#felt when our plan worked at the end of the last arc

[keepingitformyself]

older (and wiser): iii

A/N: well here we are! the final chapter of “older (and wiser).” this will not be the end tho! i plan to write a prequel series going more into depth about wanda and readers past, how they came to be, how they fell apart and what not. i do want to to make one more thing clear before you continue reading; this story is meant to be as realistic as possible. meaning the ending may not be for everyone. i specifically wrote this with intent of giving these characters an emotional arc they deserved. so, without further ado, enjoy this final chapter!

synopsis: wanda comes over for dinner one last time.

pairings: wanda maximoff x reader

genre: angst

warnings: it’s gonna be sad lowk. get the tissues ready.

MASTERLIST series masterlist

please do not repost my work anywhere for any reason at all. if you do see this happen to any of my stories, please let me know. thank you x.

wanda spends most of the night back at her hotel, staring out the large window that overlooks the city. neon signs flicker in the distance, their glow casting fragmented patterns across her room.

she leans her forehead against the cool glass, letting the city hum around her, lost in thoughts of you. she imagines what you could be doing right now. if paul’s arms were wrapped around you, if he makes you laugh the way she used to. a hollow ache settles in her chest as she lets herself sink into the deep loss of not having you anymore.

the next day, early morning, wanda’s phone buzzes on the nightstand. she reaches for it groggily, only to find a message from you at the top of her screen.

come by at 6:30? here’s the address: 150 west 26th street, new york, ny 10001. see you soon!

for a moment, wanda just stares at the screen, her thumb hovering over the message. she exhales slowly, closing her eyes as a wave of uncertainty washes over her. part of her wants to pack her bags right then and there, to book an early flight and leave you in this city behind.

she doesn’t know which is worse. never facing you again or having to sit across the dinner table from you and your husband-to-be.

she spends the rest of the day mentally preparing herself for how this evening could go, running through endless scenarios in her head.

what would one talk about when having dinner with their ex’s fiance? especially when said ex is someone you’re still seemingly in love with.

oh yeah, your fiance used to look at me the same way.

or

of course, i know what her favorite song is. ‘do i ever cross your mind?’ by dolly parton. i performed it for her on our eighth month anniversary.

yeah, i paid the tech guy in the theatre department extra to let me use the theatre after hours.

the thoughts make her cringe, but the bitterness is hard to suppress. she tries to bite back the small, unwarranted hatred she’s developed for paul. everything she’s learned about him—despite her best efforts not to—has been nothing but positive.

he’s generous, patient, successful, and clearly loves you. and wanda knows you wouldn’t be marrying someone who didn’t treat you like you deserved the whole world.

it’s all pathetic in its nature. she should have been over you long by now. but she doesn’t know how to explain to you— to explain to herself—that leaving you is still something she’s trying to process. that even when she didn’t appreciate you enough, you felt like everything to her. you still do.

and she doesn’t know how to make sense of any of it.

by the time the sun sets, wanda’s resolve is still fragile. she dressed carefully, standing in front of the mirror for far too long, fussing with her appearance. she wants to look composed, unbothered. as if seeing you happy with someone else doesn’t feel like dagger to the heart. one that you keep twisting without trying.

at 6:15, she steps outside her hotel and hails a cab, clutching a bottle of wine she bought earlier as a polite gesture. as the cab weaves through the bustling streets of new york, wanda wonders what kind of expression you’ll wear when you see her. will it be warm, nostalgic, indifferent? she braces herself for anything.

when the cab drops her off in front of a sleek residential building in tribeca, she lingers for a moment before buzzing in. the door unlocks with a soft click, leading her into a quiet corridor toward an elevator. she steps inside, pressing the button for your floor with a hand that feels unsteady.

the walls feel too close. the air feels too thick.

by the time she reaches your door, her nerves are frayed. she knocks twice, her heart hammering.

four seconds later, the door swings open, and there you are, beaming at her like no time has passed.

"hi! it’s so good to see you."

before wanda can say anything, you pull her into a hug, warm and familiar. she exhales sharply, caught off guard, but she lets herself sink into it, just for a moment.

when you pull away, she notices the man standing just a few feet behind you, a cat in his arms. he watches the interaction with a patient, kind smile before gently setting the cat down.

“sorry about that,” paul says, laughing as the cat immediately tries to sneak toward the door. "he bolts every chance he gets."

then, without hesitation, he steps forward and grasps wanda’s hands in his own. his grip is firm, his smile genuine.

“it’s really nice to meet you, wanda.”

for a second, wanda is stunned by the ease of his kindness. she had spent so much time building him up in her head as an obstacle, an enemy, but standing here now, faced with his warmth, she almost felt guilty for ever resenting him.

“thank you for having me,” she manages, recovering quickly. she glances around, taking in the space. "you have a lovely home."

then, as if suddenly remembering, she reaches into her bag.

“i brought some wine,” she says, handing it to you. “the expensive kind. i know my stuff.” she huffs out a small laugh, forcing some lightness into her voice.

paul chuckles, taking the bottle from your hands to examine it. “i like her already.”

and just like that, wanda knows this is going to hurt more than she thought.

dinner passes in a blur of polite conversation and well-meaning smiles. paul is gracious, effortlessly kind, and wanda hates how easy it is to like him. she hates that there’s nothing about him to hate at all.

she watches the way you lean into him when you laugh, how his hand absentmindedly finds yours on the table. it’s second nature, the kind of comfort that only comes with time, with certainty.

and wanda knows, without question, that she has none of those things with you anymore.

paul has made it a habit to ask about how you and wanda met. even though she’s sure he already knows most of the story, he’s always genuine in wanting to hear more, especially the parts you tend to leave out.

“you got any funny stories about this one?” paul asks, flashing wanda a pointed smile. “something embarrassing, please.”

wanda huffs out a quiet laugh, her fingers tracing the rim of her glass. she has plenty. but as she glances between you and paul, there’s a flicker of hesitation in her eyes. some memories feel lighter than others. some carry more weight than she knows what to do with.

still, when she sees the way you’re watching her; curious, amused, trusting, she decides to tell it.

“oh, i’ve got one,” she says, leaning forward slightly. “back in college, we tried to break into the theatre department after hours. it wasn’t really breaking in, technically, the door was open, but we definitely weren’t supposed to be there. they had this whole wire rig set up for the upcoming peter pan production, and somebody—” she tilts her chin toward you “—thought it would be a great idea to try it out.”

paul turns to you, amused. “why am i not surprised?”

you groan, already bracing for the rest of the story. wanda smirks but continues, her voice softer now.

“so, there she was, strapped into this ridiculous harness, so sure she was about to soar across the stage like some theatrical prodigy. but the second she tried to lift off, the harness jammed, and instead of flying, she was just—”

“i was dangling there,” you chime in, groaning at the memory. “like some tragic shakespearean ghost.”

“and then, of course, security walks in,” she says, shaking her head. “and instead of, i don’t know, explaining, she panicked and yelled, ‘i have done the deed. didst thou not hear a noise?’”

paul bursts out laughing, nearly choking on his drink. “you did not.”

“she did,” wanda confirms, laughing softly. “the security guy just stood there for a second, like he was reconsidering every choice that led him to that moment, then sighed and said, ‘get down.’”

paul grins, shaking his head. “so, what happened next?”

“i had to help her out of the harness before we both got kicked out,” wanda says. “and then we ran. fast.” she pauses, her smile dimming just a little. “ended up at that all-night diner by campus instead. sat there for hours, drinking burnt coffee, still laughing about it.”

her voice drifts for a moment, lost in the memory. you swallow, feeling something heavy settle in your chest, but before the silence can stretch too long, you force out a small chuckle.

“i could’ve flown,” you say, shaking your head. “i just needed a little more time.”

wanda looks at you then, and there’s something in her gaze. something paul doesn’t quite catch, but you do.

“yeah,” she murmurs. “maybe you just needed more time.”

paul laughs again, unaware of the way wanda’s fingers tighten around her glass. “you two were absolute menaces, huh?”

and just like that, the moment passes. the air lightens again, and Wanda takes another sip of her wine. but the memory lingers between you, heavier than it should be.

“did she ever tell you that we watch some of your movies sometimes?” paul cuts in, his eyes bright with genuine curiosity. there’s an eager energy to him, the kind that makes it clear he isn’t just saying it to be polite—he actually wants to talk about her work.

wanda raises an eyebrow, glancing at you. “oh?”

you offer a small, sheepish smile, and paul continues before you can respond.

“i mean, seriously,” he says, leaning forward slightly. “i’m already a pretty emotional guy, but your movies? they wreck me.”

wanda lets out a soft, amused laugh, her fingers absently tracing the stem of her wine glass. “that’s very kind of you to say.” she takes a slow sip before adding, almost offhandedly, “i guess i just have a thing for playing characters in distress.”

paul barks out a laugh at that, shaking his head. “yeah, well, you do it very well. it’s almost unfair.”

wanda smirks, but there’s something thoughtful in the way she tilts her head, as if considering his words. then, with a teasing glint in her eye, she leans in slightly and says, “i take it you’re a crier, then?”

paul places a hand over his chest in mock offense. “absolutely. no shame.”

that earns a more genuine laugh from wanda, and for a moment, the tension in her shoulders eases. the air between the three of you feels a little lighter.

when the plates are empty and the conversation slows, paul pushes back his chair with a contented sigh.

“i’ll start on the dishes,” he says, already stacking plates. “you two should catch up.”

you smile at him, appreciative, and wanda feels something twist in her chest. she shouldn’t be here. she doesn’t belong here.

still, she doesn’t move.

you refill your wine glass and lean back in your chair, watching her carefully. wanda swirls what’s left in her own glass, staring at the deep red before speaking.

“maybe i should’ve tried to convince you to run off with me,” she jokes, her voice light, almost teasing.

but when she finally looks up, she sees the way your expression falters, just for a second. you know, both of you do, that it isn’t really a joke.

you let out a small breath, shaking your head with a soft chuckle. “that wouldn’t have changed anything, wanda.”

“wouldn’t it?” she asks, a little too quickly.

your eyes search hers, and for a fleeting moment, it feels like the past is sitting between you, untouched, waiting.

wanda wonders if there’s a universe where you had run off together. if there’s a version of you out there, tangled up in her arms instead of in someone else’s.

she swallows hard. “i wish i had tried a little harder.”

your face softens, but it’s not enough to undo the distance between you. “you couldn’t help it,” you say, voice gentle.

"i could have," she insists, her hands gripping the stem of her glass a little too tightly. there’s frustration in her voice, but beneath it, there’s something raw. regret, maybe.

you don’t argue. you won’t. because the truth is, she could have.

"yeah," you admit, barely above a whisper. "maybe."

silence settles between you. wanda watches as your gaze shifts toward the window, toward the street where people pass by, oblivious to the ache sitting between you both.

she doesn’t know what she was expecting. maybe some kind of reassurance that she still lingers in your mind the way you linger in hers. that if things had been different, if she had been different, this could have been her home, her life.

but you don’t give her that.

paul’s voice calls from the kitchen. “babe, where’s the dish soap?”

you blink, turning toward the sound, and the spell is broken.

wanda forces a smile, downing the last of her wine before standing. “i should get going.”

you don't question it.

you grab wanda’s coat from the rack and walk her to the door. she doesn’t ask you to, but neither of you are quite ready for the night to end without one last moment.

“leaving so soon?” paul asks suddenly, his voice light but tinged with something unreadable. both you and wanda turn to face him.

she nods apologetically, adjusting the strap of her bag on her shoulder. “i have an early flight tomorrow,” she admits, offering a small, regretful smile.

“oh.” paul’s disappointment is subtle but there, it flickers in his eyes before he shapes his expression into something more polite. “well, it was really nice meeting you, wanda.”

you glance at him, catching the way he shifts slightly, rubbing his thumb over the inside of his palm. a small habit of his when he’s holding something back. you wonder, briefly, if tonight was difficult for him too, if he’s been carrying the weight of this evening the same way you have. you decide you’ll ask him about it later.

stepping forward, you lean in to press a kiss to his cheek, feeling the way his jaw relaxes at the familiar gesture. his hand finds yours easily, his fingers warm and steady against your own.

“i’m just gonna walk her out,” you murmur, giving his hand a small squeeze.

paul nods, his eyes searching yours for a moment before he offers wanda another polite smile. “safe travels,” he says, his voice kind, sincere.

as you lead wanda toward the door, you feel the weight of paul’s gaze lingering on you, as if he knows that this goodbye is heavier than it appears.

the air outside is crisp, carrying the distant hum of the city. wanda stands beside you on the curb, her arms wrapped around herself despite the warmth of her coat. the streetlights cast long shadows, and for a second, it feels like you’re standing on the edge of something you’ll never get back.

her uber is a few minutes away. that’s all the time you have left.

she exhales softly, eyes fixed on the passing cars. then, as if she’s been holding it in all night, she finally asks, “do you think we could have worked things out? if we had been different people? under different circumstances?”

the question hits you. you open your mouth, but nothing comes out. because the truth is, you don’t know.

maybe in another life. maybe in a world where you didn’t leave the hotel before she could see you, where you both didn’t have to love each other from a distance, where you didn’t have to wonder if loving her meant waiting for something that wasn’t enough.

but this isn’t that world.

you swallow hard, staring down at the pavement. “i don’t know, wanda.”

she nods, as if she expected that answer, but the sadness in her eyes deepens anyway. “me neither.”

the uber pulls up, headlights cutting through the night, and you both turn toward it. this is it. the real goodbye.

wanda hesitates, then reaches for you, pulling you into one last embrace. you don’t know who’s holding onto who tighter. when she pulls away, her hand lingers on your arm for a second too long before she finally steps back.

“take care of yourself,” she murmurs, voice barely above a whisper.

you give her a tight-lipped smile, but it doesn’t quite reach your eyes. “you too, wanda.”

she slides into the backseat, and as the car pulls away, you stand frozen on the sidewalk, watching until the taillights disappear around the corner.

and then it hits you.

the weight of it all crashes down at once. the grief, the finality, the understanding that there are some lives you’ll never get to live, some love stories that will never get their second chance.

you press a hand to your mouth as your chest tightens, eyes stinging, but you force yourself to turn back toward the building before you fall apart completely.

when you step into the lobby, you’re not surprised to see paul waiting by the elevator. he doesn’t say anything. he doesn’t have to.

the moment you reach him, you break.

a choked sob escapes you as you fall into his arms, and he holds you without hesitation, one hand smoothing over your hair, the other wrapped firmly around your back.

“i’ve got you,” he murmurs against your temple. and you believe him.

because this was never about leaving him.

you love paul. you’ve never questioned that.

but love doesn’t erase the what-ifs. it doesn’t quiet the ache of knowing there’s a version of you out there who loved wanda differently, who had a life that was beautiful in its own way. one that you’ll never get to live.

paul presses a kiss to your hair and just holds you, letting you mourn what could have been.

and when you’re finally ready, he walks you up.

[thisiswhymp3]

EVERYBODY LIVES, ROSE. JUST THIS ONCE, EVERYBODY LIVES!!!!!!!!!

[inhuman-obey-me]

The End Times

Well, here we are. The final lessons have been released, all in a flurry. It's been interesting times, y'all.

JK, they said the world of OM will continue, and we're not going away either. We still love our demonic dumbasses. This is, however, the last lesson of the apps. And, uh, we didn't talk about the last 3 before this either, considering the flurry.

So, maybe for one last time: let's get into it.

(spoilers up to NB Lesson 60)

Nightbringer

The first thing to address here, perhaps, is truly: for splitting off a whole ass second app titled Nightbringer, they really didn't tell us anything about him in the end, huh!

We never did get the answers to what he wanted out of our second set of pacts, what his deal with Solomon was, what his overall goals are, or who he even is. He just showed up, we got some early info on him, and then he basically fucked off for the majority of season 2 and basically all of season 3. At least they did end on a nice little message from him, though, echoing the start of the game...

So will we eventually get the answer to ANY of those major questions? The world may never know...

A Celestial Shitshow

What we do get, first, is the resolution of the whole Raphael arc of this season -- at least, the closest they could come to giving us a resolution.

We do not get a precise answer to what he felt or thought in the moment of Michael refusing to even try to appeal to Father on Simeon's behalf, which he was seemingly so unable to confront at the end of 55. However, after the collapse of Babel, Lucifer and Simeon go to talk to him again, more calmly this time.

The source of Raphael's distress comes down to loneliness. Like Simeon, he remarks how quiet it became in the Celestial Realm when the brothers, apparently the only loudmouth troublemakers that ever existed there, fell after the war. With the possibility of Simeon also becoming a demon, Raphael felt incredibly lonely at the thought of losing another former seraph and friend from the Celestial Realm.

Luke comes up to chime in about being there for Raphael, and Simeon realizes he doesn't want to just leave those "two kids" alone to fend for themselves. With that decided, he concludes that he is not so fine with becoming a demon after all, because he wants to return to the Celestial Realm for their sakes.

MC, with the help of Lucifer's power, then breaks through Babel's projection of collapse, which had reflected Raphael's distraught feelings, to restore it to its actual not-destroyed state, and further uses their new protection powers to return everyone to the Devildom. More on that later!

Also, Michael is a dick again. Raphael is set to be punished for the whole Babel thing, and Michael basically plans to let that happen, until Simeon threatens to "hold it against him" as a grudge. Which is hilarious, because Simeon has no real power or anything against Michael at this point, but angy Simeon is so scary, Michael apparently backs off.

Anyway, setting all the all of that aside, there's also still more SF to get through.

Three Worlds-building Science

In the process of restoring Babel, MC and Lucifer conveniently also remove all the demonic powers/energy from Simeon, so that works out nicely! He's no longer "demonic." However, of course, this couldn't just be such a nice simple wrap-up as that, so next, we get a whole bunch of lore-contradictory worldbuilding around the way cells work for each type of being!

It turns out, while angels and demons both have homogenous cells which are purely one or the other, human cells can actually transform into either one, in the right conditions. And although all demonic energy has been cleared out of Simeon, he apparently still has some of those transformed demonic cells, and it's possible he will have his demonic cells activate or start to transform again in the future. Plus, even with his decision that he wanted to return to the Celestial Realm after all, it's not really in anyone's control out of the cast to do that for him, and the Celestial Realm would not allow him back if he has any demonic cells.

This brings up some pretty terrible implications about the Celestial Realm, which we're not sure were the devs' intentions exactly, but which become implied nonetheless. After all, Simeon's punishment was to become a human, but if it's a known fact that humans can turn demonic and they would refuse to take him back with any demonic cells, even dormant ones, that's just a really shitty trap of a situation! Plus, they were able to convert his cells from angelic ones to human ones, so if they have the ability to change him at a cellular level, why can't they just purge the demonic cells from him in the process of changing him back to an angel? Lucifer has specifically noted before on his transformation to a demon that he supposed that was his punishment, so that also seems to have been a punishment inflicted by God, implying the ability to also manipulate the brothers at a cellular level into demons! And if human cells can become angel ones as well, what does that mean for Simeon's punishment of becoming human? Could the punishment be undercut by his cells naturally turning back to angel cells? Come on, devs, it's called consistency!!

But hey, it's not like this series has been particularly consistent on its lore in the past either...

Anyway, the Science Fair is still going on -- and Leviathan has a mad scientist moment, coming across a unique potion that could help with restoring Simeon back to a more fully human state, ridding his body of any dormant demonic cells! The problem is it requires three very rare and hard to procure ingredients, but it turns out Solomon had also thought about this potion a while back, so he conveniently already has two of the three rare ingredients! Part of the reason Solomon never brought it up before, however, is that the potion only has a 60% success rate and is known to have some pretty bad side effects including the briefest mention of possibly even death???, and with how complicated Simeon's feelings had been up to this point, it didn't feel like there had been a good time to bring all that up.

Deciding that Simeon can decide for himself if he wants to take the risk after the potion is ready, we have a little adventure to obtain the third ingredient that places us back in the Starfall, which we visited during our time in the past. We momentarily have to avoid the subject of the past as Leviathan recalls that you were there, but is brushed off as misremembering because that wouldn't make sense, after all! Haha...ha...

Leviathan makes the potion for the Science Fair, and then Lucifer and MC keep Simeon company while he takes it. Simeon begins to succumb to the potion's effects pretty quickly, but Lucifer steps in to try and take the pain from Simeon and transfer it to him -- with MC then also stepping in to help share it. Simeon ends up not suffering as much, but is still knocked out with a fever for a bit.

Upon waking from his fever and analysis of his cells and some other genetic science, Simeon has now returned to his fully human state, meaning that he should be able to get back to the Celestial Realm! -- if they'll have him.

The end of the game seems to initially imply that he might be reinstated as an angel -- but the very last text we see is that Simeon will be opening up the Angel's Halo again in the human world. So is Simeon still a human? Did he become an angel again but they have him stationed in the human world?? No clear answer!!! Why would they ever end the final lesson on giving us any clear conclusions? Nope, never, and so here we are with no more lessons and yet another big fuckin' cliffhanger.

Well, they did say there are new projects in progress, at least...

Anyway, Later is Now

So, back to MC and how overpowered we've become.

Through this last season, there has been a focus on how much stronger MC has become, especially when it comes to their protective/defensive magic. We know it's because of the double-pacts, but that is a secret from most of the cast to avoid space-time fuckery.

In Babel, MC is able to control this magic for the first time. As mentioned above, we use our pact with Lucifer to break out of the illusion created by Raphael's breakdown, which also clears Simeon of his demonic energy. MC then uses their power, with some guidance by Solomon, to get out of Babel and return everyone to the Devildom.

That's a great sign, as otherwise MC has had zero control over this power activating. Of course, that means we have to use it one last time as the game comes to an end -- but this time, on the moon.

That's right. The Devildom moon is really into MC and is on a crash course to the Devildom (hi Majora's Mask) to also get some of that sweet, sweet MC power. Our cast gets thrust into having to deal with the situation as the final Science Fair competition, because the Research Institute is basically giving them the responsibility (with the House of Lords being ridiculous and not getting the news to Diavolo faster because, um, they suck).

Satan wonders if MC's protection power can be used here and stop the moon on its crash course, so of course that is what we are going to do. Solomon leads you up into the sky, and after a pep talk, leaves you to choose one of the brothers to help carry out this mission. Whichever brother you choose ends up getting knocked out in the process, to protect you. After a few days, we find out how to wake them back up and yay, they're conscious again!

With that handled, it's time for the classic OM tradition, throwing a goodbye party for the exchange students!! PARTY TIME! Everything's good now! Hurray!!!

Does this all seem rushed? Sure. Does it reek of them hurrying to tie up loose ends because this is the last lesson? Yup. How much of this was actually planned in this messy rushed way from the start anyway? Who knows! Did they also leave us on that big Simeon cliffhanger anyway, for funsies? Abso-fucking-lutely.

But that's it for the last 4 lessons! After 5 years, finally, MC has completed all of their tasks...congrats to us!!! 🥹

Now to wait for whatever new projects are coming next...

[amuseoffyre]

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

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

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

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

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

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

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

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

obstacle 1 - the crews separated and struggling

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

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

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

disaster - Ricky's assault on the Republic

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

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

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

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

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

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

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

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

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

[dailycass-cain]

Birds of Prey #12 brings the Cass action to the forefront!

It also gets me something I always wanted to see: Sophie Campbell drawing Cass. But it comes-- with a TWIST!!

We're nearing the end point of this arc, and we get the craziest issue yet of the world hoping. This time the Birds getting "toonnified".

And that is "the twist"

Since I first saw her work on IDW TMNT. I always wanted to see Sophie Campbell draw Cass. Well wish granted this issue. But it's an utterly adorable Cass.

Though, what shall we call this Cass version? Toon Cass? Cass Toon? No wait that one is taken. 🤪

Anyhoot, this toon world feels honestly the most fleshed out of them all. Like it felt there was this underlying unease with each world the Birds visited.

Here this is the first one that feels like a world onto itself. I wonder where this will go with the "final world" teased at the end.

Even though, last issue Cass was put on the back burner, this issue she gets A LOT of focus. So much so I believe this issue she has more dialogue than the prior ELEVEN issues!

Even with all this Cass, all the Birds get a moment this issue. Barda and Vixen get absolute banger moments this issue and their toon designs are just perfection. Likewise so does Sin, and even Babs. Everyone gets something this issue.

And it all starts with Cela walking out, and Cass following. Now I now there was A LOT of shippers jumping onto the two this issue.

So let's dissect the real bonding, and maybe-- it can go to be more?

Writer Kelly Thompson has touched on many dimensions to Cass in the series thus far. Here she digs into the core of Cass: compassion.

A few issues ago, we learned Cela's origins, and last issue put it on the back burner, but this issue we get the forefront as she knows the Birds reunited that time is almost up with her newfound companions and the hope of being free from this prison.

I think Cass can really relate to Cela. That she's stuck in this world, and really is trying to be good despite the world wanting otherwise. Not to mention losing A LOT of sisters?

It sounds FAMILAIR doesn't it?

think Cass relates a lot to Cela and is trying to break that ice with her being there for her. She can see how her body is screaming for someone to vent with.

And well... we get the scene between the two.

Now as to WHY people are jumping on this ship bandwagon so much? Well, when was the last time Cass had an honest to god love interest in the main DCU?

You could say Stephanie Brown (Batgirls 2021-2023). Or... Harper Row (2016).

But if we're going to her honest-to-goodness CONFIRMED she's interested in?

It was Sal from Batgirl Vol. 2 (2009).

It's been THAT long since Cassandra Cain had a CONFIRMED love interest.

I think fan interest in wanting Cass to get SOME loving is WHY we're at this point. The girl deserves it. Though personally I see ANOTHER option (if not Harper), who just happens to show up this issue too.

So I get WHY many shipping vibes are there for Cass/Cela.

But the rest of the issue is Cass coming up with a plan to FINALLY be free while also dealing with Maia problem too.

And here we get our SECOND bit of Cass in the issue.

This and a few other reaction images are so getting memed by us Cass fans. I know it.

But yeah it's a nice "character progression" from someone who told a "bad story" in #1 to now coming up with a good plan in #12.

And the plan even involves a homage to what Sophie Campbell is most famous for. 😁😁😁

You thought I wouldn't notice the streams crossed did ya? BUT I DID!

Birds of Prey #12 is an emotional ride but with a toony twist. It has such a glorious cute edge this issue. And this world with the Birds REALLY clicked. I've gone back to reading this issue more over than the prior bits of this arc.

I feel there's nothing more to say than I'm REALLY curious where this all goes next issue and how this will tie into the Spirit World?

I guess we'll see. Other than, I'm curious what your thoughts are on Cass/Cela?

And are you surprised it's been THAT LONG Cass had a love interest?

*this is me now waiting for comments*

[runabout-river]

Thoughts on JJK chapter 271 - the last chapter (spoilers)

I did a live reading of this chapter you can find here if you're interested how my panel per panel thoughts progressed while reading it 😄

This very last chapter we start where we left off in ch 270: with the mission where the woman can't see the face of her boyfriend correctly anymore.

The first year trio are hard at work thinking through their options on what to do and how to pull that curse user out of hiding. We get a new sort of funny faces from the idiot duo, for them at least, I think these faces appeared in the Kenjaku/Takaba fight as well

The trio enacts their plan now and they catch the perpetrator really fast. Nobara does some funny yet unnecessary property damage in the process and we first get a cool panel of her and Yuji together than another silly panel of them not able to see their faces properly.

The perpetrator btw is a no name never before seen character created just for this mission so the guys can have one last low stakes adventure together.

We get a Gojo flashback giving Yuji a talk, saying his students should become better than him and forget him too, at least one of them. It isn't out of character for Gojo to say that but the placement and the build up for it is somewhat unsatisfying.

Yuji shows how he internalized Gojo's last words by encouraging the criminal to be better.

We get a cool Megumi pose with Kon after he showed us why he was the brains in the group but unfortunately that's basically it for him. Even though he was possessed and tortured by Sukuna for a month there is nothing left of that on him except superficial scars.

When Sukuna took him over Megumi was turned into an object meant to suffer. Now it feels like he's still that: an object but this time meant to be happy in a forcefully conflict free way.

When the readers believed in the dream theory, elements like that was where our thoughts came from. This forceful happy ending for everyone, a genre shift from what JJK had been at this point 🤔

Now we get a surprise Mahito and Sukuna interaction in the space before souls move on. Their conversation is interesting as is the reference to Sukuna's past and what he chose for himself.

In a way it was always apparent that Sukuna was bullshitting the people around him when he talked about himself and what others should do and not. For me it was the speech he gave to Yuji after possessing Megumi about how Yuji should stifle his misery because he was born low.

That immediately stood in stark contrast to what he later said to Kashimo about being born unwanted and cursed because now he admitted that he was in Yuji's position once too and still he developed that insanely arrogant self image.

My problem here is that this interaction references things that were not implied before like what his two paths above were supposed to be. Every time I look at that I get new ideas on what it could've been he's talking about.

It's good to have room for interpretation on someone's backstory. But to this degree it's just confusing. I thought the woman on the left is his mother, others said it could be Kenjaku or Yorozu. Whoever that is, the meaning of what Sukuna says changes drastically here.

His relationship and history with Uraume is also insufficiently explored. This scene unfortunately does not have the emotional impact it could've had if Gege had planted the correct seeds previously.

Sukuna walking away from the curse that represents human hatred however is meaningful. That part was halfway build up during the Yorozu fight when Sukuna said he would be willing to accept defeat.

We get the end of the manga the way it started: with Sukuna's last finger back in a box in a small shrine. It's poetic but the path towards it, these last chapters and the last arcs...

...it felt underwhelming, not gonna lie. Towards this ending were those unneeded scenes with the NSS and even the majority of this chapter was unnecessary and wasted time. What could've been a better last chapter than this while still hitting all the same beats would've been one solely from Sukuna's point of view.

Sukuna from before his birth, his infancy, his childhood. Showing us the path he talks about here. Giving us a glimpse on what the Calamity was, his relationship with Uraume, showing us why he accepted Kenjaku's offer. Then the canon timeline but all of it from his view. His thoughts on Megumi while he possessed him. Even the talk Yuji had with Gojo could've been shown because of the established resonance between Yuji and Sukuna.

Then should come his talk with Mahito. Then we would've understood and sympathized with it without problems .

We did not need the trio's last mission. The end scene of ch 270 was enough to make us imagine that mission on our own. This chapter could've been about sth with more meaning and the exact ending of it could've still been achieved without problems, all e.g. with Sukuna's last thoughts narrated over the happy faces of Gojo's students 😣

Overall I liked the chapter but I felt like sth was missing from this entire ending. It was safe for Gege to write I guess but it was also boring in a lost potential kind of way...

...and then I see that fucking time on that one panel and I think again about Gege wanting to troll us!

That's the same time we saw in ch 269 and I have no idea what it's supposed to mean. So now I'll make one last fucked up prediction, partly meant to be serious, mostly meant to entertain me these last few hours before the official gets released:

The digital release of chapter 271 is going to be a different chapter than the magazine release.

Why???? Because wtf not?? Shueisha and Gege probably too hate the leaks and don't you think this is only a problem in the anglosphere. Of course the Japanese side distributes these leaks around as well. From one small glimpse I saw, Japanese fans are wondering if JJK was cancelled because of this ending.

It would also fit with the dream theory or just my own thoughts from above about a differently structured last chapter.

So like, why not troll the fanbase? Many of whom have shown with Gojo's death chapter how they can't keep their eyes away from the leaks. Previously my own thoughts had been that WSJ could release final chapters like this exclusively on digital first to nip the leak problem in the bud.

But like, don't take this theory too seriously 😄

[demon-ness]

In fact, Masquerade is the most interesting and well-made character in this anime. The problem is that the authors of this anime don't know about it. I'm not going to talk about it in detail today (believe me, I can analyze any of his quotes for an hour, and it's not even a joke). Just small details.

Episode 44. "Just this one time." Funny line, isn't it? Masquerade jokes in his own way, telling Dan that even now they are not friends. Dan was lucky today, but it won't happen again. It was a joke. It was funny for both of them. But do you remember that this was the Last Battle for Masquerade? And the fact that he was definitely aware of it? Have you ever thought in general that this whole battle is suicide? Have you ever thought that in a joking manner this guy confessed to Dan that he was going to die today? I understand that this is obvious. But I'm surprised by the fact that it's in a children's show.

The first meeting of Masquerade and Dan. We will not discuss the battle itself now, we are concerned about the "dialogue" after its end. Everything Masquerade says may seem completely meaningless at first glance. But if you think about it… the Death Note did not even dream of such a level of manipulation. "I could have taken Drago, but I felt sorry for you." Of course, he couldn't. The rules work differently. In such a situation, he basically couldn't do anything at all. But Dan DIDN'T KNOW that. I'm sure Masquerade just said that to piss Dan off. I wouldn't like it either if my opponent (whom I was going to defeat without any problems) took PITY on me. Masquerade then tells Dan a little bit about the real state of affairs and the significance of the fights. And then he adds, "To save the world, YOU have to defeat ME." And this, again, makes no sense if taken literally. Masquerade is just a pawn of Naga, defeating him will not save the world. But Dan DOESN'T KNOW about it. So Masquerade gently guides Dan along the path he needs. Indeed, from that moment on, Dan devoted all his time to strengthening Drago for the final battle. Without even realizing that he's actually just cooking the perfect dinner for a Hydranoid. Simply put, what you might consider the senseless pretentious nonsense of a "very cool and mysterious" clown was actually quite an effective way to fool Dan. And you, to be honest.

I can't help but notice that in the trio of main villains of the first season, Masquerade is the most human-like. Not only externally, of course. What makes him a REAL PERSON, what his colleagues don't have… he fucks up a hell of a lot. Seriously, watch all the episodes with his appearance. In at least half of these episodes, something will not go according to his plan. You will very often see him staring at others in surprise, not understanding what nonsense they are doing and saying. He is almost scared when Shun ALMOST hits him in the face. During the battle with Joe, he is already preparing to pose victoriously when everything starts to collapse. And he's just upset. Yes, globally, in fact, everything was going ABSOLUTELY according to his plan until Dan returned from DD. But if you pay attention to the details? He almost always doesn't know what's going on and just tries to adapt. Because, you know, he has little life experience.

It's very difficult for me to talk about Masquerade without the context of his entire character development arc. Keeping the main points in mind, you will easily notice how every tiny detail makes sense. Almost emotionless behavior for most of the season, sometimes illogical actions, a nervous breakdown and a crack on the glass left after episode 38… Everything makes sense. Especially if you remember that we are talking about a not-quite-human character.

We'll talk about it again, if that's our fate.

[signor-signor]

Trending 27th - June 2024

What gives you the motivation for not giving up on Wander Over Yonder?

Well, for starters, when Craig McCracken brought up the uncalled-for cancellation, he also brought up the existence of…

The Plans

Here’s what Craig said in his Tumblr post from March of 2016:

“About a year ago we presented a pitch for a season 3 arc that promised to bring our characters together in new, unexpected, and hilarious ways. And just as S2 evolved from S1, we had a really exciting approach to evolving S3 even further. We had plans for new characters, the return of old characters, and even a bit of backstory! We were all really excited about the new direction and so were our bosses at DisneyXD and TVA.”

“Unfortunately, the higher up bosses of bosses of bosses at Disney decided not to continue with the show. It's not that they didn't like Wander, they just felt that 2 seasons and 80 cartoons was enough and they didn't see the need to produce any more.”

“For the record, this decision had nothing to do with the ratings performance of S2. Truth be told, we were informed that we wouldn't be continuing before S2 even premiered.”

If what he said is to be believed, the mediocre performance of S1 on Disney XD made the “higher up bosses of bosses of bosses” think WOY shouldn’t continue after S2, so they decided to cancel it five months after the pitch, one week before The Greater Hater premiered. Big mistake. After nearly a decade, Craig still keeps the plans for S3 under wraps, but his talk of S3 is enough to pique my curiosity. He piqued it even more when he brought up Star Force Enforcement Force in 2021. Truth be told, he knows way more about that third and final season than he let on.

At first, I thought S2 would wrap up the show nicely. Boy, was I wrong - it wrapped up S2, but not the whole show. Once I checked out The End of the Galaxy, I knew right then and there that one more season was planned, because in the end credits, I saw…

The Cliffhanger

I will admit, I found the last couple of minutes anticlimactic. Dominator spurned Wander’s friendship, Hater is still cuckoo for conquering (much to Peepers’s delight), and the main four are practically back where they began. I reiterate, it wrapped up the season nicely, but not the whole show, because what I’m about to describe is indicative of the show’s unfinished business.

Dominator walks off in angry defeat, trying to peel an orange (or open a jar of jam if you prefer, assuming you looked closely at what she grabbed), and she grumbles, “They’ll get what’s coming to them.” Unbeknownst to her, she passes by a crash-landed space capsule with its door unhinged. Green lightning flashes, ominous Hater-themed music plays, and simian screeching is heard and fades into Hater’s evil laugh.

How is this anything less than an indicator of unfinished business? If stopping the show here is not a bad move, I don’t know what is. I’m positive English primatologist Jane Goodall would not be pleased with the decision to leave an ape stranded in space with no one around to help him. The question remains: who would find that space ape? Wander and the passengers aboard the Star Nomad or Star Force Enforcement Force? Only Craig and those who worked on the pitch with him would know and so would the bosses of Disney XD and DTVA. There’s also something that was on my mind after I watched the season finale. I shall now tell you about…

The Missing Pieces

I’m, of course, referring to parts that were absent from the episode and left unexplained. We’ve got the other villains, most of whom were last seen in The Bad Neighbors. Emperor Awesome made a silent appearance in The Sick Day, and that was it. As a certain @koskela13 indicated in a post 8 years ago, the villains never mustered up the courage to help the heroes fight against Dominator. There’s also Buster, the planet-sized puppy dog whom the Ballzerians call home. Since Beeza and the Ballzerians were among the refugees, he had to have fled from Dominator’s galactic onslaught. I found long ago that he’s supposed to be all right, but where he is remains to be seen. Same goes for Janet the Planet and her moon, Maurice; however, it was said that they were on their honeymoon, hence their absence in S2. Another thing that I think was left out was Wander getting to sing/play his banjo. Think about it, if the crew had wanted to stop after S2, would they have had Wander perform a glorious reprise of an upbeat song right after Dominator’s downfall? That was never done. It’s pretty obvious.

Moving right along, another thing that keeps me motivated is…

The Fan Content

Over the years, I came across countless fan pieces to make the Internet aware of the show’s existence, such as @wanderin-over-yonder’s calendars. It’s possible to come up with WOY-related activities, original characters, and meta gags.

Master Yisuko

Dr. Otmar Vunderbar

In case you haven’t guessed by now, the possibilities are endless.

I would expand more on the Star Nomad, but I’m sure you can find the information in my previous posts. As long as we’re talking fan stuff, let me refer to…

The Supporting Characters (and their VAs’ Longevities)

Apart from the five major characters, The End of the Galaxy had at least ten other characters speak solo (King Bingleborp, Destructor, the Cashier, Prince Cashmere, Neckbeard, the Lost and Found Guy, the Black Cube, Mittens, Major Threat, and Michelle). All the others barely had a chance to shine. For that reason, I put my effort into showcasing as many of them as I could in my fan fiction, The Eye on the Galaxy. What’s more, some of those characters are performed by voice actors over the age of 50. Stella Starbella was voiced by June Squibb, who was in her mid-80s while WOY was running. Today, she’s a nonagenarian, and if her performance in Inside Out 2 as Nostalgia is any indication, it’s not too late for her to reprise her role as that character. We might have until 2030 to revive the show, assuming June lives to be 100.

By the way, Major Threat was said to become a recurring character in S3, and we’ve yet to see him actually interact with Wander long after he put his days of villainy behind him.

Now I wish to bring up…

The Luck of the Other Shows

A vague and unconvincing reason for WOY’s cancellation was that two seasons/80 episodes were enough. I mean, really? Disney never felt that way about Fish Hooks, which I believe has three seasons and 110 episodes. Also, they allowed Star vs. the Forces of Evil to run for four seasons, putting it well over 100 episodes. And how about Big City Greens? Although not as frequently brought up as Gravity Falls, Amphibia, or The Owl House, it recently managed to get a whopping five seasons. They’re treating it like it’s the new Phineas and Ferb, although there’s no merchandising or presence in the parks. When I compare WOY to the aforementioned shows, it’s clear to me that it had the worst of luck. Heck, I wasn’t even sure if those other shows had pitches for later seasons. We can’t stand idly by while the plans made for WOY remain shelved. It just wouldn’t be right, y’know what I mean?

One more thing…

The Other Fandoms of Shows With Unfinished Business

I’ve noticed the presence of fans of shows that still have more to tell, including, but not limited to, Sym-Bionic Titan and Glitch Techs. One show that’s being resurrected as we speak is Sonic the Hedgehog (SatAM), which ran in the 1990s for a measly two seasons and, just like WOY, was left on a cliffhanger (in this one, Snively re-emerges in a different outfit and is raring to take his uncle’s place and put a stop to the Freedom Fighters, and behind him stands Naugus, who somehow managed to escape the void). Fortunately, a group called Team Sea3on are working on a S3 premiere titled “Return to Robotropolis.” You can find this group on just about any social media platform - their determination to right the wrong done to the show is truly inspiring.

Did I mention shows like Hey Arnold! and Samurai Jack got closure after years of being neglected and incomplete? The same thing could happen to WOY if we persevere. Invader Zim, which also only got two seasons, got its overdue closure (I think) in the form of a Netflix-exclusive movie. If a season is too much work, fewer episodes or a two-hour TV movie should suffice.

And I think that’s about it for now. I hope all this information was enough to keep you all motivated! Fight on for fairness, my friends, and to those of you who think of The End of the Galaxy only as a SEASON finale, I thank you.

#CanceledCartoons

[shark-myths]

hi!!!! ive probably sent an ask like this before but how do you keep up the motivation to finish a longer fic? whenever i start writing a fic i know will be long i end up abandoning it or getting bored or not knowing how to continue / end it. the few multichaptered fics ive posted are incomplete and i dont know when they’ll be finished. i have a couple of longer fics in drafts but it just feels like such a challenge to finish them. how do you do it?

ooh i love this question! i am proud of being a finisher--in all my years of writing fic (it's been... many), i have only ever once started posting something i didn't finish. i generally wait until i'm really confident i can finish a fic before i begin posting it. sometimes, as you may have experience in real time with Rosewood Lane, there is a looooong time between updates... but i usually like to keep an update schedule. giving myself deadlines works really well to motivate me and keep myself organized! i also tend to be a daily writer, i'm happiest when i have a little time to sit down every morning and work on a project, whether that's rereading, editing, or writing deeper into the story. i actually am usually trying to make my fics shorter than they end up, but i feel like most stories have their shape already and know how long they need to be to do what i want them to, and i'm merely hanging on. i would love to get better at writing short pieces. having cheerleaders and readers helps too! i find it so exciting to share updates with everyone.

when a story gets boring--and this does happen to me--i try to jump around and write any shred of it i can find that feels interesting, or i go back to the last part that felt interesting and either change or entirely scrap what comes after it that went flat for me. i also avoid any type of real outlining or plotting (sometimes this is pretty obvious in my finished product, oops) because once i know everything that's going to happen, the why and how and where of a story's arc, i lose interest in writing it. i'm in it for the surprise and whatever's coming around the bend! if i have it all planned out, there feels to be very little point in actually writing it--instead it starts to feel like a dreaded task to me. work, not writing.

i also sometimes leave stories alone for a long time. i did this with Footnote, and i did it with Dirty Enough to Love, and i did it with my 1950s au when it was too much GENDER and REALITY for me to deal with. these don't see the light of day while they're on the back burner; the pressure to post can turn right into avoidance and dislike of a project for me, which is why i am so slow to start posting a story even when a significant portion is already written.

so i guess, writing tips from a shark, tl;dr version:

give yourself a schedule for writing and posting that feels organized and manageable

don't rush to start posting, this can turn an unfinished story into a task you want to avoid

find someone you can share your excitement with, whether they're in the fandom or not, and talk about your ideas and intentions with them

trust the length a story wants to be

also, trust yourself about the length of story you interested in writing

if it's boring, try telling it differently. jump ahead, jump back, delete the scene that got you stuck, change something, drop part of the narrative, skip some time or detail

don't be afraid to abandon something and come back to it months or years later

create more mystery and unknowns in the story to keep yourself interested. hide things from yourself! throw wrenches in your best-laid plans! let your characters completely sabotage you! obscure the path ahead so you are interested by the task of finding it again.

whatever you do, just keep writing. you will have a lifelong relationship to the craft and it will change over time, like our bodies, like the seasons. be where the joy is right now and don't get too worried about where you want to be later.

thank you for the thoughtful question! happy writing 💜

[crowns-of-violets-and-roses]

[opportunity to talk more about claw if you want]

I still don't have a good read on claw tbh bc it seemed like everyone liked it, thought it was good, then I saw some criticism and never heard much about it again lol

I think there's a few reasons discussion of Claw dropped off.

It's much shorter than Wildbow's other serials, right? Which theoretically would mean it's easier to get into but also means there less to dig into for people who have read it. It's the length of a novel instead of a whole book series.

Other than Mia there also aren't many characters for people to latch onto in the blorbo way that drives fandoms. There are more interesting characters other than Mia but they're mostly not written in a way that would lead to big fannish reactions.

A lot of discussions of his other works is driven by the setting and the power/magic systems which is absent here. There is some interesting stuff to explore about how the world of Claw has diverged from our own but largely not in the mode that the majority of Wildbow fandom engages with his work.

And then on top of all that it flubbed the ending.

I think I like the ending more than most. I was getting tired of the non-stop tedious action scenes in the last arc or two but it still had some excellent moments. Even the final chapter has some genuinely interesting parts despite being far from perfect.

The real problem is the penultimate chapter lost the plot completely. Some of it could have worked with more time to develop it but other parts were just ridiculous. It felt like the character's were replaced by simplified caricatures. They're traits exaggerated in a way that didn't accord with their previous characterization.

Over the course of the chapter I went from wondering if it was fake out plan and we'd discover they were planning something else to half hoping it was building up to reveal the chapter was fake out and it was all a dream.

So anyway, for a few reasons Claw was already the type of story that even though it got engagement while ongoing wasn't necessarily set up to keep driving responses when it was wrapped up and the ending probably exacerbated that and caused engagement to fall off harder.

[duckiemimi]

the end.

i feel…content. which shouldn’t be surprising considering i’ve reached the ending, but you see, i keep a little document to log in everything that passes through my mind each chapter and i’ve typed in a lot, still as soon as i reached chapter 271, my mind was quiet. this is a lie—it wouldn’t be me if i had nothing to say, but the point still stands. i liked chapter 271. a lot. cue emotional end-of-the-movie soundtrack.

i also wasn't lying about the document. i picked up with a reread of chapter 268, but my biggest gripe was with chapter 269. this chapter was...strange. it was as if gege was using his characters to communicate his frustrations instead of exploring how everything would've affected them individually, or even (in gege fashion) moving onto the next thing entirely. this isn't totally out of the ordinary considering there have been other instances where it seemed like he was speaking through a character, but it felt even more jarring considering there was nothing to explain now that everything's said and done. it almost seemed like he was self-aware but couldn't help himself from writing the chapter this way, because these were also my sentiments while reading:

this chapter is so dense with information that we could've gone without. gege kept revisiting the past arc as to justify some of the writing choices he made, using maki to channel the voice of a frustrated audience. considering the long-winded discussions on why alternative plans wouldn't have worked, instead of a "say sorry and make up" chapter, the overexplained writing reads insecure. defensive, even. it seems like the collective pressure from fans and publication caved him in, but i wish he stuck to his guns instead of trying to clumsily fill fringe plot-holes with old cement. i hope this experience didn't kill his confidence in his capabilities—gege’s circumstances were rough as it is from what i know.

the new shadow school exposition dump and the scene where mei mei kills the school head felt rushed, too. which begs the question, why even include this? the earlier portion of jjk had an emphasized narrative on the fault in their system and anti-traditionalism, so perhaps this was gege trying to close circles. what i don't understand, though, is why introduce a new system at the end to ultimately kill it when residues of the old system still exist, the kamo and gojo clans being the biggest examples, two of the big three clans with the most influence in jujutsu society. even mei mei acknowledges that the death of the school head would mean the survival of the kamo and gojo clans, and likely their political clout. was something like decentralization not the goal here? yes, monopolies and tyrannical coups are undesirable, but that last scene was handled rather messily. but perhaps it was all a set up for mei mei's characterization. which begs the question, (again) why?

"the world ended but the earth kept spinning," is how i'd describe chapter 270. despite all the questions i had for past chapters, chapter 270 felt hopeful. it's the type of chapter you could easily picture in an ending-credit montage following the characters in the aftermath, which gave me a laugh. what stood out to me in particular was the reveal that cursed spirits are now public knowledge, meaning jujutsu is no longer a secret. that also pulled a dumbfounded laugh from me. i actually like the fact that we weren't given the nitty gritty of how society rebuilt after sukuna, particularly jujutsu society. timeskips at the end don't usually need that much explanation for them to have good impact. also, who is that next to takaba?

ending on a mission felt warm. i missed the way our main three used to work together, and maybe it's been a while, but it seemed like their chemistry got a lot better. or maybe the world got a lot brighter. and ohhh, that glimpse into how the jujutsu system works now was such a treat, especially seeing sorcerers and non-sorcerers interacting so well with each other! that conversation with gojo that yuuji had also felt warm. the conversation mahito, the ferryman of the styx, had with sukuna also felt warm, even if the change in heart felt like whiplash. i could probably churn out a couple more posts gushing about chapter 271 if prompted, but for now i say despite all the protruding bones i've picked at, i love the jjk's ending.

wow. it really is the end. for the six years of jjk's existence, i've only been there for four, but if i were a tree, you could cut me down in half and see four rings colored differently from the rest. thicker, richer. there'd be debates among scholars on which world-changing event made this happen, but the tree knows. rings become ink on paper.

anyway,

thank you to gege for creating jjk, and i'm sorry if there have been things i've said that were unsavory. now. i've never really given myself the chance to pat myself on the back for catching onto things, so allow me to be a little big-headed here. yes, i am going to list out some of the things i got right:

jujutsu no longer being a secret (i talked about this here and here);

yuuji's flashback to his conversation with gojo instead of a letter (this one is a little more minor, but here);

sukuna's humanity, despite how he seemed to be for a majority of the story (i talked about this here and here); and

a hopeful ending instead of a last-man-standing one (to be frank, most of my posts about jjk have this outlook, and though i was a little headass in this post, here it is anyway).

alright, petty-time over. but, yea! thank you so much for reading jjk with me! despite everything, it was fun!

[grimmcheems]

Rest In Peace Toriyama 🕊️💫🐉

DragonBall has always had a place in my heart for the way it was ever-present in my childhood. I grew up loathing weekend mornings because my brother would always drag me out of bed to watch it with him. I suppose that’s why it’s extra special for me, it was a simpler time when me and my brother could just sit and watch what came next in the current arc. The days always felt warmer then, but now I’m grown.

I’m glad Toriyama made this series and ignited something in me, though his passing was harsh and unimaginable for most of us, I hope he has found peace in knowing how many people he’s inspired to be better, and the many that he will continue to inspire. I wish his family healing and condolences for their sudden loss.

.^An extra illustrating what those Saturday mornings felt like. Dragon Soul was my alarm clock for the better part of my childhood. (It’s also my fav op)

I remember we even had a vhs tape of two specific episodes in which the bunny boss ended up on the moon. I always had bulma’s personality embedded into my head whenever I thought of her in that bunny suit.

I never appreciated that time then as much as I do now. Maybe it’s Goku’s loving nature and fatherly care that left an imprint on me and kept me from forgetting him, or maybe it was the way my brother was obsessed with the series, either way he was somehow always in the back burner of my mind. I even remember having to play with my brother when he got Budokai Tenkaichi 3 for his PlayStation. He even bugged me to wake up when Super came out (though we had already graduated and i would be resting on my days off from work, he was also only visiting for the month) and tried to get me to watch it with him, but Super never really had the same appeal to me as the og series.

Perhaps the connection it has to my brother is what draws me to it time and time again, I feel as though I can’t understand him as well anymore after we’ve graduated and he’s moved on with his life and out of the house. I never thought this random shounen series my brother forced me to watch every Saturday morning of our childhood would have the effect it has on me now. It was last year that I decided to rewatch the entire series since I figured I didn’t actually know what was ever going on, I was just always intrigued by the action and the characters. Surprisingly my child brain remembered the arcs pretty well and I could just have it playing the background and know what was going on for the most part.

Did I mention that my brother also collected the dvd series? Lmao. I was so hype when the Broly Movie came out and when we watched it it felt like I regained that connection to my brother momentarily.

It also inspired me to draw when I was in elementary school, though I thought of it as something I could show off rather than take it seriously like I do now. I never thought I’d draw again after middle school until I got to high school and got back into it. It wasn’t until last year that I first drew something dragon ball related since elementary school, and it felt so surreal to look at how far I’ve come in my art journey.

It was never intentional for me to start drawing dragonball, it was just stuck in the back of my head and it wouldn’t leave me alone until I brought my ideas to life by sketching them out. I literally have two drafts DB related as I’m typing this.😅 oddly enough there’s many things I think about when I think about dragon ball, but they are too many to list. There’s just so much I love about it and so many characters I love. The thoughts never leave me alone when I come up with an idea or headcanon for them and it’s actually so hard for me to try and forget them that I always give in and do something with the idea. It will always be a part of me.

I wasn’t planning on making a painting of Goku ever, yet here I am. I don’t really paint either, which makes the time it took me to make this that much more surprising. I wanted to portray an ease in his expression, something peaceful. I hope it comes across that way, he somehow looks like he’s sleeping and it’s funny because I don’t think I’ve ever really seen Goku relax like this at any point.

[im-no-jedi]

alright. it’s finally time. after almost four years, the series that radically changed my life is coming to a close. I’ve seen several other people make posts about this, so I think it’s only fair that I write my own. be warned, this is going to be long, rambly, and only somewhat coherent LOL

when this show was first announced, I was shocked. although I had fallen in love with the Bad Batch during their arc in TCW, I was unsure how an entire show surrounding them could work. I was even more skeptical after I saw the trailers, which had this mysterious child show up. and as I’m sure all of you know by now, my feelings quickly turned around just after the first episode. I immediately was endeared to Omega and looked forward to seeing how the rest of their story played out. by the time the first season had ended, I was already deep in the planning stages of writing out my self-insert series, MLWTBB.

I honestly didn’t expect to love this show as much as I do. but I quickly realized why after the first season ended. (I'm gonna sound like a broken record for some of you, I'm sure LOL)

firstly, the characters. like I said, I loved TBB from the moment we saw them in TCW. and I immediately liked Omega as well. but the way these characters have been portrayed and fleshed out has only endeared them to me more. it became clear to me very quickly that these guys were an eerily similar analogy to my own family. I already saw a lot of myself in Hunter, but the rest of my family are very similar to them as well, even down to certain dynamics between each of them. not only that, but their struggles also mirror my family in that we’ve suffered several losses in our lives too. my mom sobbed like a baby when Kamino was destroyed because she saw similarities between that and a similar loss we’d endured irl. which, for me, is why it hits SO much harder when something bad happens to them. Plan 99 was devastating for many reasons, but for me, because I see so much of my dad in Tech, it felt like I was losing both of them. and having already had struggles with my dad irl… yeah. I feel like these guys ARE my family now, which has been the running theme in MLWTBB. and it's been cathartic both seeing them get through their struggles in the show, as well as portray my own struggles through my writing.

speaking of my writing, this show has inspired me so much creatively, that literally nothing else is comparable. I had already ventured into the realms of digital art previously to watching this show, as well as publicly sharing some of my writing. but not only did my art significantly improve due to all the pieces I was drawing for this show... but my writing skyrocketed. I finished writing a fanfic for the first time since I was FOURTEEN. and I've both written and finished several stories since then. and I don't plan on stopping anytime soon. my art and writing will continue to flourish long after this show is over, I'm certain of that 😁

another thing is the real life impact this show has had on me. and honestly, this is the big one.

some of you have been following me for over a year or more now, so you'll probably recall the struggles I've had with my mental health, especially last year. I'd suspected that I had some mental disorder for a while now, but it was only last year that I really began to pursue the idea of getting diagnosed and treated. it of course began in therapy, then moved to having discussions with my parents about it. everyone was very supportive of me, thankfully... except for one person. myself. despite all of the work I'd done to move forward in my life, this was the hurtle I was struggling with the most. the fear of the unknown has always terrified me the most, so this unfamiliar territory was like a nightmare-scape to me.

then "The Crossing" happened.

fandom had headcanoned Tech being autistic for a while previous to this episode, myself included. some even liked to think all of them were neurodivergent in some way, again myself included. so when this episode dropped and we basically got the confirmation that our headcanon was correct? that. that was the push I needed. seeing this character that I love SO much in a show that I love SO much not only confirming his neurodiversity, but embracing it??? I literally told my mom that weekend that I was finally ready to get tested. and the rest is history. I'm now officially a part of the ND gang, and I've never regretted it for one second \o/

not only that... but I'm on meds now. meds that have altered my brain in such a way that I've NEVER felt before. my anxiety and depression no longer have a hold on me, and it's all thanks to this show 💙💙💙

and leading into that, the last thing I wanna mention is the connections I've made through this show. my entire family is (mostly) SW fans, so I've always had them to fangirl and discuss SW shows with. but I've missed having friends outside of the family to connect with. it's been YEARS since I've been involved in a fandom that had such a lovely group of people. and I know what some of you might say. and you're right. of course there's toxicity, just like any other fandom. but I can honestly say, I haven't met such a welcoming and friendly group of individuals as I have with this fandom. I've made some real, true, long-lasting friendships because of this show, and I'll be forever grateful for that. do the meds help? absolutely. but remember, I never would've even been on meds rn if not for this show either!!

and on that note, I just wanna call out some of the lovely people I've met, some whom I've only gotten to know recently! 🥰

@photogirl894 my beloved Morgan, my little sis, the Omega to my Hunter. you've been nothing but a joy and a blessing to me since the day I met you. I truly believe the Lord led you to me so that I could properly start this journey towards recovery and growth. I love you SO much, sweetie, thank you for being you 💙💙💙

@heyclickadee my dear friend, the conductor of the Tech Lives train. I've so appreciated your insight and wisdom in regard to all of the insanity. you genuinely helped get me through my depression after Plan 99, and you've continued to uplift me with your positivity and hopefulness. may we finally get to see our nerd alive and well again in your honor 🙏🏻

@clonethirstingisreal sweet Carol!! fellow Hunter simp!! getting to know you has been nothing short of amazing and wonderful! I can't tell you how refreshing it is to see an older fan amongst the young'ins LOL. we've been able to relate to each other in SO many ways, it still astounds me. I look forward to seeing your journey progress in hopefully similar ways to mine! 🥰

@lightwise @freesia-writes @better-to-bee @probadbatch (spacing this out so y'all get tagged properly)

@jedi-hawkins @anxiouspineapple99 @arctrooper69 @sunshinesdaydream and everyone else I've gotten to know both here and on Discord, THANK YOU!!!! thank you for letting me into your lives and for all the joy and laughs we've had together. I consider you ALL my friends, and I'm blessed to have met you all 💙💙💙💙💙

and finally, because I know she'll berate me if I don't mention her too, my best friend and irl sister @jam-n-ham. gurl, we have been through it, haven't we? you've been the sole witness to my reactions every week, and for that, I apologize LOL. but we have fun, at least, right? 😆 we've spent HOURS talking about this show, and I'm sure we'll have many more hours to come. you've also supported me and my writing, which I'm eternally grateful for (even if you can barely stomach the Hunter romance scenes ROFL). I can't wait to add in your additions to the story, and for you to see what I've been cooking up 😁 thanks for always being my no.1 bestie 🥰🥰🥰

I don't feel like rereading this before posting, so if there's any typos or whatever, oh well. the fact that I even got all of this out tonight is a miracle honestly haha. now if you'll excuse me, I have to start compiling every single box of tissues we own before tomorrow 😝

oh, and one last thing. an addendum if you will. I haven't been posting much of my thoughts about the finale for many reasons, but I'll just say this. ever since "The Return", I've been rotating Hunter's last words to Crosshair in my head, on repeat.

enough said✨

[londonspirit]

ENTERTAINMENT WEEKLY: Let's start with Izzy's death. Did you always plan to kill Izzy off this season?

DAVID JENKINS: Yes. It feels like the logical end of Izzy's arc. It's heartbreaking to me because he's my favorite. They're all my favorite because they're all my kids, but Izzy is very near and dear to my heart. The season was kind of built around [the idea of]: What's the best journey we can give him? And what's the most interesting thing we can do with Con, who can do just about anything?

How did Con react when you laid out Izzy's storyline this season?

I told him in the middle of shooting because I didn't want him to find out at the table read, obviously. I also didn't want it to leak. He was lovely about it. I called him and said, "Let's get a bite to eat," and he said, "I'll need cake!" We had dinner, and I gave him a cuddle, and he took it pretty well.

A lot of these characters have evolved over two seasons, but it seems like Izzy has gone through one of the biggest evolutions. He went from being so dismissive of the others to being a key part of the crew. What interested you most about his arc?

You know, I didn't expect him to become kind of a father figure to Ed. I think we hit on that while we were breaking the [final] episode. He's in such a weird position: He's like a jilted lover, and then he's a middle manager who has to work for a terrible boss. He gets thrown away, and then he comes back. He really develops, and he becomes a part of this family. I think the biggest surprise was the extent that he was a mentor to Ed. They were both Blackbeard. They both made Blackbeard happen.

What do you remember most about filming Izzy's death scene?

That was one of the last things we shot. As we got closer and closer to it, I could see it weighing on Con. It's hard: This is something we both made together, and his character is gonna die. He was taking it really seriously. Then, when we were shooting, I made him a playlist. I asked if I could play him some music, and I did, and we sat there and we watched Izzy die.

I also wanted to ask about the scene where Ed and Stede reunite on the beach, fighting their way back to each other through hordes of soldiers. How did you want to approach that sequence?

We have a wonderful fight and stunt coordinator, Jacob Tomuri, and [director] Fernando Frias laid out how he wanted to shoot it with [cinematographer] Mike Berlucchi. With this show, we're basically making a one-hour show on a half-hour budget and schedule, so we really have to pick our shots. But the location was just unreal. Everything in New Zealand just looks amazing. We were driving to a different location to scout the lake where Blackbeard tries to be a fisherman, and it was like, "What is this?" It was this giant black sand dune that seems to go on for miles. We were like, "Oh, we have to do something here."

The episode ultimately ends with a happy ending for Ed and Stede: They're starting an inn together on land as their friends sail off to new adventures. Walk me through why you wanted to give these two a happy ending.

With this season starting so dark, I kind of wanted to reward them for the work that they've done and the character growth that they've had. I wanted to leave them in a place where they're really going to try and make this work. I don't think it's going to be easy for them, necessarily. They're both still immature. But after the death of Izzy, we have a wedding, and it feels like we have the kids taking the car, driving off while the parents watch from the porch. It felt right to give them something to balance the loss of Izzy, where neither of them is going to run. They're both saying they're going to commit to each other, and it felt like the best place to leave them this season.

That makes sense. So much of their story has been about running away: Stede running away from his family, them running away from each other. This is them deciding not to run away.

And I don't think it's going to be easy. I think the day after that scene would be very hard. But they can try.

You mentioned the wedding between Lucius and Black Pete. I know that pirate weddings and civil partnerships were a real thing from history. Why did you want to end on that moment?

We knew we wanted a matelotage in the second season, and pretty quickly we landed on Lucius and Black Pete. It seems like they were ready for that. We made up a ceremony and everything, where they call each other mateys, and it was just fun to make our own version of a pirate wedding ceremony. But they really did have this phrase "matelotage." It was a formal process for relationships between crew members. It just seemed very sweet to see that they wanted to take that step together.

Last season ended on a cliffhanger, but this season ends pretty neatly, tying up a lot of loose threads. This could work as a series finale. Do you know if the show is getting a season 3, and are you already thinking about where this story could go next?

I mean, we'll see. We'll see if it makes sense for them to make a third one. We have a lot of ideas for a third season, and there's a lot more story to tell. But if it's not in the cards, I just wanted to leave Ed and Blackbeard in a good place. Instead of seeing them get punished for following each other, I wanted to see a moment where they're alright. And it is just a moment: I think a relationship is going to take a lot of work for them.

But it felt like a good place to end the second season. It felt like a contrast to the first season. If it turns out we don't make any more, I'm comfortable with that being a resting place.

You're leaving the door open for more — but if this the end, you're okay with that.

I mean, the Revenge is now being captained by Frenchie, and I think Frenchie's Revenge would be an interesting place to work and an interesting ship to be boarded by. And Ed and Stede, they're in the early 30s part of their relationship. Emotionally, they're going to move in together and start a business. I think there's a whole other story to tell about what happens when that relationship gets more mature. How do you make that relationship work? It's not just happily ever after. You have to work at it. And that's a story I'd like to see.

This interview has been edited for length and clarity.

[sshbpodcast]

To Be Continued: Multi-parters in Star Trek (Part 3)

By Ames

While Deep Space Nine may have been king of the serial story arc, as we discussed last week in our multi-parter chat, Voyager may have been the most successful at connecting their two-parters. Unlike many [most] of the TNG two-parters that we thought really should have been one episode, when Voyager spanned weeks, it actually felt like their writers planned ahead more often than not.

A Star to Steer Her By is voyaging through this batch of “To Be Continued” stories this week to see if that hypothesis holds up when Janeway is in the captain’s seat. So grab a cup of coffee from your favorite nebula, check them out below, and listen to our chatter on this week’s podcast episode (slipstream over to 48:52) to see when we were rapt by a season cliffhanger and when we were nonplussed by obvious efforts to stretch a plot. Next time, on Star Trek: Voyager!

[Images © CBS/Paramount]

VOY: “Basics”

Okay, like our first example from Deep Space Nine last week, our first Voyager example of a two-parter is not helping me prove my point at all. The season 2 finale / season 3 premiere was just uneven all around, and the main issue is that the writers clearly had no plan for what to do with the Seska plot. Would they kill Culluh? Would they kill the baby? Nah, let’s kill Seska in the least satisfying way possible. Ugh.

Speaking of not satisfying, we also never get the confrontation scenes we wanted even though there was plenty of time for them across two episodes. There’s no closure between Seska and Chakotay. Janeway never gets to gloat in Maje Culluh’s face that a woman finally took him down, which she’d predicted ages ago. And my fave Lon Suder, while dying in an admittedly beautiful blaze of glory, really should have been the one to take down Seska. Or vice versa. Something more personal and meaningful, dammit.

VOY: “Future’s End”

Our foray into the past in “Future’s End” fares a little better. Sure, it may have run a little short, and the whole Torres-Chakotay plot out in the Arizona desert seems squicky and superfluous, but these episodes succeed in keeping everyone busy across both their runtimes. The EMH notably gets his mobile emitter, Janeway looks great in that pantsuit, Tom and Rain are super super cute together, and Neelix and Kes even get addicted to soap operas! There’s a lot to love here.

The villain, Starling, is kind of a one-dimensional baddie, and the time travel paradox contradicts itself if you think about it for more than a couple seconds, but these were episodes that knew how to fill their runtime with some fun romps in the past, to sprinkle in some cute fish-out-of-water jokes, and to save a lot of expense by setting things contemporaneously. And what’s the point of a two-parter if not to save a couple bucks?

VOY: “Scorpion”

A more successful season finale / season premiere bridge comes between 3 and 4 when we really start to engage the Borg, something Voyager did with such aplomb it almost feels trite. Almost. But Borg are just too good to pass up, and this introduction of not only the Borg, but Seven of Nine AND Species 8472 has so much going for it. Even if one could argue (as we often do) that it follows the beats of “The Best of Both Worlds” a little too much, is that such a bad thing?

Sure, Part 1 is mostly all setup and the cliffhanger can’t compare to something so groundbreaking as “BOBW,” but Part 2 is where the action is. When the opposing objectives of Janeway and Chakotay clash and clash and then finally compromise into a plan that highlights both of their strengths, it is a thing of beauty. Resistance is definitely futile.

VOY: “Year of Hell”

Ironically, what was originally going to be the season 3 finale / season 4 premiere ends up working absolutely stunningly in the middle of a season. “Year of Hell” could have stretched out into a four-parter, as was originally intended, but then the hard reset at the end would have really felt like a slap in the face. After two episodes, the climax provides just enough of a rug pull to feel cathartic and not like a letdown—something most hard resets can’t pull off like this.

And what episodes these are! They really benefited from two hours spent wrecking the Voyager and her crew more and more. One episode would not be enough time to see and really appreciate the progression into despair that we experience. We really get to know Annorax and start to wonder, like Chakotay does, if we can fix him. And Janeway gets to self destruct the ship! Her favorite thing! A+

VOY: “The Killing Game”

I love that in our initial coverage of “The Killing Game,” Chris’s reaction was “This shouldn’t have been a two-parter” and Jake’s response was “This should have been a six-parter!” There was something different we wanted from these episodes, and it’s hard to put our finger on just what that is because this two-parter is all we have to judge. We’d love to see options in which the characters get their identities back much earlier OR much later, because somehow the balance just seems off the way it currently is.

These episodes also first aired back to back on the same night, so initial audiences also didn’t have to worry about the cliffhanger leaving them in any suspense. And it could have paid off better: we definitely demanded more of the holodeck programs bleeding into each other like was promised in that final Part 1 scene! While it was a blast to have the Klingons attacking Nazis, taking it further would have been immeasurably more fun! Where’s da Vinci? Where’s that nanny from the Jane Eyre program? Let them take out some nazis too!

VOY: “Dark Frontier”

I may be biased because of how much I love me some Borg Queen, but “Dark Frontier” similarly nails the double-length slot. This one was also feature-length, all delivered as one big episode on the same release day, so obviously the writers knew enough to plan it out ahead of time and really get the pacing right. Like “The Way of the Warrior,” which we talked about last week, it feels like its own little Voyager movie.

And it’s got a lot going for it: We get the Borg sphere heist, we get a ton of Seven’s backstory with her utterly neglectful parents, we get a pretty decent Borg Queen–assembly scene, and we get the rivalry to beat all rivalries: Janeway/Borg Queen. Anyone who thinks Borg Queen and Picard are the biggest enemies of the franchise utterly forgets that this is the matchup to bring the audience to its feet.

VOY: “Equinox”

Apparently when “Equinox, Part I” concluded season 5, there wasn’t a full plan for how to get out of its scrape in season 6. And you could have fooled me because they nail it! Somehow Part 2 is even better than Part 1. Maybe it’s the more thorough exploration of the darker actions these characters take to survive. Maybe it’s the layers and layers of scheming we get from the Equinox crew—Ransom and Burke and Evil-EMH all devour the scenery like it’s a Thanksgiving meal. Maybe we just like it when Janeway breaks some knees.

The main gripe we have about this two-parter is that its lasting effects pretty much terminate with it. Even though the Voyager has picked up the remnant crew from the Equinox, we never see them again in any real capacity. And what a shame! These are characters that could have entered the cast with so much potential to dig into their stories, and that’s just it. Rats.

VOY: “Unimatrix Zero”

Like “Scorpion” above, we’ve got another example of Voyager trying real hard to be “BOBW.” The cliffhanger at the end of the sixth season has not one, not two, but three members of the crew get assimilated by the Borg! So it’s Locutus cubed (Locubus?), I suppose. But you know what, if you’re going to crib from an existing successful episode, it pays to pick the best, because Janeway and crew end up with a pretty watchable little story here!

Not all of the hosts of A Star to Steer Her By cared for the romance sideplot between Seven and Axum, but this Matrix-style haven for Borg drones is a very fun idea! The stakes keep getting raised with every passing scene, with Tuvok losing his humanity (Vulcanity?), Borg cubes getting annihilated on a whim, and our beautiful haven going up in flames. And there’s more Borg Queen action! Really, what better can this show do?

VOY: “Flesh and Blood”

Another very fun idea is having a whole bunch of holograms gain sentience and take over a ship. Like, seriously, how cool is that? Did this one have to be a two-parter? Unclear, but I don’t remember ever being bored or feeling like the plot was spinning its wheels to fill up time. And this was another feature-length episode that all got released on the same day, so it’s possible people didn’t notice.

Some of the elements we get are pretty enticing! EMH [yet again] has to choose between the ship where he belongs and some new population that he finds kinship with. Our Cardassian hologram Kejal starts an adorable little galpal-ship (is there a word for that?) with Torres. Really the one big flaw is the predictable ending having Iden turn out to be an megalomaniac in the eleventh hour, which is a crying shame.

VOY: “Workforce”

Our final outing is another familiar one. “Workforce” features the whole crew brainwashed and living an alternate life for the benefit of their captors, a pregnant B’Elanna Torres, Harry Kim and the EMH both unaffected on the outside trying to get everyone back, and Seven’s Borgbrain being used to snap her out of it. Uh, “The Killing Game,” anyone?

Not that there’s anything wrong with telling the same story again, and this is a decent one at accomplishing that. As with “The Killing Game,” it’s a fascinating watch to see everyone running around as different people (memory wipe episodes frequently make interesting statements about a person’s true nature, after all), and just as entertaining seeing Tuvok and Seven learn their true circumstances, albeit to different results. Congrats, Voyager! You did it!

—

Join us next week for the thrilling conclusion of our multi-parter series, when we will tackle all the two- and three-parters of Enterprise, which are somehow weighted almost entirely to the fourth season. Make sure you’re also listening along to the podcast on SoundCloud—or wherever you get your podcasts—as we rewatch all of Star Trek: Discovery, and chat with our little mini Borg collective over on Facebook. And remember: when in doubt, copy “The Best of Both Worlds.”

[whenthechickencry]

Our Confession

I actually have read both this one and Last Note Before, it was a long while ago though... so I know the general gist but I don't quite remember all the details

The way Beatrice is doing her dead inside sprite before she realizes others were in the room and then she plays up her hamminess a bunch is really sad, aaa.

Dlanor constantly tells Beatrice she's a good writer and she's so excited but a little sad she won't get to see it as a full-blown game first, and Beatrice is like you don't need to flatter me but she's right Beato you should accept her compliments.

Iirc what the Booklet did for this was having the pages be sealed after this and you had to unseal them, which is actually extremely cool. They did their best here but a simple choice prompt just can't match that, I think.

Haha, the complaining about how Natsuhi is hard to make an accomplice... she's like the only person that cares about the headship as much as the gold, Eva as well but Eva isn't getting that without Sayo's help anyways, thinking about it even in Episode 4 she was one of the first to go,, so I can imagine getting her to cooperate is kind of hard. Granted, once you bring up Jessica to the equation you can probably get her to relent.

Beatrice getting a gun sprite is kind of uncanny, haha, really bringing it home was an early draft before Sayo had the chance to embellish the story with magic.

Kinzo being willing to explain to his children that he would blow them up if he felt like it worked in Sayo's favor when getting accomplices, I suppose.

You know, the fact Genji was like "hey! you are a product of incest. we rewrote your entire life for your incestuous grandfather. All your lovers are your cousins. Everything in your life is a lie. By the way, you have a bomb to blow everything up!" like okaayyy what were you expecting at that point Genji.

It's kind of interesting Beatrice tells accomplices that Kuwadorian is safe - technically Rosa could have probably survived Episode 2 with Maria if she just checked Shannon's corpses and realized she really was dead and just tried to make a mad dash to Kuwadorian, maybe.

Krauss is like yeah sure, sure, why not I guess. The fact that Natsuhi is the one more hesitant about this when she's the one thrust into solving all their problems, figuring out what to do, and she never had the option to not do her part...

This episode really does feel like tearing up the guts of Umineko... you can tell a lot of the accomplices act a little weird around Battler so you can guess Sayo probably told them vaguely of her plan, but it's the sort of thing you don't expect to be explicitly confirmed.

Kumasawa is grinning here, haha, she really does think she's a prank up to the very end.... it's kind of sad. She probably can't even imagine Sayo as someone who would do what she did, but I guess that also shows the way she didn't reach out to try and understand her enough...

It's kind of funny how sometimes you see the story going, ah, shit, sorry I have to embellish this more, right.

While thinking on how to properly kill 5 people she gets distracted by the fact she wants to draw a cute girl instead of a man, haha.

It's kind of funny because she does absolutely think they also did something wrong, but I guess talking to herself like this also makes it easier for her to justify herself to her...

Huh... now that I think about it most magic circles were indeed in places that people don't usually go to, ie the shed or Kinzo's rooms... I did think Sayo did the drawings in between murders, haha

The fact Sayo writes some of her tales while thinking about how the argument with Battler is going to go is kind of funny, haha. I wonder what the Japanese version said for metaworld here... it's not a sentence the translation has used so far and the side arcs don't have the greatest translation, so I am curious...

Beatrice is making fun of Battler for reading so many mystery novels but not being able to figure out the mystery, but also praises the person able to see the fantasy aspect of it...

The fact that so many of the mysteries in Umineko rely on several characters thinking that Shannon/Kanon wouldn't do X is very sad... like Sayo is writing these stories with the assumptions that no one in the family actually understands her and won't care to try to, so her mysteries are safe.

It's kind of interesting how in the episodes Sayo does this they mix up whether a Sayo actor is doing it or whether it's an actual conclusion the characters reached, in order to have more difficulty seeing the pattern. For ex: in Ep1 Eva, the accomplice, and Natsuhi both brought up this argument. Eva was an accomplice but Natsuhi isn't.

It's brought up that Gohda and Kumasawa don't know its actual murder, I knew about Kumasawa but didn't know about Gohda, actually... I think the roulette accomplices always know or at least figure it out early enough. Kumasawa's the one who is always clueless. Not really sure about Gohda in ep2, though. I think a lot of people were probably clueless in ep4.

This scene always fucks me up.... the way one of the few light conversations we see between Sayo and Kumasawa is here, the fact Sayo is crying after what she does before resuming the mocking Beatrice act. The use of "End of a Daydream" as the song...

In general this episode really highlights how? Disassociative? Sayo was during all of this. She constantly switches from doing the cruel witch that laughs at everyone's misfortune, to passing the blame on to Battler for what happened, to being fucked up about what is happening. None of these are Sayo on their own but all of them together make up Sayo. I think an episode like this really helps you see how all of the Sayos are one Sayo. Its role as a post-Umineko arc is interesting too. Even people sympathetic to Sayo occasionally role her as ie the innocent victim who did nothing wrong or flatten her into her relationship with Battler. Sayo is so much more than that and this episode forces you to confront that.

Shannon's words here hit so hard... Sayo here is affirming she was an incomprehensible being that was impossible to understand in the first place. In general, Shannon seems to be the persona most resigned to giving up... Beatrice might think its a long shot but her game and the meta arguments show that she does have a hope that she can be understood. Kanon might not think better is possible, but still yearns for it and isn't satisfied with what they have; as opposed to Shannon who seems completely resigned to the fact no one will understand them and that there is no hope for the future. Ofc all of these are the same person, so it's not useful to see them as totally different perspectives. But I think trying to understand each persona on their own is useful to analyzing Sayo. Like, why is the persona that has completely given up tied to George? Why is the persona that wants better but doesn't think its possible tied to Jessica? I think answering those kinds of questions can help you understand what was going on in Sayo's head during a lot of moments as well as help you contextualize their relationships more.

It's kind of funny how they do the missing corpse trick with Kanon constantly but never with Shannon, when Shannon's corpse appears its either after Sayo is dead or they hide the corpse another way entirely. R07 probably didn't want you to figure out they were the only corpses allowed to do this.

Dlanor points out that Beatrice surely wants to be understood by more than one person, Beatrice doesn't really answer to that remark and just says it's fine for her to just hope that one person understands her.

Of course, Dlanor did end up guiding Battler to Beatrice... and thankfully he didn't have to release her guts in order to do it, but... Battler still didn't understand her with just Beatrice's own words and actions. He needed to be guided and prompted by others to be able to get there, and it was still too late. This is still very sad.

Beatrice gets a shocked expression once Dlanor points out that said prince needs to have love for her or otherwise they won't get to her, and Beatrice relents in giving her the manuscript as long as Dlanor agrees to not release it before she is dead.

Now, on to the present.

Of course, Sayo didn't *just* want Battler to understand her. She wanted others to be able to see her heart. She wanted others to stop painting over her for the benefit of others. She wanted everyone to see her for the full person that she was. But that seems like such an impossible, naive dream that she won't even accept to having it.

There's just so much going on here... Dlanor begging for you to understand her, the reuse of the episode 4 red truth. Dlanor points out that just understanding what went on in the gameboards isn't enough to understand Sayo, there is still so much more for you to understand.

This is the first of all the side arcs I would say is completely required reading, Umineko's Saikoroshi basically. The writing here was excellent, allowing you to see the gameboard from a different perspective helps you understand Sayo much more. Being post-ep8 also lets them be so much more explicit with things they didn't have as much of liberty in the main arcs. There are so many heartbreaking scenes in this episode. If anyone reading this hasn't read this arc, I really beg you to do so.