriously, pay attention to our imagery: Mantle is scared children in homes, cute children fist-bumping Jaune, family photos lost in the street, a stuffed toy run over by hoverbikes. It’s meant to evoke a general sense of domesticity and, again, innocence. Meanwhile, Atlas is only shown via Ironwood and Jacques, the villains. Where are the families living up in the sky? The children? The humanizing details? Our racist woman is an outlier who is quickly silenced by Yang. The rest of Mantle is characterized as victims: scared women, worried fathers, the faunus huddling together in the slums, even another racist who, while an asshole, is supposed to have a point about things like the embargo. Which is all true. These characters are all of these things, it’s just that they’re not unique in this. All this exists above too—from those families, to the faunus slave labor, to the beloved objects that remind you of someone’s worth—but they’re ignored to provide a simplistic look at Atlas as the villain. 

Throughout this entire episode the group tosses out snide remarks about how “They” don’t care about you and it’s just… they who? The other thousands of innocents who have nothing to do with Ironwood? The hundreds of Mantle citizens you already evacuated? The redeemable people like Winter and Whitley? The group fights alongside a Schnee who was one of the most vocal racists a year and a half ago, yet writes off the entirety of Atlas as the bad guys. What a mess.

As Joanna’s voiceover finishes, we cut to Yang’s group going after Pietro’s tech. I already covered this scene in our promo material, but to summarize here: horrible tone. Absolutely nonsensical given the situation. Salem is here and Yang is giggling over bikes. In fact, the tone is off for most of the episode (our end being the wonderful exception): Yang’s joy ride, antics with the Mantle citizens, Blake poking fun at Weiss, the tube scene… none of it fits the context of the series’ big bad here to kill everyone. Arguments along the lines of, “But it can’t be doom and gloom all the time” or “This is a brilliant parallel to Volume 3 with happy times heralding tragedy” don’t erase the fact that our cast isn’t taking this threat seriously. Last week Weiss’ “We’re never going to sleep again” moment worked because it’s humor in the context of how bad everything is. All of this? It’s just the group goofing off despite supposedly being in mortal danger. This?

This doesn’t read well. I’d argue this scene is even worse in context due to lines like “The others are definitely missing out.” In our promo material I assumed that the group just split for the sake of splitting and they were, in fact, just missing out on something cool. But we’ve since learned that they split due to a fundamental disagreement about how to help people, a split Ruby compared to Salem’s plans, a split that Yang started! Why is she now acting like their separation is a funny “missing out” moment? It’s like if half your friend group decided to go to the movies while the other half went to a party with an unexpectedly good DJ. The movie-goers are people who are “missing out,” not the group who went off to take over a military base and everyone left angry.

Keep in mind that Ozpin is also back. Every fun times scene with Oscar in it has the added problem of Ozpin hanging back, not saying anything, not acknowledged, still a secret.

The other issue I brought up weeks back was the lack of grimm. Why are the streets deserted? Shouldn’t the army be overrunning the city? Well, turns out that there’s no army because… Salem just hasn’t bothered to send it into the city yet? When Jaune and Ren take out the low-level grimm Oscar asks if they’ve “already pushed this far in,” to which Yang replies, “No, I think those are from last night.” A few minutes later, last night’s grimm change to new non-Salem grimm as Oscar observes, “It’s the negativity. Salem’s forces aren’t moving in, but it’s enough to attract the stragglers.” Later still, Joanna asks, “…grimm are circling out there. What are they waiting for?” GOOD QUESTION. We don’t know, but it’s real convenient, isn’t it? RWBY redeems itself a bit at the end of this episode with that Hound grimm, but I’m still calling it out for having Salem hold off long enough for the group to evacuate pretty much all of Mantle and infiltrate the base. That’s real nice of her. As the characters keep pointing out, it would be a staggeringly different situation if they were overrun with grimm right now, huh? Kind of like the situation Ironwood (rightfully) assumed they’d be dealing with.

Again, I’m so glad our Big Bad is kind enough to let the heroes do everything they need to before lifting a finger to attack them.

RWBY seems to be setting up a, “See! There was always time to evacuate the city!” accusation even though no one could have known that and it makes zero logical sense. Salem brings an army with her so she can not use the army against Atlas? Right…

This all segues directly into our other promo scene. My initial comments still stand: the tone doesn’t work, the lack of urgency doesn’t work (Jaune playing with the kid, Oscar politely knocking on doors), the low-level grimm are not a threat, that shield is useless against anything not driven by plot convenience, and it’s weird for Jaune to be yelling, “Heads up!” when there’s no one in front of him. As said, this moment really doesn’t sit well given everything that’s going on. I had hoped that it would read better when seen in the episode itself, but that’s sadly not the case.  

After Ren one-shots the grimm Jaune suggests that they use his amplified semblance to get everyone to the crater safely. Ren seems less than pleased about this, but agrees. Right now, it’s easy to say that he’s in a bad mood because Nora is mad at him, but what about the Volume before? Where’s this underlying tension coming from? I can come up with lots of theories, but at some point the show needs to confirm something. The longer we go not explaining what’s wrong with Ren, the less faith I have that it will make sense when we get it.

We see the racist woman upset that they have to go live with the “animals in the slums” rather than going up to Atlas. As said, I like that Yang helps her despite clearly hating the woman, I also think her criticism holds up well (ignoring the simplified ‘They abandoned you’ narrative). The only thing that bugs me is RWBY continually presenting racism as a problem to throw a band-aid on and then pat yourself on the back for ‘solving.’ Racist drunk says shit? Toss him in the trash! Racist woman says shit? Remind her that her survival depends on you! It’s not that these responses aren’t earned, but that we’re given them instead of an actual arc that tackles the complexities of this issue. I mean, Blake has abandoned the White Fang and we’ve barely mentioned the faunus slave labor in Atlas. When they head to the dust facility it’s conveniently run by bots instead of faunus. Can you imagine if Weiss Schnee walked into a group of exploited minorities, hoping to use them to access a military base? But of course, there’s nothing like that. RWBY ignores the actual issues for these simple solutions. Heroes just attack/threaten racists and then it all goes away. Yay.

The other problem with this scene is that we learn the crater is the slums. Um… what? Hold on, Joanna made it sound like it’s a separate place, potentially inhabited by grimm, yet it’s the same area Oscar was in last episode? How is that area warmer? This makes no sense to me.

Also, ha, the crater below Atlas apparently houses all the “animals” that Team RWBYJNR is very protective of. I’m waiting for them to do something that messes with the Staff—Ruby reaching for it in the opening—Atlas crashes down on a whole city of exploited minorities, and then Ironwood is blamed for it somehow. Can’t wait for that episode.

So the group starts making their way there and hark! An Ozpin! I’m always thrilled to hear him, even if he’s treated just terribly by the show. Oscar is at the back of the group and comments that “It should not be this hard just getting people to cooperate.” Except… they are cooperating? Oscar, you are watching them cooperate right in front of you. That one woman might grumble a bit, but she hasn’t made a move or said a word about not doing what you say. Where did this complaint come from? Another example of RWBY insisting something is there when it simply isn’t. More importantly, Ozpin responds:

“And yet, it’s becoming something I’m increasingly concerned about.”

“You know, I really don’t need your additional comments right now.”

Then why did you comment out loud, Oscar? What, do you normally talk to yourself like that? You were clearly speaking to Ozpin! Don’t criticize him for responding. I hate traps like that.

Ozpin immediately says that Oscar has every right to be upset and apologizes for leaving… it’s not apologizing for his entire existence like I wrote on the bingo board, but it’s close. Who’s surprised that Ozpin is the first to offer (another) apology? Not me. Oscar corrects him with, “I’m upset you came back!”

Okay. Here’s the thing. I like the idea of Oscar rejecting Ozpin both because he’s taken over his life and because Oscar has suffered horribly due to Ozpin’s presence (punched, slammed into walls, kidnapping attempts, etc.) That makes sense, it’s actually morally complex, and it’s great groundwork for character growth. The only problem is… this came out of nowhere. Oscar was shown accepting this new life when he left the farm. Then again when he insisted on fighting Hazel. Then again all the times he’s been told he’s acting like Ozpin and seems to accept that just fine. He’s clearly pleased with this new badass self he’s got going on—he even says as much—yet doesn’t want to acknowledge Ozpin as the catalyst for all this positive change. Okay, that’s something we could still work through, but what about the group? Fans are already theorizing that this is why Oscar is keeping Ozpin a secret, because he’s scared of how the group will react, punishing him to get at Ozpin again, and though he 100% has reasons for thinking that will happen, Oscar hasn’t shown that fear before now. Qrow punches him? Bonding moment with Ruby. Jaune attacks him? I made you all dinner. They all smile over his inevitable death/disappearance? He smiles back. Yang is the most scream-y? Happy to have her using him as an armrest. The group continually ignores him and treats him with suspicion? Not a peep of protest. It’s horrifying that Oscar accepted how the group previously treated him, but he did accept it. Where did this fear come from if we haven’t seen it in response to the harm done towards him? Just as importantly, can’t we have an arc where Oscar is mad at the team some too? I’ll admit that the general premise of blaming Ozpin makes sense for the traumatized fourteen-year old, but after two years of blaming Ozpin for everything… aren’t we sick of this? His team has actively hurt him, outside of Ozpin’s ability to prevent, yet Ozpin is the one who takes all the heat for their behavior. “I felt like I was actually part of the team” should lead to the realization of, “Hey, Yang shouldn’t yell at both of us for things outside of our control” not, “Hey, you should stay away forever because others have decided they don’t like you.”

All of this following Ozpin saving Oscar’s life in the airship. Then saving his life again after Ironwood shot him. Our heroes are real grateful, huh. I hate that RWBY is taking another fave and doing them dirty, though I suppose I shouldn’t be surprised. 

Ozpin also mentions his magic—would be nice if Oscar brought that up with the team!—and that he is now “recollecting my longest held memories.” He…is? When? Don’t you think that’s something important to show us? We keep being told that “the merge” is occurring but not shown what that actually means. Seriously, when did Oscar get slammed with that many memories??

Please just use the aura machine and give Ozpin a robot body. RT doesn’t have the chops for writing this situation.

As they continue on towards the crater Ren snaps at Jaune about not needing a “pep talk.” Jaune looks annoyed at the attitude which, fair. It says a lot about the writing the last few years that Jaune is the character I’m least frustrated with lol. Likely because they haven’t had him do anything lately which, given that he’s not one of the title characters and our cast is bloated enough as it is, I’m still totally fine with.

Ozpin concludes the scene with, “We need to find a way to work together. Not just the two of us, all of us” with the camera panning up to look at Atlas. I’m glad someone isn’t ready to throw Ironwood under the bus. Given how the group reacted to him sparing Lionheart’s name though, I don’t think they’ll follow Ozpin in his forgiveness. If anything, I expect this perspective to just be more hate fuel.  

We move to Ruby’s group which now includes May. Woohoo! She still hasn’t gotten half the screen time as Joanna, but I’m really glad she’s here. In fact, between a useful semblance and that adorable courtesy, I love her already. Despite, you know, helping the team break into the base and all that. Everyone has their flaws lol.  

She also frames the Amity plan as getting the world “talking again.” Why is everything presented like a fun romp rather than avoiding death via Salem? Absolutely terrible tone this episode.

The group hilariously waltzes past a sign labeled AUTHORIZED PERSONNEL ONLY and enters the dust facility with the bots I mentioned earlier. This I do like. My hypothetical scenario incorporating the racism issue aside, I like that Weiss is using her knowledge and connections to further the mission, rather than something conveniently dropping into the group’s lap. Like Amity suddenly being ready for launch…So yeah, it makes sense that Weiss would know of a potential way in.  

Sending someone up through the tubes though? Ehhh… I know they have aura and everything—and that Zwei was once mailed—but are we sure this is safe?? Doesn’t matter because Nora sends Weiss through with a misplaced button press. Good thing that was the tube heading to the base. Too bad Weiss is heading to a guarded military base alone. It should have been May going first with her semblance activated, but no. Chuck this onto the ever increasing ‘Bad Tone’ pile. There should not be giggles over Weiss being in that level of danger, especially with everything else going on. Ruby’s expression is the only one on point.

Before Weiss is yeeted off though, Penny and Ruby have a talk wherein Ruby lies her ass off. Penny says, “I do not like it when friends fight” and when Ruby starts talking about Yang she corrects her, revealing that she’s actually thinking about Winter and Ironwood. “They were our friends.”

I was ready to sing Penny’s praises and really, she still gets credit for being the only one who has acknowledged this, but her opinion is (once again) overridden by Ruby’s. Penny goes, “but then the Ace Ops attacked you” which Ruby doesn’t bother to correct. How would Penny know otherwise? The only information she has about that battle is what Ruby has told her, but Ruby is lying via omission here. The Ace Ops never attacked her. They very explicitly refused to start a fight. Ruby attacked them. Then when Penny is upset that Ironwood said “people were going to die because of me,” Ruby takes her by the shoulders and angrily insists, “That was a lie and he was only saying it to hurt you.”

Ruby… you’re the one lying. You know damn well Ironwood didn’t just say that to hurt Penny. Oh yeah, the general trying to keep a kingdom alive from an immortal witch is preoccupied with hurting Penny’s feelings for no reason other than being evil. That makes sense. More importantly, Ironwood is right. Look, I’m by no means blaming Penny for anything. She fought off Cinder, took the power when there was no other choice, and has now gotten caught up in Ruby’s plans which include incredibly misleading information that Penny has no reason to question. She’s doing her best and deserves that hug. But that doesn’t mean she lacks responsibility here. Ironwood needs Penny to evacuate. Penny—listening to Ruby—won’t help him. Ergo, if something happens to the people up in Atlas Penny will be partly responsible. If I have the key to a door with lots of people trapped behind it as a fire rages, and I refuse to open that door, I have indeed allowed a lot of people to die. As Penny says, she didn’t want this responsibility… but she has it. She has to deal with it. Too bad she’s with Ruby who encourages her to ignore it instead, insisting that nothing bad that happens after their choices could in any way be connected to them. Kind of like Qrow ignoring his own actions against Clover.

Because that’s the takeaway from this scene. Penny had empathy for their friends and then Ruby talked her out of it. She never even acknowledges that those were indeed seven friends that she betrayed. That’s horrible.

What happened to Ruby? I used to love this girl.

Continuing our tone issue, Nora is watching this show like her favorite soap is on. Okay then.

Weiss goes up the tube and then we cut to Fiona saying that… the Mantle police are helping them evacuate? So the military is bad, but the police are good? I need to stop trying to make sense of RWBY’s allegory.

When Yang and the others return Fiona makes an innocent comment about being worried about how they’d fare without the rest of their team. Yang is pissed.

Ah, so we’re back to her giving allies attitude for random observations. Remember the anger at Marrow for suggesting she and Blake try different team-ups? Now here Yang is, in a different team-up, doing quite well. Funny how we never acknowledge who first suggested that. Now, Fiona reveals a totally logical worry that losing four fighters might make a difference when fending off grimm, but Yang is poised to be angry at everyone, about everything, all the time. Which I get is something that a lot of fans like. I’ve already seen a couple of posts praising RT for letting Robyn and Yang be angry without consequences because women often can’t do that and, fair. That is indeed one way to read it. My problem is that their anger is actually irrational, not just called as much because we women are ~emotional~. Their anger isn’t justified: Robyn because she had a significant hand in all this nonsense (that she’s ignoring) and Yang because it’s clear Fiona means no harm here. This is anger that needs to be called out, not ignored because yay women expressing emotion. That kind of defense is reserved for a woman’s justified anger that needs to be expressed without criticism, especially in a narrative that tries to undermine her perspective. But what has Fiona done to Yang? Nothing. More importantly, the show has yet to teach Yang a better coping mechanism than lashing out at people, be it with her fists, words, or angry glares. Yang has been through the ringer and it makes sense that she’s angry, but that doesn’t mean she gets a lifelong pass to treat those around her badly. 

Anyway, Joanna says they have a lot of people to keep warm even though the crater was supposed to be warmer? And they’re stealing dust? So what are they using it for it not heat? We’re not seeing any difference here and frankly all the civilians should be dead by now. Or at least entering hypothermia. (Give me that conflict: how do you keep people safe when they’re not all conveniently up for walking all the way to the slums?) Joanna also says that they’re trying to get the “Old mine shafts into a livable condition” which would take how long exactly? In fact, I’d say our timeline is already wonky. We’ve watched Yang hide the Ace Ops last Volume, fly to Winter and Penny, find the Happy Huntresses, wait around for Oscar to show up, ran off on her own at some point to scout, went to get bikes, evacuated all those people to the (far away) slums, then went back out to fight off the grimm. That had to have taken up a good chunk of the night, though it’s impossible to tell the time with Atlas’ snowy sky. I’m leaning towards a bingo mark though…

The faunus who I thought was a badger or something is… a bear I guess? He has a bear-like paw, but his nails seem too long… I honestly don’t know. But he’s Fiona’s uncle! Cute. She's off to deal with a fight that’s starting while the group goes to fight more grimm. Finally, the episode gets good.

The teamwork to take out the dragon grimm was nice, always glad to see it, but the real fight starts when two more grunts show up and then immediately run away. What could have scared them off?

The Hound. (I’m sorry, all I can think of is Game of Thrones when I write that, but it seems to be the name the fandom is adopting, so…) Remember how I said it was unlikely to be a threat on its own? I WAS WRONG. Holy shit this thing is terrifying. It snatches Oscar and in some wonderfully quick animation absolutely obliterates the kid. Oscar is thrown around like a chew toy, desperately trying to rabbit kick at this thing and it does [checks notes] absolutely nothing. I’d normally say something about our farm boy always getting the shit kicked out of him, but this scene was too good for my salt.

Then it changes shape, growing arms, and starts using Oscar as a shield. Yang can’t pull back in time and is snagged by her head, the Hound tossing her into the wall hard enough to break the stone. She’s still conscious though and warns the others about its strategy.

“But grimm aren’t that smart,” Jaune says. Maybe if you kids (Fiona keeps calling them kids) had stayed in school you would have learned that grimm get smarter with age! Oobleck knew that. Or, just as likely, this is a special Salem grimm. Hard to say at this point.

The point though is that the group is helpless in the face of this monster. I do want to emphasize this. I’ve seen a few people criticizing them for not doing enough to save Oscar and it’s like, what did you want them to do? Yang tried to attack and the grimm nearly had her hitting Oscar instead. Ren tried to attack and the grimm changed so fast his weapon was useless. Factor in that morphing—which the group has never seen before—the horror of Oscar hanging there limp, and the general fighter response of, ‘I can’t just keep attacking head on because that thing might kill me,’ and you realize the group was screwed from the start. They can’t stand up against this thing, not without a good strategy anyway, which there’s no time to think up. For the first time in years, ever since Tyrian, Salem actually made the right, villainous call.

Ren screams, “Give him back!”—which was just lovely in an angsty way—and the grimm creepily cuddles Oscar against his chest. Then he responds, “No.” Yeah, they’ve never seen that before either. Can you blame them for their shock? I’m impressed that they were on their bikes just seconds later, managing to keep the grimm in sight. That speaks to their combat experience. Not the ability to power through a situation where they’re clearly outmatched, but their ability to pick themselves back up and try again.

... Ah, so that’s why Pietro was oh so randomly making them bikes. The plot needed a way for them to keep up with a flying grimm. Got it.

My takeaway? RT should be writing horror. They’re far better at it. The animation, sound effects, voice acting, the grimm’s speech and protective instincts, that splatter of goo on Oscar’s cheek… 

... stellar all around. Like the Apathy, this is the best I think RWBY has been since the lore episode of Volume 6. Granted, action sequences like this aren’t required to grapple with any of the messy morals and character consistency of other scenes, but still. If RWBY had just given me a lighthearted ‘Girls fight cartoon monsters’ show or a horror fueled ‘Girls fight monster abominations’ show, I’d have been happy. This? This is the only redeeming part of the episode. And it’s indeed one hell of a redemption. Look at this thing!

I’m not going to say it erases all the bad we got—it doesn’t—or that it likewise erases problems like Salem not using the rest of her army, but it’s a notable step in the right direction. This grimm is a threat. This grimm is a mountain the cast has to overcome. If this is the minion its master should be Everest. I still think this Volume is going down the tubes fast (it’s going the way of Weiss lol), but if it can give me more scenes like this? It might not be a total loss.

Last thing to acknowledge: What about Ozpin? I’ll admit it doesn’t look good. Given how fast he takes control he should have been able to override Oscar’s will and at least fight back a little with that spectacular magic we saw during the finale. So why didn’t he? I hope we get an in-world explanation: it happened so fast even Ozpin couldn’t do anything (shaky, but I’ll take it in a pinch), now that the merge is farther along he can no longer take control—something. Because I can easily imagine how quickly the fandom, and even the cast, will turn on him for not playing deus ex machina here. In reality, I think Ozpin didn’t take control simply because the plot needed him not to. The writers needed Oscar kidnapped so any potential out from that is conveniently forgotten… which is another knock against their writing, despite how great the scene otherwise was. The point is to take all these potential pushbacks and find a satisfying way to circumvent them, not pretend they don’t exist. RT can still save themselves here by providing that explanation later, so I hope they’re smart enough to do that. Ozpin has been blamed for everything at this point. His own kidnapping doesn’t need to be added to the list.

Also, still no word on Schrödinger's councilman. We’ve got to wait another week to see whether he’s dead or not.

Finally, let’s update the bingo card!

I’m crossing off “Ruby gives an ‘inspiring’ speech built on ignoring facts she doesn’t like” for that conversation with Penny. Yeah, it’s a speech to her alone about her worth, but Ruby mischaracterized the situation so badly I’m mad at her lol

I never thought the story would straight up just not have the grimm army attacking, so I think I’ll hold off on “Army of grimm conveniently doesn’t kill any civilians” until we see if/when it gets involved.

I’ll likewise hold off on the timeline slot until we see how bad things get…

Maria is on thin ice given that we have no idea what she’s supposedly doing while the group is off on their missions. Stay tuned.

Today we’re crossing off “Deadly cold conveniently doesn’t kill any civilians.” They should all be dropping like flies by now.

A friend pointed out that Cinder’s Cinderella flashback counts as an “Overly obvious fairy tale allusion.” In fact, I talked about how much of a shorthand that is, so that’s getting a mark.

From last week I’ve also decided to include Amity for “Retconning previous lore.” Now that the group is fully underway with their plan it reads as even more egregious that we were told it wasn’t ready.

I’ll hold off on Ozpin’s space for a while. See if he apologizes to the whole group and, if so, exactly what for.

“Oscar is finally kidnapped”—check!

Well, that’s a whole lot of headway this week. Can’t wait to see where the next episode takes us... Here’s hoping we spend a lot of time with that Hound. MVP of the episode.

Until next time! 💜

[Ko-Fi]

[itsbeenawhile7]

The absolution of Dana Scully in the aftermath of My Struggle IV: one pissed off fan’s grand manifesto

–also known as, “what in actual hell happened to Chris Carter?”

If you have not already read through this interview, courtesy of Avi Quijada and XFN, I am going to need you to start there first.

And listen: before anyone goes there, I am not analyzing the fuck out of this to excuse Chris Carter for the disastrous finale he just served up to us. Rather, it’s that there are a lot of us who are products of the Scully Effect in one way or another, and we’d like to feel good about her legacy.  We deserve to figure out a way to clean up this mess you left us with.

Some people write fanfic.  Me?  I do this.  Get some hot chocolate and pull up a comfy chair.

Rant rating: R, for language and possibly some implied violence against Chris Carter

Content warning: I mean…you saw MSIV, right? 

Did MSIV actually destroy Dana Scully for all of us forever?  Nah.  We just witnessed the apex of a once skilled writer complete his own demise.  We just witnessed a writer who got in way over his head, who was trying to articulate extremely complex, controversial ideas and concepts, and doing so in about the most tone deaf way anyone ever possibly could. Having read his interview with Avi Quijada, I now think it is absolutely fair to say that Chris Carter actually did have at least some idea about what the right motivations for his characters were.  But in a writing decision that will baffle me and the rest of the world forever, he did not heed the warnings of those around him, and convinced himself that his audience would be able to infer absolutely everything of import to his story, and that we didn’t need to see any of that stuff actually fleshed out on screen.  Sure, fine, whatever, Chris. Challenge accepted, here we go.

Let’s review. In the space of a scant few ridiculous hours occurring over the course of MSIV, Scully found out all of the following:

the child she thought was conceived miraculously with her partner was not, in fact, created as a the result of that union

she was medically raped and violated in order for William to be brought forth into the world

the being that she has conceived of as their son for 18 years is barely human: he is a shape-shifting, unstable lab creation, who is far, far more dangerous than any of the many forces that have been out to destroy him

William was created specifically by that fucking bastard Carl, and for whatever purpose Per Manum previously served in this universe, Dana Scully and the rest of us ostensibly should now assume it was to obtain fertilized embryos for the CSM to screw around with and deploy when she made the biggest fucking mistake of her life going off with him in En Ami

she is somehow pregnant right now, at age 54 (because Chris is apparently fascinated by perimenopause? or some shit like that?), after having not gotten miraculously pregnant at any point before in her extensive sexual history with Mulder

William directly and repeatedly said to both of his parents of genetic origin that he does not want to be protected, and that he wants them to let him go [quick break here: sorry, Chris, but there is no way that the CSM is the literal genetic father here, because Scully had a fucking AMNIO in season 8, and therefore you will neverrrrrrrrr convince any of us that this could ever possibly be the case]

And in the midst of all of this, Skinner is killed (maybe), her now compromised friend Monica Reyes is killed (maybe), her partner witnesses the murder of their son (maybe), and her partner kills his father (maybe), after having himself killed or witnessed the killing of dozens of New Syndicate operatives (definitely, because: exploding entrails!!!).

Two things stand out to me. Number one: this level of emotional trauma and upheaval is far, far too much for anyone to even be capable of putting up a coherent verbal response to in its immediate aftermath. Number two, to reiterate points Gillian Anderson and Avi Quijada both made directly to Chris: this “grand vision” or “Big Idea” of his should have had an entire season or two’s worth of episodes behind it if it was ever going to stand a chance in hell at working.  I do not believe that the simple act of making these specific storytelling choices is in and of itself the problem, no matter how I might personally feel about it. The X-Files has been telling us a story involving horrifying genetic, physical, and reproductive assaults on its characters since 1995.  We just, y’know, occasionally used to think about the aftermath of those atrocities in scripts and on camera, in episodes like One Breath, Memento Mori, or the Emily arc.  What is abso-fucking-lutely a BIG problem, though, is if your reproductive horror show is executed as poorly as it was written in MSIV. Full stop. 

I will argue until I am blue in the face, though, that Dana Scully is not destroyed by this ending, no matter how poorly written it was. Chris Carter simply didn’t let this character actually do any of what she should have been doing with this ON SCREEN, where we could see her.  We now know for a fact that Chris was aware that he was leaving all of this off screen, so what I want to know is…why?  No, really.  I really want to know the answer, here.  Why on Earth didn’t you show us, Chris?  Hell, you could have even gotten this done with one, or two, or six additional bloated voiceover monologues, since most of what went down in MSIV wasn’t articulated *~anywhere at all~* outside of post-mortem press conversations. (Exhibit A: the entire Monica Reyes sub-plot.)

As a parent myself, I cannot even fathom what it would be like to find out that your child was capable of doing horrific, terrible, inhumane things. That’s also a pretty relevant–if extremely uncomfortable–concept right now, one that could have been grappled with in an era in which we are beginning to finally engage with mental health, gun control, and domestic terrorism in very public forums.  We are made to understand thanks to Avi, that Chris Carter apparently loves using The X-Files to ask us tough questions that don’t always have answers.  So…why the hell didn’t he do it here?  I mean, come ON!  What does it mean to be the parent, biological or otherwise, of a child capable of these horrors?  I’m not saying that any of us have to like it, but as written in MSIV, William is a sociopath.  William is not a human being.  William is not anyone’s child anymore, and William is for damn sure not something capable of being protected.  William can only destroy, because that is exactly what Fucking Carl (trademark pending) made him for. Whether in the Supersoldier sense, or in the New Syndicate global-contagion-let’s-wipe-out-humanity sense, we have been told that the CSM made him to be nothing more than a tool to help execute his own post-apocalyptic needs.

So after 18 years, Scully suddenly and very traumatically has to process that William was an experiment gone wrong (or right, I suppose, if you go talk to Carl). After 18 years, this is the William we’ve got. Can you even imagine how much worse it might have been for Scully if she had actually been there the whole time, watching this happen?  William had a good childhood, he was raised by good people, and he still turned into a sociopath, and he tells us so himself.  Was Scully ever a parent to what William ultimately turned out to be?  That’s…actually a pretty damn good question, in this context. 

And the answer to that question,  according to Chris, is that Scully was the mother of the idea of William, the mother of the idea of a child who was miraculously created out of nothing more than love.  She was the mother to the ideas and imaginings that she had about William for 18 long years.  She was that mother during her pregnancy, she was that mother during his infancy, and she was that mother when circumstances erroneously convinced her to put him up for adoption, in a move that we were told was to try to give him the best life she thought she couldn’t ever possibly give to him.  She was that mother in Ghouli, pouring her whole heart and soul into the idea of her son William in that heartbreaking morgue scene. So, no, I don’t think it means that she instantaneously stopped loving that idea of her son, when the shit hits the fan in MSIV.  But it does mean that she understands that her idea of William hasn’t ever been the right one: the “truth we both know" was actually a horrific lie.  “William…was an idea, created in a laboratory…” is true in this universe, for better or for worse.  Dissecting what that means for Scully, just this one single solitary point alone, should have been granted an entire episode, not 10 seconds on a pier. 

“Scully, he was our son! He was our son!”

He was.

He was their son. For 18 years, they both believed that he was their son. I don’t think anything Scully stutters and stumbles to explain to Mulder in this moment suggests that she doesn’t actually believe that, or grieve for that. It mostly indicates that Chris Carter has no idea how to write this magnitude of dropped psychological bomb. I think he does know his own limitations, which is why it all happens off screen.  Thanks only to Gillian Anderson’s acting, it does appear as though we are witnessing a confused, traumatized Scully here, one who has been exposed to so much death and destruction immediately proceeding this moment that she can’t even find the way forward.  Gillian Anderson, thankfully, fills in the cavernous script hole, and gives us a Scully who doesn’t know how to begin to explain what she has been forced to understand to a now very visibly fracturing Mulder. 

This is not a mother suddenly throwing away her decades of love for a child just because she is getting a “do over” baby. And the only reason we even had to consider whether or not that was the case at all, is solely because of the steaming pile of inadequate shit dialogue that was written for her.

Let’s step back now and consider Mulder, and how his presence impacts Scully’s reaction. Mulder, who shocks the hell out of all of us when he says, “if I am not a father, then what am I?” in MSIV. We have gone an exorbitant amount of time watching this man, who devoted his life to finding his lost sister, seemingly refuse to engage in the same manner with his own lost son.  So, we could take this as an example of even more what-the-actual-Carter-fuckery-are-we-doing-now, OR we could choose to listen to what Chris tells Avi, and believe him when he says this is the hidden motivation that’s been driving Mulder all these years.  You know, off screen.  Because this isn’t at all yet another concept that needed its own entire episode to explore.  Exploding entrails, bitches!

Or, how about we also revisit a much better writer’s take on all of this? Let’s pick up adoptive father James Wong’s narrative, because he actually kind of gets how this kind of thing might work.  In Ghouli, Mulder tells us that we’ve had no idea about his state of mind on any of this. Not ever.  And we can infer that that was intentional on Mulder’s part. He’s doing it because he thinks it is what he needs to do for Scully’s benefit. There is no possible way that Fox-Freaking-Mulder, you punks, didn’t have some ridiculously big feelings about all of this. He’s been presented on screen to us as having sublimated his feelings on the matter since he found out about William’s adoption in The Truth. He wasn’t there to make the choice, and whatever resentment or sadness he may feel about what Scully did, he is swallowing it for her.  He’s standing right beside her, he’s just listening.  That’s his choice.

Also courtesy of James Wong: we know that Mulder has outright lied to Scully about his feelings about William in the past.  In Founder’s Mutation, he tells Scully that he’s had to put it all behind him.  James Wong does what a writer should do to communicate a character’s motivations, by actually showing us that Mulder has lied to all of us at the end of the episode, and letting us see Mulder’s dreams about what parenting William could have been. 

So yes, I am going to take Chris at his word that these really are Mulder’s feelings in MSIV, even though he failed to articulate those motivations appropriately on screen.  Look, many of us have been complaining for years that Mulder’s seeming non-response to his lost son seemed wildly inconsistent with everything we know of his character.  I will take the bone Chris has so generously offered us here as an attempt to rectify all of that.  I think coming into peripheral contact with William in Ghouli began to dismantle Mulder’s carefully constructed walls of sublimation, and by the time he actually gets his hands on him in MSIV, the flood gates have opened and cannot be closed again.

I have no trouble at all buying the narrative that the idea of being a father has quiescently been the single thing holding Mulder together for almost two decades.  Look, I am absolutely here for that.  I think most hard core X-Files fans are absolutely here for that, too.  We know Mulder pretty damn well at this point, and we know that the loss of his sister shaped him forever.  You even made him bring it up in IWTB after years of dormancy.  So, yeah, I don’t have any trouble believing that through it all, while on the run, while locked away and adrift in the Unremarkable House for years, and when ultimately left by a very lost Scully who couldn’t bear north anymore, that this broken man from a broken family did indeed secretly cling to the idea of being a father.  That for all of his failings and losses, he wanted to believe that he had at least had a part in making this miraculous child he dreams is out there.  That he could believe that William was, in fact, living an idyllic childhood, the kind of childhood that he himself never got to have.  For so damn long, Mulder wanted to believe all of that. Yes, Chris, for fuck’s sake, I BUY that, okay? As obnoxious and stupid as that written line is, having now heard it for the 4,000th time, this concept is right on for Fox Mulder.

[Another aside: that line is the one and only moment that David Duchovny loses me in MSIV. But OMG, as an actor who has had to say this ridiculous line every which way to Sunday? I can’t say that I blame him. No one actually talks this way!  There is no actual right way to play it without making all of us want to crawl into a hole and die.] 

Okay.  So Mulder watches his son die. The ideas and dreams that he has carried beneath the surface this whole time die along with him.  Scully sees all of this happening to Mulder, and based on what the Wongverse has established, she has probably not ever seen it look like this for him.  So, what we are getting here is that for this one instance, we are seeing Scully put her own feelings about William second to Mulder’s feelings about William.  Every other moment between them thus far has been Mulder putting his own feelings second to Scully’s feelings about William, right?  I do believe that Chris Carter is daft enough to think that Scully got “her turn” in Ghouli, and so in MSIV, there’s no problem at all if we only get “Mulder’s turn.“  (And apparently, we also have time for Ford Mustang’s turn.) That all plays into the nonsensical words coming out of Scully’s mouth at the end of MSIV. Scully can’t find the words to speak to the guilt and pain she is trying to absolve Mulder of.  How could anyone?

Listen to Gillian’s work, actually giving us some damn meaning here:

“William…William was–”

William was.

Ultimately, here’s MY truth: I hate how the William narrative turned out. I have hated every single moment of the William narrative beyond the end of season 8.  Existence absolutely could have ended the series in the way in which these characters deserved to have their hero journeys end.  And you know, it wouldn’t surprise me at all if I found out that Chris Carter secretly hates that this ending got away from him, too.  I mean, look, we know Chris is a lying liar who is lying in all of the press he is doing right now, as he tries to convince the world that this has been The Grand Plan All Along.  Never mind that this plan is contradicted by his own press prior to 2018, never mind that it is contradicted by all of the other writers and producers who worked on the William story at the time it was conceived, and never mind that it is contradicted by the simple reality that every zig and zag in the X-Files universe beyond season 7 is really the result of never knowing if David or Gillian were going to participate in the story anymore going forward.  So, I’m sorry, but bull-fucking-shit that you had any of this in your head when William B. Davis wrote En Ami, Chris. Why not just admit that handling The X-Files was kind of impossible when one or both leads were maybe not going to be involved in telling the story anymore?  We would all completely understand that, Chris, no one would ever in a million years question that.  Of course you might wind up losing your narrative thread under those business circumstances. We aren’t blind to how the entertainment industry works. 

I mean, there was never any hesitation on Chris Carter’s part to explain why all things had the intimations of a sex scene, not for one minute ever, so don’t try to tell us now that he just kept a lid on the truth about what role En Ami was actually fucking serving in this story for 18 whole years. Sorry, bro, I am not buying it.  When you really think about it, how can Chris Carter possibly not know that he blew it years ago with William’s narrative?  It is precisely the impossibility of navigating the logistics of telling a story far beyond the boundaries set by the involvement of the real people making it that drive showrunners like Vince Gilligan to give themselves a finite amount of time to tell it.  Chris (or the Fox network, or whoever you want to blame) didn’t do that, and therefore he wound up giving up at least 4 other possible endings to The X-Files over to the uncertainty of actors continuing to involve themselves in this project.  I really do wonder if that’s why he went down this particular path of turning William into a monster, and I wonder if that is why he seemingly worked so hard over the course of his Struggles to try to strip Mulder and Scully’s ties to him. Because this really wasn’t the way it was supposed to happen.

And so now here we are, hitting the do over button with a new pregnancy.  I have no doubt that this guy thinks that he actually could hit the reset button just like that, and magically get back to the original poetic justice that these characters were given in their 2001 ending.  He probably thinks that the fans would see this as a gift, even! I mean, shippers were heard, amirite?  But even the idea of ending with a pregnancy, now many many many years too late, isn’t ultimately the real problem. All together, one more time for the folks in the back of the classroom: the problem is, and will always be, piss poor execution. You could hand this exact story to a Penumbra, or a syntax6, or an Aloysia Virgata, and I have no doubt it could be told in a beautiful (if utterly soul-crushingly painful) way.

So, fine. You want this to be the narrative, Chris? Fine. I will fill in the Grand Canyon of plot holes that you left us. The fandom will follow your stupid bread crumbs, and we will imbue them with the motivations and meaning you claim to have been driven by, but inexplicably chose not to write into any of your recent scripts.  William was. Fox Mulder and Dana Scully have been letting him go, piece by piece, for 18 years.  He was not meant to be.  He was, ultimately, not ever theirs, even though he was created from genetic pieces of them. (Fight me, Chris, you can have that CSM created him, but FUCK NO WE ALL DRAW THE LINE AT CARL’S SPERM!)  We can even give this bleak, wasted moodscape a soundtrack, if you want, in the form of a song you chose 10 years ago for them yourself: I will fire up UNKLE’s “Broken” right here, right now.  

And OKAY Chris, I will even follow you down the rabbit hole of this new pregnancy, and I will take it in the spirit of the way I want to believe you intended it: as a way to desperately claw our way back towards getting the ending Existence gave these characters, the ending that was supposed to be their just rewards for all the nightmares they have lived through.  Scully and Mulder are alive, they are a family, they are going to get to finally have a real human child, okay, fine, it’s fiiiiiiiiiine. I will go ahead and imagine that Scully, somewhere a few exquisite and bittersweet heartbeats down the road from the pier, is running away from the FBI and blowing up the motherfucking car (the Mustang, please).  Scully is going to row a damn boat to an island paradise on her babymoon with Mulder, her vibrator, and a blobfish.  You once wanted all of that to be the post-script for your characters, Chris. You lost the thread. I get it, I really do. 

Look, I’m not a gifted writer or a gifted storyteller. I’m a Scully Effect scientist working in medicine, and I’m an overanalyzer at heart.  My creative outlets skew in an entirely different direction.  I am a woman, though, and I am a mother, and people with life experiences just like mine might possibly have had the perspective that could have saved your story, Chris, if only you would’ve consented to hear us out.

If I had been given the chance to help figure out how to crawl out of the William mess created by all those years of renewal-or-not uncertainty, here’s what I might have suggested to you, Chris: let’s make William a savior, not a monster.  Let’s make William an empath with the power to heal others.  Let’s reference Scully’s alien DNA, her chip, Mulder’s season 7 alien artifact brain shit, and let’s say that all of that came together and allowed for the possibility of superhuman recombinant DNA magic once those two people came together.  Let’s give William the ability to read his biological parents’ minds and hearts from afar, but have it be a benevolent thing, and not a painfully torturous apocalyptic thing. Let’s have William come back to Mulder and Scully having harnessed his powers for good, after the New Syndicate killed his adoptive parents as part of a failed attempt to take him out of the picture. Let’s give some concrete evidence that William’s adoption did, for a time, keep him safe, to absolve Scully of that guilt.  Let’s have him tell Mulder that he saw all of the same dreams about building rockets, and father-son TV nights and talk.  Let’s end the New Syndicate’s plans by letting Scully have some motherfucking agency, y'know?  Remember?  Let’s let her do it all like she used to in the glory days, and go be the scientist that she is. Let’s have Scully save the world, by distilling out some saving grace compound from William’s superhuman blood, or stem cells, or whatever the fuck you want to ask Anne Simon to give you, to fight against the New Syndicate’s planned viral apocalypse.  Let’s have Mulder and William vanquish CSM together; these two sons taking out this toxic, villainous “father” that’s been hovering over this whole show, and let’s have them reclaim the narrative of fathers and sons as something that is good, and positive, and right.

Where’s the writer?  I want to speak to the writer!

In the end, Chris, you didn’t do Dana Scully any justice on screen at all.  But your inadequate words don’t get to be the last words on the subject of Dana Scully, nor do they get to define what she means to us. You can’t ruin her, Chris.  She belongs to us now.  We’ll take care of her. We’ll give her the ending she deserves.