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whateverthedragonswant · 2 years ago

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I recently bought this song (It's Never Too Late by Steppenwolf) after seeing it mentioned in another post on here I think. I've been listening to it obsessively because I fell in love with it (I've also been trying to find all the music used in the show in its original airing, Netflix is making that difficult *looking at you Netflix*) And this song used for this scene in 13x05 with the camera panning during it left me with only one thought:

This show made choices:

youtube

Literally these lines play out while Dean is driving and his phone rings:

"Your family comes to your grave And with tears in their eyes They tell you, you did something wrong"

And when Dean picks up the phone and says 'Yeah?' & then his face changes (when he presumably hears Cas' voice on the other end): "You left us alone"

And in this episode, we literally have Dean feeling hopeless, needing a win. After we've seen him not really himself the past few episodes (especially apparent in 13x01-13x03). After we've seen that even Sam notices this as well and tries to be extra nice to him.

Then for the rest of the drive (after we see the light shine on Dean's face, noticeable due to its brightness as well as Dean's face being kept to the same dark tones the car has been in for this scene, like Sam):

And the one time we see any light on both Sam and Dean (portrayed as a passing car's headlights) is when Dean picks up the phone:

(notice how the lighting is on them from the side, not head on for either of them)

And right from that shot we immediately go to this closeup of Dean:

Where did the light suddenly go? For continuity, wouldn't it make sense to keep the light there in some form until it passes in a realistic time frame? But no, they switch into the closeup coverage for Jensen, not thinking about that continuity because they want the audience to focus on what's happening for Dean right now. Even Sam's closeup shot that we get is focused on Dean. This is obviously an important moment for Dean and it surrounds this phone call, whether that be who is calling or what they're saying.

Then after the drive, he pulls up to the spot where Cas said to meet him and parks, gets out, & sees Cas:

"Tell me who's to say after all is done And you're finally gone, you won't be back again You can find a way to change today You don't have to wait 'til then It's never too late to start all over again"

Suddenly the lyrics are cut off and it melds into the instrumental end of the song until the shot ends and goes into the credits.

Had the song been allowed to play out until the end of the episode, here are the lyrics that we would have heard:

"To love the people you caused the pain And help them learn your name Oh, no, not too late"

And why is this important? Because if you watch the full scene (linked above), they purposely have these lyrics happening as they take out the body of the kid, show his mom who is devastated, reaching out to touch his face:

"Your eyes are moist, you scream and shout As though you were a man possessed From deep inside comes rushing forth All the anguish you suppressed Upon your wall hangs your degree Your parents craved so much for you And though you're trained to make your mark You still don't quite know what to do It's never to late to start all over again

To love the people"

The kid's face in his mom's hands transitions into Dean driving Baby with this line playing over the transition: "you caused the pain" and we get this shot of Dean:

In this sequence of scenes, we literally get Dean talking to Sam, Sam surmising that Dean doesn't believe that they're making a difference anymore, Dean saying he needs a win, the kid being brought out in a body bag (the dead party, the one they didn't want to lose/hoped to save), the mother being devastated and needing to touch his face, this shot transitioning into Dean looking very much like disassociating!Dean (or at the very least pissed off!Dean), then the phone call, then the reunion.

So in 12x23, Cas gets killed in front of Dean and Sam. Dean falls to his knees and is in shock.

In 13x01, we get Dean uncovering Cas to take one last look at him (aka unzipping the body bag so you can take one last look/touch the face one last time like mentioned above) and then burning him with Sam and Jack present. Not to mention the scene where he punches the wooden sign after Chuck doesn't answer his prayer to bring Mary, Cas, or Crowley back. (keep in mind, we get Dean telling Chuck to bring Cas back along with everyone else who Chuck Thanos-snapped in 15x19 but with the line 'You gotta bring him back')

We know that while the boys wanted Mary back, Dean still was going through grief. To the point where he became like John while dealing with Jack in the first few episodes, he's not fully himself, and we see (along with Sam) that Dean is drinking more than he normally does.

The whole lyrics of the song actually fit the theme of this episode (for Dean) and everything he's been going through quite nicely, especially in this moment. Particularly these lines:

"Well, it's much too late to start again To try and find a little bliss" - this is how Dean is feeling right now (until 13x06)

"So on your woman and your child You release your bitterness" - we know that Jack basically becomes Dean's son later on but think of how he treated Jack from 13x01-13x03 (not sure how far in advance they knew how they would develop Jack's relationship with Dean, but regardless, it still ends up connecting nicely, especially since Jack is the one who woke up Cas in The Empty which led to Cas coming back)

"You drift apart some more each day You feel the guilt and loneliness" - again, we've seen this for Dean since 13x01

"And the God of your childhood you can't find To save you from your emptiness" - Chuck didn't answer Dean at all when he prayed in 13x01, he was gone again - also Cas is in The Empty

It all connects. And here's the thing, yes, they left the family line in of the song and someone could say, well, that's all Dean thought of Cas as so that's why they left it in. That's why they paralleled Dean to the mother in this episode. But that's not the case and here's why:

The very next line of the chorus that they cut for Cas' closeup and panning in was: "To love the people you caused the pain". They literally could have left that line in with the following two lines of the chorus, but instead they cut it out. They played about 65-70% of the song and only cherry picked certain parts (as we see above). They made editing choices, like having the line "You left us alone" when Dean hears whoever is speaking to him on the other end. They picked this song not only for the theme of it because it would go so well with Cas coming back and Dean getting his win (even the line "it's never too late to start over again" -- what is starting over? Cas' life? Cas' time with the Winchesters?) but because it actually applied to the story (which we know they've done before). Not to mention, Steve Yockey wrote this episode (that should be telling in itself, 12x10 anyone?).

So the fact that they cut that line to go straight into the instrumental end, after doing all of this purposeful editing before it (with the scenes and lyrics matching), that just shows that they were very aware of what they were actually showing the audience without being too on the nose about it. They utilized every other device (the pan-ins, the editing, the framing, etc) to show you just how important Cas was to Dean and that his loss affected Dean greatly, to the point where he stopped believing in what his purpose was or the effect that he and Sam had on people with what they were doing. (remember Sam's vision in 15x09 when Dean wanted to quit hunting?)

And then of course you have the block of writers who covered Dean's grieving arc this season:

Andrew Dabb (who also wrote 12x23)

Bucklemming

Robert Berens

Meredith Glynn

Steve Yockey

Davy Perez

Andrew Dabb, the showrunner at this point and through the end of the series (which means he greenlit from his end the whole arc of Dean and Cas in season 15 and the ILY in 15x18, only the network and/or studios had to greenlight it after); also wrote 8x02, 8x08, 10x22, 11x23, 11x02 (where Empty is first mentioned by Billie btw), 12x09, co-wrote 14x13

Bucklemming, while not being the strongest writers on the team sometimes, still made things happen, like the 15x19 phone call (Lucifer-loved one element/parallel)/Dean run for instance; they also wrote 8x07, 9x03, 9x09, 11x03 (when Dean wouldn't let Cas heal him), 14x12, 15x02 ("You asked what about all of this is real. We are"), 15x13 (Cas' trip to The Empty)

Robert Berens who also wrote 15x03, 15x09, and 15x18 respectively, and of course the infamous ILY line; wrote 9x06 (Steve!Cas), 14x03 (Dean's return from Michael possession); also co-wrote 12x19 (Cas stealing the Colt)

Meredith Glynn who not only wrote 15x17, Byzantium (season 14), and 13x14 (where Donatello chokes Dean) but also co-wrote 15x11 (the "I always thought I could be a good dancer" line), 14x13, and 12x19 (mix tape)

Steve Yockey who also wrote 12x10 ("I'm going to help cure you of your human weakness"), 13x19 ("Don't get dead again"), 14x14, & 14x10 ("Why do you always want what you can't have?")

Davy Perez who also wrote 12x12 ("I love you. I love all of you"), 15x15 (where Dean stops Cas before he leaves the bunker), and 15x04; also co-wrote 15x11

All. Very. Purposeful.

So the fact that that line was cut out when Cas was in the scene with Dean, sure you could try to chalk it up to timing or copyright (not 100% sure but there may be limits to what can be played for $ or rights reasons), but when you give it an aerial view and look at the big picture, it absolutely makes sense.

While they couldn't come out and be on the nose with it, something that overt at that point (I mean, just look at some of the ILY reactions to this day, even the lack of Dean's response & how people still argue that Dean only thinks of Cas in a certain way), they showed you everywhere else that Dean absolutely was grieving Cas and Cas affected him in a massive way, that went beyond friendship, camaraderie, and even family.

Cas was special to Dean. So was Sam (obviously). But there was definitely a difference between the two for Dean.

#destiel #destiel meta #deancas #dean x cas #spn #spnposts #this turned into a longer post than i anticipated #destiel does that to me #metaposts #destielposts

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morporkian-cryptid · 4 years ago

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Lupin III - The Castle of Cagliostro, and its extremely gay and romantic title scene

Hello everyone, this is your new installment of “Elliott rambles about her fandoms”!

Today I am going to be talking (well, mostly yelling) about the opening credits of Lupin III - The Castle of Cagliostro.

Because I’ve rewatched that movie almost two weeks ago, and I’m still going into a fit of hysterics every time I so much as think about it.

[Image description: Lupin and Jigen sitting in front of the Fiat, with a small nomad cooking space set up. It is night, Lupin is reading a map and Jigen is holding a pan above a small gas stove. The lighting is dim and comes only for the stove. The subtitles of the song lyrics read “My love for you burns”]

https://twitter.com/spacequeenemily/status/1118274079662977025?lang=en

This Twitter link is the only video of the title scene I could find online; the image quality is a bit low but at least it’s the full scene. Please watch it, I promise you won’t regret it.

Fair warning: long post with much capslock, very swearing.

Okay, so.

The lyrics of this song, Fire Treasure, go more or less like this (from the subtitles of the movie, which I assume are the official translation) :

I want to go with you, searching for happiness / No matter how hard the road or how the night may grow cold / I just want to wander on with you

Who else is there to comfort and hold / This lonely traveler when their heart grows cold? / Who else but you can make all my dreams come true?

Like a raging fire my love for you burns / All I want is for you to know how I feel / Make me your prisoner and never let go

(additional lyrics which are on the wiki but not in the title sequence)

You, who wander the wasteland / I want to let you sleep / The shooting star is for you

I want only you to understand / This love of mine that blazes with flames / I'll clear away the enigmatic mist

You can find the official japanese lyrics here on the Lupin III fandom wiki.

Now this is a pretty basic love song, and we know most of the theme songs in this series are love songs and it doesn’t always mean anything (looking at you, Red Jacket opening theme). The music itself (without the lyrics) is used several times during the movie, especially in scenes with Lupin and Clarisse; and reused later in several movies involving similar dynamics.

But the only time the whole song, with lyrics, plays in The Castle of Cagliostro, it’s during the opening credits / title sequence. Aka, Lupin and Jigen’s road trip.

Yeah. This longing, yearning love song about a lonely traveler and the person who silently loves them and wants to follow them through all the troubles of the road and look for happiness by their side... Is played along with of a video of Jigen and Lupin traveling together.

And oh, if only it was just that...

It could have been two guys being bros, two friends having a fun road trip together. They could have shown the banter and playful fights between them that we see in the rest of the movie. But NO. THIS is what they gave us instead:

[The silhouettes of Jigen and Lupin sitting on and leaning against the Fiat, with a boat in the background and an orange sunset-like sky]

[the Fiat driving on a narrow bridge in the middle of an expanse of water glistening and reflecting the pink and purple sky]

[Lupin lying on his back in the grass, and Jigen sitting near him and cooking in front of a small portable gas stove, the Fiat parked next to them. It is night, and the gaz stove gives a soft glow, the only source of light in the picture.]

[Lupin sitting on the roof of the Fiat and Jigen standing left of it. They are waiting for a train with wooden wagons to pass. There are white flowers in the foreground on the right of the screen.]

[Night time, on a backdrop of dark blue sky with white stars. Lupin is sitting on the roof of the Fiat, lighting a cigarette (the Fiat itself isn’t in the frame). Jigen is standing near him, smoking a cigarette, with only his head visible. The subtitles of the song lyrics write “Make me your prisoner and never let go”.]

[The same scene from a different angle, the Fiat is now visible, with grass in the foreground, Lupin is seen from the back and Jigen from head to feet. The dark blue sky is fading into white at the bottom, suggesting sunrise.]

They could have given us a fun, “straight pals being bros” road trip. Instead, they decided to give us a soft, nostalgic ambiance, with orange and pink sunsets, the boys wistfully looking into the distance under a starry night sky, smoking cigarettes together in silence, with the soft glow of a shared meal around a campfire. THEY MADE THE CHOICE TO MAKE THIS AS FUCKING ROMANTIC AS POSSIBLE. THEY WILLINGLY MADE THAT DECISION.

We all know that this franchise’s subtext is not exactly subtle in establishing, to name just one obvious example, Jigen’s orientation (hum hum kabuki-related slang, hum hum bootleg playboy magazine, hum hum shameless flirting with burly soldiers).

But THIS. This isn’t a “I hate women” joke. This isn’t a two-second frame showing a bootleg gay pinup magazine. This isn’t a subtle parallel between Lupin’s relationships with Fujiko and with Jigen. This is the most OBVIOUS and EXPLICIT bit of subtext I have ever seen in this goddamn subtext-packed series. This is A FUCKING LOVE SONG, WITH THE WORDS “MY LOVE FOR YOU BURNS” EXPLICITLY IN IT, PLAYED ON A VIDEO OF JIGEN AND LUPIN ON A ROAD TRIP WITH THE MOST ROMANTIC AND SOFT VISUALS POSSIBLE. ONE MINUTE AND FIFTY FIVE SECONDS OF TYPICAL ROMANTIC SCENE WITH TYPICAL ROMANTIC VISUALS AND A FUCKING LOVE SONG.

This can’t be an accident. You can’t accidentally make a scene like this. I mean come on, “Like a raging fire my love for you burns, I just want you to know how I feel” with a panning shot of a starry night sky and Lupin and Jigen silently sharing a smoke? HOW DO THEY THINK WE ARE GOING TO INTERPRET THIS? IS THERE ANY OTHER POSSIBLE FUCKING INTERPRETATION THAN “JIGEN IS MADLY IN LOVE WITH LUPIN?“ NO THERE ISN’T. THERE FUCKING ISN’T.

They go and try to tell us that Lupin and Jigen are just friends, they give Jigen barely believable female love interests whom he has little to no chemistry with, they write Jigen getting angry when he thinks Lupin might be gay, and then they turn around and make THIS. FUCKING. TITLE SEQUENCE.

It kills me because IT’S CANON but also it’s not! They’re not stating that Jigen loves Lupin, they’re not confirming that they’re a couple, at no point in the 50 years of existence of this damn franchise has either of them explicitly declared that they were in love with the other, and that is most likely never going to happen. But this fucking scene exists. This fucking scene is CANON, and it’s technically still subtext, but it is the most OBVIOUS and IN YOUR GODDAMN FACE subtext EVER.

Disclaimer: I agree that most of the anime and movies’ (still relatively un-subtle) subtext can be disregarded or interpreted as platonic if you want, and I absolutely respect anyone’s desire to interpret them as platonic friends. All visions and interpretations can coexist. That being said, I’m sorry but for this specific scene I will not, ever, budge from the position that it is a fucking romantic love scene and that there is no other possible interpretation, I’m sorry but just FUCKING LOOK AT IT. LOOK AT IT AND TELL ME THIS ISN’T MEANT TO BE ROMANTIC. I DARE YOU.

This scene is just at the VERY LIMIT of explicitly stating Jigen and Lupin’s love. But it’s STILL NOT EXPLICIT. The song says “I love you” but neither Jigen nor Lupin does. The song on its own could relate to any number of characters (and in the rest of the movie it relates mostly to Clarisse, and more generally to all the girls Lupin leaves behind). The video without the music, while being very sweet and having a romantic vibe, could still be interpreted as a road trip between friends. And yet. AND YET. They made the conscious decision to put THAT SONG with THESE IMAGES. And to then “leave it to our interpretation”.

The Castle of Cagliostro was the second movie of the Lupin III franchise. It came out in 1979, not even ten years after the first episode of the anime aired. This is one of the establishing movies of the franchise, the one that propelled Lupin III on the international scene, the door through which generations of fans have been introduced to the series. A now iconic and unmissable pillar of the pop culture myth that Lupin III has become, a jewel of hand-drawn animation, produced by one of Japan’s most internationally well known animated movie director, future founder of one of its most iconic studios.

This isn’t a “blink and you’ll miss it” nudge in an largely forgettable TV special with weird chara designs and a plot created by writers seemingly on crack. This isn’t a subtle nod to long time fans and shippers like Part 5 did in 2018. This is the FUCKING TITLE SEQUENCE of the CASTLE OF MOTHERFUCKING CAGLIOSTRO by HAYAO GODDAMN MIYAZAKI. AND IT’S A LOVE STORY.

It’s been a week and a half, guys. And I still want to scream. I will never be free. Lupin and Jigen are in love and the world needs to know.

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itsclydebitches · 4 years ago

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RWBY Recaps: Volume 8 “Ultimatum”

Welcome back, everyone! We had an unexpected break last week due to the horror going on in Texas. I'm glad we did. Not because of any salty "RWBY is bad right now yay free Saturday" feelings, but because keeping to a schedule for a fictional webseries should never take precedence over peoples' safety. I can't believe I need to type that sentence out, but it's true! Over the last seven days I've seen fans who are not merely disappointed by the mini hiatus (understandable) but outright hostile towards the crew because they... were ensuring everyone survived during an unprecedented emergency? Yeah. Given the highly critical nature of these recaps — including today's! — I want to be clear that my thoughts towards Rooster Teeth's creative choices are distinct from any thoughts about the crew itself, including the most basic forms of compassion like, “I sure hope everyone is okay over there.” In an age where it has become horrifically common to harass creators and even send them death threats over stories, it has likewise become necessary to remind people: Don't do that shit. Never do that shit. If I can teach anyone anything at all, let it be that!

Anyway, dark fandom reminders out of the way, let's dive straight into our delayed episode. It was certainly a doozy. Titled "Ultimatum," we open on a trigger warning for flashing lights. Good on Rooster Teeth for including that, though I do wonder if creators shouldn't be including time stamps as well? Or perhaps a note that you can find those time stamps in the credits, avoiding any (minor) spoilers for everyone else? I'm not photosensitive myself, so I certainly don't mean to speak for that group, but my first thought was, "So how would I watch this episode if I was? Hand on the pause button, hoping I stop fast enough as soon as the lights start?" Hard to do given the surprise nature of the scene. Really, my answer would be, "Wait for the fandom to post warnings of their own, likely including where it happens so I know when to skip" which is perhaps an indication that this information that should be included from the get-go.

But I am glad the warning exists, regardless. The episode itself begins with a shot of Ironwood looking down at the kingdom. He's used his windows as a vantage point since Volume 7, so that's nothing new, but something about this particular shot reminded me of Ozpin, looking down from his tower. I'm sure the response from many would be simply, "Ah yes, the two power hungry dictators watching over their victims," but I think there's a much more nuanced reading here about leaders being expected to fix the literally unfixable and what that responsibility does to an individual. Of course, it's a nuance that is absolutely obliterated by the episode’s end, but the implication existed for a hot second!

Two other soldiers are in the room with Ironwood, reporting that Cinder has helped Watts escape. They try to soften this with news that they still have Jacques in custody, but receive only a, "I don't give a damn about Jacques Schnee." Which, fair. He's pretty useless at this point. It's when Ironwood learns that both Qrow and Robin escaped too that he really gets mad, something his subordinates have been expecting given their scared expressions.

Now, I'm treading lightly here because I realize how this is going to sound given the end of our episode, but I still want to note that outside of that ending... this is a weird take? Just hear me out. Since Volume 7 the show has worked very hard to make Ironwood seem scary and unstable — bad setup for what we end with today — but the problem is that none of it works in context and it certainly doesn't work when compared to other characters' actions. They are literally in the midst of an unwinnable battle and thousands of his people are dying. If the audience wants a human being — who also just lost a limb and was betrayed by half his allies — o remain perfectly poised and polite during that, sorry, but that's not how human beings work. But even beyond this, what’s the message here? Ironwood raises his voice, so does Yang. Ironwood hits his desk, Qrow hits a child. If we're going to examine how Ironwood handles his stress and anger, he often handles it better than many of our heroes. Namely, by continually taking that anger out on inanimate objects. I kept waiting for him to attack his subordinates or attack Winter this episode, especially given where we end up, but it never came. Ironwood always has enough control to break the desk or punch the wall, not the person in front of him. Which, of course, would not be a good thing in the real world. I want to be clear given these sensitive subjects that if someone is breaking things in your presence that's a major problem to address. But this isn't the real world. This is a fantasy world in the middle of a war, populated by other characters who express their anger by punching people, slamming them into walls, or screaming at them until they run away. The story wants us to fear Ironwood long before he makes his objectively horrific choices and it tries to achieve that by showing us characters who are clearly terrified in his presence, by giving us a string of broken objects in his wake. But those details don't land well when we compare them to other instances of stress. In the same volume I have watched Ironwood take a deep breath to calm himself down when things have gone horribly wrong. I've also watched Weiss start a conversation by threatening her defenseless brother. So again, what’s the message here? It can’t be that acting violently towards someone = villainous behavior because, as established since Volume 6, that’s common for the heroes. Why are these subordinates terrified about Ironwood slamming his fist on a table, but Whitley has no problem hugging the woman who threatened him? Obviously there is a HUGE difference between our main group and Ironwood when it comes to other actions (cough-bomb threats-cough), but these day-to-day moments don't match up. The show wants to use violence as a way for us to easily identify the Bad Guy while ignoring all the times when our heroes do the same thing.

All of which isn't meant to be a defense of Ironwood. As we'll see in a bit, there is no defense for what he's done. Rather, it's a way of acknowledging just how badly he's been written. Why does a man who consistently reins in his anger and takes it out on objects suddenly shoot a councilman for literally no reason? Why does a man defined by wanting to save as many people as he can suddenly threaten to bomb his city? Ironwood's characterization is all over the place, in the sense that they keep writing him as the morally gray, sometimes harsh, but ultimately compassionate man he started out as... up until they need a villain. Salem isn't here yet, so Ironwood can shoot Oscar. Salem isn't attacking yet, so Ironwood can shoot the councilman. Salem is currently reforming, so Ironwood can threaten YJR and Mantle. He's the B-plot villain whenever Salem is out of commission, which is a problem for both their characterizations. This filler doesn't make sense for Ironwood and it severely undermines the threat of Salem. You finally introduce the Magical Big Bad and our heroes are facing more of a threat from a guy with a broken army and three loyal allies left? Hmmm.

The tl;dr is that Ironwood's arc is a disaster and, frankly, it's gotten old reading simplified takes of, "It's just a realistic look at what white U.S. men will do in power sweetie :) " RWBY does not have the context capable of conveying that sort of critical take because our world is not besieged by literal monsters and an immortal witch, to say nothing of how real life good guys do not get deus ex machina canes that fix the problem instantaneously. Ironwood is not an example of anti-U.S. imperialism, he's an example of writers who don't know how to write.

Anyway, I'm getting severely off topic. Obviously Ironwood is a major part of this episode, but the problems demonstrated here are two years in the making. This is the culmination of things I've been discussing for months across hundreds of posts... so I should probably stop trying to summarize it all in a few paragraphs lol. Perhaps when RWBY is over — or Ironwood has died — I'll do a single meta on his character, try to pull everything into one, unified argument.

For now though, we have an episode to analyze.

While Ironwood is receiving this news we get flashbacks to Qrow and Robyn. Qrow attacks a soldier in his bird form, which is hilarious. Someone GIF that please. It does raise some interesting questions about this magic though: does Qrow retain his aura and strength in this form (something I thought given his choice to transform during the explosion), or was that soldier just so shocked at being attacked by a crow that he went down easy? We'll never know, because that would require establishing concrete rules for this world. The point is Qrow is going feral in his freedom, throwing punches left and right — did he kill that guard? — while Robyn watches it all from under a rock. They're apparently still somewhere in the facility since all the exits are guarded, but that's not the good thing Ironwood seems to think it is. After all, Qrow is out to murder him. He wants to be there.

We all see where this is going, right? The show is going to ignore Qrow's crazy belief that Ironwood got Clover killed in favor of a "Qrow saved Mantle by murdering Ironwood"/“Qrow got revenge for Mantle by murdering Ironwood” ending. Who cares why Qrow wanted to kill him in the first place now that Ironwood has his finger on the trigger? If RWBY is good at anything, it's writing moments that encourage you to ignore everything that came before it. We'll be seeing more of that in just a bit.

"Damn it!" Ironwood yells, because the show is leaning into its cursing. He orders that the subordinates not return until "you have Qrow Branwen in custody." Here we have another great example of the show conflating what the audience knows with what other characters know. See, we know Qrow has a vendetta against Ironwood. We know their relationship is the important one to the story and that Robyn is incidental. Ironwood doesn't know that. There's no reason for him, as a character, to specify that they only bring Qrow back, but it makes sense for the audience who has the whole, thematic picture. Our understanding of the situation is influencing Ironwood's dialogue, which is... not great.

This entire scene we've had creepy music to hammer home just how evil Ironwood is. Except, as said, he takes a breath to calm down and the music fades. Instead of flying into a rage, hurting someone, or doing anything the music suggests he might, Ironwood calmly calls in for an update — which is when the explosion hits.

It's MASSIVE, seeming to originate from a lightning strike, which is weird, since it's coming from inside the whale, but whatever. The animation is very dramatic and pretty, as we've come to expect of RWBY, but the actual plot is lackluster at best. It's funny though because I thought for a hot second, when Winter and the Ace Ops were caught in the blast, that RWBY had actually done something exciting. I mean, holy shit! There are the deaths we expect from a battle like this. My god, what is everyone going to do when they realize that Oscar's needless attack took out five characters, including Weiss' sister —

No wait, never mind. They're fine.

Let's talk about that "needless" descriptor for a moment though. Do you all remember, two weeks ago, when I went, "Hey, why isn't anyone telling Oscar that that Ace Ops are approaching with a bomb? They're on a time limit! If someone would just mention that Very Important Information then Oscar wouldn't keep standing around to fight Salem." See, at the time I was frustrated because of how the plot was needlessly allowing Oscar to put himself in danger (especially when the whole point of this mission was to rescue him). Now, I'm frustrated because that same plot needlessly wasted the most powerful weapon the group had. There was no reason for Oscar to use literal lifetimes worth of stored energy when the heroes already had a bomb to do the same job! What was the point of that? I guess he took out the other grimm too, but without the whale that still would have been a challenge with a finite end, one Ironwood's army and the remaining huntsmen should have been able to handle. It doesn't feel justified to have Oscar use a weapon kept on the bench for lifetimes when there was another option literally minutes away.

There's so much wrong with this I need another list. So:

Ozpin's cane supposedly stores kinetic energy, which may contradict what we've seen from it before. Regardless, we’ve never heard about this. The all powerful weapon comes out of nowhere

It also begs the question of why Ozpin wouldn't use that power at Beacon and why he wouldn't insist that they try to get their cane back while captured. You had an out this whole time! But we’re going to ignore that because Oscar is a little hesitant?

Which makes YJR's presence even more useless than it originally was, which was already pretty useless. Oscar essentially rescued himself

This kinetic energy miraculously doesn't hurt any people or buildings, just grimm

So what is the point of Silver Eyes? That's been their MO since they were first introduced. Sure, Silver Eyes can be used far more often than Ozpin's cane, but it still feels like a let down to learn that the Big Secret behind this weapon is... the exact same thing Ruby has been doing for years

Like Ruby, Oscar likewise didn't need any practice or training. He just set off this massive attack perfectly and without issue

We have now eliminated the biggest threat to the cast instantaneously — the whale and the other grimm — with no effort from the rest of the heroes. Like the Hound, the stakes are obliterated with no satisfying work on the part of our protagonists

Instead, as said, the actual plan already in place never happened. The bomb just... goes back. Kind of like how Cinder attacked and then just went back to Salem. Penny woke up and then just got knocked out again. We continue to go in circles

This is because no one took two seconds to tell Oscar, "There's a bomb on the way"

Because this threat is gone the show needs a new one, hence Ironwood randomly threatening Mantle with said bomb

The one way we might have justified Oscar blowing up the whale instead of Winter is if he did it to save Hazel, but Hazel is implied to be dead

Maybe he's alive, but if he's not that happened off screen and we're not sure how. It couldn't have been because of the blast itself — everyone else is fine — so what, Salem somehow killed him before she was blasted to bits? While he was holding her?

And there's no body?

Salem was torn apart multiple times during that fight and reformed instantaneously, yet now, conveniently, she's taking her time

None of the characters mention the issues above. None of them admit that there was no reason for Oscar to waste LIFETIMES worth of power when they already had a solution in the works. Fantastic

I need to take a moment to acknowledge that so far this recap feels... bad. Disjointed. Bit all over the place. Which makes a certain amount of sense because that's where my thoughts are at. There's so much going on in this episode — so much wrong with it — that I don't know how to boil it all down into a few, neat claims. This episode is a mess! We're barely a few minutes in and the combined issues of Ironwood's characterization and Oscar's choice have left me reeling. So if you're still reading this, bless your patience, I think we'll both need it for the rest of this journey.

Let's snag a neater plot-point to discuss. Amidst all the chaos Neo literally skips away with the Lamp, clearly thrilled at how her own life is going. Later in the episode she'll text Cinder with the obvious: Salem is going to be pretty pissed when she realizes this is gone. “If you want her name you know what you owe me."

So wait... what is Neo leveraging here? Is she agreeing to give the Lamp back so Cinder doesn't get in trouble with Salem? Give Salem the password she's been looking for? Or give Cinder the password to use the Lamp for herself? What would Cinder even want the Lamp for when she's after the Maiden powers? I'm confused about what Cinder is being blackmailed with. Regardless, she needs the lamp for something and presumably what she "owes" Neo is Ruby. We get a cut to her just to hammer that home.

(Side note: both pictures of Neo are hilarious.)

Before that though, back at the whale, everyone is taking stock of the situation when Marrow cries, "Hey, they were still in there!" I feel like this is another scene meant to make him look like the one good guy in the group — he cares about YJOR while the others can’t be bothered — but as always, that reading doesn't fit well with the situation as a whole. The others have barely had time to realize they're alive. I don't think it's a moral failing that they didn't instinctually worry about four betrayers, one of whom attacked them, while they're still checking that they have all their limbs intact. Besides, why does Marrow assume they're dead? The Ace Ops were caught in the blast as well, yet miraculously came out unharmed. They clearly didn't set their own bomb off, so it's logical to assume that YJOR did something themselves. It feels weird to have a "Marrow mourns them and Winter is the only other character who cares" moment when everyone is recovering from bomb shock and no one even knows if the others are dead. But, of course, the show is out to portray only two of these characters as good people, so ignore the logic and run with the emotion of the scene.

All of which is bolstered by Elm pulling away when Vine puts a hand on her shoulder. Why is she acting cold towards him now? Because they're not friends, remember?

While we get more ridiculous relationship dynamics, Ironwood calls in and congratulates them on the bomb working, but tells them to get back because they have another problem in the works. That would be Qrow and Robyn. Winter decides to tell him about the bomb in person.

We cut to Watts and Cinder watching the remnants of the blast from a rooftop. Cinder has tried calling, but no one answered. Unsurprising, given that Salem doesn't have any other allies left. Cinder says that the plan hasn't changed, she's still going to take the Winter Maiden's power for herself, and Watts can help her by bringing Penny here. He explains that he doesn't have full control over her. Rather, he implemented a virus that is setting her on a single path: open the vault, then self-destruct. Cinder, as one might expect, is furious.

She snags Watts by her grimm arm and threatens to toss him over the side of the building. Thus begins the best part of the episode, hands down. Despite the danger he's in, Watts throws common sense out the window in favor of dragging Cinder in the most satisfying manner possible.

“You think you’re entitled to everything just because you suffered, but suffering isn’t enough. You can’t just be strong, you have to be smart. You can’t just be deserving, you have to be worthy! But all you have ever been is a bloody migraine!”

It's true! You know what else is true? This speech could apply to our heroes as well. Accusations of entitlement and reminders to be smart as opposed to just strong hit hard, considering those are the same flaws our protagonists are struggling with. The difference is that Cinder, miraculously, listens, pulling Watts back to safety and going to cry by herself. That moment is simultaneously more growth than Ruby has gotten and more sympathy than Ironwood has gotten. The woman who murdered Pyrrha is treated more kindly by the narrative than one of our initial heroes and our very first villain has taken more time to reconsider her choices than our title character. You know a show is falling apart when excellent choices are applied to the worst possible character.

So Cinder is crying while Watts looks guilty and we cut back to YJOR's group post-blast. Yang is finally able to answer a call from Blake who is obviously overjoyed to see her. Weiss gives them directions to the mansion and they ask what in the world they'll do with Emerald, currently on her knees, mourning Hazel.

Thus begins the third most frustrating part of this episode. See, on the way back the group continues the conversation about what to do with Emerald, with Yang and Jaune distrusting her vs. Ren and Oscar encouraging cooperation. I can't believe I'm saying this after's Ren's speech and Oscar's entire existence... but I'm team Jaune and Yang here. Look, what Oscar and Ren say — the literal words coming out of their mouth — is nonsense. Ren goes, “We can’t let all of our actions stem from fear," as if Yang and Jaune are being ridiculous for mistrusting Emerald, one of the established villains, after years worth of harm from her. It’s weird that Yang points to her arm as something Emerald is responsible for, rather than being framed or the deaths at Beacon, but the general sentiment of, “She’s done horrible things!” is true. Ren’s perspective is the same simplification that was applied to Ironwood last volume, wherein everyone acted as if he was crazy for fearing an attack on his kingdom... post an attack on another kingdom and pre an attack on his kingdom. Putting generic lines in Ren's mouth about not being afraid makes him sound willfully ignorant, as if choosing to believe that someone is good will magically make them so, to say nothing of thinking it will erase all the harm they've already done.

Oscar at least acknowledges the difficulty here, but then follows this up with, “You don’t have to forgive her… just give her a second chance."

Oscar, honey, that amounts to the same thing in this situation. Allowing Emerald a second chance means working with her, which means trust, which means emotionally reaching a point where these characters can put aside the harm she's done them in an effort to give her that chance in the first place. This actually ties into a post I saw last night, one I've come across before, that claims redemption arcs don't require any suffering on the part of the person who has done wrong. I agree in theory, that prolonged suffering doesn't help anyone, but the problem is that people tend to conflate suffering with consequences and someone who has done this level of harm should face consequences for their actions. The problem with redemption arcs is not that the bad people suffer too much — emotionally and physically beating on them as a form of revenge — but that the people they've harmed are put into situations like this one. If Yang and Jaune let Emerald go like she suggests, they are agreeing that she doesn't have to face any consequences for the damage she's done (which, keep in mind, involves multiple deaths, not including all the lost lives here in Atlas). If they agree to give her a second chance, they are forced to jump straight to some level of forgiveness. We might claim they don't have to forgive Emerald to work with her, but from a practical perspective how are they meant to function, especially during a warzone? Anything she provides them with — information, watching their back in a fight, undertaking missions, etc. — requires trusting her enough to allow those things to happen: working with that info, letting her protect them, allowing her that responsibility. It's all about trust, trust she has yet to earn. In order for a redemption arc to be successful, the power has to be in the hands of the victims. They need to be able to see some justice for what was done to them, be offered some proof that the person in question has truly changed, and have the ability to walk away if they decide no, I don't forgive you, glad to hear you've improved, but please stay out of my life. Jaune and Yang have none of that. There are currently no systems in place for Emerald to face consequences for her choices, she has offered them no proof of her remorse or true motivations, and the other half of the group is pressuring them to give her that second chance without closure or reassurance. None of that makes for a good redemption arc and reducing that to, "So you want to see poor Emerald suffer, huh?" ignores the suffering she has already caused. The group are her victims and they are under no obligation to give her a second chance, particularly under these circumstances, which makes the story's choice to have Ren and Oscar act like Yang and Jaune are being stubborn or inconsiderate a problem. The conversation boils down to, "Give the woman you know to be a liar, manipulator, murder accomplice, and servant of our enemy a second chance based entirely on unfounded faith. If you don't you're letting yourself be ruled by fear."

RWBY's touchy-feely themes really don't sit well within its realistic, morally gray premise. We cannot continually have these characters go through hell one moment and then have others accuse them of being paranoid the next. The fact that all of this is wrapped up in the group trusting Robyn, Emerald, and Hazel over their established allies remains beyond frustrating.

Because yeah, you know how Oscar finishes his speech? “I’ve already gotten a lot of help today from someone I don’t exactly trust right now." Meaning Ozpin.

The story is trying to compare Emerald and Hazel to Ozpin.

"Oh hey, I kept a secret from you after lifetimes of watching that secret lead to betrayal and death. I keep apologizing for my mistakes while ignoring that I had no reason to trust a bunch of kids with such world-shattering information and also that you tore it from me in the most traumatic way possible."

"Oh hey, I willingly joined our world's version of the devil and helped her destroy your school, leading to numerous deaths including your friend and headmaster. It was his death that put Oscar in this position in the first place! I then continued to attack your group, leading to another near death of a friend, and a kidnapping, and the destruction of Amity, until I became scared enough to make a run for it."

Which one of these characters is granted an instant second chance? You'll never guess who!

And I do think the word "instant" is important here because just like Jaune and Yang have the right to have distance and justice from Emerald, they had that right with Ozpin too. The difference is they got it. They had the power in the situation, as evidenced by their use of the Lamp and physically attacking him. Ozpin heard what they needed from him — leave us alone — and did that without complaint. They were given months to come to terms with the secrets he kept. They were offered apologies and acts of service to demonstrate intent: saving them in the airship and continually saving Oscar. I don't believe Ozpin ever needed a redemption arc, but even if we think he did, he had it. After three volumes of material Oscar's perspective is still "I don't exactly trust [him] right now" but Hazel and Emerald have earned at least the same amount of trust in a matter of hours? They're really having my boy look at the guy who has tried desperately to do right by him despite unimaginable circumstances, and the guy who tortured him to get information for Salem, and went, "That first guy. He's the one we need to watch out for."

To make things even worse, Oscar tells the others that Ozpin took on all the torture so he wouldn't have to. So he did that and they still don't trust him? If you had told me back in Volume 6 that two years later the group would still be hostile towards Ozpin, while simultaneously urging one another to trust Emerald, I would have said you were lying. RWBY has its problems, but it's not that bad. Yet here we are. I suppose the one silver lining here is that Ren smiles when he realizes Ozpin is back? So at least one of them isn't prepared to draw their weapon at the mere mention of his name.

Both these moments raise more questions though. How in the world did Ozpin take on that torture when we clearly saw Oscar getting pummeled for a good portion of the kidnapping? Is that a weird merge thing the story hasn't bothered to explain? I wouldn't be surprised, considering Oscar said last episode he didn't want to use magic because it hastened the merge, he uses the biggest explosion of magic we've ever seen, and nothing has changed. Ozpin is still in the back of his head, thanking him for the tinniest shreds of decency they get. Ren, meanwhile, seems to be back to mindreading. How in the world does he know that Ozpin is back? I assume it has something to do with his semblance, but we don't know what. They could have shown us Oscar from Ren's perspective, perhaps with two distinct emotions swilling around to imply that he sees two different people now, not a useless shot of Emerald with purple flower petals, whatever purple means.

Oh, but no, we shouldn't have gotten either of these scenes. Remember that Ren's aura broke a very, very short time ago? Is it back already? Can he use this part of his semblance without it? Considering it was near impossible to see Ironwood's aura breaking in the Watts fight and we were then mistakenly told he used his semblance in the office, I'm going to go with, "The writers forgot."

Oscar explains that the cane had "lifetime after lifetime" of power in it and though there's still some left, "we have to be careful with how we use the rest." He says that Ozpin trusted his judgement and of course he did! Ozpin also didn’t know that there was a bomb on the way. Yet funnily enough, no one else mentions that, whoops, your choice made in ignorance was a waste and that's due entirely to us prioritizing hugs over basic mission information.

Also, all these explanations take place in front of Emerald. Half the group doesn't trust her, but they'll freely discuss their powers and limitations here. Remember how the group once wanted to talk about magical relics in front of the old lady they'd just met? Yeah, they've learned nothing.

Combine all this insanity with the fact that Ozpin's magic saved the day before Ironwood's bomb could do the same... while Ruby sat in a mansion drinking tea. Who's our hero again?

So things are a hot mess, to put it lightly. Their conversation finally ends when they hear voices and round the corner to find all the Atlas citizens huddled in the subway. For once the show actually writes them in a sympathetic manner, emphasizing how terrified and helpless they are. This image doesn't lead the group to any revelations though, certainly not anything that would tie back to Ren's earlier speech in the snow. No, once again the justified criticisms here are ignored as we hear that “However this fight ends, we could really use someone like you, [Emerald.]” That's it then. Discussion over. We knew as soon as it started that blindly trusting her was being presented as the "right" thing to do and now here we are, deciding that conclusively, despite Jaune and Yang's complaints. By the time the group reaches the mansion, Oscar is defending Emerald from Ruby. We're supposed to just accept that she's a part of the group now, only minimal pushback allowed.

Before that though we return to Ironwood getting news that their bomb never went off. He briefly wonders who else could have done that, but puts the currently unanswerable question aside for what he does know. They still have the bomb and it could be "useful." See, this moment — like shooting Oscar and the councilman — is when Ironwood just randomly goes off the deep end. One minute he's talking about what they've lost and cradling his new arm,

the next he's saying that he should have tortured Qrow to get Penny to obey him! Which doesn't even make sense since I'm pretty sure Penny hasn't ever spoken to Qrow. She wouldn't want anyone to suffer, true, but it's not like Ironwood had a close friend like Ruby to use as leverage. Qrow is just Some Guy to her. Regardless, he thinks Yang, Jaune, and Ren are decent replacements, despite Penny also having no relationships with them. This is what happens when your characters only start breaking up their teams eight years into the story, the response to Ironwood wanting to torture Ren to hurt Penny is, “Does Penny know Ren exists?” But, you know, torture is torture, right? Maybe. Probably not. I mean, if they're going to turn Ironwood into a cartoon villain, they could at least keep him smart.

Because all of this is just the height of stupidity. Ironwood wants to torture people Penny barely knows to make her listen (so just grab some civilians? It would do the same job...). Ironwood wants to shoot down empty ships, even though no one, including us, knows where in the world those ships would have gone. Ironwood wants to destroy an entire city to try and save another city. He wants to use a bomb meant for a comparatively small whale and acts like that alone will take out the majority of a kingdom. None of it makes sense! And I know the easy comeback for that is, "Well yeah, Ironwood is crazy and evil" but he's not. I mean he is. Threatening torture and bombings is obviously evil, but he's never been insane, or stupid. As said before, his arc (or lack thereof) is an absolute disaster. The fandom assumes so many things about Ironwood given the opportunity — the whale is a suicide mission. He expects the Ace Ops to die on his order — and the writing hints at so many things that never happen — he's going to hurt his subordinates, attack Winter for disobeying him — and every time what we actually get is a far more compassionate, level-headed character... until he randomly does a 180 and goes, "Let's murder a whole city now!" I never wanted Ironwood to be the bad guy, but they could have at least given me a persuasive decent into this level of horror.

So... yeah. Ironwood has got to die by the end of the volume, yeah? Between Ruby warning the whole world about him and him going into full villain mode, there's no coming back from this.

Neo sends her text to Cinder and the group makes it back to the mansion. Remember Yang's criticisms of Ruby's leadership? The ones she conveniently forgot about when Ren started to agree with her? Yeah, those are entirely gone as the sisters hug it out and, presumably, forgive one another for... daring to admit that things are bad? Look, I'm not going to deny that Ironwood's scene with Winter was creepy as fuck,

but I'm not of the opinion that the heroes are any better when it comes to the theme of obedience. They've attacked one another, screamed at one another, and any dissent from Ruby's leadership results in the questioner being left behind in the snow. We'll accept you again when you fall back in line. I used to adore the relationships in this show, but watching them now is just discomforting. The show might be 100% more obvious with Ironwood, using creepy music, a smile, and that hand on Winter's shoulder, but the concept of, "Sorry I dared to question you before! We won't ever do it again :)" isn't healthy either. The fact that the show keeps erasing theses problems with hugs — Weiss hugs Whitley now, Yang hugs Ruby, someone will probably hug Emerald soon — doesn't make the circumstances any less uncomfortable.

None of this even gets into the Blake and Yang hug. First of all, why is Blake acting like they had a fight and Yang might not want to see her? She's hiding inside rather than rushing to greet them, ears down in a devastated expression until Yang touches her. Combine this with Yang's "Do you think she's mad at me?" and it feels like the writers cut a fight in the final script and then didn't bother to remove the fallout from that. Seriously, where did any of this come from? You can't just have characters act like they've been fighting when they haven’t.

Also, can't forget this.

At this point there's nothing more I can say in regards to RWBY's almost-queer baiting. Is touching foreheads more intimate than the hugs Yang gave the others? Absolutely. Is that an appropriate stand-in for overt representation? Absolutely not. This would have been a perfect time for them to kiss. Take out Blake's nonsensical fear and replace it with them both reuniting after their first separation since Volume 5, working under the knowledge that either one could have been killed, finally admitting their feelings. Hell, they don't actually have to kiss. Not all girlfriends are interested in kissing! But they could use the terminology that makes things unequivocally canon. Another forehead touch when we got that in Volume 6? It's not enough, especially not when our straight couples have all been allowed their rep.

Ren at least wants to know where Nora is. He's presumably told what happened off screen as Oscar tells Ruby that Emerald is their friend now.

Then an emergency call from May interrupts the reunion and the group learns that Ironwood is bombing the Schnee ships. “Those ships… they were going to save people” Weiss whispers. How? Tell me how they were going to save anyone. Where were you going to take these people where they would be safer than where they are now? RWBY continually asserts things without explaining them, meaning there is precisely zero emotional weight here. Again, Ironwood is far past the point of defense, but I'd be a whole lot more critical of this particular action if I had a better sense of why it's bad. He appears to be endangering the people given May's shout to run — falling debris? — but the further implication is that Ironwood has doomed the people of Mantle by denying them these ships. It's that part that makes no sense based on what we've been told.

Which finally comes to the ultimatum of our episode title: Penny opens the vault, or Ironwood bombs Mantle. Great! So glad this plan is wicked smart and works well for his characterization. It's definitely not a nonsensical, unfounded, overblown change that feels like it belongs in a child's cartoon, complete with dramatic spotlight. Nope. Excellent writing choices all around.

Our final line of the episode is, “I hope you live up to the title I gave you," referring to Penny's job as the Protector of Mantle, and you know what? That line could have been very cool if it was delivered by an Ironwood with a persuasive fall and a halfway decent plan in place. I love that we've twisted the concept of a protector and turned the title into a horrifying, rather than honorable responsibility... I just hate everything surrounding those details.

So, usual RWBY fare.

(At least we get to see that Nora is awake!)

Will things get better over the next four episodes? I doubt it. We're still expecting the rest of the Ace Ops + Winter to ditch Ironwood, someone getting the vault open, the fall of Atlas, now the potential destruction of Mantle, and none of that includes Salem who should reform at any moment. Frankly, I'm not looking forward to any of it. The final leg of a season should make its audience excited to see how everything turns out, not dreading it. I've heard from multiple people that this is the volume that finally got them to drop the show and honestly? I'm not surprised.

As a final (happier?) note: we've finally got a bingo! I completely forgot our board last time, which was a terrible oversight, but we can update it now.

Our army of grimm can't kill anyone now that it got KOed by Oscar (that is the third one hit defeat of a major enemy we've seen this volume. Yes, I'm including the Hound considering it was obviously on its last legs after Ruby's eyes.)

I'm likewise including "Ozpin apologizes for everything including his existence" because he's done nothing but apologize since he came back. The emotion is there even if the literal words are not. Oscar reminded everyone of how untrustworthy he is, but kept the group from jumping them again. And Ozpin thanked him for it.

Neo didn't literally backstab Cinder (shame), but the Relic still counts.

So a triple bingo! Is that how bingo works? Idk, I've never played. I feel like I should have thought up some sort of humorous prize, but sadly I've got nothing. If you think of anything, let me know lol

That’s all then, folks. Until next week! 💜

#rwby #rwby spoilers #rwby volume 8 #rwby ultimatum #rwby recaps #mymetas

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seeksstaronmewni · 3 years ago

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The Bear Roots of Burbank Cartoons: A Lookback at Boo Boo Runs Wild

5 years ago, [adult swim] aired the greatest of all Yogi Bear / Ranger Smith episodes, “Boo Boo Runs Wild” (1999), on August 13th, 2016 A.D. at 4 AM.

Look and see, kids, how America’s not-so-average bear connects in the wide world of animation that produces many of the cartoons that you love in Burbank, Canada and more!

As and after I saw it, I knew that I found the greatest band of cartoonists out there, and that greatest band of cartoonists out there was none other than...

Spümcø, whose many creatives would end up working at Hanna-Barbera Cartoons, Cartoon Network Studios, and many other popular Burbank and Canadian studios that made the cartoons I grew up and beyond watching.

Obviously, the character design is rather different, but they still look like the right characters, even with the slight color changes...

and with their items of human attire out. Ranger Smith, on the other hand...

Ranger Smith is wildly off model, and probably on purpose, throughout the picture.

Only in one scene appears he with a more familiar face.

Now, I didn’t have to watch Wild Kratts (which, by the way, features 6 Spümcø Canada creatives) to learn that “there’s only one thing a bear likes more than raiding a pic-a-nic basket.”

As the title suggests, Boo Boo loses his temper when Ranger Smith restricts him from tearing bark and decides to go primal in returning to his bear roots: “From this day forth, I’ll not dress in the man’s attire, and I’ll not speak in the man’s tongue. From now on, it’s going on all fours and grunting for me!”

Boo Boo wreaks havoc for the trees with his natural bear roots.

Unlike past episodes, however, the artists went far wilder than the usual Hanna-Barbera cartoon, making the trees alive and screaming in pain! OH, WHAT TOURTUE! Not to mention how I love Boo Boo’s goofy/manical laugh, a beautiful product of John Kricfalusi’s voice (Yes; I know that he was a formerly abusive megalomaniac who still has ADHD, but God knows what cartoons would be like today—at least those produced in Burbank and Canada—if it wasn’t for the many layout artists that he led).

Also unnatural to a Hanna-Barbera cartoon is the extreme levels of slapstick, wackiness and graphic nature of cartoons since such shows as Mighty Mouse: The New Adventures, Beany and Cecil’s DiC reboot, and The Ren & Stimpy Show. Boo Boo and now Cindy Bear are licking away at all of the honey... and bees... with insanely long tongues (may be that they’re sloth bears?). This left Yogi Bear practically speechless.

The mere sequence of dialogue between Yogi and Ranger Smith, discussing what to do about Boo Boo, involved HEAVY work in the storyboards by Vincent Waller. So many expressions that they couldn’t fit in each of Spümcø’s 3-panel storyboard pages!

As you see, in addition to Vincent Waller’s storyboards, John K. added extra poses (storyboard revisions more or less, but definitely layout poses) under the respective scenes. That way, Vincent could focus on telling and writing the story in rough pictures. (source of storyboards)

I also love the sound design. While it’s definitely true to a Hanna-Barbera cartoon, John K. and the late Henry Porch were very creative with some weird, dated and out-of-context sound effects, similar to what they and Horta Editorial did on The Ren & Stimpy Show in the first two seasons. The production music (probably APM and Capitol Records) also gave it a vintage, nostalgic feel.

Ultimately, with the aforementioned abusive megalomaniac aside, Spümcø undoubtedly harbored some of the finest animators and artists ever. Such names as Bob Jaques (Spongebob Squarepants, Buy One, Get One Free*, The Baby Huey Show), Ben Jones (DC Super Hero Girls, Cats Don’t Dance, Teen Titans GO!), Vincent Waller (Spongebob Squarepants, Adventures of Sonic the Hedgehog), Albert Lozano (Inside Out, A Kitty Bobo Show), Todd White (Spongebob Squarepants), Eric Koenig (Atlantis: The Lost Empire, Madagascar, Cats Don’t Dance, The Simpsons, and The Tigger Movie), and Erik Wiese (Samurai Jack, The Mighty B!) are among the hundreds of creatives who ended up almost everywhere working in Burbank and Canadian animation.

Other names on the Spümcø team that one might recognize include Gabe Swarr (Dexter’s Laboratory, The Buzz on Maggie, Foe Paws, El Tigre), and even background artists such as Richard Daskas ( @rdaskas - Samurai Jack, Time Squad, Sym-Bionic Titan, Batman Beyond), Richard Ziehler-Martin (Tiny Toon Adventures, The Wacky World of Tex Avery), Hector Martinez (Tom and Jerry: Robin Hood and His Merry Mouse, Timone and Pumba, Captain N, Evil Con Carne, Dora the Explorer), and Tony Mora (MAD, Teen Titans GO! to the Movies, Pickle and Peanut). I mean: in short, these artists worked for Warner Bros. Animation, Disney Television Animation and Walt Disney Feature Animation, Nickelodeon, and Cartoon Network Studios!

Spümcø’s production assistants on Boo Boo Runs Wild feature Matt Danner —a fantastic character designer, storyboard artists, director and producer, whose credits range from (Johnny Test and The Legend of the Three Caballeros to Team Hot Wheels and The Looney Tunes Show—and Cartoon Brew editor Amid Amidi. Brian A. Miller was an executive in charge of production, not for but probably in association with Cartoon Network.

Spümcø’s creatives, as I said, are all over the place in Burbank animation. Other shows that still air on @adultswim have ex-Spümcø creatives. For example: today’s re-run of Samurai Jack EPISODE XVI features Chris Reccardi (The Powerpuff Girls, The Grim Adventures of Billy & Mandy)...

Scott Wills (Genndy Tartakovsky’s Primal, The Twisted Tales of Felix the Cat)...

Lynne Naylor-Reccardi (The Shnookums and Meat Funny Cartoon Show, Wander Over Yonder) and Jim Smith (YooHoo and Friends, Tom and Jerry Tales, McGee and Me)...

and Leticia Lacy (TRON: Uprising, Sym-Bionic Titan, Wander Over Yonder, Korgoth of Barbaria).

Even outside of Cartoon Network Studios, where most ex-Spümcø artists end up, @cartoonnetwork’s The Amazing World of Gumball, from Cartoon Network Studios Europe (AKA Hanna-Barbera Studios Europe), features ex-Spümcø artist Charlie Bean (The Powerpuff Girls, Robotboy, Batman: The Animated Series, Timone and Pumba, Creature Crunch) on The Cartoon Network Europe Development Team.

One of Cartoon Network’s biggest and craziest hits, Teen Titans GO!, also features such ex-Spümcø artists as storyboard artist, director and producer Luke Cormican (The Buzz on Maggie, Brandy and Mr. Whiskers, Brickleberry, The Replacements, El Tigre)...

Gerald de Jesus (The Book of Life, The Ricky Gervais Show, TMNT)...

and Eric J. Pringle (Fosters’ Home for Imaginary Friends, The Problem Solverz). What wacky cartoon filled with live-action images, unpredictable visual gags and extreme slapstick humor wouldn’t?

Relatively, you could even tune in to Nickelodeon, the original home of Spümcø’s ground-breaking hit, The Ren & Stimpy Show, and see names of creatives associated with Spümcø and Ren & Stimpy, such as Zeus Cervas (Star vs. the Forces of Evil, Spongebob Squarepants, Clarence) on today’s episode of The Patrick Star Show...

or even Gabe Del Valle (Mighty Magiswords, Spongebob Squarepants) on today’s episode of Middlemost Post!

Overall, Boo Boo Runs Wild introduced me to the cartoon studio whose works I took for granted and on which I was missing out all of my life, and I strongly encourage this generation to support this Yogi Bear / Ranger Smith episode, which you can watch RIGHT NOW on [adult swim]’s site. It was officially on their YouTube channel, but it was removed for unknown reasons. This short never even got a DVD or VHS release!

The last televised airing of Boo Boo Runs Wild on [adult swim] so far was January 6th, 2019 A.D., but Spümcø also produced “A Day in the Life of Ranger Smith” and “Boo Boo and the Man” (based on true events in the life of John Kricfalsui) for Cartoon Network.

As I come to a close, it’s worth noting that layout Ed Benedict, an animator and artist whose credits go all of the way back to the 1930s with Disney and continued with MGM and Hanna-Barbera/Cartoon Network Studios, originally worked on Yogi Bear episode “Yogi’s Birthday Party” as a layout artist, and reprised that very role for “Boo Boo Runs Wild”. What a legacy the animators and artists of this episode leave!

Always will I remember how Spümcø, whose legacy connects to my Cartoon Network-infused childhood, blessed me and graced me that fateful day, August 13th, 2016 A.D., with the ultimate example of the fine art of cartooning that is the Yogi Bear / Ranger Smith episode “Boo Boo Runs Wild”. I was living in the moment, and I thank God for it.

“For years they have [been] asking me to make new Yogi cartoons, but I can’t even get a half a million [dollars] to make one, probably because I actually like the characters, but 60-70 million $ to make walking corpses is economical.” - John Kricfalsui on Yogi Bear (2010)

Another Ranger Smith, Boo Boo or Yogi Bear cartoon from the people behind The Ren & Stimpy Show is highly unlikely today, due to the abuse and harassment of John K. angering the world to the point of hating and condemning the man who helped to shape not only Cartoon Network but also television animation—and animation as a whole—with an undeniable legacy of artists and animators who deserve way more credit and respect than we perhaps thought of giving as kids.

Tweet version of this post here.

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hxneyandespressx · 4 years ago

Text

if i were a man (i’d be the man)

summary: jj holds a press conference while on a high-profile case. she has to deal with the stupid male reporters. after the conference is done, jj goes to the nearest bathroom, away from the crowd, and screams and swears to her heart’s content

word count: 6.2k

content warnings: mentions of emotional and verbal abuse, guns, violence, blood, suicide

a/n: inspiration for this fic is from criminal minds season 4 episode 16 “pleasure is my business”

☆。*。☆。

It was a rough start to a Wednesday morning for a particular FBI agent. She almost twisted her ankle on her early morning jog, got stuck in traffic, and had to wait in a long line for her co-workers’ coffee orders. Soon enough, she started to wish that she took the metro instead. Media communications liaison Jennifer “JJ” Jareau woke up today and chose violence. She huffed in frustration at how her morning went.

Walking toward the bullpen with the coffee orders in her hands, JJ was greeted with “hellos” and “good mornings”. Not wanting to have her co-workers profile her, JJ bottled up her frustration and grumpiness and put a smile on her face. It was a rule amongst the group to never profile each other. With learning an assortment of profiling tactics, JJ knew how to form a realistic smile without genuine happiness. Creases around the eyes, smile lines contoured the mouth, sparkles in her baby blue eyes. The short blonde perfected the fake smile that could fool anyone, even expert profilers.

“Good morning, guys.” JJ said with a bright smile on her face. She held two cardboard trays filled with various coffee orders. She placed one of the trays on Emily’s desk, so she can pass out the orders to her co-workers. She called out the order name as she passed the cup to the person.

“One French vanilla latte for Ms. Garcia. Two black coffees for Emily and Derek. And finally, a coffee with extra cream and sugar for Spence.” Everyone said their thank you’s to the blonde. Then, there was one coffee cup left. A cappuccino.

“Happy Wednesday, my nerds.” Rossi said as he approached the group of tired agents. JJ smiled and handed the cappuccino to the elderly man.

“Grazie.” He thanked the media liaison for her efforts to bring his favorite morning beverage. The group spent some time chatting nonsense before the case briefing. Thirty minutes went by and all of them disbursed into their desks to finish up the paperwork. JJ headed down to her office to work on choosing the next case after the one that was currently ongoing.

After settling in her office chair, JJ took a look around her office. Messy stacks of pending files scattered her desk. Empty coffee cups and water bottles lined the file cabinet. JJ checked the time on her watch. 8:12 AM. About two hours to kill. The blonde put her hair up into a ponytail and took in a deep breath. She dove into the nearest pile of manila files, looking through all the documents and photographs to determine which case for the BAU team to take on after the current case.

As the clock ticked closer to 10 AM, JJ picked up today’s case files and head out of her office. Strutting through the bullpen, JJ entered the briefing room slightly out of breath.

“Sorry I’m late, everyone,” JJ said while passing the manila folders out to her co-workers. After handing out the necessary materials, she grabbed the remote from the center of the wooden table.

“Sam Winchester was found in Fulton Park, in the Stuyvesant Heights neighborhood of Brooklyn. Eighteen stab wounds to his chest and neck,” JJ explained as she clicked on the remote to switch between the crime scene photos. “He is one of the victims dumped at various locations of Brooklyn that was found last night.”

“Hold up. One of the victims?” Derek asked.

“Yeah. So far this killer built up a rep sheet of five kills.” JJ stated. Hotch raised one of his eyebrows at the new information.

“Seven? Why haven’t the NYPD notified us immediately after the first three kills?” Hotch asked the media liaison.

“Probably the department thought they could handle the crimes,” JJ explained. “That was the case until they realized that they needed help.”

The young blonde switched to the next slide, showing one of the other victims dumped in North Williamsburg.

“What’s interesting about the locations is that the first victim was drowned in the Hudson River. And as more victims appear, the disposal methods get more dramatic. Maybe it plays some role in the unsub’s pathology.” Spencer said as he looked at the screen, observing for any patterns.

“Like with one of the recent victims, the disposal site is in Cobble Hill. It’s typically occupied by those who are relatively wealthy.” Rossi said to continue Spencer’s thoughts. “This unsub is getting bolder with his disposal sites. I’m concerned with there being an end game to this.” Emily stated. Everyone at the round table shifted through the various crime scene photos and documents. Rossi took hold of one of the crime scene photographs: a reversed ten of cups tarot card. “It is also apparent that the unsub is leaving tarot cards at the scene of the crime.”

“Tarot cards? What’s the significance?” Derek asked.

“Maybe to tell of the inevitable fortune the victims faced?” Emily said.

“Well, each card has a different meaning when it is upright and reversed. And usually, when doing a reading, three to five cards are pulled to tell a fortune.” Penelope explained as she typed away on her work laptop. It had not surprised anyone that the technical analyst had an interest in tarot readings and astrology.

“You know, the first documented tarot packs were recorded between 1440 and 1450 AD in Milan, Ferrara, Florence, and Bologna when additional trump cards with allegorical illustrations were added to the common four-suit pack. These new decks were called carte da trionfi, triumph cards, and the additional cards are known simply as trionfi, which became "trumps" in English. The oldest surviving tarot cards are the 15 Visconti-Sforza tarot decks painted in the mid-15th century for the rulers of the Duchy of Milan. The Duke of Milan described a 60-card deck with 16 cards having images of the Roman gods and suits depicting four kinds of birds.” Spencer talked about the history of tarot cards, with hand gestures to accompany his little ramble. When he finished, everyone at the table stared at him. The young FBI agents sheepishly smiled as Emily poked his left cheek.

“Since when did you learn about tarot cards?” Emily asked.

“I learned about it when I took a college course on the Italian Renaissance.” Spencer sheepishly smiled.

“Well, whatever it is, it seems like there is a story to be told––or rather to be heard.” JJ said as she stared at the crime scene photos, her eyebrows knitted together in bewilderment.

“That’s what we need to find out. Wheels up in 20.” Hotch called out.

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The BAU members sat comfortably on the jet, each in their little world. That was until the unit chief called on everyone for a case discussion.

“Let’s go over victimology.” Hotch said to call on the group. Everyone moved closer to the unit chief to better discuss the case. Derek sat in an armchair, with Emily next to him. Across from them were Spencer and JJ. Hotch leaned against one of the seats, practically sitting on the adjustable arm of the plane seat. Rossi sat on the tan velvet couch, adjacent to JJ.

“Reid.” Hotch called on the genius of the group.

“White. Male. Between the ages of 45-55. Jobs ranging from a stockbroker to assets protection manager. All of them have cheated on their wives multiple times and some even had sexual harassment accusations.” The young curly-haired man said to start the discussion.

“Even if these men cheated on their wives and got those accusations, they still didn’t deserve the multiple stab wounds to meet their end.” Emily said.

JJ looked through the case file to see the reports on all five victims.

“The victims’ names are Igor Andreevich, Lucas Duncan, Hunter Mcevoy, Sam Winchester, Jared Kalinski.” JJ called the names out like it was a roll call.

“These are the five victims that this unsub killed so far?” Hotch asked. The blonde nodded her head and said “yes, sir” in response.

“As the victim count increased, the more stab wounds appeared on the body.” Rossi said to point out an observation.

“But the M.E. said that most of these stab wounds were created post mortem. Meaning that the initial stab was to get the job done efficiently and he went back in to fuel his rage and/or sexual needs.” Spencer

“Are we assuming his sexual orientation? Because there aren’t many homosexual serial killers, kid” Rossi said.

“It could be a possibility. We have to consider our options.” Hotch said.

Just then, the laptop turned on and showed the beautiful Penelope Garcia.

“How’s it going, my crime-fighting musketeers?” Penelope asked. Everyone, even Hotch, smiled at her cheery greeting.

“Garcia, start compiling files on each of our victims,” Hotch told the technical analyst. “Everything financial and personal. Bank statements, credit card bills, investments, wills, trust funds. Anything that will tell us more about the victim’s lives.”

“Faster than a Hotch rocket.” After that was said into the air, Penelope felt embarrassed while Hotch looked at her with his usual stone-cold face. Derek sighed and shook his head, taking a sip of his coffee to hide his second-hand embarrassment for his babygirl.

To break the silence, Rossi grunted and coughed into his fist.

“Based on the jobs these men had, we could safely assume that they were killed in the financial district of New York. Then, the unsub transported the bodies to a dumpsite.” Emily said as she read off from the case file in her hands.

“But why from Manhattan to Brooklyn? That is a lot of weight to carry.” Derek asked.

“Maybe Brooklyn holds a lot of significance to him. Something from his childhood and he can’t let go.” JJ said. Everyone nodded their heads in agreement as they all closed their files.

“Once we land, do you want me to get in contact with the media to inform the public?” The media liaison asked the unit chief.

“No. We need to hold back on it. Giving him the media’s attention is exactly what he wants. He wants his story to be heard and we will not give him that.” Hotch explained. JJ nodded in response and wrote down media concerns in her small blue notepad.

“Dave, You and Prentiss go to the crime scene,” Hotch instructed the group. “The rest of us will get up to speed at the precinct.” Everyone nodded in agreement with the unit chief.

After discussing the victimology and the nature of the case, everyone separated and occupied their own space on the jet. Derek on the couch, listening to music. Spencer by the window, reading the Hound of the Baskervilles. Rossi and Hotch in the back, conversing whatever two elderly men talk about.

The blonde media liaison stared out of the window until she felt a presence next to her. She looked away to find Emily standing in the aisle with a cup of coffee and a bag of Cheetos in her hands.

“Want some company?” Emily asked as she took the empty seat.

“I don’t mind at all.” JJ smiled at the brunette. The shorter woman felt special that Emily did this for her. She took the Cheetos and the coffee mug from her co-worker. As she grabbed them, their fingers brushed against each other. A little pink blush formed on JJ’s cheeks. Not wanting Emily to know about the silly crush the blonde had on her, JJ covered half her face with her beloved blue blanket. Emily chuckled at JJ’s actions and placed her hand on the blonde’s right shoulder, closing her eyes for a quick nap.

JJ carefully took some of her dark blue blanket and wrapped it around Emily’s right shoulder. She looked at the brunette who was sleeping on her shoulder and softly smiled.

The blonde took sips of the coffee as she stared out of the window. The sunlight bounced off the water particles in the clouds, creating a mini rainbow over the tops of the white clouds. The media liaison took in the silence as a treat, before landing into the chaos of New York.

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A government-mandated black SUV arrived at the 25th precinct. Everyone––sans Emily and Rossi––got out of the car and was greeted by a lively short woman.

“Detective Miller? We spoke on the phone.” JJ shook hands with the short woman.

“Please, call me Kennedy. Thanks for coming in.”

“No problem. These are agents Hotchner, Morgan, and Doctor Reid.” JJ introduced them while gesturing at the person, in respective order.

“Hey, why don't you go on inside and make yourself comfortable.” Kennedy said. The remaining BAU members nodded their heads and made their way inside the busy precinct. Police officers swarmed everywhere as the federal agents weaved their way to an empty conference room.

Everyone worked at a swift pace to get everything set up. JJ and Derek went with a police officer to get boxes filled with case files and other materials. Hotch talked with Detective Miller to get information on how her officers dealt with the unsub so far. While all this is happening, Spencer worked on the geographical profile, so the agents know where to look for the unsub.

“What do these tarot cards mean?” Hotch asked the group. Everyone shook their head “no”, signifying that they had no clue what each card meant.

“I’ll call Penelope and ask her about the meanings of the cards.” Derek said as he took out his flip phone to dial Penelope’s number.

“Live from Quantico, Virginia, it is the Divine Miss Penelope.” Penelope greeted the group.

“Hey, sugar mama. I need something from you.” Derek said.

“Talk to me.”

“I need you to interpret the meanings of the tarot cards that were left at the different crime scenes.”

“Ah- I’ll be your little witch today. Hit me with have you have.”

“Alright, I’m putting you on speaker.” Derek puts down the phone on the wooden table, so everyone could hear what the technical analyst has to say.

“Ten of Cups, Garcia.” Hotch said.

“When upright, the Ten of Cups embody happiness, joy, contentment, and emotional satisfaction in your family, relationship, or companion. It represents an idyllic state of comfort, harmony, peace, and love which makes you feel like you are in paradise. When reversed, it could mean shattered dreams, disharmony, or a broken family.” Penelope explained.

“Reversed Wheel of Fortune card.” Spencer called out.

“When the wheel is reversed, it means that luck has not been on your side and misfortunes have been following you. When it's associated with this card, you must understand that these are due to external influences that you cannot control.” Penelope said.

“Reversed Justice card.” Derek said next.

“A reversed Justice tarot card could indicate various things. One Justice reversal meaning is to show you are living in denial. You are not willing to accept the consequences of your actions or others. You are running from your guilt. You must, however, be aware that these are actions that are in the past. Other Justice reversal meanings could be injustice, retribution, dishonesty, corruption, dishonesty, unfairness, and avoiding accountability.” The technical analyst interpreted.

“Lastly, the reversed Emperor.” JJ said the final card they had.

“The Emperor reversed is a sign of abused authoritative power. In your social life, it can manifest in the overreach of power from a father figure or a possessive partner.” Penelope described the final tarot card.

With all the information in their heads, the BAU members felt puzzled about how to move forward.

“How are these cards related to the crime scenes?” Derek asked.

“It’s like a performance,” Penelope chimed in. Everyone turned their heads to listen to the cheery woman on the phone. “Like there is a story behind these killings. The cards are telling how the unsub is feeling. She wants us to know her story.” Everyone stood in shock when Penelope made a breakthrough in the case.

“Wait, Garcia. You said ‘she’. Why do you think it is a woman?” Hotch asked.

“Well, sir. The first victim was drowned, with no signs of sexual assault on his body. Doesn’t that usually indicate that the unsub is a woman?”

“Not necessarily but it is a quiet and efficient way of murdering someone.” Hotch explained.

“Female serial killers are a fascinating field. We don’t have much information on them. But what we do know involves throwing the riles completely out of the window,” Spencer started going on one of his rambles. “For example, female serial killers typically don’t leave a signature.”

“But this one leaves tarot cards at the scene.” Derek pointed out.

“Maybe it was what Garcia said: she’s telling us her story.” JJ said. “Alright. Let’s start from the beginning. What could be inferenced from her childhood?” Hotch asked.

“She could have had a domineering father who worked on Wall Street. And with that dynamic, he could have sexually and emotionally abused her, making her feeling like damaged goods.” Spencer explained the backstory of the unsub. “Also because the victims cheated on their wives, we could also conclude that the father also cheated on the mother, who always forgave her husband and tried to rationalize to stay for her daughter. And that made the unsub feel rage and being inferior. That she didn’t do anything to help her mother and herself.”

“But there is no indication of sexual gratification.” Hotch interjected.

“However, there’s a reason why there are so many lacerations on the later victims. It could be the rage from her abusive father that this unsub is using against the victims, who acted like surrogates.” Derek said.

“The stressor?” Hotch asked.

“To follow her father’s footsteps, she may have also worked in the financial field. As a stockbroker, a financial analyst, or even as a secretary for a company,” Spencer said. “And as she continued at her job, she had a bunch of little comments and slights against her”

“As for the trigger, maybe she got passed up for a promotion by a male co-worker who was less qualified than she was.” JJ explained.

“Any sane person would get miffed about it, but she’s built differently,” Derek said.

“So much so, she killed five men so far.” Hotch said.

“And she did it in an efficient manner where no one had any idea until now,” Derek said right after the unit chief. “But how did one woman kill five men in one borough and disposed of them in another?”

“She must know the area like the back of her hand. Brooklyn is what? Around 72 square miles?” JJ said in response to Derek.

“Uh, 69.5.” Spencer corrected JJ. The blonde sighed, not surprised that the boy genius would know the exact measurement.

“And the fact that no one has seen her either abduct or dispose of says she knows the city and its patterns well.” Derek said to continue what JJ had said before she was cut off by the boy genius. Just then, both Rossi and Emily had returned from the latest crime scene. In Emily’s hands were coffee cups on cardboard trays while Rossi had Chinese takeout. Everyone shared the food as they continued to work on the case. Being the little tease he was, Derek flung a wonton piece at Spencer, who was struggling to eat with the wooden chopsticks. The wonton piece gently hit Spencer’s forehead and the boy genius pouted, hiding his frustration at both the chopsticks and Derek.

“The M.E. said that the cuts were clean, no serrated edges. It would have to be a very sharp knife to be able to cut through human skin like nothing.” Emily said, to drive the discussion about the M.O.

“A knife like that could get the job done efficiently. Could be the work of a throwing knife. Take out the victim with a single throw to have them die quickly, then she stabs them to feel something.” Derek said.

“Throwing knives? What is she? A secret agent of the Dai Li?” Rossi joked sarcastically.

“From Avatar the Last Airbender?” Hotch retorted, remembering that his son Jack watches that show on Saturday mornings.

“What’s Avatar the Last Airbender?” Spencer asked. Nobody bothered to answer the young man’s question.

“But this one is different. It’s like the more she kills, the more anger builds up inside and it gets released on the victim when she goes back in.” JJ stated.

It became silent in the conference room, quite the opposite to the noise of the New York precinct in the evening rush hour. Tired from both traveling and working, Hotch could see that the rest of his team was also exhausted from the day. The unit chief called everyone to head to the hotel and rest, as they can always come back to the precinct tomorrow morning.

Slowly one by one, each of the agents packed their things and get out of the New York precinct, and hopped into the cars, praying the soft hotel beds would lull them into a deep slumber.

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Day Three at the New York precinct. All the BAU members were getting irritated that they hadn’t proceeded much on the case. Derek tossed a small basketball up and down to pass the time. Spencer twirled a pen as he stared at the geographical profile, the gears turning in his mind. Both Hotch and Rossi were discussing the case quietly while JJ and Emily doodled on each others’ arms. The blonde was innocently drawing hearts and flowers until Emily came up with an idea. Feeling a tad mischievous, Emily took her sharpie marker and started to outline something on the media liaison’s left forearm. JJ raised an eyebrow, questioning what her co-worker was doing. As the image came together, JJ gasped softly, however, not surprised that Emily drew a vagina.

Emily quietly laughed as JJ, annoyed by the brunette’s actions, took her sharpie marker and tried her best to transform the vagina drawing into a flower. Taking her time, and with only a sharpie, JJ showed off her artistic talent by creating a masterpiece: a carnation blooming out of a vagina.

Emily rolled her eyes when JJ stuck out her tongue at the brunette. Taking Emily’s right arm, the media liaison started to outline a grid for a game of tic tac toe. The brunette started the game by marking an “x” in a spot and JJ took her turn. The two women continued their game of tic tac toe and

Everyone was silent in their own world until Hotch’s phone rang. The unit chief picked it up and it was a number he couldn’t recognize. Hotch silently motioned Derek to call Penelope to start triangulating the call’s location.

“Hotchner.”

“Hello, Aaron.” A sultry voice talked. On the other side of the call was the unsub, Taylor Evans.

“Seems you know my name.” Hotch asked.

“I researched you in preparation for this phone call,” Evans said. Through the phone receiver, Hotch could hear the soft whooshes of pages turning.

“You reading a book? What’s the title?”

“Le monde comme il va by Voltaire,” Taylor closed her book. “Have you read his work?”

“No, I haven’t. You seem highly educated.” Hotch stated.

“You seem to know a lot about me.” Taylor retorted.

“But I don’t know you that well since the start of this phone call.” Hotch responded.

“What would you like to know?” Taylor asked.

“May I know your name, for starters?” Hotch asked. A cold laugh could be heard through the landline speaker.

“Evans. Taylor Evans.” the unsub replied.

“Nice name,” Hotch complimented her to bring her guard down.

“Now that we are acquainted, you can ask me questions.” the unsub’s content sigh could be heard on the landline.

“Has life been hard on you?” Taylor asked, wanting to jump the gun.

“I try my best.”

“Try my best,” Taylor said mockingly. “Is that the best you can do for your family?” A sarcastic tone filled Taylor’s voice, not liking what the unit chief said in response to her question.

“With what I’ve got.” Hotch said.

“You got any children?” Taylor said to divert the conversation.

“I have a son.”

“How often do you see him?”

“I try to see him every week.”

“Do you see him every week?” Taylor tried to put Hotch under pressure, to get him to crack.

“No, I don't get there as often as I want.” A pitiful sigh was heard on the phone.

“I believe you, but don’t compare yourself to the men I see and work with. You are nothing like them. You’re just another whore.” Taylor said with such disgust in her tone.

“How am I a whore?” Hotch asked.

“You come when called on short notice. Begging to be put to work. Saving your reputation. However, even though you’re a workaholic, you make the time to see your son. You care for your son. You want the best for him.” Taylor explained.

“You’re right. I do want the best for him” Hotch said. The unsub sighed, wishing that she had a good man, like Hotch, for a father.

“Enough about you. What do you have to say about me?” Taylor asked the unit chief.

“You've been betrayed so many times, You don't know who to trust, And that's why that first murder felt so good. But each one since has been less and less satisfying.” Hotch explained.

“Good deductive reasoning,” Taylor said. “But how do you know if what I find provides me less satisfaction each time?”

“It’s a part of your nature. Until you hit a psychotic break and start devolving.” Hotch said.

“Hm. Want to find out, Agent Hotchner?” She hung up on him after that last sentence. Everyone in the conference room stayed silent in awe. The unsub injecting herself into the investigation surprised all the agents in the room.

“She contacted us,” Spencer said in astonishment, breaking the silence.

“She’s getting impatient. Have Garcia look up everything on Taylor Evans. We need to find if she lines up with the preliminary profile.” Hotch instructed Derek. The olive brown-skinned man did exactly what the unit chief said: call Penelope and extract as much information as possible on the potential unsub.

“Her use of the word whore is interesting,” Spencer quipped. “It suggests she's trying to disassociate herself from her actions.”

“But she's become more personal with the murders,” Emily said. “This doesn’t make sense. She is contradicting herself.”

After gathering the information, and debilitating on the facts, everyone came to the same conclusion: Taylor Evans was their unsub.

“Reid, tell Detective Miller that it’s time to deliver the profile.” Rossi said.

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Every law enforcement officer occupied the main space of the precinct. All of the BAU members stood at one side, making it like a stage. JJ stood beside Emily, thinking to herself that she could have been this girl in a way. Both her and the unsub look eerily similar, maybe even mistaken for each other.

“We wanted to give out the profile as soon as possible. We’re looking for a white female, between the ages of 20 and 25,” Hotch said to start the profile. “Her name is Taylor Evans. Dirty blonde hair with grey eyes. She’s organized, methodical, and knows how to blend in with the crowd.”

“When this unsub kills, she does so mercilessly and without an ounce of pity. She also wants her victims to know they are going to die by her hand.” Rossi said.

“That’s why her preferred weapon of choice is throwing knives. They provide a clean cut. No mess required.” Emily said, slowly rocking on her heels.

“With her choice of weapon, she can be quick and efficient with her kills, as murder is her only goal,” Spencer paused to catch a breath. “But all the bottled-up rage gets released when she goes in for a second time, post mortem, and stabs the body multiple times.”

“It is a way for her to get sexual gratification. And revenge, from her years of being emotionally and sexually abused by her father,” Rossi said. “The victims fit the description of her father and they are surrogates for him.”

“She is also a textbook psychopath, exhibiting all of the classic traits: incapability of feeling any empathy towards others, neither guilt nor remorse, and claiming no responsibility for her actions. Like others of her type, she is highly intelligent, manipulative, and narcissistic.” Spencer explained the unsub’s pathology.

“Evans had received higher education. She graduated with a business degree, most likely a subconscious influence from her father. With the business acumen and the social skillset, this unsub can easily blend in with all the other business people and manipulate them.” Hotch explained, walked slowly around the large room.

“Based on her background, she came from a wealthy family. However, the family wasn’t perfect. Her father constantly cheated on his wife. The mother always forgave him. As a young girl, Evans most likely has experienced emotional and sexual abuse from her father. It was a way for him to control his daughter, and she had resented that for years.” Emily said about the unsub’s childhood.

“She mostly has experienced misogyny in her professional life. Had little comments and slights against her. Perhaps a less qualified male co-worker took a promotion that she deemed herself to be of a better fit,” Derek explained about the stressor. “Something in her work life triggered her to start killing the men who represented her father.”

“With this profile, we should search for Taylor Evans’ location and any potential victims. We suggest going public with the information as soon as possible… Thank you very much.” Hotch ended the profile with his parting words. Everyone at the precinct was disbursed from the room to get back to their work. The agents huddled together to prep themselves in case something big were to happen.

“JJ, I would like for you to conduct a press conference,” Hotch said.

“Why is that, sir?” The media liaison asked.

“I would like to draw her out. Have it known that we are after her.” The media liaison nodded her head in agreement and left the main room to work on getting a press conference together.

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Before entering the press room, JJ took a deep breath and exhaled to calm herself down. Thoughts were rushing in her mind. Don’t let them get to you, JJ. She neatly fixed her hair to seem presentable. Taking her golden heart necklace, the media liaison kissed it for good luck.

The media liaison walked into the conference room with great confidence and stood behind the mahogany podium. Standing tall, JJ was not willing to lose a fight with the media, especially with a high-profile case.

“Ok, can I have everyone's attention,” JJ said to gather the media’s attention to her. “Please, if you could just take your seats…”

“There have been a series of murders that appeared in random locations around Brooklyn. There is sufficient evidence that the victims were murdered on Wall Street then transported to their disposal sites.”

“We believe she may have experienced a psychotic break recently, causing the unsub to escalate to murder to regain a sense of control. You should increase your patrols in and around Wall Street… “

“Why would you focus your profile on the finance guys when the unsub has also contacted members of the FBI?” A male reporter interrupted the media liaison.

JJ stood at the podium in shock. How could he know about that? We kept that under wraps.

“I- How did you obtain that information?” JJ asked.

“I overheard one of the cops saying it.” The journalist said casually. The blonde’s right eyebrow lightly twitched in anger. What couldn’t those cops just shut their mouths, JJ thought.

“What you heard from these officers isn’t true,” JJ lied to keep confidential information private. “Now, do you have any questions about the case?” A new wave of hands came up. JJ took a few more questions to answer. After a while, it was time to end the press conference.

“If anyone works in or around Wall Street, and sees anything unusual, please do not hesitate to call the number on your screen. Thank you.” JJ said her final statement, ending the press conference. As she walked down the steps down the small stage, a reporter called out her name.

“Agent Jareau! I have something that may be of interest for you!” A different male reporter called out. JJ turned to face him, excepting the same male reporter from earlier. Trying to keep her anger inside, she greeted the news reporter with dignity.

The male reporter handed the media liaison a letter. JJ took a look at it and was surprised at what she saw: the signature of their unsub.

“How did you get this?” JJ asked the man.

“It was sent to me yesterday, directly to the New York Herald.” The man said. JJ called for one of the officers by the wall to collect the letter for evidence.

“We are going to take this in for evidence processing. One of the officers here will take you in for some questioning.” The man nodded as another officer whisked him away for interrogation.

JJ sighed and went to search for the officer that unknowingly leaked information. She saw him with another cop, talking, against the wall outside of the press conference room.

“That information was not for the public!” JJ said, angrily at an NYPD officer.

“Listen, lady. I don’t know how and where he got the information from,” The beat cop explained himself. “He could have been creeping around the crime scenes or the precinct.

“Keep your mouth shut, pal, as this case is private and under federal jurisdiction.” JJ huffed as Derek grabbed her shoulders and slowly tried to drag her away. The blonde complied with her co-worker, not throwing a fight as this was not her battle to fight in.

Once Derek loosened his grips, the media liaison dashed out of the conference room to find her own space to calm down.

JJ speed-walked once she was out of the hallway’s vicinity. She rushed into the nearest bathroom. Breathing heavily, the media liaison slowly walked into one of the stalls and locked the door. Taking a deep breath, JJ prepared herself for the biggest scream she would take in her life.

“Fuck. These little shits. Those bastards. Assholes. Son of a bitch. Fucking shit. Why can’t they keep their mouths fucking shut! Those cocksucking motherfucking god damned jackasses!” JJ yelled at the top of her lungs. Her chest fell hard as the blonde was taking deep breaths. She felt better after taking out her anger by screaming. Feeling a little tired, JJ sat on the closed toilet and placed her head between her knees to calm herself down. A few minutes went by, and someone knocked on the bathroom door.

“JJ… Are you okay?” Emily’s voice could be heard on the other side. JJ sighed while getting up. She opened the stall door and tried to make herself more presentable. Unlocking the silver lock, she opened the door slowly to reveal a relieved Emily Prentiss.

“Ah–,” Emily gently grabbed JJ and brought her in a warm embrace. They stood together in that position for a few minutes before heading back to the conference room, where the others were, preparing themselves to capture the unsub tonight.

Later that evening, the BAU team, along with SWAT, raided a luxury apartment building in Downtown Brooklyn. Upon entering the only penthouse, Derek broke the door with his strength. The group of agents entered the area and in the middle of the living room, was Taylor Evans. Black mascara ran down her cheeks as she held a gun in her left hand and the final tarot card in the other.

“Just in time for the show, agents.” Evans croaked. Her sad grey eyes filled with tears, her cheeks flushed from her mental breakdown.

“Taylor… Listen. You’re young. You don’t have to do this. If you come with us, you can get a lighter sentence and live your life.” Emily said to calm down the broken girl.

More time passed by as Emily and Spencer tried their best to negotiate with the unsub, but the end was already written. Taylor Evans planned to do an end game, one where she put herself out of misery.

“I’m sorry….” the blonde girl whispered. In a swift motion, Taylor pulled the trigger onto herself and shot herself underneath the jaw. Her body dropped quickly but Derek ran up to the body to catch it.

“Damn it,” Derek said. “She was young. Broken. Felt like she had to prove herself that she was something.”

“There was nothing we could have done to help, Morgan. She already had planned her end. She was long gone before anyone else could have noticed.” Hotch responded to Derek’s little monologue.

Right next to her body was the Emperor card. A beautiful deep purple with gold lining depicting an emperor. The gold detailing reflected against the tall mirrors in the room. The card was reversed, like if she purposefully did that to tell the end to her story.

taglist: @homosexualyearning / @ssajelle / @iconicc / @sunlightgalaxy / @jemilyology / @pumpkin-stars / @lgbtbau / @drinkingcroissants / @abbyprentiss / @pen3mily / @morcias / @hotchsbabygirl / @gravelyhumerus / @notsosmexy / @rxcklessly-bratty / @hqtchner / @girlbossjareau / @pagetsimp

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sam-blackbird · 3 years ago

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What if episode 8 spoilers!

I wrote this while watching the episode and after, but I don’t stop the episode every time I had something to said because it would have been to long. (In fact that’s what I did so it’s really a long post, sorry!) Anyway, let’s began!

OMG there’s « Jeremy Renner » in the opening! *fangirling in Hawkeye/Clint Barton fan* Wait, about the opening, it’s different from the others, the ones from the previous seven episodes, right? OMG blond-haired-Natasha! *also cry in fangirl*

The Watcher talking about a reality which end and which breaks his (?)(we always assume that’s The Watcher use the he/him pronouns but as far as I’m not sure of it, I’ll use the they/them pronouns) their heart and guess what? I think this episode will break mine!

It snow… (Please tell me it’s not ashes (Maybe from the burning world?))

Holy- Natasha!!! My heart is tight and I feel bad and sad and now I want to cry, Marvel I hate you. Also, she looks hurt, Marvel I double hate you for that, stop playing with my feeling please!

*yell and screams* My little boiiii!!! (Hawkeye/Clint Barton just appeared on my screen) (and I’m really happy of it) (I hope he won’t be hurt, or I’ll became violent because no one hurt my little baby! Yes, I’m aware that he’s older and stronger than me but I don’t care, let me dream and cry, ok?) Also, excuse me, but what happened to his right arm? I’m not sure but if it’s what I think it is, Marvel you’re gonna have big trouble (and by that I mean my insulting you in French in my room, which isn’t that bad I think)

Good I love this action scene and this duo! And the Hawkeye cape is really stylish! I want the same! It seems so cool! Can we agree on the fact that that’s a cape of invisibility, like in Harry Potter?

Also, that’s a metal arm or a prothese that he have instead of his right arm?! Marvel please no! *screams and swear in French*

The three-arrows thing was cool!

*double scream in French when the robots hurt Hawkeye*

Touch him and I’ll kill you you robots! Yay! Natasha!

Wait a minute, I just think about it but where are the others? (I’m full of fear now)

A joke about him being disable? Ah. Sooo fun 😒 (no) Natasha saying that puns aren’t her speciality… Girl, no kidding?! Also, the « It’s Russia. Secrets were the national pastime. » is actually a good one! (Is that the ruins of Saint-Petersburg?)

« One‘s man dream »… You mean his stupidity and/or madness of values, right?

Oh sh¡T! Ultron dear, you’re a son of a Tony, and that’s not a compliment. Dumbass, if you erase the life on Earth, first of all that‘s not nice (thank you Captain obvious) and then, how can we have the wonderful Wandavison?! (Yeah, I love this ship, one of the only hetero ones I like)

Clint being worried for his family wasn’t something I needed today you Marvel!

Scuse me WTF?! He cut Thanos like a shitty piece of paper?! And this purple idiot let him a free access to the Infinity stones?! (Well, he may don’t think things were gonna happened that way but it’s a big catastrophe, like *scream in French*)

*swear in French* Ultron my dear don’t do that!!! *scream for the happy universes we saw* *cry for it* Also, Ultron might be a vilain but we can’t deny they’re (again I’m not sure about the pronouns) really good looking. I mean, their design is really cool and full of style and it’s sad it would bring us tears and desperation because they’re really stylish -I know I repeated the same think but I think it and my English vocabulary isn’t really good :C -.

And I was right to fear for the others :C

Ultron, peace isn’t destruction!

Did he just destroyed Earth?! *is shocked and don’t accept it* *my heroes can’t die, right? * (friendly reminder that Tony’s not part of my heroes)

And Asgard?! *still in disbelief*

*saw their favorites MCU characters disappear from the screen* No! Nooo! *cry for real and had to put pause to cry* (my heart is broken, why did you did this Marvel?!)

The Great Master is just like us, he watch what’s happening in disbelief because it’s so… absurd. It’s not happening, right? It’s just a nightmare and I’ll wake up soon, right?

What the f_ck Xandar?! Captain! *cry with joyfull tears* Please kick Ultron’s ass! Skynet, LoL, I understand that reference! (Am I that old?!)

Wait, I just realized but if Ultron had destroyed Earth, it means Maria -you know, Carol’s wife- is dead?! *gasp in pain*

« You can’t win. - I already have. » Dude WTF?! Let me have hope you son of Tony!

Crap Ultron broke the 4th wall and heard the narrator (aka The Watcher!)! We’re in danger! All the universes are in danger! Our mental health are in dan… Wait, I don’t have that one.

*deep breath with Natasha and Clint appears on screen*

Hey Watcher, maybe you could help them, no? I mean, the multiverse is in danger and they’re your last hope, remember? But no, it’s so much fun to watch them looking in all the boxes… 😒

Is that Alexei Red Guardian’s shield? You really want me to cry Marvel?! (oh no, now I’ve got « Bye bye Miss American Pie » stuck in head… Great, really)

*Clint talking about his low will to live* Me: same here bro! Not exactly for the same reasons but same here!

Watcher, stop talking just f_cking help them! That’s what you called « intervene » Watcher?! LoL seing them trying to talk to the duo Clintasha is the funniest think in this episode for now xD

Not this escalator xD *think about the scene with Steve and Bucky in it in Captain America: The Winter Soldier* *smile*

Francis?! WTF?! XD

How to kill Zola? With water xD Oh God I love Clint so much xD

« I’d like to order a pizza » LoL *die of laughing because it was unexpected* xD (See? She can make pun!)

Yes, a specific arrow! Also, don’t explain us you plan! If we know the plan before it happened, it’s not gonna work!

I’m love the trio Clint-Natasha-Zola actually!

Wait… Natasha holding Clint furiously reminds me of what happened in Voromir… *realization* NO! No no no no No! I see what you trying to doing here Marvel! No! I want them to live! Both of them!

*shock* *cry*

The « I don’t want to fight anymore » wasn’t something I needed Marvel! Why would you do this to me?! WHY?!

*also, sadly, we know that Ultron won’t die in this episode because we saw it in the end of episode 7 and it was after episode 8 I guess*

THEY DO THE OPPOSITE OF WHAT HAPPENED IN ENDGAME THOSE *incomprehensible swear drowned in tears* !!! I hope all the one who said that « it should have been Clint » regret it!

And the little smile! He’s relieve to leave and to join his family! *cry in pain*

Why do I still watch The MCU?! I know it’s painful but I still watch, why?!

Apart of that, can we talk about the beauty of this scene? The music, the light who goes on Clint…

Watcher, you sure you can’t do anything ?!

I’m sorry but I have to : Nat, you’re such a poser !

Wait, The Watcher is actually really badass and strong!

What the f_ck Steve?! Why became president?!

WTF?!

Wait, it’s already the end?! Ah, no. Fiou.

What the… That’s Strange. And by that I don’t only said that it’s weird, but also that that’s literally Doctor Strange from episode 6.

How the f_ck does he end up there!? No idea.

I love the ending music, god!

*enging credits* What the… The CNC and Film France helped?! *disbelief but also pride to be French*

And that’s it! Finished! One week to wait until the next one?! It’s gonna be sooo long (actually no because of my studies but you understand what I mean, right?)

#what if spoilers #what if ep 8 #what if episode 8 #marvel #mcu

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entertainment · 5 years ago

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Entertainment Spotlight: Joseph David-Jones, Arrow

From a superhero in the DC Universe, to a performer caught in the middle of racial injustice and police brutality, and an artistic guitarist struggling with bipolar disorder, Joseph has brought to life some of the most dynamic characters in film and television today. This year, Joseph can be seen reprising his fan favorite role as Connor Hawke AKA ‘The Green Arrow’ in the final season of The CW’s longstanding action-superhero series Arrow, as well as in DC’s Legends of Tomorrow. On the film front, Joseph held a starring role in Kathryn Bigelow’s critically acclaimed feature film Detroit, as well as in Roman J. Israel, Esq and The Divergent Series: Allegiant. We got the chance to ask Joseph some hard-hitting questions about his life and career:

Do you have a favorite Arrow fan theory or piece of fan art?

I used to be a sucker for fan theories. I would spend hours watching videos on YouTube or reading posts on fan sites. I used to be convinced that fans had figured out the secrets to my favorite shows. But now that I’m on the other side of it, I think fan theories are hilarious. Now that I know what the truth is, it’s so funny to watch people speculate. For this season of “ARROW", my favorite fan theories have to be the ones about Crisis. I mean, fans have no idea what’s coming.

As for my favorite fan art, I actually reposted it earlier this year. It was this great piece of Kat McNamara and I by Lord Mesa. Credit: Lord Mesa

If you could be transported into the world of a book, movie, or TV show, which one would you pick?

That’s a tough one. The coolest worlds often turn out to be the most treacherous ones. However, if I could somehow adopt the supernatural elements of whatever world I chose to inhabit, it would be Dragon Ball Z hands down. I’ve been a fan of that since Day 1.

What is the best piece of advice you’ve ever received?

"Trust that God has a plan for you" - My Mother.

If you were to come up with an alternate title for Arrow, what would it be?

"The Mysterious Life of Oliver Queen.”

Do you have a favorite scene or moment from the final season of Arrow?

My favorite scene to shoot this season would have to be the one from episode 802 between my brother JJ (Charlie Barnett) and I. It was one that both he and I had discussed in great detail prior and had worked through multiple times in order to truly find the history between us.

What’s the funniest photo that you have on your phone?

I don’t have many funny photos on my phone, aside from me catching my castmates sleeping. I do, however, have a lot of funny videos. The funniest one that comes to mind is of my me and my girlfriend on a road trip. She’s filming and when she turns the camera onto me. I scream bloody murder as if I were seconds from crashing, and she instantly starts to freak out and drop the phone.

If you could have the powers of any hero or villain from the Arrowverse, whose powers would you want?

Barry Allen hands down. That way, if I don’t like my current timeline, I can always just mess it up.

What did you dress up as for Halloween?

Miles Morales from Into the Spider-verse but don’t tell DC comics.

Do you have any fun facts about filming that fans would be surprised to know?

Episodes change drastically while we’re shooting them! Every day new drafts of the scripts are written, then rewritten, and written again while we’re still shooting the episodes. So, I may start out thinking we're shooting one thing and wind up filming a completely different episode.

What’s next for you?

I’m really hoping to spend some time developing and working on my own projects. And now with Arrow coming to a close, I finally have the time and resources to do it.

Thanks so much for chatting with us, Joseph! Catch new episodes of Arrow, Tuesdays on The CW.

Photography: Storm Santos | Grooming: Andrea Samuels | Styling: LaDonna Alicia

#entertainment spotlight #joseph david-jones #arrow

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hopeymchope · 3 years ago

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Godzilla Singular Point

I came into Singular Point with some trepidation because Godzilla’s history in anime is both very recent and extremely bad. The three anime movies released between 2017 and 2019 are easily the worst work of famed writer Gen Urobuchi and honestly contain more bullshit than I can even get into here. Those movies and this series were both Godzilla anime properties commissioned by Netflix, which didn’t get my hopes up very much. Thankfully, Singular Point is a very different beast from the anime trilogy. One could argue it’s very different from most Godzilla media, actually — at least from my perspective. And I’m still a pretty entry-level fan of Toho’s Big G, all things considered.

Let me just warn you right up front: This smartphone-based virtual assistant is basically the breakout star of the series.

When you think “Godzilla,” you probably don’t think “incredibly dense sci-fi concepts,” but with the big G’s first-ever anime series, the writers clearly set out to change that perception. Before the first kaiju even appears, the lead characters are plucked from obscurity and dropped into a mystery that involves fourth-dimensional time travel, physical objects that look different from all sides, theoretical math concepts, self-propagating A.I., and a whole lot more. And it’s NEVER made clear how all of it connects to the rampaging kaiju! Although we spend a lot of time investigating a red dust or sand that is very obviously tied to the monsters in SOME way, no one ever makes a connection that explains the relationship. Maybe we’re supposed to wait for a later season to connect the threads... but let’s get into the idea of “another season” later.

I like to think of myself as someone who typically enjoys hard sci-fi, but even with the characters spending loads of time trying to explain the high concepts driving the story, I was never able to fully wrap my head around what was going on in the mystery at the center of GSP. I rewound and rewatched a few explanations, but I still walked away feeling lost. I eventually settled on some vague, loose understandings of most of the ideas mentioned, but those understandings were subject to being ripped apart in subsequent scenes when I was shown or told something completely at odds with what I thought I knew. I can’t say I was ever bored with the thick, dense scientific concepts on offer — trying to find purchase with these far-out ideas kept me glued to the screen — but damn, I sure wish I was able to comprehend them.

What do we want?! DENSE SCIENTIFIC DISCUSSION AND DEBATE! When do we want it?! AFTER THOROUGH RESEARCH, TESTING, AND PEER REVIEW!

Another weird thing about this show is that the lead characters remain in separate locations and on separate tracks for the entire duration. We have Yun — a mechanical engineer and programmer who has an amazing grasp on physics and human behavior. And we have Mei — a grad student who is deeply invested in theoretical science, UMAs, cryptids and other far-flung concepts. Both of them are basically geniuses in their fields, and even though they take opposing views of just how flexible reality is, their shared ability to think “outside the box” becomes the crucial component in solving the mystery at the core of the series. Because they don’t even know one another (despite being separated by like, ONE degree), they only ever interact via text messages and behind screen names, which feels pretty damn weird. At least I immediately liked both of them, with Yun being the standout to me because of how his lowkey reactions to crazy shit generates a lot of humor.

This soundtrack cover LIES; you will never see these characters in a room together like this.

Alas, we don’t get to know the characters a whole lot beyond what we learned of them in the first two episodes. It’s not long before they’re trapped in a series of complicated exposition dumps, endlessly attempting to explain the high concepts of the show to other characters as well as my dumb ass in the audience. The fact that I liked them in the first couple of episodes carried me through more than half of the show, but I was always hoping to see them share more of themselves or just display more emotion. Anime as a medium excels at emotional storytelling. But despite the major, world-altering events the characters are constantly warning us about, none of them seem to have many emotions about said events.

Further complicating matters is how, when major events finally occur in this show, they are often kept off-screen. One character shockingly dies, but the portrayal of that death is so piss-poor that I didn’t even realize it’d happened until someone mentioned their death in the next episode. After that vague death, I was particularly sensitive to anything that looked like it might possibly be lethal. Yet a later event that is played up as a tragic, fatal occurrence ends up... fine, somehow? It’s not clear how the character survives, because — even after one of our heroes is left screaming their name in despair as they seemingly die — nobody ever talks about or explains how he’s just fine a couple of scenes later. And near the end of the series, there’s a major transformation that occurs for one of the characters, and we never see it happen nor do we understand HOW it happened. It’s just that suddenly, this character is extremely different due to off-screen reasons that are only vaguely verbalized.

I guess these two really bonded at some point for some reason? And what you are seeing here is literally the height of emotion shown in the entire show.

Even though the overarching story of the series so far pretty clearly wraps up in episode 13, we then get a post-credits tease for a potential second season. So the question becomes: Would I watch that?

Well... Godzilla Singular Point is a series with a lot of issues that kept me at arms’ length from it — tons of extremely confusing dialogue, highly frustrating choices in direction that lead to baffling storytelling, characters who are mostly exposition-dumping — and yet there’s still some foundational work here that I appreciated a lot. When the action occurs, it’s pretty cool/fun. And when urban destruction occurs, it can be awe-inspiring. The human characters, though little-explored, have likable and interesting foundations to them that could be expanded upon. And I didn’t even mention the soundtrack, which features a variety of musical styles combined with the classic Ifukube theme music and an OP that is an absolute banger. (I have a weakness when it comes to music; a good soundtrack can carry me through even the blandest series sometimes.) Even the core idea of centering a Godzilla series around hard science and mathematical concepts is a compelling one, I think! I just hated the execution of it; they went waaaaay too far on poorly explaining incredibly complex, mind-bending concepts for my pea brain to handle it. They spend so much time trying to explain things, yet somehow they never succeeded for me.

Ultimately, I’d probably give the show another chance. But if I do give another season a chance, it’ll be on probation. I wouldn’t watch the entire season unless I could see within four episodes that they’d definitely improved things.

Would I recommend that anyone watch the series as it currently stands? I mean... not really? I guess if you really dig complex math, hard theoretical science, and/or Toho’s stable of monsters, then maaaaaaaaaaybe give it a shot. But otherwise? Naaaahh. It’s not good enough at anything to make it stand out from the anime crowd. I didn’t hate it like I hated the Godzilla anime films, but Singular Point is still something that both casual viewers and most fans can comfortably ignore for the time being. It’s not a complete disaster, and it’s not without its highlights... but it’s definitely disappointing in my opinion.

OKAYOKAYOKAY, so let’s talk about the kaiju for a bit!

Below will be SPOILERS revealing all of the kaiju that appear in Godzilla Singular Point and giving my feelings on them.

Godzilla — It’s interesting to see a version of Godzilla that borrows some ideas from Shin Godzilla. Shin G has been incredibly unique until now, but this Godzilla manages to fold some of Shin’s distinctive aspects in with the more classic/typical versions to build a fun new depiction. Be forewarned that Godzilla doesn’t show up until the series is halfway over, and he doesn’t get a ton of screen time, either. He’s used quite sparingly and kept in hazy settings, often framed from the neck-up when they show him. It’s a little frustrating that they felt the need to shroud him so much, but I respect the fact that whenever Godzilla is shown, the destruction he causes is on a scale far beyond anything that the rest of the kaiju ever do. He is pure devastation.

Rodan — He’s easily the biological kaiju with the most screen time in Singular Point. Rodan is first introduced as one gigantic pterosaur, but if you’ve seen ANY trailers for this show then you already know that his depiction transitions into an asston of smaller pterosaurs, all of whom are also called “Rodan.” (Apparently the word Rodan is both singular and plural, like the word “buffalo.”) Although he looks kind of cool at first, pretty soon Rodan showing up isn’t special or threatening anymore. Rodan appearances go from “a big goddamn deal” to “some bland background noise” before the series is even 1/3 finished. The design might be a little too far removed from the original for my own taste, but even if I didn’t think that, I wouldn’t be able to care for this Rodan simply because he’s rendered so unimportant and unimpressive.

If you go out in the woods today, you’re sure of a big surprise...

Anguirus — Now check this guy out! Anguirus gets one of the coolest fights in the show and also demonstrates some powers that are well beyond anything we’ve seen him do before. Because he sticks to unpopulated areas, we never see him do much damage to Japan, but he is definitely holding all the attention when he’s on-screen. He’s a highlight for me — a total badass who is very unique in his abilities. And the stated origin for his name is goddamn adorable.

Manda — Yup, Manda is in this series... but I don’t have much to say for him. It seems like the creators of the anime didn’t have much to say about him either. His role amounts to little more than a repeated cameo, and in most of those cameos you only ever see his tail. When we finally see his full body, it’s done so briefly and kept at a distance, leaving me with no real impression. I had to look up his design online and... yup, that sure looks like Manda. Final score: MEEEEHH.

Kumonga — I definitely did not see this appearance coming! Kumonga is much smaller here than you may be used to, but she gets to star in the most suspenseful sequence in the series and easily earns the most exciting cliffhanger moment at the end of an episode. I was utterly glued to the show during her screen time, which comes with a lot of icky twists. Good ones! I honestly like Kumonga here more than I ever have previously.

NEW PHONE WHO DIS

Salunga — Uh, who? This is the one monster that isn’t based on a classic Toho kaiju but instead is a brand-new creation. I suppose that everybody who touches the Toho Kaiju franchise wants to make their own mark on it in some regard. But a big part of the fun of this series for me personally was the anticipation of seeing new interpretations and designs of classic Toho monsters. And so, given that he kind of resembles both Baragon and Gabara, I never stopped wishing they’d just used one of those guys as the basis and namesake. Taken on his own, however? He’s... pretty neat. Not unique or exciting, but solidly above par. He resembles a cross between a lizard/dinosaur and an ape, plus his head has some nifty coloration.

Our Jaguar!

Jet Jaguar — I guess Jet Jaguar isn’t exactly a kaiju in the traditional sense because he’s a Giant Robot. However, if you want to consider him one, then I wager he probably gets even more screen time than Rodan! We meet him almost immediately when the series begins. Initially an odd pilot-driven robot that was constructed at the whim of a quirky old factory-owner with too much disposable income, Jet Jaguar grows and changes over the course of the show, ultimately undergoing a transition in episode 7 that makes him pretty damn impossible to dislike. In fact, I utterly adored him by then. This is definitely the best Jet Jaguar I’ve ever seen. His design is recognizably similar to the original yet utterly distinct, too. Like many of the other kaiju here, he’s not nearly as big as he was when he was first introduced to the movies, but his size is ideal for battling the smaller-scale monsters that we spend most of the series on.

#godzilla #godzilla singular point #anime #anime reviews #kaiju

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twdmusicboxmystery · 4 years ago

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10x19: One More - Analysis

Okay, what did everyone think of 10x19? I really liked it a lot. I’m still trying to get a handle on what everything meant, and I think there’s a lot more to be had than what we see on the surface, but it was a really tragic and moving episode. I got lots of messages from people who watched it early and immediately noticed the Bethyl callbacks.

So, I’m going to do something slightly different this week. Today, I’m going to focus on those—all the obvious callbacks—and tomorrow I’ll do more of a forecasting post about what I think this episode means for the future and where I think it’s going.

***As always, spoilers abound below for 10x19. Don’t read until you’ve watched!!!***

I kind of figured from the description that this would be a case of Gabe and Aaron = Beth and Daryl. And that’s definitely true. I’m going to call this a mixture between Still callbacks and Consumed.

Still, because of all the callbacks I’m sure you noticed at least a few of. And Consumed because it’s two friends out looking for something. Actually, the first thing that made me think of Consumed is that they kept showing really sad things accompanied by really sad music, which reminded me of Consumed. I know for most people in our fandom, that’s not our favorite episode because it’s a Daryl/Carol episode, but just for the imagery and music and sadness of the dystopian world, I really love it. And this episode was similar to that.

So, it starts by showing some—both white and yellow. This flower

Is an Easter Lily. Yeah, not kidding. EASTER Lily.

Of course there are both white and yellow flowers. The yellow ones are reminiscent of the ones we saw in the cemetery in Alone.

Then we see Aaron and Gabe surrounded by walkers. When they start killing the walkers, its shows blood hitting all the flowers in a really kind of graphic way. I was like, “ew.” But at one point, they also hit a green grasshopper.

So, I was thinking that blood hitting the flowers and the grasshopper could possibly represent Beth being shot. And there are plenty of blond walkers to be had in this episode.

Aaron and Gabe arrive at a particular house. On Maggie’s map, it says this should be a two-story house with a root cellar, and she wants them to check the cellar for supplies. But when they get there, all that’s left is a doorframe with a swinging door and the chimney. The rest has been burnt, and by the looks of it, fairly recently. This is where they see the three charred skeletons with the pink flowers growing around them.

Couple of things. 1) This is a foreshadow for later in the episode. It has to do with the 2 stories, and I’ll get to it at the end. 2) The charred skeletons are a bit like what Daryl saw in 6x06, which was chalk full of Beth symbolism. 3) The pink flowers. (Pink Theory.)

In terms of foreshadows, this really screams the CRM to me, because of the burnt skeletons and the ties to 6x06, and remember that in 5x09, the radio voice (Andy) talked about the republic and a group that was setting people on fire. It’s like that’s one of their tactics.

One thing I didn’t realize from the trailer is that these are not three adult skeletons. It’s two adults and a child, all with their arms wrapped around each other. There’s a huge theme in this episode of families dying and specifically children dying. (Which is actually another tie to Consumed; remember the mother and child walker they find, and Daryl burns? Well, here we have two parents and a child, all who’ve been burnt. Yeah, not a coincidence, folks.)

We have two or three representations of families or children dying in this episode. I was thinking about the family in the gas station in 4a. I don’t think any of theme were children, but Daryl said something about them holding hands and taking themselves out Kumbaya style. And a lot of the skeletons we see here seem to be either taken out by their family members, or else they’ve committed suicide. There’s the child walker Carol and Daryl saw in 5x06. There was the creepy nursery near Denise just before she died. Etc. And it’s really very dark, ominous symbolism. Very sad.

Then Gabe pulls out an egg timer (another one of those), sets it for 5 seconds, and lobs it into the field. When it rings, tons of walkers spring up. So, it’s their way of checking before walking into tall grass. In this case, it shows the dial turning as the timer counts down. It definitely feels like a symbolic countdown to something big.

There’s also huge bullet theme. And usually single bullets. Mays makes them play Russian Roulette, which is all about one single bullet in the chamber. But there are tons of times when they pick up single bullet casings, or we see bullet holes in cars or walls or cans. Just a huge theme.

Okay, let’s get specific. They come upon a line of cars, which is really important. But just before that, Gabriel sees basically two piles of bones. I could tell not all of them were human. Some were too big. And I thought they might be horse bones. @bluesandbeth told me she thought they were two horses with their riders still on top. And she’s right. I couldn’t tell when I first looked at them. But once she said it, I could see it. It’s like a horse lying on it’s side, with the rider still straddling the horse, also lying on his side. And they died that way.

Now, other than knowing that we’ve definitely seen horses in the show before—think Buttons—I wasn’t sure what to make of it. Until @wdway said something interesting. You know the two horseback riders we see in the opening credits? Me and my fellow theorists are always going back and forth about who they are. I originally thought Rick and Michonne, which is the obvious conclusion. But @wdway told me she thinks this is actually Rick and Beth.

And you know, that makes a lot of sense since we didn’t see these new opening credits until Rick disappeared into the CRM. So, they could represent the two missing sheriffs.

And that makes a lot of sense with these bones. Because this scene with the cars has about 20 callbacks to Beth and what we think happened during the missing 17 days. So the bones represent the two riders from the opening credits, which represent the two missing sheriffs.

Now, onto the cars. One has the trunk open (Still) one has the side door hanging open (5x09). And there’s a van where Aaron sees a female walker in the front seat, which is kind of like what we saw in 5x09. Gabe finds a can of food, but there’s a bullet in it, which probably means the food either leaked out or spoiled.

But the really interesting thing is that him opening this trunk and looking in is very reminiscent of Maggie opening the trunk and finding the Beth walker in 5x10. So if we can equate those two things, both times, it represents opening the trunk and Beth being inside. In 5x10, she was represented by the walker. Here, by the can of food with a bullet hole in it, just like Beth got shot in the head.

Another thing I was reminded of was in 6x04, when Morgan sees the man and woman and she puts down a can of food and a bullet on top and says, “Thank you.” I think this symbolism may be related to that.

Then they go to the MiniMart. On the outside, it feels like the Big Spot or else maybe the gas station where Rick and Daryl met Jesus. In fact, much like in 6x10, there is a post for cigarettes with a price of $4.30.

When it pans out, there’s a coffee pot lying on its side (important because it’s something that water runs through, and we’ve seen a coffee theme as well) a walker with a bullet hole in its forehead, a bright yellow magazine rack by the door, etc. And this was a place you could play the lottery, so there was a poker theme going on.

Okay, the ARM symbolism is alive and well. My fellow theorists and I have been obsessing about what the arm symbolism points to ever since Leah threw the walker arm at Daryl. In this episode, a walker sticks both hands out of the door, and Gabe hacks them both off, around the forearm/elbow area.

Then, another walker gets its head and torso out and Aaron stabs it in the head. He and Gabe both grab an arm to try and yank it out of the way so they can get by, but the arms (really the hands because it separates at the forearms) just come off. And really, it’s just the skin, not the bones that comes off, but still. (Ew.)

This is where Gabriel goes up on the roof and we get the scene from the promo.

Okay, so when I first saw the promo, I immediately said this was a Grady callback. The “SAVE US” is something that could only be seen from the sky. Like…from a helicopter? Plus there were some important scenes on the roof of Grady. There’s a walker that’s handcuffed. So it’s an imprisonment theme. And Grady was all about imprisonment. And finally, we have what looks to be two lovers, dead, but entwined together on a mattress. I was thinking that if this is meant to represent Grady, that might represent Beth and Daryl. The love that never happened because Beth “died” and the relationship died with her. Or something equally tragic.

But there are other things we can connect this to as well. First off, what you don’t see in this shot is that there are two other walkers also tied to a second pole, but neither of them are animated. They’re just corpses. So we have a grand total of three prisoners here. If you look closely, the man lying on the mattress has a gun in his hand. Which suggests this might have been a murder/suicide situation.

It’s reminiscent of Merle being handcuffed on the roof in season 1, which was just before he went missing. It also reminded me of the strange, unexplained handcuffs Daryl found in 8x02 in that office building. Those were never explained. But the point is, it’s a handcuffs/imprisonment theme.

A big part of this is a foreshadow for the end of this episode and what happens with Mays. But given that he and his bro are one-off characters only appearing in this episode, I think this must foreshadow more than that, too.

We don’t actually see the inside of this place because Gabe goes to the roof, takes the ladder down (Ladder Theory) and then comes out the front door, but tells Aaron there’s nothing they can use in there.

Then they talk about going home. Aaron and Gabe been out for 2 weeks, which is definitely a Heath/Tara thing. In S6, they’d been out scouting for supplies for 2 weeks, and that was just before Heath disappeared into the CRM. Just saying.

Okay, then Gabe falls in the mud. Here’s the thing: we really thought Gabriel might die in this episode. Obviously not. But I do see some fairly clear death omens for him here. Of course I can’t be sure of anything, but I still think his death is probably close.

First is the fact that he trips at all. Anytime anyone really faceplants on the show, it sort of shows a coming catastrophe for them, which is often death. Beth face-planted in the elevator shaft in 5x04. Spencer fell off the zipline in S6, and died less than a season later. You get the idea. When, when Aaron lifts the walker off him, it leaves some intestines (ew) on his stomach, and the camera focuses on them for a moment. Just felt like a death omen to me.

I will say, however, that anyone who’s read the comics knows that this feels a lot like they might do exactly what they did there for his death. And they don’t usually do that. They almost always remix it in some way. So this could also just be a nod to his comic book death. We’ll have to see where they go with it.

But this scene is super interesting. It feels like EXACTLY the same thing we saw in 10x18. We have Gabriel’s map being ruined, and then a huge storm that immediately follows. And there’s Beth symbolism (talk of a water tower, etc). So I thought it was interesting that we saw it twice, in two subsequent episodes. Also, for most of the episode they’re kinda sorta trying to get to the water tower. As though water tower is end game or something.

Then they get to a warehouse that wasn’t on the map. Gabe finds the bibles inside. I’m still forming a theory about the passage he opens up to, but we all know they use biblical symbolism in this show a lot, and especially around Beth. But remember they found a bible in the barn in Alone. Later, Mays says the pages are torn because he uses them for toilet paper. (Toilet Paper Theory.)

Then we get to the really good Bethyl callbacks. Aaron and Gabriel eat pork, drink alcohol, play poker (not exactly the same as Beth and Daryl’s drinking game, but it’s a game), Aaron has a “bullshit” line, Gabriel shows an 8 and a 2 card, Aaron says he needs to “take a piss,” etc.

I did notice something while watching, but wasn’t sure what to make of it until AK was talking at the end of the episode. It shows one hand of poker and Aaron folds, which means Gabe wins. This is where he shows a 2 and an 8, which isn’t anything in poker. So, he won the hand on a bluff. And I went, huh. Wonder what that means. But it was a foreshadow of what happens with Mays. I’ll get to that.

Gabe has an “I’m serious” mention. In one of the bigger parallels, the dialogue is not the same, but the meaning is. So, different words, same meaning. Gabriel says his line from the promo about how evil people aren’t the exception, they are the rule. That really disturbs Aaron and he says, “okay, now I’m sober.” It’s the equivalent of “you ain’t a happy drunk at all.” And then he drives it home by saying, “I’m going to go up to the room and pitch myself off head first.”

And THEN—get this—he picks up a golf club and smacks a golf ball at FG, hitting him in the foot. Gabe says, “ow.” So not only a golf/Still reference, but I think it specifically ties back to when Daryl uses the club to kill the walker and hits Beth with the gore.

They say in TTD that they actually did an extended golf sequence where Aaron and Gabe set up this huge mini-golf course thing, but most of it got cut from the episode for time. So there was originally a massive golf theme in this episode.

Of course Mays shows up to take them captive. He shows Gabriel Aaron’s metal arm. So, more arm symbolism.

Without going into tons of detail here, let’s just recognize that the entire theme of this episode is whether or not there are good people in the world still. (Beth line.) Mays thinks all people are evil but Gabe and Aaron prove him wrong by refusing to the point the gun at one another during the Russian Roulette game. There’s a line where Gabriels screams at him that he needs to remember who he was. (“who you were.”) Which is a direct parallel to Beth telling Daryl to stay who he is. Which is a good person. So it’s a similar theme being explored here.

At one point, Mays says, “there’s nothing left in this world but thieves and murderers.” It’s not the same line Glenn says in 5x02, but the wording of the first part is exactly the same. “There’s nothing left in this world that isn’t hidden.”

We also definitely get an “illusion/hallucination” reference here. I noticed Gabriel said (and I’m paraphrasing; didn’t write down the exact words) that Mays was so bitter, and had so convinced himself that everyone in the world was evil, that he’d blinded himself to the truth and couldn’t see that he was about to kill two very decent guys (Gabe and Aaron). So, it just struck me as a you-can’t-see-the-truth-that’s-right-in-front-of-you theme. Plus, maybe a see no evil theme?

Another theme that jumped out at me is whether or not they are the same as him. At one point, he says, “you’re so close,” and I think he means to becoming a villain, like he is. During their fight, he says they’re the same and Gabriel rebukes him, saying they aren’t like him.

We’ve seen that theme a lot before. It’s like a theme of the bad guys trying to make the good guys like them, and the good guys have to prove they’re better than that. So, Crazy Tattoo Guy at Terminus came running out of his train car yelling, “we’re the same,” before he died. Joe Claimer tried hard to convince Daryl that he was like them and one of them, even though he wasn’t. And we could even tie this to Beth saying, “I’m not like you or them, but I made it.” Slightly different meaning in that case, but the verbiage is similar.

(BTW, notice in the pic above, Aaron has a head wound, bleeding from exactly the spot Beth was shot.)

And surprisingly, they actually manage to convince Mays that they’re right and he puts away the gun and unties Aaron, looking as if he’ll let them go. He unties Aaron…and then Gabe kills him. Pretty brutally.

So this is the second reason I think this might be a death knell for Gabe. And it also ties to the bluff in the poker game. AK said that everything Gabe said to Mays about him still believing in God and the bible was a bluff. So we’re left wondering if it was a complete lie, and Gabe has entirely lost his faith. Now, a crisis of faith does line up with Daryl in Inmates/Still, but at the very least, Gabe is in a really dark place. But he hides it well. It doesn’t look that way to others. But I feel like he’s spiraling and being super self-destructive, and this might soon lead to his death.

Remember when he killed Dante? It’s a lot like that. And at one point, Aaron says that Gabe doesn’t mean that (all the negative stuff he says) because his mind is just really full of the Whisperers still, but not all people are like the Whisperers. So, I think the idea is that dealing with the Whisperers really messed Gabe up.

But of course they go upstairs, or up a level and find Mays’ twin brother. And the thing is, Gabe wasn’t entirely wrong to kill him. I mean, in terms of Gabe’s inner arc, obviously he was being really, disturbingly brutal. But Mays was keeping his twin brother a prisoner upstairs. We see two bodies—that of a woman and child—each with a bullet hole in their foreheads. Which is obviously reminiscent of Beth. But the brother also says Mays “made him play.” Which means he did the Russian Roulette thing, but unlike Gabe and Aaron, he didn’t shoot himself but rather turned the gun on his wife and child and eventually shot both of them.

So neither of these guys was exactly Alexandria material. Then the brother gets ahold of Gabe’s gun and shoots himself. Aaron and Gabe leave. On their way out, it shows a photograph of the two brothers laughing together, clearly before the apocalypse.

Okay, let’s talk about this scene. This is what I meant was foreshadowed by Maggie’s two-story building description. Gabe and Aaron found a 2-story building where a family died together. You could say the same thing here of Mays and his brother.

I’m still not entirely sure what to make of the evil twin/evil sibling symbols. I think it must foreshadow something, and we just don’t understand what it points to yet. We saw it with Lizzie/Mica, with Noah’s twin brothers (and the picture of Mays and his brother is very reminiscent of that) and now here. So it’s really fascinating to me, and I’ve talked about it before, but it’s obviously symbolism that’s still in play and that we don’t entirely understand. For more on this, see the 5x09 Post I recently wrote.

But here’s the other thing about this scene. It was this scene in particular that reminded me of the handcuffs Daryl found in S8.

Because Mays’ bro was handcuffed in the same way. Near those cuffs in S8, there was also what might have been a dogfood sandwich, which is exactly what Daryl was fed at the Sanctuary in 7x03. So you see what I mean? It’s a whole imprisonment theme, with similar symbols around it. And dog symbol always = Sirius = Beth, which is why I think it has to have something to do with her. Then, I saw this:

Guys, this is the exact same brand of dog food we saw with Daryl at the Sanctuary. It’s called A-OK.

And what does it mean? I’m not sure, but consider this: even in 4x01, Beth had a lot of imprisonment symbols in her cell. A bird cage, a no exit sign, a garden gnome. And if Grady was tied to the CRM, and was absorbed by them, then Beth may have been a prisoner of the CRM for like 8 years, now. And even putting her aside, Rick has been their prisoner for 6 years. That much is confirmed in the show. So I think this points to the CRM in one way or another. It’s about a long imprisonment term, but is tied to Sirius and the return.

In the last scene, Gabe and Aaron walk through a field and they are coming up on the water tower, though it’s still in the distance. One of them says it’s the last place on the map. And I think that’s significant. So, I had a few different thoughts about how we could interpret this.

So, as I already said, Beth = water = endgame. But we also know the CRM is purifying water. So CRM = endgame. What I mean is, maybe it’s saying that the CRM is the last huge battle they’ll have to fight, and maybe then they’ll get the world back. And we’ve kind of thought that for a while. That they’ve been hinting at this group and this war, since season 1 when Rick saw the helicopter in Atlanta. And Beth will be a big part of it.

I also think we may be getting lots of hints of them losing Alexandria here. So it might be a matter of losing one more home or finding one more home. Something like that. If the CRM is the “one more” in the title… well, at first, Gabe says, “two more,” and then eventually “one more.” So I’m thinking two more big arcs. The first is the Commonwealth. The second “one more” is the CRM. But I think that will last for several seasons.

It also occurred to me that the “one more” could also be a death omen for Gabriel. One more place. One more battle. One more episode? And then he’s done. But all of this is just conjecture. Me brainstorming ideas.

One other thing I wrote down is that AK said the bullet in the gun in the Russian Roulette game represented one last trial, and would this be the bullet that will break them? I thought that was interesting, especially in terms of Beth’s loss breaking Daryl.

Okay, lets go back to what I said at the beginning. Obvious callbacks to Bethyl and Still, and lots of things suggesting her imminent return. Since the water tower = Beth and Gabe and Aaron were kind of searching for it the whole episode, you can see how that parallels 5x06, Consumed. But I also think it foreshadows the spinoff with Carol and Daryl leaving together to go search for Beth, even if they don’t know it initially. The fact that Aaron and Gabe were originally searching for something else (food/supplies) but sort of ended up aiming for the water tower here is probably purposeful.

Bottom line? This still points toward Beth being very close. I’ll do more general forecasting tomorrow. Thoughts?

#beth greene #beth greene lives #beth is alive #beth is coming #td theory #td theories #team delusional #team defiance #beth is almost here #bethyl

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blodreina-noumou · 4 years ago

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What's your favorite underrated Murphy moment?

I can only pick one? Impossible! I’ll give you my top 3. In no particular order, because this man is underrated in countless ways!

1 - “Your plan was better, let’s go.”

In 4x01, Emori is scavenging and preparing to flee Polis in the aftermath of the City of Light fiasco. Murphy manages to convince her that they’ll be safe with Skaikru, which is a sweet scene on its own. But my favorite moment of his comes when we see him next.

Polis is tense, on the verge of breaking out into battle, and Skaikru is planning how they’ll keep the peace long enough for Roan to wake up and retake control. Murphy walks up to Bellamy, who’s standing with Indra and Kane. Murphy only needs to hear about thirty seconds of their plan - which includes Bellamy risking his life and offering Azgeda guns, to keep Echo occupied long enough for Abby to save Roan - before he realizes that his assumptions of safety among his people were wrong. Still he plays along for a few moments more, quietly accepts Bellamy’s gun, and goes to pretend to stand post. But in reality, he finds Emori again, and says:

“Remember what I said about being safe with my people? Yeah, your plan was better, let’s go.”

It’s a small moment, but it shows so much about what makes Murphy amazing. He’s a survivor, not because he’s “a cockroach,” but because he’s adaptable, charming, and resourceful. This scene shows that subtly but very clearly. He hears new information, gets his hands on a weapon, and changes his plans in the span of a single scene, without doing much more than staying quiet and assessing the situation - something most other characters in this show really struggle to do.

2 - “Do I get a gun now?”

In 2x03, Bellamy and Finn are leading a team in the woods to find Clarke - a team which includes Murphy, who is pretty fresh off his Total Douchebag phase of s1. Bellamy and Finn are including him in the search party out of a lack of options more than anything else, and Murphy himself is tagging along to avoid the scrutiny of Team Adult, who have recently touched down on Earth. Nobody trusts each other, and Bellamy is still treating Murphy as expendable.

Bellamy barks out orders to his squad, leaving Murphy without an assignment until the very end. Monroe asks what Murphy will do, causing him to quip: “Yeah, do I get a gun now?”

Bellamy snarks, “Something like that.”

The next we see of Murphy, he’s crouched at the base of a tree, tapping two stones together, looking anxious but determined. He manages to lead the Grounder they’ve targeted to a secluded spot, where Bellamy can knock him out.

At this point, although we’ve had the humanizing moment of Murphy telling Raven his story, as they both lay dying on the floor of the dropship, Murphy is still a not-yet-reformed antagonist. He hasn’t taken part in trying to save the girl on the cliff, yet, and we haven’t seen him in contrast to Finn’s later unhinged violence. He’s got a long way to go from “guy who peed on someone who asked for water” to “dashing hero who got the girl and also became a godking.”

Because of that, there are so many wonderful little moments that help transform him in s2, but this scene is one of my favorites. It’s one of the first times we get to see Murphy used as straight-up comic relief, which is something the show will go on to fully embrace about him in the later seasons.

But it’s also one of the first times the characters get to see that Murphy actually can be a team player, and that he will put himself on the line, given the proper circumstances. Murphy has the most reason out of any of them to be afraid of the Grounders, to want nothing to do with them, to protect himself above all else - he was tortured by them, brutally, then used as a biological weapon against his people by them, and then tortured again.

It would’ve been 100% his right to say, “No, go float yourself, I’m not facing these monsters without a gun.” But he’s brave, and far more heroic than he ever gets credit for, especially early on. This aspect of his personality only continues to develop and blossom over the next five seasons, and it’s beautiful to watch.

3 - “Tell me about Harper.”

4x13 is actually one of my all-time favorite episodes. I think it’s one of the few times this show has managed to expertly blend meaningful character moments with a compelling, exciting plot. We get to see so many sides of everyone, and the exchanges between Murphy and Monty are some of the best.

Monty (somewhat rightfully) distrusts and dislikes Murphy at this point, as the only real experience he’s had with him was when Murphy threatened to kill Jasper in early s1. Monty is freshly grieving Jasper, and it’s clear he resents Murphy’s presence. But Monty and Murphy must work together, if any of them stand a chance of surviving - including the two women they each love above anyone else, Harper and Emori, respectively.

The men are struggling to carry back a machine vital to their survival on The Ring. Monty has injured himself by removing his gloves in an effort to recover the machine, causing serious radiation burns on his hands, and he’s in a lot of pain. Despite Monty’s less-than-warm attitude towards him, Murphy does everything he can to support Monty and to distract him from his pain.

The entire exchange is worth rereading, if it’s been a moment for y’all (it had been, for me):

(After forcing his gloves back over his radiation-burned hands, Monty reaches to lift the machine.)

Murphy: Hey, no no no no no, not with your hands, okay? I’ll do it.

Monty: It’s too heavy to carry all the way by yourself. On three. One, two, three!

(They lift the machine together, and Monty screams in agony.)

Murphy: Who knew you were a secret badass?

(Murphy and Monty start carrying the machine together, over the uneven terrain, through the pouring black rain.

Monty screams in pain again. It’s clear each step is excruciating.)

Murphy: Hey hey hey, watch your step. It’s probably a bad idea to drop the thing that’s gonna save our lives, huh?

(Monty is starting to flag, his exhaustion apparent in his face. He keeps grunting and crying out in pain.)

Murphy: Okay, okay - focus on me. Tell me about Harper.

(Monty stares up at Murphy incredulously, swaying on the spot.)

Murphy: You guys seem pretty serious, you uh, tell her you love her yet? If not, I mean, today might be the day.

Monty: I’ve told her.

Murphy (smiles): It’s crazy how it changes you, isn’t it?

Monty then proceeds to pass out. Murphy begs him to stay conscious, but after a few moments, it’s clear that he’s on his own, and that Monty is in serious danger. Murphy has to make a choice, and he makes the right one - he lifts the incredibly heavy, lifesaving machine all on his own, and staggers back to the lab, leaving Monty behind. Fortunately, they’re able to save Monty later, and he says one of my favorite Monty lines:

“You chose the machine!? I may not hate you anymore.”

Monty and Murphy bonded here, over their love for the incredible women in their lives, and over the unfortunate and harsh reality that some things are worth dying for, worth being in pain for, worth sacrificing other people for. This scene shows so much - Murphy’s pragmatism, but also his romantic nature, his reliance on humor as a defense mechanism, and his willingness to do difficult things to survive. It’s peak John Murphy, way back in s4.

My love for him, which had been growing strong since s2, was fully sealed with this scene.

He has many more memorable moments, but this is long enough. Thanks so much for the question! It really helps me write meta when people ask specific things. And I’ve never had the chance to really talk about Murphy!

#asks #doortotomorrow #john murphy #the 100 meta #the 100 #memori #stephspeaks

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sortasirius · 5 years ago

Text

“The Trap” and The Confession

Coming to you live from my coffin this evening: this episode ripped me apart in about ten thousand ways and I am grateful for it.

Oh boi oh boi is this L O N G.

Tbh, I’m going to gloss over a lot of the Chuck/Sam/Eileen stuff, let’s get to what we’re all here for: what in the FUCK that Destiel content was.

So, we all spec’ed a lot about the return of Purgatory, I specifically talked about what Purgatory meant for Dean and Cas’ relationship in season 8, and man oh man, Bobo Berens didn’t disappoint.

Let’s kick it off with, once they get inside Purgatory, Dean literally immediately wants to split up, and ngl, I kinda groaned internally, thinking that’s how we get the prayer or whatever, but my mans Cas is having NONE of it.

“Yeah we’ll also improve our odds of getting lost or killed. Come on.”

And Dean??? Doesn’t even argue?? He’s just like ur right let’s go. Ok king.

And when they catch that Leviathan, and the way Dean looks at Cas when Cas like force throws him into a tree.....like go adjust ur pants dude lmao.

I just felt, up until that scene, that Dean was teetering on the edge of saying something to Cas, like Cas is clearly still kinda mad and doesn’t want to talk but Dean does, he keeps looking at him and making little jokes and stuff...an idiot in love.

Also hey guys I will not, under any circumstances, accept that my man Benny is dead ok thanks for allowing me this sidenote.

“I know you’re sorry, Cas. About Bel, about mom-”

“I was talking about Jack. I already apologized to you, you just refuse to hear it.”

Woof.

“Sorry I brought it up. Maybe if you didn’t just up and leave us-”

“You didn’t give me a choice. You couldn’t forgive me, and you couldn’t move on. You were too angry. I left, but you didn’t stop me.”

At this point I believe that my jaw had literally hit the floor. Because, I want y’all to think, NAME ME a similar scene, post a breakup like Dean and Cas had, that isn’t romantic? Yeah, I couldn’t think of one either.

So Dean really tried it, huh? Tried to make Cas’ leaving about Cas and not what Dean did? Which we’ve seen so many times from him, but finally Cas is pushing back and refusing to accept that, refusing to rollover and just let Dean win the argument, he makes Dean think, makes him think about his anger, why he pushed Cas away.........can we give Berens the Nobel Peace Prize pls?

I do wanna say that Berens and Singer did a masterful job heightening the tension between scenes. Like the bleak future scenes that Sam was watching vs. Purgatory. A really well done episode all around.

Cas gets taken by the Leviathan, trapped in an angel trap, Dean gets knocked out, and when he comes to he’s alone, the area and the shot almost a direct comparison of the first shot on season 4, when Cas pulled Dean out of hell.

And then there we were, my heart was literally racing, I had to stand up and get as close to my TV as I possibly could, but man, even though they warned us about the confession, good GOD.

Dean’s desperate, he’s breathing too hard, looking everywhere for Cas, screaming his name, and then he just collapses, he just breaks in half:

“Cas? Cas I hope you can hear me. That wherever you are, it’s not too late. I shoulda stopped you. You’re my best friend, but I just let you go, cause that was easier than admitting I was wrong. I don’t know why I get so angry. I just know that- I know that it’s always been there, and when things go bad, it comes out. And I, I can’t stop it. No matter how bad I want to, I just can’t stop it. And I, I forgive you, of course I forgive you. I’m sorry it took me so long- I’m sorry it took me til now to say it. Cas, I’m so sorry. Man, I hope you can hear me. I hope you can hear me. Okay.”

So uh. Yeah.

Listen, I know I’m not the only one that thought this, but damn, damn if that wasn’t the most double sided speech ever. Sure, it’s an apology, he’s sorry that he pushed Cas away, but....what else?

We talk to much about how Dean projects this macho, masculine persona, when we all know he’s a big nerd who loves comic books, bad scary movies, cucumber water, and Taylor Swift. He isn’t, he’s never been the macho man he so desperately wanted to be, and to me, that prayer wasn’t only an apology for pushing Cas away, it was an apology for not being able to see, until now, what was right in front of his eyes. That he loses it every time Cas is gone, that he was willing to spend a year in Purgatory looking for Cas the first time, that he would do anything, cross any line, go down any road, for Cas.

“I’m sorry it took me so long-”

He cuts himself off there, but the unsaid words hang in the air “I’m sorry it took me so long to realize how I feel about you.”

This scene is just so fucking painful, Dean never cries like this, he never loses it like this, but this confession, this declaration to Cas, it drags all of these pent up emotions, all that shit that he feels for Cas that he has tried, for literal years, to tamp down, comes out all at once.

I’ve said for a long time that Dean gets angry and takes things out on Cas because he’s angry about how he feels about Cas, and pushing Cas away is easier than accepting just how deep his feels run for Cas, but he told Sam that he felt “pure” in Purgatory once, and I feel like he almost just....couldn’t lie, if that makes sense.

And, just like every other time in Purgatory, Cas doesn’t show up, and Dean pulls himself together and does what he’s always done in Purgatory: he keeps looking for the angel.

When they find each other, sweet baby Cas curled up by a tree. That hug, the way that Dean grips Cas like he’s clinging to a liferaft. Lay me to rest.

“Okay Cas, I need to say something.”

“You don’t have to say it. I heard your prayer.”

This snippet is so little and awkward and they’re looking at each other like people look at their crushes and I’m just really really really soft okay?

And then, for our grand finale, the Sam/Eileen scene:

“You should stay.”

“I wish I could. After what happened, I don’t know what’s real anymore.”

(Insert the sweetest goddamn Saileen kiss in the world)

“I know that was real.”

So........lets compare to 15x02:

“I’ll tel you what we do know: nothing about our lives is real. Everything that we’ve lost, everything that we are is because of Chuck. So, maybe you can stick your heard back in the sand, maybe you can pretend that we actually had a choice. I can’t.”

“Dean. You asked what about all of this is real. We are.”

Yo. Are these writers serious? An absolutely direct damn parallel between Cas/Dean and Eileen/Sam and Sam and Eileen KISS? Ok guys, I’ll see myself out.

Bobo Berens has been one of my favorite writers for a long time. He knows how to make an episode flow, make it gutwrenching, funny, scary, romantic, all at the same time.

I answered an ask right after 15x02, when someone asked my why I didn’t want Buckner/Leming to get credit for canon DeanCas, and I stand by what I said: Bobo has always been one of the writers that understand them the best. He gets what they are: best friends that turned into something more, something so much more that Dean, in my opinion, doesn’t even have to say it out loud for it to be as incredibly obvious as it was. Berens is one of the people that deserves the credit for where Dean and Cas are today, that we even have to argue about what makes canon canon.

I spend so much time with this show, with these characters, that sometimes I feel like I need to take a step back and just fucking appreciate that this scene, this incredibly beautiful episode would never, in a million years, have happened without this showrunning team. Andrew Dabb and Bobo Berens are creating this literally masterful final season. I mean what I say when I say that each episode is better than the last, because they ARE, and Dean and Cas are right there, at the forefront, every time.

Dean Winchester’s growth into who he is is, in my opinion, one of the greatest character arcs in TV. He is NOT who he was in season 1, in season 4, in season 10. He’s grown so much, he’s so much more willing to be himself, to love what he loves openly, and that scene, that heartbroken, tearful confession where ten words said a thousand is even more than I could have ever asked for.

#my meta #spoilers #destiel #spn 15x09 #dean winchester #castiel #spn #supernatural #my writing #destiel meta #bobo berens #bye im gonna go write fic now

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ethanramseyyy · 4 years ago

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OPEN HEART: SECOND YEAR CHAPTER 12

I have already written this post but Tumblr had the audacity to delete it. So here we go again

The first exchange between Mc and Ethan in the hospital was adorable. Since Ethan opened up to us in the last chapter we have seen a WHOLE different side to Ethan and I love it. When the heart rate monitor started accelerating because Mc and Ethan were talking, I DIED. It just goes to show how powerful their love is. “It’s okay if you need more time”, this man is really out here trying to kill me for the 500th time.

Rafael stans were spoilt today. I know they didn’t get the chance to have a 30 diamond scene with him (at least I don’t think they did). Considering the fact only a few chapters ago he was meant to be abandoning everyone to move to Brazil or somewhere like that, I think they did well today. Raf’s grandma is one of the best characters introduced into Open Heart (behind our angel Bobby obviously). She is your typical grandparent with the array of food and drink and the embarrassed grand child XD. When she said that we saved her beautiful boy and then Mc replied that they saved eachother, I understood why so many people romance him because that was adorable. Mc and Rafael’s friendship has to be one of my favourites they are so sweet with each other. Unfortunately, I was an idiot and didn’t buy the diamond scene. The only reason I didn’t get it was because it was so early in the chapter and I didn’t know what other content we were going to get. I will probably replay it and buy the diamond scene but let me know what happened during the walk.

Mc getting ready for the memorial was so sad. I thought our landlord Farley sending flowers was so so sweet. I have got to say that I LOVED the diamond dress that was on offer. Obviously, I had to get it because I had to look good for our boys on their day. I have got to give all the credit to @playchoices because I think they did an unbelievable job with the memorial. They really gave Bobby and Danny a funeral fit for kings!

The first screenshot broke me. The caskets with the boys in and the flowers on top, I miss them already. To make it even more sad, I had ‘Hold On’ by Chord Street on in the background and if you have listened to that song you know how bad that combination is. Bryce telling the story about them was so heartwarming and one of the many reasons we all love Bryce whether you are romancing him or not. That boy is an angel. Our poor baby Elijah really struggled during the ceremony and all I wanted to do was give him a big hug. He deserves the world and we must protect him at ALL costs. Him saying he has been to ‘too many of these’ was so so sad, I feel like we deserve more of his backstory because I have a feeling it is a lot worse than we originally thought. I know that this sounds heartless but I do want to mention how amazing all the men looked in their suits. Especially Ethan, this man rocks anything and everything. Laying the orchids on their caskets, made me sob. I don’t even know why their memorials hurt me so bad.

Daniel Cardinal and Robert Gunderson. We will miss you. ❤️

Ok, I just want to say that I thought that Mc and Aurora discussing the hospitals finances during the reception was kinda rude and disrespectful. I know it was probably key in the development of the story but it would have been nicer to hear stories about the boys rather than Edenbrook and Mass Kenmore. But anyway, the conversation between Sienna and Mc was so cute but so heartbreaking. When she started saying that she always thought her and Danny would become something more, I broke down. This girl deserves happiness so much especially after her ex. And Danny was that happiness but unfortunately she will never be able to experience that relationship 😞.

Ethan looking into our literal soul was very sexy if I do say so myself. The way he can just look at Mc and know exactly what she is thinking just goes to show how powerful their relationship is.And then this man had the audacity to raise his hand in our face to silence us. I didn’t know if I wanted to slap him or marry him right there and then. Did anyone else have that issue? Just me? Ok.

One thing I loved about this episode is the choice between who you wanted to leave with and the fact it wasn’t a diamond scene. This is what we like to see. I chose Ethan because... well I don’t think I need to explain why. Just so you all know he was going to leave an hour before but didn’t because Mc was still there. if that isn’t true love, then what is.

Ethan is not ok people. When he started to explain that he was scared to leave Mc alone incase he wasn’t there to save her, my jaw dropped. He has never opened up THAT much before. I thought I was ready for it but then me tell you I was not. I know that countless times during this scene he wanted to say that he was in love with Mc but wasn’t ready. Honestly, I am ok with that. For now. I feel like we should wait a little longer (emphasis on the little) for a more sentimental moemnt. Like on our first date or even in the hospital where they first met. I have a feeling that he is just going to end up saying it without thinking about it, like a reflex and I wouldn’t mind that happening either.

Finally, we move onto the diamond scene. This was the best 30 diamond scene we have had with Ethan. It was unbelievable. “The idea that I’d never touch you again... it was almost more than I could bear”. I am not even going to comment on that quote because it explains itself. Just know that I did indeed scream. Like actually scream. We got a glimpse of angry Ethan which so happens to be my second favourite Ethan after cute Ethan. Him being angry because he didn’t want people thinking Mc slept her way onto the diagnostics team shows how much he respects her career. Get you a man that respects both you and your job. The freaking windows steamed up. The power can not be matched. So I did choose the option to straddle him but let me tell you I did not choose that lightly. I was so close to picking the option of going into the back seat. “Trust me, I have many more tricks up my sleeve”, bitch I am not READY for the other 30 diamond scenes we better be receiving. Obviously, I don’t need to go into TOO much detail because we all know what happened, if you actually played the scene. Just know it was a great experience.

To make the experience better ( if that is even possible ). I chose the option that led to Ethan begging. Yes, you heard that right. BEGGING. I feel so evil yet so good at the same time 😋. Again I would like to personally thank @playchoices for that 30 diamond scene. It was unforgettable. But let’s be real, we deserve it after what we have been through.

I don’t remember Farley being this sweet but that man is so cute. I hope that everything works out for him at hospital. But I am excited/nervous to see how the memories and PTSD of the attack impacts Mc going back to the hospital. One thing that makes me less nervous is knowing my man Ethan will be there to support me. I know he said that at work he is still our boss but like just imagine how cute the scenes will be between them now. Ugh, imagine them meeting up after a long shift and walking out of the hospital hand in hand. Can’t freaking wait.

This chapter again was so so well written, I hope Choices keep up with this quality because it’s been amazing. I’m praying that they don’t forget to mention Danny and Bobby though, especially after a few chapters. I hope they remember to give them mentions because they were big infuences on Edenbrook and they don’t deserve to be forgotten. I just want to add that I am sorry that this is late, like I said before I had already written this and had it ready to post but then Tumblr did a mad one and deleted it. I am sorry if it seems rushed or I have forgotten something but I tried XD. As usual let me know your opinions and feelings about the new chapter and thank you so much for all the recent love on my posts. I am unbelievably grateful! ❤️

If anyone would like to be tagged in these posts let me know!

#choices #open heart #playchoices #ethan ramsey #openheart #ethanramseyyy #ethanramsey #choicesoh #dr ethan ramsey #ethanramseyxmc

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