#i just think about the fact that the s2 title sequence ends with them in space for no obvious reason

[everysongineverykey]

literally bouncing in excitement thinking about the fact that the s3 opening sequence probably won't have crowley and aziraphale walking together but instead possibly them taking different paths to the same destination, maybe one watching the other walk alone, maybe one following or chasing the other, maybe one trying to claw his way up to the stars while the one who's already in the sky sits in his ivory tower watching the cracks in the walls slowly get bigger. genuinely giddy with anticipation

[pepperf]

For the director's commentary thing, slight curveball: Just the entirety of "Everything Is Peaches But The Cream". It's not even 500 words and I always really enjoy it when I read it back but I'm also like "What went down here?" There is of course a danger that you don't know either XD

Either way, thanks for any insight!

Oh lord, now you're asking…! Okay, first reaction is that I have absolutely no clue what's going on and I basically stole the premise for this from one of my favourite songs, 'Handcuffed To A Fence In Mississippi' by Jim White:

I'm handcuffed to a fence in Mississippi. My girlfriend blows a boozy good-bye kiss. I see flying squirrels and nightmares of stigmata. Then awakening to find my Trans-Am gone. Still, I'm feeling pretty good about the future. Yeah, everything is peaches but the cream. I'm handcuffed to a fence in Mississippi, where things is always better than they seem. Things is always better than they seem.

It goes on, but basically this guy is in a shitty situation, there's a mysterious bloodstain and sirens in the distance…but it's still kind of cheery and optimistic. He's letting go of the idea that you have to be having fun or be happy all the time. Sometimes things are dark, and that's okay too.

And that kind of fitted my image of Diego and Lila's relationship: they argue a lot, and they do some objectively bad stuff to one another, and their lives are kind of awful, a lot of the time—but that doesn't mean they have to be sad about it, or let it get them down, if that's simply not how they feel. They can enjoy the challenge of it, they can trust in themselves to find a way out of it, they can even love each other when they're still doing bad stuff. Just that kind of cheerful view of, like, 'oops, looks like I'm about to be framed for murder…better do something about that.'

I did have some scattered thoughts in my head about what had happened. This is a post-s2 scenario where Lila has been doing some appearing and disappearing from Diego's life, because she's not yet reached a point where she feels safe or comfortable committing to him or to a fixed point in time. But she's drawn back to him, she's crazy in love with him—she's just not settled in herself yet. And he's kind of accepting of that.

Diego shook off the last of the dizziness as he watched the red taillights bouncing off down the uneven road. He could hear an excited whoop drift back to him, over the roar of the engine.

Dammit. He’d really liked that car, too.

I am a simple soul, I like cars and hot people. I liked Diego's scrappy old car in s1, it pinged the part of my brain that wants a Ford Mustang (and it's green, like Steve McQueen's—I'm not sure, but I'm thinking they deliberately did that, bc the shape is about right, too…I wouldn't be surprised if Diego was a fan of the movie Bullitt). Also, I figure that Lila has either drugged him or knocked him on the head. I am cool with that. Diego is cool with that. It's a minor inconvenience in his life. :D

He tugged experimentally at the handcuffs that shackled him to the chain-link fence. They were pink and fluffy on the outside, and absolutely professional underneath.

Lila has waylaid him to a seedy motel with the prospect of hot sex, obv. She has some reason of her own to want to be there, possibly an assignment from the Commission, or some personal loose end she wants to tie up. She just wanted some company, and to make Diego's life more exciting.

Still, they wouldn’t be an obstacle - if he had anything to pick the lock. But all he could see were rocks and scrubby twigs, and Lila’d taken all his remaining knives, along with his wallet, keys, and boots. He poked at the ground with his bare toes, failing to unearth anything useful, like a soda can tab or a fully-equipped lockpicking kit.

Remember back in the day when every corner of every street was liberally littered with soda can ring pulls? I feel like the TUA universe also still has those, as well as no internet. I don't know why. It's the 90s-ness of it, I guess.

Also, Lila is more thorough than almost anyone who's restrained Diego before. He's finding her a challenge—but maybe not in a bad way. He strikes me as a guy who doesn't like to rest on his current skillset, and is always seeking ways to push himself further. So he's simultaneously annoyed, impressed, challenged, and kinda turned on.

Sinking down into a crouch, he gazed up at the night sky, looming magnificently over the ugly motel. There was a good view of the stars out here in deepest Mississippi, and if he’d ever followed that line of studies, back at the Academy, maybe he’d be able to name a few constellations.

I get the impression from what little we see in s1 that the kids were able to choose, like…study modules, like how Vanya chose to learn the violin. It's the one freedom they seem to have had (well, obviously some of it was still prescriptive, like their combat training and so on). I imagine Luther went for the astronomy parts, flight, that sort of thing, judging by his room décor. Diego…maybe went for additional combat training? And in his limited free time, just read whatever he got his hands on? I'm not sure.

It was peaceful now that all the shouting and violence was over. He could hear the sounds of wildlife, insects and shit. There was a gentle breeze. It might even be nice, if he wasn’t handcuffed to a fucking fence.

The recurring motif. The chorus, if you will. :) I think all the shouting and violence happened outside of his view, he maybe caught the start of it before he ended up unconscious through whatever means. She probably drugged him, or he'd be talking about a headache about now.

He noticed three things at the same time: the distant wail of approaching police sirens, his boots tucked neatly under a nearby bush, and the massive bloodstain on the floor outside the room they’d rented.

Lila left him the boots. (Probably someone else called the cops, after all the shouting and violence.) She's playing 'nice' and giving him what she considers an advantage. She's expecting him to get out of the handcuffs, and escape the police, but it's just a little more pleasant not to have to do that barefoot. Also, she left him fully clothed! She was basically going totally easy on him, in her mind, because she's sweet on him.

It was shaped like an arrow, and it pointed helpfully - from the point of view of a rural police department looking for a person of color to blame - straight at him.

A tribute to the Umbrella Academy title sequence for Lila, and a coincidence in-universe. She's not murdered someone in a way that purposefully ends in a bloodstained arrow. Probably. Also the person totally deserved murdering, idk why, but they did.

Diego sighed, and rose smoothly to his feet.

Time to play Which Will Break First: Cuffs, Fence, or Wrist?

See, he's had a nice rest, and now he's ready to play! This is a relatively low-stakes operation, whatever is happening, it's something that he'll get out of, at some inconvenience to himself, and get back home, and then later on she'll show up again and he can grump at her for leaving him handcuffed to a fucking fence, what the hell, Lila?! to his heart's content.

(ETA: Also...he’s handcuffed to a fence. It’s probably wooden, or if not, rusty. Of course that is going to break first. He just needs to twist or kick right.)

I think that's all I've got! Aside from the fact that, weirdly enough, today I am wearing a T-shirt that says 'Just Peachy', which I mainly like bc it reminds me of that song…

[leapingtitan]

The Final Season - Episode 1 Thoughts

I've watched the first episode around 3 times on my own and over a dozen times from anime-only live reactions on YouTube. Those are always something to have a field day with every season, and are part of the whole enjoyment post-watching the episode on your own.

Obviously I'm only reviewing this based on the first episode, so it's way too early to judge The Final Season as a whole. However, I will say that my strategy to keep my expectations low definitely worked. I was very hyped, don't get me wrong, but after Season 3 Part 2, I realized that production and scheduling has never been this show's strong suite and things behind the scenes were always chaotic. And it was my mistake to realize it this late and have unrealistically high expectations of the manga's adaptation.

But enough about that. I'm just gonna say it right now. I absolutely loved this episode and was completely blown away by it. It was a rollercoaster ride from start to finish and boy, the staff wasn't kidding when they said the first episode was like a movie. It definitely felt like that, and it went by in a flash. Now, on to the individual points.

Story/Adaptation

Flawless. Everything was executed perfectly and went beyond my expectations. The thing that stood out to me the most was how many things were changed from the PV in terms of scene construction, camera angles, and overall storyboards. There was only one shot that we reused from the PV, namely the one with Zeke and Reiner inside the airship where they're referred to as the spear and shield. Everything else was redone, which was a huge surprise. Wit was always very faithful to the original manga panels with how they used them as a big reference for most of their cuts, but this one changes them up a lot. Personally, I am 100% fine with it and as someone who has read these chapters in the manga dozens of times over the past few years, seeing them like this was a pleasant and very welcome surprise.

The anime-only additions here are notable and also quite welcome. Falco's line in the beginning in particular stood out the most in the long-run, but the addition of the Eldians' terror being shown as well as the scene before the ED was very welcome. I would like to assume that this was Isayama's doing as whenever the anime usually adds/changes up things, it's his request to do so. He sort of considers the anime to be the "definitive" version of the story that he, for one reason or another, couldn't do in the manga himself when that particular chapter came out. Season 3 Part 1 (The Uprising Arc) is a prime example for this. Once again, I'm very content with what was done here and I trust MAPPA will do the story justice.

A small but very neat thing is the fact that we got to keep the title cards and the info eyecatches mid-episode. Really added to the whole sense of consistency.

Animation

When the initial trailer came out, many people were concerned about Shigeki Asakawa (Director of Photography)'s odd and excessive usage of blur filters on top of the scenes and were wondering if they would remain in the final product, given her track record with other shows like The God of Highschool. Luckily, that is not the case here as the scenes look very clean and the minimal blur on top adds a bit to the muddy/gritty atmosphere of what's going on. Personally, I don't mind it at all and I barely notice it anyway. MAPPA's biggest strength to me is the usage of effects like blood and explosions. You feel the impact of everything and with such an action-packed episode, it made everything so much better.

The usage of 3D CGI for the Titan Shifters has been the biggest controversy surrounding this first episode. When I first watched it, it didn't bother me at all. Personally I care more about a model fitting in the action sequence rather than how it looks for the most part. Right now I would say I'm neutral. It's not the greatest CG ever conceived in anime but it definitely does not look out of place and is pretty decent. For the Jaw Titan, I couldn't tell what was CG and what wasn't for the most part. For the other Titans it's more obvious, but it's not too jarring. Obviously, if it was up to me and the production committee/NHK didn't push their scheduling shenanigans onto MAPPA, I would have gotten every Titan in 2D, but you can't have everything. If they choose to focus on more important scenes later on and cut corners in this first episode as a result, that's understandable. I can live with it. And again, even then, it's not that bad in my eyes.

Now, the character designs are just absolutely stellar. In multiple interviews, it’s been stated that they wanted to stay true to Kyoji Asano’s designs at Wit while also being consistent with Isayama’s style in the manga. And boy did they absolutely nail it. It’s exactly what as they said. Tomohiro Kishi could not have done a better job with the characters we’ve seen so far and I am beyond impressed with his work. I look forward to seeing the rest of the characters in this arc.

Sound

I've been following Kohta Yamamoto's works for a few years now, ever since he started working with Sawano (and being mentored by him to an extent) in early 2017. Although he's been involved with AoT before, particularly with the character songs in Season 2, whenever those two would collaborate on a project it would usually be because Sawano is too busy to compose a full soundtrack. So what usually happens is, Sawano does one track and variations of it (think ShingekiNoKyojin, ThanksAT and T-KT), and nothing else. Meanwhile, Yamamoto handles the rest of the music for the show. On top of that, Yamamoto's style as a composer is different from Sawano's as he comes from a rock/guitarist background as opposed to Sawano, who is a pianist and is classically trained. My biggest concern for The Final Season was that we would get a similar case as with the other shows where Sawano doesn't put in too much effort, while Yamamoto essentially becomes the main composer. Although it looks like this is in fact the case after this first episode, let me explain why I don't think it's a bad thing.

After the premiere of the first episode, both Sawano and Yamamoto tweeted that it was in fact Yamamoto who is handling the majority of the Marley Arc's music. And after this first episode, I have to say I'm impressed. His initial track that he made for the PV was a bit off-putting to me because it sounded like every epic blockbuster Hollywood trailer background track ever, but after the way it was used in this episode alongside a few other tracks, I have to say I'm pleasantly surprised. It fits what's going on, and overall delivers a fresh sound to the show that is very appropriate given the massive change in narrative. Back during S3 Part 1, Sawano stated in an interview that he was already burned out and had trouble coming up with new music for AoT given how many tracks he had already composed for it. Given how few new melodies were in S3 Part 2;s music, I think this should be clear. Especially now that we're going into yet another season. To summarize, I think Yamamoto's work here is a result of three conditions that just happened to line up perfectly. The change in narrative, which the new composer style reflects. Sawano being busy. And Sawano being burned out with AoT. Now personally I still believe we're going to get at least one new original Sawano track with variations of it for the big climax moments this arc, and he may compose more music for the 2nd half of this 16-episode season, since that's technically a new arc. But we'll see. As a whole though, I'm satisfied with what I've heard from Kohta Yamamoto in this first episode.

The last point to make in regards to the sound is Masafumi Mima who, apart from Sawano, the voice cast, and some freelancers, is the only one from the previous seasons' staff members to return here. And once again, his work here is absolutely phenomenal. The mixing and usage of sound effects in this episode was stellar and truly felt like I was watching a war movie. It enhanced the action tenfold and I could not want it any better. Music usage is something that goes through the director (Yuichiro Hayashi), but ultimately the sound director is the one who implements the track (instrument layering/stem editing) and does the mixing. The usage of Kohta Yamamoto's music here was very well done, and although the track from the PV repeated quite a bit, it didn't get repetitive at all. Also, the sound director remaining consistent here means we got to keep things like the titan transformation sound effects, which may be a small thing but was very welcome and added to the whole consistency.

Opening/Ending

I'm gonna wait until Shinsei Kamattechan releases the full version of the opening in a single or album to fully judge the song, but boy do I love this opening. Although I'm not sure if the TV-size version is my favorite AoT opening yet, I have to say that it's without a doubt the most fitting OP this show has had until this point. It perfectly showcases the themes of war that this arc focuses on and has this lowkey disturbing eerie vibe with the dissonant chords and mixing of the vocals that feels just as "mysterious" and "tense" as the show itself. I love it so much, honestly. Now, Isayama was a fan of Shinsei Kamattechan prior to them doing the S2 ED, and was the one who got them on-board to do it. Although that song isn't really my thing it's also a perfect fit, which leads me to believe that Isayama himself most likely chose the band again, namely to do this OP. And it's fantastic. I love the song. The visuals also have a very distinct style with all the colors and white backgrounds and I love how it's more metaphorical and symbolic (I guess "abstract" as well?) rather than flat-out just spoiling everything like the last arc's OP did.

The ED by Yuko Ando is fantastic. The first time I listened to the full song on its own I couldn't stop getting chills. Love the production aspects of the song and it's just really nice altogether. The visuals are quite interesting especially towards the end and I also like them a lot. Not much else to say about the ED. It's amazing. Go listen to it.

Conclusion

As a whole, I kept my expectations extremely low prior to the premiere despite my hype. As a result of that, not only were they exceeded, I was absolutely blown away by this first episode in pretty much every way. It may still be too early to judge, but from what has been shown here so far, I am absolutely looking forward to see MAPPA adapt the rest of this amazing story, or about as far as they can get with 16 episodes.

[twdmusicboxmystery]

Suspicious Questions in the Cast Trivia Battle

Hey everyone! So, just before Christmas, someone sent me something about a TWD Cast Trivia video. I hadn’t heard anything about it, but quickly located it on YouTube and watched it. So, let me first give you some background for what this was.

Emily had participated it, so I was hoping her appearance could be another “weird” thing we could see as a TD-themed appearance. Strictly speaking, it didn’t entirely work out that way. But that doesn’t mean I was disappointed, either. It was just different than I expected.

Why couldn’t we call her appearance a TD thing? Because both Sonequa Martin-Green (deceased character) and Andrew Lincoln (alive, but not currently on the show) were there. So it’s not like Emily was the only deceased or “just gone” character who participated.

And before anyone rushes off to watch this (I’ll drop the URL at the bottom) let me say that I honestly didn’t love this. The reason they did it (and this is probably why it wasn’t widely publicized) was to support two local Georgia politicians who were trying to get elected to the senate the first week of January. Obviously, I don’t know anything about these guys or their politics. It wasn’t that that bothered me. But rather that every two minutes they did a political plug and it felt more like a political rally disguised as a zoom call (which I suppose it was supposed to be) than a TWD thing. That’s all.

So, Emily’s video appearance at the end was a plug for people to vote for the politicians they were supporting. And the actors proclaimed their love for Georgia and being able to work in Georgia and why this senate race is so important. Yada, yada. Like I said, I don’t judge them for it, but I found myself yawning because I don’t live in GA and obviously don’t have a stake in their local politics.

However. There is a silver lining.

The trivia questions. My jaw dropped open at some of the questions they asked. Most if not all of them had ties to TD in some way. And some of them were so obscure, ONLY a TDer would recognize them.

So, the first questions were just goofy things where they asked everyone to imitate iconic things. The first was to imitate Rick saying Carl’s name. The second was to imitate Shane saying, “Let me tell you something.” And the third was just to imitate Daryl grunting. Lol. All good fun.

Then they got to more trivia-like questions and this is where it got really good.

First question: who dropped the key to Merle’s handcuffs down the drainpipe? Answer of course was T-Dog. Honestly, I didn’t right away read into this as being TD. If anything, I just thought it was interesting that it concerned T-Dog, given all the weirdo stuff that’s happened lately about he and Emily being in the bonus episodes.

But given all the other questions they asked, I’m definitely side-eyeing it. We could see it as the beginning of a sequence where a character (Merle) disappeared and then reappeared several seasons later, alive and well. Of course there’s the key angle (Key Theory). And then the Emily/IronE thing.

Second question: What number did Shane wear on his necklace. (!!!) I can’t believe they actually asked that. Has everyone read @frangipanilove​’s Shane/22 theory. If you haven’t, do so HERE. But the point is, if you were ever skeptical about that theory, this just proved that it’s something they want us to pay attention to.  

Third question: I don’t remember how they asked it, but something about a grain Georgia exports. The answer was sorghum. Not a huge TD symbol, but given that grain can be turned into alcohol, and we saw it heavily in S6 around Denise….

Fourth question: What are Rick’s favorite statues at the airport doing? (This is a reference to the ones he discussed with Clara in 4x01.) The answer: playing leap-frog. (Frog = resurrection symbol.)

Fifth question: In what Atlanta hospital did Beth become a prisoner. Danai got it right.

Sixth question: Where, on his body, did the Termites start eating Bob? Again, not super TD, but of course Bob was a Beth proxy (X) and the fact that they focused on his missing leg is important, I think. (X)

Seventh question: What animal did Enid eat before she got to Alexandria. Answer: A turtle. (Turtle Symbolism.)

See how much TD stuff they included?

They asked what song Negan made Carl sing (You Are My Sunshine). Heaven knows TD had a heyday with that.

And there were a few that were kind of meh. What was the name of the woman at Alexandria who wanted a pasta machine (Ms. Nedermyer). And what did Deanna Monroe do before the apocalypse (congresswoman).

And there were other goofy ones about who would die first in other series (like Seinfield, the Simpsons, etc.)

Others I wrote down:

What trio saved Glenn and Tara in S4? (Abraham, Eugene, Rosita).

Whose house did Morgan stay in in ep 1? (I didn’t write down the answer, but no one knew it.)

Who was Eugene’s fake boss that he talked about? (T. Brooks Elison). I’m not going to go into this one too much here, but we (especially @wdway​) have been finding a RIDICULOUS amount of symbolism around Eugene, especially in past seasons. We didn’t always catch it before, but knowing what we know now, to go back and see the symbolism in those early episodes is jaw-dropping.

What tissue sample did Jenner accidentally destroy? (TS-19).

What fake name did the Gov give Tara and her sister originally. (Brian Heriot – side-eying that one, too. X.)

Then they did one where YNB would say a title and the actors had to say whether it was a real title or not. We can definitely read into some of these titles, but not all. The ones she named that were real were This Sorrowful Life, Dead or Alive Or, First Time Again, Twice as Far, A Certain Doom. The fake titles she gave were Beginnings End, You are Welcome, Gun Shy, Walker in the Well, A memory of Mercy, and The Grimiest Day Indeed. Lol.

In terms of the real ones, This Sorrowful Life was the ep where Merle died. Not only is he a character that disappeared and then returned to Daryl’s life, but Daryl and Beth discussed him in Still. Dead or Alive Or suggests resurrection. First Time Again and Twice as Far suggest a return or redo. And A Certain Doom was the CB issue where Andrea died.

Even the fake ones sort of imply something. Beginnings End sounds like Alpha and Omega. GUN shy. Walker in the Well is obviously supposed to be about the well walker in S2, but it also evokes water. Mercy was a title in S8, but I think a memory of mercy could apply to Beth. You get the idea.

So that’s pretty much all I have to say about it. I didn’t love all the political stuff, but the questions definitely felt purposefully TD to me. Thoughts? (Watch the video below.)

[signor-signor]

Trending 27th (November 2020)

Could Netflix make a third season of Wander Over Yonder?

I’ve been contemplating this for about two years, right after I found that @crackmccraigen would be working on Kid Cosmic for Netflix.

Considering I can think of a number of reasons Netflix could, nay, should buy the rights to the show, I say, “YES, PLEASE.”

Reason # 1

The popularity of Disney’s other animated shows just can’t be topped. Phineas and Ferb, Gravity Falls, Star vs. the Forces of Evil, DuckTales (2017), Amphibia, The Owl House, and yes, Paul Rudish’s take on Mickey Mouse (plus The Wonderful World of Mickey Mouse on Disney+, also under Paul’s supervision), to name a few. I always thought Wander Over Yonder would be treated the same way Fish Hooks was treated - given three seasons and moved into obscurity before becoming accessible on D+. Seeing as how Disney has been ignoring WOY for a long, long time, I could see that it wasn’t the case. They’ve also been consistently leaving out anything related to the show when promoting the aforementioned shows on certain occasions, like World Kindness Day. It’s obvious to me that they still have something against WOY and no interest whatsoever in bringing it back. In fact, they’re so focused on the shows they love best, including the ones that already legitimately ended (most especially GF), that they wouldn’t give a fig if WOY was taken away right under their noses, I think.

Reason # 2

The “higher-up bosses of bosses of bosses” aren’t particularly responsive and they don’t seem to care. Sending letters and emails is the best way to reason with the executives, but in the past 4+ years, our objections have been seemingly wasted on them, which might explain why the fandom has been dwindling. Just because the higher-ups aren’t answering your letters doesn’t mean you should stop writing them, though. Still, there’s simply no denying that they screwed up big time. Craig McCracken clearly stated he pitched S3 to the bosses of DTVA and DXD back in early 2015 (around February, if I’m not mistaken), at which point writing for S2 had already wrapped up. However, when late July came, one week before S2 premiered, the higher-ups decided to cancel the show after two seasons for no good reason, leaving the plans for S3 in limbo and the space pod cliffhanger unresolved. You can’t cancel a show loved by a decent number of people without a clear and concise reason. A good executive should know better than to deny an experienced cartoonist a chance to end a cartoon his way.

Reason # 3

Craig McCracken LOVES working at Netflix. It’s there where he’s finishing up his work on Kid Cosmic, which may come out sometime in 2021 due to the COVID-19 pandemic. Supposedly, he has way more creative freedom there than he did while working at DTVA. Considering how he feels about working there, I suspect he doesn’t want to return to Disney, and given the circumstances, I don’t blame him for leaving. If I were a cartoonist who created a visually and audibly appealing cartoon that was prematurely cancelled and constantly one-upped by some other shows and I had doubts of it coming back, I’d have a good enough reason to give away all the information I had for one more season (the new main characters, the backstory, the subplots, the names of previously unnamed characters, the whole basket of fruit). Heck, I would share a PDF copy of the pitch bible for that season with those who are interested. In the case of Netflix doing better than Disney, however, I’d wait until Netflix obtains the rights to my show and gives it the final season I’ve been keeping under my proverbial hat for years.

If Netflix is going to buy the rights to WOY, they’ll have to leave out any bits of evidence of the show being Disney property. You know, omit the name from the upper left corner of the logo in the title sequence and the DTVA and DXD logos at the end. Of course, My Fair Hatey won’t be a problem, since the WOY logo on the curtains has no company name on it. Let’s not forget the cameo in Future-Worm that helpfully gave us an idea of what we’d see in S3 and the Wander plush in the claw machine in Big City Greens - if Disney doesn’t bring WOY back in the next few years, those cameos will probably have to go and so will the WOY-related images decorated on the walls of DTVA. They made their bed and they must sleep in it.

Disney may own the first two seasons right now, but I’m sure Netflix can afford to not only pick up where WOY left off, but take it all off their “stepbrother-and-platypus-spoiling, high school fish-favoring, Oregon town-obsessing, warrior princess-pampering, long-haired lady-loving, rich duck reboot-relishing, heroic sextet-savoring, country bumpkin-craving, anthropomorphic frog-adoring, witch-in-training-worshipping, Paul Rudish-praising” hands. It’s like I always used to say, “What’s the point of Disney owning the rights to the show if they won’t let Craig finish it his way?”

Imagine what would happen if Netflix does buy the rights to WOY from Disney. A massive semi truck with Netflix on either side, backs into the DTVA vault from the back breaking down the wall. The back of the truck opens up. Inside it stands Kid Cosmic himself. He steps to the edge, holds out a hand to Wander, Sylvia, and the other WOY characters, and says, “Come with me if you want to continue.” Everyone climbs aboard the truck, even that alien resembling the one from Mars and Beyond. Wander says to the characters from the other shows, “Farewell, my Mouse House friends! I’ll send each and every one of you a postcard from Netflix’s animation studio!” Lord Hater, of course, exclaims to the characters from overrated shows, “So long, you overachievers! If I never see your executive-proof faces again, it’ll be too soon! Woo! (blows raspberry)” The truck closes up and takes off. When it does, the DTVA vault promptly repairs itself. All evidence of Wander Over Yonder being Disney property vanishes.

OR...

If Disney does want to let Craig finish WOY his way but can’t afford to, Craig might have Netflix put the money made from Kid Cosmic’s performance towards that third and final season. Of course, we want to make sure he gets back to the company to oversee its production after KC is finished. We’re not asking Disney to revive GF, put SvtFoE on DVD, make a movie based on Paul Rudish’s take on Mickey Mouse, or re-release Song of the South, all we want is to see S3 become a reality, and we sure as heck don’t want Craig and the folks who worked with him to take it all to the grave.

The more we show our support for the show and its planned third season, the more likely either Disney, Netflix, or Hulu (yes, Hulu, the home of new episodes of Animaniacs) will give it to us.

@disneyanimation

@netflix

@hulu

[ohsweetflips]

Pls give us the AtLA rant, I have a mighty need!

askjskjsdkjdskj i copy and pasted my rant from last night bc imo the raw energy of “i am genuinely shocked and angry (in a good way)” is something i cannot recreate right now

so here is the rant i went on in my groupchat + the secret side conversation i had in DMs bc, in my 3 person gc, 2 of us are watching it for the first time and i already knew some stuff going in so i didn’t want to spoil

it’s all under the cut bc it’s long as fuck (like almost 2k words if not more) 

but basically i go into my own type of avatar-state while talking abt zuko!!!!

(I HAVEN’T STARTED BOOK 3 YET, PLEASE NO SPOILERS)

groupchat:

but i just finished book 2 and it took a completely different turn from what i thought it was going to like i am actually in shock and have officially reached my point of "zuko what the actual fuck" because the choice to do good was right there after everything he and iroh went through and after all that he saw and letting aang go multiple times and he was starting to be happy in this new life and saw that he and iroh could be free and he still went back to azula for his pride and honor, turning against aang and katara after he and katara could have finally reached a moment of understanding

but like what the fuck i am more mad at s2 zuko than i was at s1 zuko bc, in season 1, the avatar and his honor was the only thing he thought about, but in s2, he met people who had their lives ruined by the fire nation!! and he worked with them!!!! iroh was showing him what it was like to live completely free, doing what he wants!!!! and he was starting to understand!!!!! but im so pissed and so fucking shocked bc, this entire fucking time, i was like "oh yeah the end of s2 is going to be when zuko joins, right? bc i mean book 3 is fire, so zuko has to teach him fire bending" but no, he willingly chose to keep pursuing the avatar after fucking everything he has seen, after knowing how people were affected by the fire nation, after everything iroh did for him

and he knows what he did!! he knows!!!!! he told azula that he betrayed iroh!!!!!!! he fucking knows

when iroh showed up to fight both him and azula, i was fucking losing it bc iroh's love has been so unconditional for zuko, he supported zuko through everything and even helped him try to capture the avatar at times, but that was the final straw

zuko willingly walked into world domination. he doesn't even fucking trust azula! he never has! but she brought up his pride and honor, and she's powerful as all hell, and he sided with her! after everything!

i really thought he was learning that his quest for the avatar was fruitless! it's not going to bring him happiness! his life in the fire nation will never return to normal

aang has saved his life so many god damn times, him and katara were reaching a point of understanding! they fucking talked about how the fire nation took both of their mothers

and i'm so floored bc this was all willing

when zuko was exiled, he had no choice! it was either find the avatar or have no home. but he was finding a home! he finally seemed so happy with iroh! it really seemed like iroh's teachings were getting through to him! that he was learning what he really wanted (freedom)! but he still went back to the fire nation except this time he chose to. he looked at the people he was starting to understand, at the man who has been a better father than ozai ever could, and willingly chose to turn away for the sake of pillaging and conquering and "honor" in a family that doesn't care about him

at first, i was like "this has to be a trick, right? he's fighting them now so that he can backstab azula later, right?"

but when katara said to him "i thought you changed!" and he said "i have" i was fucking besides myself

im so angry but im also fucking exhilirated bc this i did not expect

i would've put so much money on there being a meaningful moment of zuko stepping up alongside aang

like, i was so sure this would happen

i was convinced

but holy shit

and fucking!!! zuko knows what iroh went through at ba sing se with the loss of his son (and probably the realization that what the fire nation was doing was fucked up) and zuko still turned against iroh

after everything iroh did for him! iroh was the only person who stood by zuko's side during everything. he pleaded zuko's case over and over, he seeked out the gaang bc he needed their help and he was so sure that zuko would make the right decision!!! he saw zuko let the avatar go before, but when zuko was faced w/ azula's assistance and the avatar right there, he just went back to his old ways except worse bc this is willing

and like

am i discounting the manipulations of azula and ozai? no!!!

that definitely had a hand in it, bc azula has been dangling honor and ozai's love in front of zuko the entire time

but i really thought that the end of s2 would be when zuko sees past all of that

except he turned back to the family that doesn't even love him, betraying the only person who truly cared for him and loved him unconditionally and wanted the best for him, and now he has a direct hand in the collapse of ba sing se and world domination

like okay let it be known that this is some of the best writing ive seen and im fucking obsessed and im living for this and it's so fucking good so my anger is fueled by excitement and shock

and also i fucking love negative character development

like. i love zuko. and literally i think that's part of this too bc i was so sure that he was going to make the right decision

and instead i had to face the dawning realization that he wasn't

and now he and azula are teaming up to end the earth kingdom

like i thought i knew where this was gonna go and now i'm genuinely lost (in a good way)

and like i haven't even touched upon aang's chakra being locked bc he went back to katara

(also don't even get me started on the painful irony of iroh telling aang that sometimes it's better to choose love and friendship over power)

(like really don't get me started because i'm about to combust)

after everything iroh did for zuko!!!

after the gaang has saved his life!!!!!!!

and the best thing is, it was shocking but still not out of character

that's the beautiful thing

this was always an option for zuko

it's the point of the crossroads!!! you can go either way!!!!!!!

i just thought he was gonna go...................... the other way

and like literally the fact that he sided with azula after obviously not liking her basically his entire life (or at least his adolescence) is so fucking telling for how he made this decision bc. unless there's some behind the scenes stuff, he saw the avatar and his pride and his honor so clearly, and he saw how powerful azula was becoming, and decided that he would still take it even in the face of azula's manipulations and violence

if that makes sense

if you can't tell, i'm kinda reeling right now

like, apparently zuko wants his honor/power so badly that he'll side with azula!!!

after they spent an entire season fighting her

but also....... azula finally gave him that option of working together. before, it was always azula vs. zuko

now, though, azula was offering a world dominating olive branch

so now like im thinking....... what if that happened earlier? would zuko always have turned? or is it just because everything he ever wanted was so close to him?

and it's wonderful bc it's still so in-character. like, even siding with azula, it's not bc he suddenly cares for his sister or whatever, but it's because he chose honor/pride/the fire nation over freedom/giving up what he always wanted. i don't think he was choosing azula, he was choosing his pre-written destiny over making his own

god is any of this making sense i am literally so fucking shocked

i literally need like 3 episodes solely on iroh at this point bc you know what probably fucking sucks??? losing his first son to the war in ba sing se, and then losing his nephew (who he saw as another son) to starting war in ba sing se

like? that has to feel like a fucking slap in the face ten times over

especially bc iroh left the fire nation with zuko (and probably for zuko), most likely giving up his full title there

and like? the fighting sequences are so cool but it was so fucking heartbreaking to hear iroh tell aang "you go on ahead! i will hold off both of them!" because like. iroh can't wait any longer! he thinks (and knows) that zuko is making the wrong choice, but he can't wait any longer! he can't stand by while zuko dominates an entire city and say "oh, he's really complicated, he's going through something"! because zuko did go through it and he came out of it and he still made that choice! iroh probably feels like all his patience, all his efforts, all his teachings and love, went to fucking waste! because it didn't get him anywhere!

like, iroh probably still loves zuko but he probably feels so fucking betrayed and hurt and disappointed because, after seeing zuko let the avatar go before and seeming so happy, he probably thought that zuko was changing for the better! and now, he has to fight his niece AND his nephew! this no longer is zuko insulting some other general or his crew that iroh can fix by explaining what happened w/ ozai and how zuko is very conflicted! this is a situation that zuko willingly walked in, even after hearing and knowing all of iroh's teachings!

anyways! poetic cinema

like also pls dont think im ignoring everything else in the episode, like aang's chakra being locked was fucking wild and that entire episode was so good, with the fight sequences and everything abt azula, and toph’s metal bending, just forgive me bc im a little uhhhhh distracted by a twist that i genuinely did not expect

i feel bad for how focused i am right now on zuko but also how can i not be bc that feels so connected to literally everything else

also tho on a brighter note, true serotonin was when appa finally returned :')

it's so wonderful that appa broke out by himself. he did it all on his own! no one else was there. at all :)

(im kidding that was actually a very important moment in zuko's character)

(or at least i thought it was going to be)

(well actually it still is, but it's come to the question of "you can always say what you're going to do in a situation, but what happens when you're actually faced with it?”)

DMs:

i know that zuko gets redeemed, right? like i know, in the end, they will all team up

but the fact that it didn't happen now

holy shit

like.......... a whiiiiiiile ago on tumblr, i saw a post that was like "zuko has a great redemption but he needed to work for it bc he did awful things" and like? tbh yeah i got that s1 zuko was the antag and he did shitty things but like...................... this feels so much more poignant

like zuko literally has a direct hand now in the collapse of the earth kingdom

literally not to be dramatic but this is like. taz-reveal levels of shocked right now.

i thought i knew the zuko arc

bc i know he gets redeemed!!

so, after watching this season, i was thinking "oh okay it's gonna be this season! makes sense!"

but.... deep down

deep down..............

a part of me was kinda like "so is season 1 zuko....... it? is that the end of his antagonisms? is season 2 meant to be his redemption? i dig it, but i thought it would be more...................... dramatic"

well!

got what i wished for!

and i am in the best kinds of hell

like i almost feel bad bc so much other stuff happened in the finale (like, for example, aang's chakra being locked, which i screamed at, it was so good) but like. i genuinely did not expect this.

like. holy fuck.

like, now i really understand why people say that zuko needed to really work for his redemption bc he and azula are tag teaming the end of the earth kingdom

[ambitionsource]

AMBITION Season 2 ♫ “Got A Lotta Livin’ To Do” [ 2.08 ]

CREATED BY Esther (rapunzles) & Maggie (quincywillows) || S2 Tag || Official Page

YOUTH IS WASTED ON THE YOUNG – Devastating news sends the junior class reeling. When decisions are made for all the wrong reasons, everybody must face the consequences. Eric is haunted by signs he may have missed.

62 Minutes (16K words) || CONTENT WARNING: mentions of suicide; underage drinking; mild physical harassment. Take care of yourselves and read with discretion.

[ ← Contingency Plan ] [ S2 Synopsis ] [ World Uncertain → ]

( Follow along with the music on Spotify here! )

INT. AAA - HALLWAY - DAY

Song Cue ♫ ♪ “Lovely” as performed by Billie Eilish & Khalid || Performed by Isadora De La Cruz, Riley Matthews, Maya Hart, Charlie Gardner, Zay Babineaux, and Lucas James Friar

The soft piano eases us into the episode, a long shot of the hallways of AAA less lively than usual. Whereas there is often dancing, laughter, and commotion in the opening hours of the school day, today it’s still.

ISADORA DE LA CRUZ is the first person to appear, standing alone in front of the display case outside the auditorium. There are photographs from Into the Woods up, and that’s what is holding her focus as she delivers the opening verse. As she turns and begins to walk down the hall, CHARLIE GARDNER appears within frame and joins in the vocals, growing more and more distant the further Isadora walks from him.

The whole number progresses with this disjointed sort of feeling -- the students being together, but feeling distinctly apart. The vocal focus shifts from the two of them to MAYA HART then to RILEY MATTHEWS and ZAY BABINEAUX, their voices melting seamlessly into one another due to the heaviness of the delivery.

The moment it all comes together is about halfway through in the second verse, when all of them come together along with LUCAS FRIAR. Zay behind Isadora, Charlie behind Maya, Lucas behind Riley. The six of them look straight at the camera with blank expressions as they march down the hall, seemingly in sync for this one captured moment of grief.

Oh I hope some day I’ll make it out of here...

It’s a long, continuous shot, staying with Maya as she abruptly halts and the other five disperse around her. She’s standing in front of Farkle’s locker. Frozen, transfixed by it. She lifts her hand to touch it and then decides against it, pulling her hand back. She swivels away from it, the riffs of her classmates echoing as she drifts her way back towards the auditorium.

INT. AAA - DRESSING ROOM HALL - DAY

We’re following Maya as she walks, making her way through the hall...

INT. AAA - AUDITORIUM - DAY

And out into the wings, stage lights down and house lights up as she passes through the stage and towards the stairs to the front and center section of seats. The rest of the junior A class is there amongst them, but they’re blurry and out of focus.

Maya settles into one of the chairs, camera rotating around to see the stage. JACK HUNTER, ERIC MATTHEWS, HARPER BURGESS, and SHAWN HUNTER are assembled, expression and demeanors somber as they address the A class. As the song comes to an end and their voices become audible, Jack’s words of understanding still feel far away.

Jack: … understand how overwhelming this might be. Which is why we are going to process it together. If there is anything you need…

The focus is back on Maya, having spun our way around to the front. Easing in on her empty expression…

Cue title sequence.

INT. AAA - AUDITORIUM - DAY

Jack and Eric continue on with their opening remarks, explaining the resources that they have available in light of what has happened with Farkle Minkus. Harper and Shawn nod along, equally as solemn. Harper seems particularly fragile, hands clasped so tightly in front of her she’s turning her knuckles white.

Additionally, as Eric explains, he’ll be available at any hour the next week if any of them need to come talk through what they are feeling about the situation. He emphasizes that the worst thing any of them can do at this time is isolate themselves, and every one of them up on stage -- and any other faculty -- are there for them.

INT. AAA - HALLWAY - DAY

The halls continue to feel muted even though the day marches on. At one end of the hall, NIGEL CHEY talks softly with YINDRA AMINO and JADE BEAMON. He reaches out a hand to touch Jade’s elbow, extending comfort.

A little further down, ASHER GARCIA and DYLAN ORLANDO are having a difficult conversation. Asher isn’t looking at him as he swaps items from his bag to his locker, meticulously nitpicking at the books on the shelves as a distraction. Dylan is leaning against the row with his arms crossed, delicately broaching the conversation.

Dylan: You heard what Mister E said. The worst thing we can do right now is isolate, and that’s all he’s been doing for months.

Asher: I know.

Dylan: That has to be the reason he said any of that stuff, anyway. It’s like you said, it’s like he wants to push people away. I’m not saying it’s right, or anything, and you know I’m on your side. I’m just thinking that --

Asher: Okay, but even if he didn’t mean it, he still said it. And you know I’m not just -- I know what you mean. I do. [ fussing with his backpack ] But at what point do we say okay, this is all I can take? I’ve been pushing the line further and further back because of exactly that, because I don’t want him to be alone, because he’s my friend, but where do we draw the line? When does it finally become too much --

Asher nearly drops his backpack and gasps, catching it and cursing under his breath. He takes a moment and closes his eyes, breathing deeply. Dylan frowns, reaching out and rubbing his shoulder.

When he’s pulled it together, Asher turns to face him. His tone is soft, touching Dylan’s arm.

Asher: You know I’m not going to tell you what to do. You can make your own decisions. I just…

[ Dylan listens attentively. He shifts his hand to touch Asher’s cheek, a subtly encouraging gesture that signals it’s safe to say whatever he needs to say. ]

Asher: Right now, I can’t. I just... need space.

A reasonable request, considering how much he’s already done for Lucas. Dylan nods. Asher gives him a tight smile, sharing a quick kiss before he closes his locker and shuffles down the hall for his next class.

Dylan watches him go, releasing a sigh and leaning back against the lockers.

Jack, pre-lap: It is imperative that we act with caution.

INT. AAA - JACK’S OFFICE - DAY

Our junior faculty is assembled, CORY MATTHEWS joining Harper and Shawn in meeting with Eric and Jack. The principal is seated at his desk, leading the more candid discussion of how they should approach a guaranteed difficult week. Cory says what they’re all thinking.

Cory: I just can’t believe it.

The main takeaway from the meeting seems to be that whether they like it or not, the group of them are role models in this situation. How they handle this will help inform the students on how to handle it, so it’s up to them to be in control of their emotions and act as pillars for the A class to lean on. Harper questions if this means they’re just pretending it didn’t happen, obviously the one struggling the most with keeping her emotions in check.

Eric refutes this take, pointing out that their primary role is still to be a teacher. He warns against initiating conversations about it, as some students may not want to talk about it or address it yet. Those who want to seek conversation will come to them, and if anyone seems in need of counseling then Harper is encouraged to send them his way.

Harper: And what about you? Are you sure you can handle taking on all that extra… have you even gotten to take a moment for yourself?

Eric: When we’re here, our responsibility is for the students. I can handle myself on my own time.

Shawn is the one to point out the other obvious threat -- overreactions. He doesn’t suspect they’ll have any copycats or anything, but then, they didn’t realize it soon enough with Farkle either. The fact of the matter is, there is a lot boiling under the surface of these kids right now because of this, and they’re guaranteed to release that pent up energy eventually. They should be even more vigilant than usual.

Jack seconds the notion. Speaking from experience, some teenagers are very good at concealing what they’re feeling...

INT. AAA - GIRLS DRESSING ROOM - DAY

One such student is Isadora, who is having lunch with Maya. They’re hidden away in the girls dressing room, away from the noise and constant chatter of the cafeteria.

For all intents and purposes, she seems to be handling the news better than others. She’s at least being open and talkative about her attempts to process it, gently nudging Maya into conversation about it.

Isadora: Something similar happened at my last foster home... I won’t go into details, but… it’s like... they kept telling us the same thing over and over again. About feelings, and guilt and all that sort of shit, but none of it really helped. I don’t know what… [ a beat ] This isn’t very helpful either, is it?

Maya isn’t taking to it, that’s for sure. She’s silent, lunch untouched on the countertop next to her. She’s got her feet up on the counter and is hugging her knees, leaning her head against the cool mirror. Not talking, not eating, just… nothing.

Isadora gets the hint, settling into quiet as well. But she assures her that if she does want to talk, she’s there for her.

INT. AAA - ERIC’S OFFICE - DAY

Riley has gone to Eric for lunch, bright with an idea in the chair across from him. It’s a muted sort of enthusiasm, but her eyes are sparkling as she speaks.

Riley: I wanted to run it by you first, though, because I didn’t want to accidentally do something that might make things worse or have some unintentional psychological consequence. I just thought that… it might be nice. For all of us, but also for him. To honor him. [ a beat ] Do you think it would be okay?

Eric: I don’t see any obvious “psychological consequences” in that idea, no. [ smiling ] I think that’s a lovely idea, Riley.

Riley manages a smile. She quickly finishes her food and gathers her things, claiming she wants to get started on organizing it. Eric rises with her, requesting she hold on a second.

He comes around the desk, gently asking if she’s handling everything okay. In light of everything that has happened… he just wants to know. And if there’s anything he can do, can she promise that she will please, please tell him before it gets too deep to come back from.

Riley pauses. Then she pulls her uncle into a hug, the two of them sharing a tight embrace. Every touch means a little bit more right now.

Riley: Promise.

She pulls back first, giving him a smile and heading out. Eric watches her go, a little choked up. He clears his throat, trying to shift back into work mode.

INT. AAA - DANCE STUDIO - DAY

Zay and Charlie are in their usual studio, but they aren’t dancing. The mood is deflated, the two of them sprawled on the floor in what seems to be the start of stretches that never went anywhere. Instead they’re talking, Zay laying on his side and propped up on his elbow. Charlie is leaning back against the mirrors, legs stretched out and feet resting on Zay’s hip.

And even their conversation isn’t its usual rapport. It’s soft and listless, both of them trying to process something that feels impossible to grasp. Zay carries most of it to fill the silence, working through his disbelief and attempting to reconcile that with the collective perspective they all had of Farkle.

Zay: I don’t know. I guess someone that… when they have that sort of personality, you never really think --

Charlie: Could’ve been me.

Charlie says it without thinking, staring at the ballet bars across from them. He only snaps out of his daze when Zay nudges his knee, concern in his features. He repeats the question of what the hell Charlie meant, obviously worried about the statement. Charlie quickly covers it, claiming he just meant that it really could’ve been any of them. Personality and background aside.

Zay doesn’t seem all that placated, so Charlie elaborates. He explains how alone he felt at the end of last year, how easy it is to stumble into those dark places and not really know how to dig yourself out. He’s lucky that he had a support system in place, as well as someone there for him in a way that no one else could be.

He tilts his head to lock eyes with Zay, sincerity shining through his tired gaze.

Charlie: I hope you know how much you mean to me.

The sentiment kind of speaks for itself. Zay softens, placing his hand on Charlie’s leg and gently stroking his knee.

Zay: Ditto.

Charlie waits a moment before placing his hand on top of his. Off their joined hands --

INT. MATTHEWS APARTMENT - NIGHT

Riley and Cory are having dinner together, just the two of them as it may very well be from now on. The two of them skirt around the elephant in the room for a bit until Riley mentions her idea to honor Farkle, stating that that’s what has taken up a majority of her attention.

Tentatively, Riley asks Cory how he’s feeling about the whole thing. Although they don’t give him much credit, he was one of his teachers. He must be thinking about it. So she opens the floor for him to actually get to talk about it instead of putting on a brave face like he does at school. Cory contemplates it.

Cory: Weirdly enough, I keep thinking about first semester.

Riley: Yeah?

Cory: Yeah. Doesn’t have anything to do with the last couple of years, but that’s what I keep coming back to. First week of school isn’t easy for a teacher. Not just because we’re also coming off the freedom of summer, but because there’s a whole new crop of kids to learn about. Not to mention all the others you’re backlogging from other years, but that’s beside the point. At least at Triple A we’re only dealing with about fifty a year, but still a lot to take in.

Riley: I can imagine.

Cory: But Farkle wasn’t like that. It was partially the name -- hard to forget a name like that, so I figured I would match the face pretty easily. But the real reason was because even from the first week, he was always two steps ahead of me. Didn’t matter if it was history or english -- and I do not envy Mr. Norton for having to battle with him in science and math. First week of classes, I’m doing an introduction on Shakespeare, and his hand just shoots up about ten minutes in and he basically takes over the lecture. [ clearing his throat ] I was irritated at the time, a little bit, because it kind of felt like he was stealing my thunder. But came to appreciate it after a while. It was nice to have a student who valued his academic intelligence just as much as his performing ability. [ weakly ] Think maybe I should’ve told him that, at some point.

Riley smiles bittersweetly, reaching across the table to touch his hand. Cory lets out an embarrassed laugh, swiping at his eyes. He holds her hand more securely, locking eyes with her.

Cory: I’m so glad that -- I’m so glad you’re still here with me, Riley. I really, really am.

The statement is loaded, and carries plenty of meaning. Glad she’s there with him and not on the same path as Farkle; glad she’s there with him when everyone else seems to have gone away -- his wife, his son. He’s grateful that, in spite of everything else, she’s still there at his side.

Riley squeezes his hand in return, nonverbally returning the sentiment.

INT. FOSTER HOME - KITCHEN - NIGHT

Isadora is helping BEATRIX TORRES prepare lunches for the younger siblings. Beatrix asks her how she’s grappling with what happened to that classmate of hers, and she brushes it off as if she’s not all that bothered. Sad, of course, but it is what it is. Beatrix doesn’t seem convinced, but before she can question further, STEPHEN VAN HERSCHING requests that Isadora come join them in the dining room.

INT. FOSTER HOME - DINING ROOM - NIGHT

Isadora saunters into the seat across from him and KAREN VAN HERSCHING at the end of the dining table, expecting this to be another meeting to discuss her “behavior” as of late. They hadn’t yet confronted her about the outburst of last week, so she’s resigned as they tentatively begin the conversation.

Only it takes a turn she is not at all anticipating.

Karen: With all of this in mind, we feel it might be time for you to be relocated.

Isadora, stunned: … what?

Stephen, delicately: Clearly, we’re simply not clicking the way we’re supposed anymore. You must have noticed you’d been in respite care more often than usual these past few months, and we’ve been butting heads more than living harmoniously.

Karen: It’s not a comfortable environment for any party, and your siblings are starting to recognize it too. Perhaps that’s a sign that this just… isn’t a good fit.

Isadora chokes back her emotions, instead arguing as bluntly as she can manage. She points out that this has nothing to do with the foster siblings and everything to do with them -- they’re giving up on her because she’s not “normal” the way they’d like her to be. They’ve never known how to handle her, and now they’re giving up because they’re tired of pretending to put in an effort to understand her.

Stephen: Now I wouldn’t say --

Isadora: Of course you wouldn’t, because that would go against your perfect charitable narrative. Take in kids and give them homes, sure, as long as doing so makes you feel good about yourself and offers no potential challenges that you might have to actually lift a finger to work through.

Karen: See, this is exactly what we’re talking about. If you were intent on making this family dynamic work --

Isadora: If you were intent on making this work, you’d act like actual parents and try to understand the children you host rather than shaping them into your good samaritan trophies. When you’re an actual parent, you don’t just toss your kid out when they don’t suit you anymore!

Karen shuts the discussion down, stating that this is how things are going to be. Isadora reins in her frustration and puts on a stony expression. Karen continues to explain how long she’ll have to pack her things, what they’re doing to start arranging for her relocation, but sound goes fuzzy and sort of peters out.

Song Cue ♫ ♪ “No Roots” as performed by Alice Merton || Performed by Isadora De La Cruz

The bass line starts in as the Van Herschings continue to mutedly talk at Isadora, finally dismissing her. As she marches from the table and starts to move through the home she launches into the opening verse, keeping her emotions tempered for as long as it takes her to escape to the upstairs.

INT. FOSTER HOME - ISADORA’S BEDROOM - NIGHT

The door slams as she gets to the chorus, volume growing in pitch as she starts to meltdown over the ordeal. She’s being dropped again, removed and shoved off to the next person. Nothing ever lasts, no one ever stays. On top of everything else…

Enraged, Isadora rips a poster down off the wall. That destructive action seems to expand into an all-consuming energy, Isadora basically tearing her bedroom to shreds as she progresses through the rest of the number. It’s a dizzying display, leaving her surrounded by debris by the time the rendition comes to an end.

She stands amidst the ruins of what her temporary home used to be, breathing heavy and clearly exhausted. Then she leans back against the door and slides into sitting, tucking her head into her knees.

INT. AAA - ERIC’S OFFICE - DAY

The silence of Eric’s office is a stark contrast to the anger of moments earlier, the only sound being the active tick of the wall clock. Maya is seated in the chair opposite him, Eric patiently attempting to get her to speak about how she’s dealing with this. Anything at all.

She’s not biting. It’s truly jarring to see Maya Hart so quiet, usually so animated and the natural center of attention. She’s just… void, having nothing to say because she has nothing to give.

Eric: I just want you to understand that there’s no wrong way to process this. Whatever you might be feeling -- sadness, guilt, anger -- all of that is valid. You have the right to feel it, whatever it might be. You don’t have to process it alone.

For now, it seems like she’s content to do so. She continues her silence, avoiding his gaze as she stares blankly at the floor. Eric frowns, obviously wishing there was more he could do.

Anne Marie, pre-lap: Please let me know if there’s anything you need.

INT. AAA - JACK’S OFFICE - DAY

ANNE MARIE WINTHROP is visiting Jack, having brought him lunch from one of his favorite spots. She’s clearly there to offer him comfort, well aware of how difficult this week is going to be for him. Whatever she can do to help, she wants to be able to do it.

Jack claims he’ll be fine, right now all he can do is focus on work and try to keep the tides level. She exchanges a brisk kiss with him, heading out just as Lucas appears in the doorway for a meeting.

The two of them nearly bump into one another, looking at one another in confusion. Anne Marie is certainly no administrator Lucas recognizes, and Lucas wanders the main office too casually to be just some random student swinging by for a visit. Yet, they have absolutely no sense of who the other person is.

Jack seems to sense their trepidation, jumping to introduce them. Anne Marie offers a hand to shake as he does so, which Lucas looks at with a mixture of reluctance and amusement. Is she for real?

Jack: Lucas is one of the technicians in the junior class.

Anne Marie: Oh. Sorry if I’m being rude, I just -- Jack’s never mentioned you, is all.

Lucas, flatly: Yeah, well, there’s not much to say about me. [ shaking her hand ] I’m sort of like the gum under his shoe he just can’t scrape off.

Jack: That’s not true.

Lucas: It’s okay though. He’ll get rid of me some day, I’m sure. A little more scraping and scrubbing, and all grime comes off eventually.

Jack cuts him off, stating he’s said quite enough. An interesting first impression, that’s for sure. Anne Marie delicately removes her hand from his, raising her eyebrows at Jack and assuring him she’ll see him after work. Lucas waits until she’s gone to speak, sliding into his usual seat.

Lucas: You never mentioned you had a girlfriend.

Jack: That’s not exactly relevant information for you to know.

Lucas: We talk about everything else. You know everything about me. [ bluntly ] Shitty parents, booth hopping, failed not-relationships…

Jack waves him off, as that’s definitely not what he wanted to discuss. He cuts to the main reason he requested Lucas come by, checking in on how he’s handling the news about Farkle.

In an instant, Lucas clams up. He says he doesn’t see why he’s checking on him when there’s plenty of people way more distraught than he is. He and Farkle weren’t close. They weren’t even acquaintances. The only thing they had in common, in fact, was how hated they were by everyone else.

But that isn’t the point. When things like this happen, Jack states, people cope with it regardless of how immediately attached to the person they were. He wanted to talk with him and make sure he was okay, because he knows for a fact he won’t be going to chat with Eric. His behavior last week was indicative of that much. Lucas sheepishly claims he’s fine, and the only reason he acted that way was because he doesn’t need to have everyone in his business.

But it’s not convincing to Jack, and he continues to push out of concern until Lucas slightly cracks. He lashes out about yeah, he hasn’t been able to stop thinking about it. Not because he gave a shit about Farkle, but sort of because of exactly that reason.

Lucas: So you want to know what I’m feeling? I’m feeling like absolute shit. But not for the reason everyone else is, the reason I should be, because I’m heartbroken or sad or suffered some great personal tragedy. And that’s all part of it -- I feel like shit because I am shit. I’m shit because this horrible thing happened, and all I can focus on is me. Because we were both trash, but if anyone deserved it… [ huffing ] Because for three years, I treated Farkle like shit, and I can’t stop doing it to everyone else, and now he --

Lucas can’t bring himself to finish the sentence. He swallows whatever he was going to say, slouching back in his seat and pressing his knuckles to his chin. Jack attempts to process everything he just said, wondering where to even begin.

Lucas: Is that what you wanted me to say? Is that what you wanted to hear?

He gets up without waiting for a response, making a quick escape. Jack sits there, dumbstruck, not at all sure how to unpack all of that. Wanting to help, but not having any idea how -- not even sure he can. Perhaps he should’ve heeded Eric’s advice about not pushing conversations…

INT. AAA - HALLWAY - DAY

Riley is at Farkle’s locker, having been opened by Harley to be cleaned out and returned. She’s gathering his things in a bag, also getting a feel for what she’s working with in whatever her grand idea is.

She sighs, shifting her focus to the inside door. There are still those lingering photos from last year, striking a nerve in her she wasn’t expecting. She gently touches the Les Mis cast photo, then shifts her gaze to one he has of him and Maya. It was taken on their hooky day, and somehow captures just how greatly Farkle cherished their friendship before he blew it all up.

Riley’s eyes are glossy, but she’s pulled from the moment by the conversation of a couple seniors a few lockers down. They’re discussing how heavy the week has been because of the junior class, neglecting to realize that the locker of who they’re chatting about is only a few feet away.

They both agree they’re eager for the weekend to unwind for a hot minute, highlighting the underground NYU party that they both got the deets for. Yeah, they’re still in high school, but this is one of those ones where they let seniors in for a few bucks so long as they dress the part and don’t go too overboard.

Interesting information to overhear. Riley absorbs the details as she hides behind Farkle’s locker door, stopping herself just in time from subconsciously bending his photo of Maya.

INT. AAA - BLACK BOX THEATER - DAY

The bell rings, pulling the junior class back together for lecture. They all saunter into the black box, the mood somber and all eyes avoiding the empty seats in the room. One less occupied than it should be. A couple of students are visibly shaken, like NICK YOGI who is far from his usual level of energetic, and HALEY FISHER, who is wiping tears on her sleeve a few rows back.

Harper steps up to the board and attempts to proceed on like business as usual, but she keeps losing her train of thought. She gets caught on Haley crying in the back of the room, wanting to say something, but remembering what Jack and Eric said about operating with caution.

Charlie: Miss Burgess? [ after she looks at him ] Are you alright?

No. No, Charlie, she’s not. As if the question is the trigger, Harper starts to cry. She apologizes and tries to pull it together, but then she’s sobbing harder. Totally eclipsed by the reality of what has happened and unable to run away from it any longer.

The A class stares at her, uncertain what to do or how to respond. The room feels frozen in the agony of it, until Shawn steps up and joins Harper at the front of the classroom. He leans in close, muttering to her with a semblance of privacy.

Shawn: Go. I’ve got them, just go.

Harper blinks at him, stunned, but takes his directive. She rushes out of the room, still trying to pull herself together. After a moment of uncomfortable silence, Shawn awkwardly clears his throat and then attempts to take over the lesson to the best of his ability.

INT. AAA - DRESSING ROOM HALL - DAY

Catching up with the junior A class, they’re scattered about the auditorium during breakout sessions. But no one is actually rehearsing anything, mostly just coming together to comfort one another. DARBY WINTERS and SARAH CARLSON are in the dressing room hall, Sarah hugging Darby as she cries.

INT. AAA - AUDITORIUM - DAY

In the wings, Zay, Yindra, and Nigel are seated on some spare acting blocks. Charlie and Clarissa are in the backstage area, comforting a distraught Haley who cannot seem to stop crying. In the back center section of the house, the techies are huddled together. NATE MARTINEZ has his arm around DAVE WILLIAMS, who is flushed and rubbing his eyes. JEFF MONROE is massaging Jade’s shoulders while she continues to costume in spite of how she’s actively crying, preferring to focus on something productive rather than wallow.

Dylan breaks from the techie huddle, gently scratching Asher’s back as he passes him to let him know he’s going. He makes his way back down through the house and up onto the stage, heading to the other side of the wings in pursuit of something or someone specific.

INT. AAA - COSTUME LOFT - DAY

He finds who he’s looking for soon enough. Isadora is no longer so in control of her emotions, aggressively sawing at a piece of wood with safety goggles on. Dylan claims he’s happy he found her, as he wanted to see how she was doing. He knows she’s been kind of dealing with a lot of shit lately, let alone on top of this.

Isadora, unimpressed: Oh, do you now?

Isadora pulls off her goggles and steps away from the wood, avoiding looking at him. He persists in expressing his concern anyway, stating that they’re friends and it’s important for people not to feel alone right now.

Unintentionally, this comment is the straw that breaks the camel’s back. Isadora snaps, saying it’s a shock for him to call them that when they’ve hardly interacted much in the last few months. Where was he when the entire techie crew decided to cold shoulder her? Or after the blow up in class when her mom visited -- he sure didn’t come running after her then. He didn’t try to get Lucas to lighten up on her, none of them thought to invite her to their new techie holiday plans.

Then it just spirals from there, Isadora no longer able to keep the lid on her emotions about anything. What’s going on with the Van Herschings, how her friendship with Lucas has deteriorated, the fact that she can’t seem to get the balance between two worlds right. How she knew something was up with Farkle, and she tried to reach out, but she didn’t do it right because she never does anything right. She could’ve done more, and yet she fucked up that too.

Dylan listens without argument to all of it, an unfair but willing recipient of all her anger. He lets her snarl at him and throw blame around and completely meltdown until she runs out of steam, collapsing down against the chain link that separates the costuming supplies from the set building supplies. She descends into tears, hiding in her arms and at rock bottom.

For a beat, uncertainty. Then, without a word, Dylan walks over and joins her on the floor under the shadow of the costume loft. He doesn’t touch her, or offer an uplifting word. He simply sits with her, being another presence in the room. There with her to sort through all that turmoil.

Tangible proof that she’s not as alone as she feels.

INT. ANGELA’S APARTMENT - NIGHT

ANGELA MOORE returns home, greeting Shawn who is working on the couch. She tiredly explains that she went to pay a visit to the Minkus family.

Shawn: How are they?

Angela: About how you’d expect.

She settles onto the couch with him, allowing him to drape an arm around her shoulders. She cuddles close, shaking her head and claiming that she can’t imagine what they’re going through right now. She only knows what she’s struggling to grapple with, and that’s already difficult enough. Shawn nods along, kissing her temple.

Angela: I just keep thinking… if I hadn’t gone away. If I hadn’t taken the job, you know, and I was still his teacher…

Shawn argues against the train of thought before it even starts. There’s no sense in trying to figure out if one or two tiny decisions were deciding factors in something like this -- and they rarely ever are anyway. She was his favorite teacher, after all, if anything she already did more good for him than anyone else.

Angela sighs, trying to accept that as truth. She asks how everyone else at AAA is doing, and Shawn admits it’s tough. He mentions what happened with Harper, speaking sympathetically about his co-teacher for perhaps the first time. As he’s doing so, the reality of their warped dynamic seems to hit him full force.

Shawn: … fuck. I’ve got to fix this, Ange.

Her expression says it all. Maybe so. He gives her another long kiss on the forehead before climbing to his feet.

INT. FOSTER HOME - LIVING ROOM - NIGHT

Isadora is meeting with her SOCIAL WORKER, the latter explaining what this process will be like as she is relocated. She’s hardly listening though, as this is far from the first time she’s heard the spiel.

When the caretaker explains that she will be squatting at the Van Herschings until she’s assigned a new home, that seems to strike something in Isadora. From the way her eyes are burning, it’s clear that doesn’t resonate with her. No way is she going to just hang around in a place where it’s been made clear she’s no longer welcome.

INT. MATTHEWS APARTMENT - NIGHT

Riley is pacing the living area, on the phone with TOPANGA LAWRENCE. She’s explaining the laborious process of moving upstate, only switching topics to what is going on with Riley far too long into the conversation.

Riley, flatly: Well, I don’t know if you heard, but one of my classmates overdosed. So.

Although her advice is well-meant, Topanga’s immediate response is to start problem-solving, which is not what Riley wants to hear. She can’t even get a word in about her project for Farkle, Topanga dominating the conversation with thoughts on how to cope and questioning the environment of the school that would push a student to that.

Topanga: You know, there really are some excellent schools here upstate. If you’re ever feeling as though things at the art school are just too hectic…

A nice suggestion, but exactly the opposite of what Riley needs right then. She’s sick of jumping from place to place only for it to constantly fall apart -- what she wants is for the home she’s built at AAA to become hospitable again. All in all, the conversation leaves Riley feeling more claustrophobic, directionless, endlessly doing the wrong thing regardless of how much right she’s trying to do.

She hangs up, collapsing into the bay window and looking out towards the twinkling lights of the city. Still bustling with activity in spite of how the world seems to have frozen around them.

She could sure afford to unwind for a hot minute…

INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT

Maya’s phone is ringing, Katy lighting up the screen once again. Maya reaches out and hits ignore, stuffing her phone in her pocket.

Her expression is still hard to read as she gathers her duffle bag onto her shoulder. She’s dressed in dark clothing and obviously on a mission, no longer doing nothing but gearing up to certainly do something.

She crawls out onto the fire escape with her duffle, disappearing into the night.

EXT. LUCAS’S APARTMENT - LUCAS’S FIRE ESCAPE -  NIGHT

Lucas is seated out on his fire escape, also looking out into the night. He’s clenching his jaw, picking at the scabs on his hands again, seeming restless and a far cry from coping well over someone he wasn’t all that close to.

Swiftly, he pulls out his phone and dials a number. He waits impatiently until they pick up, eyes shining with mischief.

Lucas: You busy? [ a beat ] I gotta do something.

INT. GARDNER HOME - DINING ROOM - NIGHT

The Gardner family is assembled for dinner, ELEANOR GARDNER leading them in prayer before they settle in for the meal. This evening is a bit out of the ordinary, however, as Eleanor includes a plea of forgiveness for Farkle’s mortal soul and to have mercy on him. Charlie opens his eyes in shock, blinking at his mother as she wraps it up with prayers towards the Minkus family and a curt amen.

Charlie is the only one not to repeat the word. Eleanor glances at him, surprised to see the disturbed expression on his face. She questions what’s going on, and Charlie asks what the heck she meant by including Farkle and asking for his “forgiveness.”

Eleanor treads cautiously, understanding that Charlie is likely overwhelmed by what’s happened and thusly pardons his attitude. She reminds him that suicide is a mortal sin, one of the gravest a human can commit as it goes against God’s power over human life. She’s merely hoping the Lord will take mercy on him when the time comes for his judgment.

Charlie: Well, don’t you think that’s a bit cold?

Eleanor: I think it’s a bit cold to decide that your wants and desires are greater than the will of the Lord.

Charlie: Maybe, but… don’t you think he deserves a little more sympathy? You don’t know what was going on with him, or even who he was. The Bible even says that mental health can absolve responsibility of it as a mortal sin --

Eleanor: Which is up for Him to decide, not me, and certainly not you.

Charlie wants to say more, but he finds he’s out of words. He just feels sick, staring at his mom as if he doesn’t even recognize her. Rosie looks back and forth between them, uncertain. Ambrose starts to say something to assuage the tension, but Charlie beats him to it. He pushes away from the table.

Charlie, disgusted: I need to be excused.

Eleanor: Perhaps that’s a good idea.

He marches out of the room without looking back. Eleanor and Ambrose watch him go, both appearing concerned. Rosie and Daisy keep their heads down, pushing around their food but not eating it.

INT. GARDNER HOME - CHARLIE’S BEDROOM - NIGHT

Charlie escapes into his room, slamming his door behind him. He paces restlessly before flopping down on his bed, grabbing his pillow and screaming into it to muffle the sound.

When he puts it down, he pushes himself back into a sitting position. He runs his hands through his hair, letting out an exhausted exhale. His gaze drifts out his balcony and towards the lights of the city, Charlie getting lost in the view for a moment.

Slowly, his expressions hardens to a glare.

Song Cue ♫ ♪ “A Lot of Livin’ To Do” as performed by Bye Bye Birdie Original Broadway Cast || Performed by AAA Juniors

Charlie kicks off the first verse, on edge and bristling with energy. He pushes himself off his bed and into a pace, then seems to be struck with an idea. He quickly packs a bag and climbs out onto his balcony.

EXT. GARDNER HOME - NIGHT

Charlie lands outside his balcony and looks up at it as he backs onto the sidewalk, finishing off his verse as he sprints towards his car.

INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT

Riley takes up the brunt of the next verse, singing about “men of 19 or 20, who are suave and reckless and true.” She’s dressed up and looking glamorous in bold makeup, a leather jacket she took from Maya’s closet, and semi form-fitting clothes, but she also… doesn’t really look like herself. She looks as though she’s trying to be something she’s not -- which is precisely what she’s doing.

She musters her confidence in the mirror before grabbing her purse and clambering out of the bay window.

INT. FOSTER HOME - NIGHT

Isadora is following the same routine. She has stuffed everything she cares about into a backpack and an overnight bag, clambering down the stairs and marching into the night without anyone noticing. Not intending to ever come back.

INT. AAA - AUDITORIUM - NIGHT

Kicking off a pattern for the episode, the rest of the number is split between events happening in real time, and a fictionalized performance on the AAA stage. In this case, that performance belongs to the A class (sans everyone featured out and about), Nigel taking on the vocal heft of the performance.

The strangest thing about their otherwise enjoyable rendition is how jarring it is to see Asher without Dylan. Asher is amidst his classmates, dancing with Jade and the other techies in the grounded stage performance, but his boyfriend is nowhere to be found.

EXT. NEW YORK STREETS - NIGHT

That’s because Dylan, on the other hand, has met up with Lucas and they’re jogging the back streets of a wealthier district in the city. They’re alight with chaotic energy, as Lucas is kicking up his thievery to even higher levels tonight. Dylan tosses him a tool as they come around one of the fancy, shiny sports cars sitting parked on the street, Lucas starting the process of breaking into the vehicle.

He succeeds, pulling open the door and disabling the security mechanism swifter than it can react. He and Dylan exchange grins, Lucas climbing behind the wheel.

EXT. NEW YORK STREETS - NIGHT

Maya has taken up residency in an alleyway, a busy street just overhead. She’s hard at work, opening her duffle to reveal an assortment of spray paint. Her expression is removed and determined, setting to work as she starts graffiting right over the camera.

EXT. BABINEAUX HOME - NIGHT

Zay’s car is the only one in the driveway as Charlie pulls up on the curb, abruptly killing the engine. He jogs up to the door, knocking urgently. He’s practically bouncing on the balls of his feet, unable to stay still.

INT. BABINEAUX HOME - ENTRYWAY - NIGHT

Zay descends from upstairs and pulls open the door in confusion, finding Charlie on the doorstep. Not even a second passes before Charlie steps inside and pulls Zay into a kiss, showing zero hesitation in initiating.

Something about this kiss is different, too. Insistent. Impatient. Zay is startled for a moment until he catches up and kisses him back, shutting the front door.

INT/EXT. NEW YORK STREETS / STOLEN CAR - NIGHT

Lucas and Dylan seem to be having the time of their lives, speeding down the night streets in their joy ride vehicle. Dylan shouts into the night and nudges Lucas on the arm, the latter grinning and picking up speed.

EXT. NEW YORK STREETS - NIGHT

Isadora is wandering the streets, obviously not sure where the hell she’s going to go. She’s so distracted she almost walks right into the streets, only getting startled out of it when a police siren snaps her out of it.

She hops back onto the sidewalk as the cruiser breezes past, lights blinking and sirens blaring.

INT. BABINEAUX HOME - ZAY’S BEDROOM - NIGHT

Things have grown serious for Zay and Charlie as well. They’re deep into kissing, but Charlie still seems to be operating with a more frantic tenor than normal. There’s a moment where Zay pulls back and starts to question if this is okay but Charlie steers right past it, pulling him back into it.

Kisses deepen… shirts come off… Zay fumbles back onto the mattress and Charlie follows...

EXT. NEW YORK STREETS - NIGHT

Maya is finishing up her project, startled out of her focus by the distant sound of sirens. She scrambles to gather her things and takes off into the darkness.

EXT. COLLEGE PARTY - NIGHT

Riley approaches the entrance to the underground college party, being held at what seems like an old warehouse of some kind. She makes tentative eye contact with the older guy monitoring the doors, but he doesn’t pay her any more attention than the other college girls slipping inside.

She smiles to herself, descending down the steps and into the party scene.

INT/EXT. NEW YORK STREETS / STOLEN CAR - NIGHT

The fun comes to an end about the same time as the song, the A class underscoring the blare of sirens as they catch up to Lucas and Dylan. The world around them reflects blue and red as Lucas stares at the rear view mirror, expression shifting from thrilled to alarmed.

Lucas, fiercely: Shit.

They pull over. Dylan glances over his shoulder at the lights and then back to Lucas, panicked.

INT. AAA - ERIC’S OFFICE - NIGHT

Eric is still at school, working overtime and cleaning up his office as an excuse to avoid everything else. His fragile bubble pops though as he finishes clearing his desk, stumbling upon some old notes he made to himself about Farkle and his behavior.

He stares at it, hands shaking. His expression twitches, betraying his strong facade.

INT. HARPER’S APARTMENT - NIGHT

Harper is pacing her apartment, on the phone with STELLA CASTILLO. She assures her that she doesn’t need to come home from her touring gig early, the situation is tough but she will handle it just fine. She misses her though, and can’t wait to see her again.

There’s a knock at the door, a surprise to Harper. She lets Stella know she has to go, hanging up and going to answer the door.

Shawn is on the other side, obviously a shock to her. He acts nonchalant as he greets her with an eyebrow raise, awkward but just charming enough that he can pull it off.

Shawn: Wanna grab a drink?

Off Harper’s uncertain expression, as “Die Young” floats in --

INT. COLLEGE PARTY - NIGHT

Song Cue ♫ ♪ “Die Young” as performed by Kesha || Performed by Riley Matthews

Speaking of drinking, the college party is in full swing! Riley is right in the center of it all, leading a spunky and high energy rendition of this pop classic. She’s parading around with red solo cup in hand, dancing with friendly college girls, having a rocking good time. She also catches the eye of a handful of boys, being a bit flirtatious in her devil-may-care state. There are older men of 19 or 20…

It’s the most wild she’s ever been, and it’s obvious she’s reveling in it. Accommodating and unassuming Riley Matthews, finally doing something because she damn well feels like it.

INT. JACK’S APARTMENT - NIGHT

Jack and Anne Marie are having a quiet conversation, interrupted by a knock at the door. Jack goes to answer it, unexpectedly finding a winded and very flushed Eric standing outside.

Eric, broken: It’s my fault. It was my fault.

Jack allows him inside the apartment, guiding him in and immediately trying to get him to calm down. But Eric is in emotional hysterics, doing everything aside from actually crying. He can hardly breathe, he’s tripping over his own words, the works. Jack exchanges a look with Anne Marie, not sure what to say.

She gets the message, grabbing her coat and purse and stating that she’ll give them some space. As she goes, she gently touches Eric’s shoulder and expresses her sincere condolences for everything that has happened. Then she exchanges a cheek kiss with Jack, stepping out and leaving them alone.

Eric grows more frantic, totally incomprehensible. Jack guides him towards the couch and gets him to settle, trying to get him to listen instead of spiraling out of control.

Jack: Eric.

Eric: How many times did we say we needed to bring him in to chat? How many times did I remind myself that I needed to see him but let it get brushed aside by something else? How many times did I meet with him, only to let him go without making any progress?

Jack: Eric --

Eric: We knew, Jack! I knew that something was wrong, I saw the signs, and I didn’t act quick enough! I failed him! It’s my fault, it’s my fault he --

Jack: Eric!

Jack grabs his shoulders, jostling him lightly to get him to pause. He does, allowing Jack the chance to retort. He shifts one his hands to grip the side of his neck, locking eyes with him.

Jack: This is not your fault.

Eric looks like he wants to argue, but he’s out of words. He stares at Jack, eyes glassy and still trembling. Jack holds his gaze… and then pats his shoulder gently.

Jack: Let me make some coffee.

INT. NYPD PRECINCT - HOLDING CELL - NIGHT

Dylan and Lucas are seated on the bench, the former looking nervous while the latter is slouched back against the concrete wall, resigned. Dylan is fidgety, twisting the bracelets on his wrist and tapping his feet and bouncing his leg.

Dylan: This is bad. This is so bad.

Lucas, sharply: Would you calm down? We’re white, we’ll be fine.

The door opens, an OFFICER entering and unlocking the cell. She informs them that someone paid their bail, but they have paperwork to process so they absolutely should not leave the precinct. However, they can retrieve their things and meet with their bail out. Lucas and Dylan exchange a look, following the officer out of the cell.

INT. COLLEGE PARTY - NIGHT

Riley is just finishing pouring herself another drink when THOR (20) sidles up to join her. He’s attractive, sandy-haired, just the right amount of charming. He engages Riley in conversation, asking her a little more about who she is and commenting that he hasn’t seen her around before.

The conversation seems fun for her. She enjoys playing mysterious, leaving him with little answers but accepting his invitation to go dance.

INT. JACK’S APARTMENT - NIGHT

Eric has had the chance to settle, no longer frantic but instead having transitioned into a numb sort of state. Jack returns with steaming mugs, handing one to Eric who takes it robotically. Jack sits down next to him, placing the coffee on the table.

Jack: Do you have any idea how much I respect you? Especially now.

Jack points out how hard the last week was on all of them, but especially Eric. And now he has to carry his feelings about it all on top of the collective school emotions, hardly getting any time to process it for himself. So it’s no wonder that he’s feeling overwhelmed --

Eric: I could’ve done something. I could’ve stopped it.

Jack: You know that’s not true. You know that’s not how these things work.

Eric: It was my job. It’s my job to protect them, and I failed.

Jack: Eric, listen to me. [ leaning forward ] This is not your fault. You did not fail. And if you did, then it’s on both of us. It’s both of our jobs to take care of those students. So if it’s on you, then it’s on me too.

He reaches forward and pats Eric’s knee, getting his attention. Eric stares at his hand, then slowly lifts his gaze to meet his eyes.

Jack: You know we work together. We should’ve tackled this together, and we’re going to handle it together. [ softly ] You are not going to face this alone.

Eric hangs on his every word. There’s something about the moment that’s deeper than just a moment of camaraderie, one that neither of them can place but that certainly exists between them… when Jack’s cell phone rings, making both of them jump. He digs for it in his pocket.

Jack, apologetically: Could be the Minkus --

Eric nods, understanding. Jack jumps to his feet, frowning at the number on his caller ID as he steps away to answer it. Eric takes the moment to collect himself, letting out a sigh and hiding his head in his hands.

He straightens up when Jack shouts from the kitchen, startling him.

Jack: He what?

Jack flurries back into the room a second later, scrambling to find his coat. Eric asks what the hell is going on, but in his frenzy Jack isn’t very helpful.

Jack: I have to -- Lucas. He -- I need to go to the station --

Eric: The station? What --

Jack: Please, feel free to stay as long as you need. I’ll be back soon. [ a beat ] Hopefully. Shit. Jesus --

Jack exits in a huff, leaving Eric alone in his apartment.

INT. COLLEGE PARTY - NIGHT

Dancing with a cute stranger at a hazy college party is all fun and games… until it isn’t. Although it doesn’t seem all that out of place considering how other duos around them are acting, when Thor makes an unexpected move and kisses Riley’s neck she clearly isn’t on the same page. She might be tipsy, but she’s cognizant enough to know that’s not the direction she wants to go in.

She jerks away on instinct, Thor still keeping a hand on her arm. He asks her if everything is okay, seemingly innocent. She clears her throat and searches for an excuse, laughing nervously and stating that she doesn’t feel much like dancing anymore.

In the midst of backing away, somehow Thor manages to back her into a dead end against a wall. He suggests that they can go somewhere else if she wants, not reading into her discomfort despite how obvious it feels. Hands shaking and feeling distinctly cornered, Riley grasps for any excuse she can think of.

Riley: I, um… I have to use the restroom.

INT. COLLEGE PARTY - BATHROOM - NIGHT

Riley skirts past a couple of drunk college girls, ducking into a stall and trying to catch her breath. She starts to tear up but talks herself down, knowing she needs to keep her cool. She needs to stay calm, and then she needs to figure out an escape plan.

After a moment, she pulls out her phone. She fumbles to open it, going to her messages and scrolling back to find the right contact.

INT. NYPD PRECINCT - LOBBY - NIGHT

Dylan and Lucas emerge from the hall with the officer, retrieving their items from a plastic bag from when they were arrested. As they direct their attention to the main waiting area, the identity of who bailed them out quickly becomes clear.

Asher marches away from the counter, eyes wide and voice frayed.

Asher: WHAT THE HELL HAPPENED?

He’s interrupted before he can even finish the question, Dylan barreling him with a bone-crushing hug. He embraces him with everything in him, obviously so relieved he’s there.

Lucas looks a little less thrilled. He stares at them, confusion shifting to defensive disdain.

Lucas: You called Asher?

Asher pulls back from the hug first, glancing between them. Dylan speaks before he can address Lucas, asking how the hell he paid to bail them out.

Asher, reluctantly: … the fund.

Dylan’s face drops, mortified. The last thing Asher should be doing is dipping into his college fund to get them out of trouble -- especially after expressly stating he needed space.

Dylan: I’m so sorry. I’m sorry, I didn’t know who else to call. They said call someone, and my first thought was --

Asher: It’s fine. But I’ll ask again. [ looking right at Lucas ] What the hell happened?

Lucas holds his glare, not knowing what to say. He’s saved by the bell, or in this case, his phone ringing. He steps away to answer, turning away from Dylan and Asher. As he frowns at the caller ID and answers the call, in the background Asher takes Dylan’s face and questions whether or not he’s okay.

Lucas: Hello? Riley? [ a beat ] Wait, what? [ a beat ] What?

Dylan and Asher shift their attention to Lucas, watching him warily as he starts to pace. Whatever he’s hearing on the other end, it can’t be good news.

Lucas: Stay where you are. Don’t talk to them. Where are you? [ a beat ] Okay, stay put. It’s going to be okay. I’m coming. It’s going to be fine.

Lucas hangs up, alight with restless energy again. He marches back over to the other two, exhaling shortly before locking eyes with Asher.

Lucas: I need your car.

Asher: I’m -- what? No.

Lucas: I need to go. Riley is -- I have to go now.

Dylan: What’s wrong with Riley?

Lucas: I have to go. Give me your keys.

Asher, stunned: You’re seriously telling me --

Dylan: They said we couldn’t leave --

Lucas: GIVE ME YOUR KEYS!

Asher flinches, reflexively tossing them in his direction. Lucas catches them, not even saying thanks as he sprints out the doors. Dylan and Asher whip around to watch him go, wearing matching shocked expressions.

Dylan, with dread: We’re so fucked.

Asher glances at him then back to where Lucas left, slowly shifting from shocked to pissed.

INT. JACK’S APARTMENT - NIGHT

Eric has returned from the kitchen with another cup of coffee, familiar enough with Jack’s apartment from all the hours they’ve spent working together. He settles back onto the couch, breathing deeply and trying to get himself to relax.

He shifts his focus to the paperwork Jack has on the table -- the student files of the junior class. Likely in preparation for their senior summary reports. He flips through them idly, smiling lightly at the grinning portraits of the junior class and their photos from the last three years.

Eric stops cold when he gets to Farkle, smiling smugly back at him from his sophomore student portrait. There’s a subtle shift, just barely perceptible, between that image and the one from junior year. Eric swallows, gently putting down the report back onto the table. He puts it right next to Isadora, and Charlie on the other side.

All of them, right there in front of him. All having no idea how much they mean to him, how desperately he wants to protect all of them like his own family.

Song Cue ♫ ♪ “These Are My Children” as performed by FAME Original Broadway Cast || Performed by Eric Matthews

Eric kicks off this impressive vocal performance, sorting through the student files as he articulates how important this role and his influence on the children means to him. He uses the full expanse of Jack’s living room to work through his emotion, delivering a powerful rendition.

INT. AAA - AUDITORIUM - NIGHT

In keeping with the other performances of the evening, the number is split half between his location and half on the AAA stage, railing into the performance with everything he’s got. It’s cathartic, at the very least, and it certainly makes the point crystal clear.

The students at Adams are his children. And he never wants to let another one slip through the cracks ever again.

Song Cue ♫ ♪ “HUMBLE.” as performed by Kendrick Lamar || Instrumental

INT. ASHER’S CAR - NIGHT

Lucas is parked outside the college party, staring at the building with obvious reluctance and disdain. He can hear the bass thumping from outside, and a crowded, loud, rowdy hole in the wall is the last place he should be when he’s already on the block for the joy ride.

But he goes anyway. Lucas scowls and climbs out of the car, slamming the door.

INT. COLLEGE PARTY - NIGHT

From the moment he enters the space, it’s overwhelming. Lucas frowns at the haze of smoke and odor of alcohol and weed, weaving his way through the crowd and scanning for Riley. College girls spot him and share interested looks and giggles, but he doesn’t pay any attention.

Finally, he finds her.

Lucas: Riley -- Riley!

He pushes through the crowd to get to her, Riley whipping around when she hears his voice. Her eyes are wide and uncertain.

Riley: Lucas?

He finally makes it to her side, taking her arm and pulling her from the fray. He double takes when he actually gets a good look at her, taking in her… new style. He seems a bit torn on whether or not he should consider it attractive or not, and well aware that this isn’t the time to be thinking about that anyway, but Thor addressing them grabs his attention before he can make a decision either way.

It’s not just Thor, but Thor with friends. There’s about three of them now, and Thor questions where Riley is going so soon. Lucas can tell from her body language and the way she kinda ducks behind him that they’re what caused her to call him in the first place. He does his best to keep things from escalating, calmly explaining that they’re just going to head out.

Thor: Oh, well, you don’t have to rush out. I thought we were having a good time. Weren’t we? [ off Riley’s hesitant expression ] Of course she’s shy now. It’s okay, you don’t have to get bashful around your boyfriend.

Friend, slurring: Didn’t have those problems earlier.

Friend 2: Thor was just telling us how friendly you are. Thought we’d come get to know you ourselves.

Riley looks like she’s going to be sick. Lucas narrows his eyes, fighting a losing battle in keeping control of his anger.

Thor: It’s not like it’s a problem, you’re welcome to join us. [ loftily ] Thought we might have more fun as a group, actually.

Lucas, sharply: Yeah? You think it’s fun to hit on a minor?

That comment seems to hit something in Thor’s drunk friends, but they’re not sober enough to remember why that should be problematic. There’s a little more of a tense back and forth until Riley tries to end it, taking Lucas’s arm and starting to pull him away.

Riley: Lucas, let’s just go. Come on.

Friend: Yeah, go on then, bulldog. Woof!

Lucas is scowling, but he follows Riley’s directive. It’s only after they’ve turned away that Thor makes a crucial mistake.

Thor: Her loss. Fine, then. Go be a nobody somewhere else, slut!

Everything happens so fast. In a second, Lucas has spun back around and thrown a punch, hitting Thor so hard and quick that he falls backwards into his friends. As they’re reacting and regaining their bearings, Lucas doubles back to Riley and starts to drag her out of there.

Lucas: Come on. Come on!

Riley tears her gaze away from the carnage, taking his hands and holding on for dear life as he shoves his way through the crowd.

INT. BABINEAUX HOME - ZAY’S BEDROOM - NIGHT

Zay and Charlie have evidently been making bold moves of their own. The untidy quality of the bed sheets is enough of an indication, although Charlie is in the process of fixing them for the sake of fixing something. He might want to start with his hair, which is equally messy, but that seems to be far from his mind. He’s fidgety, looking caught between guilt and discomfort as he restlessly makes the bed.

Zay returns from the hall, having just done some tidying up himself and pulling on a sweatshirt. He tells Charlie not to worry about it, in much lighter spirits than his boyfriend. Charlie can hardly look at him, swiveling away once his distraction of nitpicking has been taken away.

Sensing that something might be up but not wanting to jinx things, Zay searches for upbeat ways to break the silence. He’s rambling, almost, scrambling for anything to say that will make the oddly serious air between them disappear.

Charlie, suddenly: This wasn’t good.

Zay: … well, I don’t know if I would say that. Sure wasn’t perfect, but uh, you know, I don’t think it’s necessarily supposed to be. First time. [ a beat ] Like a lot of things, I think it just takes practice --

Charlie: No, no, not that. It was… fine. I mean, it was okay. I don’t -- it wasn’t good that we did this. That I did this.

It grows quiet. Zay chews the inside of his cheek, obviously trying to grapple with the unpleasant turn this is taking. He isn’t sure what to say.

Zay: If you mean… if this is about the “Heavenly Father,” or whatever --

Charlie: No, it’s not that either. It’s just… I just think that… [ exhaling ] I don’t think I did this for the right reasons.

Zay frowns. Doing what they decided to do tonight is already an overly emotional endeavor, and that’s heightening the way they’re reacting to one another. But he knows he doesn’t want the conversation to go where it’s going.

Zay, quietly: … you said it was okay. I asked you like, a thousand times, because I wanted it to be okay --

Charlie: I know. And when I said it --

Zay: I didn’t even know if -- I wasn’t sure either, you know? [ quicker ] I didn’t know if I was ready either but I figured if you were, if you seemed so sure, then --

Charlie: It’s not that I… it didn’t have anything to do with you.

Zay: Then why? Why would you do it if it wasn’t about you and me?

Charlie grimaces, running his hands through his hair. He snaps out a response, explaining what his mom said at the dinner table about sin and this backwards way of thinking about Farkle, and he can’t stop thinking about Farkle in general, and how life is so fucking short and abrupt and holds all these choices that he has no control over. So he just… he just wanted to do something. He wanted to choose to do something and have control over it and feel like it was okay.

Zay, stammering: And you didn’t think -- you didn’t think to tell me about that?

Charlie: I don’t know! [ voice cracking ] I just knew that I wanted to be with you, and I wanted to feel something, and have control over something, and not have my mom’s voice in my head confirming that empathy means nothing if the Lord doesn’t agree and how I can never fucking tell her about this --

Zay, exasperated: Are you ever going to tell anybody?

That’s enough to stop Charlie dead in his tracks. Zay is looking at him, vulnerable and worked up, and Charlie wants to be able to tell him what he wants to hear. Even in the midst of how confusing and overwhelming it all is, he wants to be able to give him that reassurance.

Instead, he hesitates. He hesitates just a second too long.

Zay’s lip trembles, expression shifting as he attempts to keep it together. He shakes his head, turning away from him and letting out a shaky breath.

Charlie: Zay, I’m not saying that… like I said, this doesn’t have anything to do with you.

Zay: It should. This is one of the things that should.

Charlie: I didn’t mean to --

Zay: You know that I don’t… I would never expect you to… but we’re supposed to be doing this as a team. We’re supposed to be together on this.

Charlie, tearing up: We are --

Zay: And it’s supposed to be leading towards something! If we care about each other and this means something it’s supposed to be moving towards a future -- you even said just last week that…

He can’t get his thoughts together. He can’t wrap his head around how spectacularly this has spun out, how he feels closer to him than ever but also betrayed and confused and a cocktail of every other emotion they’ve made each other feel in the last eight months.

Zay: What are we even doing?

Charlie shakes his head, stepping forward and taking Zay’s arm.

Charlie: We are -- Zay, listen to me. Listen. [ choked up ] Zay, I --

Zay: What?

Zay whips around to face him, meeting his gaze. Not letting him hide, waiting for him to say what he hasn’t been able to say.

Zay, softer: … what do you want to say to me, Charlie?

Charlie stares at him, glossy-eyed. Mouth parted open, the words on the tip of his tongue -- what he feels so strongly it’s consumed him inside and out.

But he can’t say it. He can’t put it into words the way Zay needs to hear.

Zay nods, not surprised. He gently pulls his arm from his grasp, turning away from him and wiping at his eyes. Charlie stands frozen, unable to move.

Zay: [ almost inaudible ] I think you should go.

Charlie, tearfully: Zay --

Zay: Please. [ a beat ] Just go.

Charlie waits a moment longer, hoping things will go back to before. Hoping somehow everything will go right side up again, that they’ll be the same… but it doesn’t. It won’t. He swallows back his tears and robotically gathers his things, glancing over his shoulder at Zay one more time before he disappears from the room.

Zay grits his teeth until he hears the front door close. Then he lets out a broken exhale, collapsing onto the bed and hiding his head in his hands.

Song Cue ♫ ♪ “Secret Love Song, Pt. II” as performed by Little Mix || Performed by Zay Babineaux

Delicately singing the opening notes of this coveted Little Mix ballad, Zay works his way into what is his most heart-wrenching and emotional performance to date. There’s no choreography or extravagance to distract from the killer vocals, just raw emotion and impressive pipes.

INT. AAA - AUDITORIUM - NIGHT

His performance follows the same pattern as the others, splitting its time between his grounded location and the imaginary AAA stage.

INT. BABINEAUX HOME - ZAY’S BEDROOM - NIGHT

Zay rounds out the piece by approaching his window, looking out and seeing Charlie in his car. He’s clearly crying, mirroring Zay’s own tears, but right now there’s too much distance between them. Too much weight from hasty decisions that they can’t take back or redo.

He pulls it together and drives away, Zay watching him go. Then he slides back down against the wall, leaning his head against the window sill.

INT. BLUE’S APARTMENT - NIGHT

There’s a knock at the door, BLUE NGUYEN jogging in from the bedroom to answer. He looks through the peephole and then pulls open the door, a windswept and tired Isadora standing there with her bags on the doorstep.

Neither of them say anything. Blue steps back and lets her into the apartment without hesitation, gently shutting the door behind them.

INT. ASHER’S CAR - NIGHT

Song Cue ♫ ♪ “Love Like This (Acoustic)” as performed by Kodaline || Instrumental

Lucas has parked a ways away from the party in a mostly empty parking lot. The music plays softly over the radio, set to one of Asher’s usual stations, but otherwise it’s quiet.

They aren’t looking at one another. Lucas is chewing on his thumbnail, keeping his gaze trained out the window. Riley is making herself as small as possible after the evening she’s had, hugging herself and slouched low in the passenger seat.

After a long moment, Lucas lets out a sigh.

Lucas: What the hell were you thinking?

Oop. Wrong thing to say. Riley looks at him, staring in disbelief.

Riley: What was I thinking? [ a beat, louder ] What was I thinking? You’ve got to be kidding me!

Valid reaction. Lucas cringes as Riley lays into him, straightening up and reminding him of all the stupid choices he’s been making in the last few months. The terrible attitude. The stealing. The shutting down and shutting out of people who actually care about him, who have done nothing but try and help him and he’s given back bullshit.

Riley: So you have the nerve to ask me what I was thinking? No. Sorry. I know this was dumb, and I know I shouldn’t have done it, and I had to pay for it. But I am not going to take a lecture from you!

[ There’s a long silence. Riley huffs, slouching back against the seat and crossing her arms tighter across her chest. ]

Lucas: … you’re right.

Riley: And I think -- [ realizing what he said ] What?

Lucas, defeated: You’re right. I’m stupid. I’ve been… I’ve been fucking up non-stop basically since summer. [ a beat ] Most of my life, if we’re being honest, but… whatever. That’s not the point.

Lucas goes on to repeat that she’s right, and he knows he’s fucked everything up. Now all there’s left to do is deal with it, regardless of how much he wishes he could keep running from it. Riley examines him for a long moment.

Riley: Well, if tonight demonstrated anything, I think it’s safe to say that running sort of creates more problems than it fixes.

Hard lesson to learn, but it seems they’ve both made it there eventually. They absorb the sentiment for a moment before Lucas speaks again, asking what he actually cares about. He looks at her, speaking more gently.

Lucas: Are you okay?

Riley, exhaling: [ after a long silence ] No. I’m not.

[ Lucas frowns. It looks like he wants to do something, but clearly has no idea what or how anything he might say or do could be remotely helpful. ]

Riley: But I will be. [ with a scoff ] Someone has to be.

Sad, but true. And it’s the mentality she will survive by, so she’s not letting it go quite yet. Lucas nods, shifting his gaze back out the dashboard window.

This gives her the chance to look at him again. She takes him in, finding the words she wants to say.

Riley: Thank you for coming. When I called. You didn’t have to --

Lucas, without hesitation: Of course I did.

He shifts his intense expression back to her, immediately softening when they lock eyes. It’s the first time they’ve really looked at one another all night -- it’s the first time they’ve really looked at one another in what feels like too long --and as soon as they do it’s difficult to look away. A million and one feelings floating between them, left unspoken.

Lucas manages to look away. He focuses on the car, remembering everything waiting for him back at the precinct. He murmurs about getting Riley home and turns on the engine, reaching for the gear shift.

Riley meets him there, touching his hand and keeping him from putting the car in drive. Lucas freezes and glances down at their hands, then at her, uncertain.

She doesn’t say anything. She doesn’t even look at him, closing her eyes and taking a deep breath. Keeping her hand on top of his, finding warmth and comfort in it even in the midst of so much chaos and darkness.

Lucas lets his gaze drift back to their hands. He hesitates… then flips his hand over and links their fingers together. Holding her securely, confirming the notion that she’s not alone.

The two of them sit there in silence a while longer, fingers intertwined and thoughts left unsaid.

INT. BAR - NIGHT

A refreshing change of pace, the rustic-style bar is bustling and lively with adults enjoying their Friday evening. Harper and Shawn are two of those responsible adults, clinking their shot glasses together before downing another at their high table. Shawn nearly chokes on his and Harper cracks up, signaling that both of them might already be a bit tipsy.

Shawn: You can hold your liquor, Burgess. [ coughing ] I’ll give ya that.

Harper: [ with a shrug ] I went to Triple A.

Shawn: Touche.

Harper smirks, picking at their shared nacho platter. There’s a beat of silence between them, then Shawn opts to speak.

Shawn: You’re right about a lot of things, I’ll give you that too. Mostly about me.

Harper, cringing: Well, I don’t know if --

Shawn: No, no, don’t diminish yourself on my account. Stuff you said to me… [ taking a sip of his beer ] Spot on, basically. Except the neckbeard comment. I will argue that.

Harper lets out a laugh, somewhere between amused and nervous. Shawn grows more serious, waiting for her to make eye contact with him.

Shawn: Truth is, I don’t know what the hell I’m doing. Never have. I got this job because my brother did me a favor, chance to get my life back on track, and I figured okay, sweet. I’ll get upright, find a better alternative, and blow this joint.

Harper: But…

Shawn: But those kids, man. They’re devious. They get in your head, and it’s like, suddenly you care about them. Suddenly you care more about their well-being than your own, and you can’t just walk away from that. [ a beat ] So I’m still here, but that doesn’t mean I know jackshit. Certainly not anymore than you do, even though I sure felt the need to make it seem like I did. [ a beat, sincerely ] And I’m sorry about that. You got thrown in the deep end, and I didn’t throw you a life preserver. That’s on me. And I’m even more sorry it took something like… all this to snap me out of it.

Harper absorbs this, trying to determine whether or not it’s genuine. Then she nods, taking a sip of her own drink.

Shawn: But I’ll tell you this, something else you should know about me. When I turn over a leaf, I turn it over. I’m telling you I’m on your side now, and you better believe it. [ raising his bottle in cheers ] We’re in the underworld, Burgess, but we’ll navigate together. Sound cool?

There’s a moment of contemplation. Then Harper manages a smile, clinking her glass against his. As their drinks meet --

EXT. NYPD PRECINCT - NIGHT

Asher’s car door slams, Lucas walking sheepishly from the parking lot to where Asher is waiting for him on the curb. He’s got his hands stuffed in his pockets, glaring at Lucas and shuffling restlessly from foot to foot. There are clearly things both of them want to say, but it’s gotten harder to speak now that they’re in front of one another again.

Lucas: Where’s Dylan?

Asher, shortly: His dad came to pick him up.

Brisk conversation. Lucas has made it to join him on the curb. He tentatively holds out his keys -- Asher snatches them from him, stepping off the curb without comment. Then he thinks better of it, whipping back around and approaching Lucas again. When he speaks, his voice is strained with anger, but also trembling.

Asher, fiercely: The next time you want to ruin your life, you can leave Dylan out of it!

Lucas attempts to cover for himself, to offer some sort of explanation that makes all of this better, but he can’t. There’s nothing he can say, and there’s no way to make this better. Asher clenches his teeth, eyes glossing over as he shakes his head at everything Lucas starts to say.

Asher: Look, you can do whatever you want, Lucas. You were right the whole time -- it doesn’t matter. Not to you.

Lucas: That’s not true.

Asher: You can do what you want, but I can’t do it anymore. I can’t. I’m done.

Asher turns to go, starting to head into the parking lot. Lucas steps down off the curb after him.

Lucas, panicked: Asher --

Asher: Don’t!

Both of them freeze. Lucas pauses and then steps back, respecting his wishes. Asher hesitates for one last second, almost turning around… and then he marches towards his car.

Lucas watches him go, looking more regretful than we’ve ever seen him. That is, until he turns back towards the precinct and sees Jack impatiently waiting for him by the front counter, looking absolutely livid.

INT. ASHER’S CAR - NIGHT

Song Cue ♫ ♪ “Younger” as performed by Ruel || Performed by Asher Garcia

The instrumental starts just as Asher shuts the car door, taking a moment to absorb what the hell just happened. He lets out a sigh and falls back against the driver’s seat, pressing his palms to his eyes and trying to keep from crying.

EXT. NEW YORK STREETS - FLASHBACK - NIGHT

Asher’s performance takes on a slightly different structure than the rest, still split between the real world as he drives home and the AAA stage, but also this blast from the past. It’s essentially a fabrication of the origins of Lucas and Asher’s friendship, the two of them sneaking out late at night in freshman year to go wander around and talk. From the way they both grin and crack up as they go, despite being cast in shadow, it’s a stronger advocate for their relationship than anything we’ve seen as of late.

The things that Asher is so deeply holding onto, wishing things were that simple again.

INT. AAA - AUDITORIUM - NIGHT

But as mentioned, he takes the stage too, and the emotion of the rendition makes it near masterful. The performers in the A class might be chilled to know there’s some serious talent hidden in the depths of the techie crew, and Asher is perhaps the most prominent example.

INT. GARCIA HOME - ASHER’S BEDROOM - NIGHT

Asher makes it back to his bedroom as the song hits the bridge, clearly exhausted. He slips off his shoes and shrugs off his jacket, going to organize his things off his desk but getting caught on looking at his bulletin board again.

Carefully, he pulls another photo from the second layer of pinned items -- a picture of him and Lucas from freshman year. It’s difficult to look at, painful to acknowledge how much he feels like has changed. As he sings the lyrics “but we’re out of time,” he folds the picture in his fingers, like he’s crumpling it for good.

EXT. NEW YORK STREETS - FLASHBACK - NIGHT

The memory of Lucas and Asher have made it to Central Park, on the Gapstow bridge. Both of them are looking out over the edge, Lucas no longer looking at Asher.

Asher takes a moment to look at him -- really examine him, trying to figure him out. Wondering if the time they’re spending together is worth it, or if he’s wasting his energy on someone who will never return the favor.

Only this time, he doesn’t just stand there until Lucas is ready to move. As the song builds to the final chorus, memory Asher turns and hesitates one last moment… before walking away. Heading in the opposite direction, leaving Lucas behind him.

INT. AAA - AUDITORIUM - NIGHT

Which launches him right into the last chorus, delivering the powerful vocals with resounding emotional force. It’s obvious how difficult this is, how much it hurts, how badly he wishes this wasn’t how things were.

So I can't call you my brother, the way that we used to When we were younger, younger...

Asher finishes out the performance with a flourish, nearly stumbling as he backs out of the spotlight. He’s tear-stained, flushed, running a hand through his hair and honestly disoriented as he tries to figure out what he’s supposed to do next.

Then he exits the stage, leaving it empty and cold.

INT. BLUE’S APARTMENT - NIGHT

Isadora is in the living room, set up on the couch to crash for a few days. Blue comes in ready for bed, asking if there’s anything else he can get for her before he calls it a night. She assures him that it’s all good, and makes a point of thanking him for letting her stay. He tells her any time.

But it’s clear Isadora will not be finding rest any time soon. She scrolls through her phone, hesitating on the brink of a decision. Then she sits up, hitting call on her phone.

After a moment, VALERIE DE LA CRUZ picks up on the other end. She asks what’s up, and there’s a second where Isadora pauses. Then she starts to tell her everything, starting with Farkle and spiraling down into everything that’s happened since.

Actually opting to let her mother in, in spite of how unfamiliar the practice feels.

EXT. NYPD PRECINCT - NIGHT

Jack and Lucas exit the precinct, the former leading the charge and digging his keys from his pocket. Lucas lags behind, not wanting to have to go home but also not sure he wants to face Jack’s disappointment. It’s harsher than usual because it’s quiet. He’s not reprimanding him, he’s not yelling. It’s just… nothing.

Lucas: Aren’t you going to say anything?

Jack: I don’t think you want to hear what I want to say to you right now.

Lucas stops in the middle of the parking lot, not following him anymore. Jack realizes he’s no longer behind him, spinning and finding him waiting. Looking at him, expression blank, not defensive or waspish or bitter. Just waiting.

Jack sighs, holding his arms out.

Jack: Okay, you want to hear it? I don’t want to say anything because I don’t think it’s worth the effort.

Lucas, quietly: … not worth the effort.

Jack: Yes. Because there’s nothing I could say that I haven’t already said to you before. Don’t do this, don’t do that, think. Think. Think! But you never do. You never listen, and we always end up back in this spot, starting over again.

Lucas: … I didn’t mean for...

Jack: [ growing frustrated ] I can’t keep doing it, Lucas! I can’t keep sticking my neck out for you and trying to help only for you to take advantage of it at every turn. You can’t help somebody who doesn’t want to be helped. So I’m not wasting my breath anymore. [ a beat ] Now get in the car so I can take you home.

Jack doesn’t wait for him to respond. He walks over to his car and unlocks it, keeping true to his word and not wasting anymore energy than necessary.

Lucas stands there for a moment, absorbing the full consequences of his actions. It’s like it’s all collapsing on him at once, domino after domino falling over until there’s nothing left. He’s caught in the red glow of Jack’s tail lights, a tear spilling over and sliding down his cheek.

He wipes at it hastily, sniffling and then shuffling his way over to the car. He climbs into the passenger seat without a word.

INT. HOSPITAL - LOBBY - NIGHT

Maya is still dressed in her graffiti garb, removing her knit cap and twisting it in her hands. She seems a bit lost as she tries to figure out where she’s going, the nurse at the front desk asking if there’s something she can help her with. She assures her she’s fine, and when she informs her that visiting hours are done for the evening, she explains she’s just here to pick up her sister from visiting their father.

She makes up a room number and sends the nurse on a wild goose chase, waiting until she’s out of sight to head down the opposite hallway and exploring for herself.

INT. HOSPITAL - HALLWAY - NIGHT

Maya makes her way along, reading spare paperwork and files as she goes to try and figure out where exactly she’s headed. Finally, she arrives at her destination, frozen in the doorway and unable to progress any further. The temporary nameplate on the door confirms she’s made it.

F. Minkus.

Maya peers around the door.

INT. HOSPITAL - FARKLE’S ROOM - NIGHT

And there is FARKLE MINKUS. Fatigued and hooked up to a dozen little wires but alive, seemingly snoozing in his hospital bed. A laptop and briefcase on the window seat indicates that he’s already got a visitor, but no one is around.

Maya stares at him for a long moment, until the sight of it becomes too much. She starts to turn away, making her escape --

Farkle: Maya?

She winces, not sure she actually heard him. She glances back over her shoulder, Farkle half-awake and blinking at her from across the room. He looks confused, but not upset to see her there. Maya deliberates before easing her way inside, taking the seat next to his bed.

Maya: … hi.

Farkle: What are you doing here? [ dazed ] Visiting hours are… except for family…

Maya: I just wanted -- I had to see you.

That said, it’s not necessarily for good reasons. Maya explains what Eric said, about all the emotions she might be feeling. And he’s right -- she is feeling all of that. She’s furious at him, furious that he would do this without even thinking about the rest of them. She’s mortified by the prospect of him not being there -- never being there again -- despite her statements that she’s better off without him. And because of that she’s confused, not sure whether she wants to forgive him or not but now all the things she was upset with him for originally feel trivial or stupid, which isn’t fair because he still did those things. And those things shouldn’t just get wiped clean because he tried to escape them permanently.

More than anything, though, she admits that she can’t believe he was going to leave without her. That he was just going to leave her behind in the most irreversible way possible, and she can’t even begin to wrap her head around that. She doesn’t want to exist in that world.

Maya: Everyone kept saying I needed to talk to someone. I had to talk to someone about you, about what happened. They kept saying that, but the only person who… the only person I could even fathom wanting to talk to was you.

That much, Farkle can understand. He’s clearly out of it, and it’s a wonder how much of this he’ll remember later, but it’s helping Maya to say it.

Maya: I just wanted to talk to you, but I don’t know if that’s what I wanted to say. I’m not sure what else to say. I’m still trying to… figure it out. I just hope that you -- I hope you realize --

She can’t articulate it. Farkle squints at her, trying to understand.

Maya: I don’t want this bullshit world if you’re not in it, Farkle. You got that? I’m not -- we’re not all dandy but -- it’s bullshit if it’s not with you.

Maya doesn’t offer the chance for clarifying questions. She rises from the seat and makes a hasty exit, disappearing before anyone can catch her or Farkle can ask something she doesn’t yet know the answer to.

INT. HOSPITAL - HALLWAY - NIGHT

Song Cue ♫ ♪ “Nothing Stops Another Day” as performed by Ghost Original Cast || Performed by Maya Hart

As Maya winds her way through the halls of the hospital, she launches into what is essentially the thesis of the episode -- and in some ways the season. Darkness is going to eclipse the light sometimes, and there will always be bad in the world. But the world keeps going regardless, and she can either succumb to it and disappear, or keep marching onward in spite of it.

Because the world keeps turning, and I guess it always will I can choose to turn around or I can choose to just stand still Either way, nothing stops another day...

INT. AAA - AUDITORIUM - NIGHT

Of course, Maya delivers an equally stirring rendition while on the fictional AAA stage, completing the trend for performances of the evening. And, tellingly, this lyric rings particularly true as we come out of the frost of February and launch into the rest of our season:

Winter can’t hold back the spring, no matter how dark it may seem…

INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT

Maya climbs back through the bay window, Riley already seemingly in bed and asleep after the crazy night she’s had. As Maya makes her way to her bed, she stops when she sees the item that has been left on her comforter.

The photo from Farkle’s locker of the two of them. Obviously left there by Riley, figuring she might want it all things considered.

As Maya rounds out the performance, she steps up to her future moodboard and adheres the photo to it. Surrounded by everything else, but taking a definitive space.

INT. AAA - BLACK BOX THEATER - DAY

The A class has assembled again on Monday, having survived another tough week. But the ripple effect of everything that has happened peeks through in subtle ways, like Maya nowhere near as glamorous and put together as usual and letting that vulnerability show. Isadora is next to her, equally as tired but still marching on. Asher is sitting closer to Dylan, their hands linked in his lap. Zay and Charlie can’t look at each other. Lucas is nowhere to be found.

Harper takes the front of the classroom, Shawn settling back against the teacher desk in the back and crossing his arms. Harper starts by apologizing for her outburst late last week, then explains that the reason she’s sorry is not because she had one, but because she wasn’t being candid with all of them. The truth of the matter is, this is just as difficult for her as it is for them, and she’s also feeling conflicted, overwhelmed, reckless, unsure.

In the midst of her speech, she grows uncertain. She glances back towards Shawn, who gives her an encouraging nod. Having her back, as he said he would.

She clears her throat, getting back on track. Some of her former confidence back intact, she explains that it doesn’t do anybody any good for them to struggle through this alone, so they’re going to get through it together. The class seems into this, offering weak smiles and nods. Dave gives an endorsing thumbs up.

Song Cue ♫ ♪ “Smile” as performed by Glee Cast || Performed by AAA Juniors

Harper gestures Riley up to stand with her, allowing her to take the reins and explain her idea of how to honor Farkle. As the soft guitar strums float in…

INT. AAA - AUDITORIUM - DAY

The junior A class keeps it painstakingly simple for this performance, in their regular clothes and seated along the edge of the stage. Dylan and Dave play their guitars, Riley taking the gentle opening verse and then allowing the vocals to pass amongst their classmates. The divas abstain from solos, instead giving Yindra, Clarissa, Darby, and Yogi the chance to shine.

INT. AAA - HALLWAY - DAY

While this unfolds, Riley leads her classmates in the decoration of Farkle’s locker. They’re adorning it with photographs, letters, flowers and warm wishes and small things for him to find when he finally returns to school. Each of them are taking the matter seriously, but also finding joy in the task. Lots of exchanged timid smiles, a couple of nervous laughs.

The reason Lucas is not in class is because he’s playing guard dog, set up on the floor next to Farkle’s locker and keeping people from stepping on the display or being careless around it. Putting his protectiveness and delinquency to good use. No one tries to stop him.

INT. AAA - AUDITORIUM - DAY

A fair majority of the A class have shed tears in the process of the performance, but somehow it’s a good thing. Relieving, a sense of catharsis, all of them sharing in the emotion together rather than attempting to fumble with it on their own. Riley reaches out and takes Maya’s hand -- Isadora squeezes Dylan’s shoulder.

It’s nice to hear their voices in harmony again, singing about looking towards the future with optimism rather than dread. It’s not going to be easy, and there’s much to rebuild, but Maya’s earlier sentiment is right -- winter can’t hold back the spring, no matter how dark it may seem.

INT. HOSPITAL - FARKLE’S ROOM - DAY

Their assembled voices float over our last shot of Farkle, asleep in his hospital bed but in recovery. Completely unaware of the impact he’s had, how grateful people are that he’s still there. STUART MINKUS is there with him, having fallen asleep in the chair by his bed and holding his son’s hand.

You’ll find that life is still worthwhile, if you just smile…

END OF EPISODE.

IF ANY of the content in this episode has been triggering, please reach out and talk to somebody you trust and who can help you. The following links are resources including hotlines, prevention organizations, and international numbers.

Suicide Prevention: https://suicidepreventionlifeline.org/

List of Suicide Hotlines: https://ibpf.org/resource/list-international-suicide-hotlines https://suicidestop.com/call_a_hotline.html

[monikakrasnorada]

Hiding in Plain Sight- part seven

Evolution- Deductions vs Mind Palace: A Comprehensive Look

“Sometimes a deception is so audacious, so outrageous that you can’t see it even when it’s staring you in the face.”

We’re nearly there. Just one more part after this one. My closing argument and the entire reason for all of these posts. If you’ve ready any- or all of them- I want to thank you and hope that, once it’s all said and done, I haven’t wasted your time. <3

SERIES THREE

TAB:

I really want to try and keep this one short and simple. There’s nothing really left to uncover regarding new revelations about this episode. I mean, it’s pretty straight-forward in that it takes place in Sherlock’s head.

This episode was ground zero for EMP theory. The questionable ‘realness’ of the modern scenes led @the-7-percent-solution, @gosherlocked and myself to discuss the idea that if we couldn’t trust to know which of those modern scenes were real, then how could we know what led up to TAB was real either. And, thus a theory was born!

Right from the start, we knew this episode was going to be a trip. Most everyone in fandom that had been keeping up with setlock during filming probably guessed this would largely take place in Sherlock’s head. I mean, how else could they make a suddenly Victorian era Sherlock fit into a modern series? What we weren’t prepared for was just how ‘immersed’ Sherlock truly would be within the whole thing.

So far on Sherlock

That was an understatement. Immediately, they start the episode off with a re-cap which would usually show the pertinent moments of the show. The things that we should remember from episodes past, that have led us to this point. 

In a show titled Sherlock, in the episode just before this one, you would think it would be an ideal time to refresh everyone’s memories on the most important and pivotal moment from that episode. Like, oh, I don’t know:

Instead, this is what they choose to show us, and the dialogue they felt important to refresh our memories about:

Inverted intro to Sherlock

“The name is Sherlock Holmes and the address is 221B Baker St.” *wink*  “Afternoon.”

“Yeah, he’s always like that”

Police officer disguise from TGG

Whipping the corpse, “Bad day was it?”

Meeting Mycroft “Since yesterday you’ve moved in with him and now your solving crimes together” Baker St door slams shut in our face

*Mwah!* To Hudders, “Look at you, all happy. It’s not decent.” “Who cares about decent? The game, Mrs Hudson, is on!”

Parliament explodes

“Don’t make people into heroes, John. Heroes don’t exist and if they did-”

John in the Symtex vest at the pool “I wouldn’t be one of them”

“I will burn the heart out of you”

Irene and the vicar “Right, this should do it”

“Are you wearing any pants?” Giggle

Irene using her whiphand “This is how I want you to remember me, the woman who beat you”

“But, there never was any monster” “Sherlock”

“Here we are at last” Moriarty’s suicide

“Goodbye, John” “SHERLOCK!”

“Those things will kill you” As John struggles to get to Sherlock

Lestrade, “Oh, you bastard”

“The thrill of the chase, the blood pumping through your veins”

John chasing Sherlock across the street from ASiP (first case)

“Just the two of us against the rest of the world”

Glasgow kiss

“WAIT!” Sherlock jumps over gate in TRF

“We’re going to need to coordinate” Sherlock’s grave

“I asked you for one more miracle. I asked you to stop being dead”

“I heard you”

“Shut up. You are not a puzzle solver. You never have been. You’re a drama queen. Now there is a man in there-” Sherlock puts on his deerstalker “-about to die. The game is on! SOLVE IT!”

“He is the Napoleon of blackmail” CAM opens the ‘closet’, regards his mind palace

“No chance for you to be a hero this time, Mr. Holmes” as Mycroft’s helicopter hovers

“I’m a high-functioning sociopath” Shoots CAM

“There is no prison in which to incarcerate Sherlock without causing a riot on a daily basis. The alternative however would require your approval”

TARMAC HANDSHAKE HELL™

“To the very best of times, John”

Flies away

“Did you miss me?”

“How is this possible?”

“How is the exile going?” “I’ve only been gone 4 minutes”

“Well. I certainly hope you’ve learned your lesson.”

“Who needs me this time?”

Moriarty’s ‘miss me?’ vid (but not the one that was shown on all the tv screens) The real deal.

“England”

Plane returns

At this point, it is still all about Sherlock and John.

More under the cut.

As I was watching this, I made a separate post about the only bit we see of Mary in the whole thing. But, also what struck me most were the images and corresponding dialogue of this part:

They made certain to remind us that John has called Sherlock a ‘drama queen’. Can’t imagine why that would be relevant in an episode about to take place completely within Sherlock’s mind.

But, I also went out on a limb as to what the second two images could mean with the dialogue they are shown with:

*EMP alert* If I were a person that believed Sherlock is in coma (I am) and that he could possibly hear what is going on around him (I do) then I could argue that this might be a bit of coma bleed-through, or simply that Sherlock is telling himself- reminding himself- that he has to solve this case. This very ‘old’ case of The Abominable Bride because he is, in fact, dying.

What I’m confusingly trying to say, and point out here, has to do with a lot of the complaints of S4. That Mofftiss lost the plot. Which, again, may very well be a possibility. No one is perfect, those asshats, especially, BUT- 

Would they have managed to to write Mary as this amazing villain and then boop! in the same episode just erase that entire plot point? To what end? I guess the argument could be made that they merely wanted an excuse to do that whole grand mind palace segment, but did it have to be Mary? They could have had Janine shoot Sherlock, or even CAM for that matter. Sherlock did break into his place of business. It feels as if there is more of a long-game at play here than we are willing to allow ourselves to believe, since S4 aired. 

Mofftiss may not be perfect writers and story-tellers, but they can manage to tell a cohesive story. Nothing since the shooting has been cohesive. And that feels purposeful. If they had wanted a truly redeemed Mary, they wouldn’t have made our eyes twitch with this image:

They wouldn’t have pointed and shouted for us to hear these lines:

Over the many years it has been my privilege to recall the exploits of my remarkable friend, Mr Sherlock Holmes, it has sometimes been difficult to choose which of his many cases to set before my readers. Some are still too sensitive to recount, whilst some are still too recent in the minds of the public. But, in all our many adventures together, no case pushed my friend to such mental and physical extremes as that of The Abominable Bride.

John’s blog

The last ‘official’ entry made on John’s blog was after the wedding. A month before Mary shot Sherlock. A post made by a pouty baby Sherlock about the wedding and complaining that John was on his ‘sex holiday’. The post before that was dated almost a month earlier (Yes, the dates for the wedding are different in the show as they are on the blog, I don’t know why, but for arguments sake, I’m just ignoring that fact) John doesn’t update on a regular schedule. It seems he posts whenever he gets around to writing up the cases. Which is fine. It’s all good. 

The thing is, though, months have gone by. I’m sure it’s no secret to the public that Sherlock was shot, even if they managed to keep who did it from being public. Wouldn’t John have made some kind of post in that six months between the shooting and Christmas, to report that Sherlock was managing. They they would hopefully be able to start taking cases soon. To reassure their adoring public that their favorite crime-solving duo would be back on the case as soon as Sherlock was up to it?

Why are there no blog posts? Especially as we see in S4, there were plenty of cases being taken on. Hell, there were BLOG POSTS WRITTEN AND DISPLAYED ON SCREEN that all they had to do, to keep up appearances that something wasn’t off, was to upload them onto this blog. Instead, they say John is no longer updating. Why would John not be updating his blog, when there are blog posts we can read on the screen and everyone and their mother keep reminding us about if they don’t want to keep up with the blog anymore? 

I don’t imagine it was because Joe Lidster didn’t want to do it anymore, since he was so involved with the Sherlock Twitter.

What other reason could there be for the lack of blog updates during all this time, and all these cases and the need to reassure their paying clients that all is well? Hmm???

Well, John certainly wouldn’t update the blog if he were constantly at Sherlock’s bedside, worrying whether his friend was going to make it. He certainly wouldn’t update if it was still “too sensitive to recount, whilst some are still too recent in the minds of the public.”

Short and sweet

This episode is a mind palace treasure trove, as we all know. 

It’s full of mind palace within mind palace sequences:

Evidence that drugs are truly at play with what is happening (as began in S2):

Possible coma bleed-through:

You name it, TAB has got it all, in spades.

Modern scenes

This is where we get to the nitty gritty. Which modern scenes are real and which aren’t? Well, I’m sure it will come as no surprise to anyone, that I believe none of them to be real.

In the first modern scene, we have this bit from John:

“No, he can do this. I’ve seen it. The mind palace is like a whole world in his head.”

John’s seen it? When, exactly? This is a far cry from the way John described Sherlock’s mind palace in THoB. I know it’s possible that they had talked about it. There is time in the show when we don’t know what they are up to, or see what they are doing, but really?  Isn’t that our number 1 complaint about these two idiots? They won’t discuss anything of any significance with each other, but we are to believe they sat down one evening, in front of the fire, and Sherlock described it all to John? Pffft. I highly doubt it. 

The only way this John knows what Sherlock’s mind palace is like is if this is Mind Palace John™. If that is the case, then this scene has to be fake. Which means the list is fake, and doesn’t exist in the last modern scene, either.

I mean, didn’t we all think it was so very strange that the Moriarty video pops up, everyone panics across the country. They rush the plane back to the tarmac for Sherlock to save England. The whole lot of them suspect Sherlock has just OD’d, but they find it perfectly okay to sit and chat on board instead of, I don’t know, getting him out of there and to hospital, or at least, rushing him out in order to start working on whatever Moriarty has planned next?

They. Just. Sit. On the plane. And talk at Sherlock. All of which could have been done in the car as they sped off to get to work.

I know I am beating a dead horse here with this, but, honestly. None of those plane scenes are real and no one will convince me that they were. Especially when they give us this moment in the last modern scene:

When Mary picked up Sherlock’s phone, he’d been reading John’s blog. He hadn’t seen Moriarty’s video. No one told him it said ‘miss me?’. And, if the first modern scene was real, we are supposed to believe Sherlock doesn’t remember what just happened? Are they supposed to have been missing him because he’s just returned from his thwarted exile, or missing him since he lapsed into his drug-fueled mind palace again? I don’t believe the ‘miss me?’ here is coincidental.

EMP comes full-circle

If we are to believe Sherlock is awake, why this scene at the end? Breaking into our transmission of the show, just as Moriarty did at the end of HLV, we see Holmes and Watson transition to modern day. 

WATSON: What sort of lunatic fantasy is that? HOLMES: It was simply my conjecture of what a future world might look like, and how you and I might fit inside it. HOLMES: From a drop of water, a logician should be able to infer the possibility of an Atlantic or a Niagara. WATSON: Or a Reichenbach.

That they are discussing what Holmes imagines for the future and how they would fit in it shouldn’t be discounted, especially since we watch as Victorian Holmes and Watson step into the modern age. 

|Part One| |Part Two| |Part Three| |Part Four| |Part Five| |Part Six|

@ebaeschnbliah  @gosherlocked @loveismyrevolution @tjlcisthenewsexy @tendergingergirl  @the-7-percent-solution @221bloodnun @sarahthecoat @doomsteady @devoursjohnlock  @themanandthemachine @sherlockshadow @kateis-cakeis @mrskolesouniverse @iamjohnlocked4life @shylockgnomes @antisocial-otaku @holmesianscholar 

If you don’t want to be tagged, please just let me know. No worries. 

[dinodrifterdarsh]

Star Versus the Forces of Evil: A Timeline and Analysis of Star’s (and some of Marco’s) Feelings, Part 1

With the S3 movie a little over a month away, I figured I might as well post this. Star Versus the Forces of Evil does a good job of building up the relationship (platonic and non-requited romantic) between Star and Marco, and it also shows how Star and Marco can suck at dealing with (romantic) emotions. They suppress and lie about them, or are just plain old clueless about them, which is pretty standard for 14 year old kids (speaking from personal experience here too). So this makes for some darn good writing material. Originally I posted the bare-bones framework of this on /co/ and it was received well, so I beefed it up proper and decided to share it with others. Here, I’ll try and give a timeline for at least some of the big hints or events that happen which show the kind of romantic feelings that exist-or don’t exist (YET)-between the two.

Season 1: There’s a decent amount to unpack here. Already, great posts have detailed how Star may have started falling for Marco in Sleep Spells, etc. I’m lazy, so I’m gonna focus on the most prominent episode in S1 that deals with romance. To nobody’s surprise, that’s Blood Moon Ball. In Season 1, I think that Marco develops some small unconscious degree of feelings for Star. She's attractive, the coolest girl he knows, etc. But they're not conscious and he still has the pedestal for Jackie, so Marco isn’t exactly making moves on Star. The events of Blood Moon Ball hint that Marco has some degree of attraction to Star, which Marco himself doesn’t actually realize until the episode itself. Marco’s initially defensive of Star around Tom because he genuinely doesn’t trust the guy, and when Marco first proposes going with Star to the Blood Moon Ball, there’s no hint of romantic intent (in the voice acting or music), just genuine platonic concern. But that changes when Star reveals her outfit to Marco.

Dude’s verbal and physical reaction to Star’s dress are pretty clearly not just a “AH YES, MY TOTALLY PLATONIC FRIEND I HAVE NO FEELINGS FOR LOOKS SO GOOD I WAS JUST AWESTRUCK, PLATONICALLY” and the background music certainly lends to that feeling. After this, Marco attempts to ride down with Star (sounding a little more than just a concerned friend), but gets kicked out. When Marco hears the voice of the Old Sea Captain say “The Moon of Lovers,” that gets Marco to get up and eventually ring the bell for transport himself. The fact that the Sea Captain said “The Moon of Lovers” is relevant simply because from a writing perspective, the juxtaposition of that statement and Marco going after Star hints at Marco having some degree of feelings (probably not too consciously) for Star.

Let’s skip to the end of the episode for a bit. Marco thinks he’s done Star a favor by rescuing her from Tom, and that he was in the right to help her, but Star’s reaction clearly wasn’t expected (side note: the really healthy and awesome dynamic between the two in this scene, with the understanding and actual apologizing, is fantastic). Star ends up saying the (in)famous words, “I don’t need a hero, I need a friend.” I think it’s pretty heavily hinted (through later actions) that Marco and Star see this statement in two different ways. Marco, who at this point likely has some unconscious degree of attraction to Star, (mis)interprets Star’s words as “I’m only interested as you in a friend, not romantically.” Star’s words shut down that small flame-Marco may still find Star attractive but any attraction to her at this point would be well and truly unconscious and comparatively minor. We see this change reflected physically in Marco’s look, which changes between the above and below pictures.

Marco definitely looks a bit more downtrodden in the second picture, and I don’t think it’s solely because he feels like he didn’t believe in Star enough. This change in Marco’s feelings is also reflected in the fact that it is only after Blood Moon Ball that Marco seriously attempts to act on his long-standing crush on Jackie (I’m not counting “Marco looks/makes an awkward noise at Jackie” as a serious attempt because they’re really not). Yes, the events of Freeze Day also played a big role in it, but the positioning of that episode immediately after Blood Moon Ball is not coincidental.

Star on the other hand likely interpreted her words literally: she didn’t need (or more importantly, want) some person/dude to just save the day for her because they think she’s not capable of saving or handling herself. This is a recurring theme with Star (Banagic Incident, etc.). She didn’t necessarily mean “Marco I am only interested in you as a friend” but intent and perception are two different things, and neither Star nor Marco can really be blamed for their interpretations (because they’re non-malicious interpretations and I feel blame is a bit of a loaded word in this context).

But what Star says and what (part of her) feels are not necessarily the same thing. So let’s break down Star’s feelings towards Marco in Blood Moon Ball a little bit more. Specifically, her initial reaction to him when the dance starts. Now, the actual effect of the Blood Moon (or at least the light of it) is completely unknown, but I’m gonna assume it doesn’t actually mind control or influence the characters because (a) no evidence of that has been shown (the Blood Moon is also shining at the end of the episode yet Star and Marco’s interactions during that sequence are entirely in character and there’s no hint of manipulation by the blood moon) (b) it’d be more than a bit creepy if there wasn’t free will in all of this, and (c) her reaction is consistent with later ones.

Anyways, Star’s pretty darn entranced by Marco, and this is really obvious to the viewers, although perhaps maybe not to Marco because the dude can be an idiot when it comes to emotions. However, once Marco reveals himself to Star, she’s shocked and the overt attraction disappears, a shift that’s reflected in her eyes, which go from glassy back to normal. This is interesting to note, because it indicates that Star does find Marco attractive and/or romantic, when she doesn’t know it’s Marco (i.e. this scene conclusively establishes that Star can find Marco attractive in a non-platonic manner, period). This is likely because Star has consciously only thought of Marco as a friend, and any attraction to him prior to this scene she could pass off as “I think he’s cute, but I think a lot of things are cute!” which is a line that should sound familiar. Star’s reaction here is also semi-repeated later on in Running with Scissors, when Star goes goo-goo over Marco (although by that point the audience knows for sure that Star has a crush on Marco, and Star herself is starting to become aware of that).

Season 2 (Episodes 1 and 2): Star likely found Marco cute and funny but may have actually developed a small crush on him by the time of S2. My New Wand features Star’s diary, which contains an interesting tidbit. Since we don’t actually see much of the diary’s contents, there’s only so much we can infer, but that’s not to say there’s nothing to be gleaned. I think that in the “My thoughts on Marco” section, Star wrote something along the lines of “I think Marco is kinda cute,” probably post-Blood Moon Ball (which is when Star first really gets swept off her feet by Marco). I say that Star wrote something along those lines (i.e. something that would make a 3rd party go “huh Star has/had a small crush on Marco?”) because of her reaction to Marco finding that chapter. Specifically, Star dipping down. Previously, Star dipped down in Storm the Castle when Marco’s life was in danger. Later on, Star dips down during her attempt to rescue Glossaryck. Dipping down for Star (at the beginning of S2) is not something Star can do easily (or even voluntarily). The previous time she dipped down was during a situation of high emotional stress. Keeping that in mind, note how Star doesn’t dip down when Marco is reading the other parts of her diary. Yes, she’s frantic and yelling at Marco to put the book down, but she’s not sufficiently emotionally stressed (or worried or motivated) enough to dip down. But the second Marco finishes reading the title of “My Thoughts on Marco” Star involuntarily dips down again. This signifies that whatever Marco was about to read, Star REALLY did not want Marco to read (at that point in time). Given that Star has had 0 qualms about expressing how much she values Marco as a friend (verbally, through physical intimacy, and through saving his life), the implication is pretty heavy that Star’s writings had some degree (likely minor) of non-platonic thoughts/interests in Marco (mind you, I’m not saying Star wrote “STAR BUTTERFLY IS IN LOVE WITH HER BEST FRIEND AND HIS NAME IS MARCO DIAZ”). It’s also entirely possible, and in fact likely, that whatever non-platonic thoughts Star wrote about Marco were in the past tense (I’ll elaborate on this shortly).

Also, the above magic key that Star unlocks the secrets closet with is pretty telling. Yea, the heart is technically just the same heart that’s on Star’s cheek but I think the color (pink-ish) and the fact that it’s unlocking a door behind which Marco is reading Star’s diary that has her thoughts on Marco...I mean the symbolism is there.

In Mr. Candle Cares, when the guidance counselor asks Star if she has a secret crush on Marco, Star’s response is interesting: she says "He’s my roommate. We’re just friends.” Technically, that’s not “no” but I think it’s more of a hint that Star isn’t consciously aware of her feelings for Marco as opposed to “HAHA STAR IS LYING.” This ties back into the contents of Star’s diaries, and the Season 2 finale, Starcrushed. I’m gonna lay out a rough timeline of Star’s feelings towards Marco by this point in Season 2. Through the course of Season 1, Star started developing some very minor romantic feelings towards Marco, mostly consisting of “I think he’s cute/funny/nice/etc.” and these feelings became obvious to Star and us, the viewers, in Blood Moon Ball. She writes these...uh, observations, down in her diary. However, Star ignored those feelings for the most part because they were about Marco, her best friend, and no way could she ever have a crush on her best friend/roommate, that’s just crazy (hint, she can). Fast-forward to Starcrushed, when Star says she had a crush on Marco once and then says that she doesn’t anymore. I’ll go into more detail in Part 2, but basically, I think Star is referring to roughly this point in her life when she says that bit in Starcrushed: thus, it’s not technically a lie she’s telling everyone either.

Anyways, I’m tired and I think this a decent enough (or at least not god-awful) ending point for Part 1 of this timeline/analysis. Next time, Sleepover, Bon Bon the Birthday Clown, Just Friends, and Starcrushed!

[mantra4ia]

Lucifer Season 2 Round-out

Last April, a list began that would soon pervade into every moment of my life: “Lucifer Season 2 and Beyond - Wants and Desires”. It went through various iterations…

Original Post (pre-season) / Updated post (during season 2)

Before I go into my “Season 3” post (and questions!) I wanted to make a quick capsule of my top fulfilled desires of season 2. Please let me know what yours were, or if you have questions and desires yet to be addressed.

Desires Fulfilled / Questions Answered

✔ Does Lucifer have any other brothers/siblings we should know of? While I was disappointed that Uriel had such a brief appearance, it was still very cool and developed the arc of the season a TON! Also, there’s that mention of… ✔ Lucifer should have a sister…(2x05) AZRAEL! The Angel of Death is a she, and I have many questions and speculations about her role, power, manifestation, etc ✔ Who is Lucifer’s mother? Angel, Demon, something else? You know, for a majority of the season I didn’t know whether I liked or hated the Divine Goddess mum as Charlotte Richards. She was a fun character, but very on the fence as to what she wanted and how badly at any given moment. Mostly what bothered me is her lack of seriousness, gravitas. I wanted to see the “Goddess” side of her all season. She was jailed for centuries not just for being powerful, but also vengeful, chaotic, bordering on malicious. And then I got all that in the very last episode, 2x18 “God, Bad, Crispy” and I loved it. All that resentment, brokenness, and desperation, coupled with destructive force so that I could take her seriously. And no sooner did I love her as a balanced character of humor and strength, she (as we know her) was gone! Wot?! ✔ We’ve seen Lucifer’s lifestyle, how is Amenadiel liking his time on earth? Not at all - his poor wings! But I’m really quite glad he’s found solace in, of all places, the improv club. ✔ Who are Chloe’s friends outside the force, will we meet some? Thank Dad for Maze, Linda, and Ella, and girls night #tribe. ✔ Lucifer, Trixie, and Maze on a school’s day out field trip. Trixie and Maze trick-or-treating was 100% wonderful, and as a brilliant bookend so was Lucifer taking Trix to school and them having their own little “deceiving your parents” club. ✔ Girls’ night - Mazikeen, Chloe, Linda. And not only that but a bar fight, which is also what I wanted to see more of (the females kicking butt, which I got from all the core ensemble save Trixie, who instead kicked butt with her words, as Maze said). It’s like the writers have Lucifer powers of desire deduction… ✔ More delving into the themes of what it means to be vulnerable, when it’s good and not, and recovering from betrayal from all the characters’ perspectives. Well, divorce and single parenting are pretty dang vulnerable for Chloe I’d say….and you know drudging up the past and confronting her dad’s murder. And Dan and Lucifer at the comedy club, the openness there gave me new hope for their continued BroTP. Lucifer with Azrael’s blade while Amenadiel watched as his little bro was in pain DESTROYED ME. And even Trixie was vulnerable at that Starford private school, which was super insightful for Trixstar. And Maze and Lucifer throwing down and going to group therapy with Linda. The writers really knocked vulnerability, recovery, and moving forward out of the park. ✔ Is Mazikeen going to make more progress in the friends’ department? First word: Roomies. Second word: wifey. I really, deeply enjoyed Maze bonding with Chloe and Linda (ride or die) this season, and her growing attachment to humans. ✔ Now that Lucifer doesn’t have his Pentecostal coin to play with, does he get a new toy? I never thought seeing Lucifer with a cell phone would be that satisfying.  ✔ We see Lucifer always wearing a ring and Amenadiel always wearing a necklace. Will they come into play? Of course! Although, please props department up your game. I hated that Sumerian text. It looked like a three ring binder spray painted bronze. ✔ What stunts/ fight choreography are you guys thinking about for s2? Maze with a pool cue, a good amount of headbutting, slo-mo riots in a psychiatric ward, jumping off of a pier, some great driving sequences, a sniper/hostage situation, violence with a yoga mat, throw-down in a church (Father Frank’s church?), broken pianos. I can’t wait for more! ✔ Tom Ellis at the piano.“All Along the Watchtower” pleases me to no end. ✔ Scenery changes? I love the addition on the performance club and Chloe’s new apartment.  ✔ New potentially recurring characters? Heavens bless Ella in all her awkward moment, ice-breaking quirkiness.  ✔ Can Chloe effect other celestials adversely, or just Lucifer? Apparently yes she can. She disrupted Uriel’s pattern of destruction (2x05) I think, I could be wrong, but it came across that way… ✔ Seeing Lucifer with wings. YES! Bring on the eleventh hour cliffhanger. ✔  Lucifer’s fall? Maybe we saw a glimpse of it…depending on the context of the 2x18 cliffhanger

Things we got that we didn’t even know we wanted. SO GOOD:

Dan and Chloe are getting a divorce and in so doing becoming an even better team on the force and in life. They can razz each other more at work and be treated as equals, and she can joke with Dan “if you married Charlotte, that would make you Lucifer’s stepdad.”

Amenadiel wallowing about the loss of his wings, and the new BroTP Dandielion (Dan and Amenadiel at the comedy club)

“Cosmos are yummy” and “I like [the shape of] your head” one liners. You deserve all the praise Amenadude.

Ella’s tiny hands comment.”I’ve seen some pretty tiny manhands.” Cheeky.

Ella speaking French.

Lucifer and Maze with a taser. Superb new toy.

Lucifer being mortally embarrassed seeing his mom naked (how does it feel to be on the receiving side of nude awkwardness buddy), her interrupting his foreplay, and him having to drag her off his club stage because of her dancing. He’s essentially a teenager with her around.

Trixie’s defaced doll, and Lucifer’s sinnamon roll behavior getting her a new one.

Trixie holding Lucifer’s hand hostage as he takes her to school and bargains with her to drive the Corvette.

Chloe nearly beating someone to death with a yoga mat. “There’s a special place in hell for women…who manipulate other women.”

A reprisal of Chloe and Maze the tag team. Magnificent.

Lucifer denouncing cats. “Open box of excrement in your house? Cats,” Makes me wonder what pet Lucifer would have if he could. 

Uriel playing with patterns and probability! Sweet, now help me sail my ship! (2x05)

Lucifer as an action movie fan. Not surprising, since we already know he loves cheesy sci-fi from season 1 interaction with Chloe’s mom. But still another awesome nerdy layer.

Chloe teaming up on a case with her would-be-mother-in-law. Season 2 subtitle: #EveryoneHitsOnChloe

Lucifer in a psych ward. And of course, the Linda/Lucifer break out. Though it probably would’ve been equally fascinating as a break in.

SEASON HIGHLIGHTS (TOP 10):

The stunt driving in the corvette and Chloe’s car, and the surrounding circumstances of both incidents. I love the fulfillment of “I’ll never let you drive” comes full circle when Lucifer speeds on to try and save Chloe’s life, and when Chloe has to ride shotgun on Lucifer’s terms, she loses all composure. 

Most of 2x13 “A Good Day to Die” but especially the X-Ambassadors “Unsteady“ montage where every character shines!

“God Johnson” - the whole episode from start to finish, because it revealed so much honesty, meta, and motivation about the Lucifer, Linda, and Mum. If I had to pick a favorite part, it would have to be when Lucifer is wheeling Linda down the corridor and she meets ‘God’ or the celestial parent trap. Linda and Lucifer get to act like fans in their own show, Dr. Martin reveals Lucifer’s hidden desire to see his family back together, and Mum realizes she loves her ex and much as she hates him.

Maze and Chloe on a case as a married couple.

The men #tribe and the women #tribe we clearly establish in the first half of the season through cocktails, bar fights, saunas, improv clubs, etc. It wasn’t obnoxious or super exclusive, it developed naturally and really served the characters.

All of Trixie’s screen time was awesome, and the fact she seems to get more of it. Particularly “you don’t have to speak in code, I can handle adult stuff (she’s very perceptive)” and “wusses don’t get lollies” and her reaction to Lucifer stealing her sandwich.

Lucifer’s final scene with Linda in the hospital, where she has the title line that once again gives Lucifer page turning insight, and he puts her glasses back on and I melt!

Amenadiel being able to slow time for the first time since his powers waned, and using it to save Linda’s life. It made me teary, and brought me back to 2x13 when he helped Lucifer by standing his ground for Chloe. (MVP on the Unsteady montage)

Ella standing up to Charlotte. Her saying “you hurt Dan, I’ll break your legs” at first came off funny, like ‘your East Coast is showing’ but with each episode I increasingly wonder if, instead of just being mellow and accepting and lighthearted, she knows more than she let’s on and there’s another side of her that we’ve not seen.

The made up dinner scene / “you look beautiful” / the trajectory of Deckerstar. I admit there was a faith wobble. I thought that the show was revving up Lucifer and Chloe, perhaps not ‘too fast,’ but too suddenly. A lot was development happened over very few episodes in season 2 (by contrast to the entire season one slow burn) that I was dazed. What the hell was going on? Then they slammed on the brakes and reversed it when Luci skipped town and I thought are you trying to give me whiplash. But now those trials and that zig zag line is actually effective in making their relationship more complex and less doe-eyed, leading up to the capstone line by Chloe about moving forward. It gives the series a Chuck-like nostalgia in that this epiphany frees up a lot of constraint: it doesn’t matter the twists, turns, sputters, or screaming wheelies of the ship, in fact all the better, so long as their eyes are open and the aim is forward.

DIDN’T LIKE (BOTTOM 10):

☒ The “Wobble” episode concept.(2x03 Sin-Eater) If I had to rate it’s strength as a compelling episode, it’s probably second to the bottom.

☒ Poor Uri, we did not know him well, but I wanted to! (2x05)

☒ The “Candy Morningstar“ episode (2x14). I like the resolution, however I thought overall it was a weak return from hiatus. It did not do a very good job of filling in gaps of Lucifer’s time in Vegas - but maybe that’s something flashbacks in season 3 will revisit.

☒ Ella, her brother Ricardo, (2x13) and their Brooklyn roots. At first when I heard Ella came from a big family of brothers - 5? if I’m not making that up - I thought “what rich grounds for parallels” Lucifer comes from a big angelic family and Ella and Luci hit it off quite well where quirkiness goes she practically like a sister, she even got him to go to church, I can’t wait to see where this goes. But then we met one of her siblings, and it felt somewhere between a front and a one-off plot point to serve the events unfolding in the case. Generally, I feel even though I really like her character, she was not used to full potential in the second act of season after 2x8. Part of the hazard of adding two characters in one season. However, I have hope from 2x17 when Ella goes off to accept a call from her brother that she’s been ‘waiting for all day,’ but it’s never revealed why and the call takes place off screen that we’re going to revisit Ella’s family and backstory in a more detailed, impactful way come s3.

☒ The Season Finale 2x18. Before you kill me - allow me to clarify. I LOVED THIS EPISODE, however it was so packed I wish that I could surgically take out some preceding season fluff and elaborate these critical details over 2-3 episodes so that they are more than nuggets. Especially because of three things: 1) The growing complexity of Amenadiel’s relationship with Dan and Mum!Charlotte. Face it: Amenadiel had an extended identity crisis this season. It was planned, and overdue, so it’s fine. But only in these last episodes did his friendship with Dan and anchor to humanity flourish, as though playing catch up to Maze, as well as his more complex, less idolizing perspective of his parents. I WANTED MORE 2) Mum!Charlotte’s relationship with Dan “you were my favorite human.” Writers - How can you drop a line like that and NOT go after it? Are you evil? Mum’s been around for millennia and in all that time humanity has been at best a perplexing annoyance, at worse a target for ire. And in the span of one or two months on Earth, the divine goddess has developed a favorite human attachment not just to manipulate as was her intention, but beyond her reasoning legit. That’s huge. At first it was so weird, and now that I WANT MORE you cut me off! 3) Mum!Charlotte was finally beginning to stand on her own as a character, only to be slightly Sparta’d into the void. Just a few episodes ago, her only significant interactions were he sons and Maze. Now she’s branched out to everyone with the exception of Trixie. (WHY ON EARTH DID WE MISS THAT OPPORTUNITY). Then just two episodes ago, she said “when I kissed [my husband] I knew it wasn’t him, and yet I wanted it to be” - BAM - and then when she discovered Lucifer’s real plan to parent trap her in heaven, and that he was too worried about the repercussions to humanity, she offered to gate crash heaven alone and spare her son - POW. And to top it off, she recognized her own latent identity crisis and accepted an alternative to go into uncharted territory, make a new life for herself without her ex and her children, to examine who she is as her own independent Goddess in a life and a universe of her own. To summarize: metric ton of progress for Mum in three episodes tops, mostly in the last one, and now she is gone to do the most interesting part of her journey off camera. AHHH!

☒ The flaming sword. It got so much build up for so little actual use, apart from opening the void. Plus side: I thought the void concept / how the sword was used in conjunction with the theme of moving forward was EXTREMELY good, but at the same time my inner child wanted more swordplay with at least the three main celestials: Lucifer, Amenadiel, and Mum. You get a sword, you get a sword, you get a sword!

☒ Excessive use of Devil Eyes. I’ll have to count and compare to see how this actually tallies up, but particularly in “God Johnson” and maybe 1-2 other times I don’t recall, I thought it was overkill. I get why Lucifer’s glow-eyes are a handy physicality feature to the story, but overall I think some cues were off for maximum impact. S1 Lucifer used his eyes and true form in 3 main contexts: 1) when it suited him to intimidate or frighten 2) when it suited him for for amusement 3) when he got really overwhelmed by his emotions - possibly because it takes concentration to maintain his image and extreme emotion can blink his focus. “God Johnson” by contrast seemed more like ‘we’re telegraphing the anger.’ Of course Luci is angry, hurt, resentful, and like a kid wants the last word with Dad. However, when you factor in his smarts/cunning, and how long he’s been planning his Dad conversation, it would follow that Lucifer is laser-focused, determined, and knows that Devil Eyes don’t hold any weight with Father. Therefore, I think there are more varied, smarter, scarier ways to show Lucifer’s anger that were underutilized this season, is voice and body language especially. Plus side: I truly enjoyed Lucifer’s form in 2x13 in hell, and 2x06 for his reveal to Linda. The lighting, 5/5 Morningstars. 

☒ The pacing and balance of humor, smart storytelling, and the dramatic elements of the show felt off, probably also on account of two hiatuses. Reflecting over the whole season I’m not as annoyed as I was week-to-week. There were parts of the season where I waited eagerly for Monday only to find the comedy didn’t hit when I thought is this a comedic take on a police procedural or a parody of a comedy of a police procedural. Other times we got all the dramatic in one go and I thought Dang, where was this development when I needed it. But then I saw 2x18 and one scene made it better/sensical: Dan coaching Amenadiel at the improv club. In a strange, probably coincidental way, when Dan says “Amenadiel, that’s a little dark buddy” I felt like the writers were breaking the forth wall and saying “yes, I know, we take you on these weird tonal-emotional roller-coasters from pantomime slapstick to death and crippling guilt. We can and will make fun of ourselves now.” And I felt a burden lift as if replying “thank you for understanding that the struggle is real.”

☒  Celestial telephone tag cliffhangers. I love both of them: clever, full circle, smartly written. At the same time, I love to hate them. Twice is good. If showrunners go for a third time, I’ll take my cue from Maze and headbutt someone.

☒ I like the idea of expanding the universe by playing with the concept of the void. I think that it takes a great note from the comics. However, I’m worried it’ll be an idea that doesn’t go anywhere. As the show stands, Lucifer is so grounded in our physical world that adding a couple characters to the cast is tricky. This kind of world building? By comparison, this is God-level tricky, which is both exciting and terrifying.

Unanswered Questions / Moving Forward

See my Season 3: Speculations, Questions, Desires post.

[courage-a-word-of-justice]

Mob Psycho 100 II 9 - 11 | My Roommate is a Cat 9 - 11 | Spec Ops Asuka 9 - 11 | Shield Hero 9 - 10 | Morose Mononokean 10 | Double Decker! EX 2 | Price of Smiles 10 - 11

Mob Psycho II 9

So…uh…is this the first time we’ve had lyrics for the OP???

For some reason, “you little s***” is a hilarious nickname…in my head.

Is it just me, or did the style of Teruki’s eyes change when he got that stack of hair off his head?

My Roommate is a Cat 9

Please don’t let that random voice be the do-oh no. I was right *sigh* As much as I think dogs are fine and cute and all, this is a show about a cat, so naturally I feel diametrically opposed to dogs when watching.

Long ago, the writer and his cat lived in harmony. Then, everything changed when the Signing attacked! …Yeah. I couldn’t resist the Avatar pun…of course.

Aw…Kawase is a good guy, even if he’s a bit obnoxious to poor Haru.

As someone who’s currently volunteering at a charity store, I forget to say “thanks” all the time. It eats me up, it really does…

That post-credits sequence was funny, but only because I could read the “dying message” (it’s katakana ha <-> kanji hachi -> number 8).

Magical Girl Spec-Ops Asuka 9

Oh hey, a cheerleader stamp (sticker...?) from the Cheerleader vs Megaton Shark movie!

Wait, whaaaaaaaaat?! I thought Asuka was Tamara’s older sister (metaphorically), but…she’s nottttttttttttttt??? Also, why doesn’t Tamara get creeped out by the fact her stuffed toy could be a Disas in disguise?

Why is everyone so…for lack of a better term…gay for Asuka?! Even Tabira…

Ouch for Tabira. I’m just laughing because it’s like seeing SekaTsuyo or Bikini Warriors being torn up in front of my face – I’m thanking whoever made this for that image alone!

Cenobite. Basically…it’s another horror reference.

The Osprey stands out so much…CGI..it’s so garish…

Garish CGI strikes again, this time in the form of a 4WD!

Shield Hero 9

Naofumi’s such a dad…haha.

It’s a Filo-and-fish! Hahaha! (Update: I’m aware there are some of you who might never have heard of a Fillet-o-fish and so…there you go. It’s a McDonald’s meal name. It makes me hungry just thinking about it, to be honest though.)

Why does Motoyasu even care so much for underage girls? Sure, they have their rights too, but…is he a lolicon???

They talk about “white privilege”…so maybe there’s “hero privilege” as well…hmm…

Motoyasu’s “treasure-protection shields” versus Filo = 0 to 2, Filo’s victory! Hahaha!

Morose Mononokean 10

The idea of Rippou being amused by “a mundane world plank”…amuses me. So does the idea of Abeno and Ashiya walking around as a shingami and witch, respectively…Come to think of it, Ashiya’s always the one who dresses like a woman if the need arises, huh?

I feel sorry for Zenko, to be honest…I mean, she’s wearing what’s meant to be Abeno’s outfit! She’s going to trip, y’know? Where are the OH and S concerns (OH and S = occupational healh and safety, though...yeah, I make that mistake a lot)???

Come to think of it, I wasn’t tracking where Abeno’s book went. So he left it in the Mononokean…I see.

Poor Fuzzy! He got taken by Komon!!!

Smol Itsuki…I swear I’ve seen a similar character in a manga before – and somehow I know it’s a manga, but I don’t remember which one…

Double Decker! EX 2

Couldn’t you just ask “Milla” (even if he’s not a Police Academy graduate)? Pretend Valery is Kirill or something, maybe.

I can’t believe they’re still making jokes about Doug’s laundry…

I feel kind of bad at snickering at this crossdressing thing – you know how the LGBTIQ+ community feels about this stuff, don’t you?

Travis’s pick-up lines are too cheesy for this earth…*shakes head with grin on face*

There’s a police bird mascot on the dashboard of the Seven-O car.

When I realised what Mr Goldman was doing to Kirill (potential sekuhara and disguise reveal, if you know what I mean)…my face went all funny…

I don’t think I’ve seen a Kirill and Valery eyecatch before…hmm.

The fact there were two men making out in the change rooms…I wonder if that was played for humour? If so, that’s nasty to the LGBTIQ+ people, y’know?

“Max, that’s mine. Take good care of it.” – Your…what, Deana? Your target???

The next-ep preview had me laughing! Travis, don’t give yourself away!!! But now I get why Kirill was in a wedding dress.

Price of Smiles 10

Y’know, Lily, you shouldn’t wish for a kid to be confined to their house forever. Kids grow up and then need to make a living…at least, that’s what I’ve learnt.

I honestly (almost…?) thought we’d only see casualties on Yuki’s side…guess I was wrong.

Shield Hero 10

Notably, a lot of Western-inspired fantasy works such as this use “runes” based on stylised English…including the map that appears in this ep.

This knight that’s doing all the talking…his name is Ake, according to the interface.

My Roommate is a Cat 10

The irony of that dog bag of Haru’s (the human girl’s).

Cats and Dreams (Neko to Yume) = a parody of Hana to Yume (Flowers and Dreams).

All these thoughts Subaru has of his mother make me want to hug mine…

“50 inches”, my butt! (The newspaper says there’ll be 50 centimetres of snow...)

I expected Okami to be at the supermarket (Nana, not her brother)…but instead, Hiroto showed up. What a small world it is in this anime…(well, it is all set in the same neighbourhood, with the exception of that signing, so it should be. At least, I guess so.)

F*** it, Hiroto. I thought you were annoying in the past, but you’re nice too! What’s up with this show??? Why do I feel everything Subaru feels??? (Uh…past me, maybe, that’s the point of this show…?)

The cat show is also relatable in how I peel apples…and that would probably carry over to other fruit and veg too…

If there’s one thing I can annoy this show about, it’s how to transition between human and cat perspectives. Aside from that, it’s A-OK!

Morose Mononokean 11

Wait, these birds have one foot (each) and ear wings??? Wuh???

Oh, now that Abeno mentions it, Chungo has a crescent, but one of the other bros has a heart on his belly. Another one has a circular pattern with a round dent where the head is (like a partial moon, with the smaller edge inverted).

One of the “birds” has two dents in his belly pattern (like the one I described just before, but this time with a W shape).

Hmm…in much the same way the police act as a representative of the state, the reason there needs to be a master of the Mononokean is to represent it…and maybe the Legislator. Is that right, people?

Come to think of it…”chun” roughly means “tweet”, hence “Chunichi”, “Chunji” etc.

The name of this episode is Kii (literally, “return to residence” as far as I understand it…I may have misinterpreted that second kanji though).

Is Komon a “she”? It’s hard to tell, really.

Mob Psycho 100 10

“Prime Minister Yabe”, eh?

I think I saw “ONE” written on one of the buildings.

I sort of saw the comparison between Sho and his dad coming as soon as I saw Ritsu and Sho hanging out together.

I found my old first season predictions from summer 2016 and now I just remembr Dimple as a “green cloud”, LOL.

Well…sorry to break it to you guys, but someone’s post was called “Dimple makes the Body Improvement Club PLUS ULTRA” so I sort of know where this is going…

Hmm…this “muscles with psychic power =/= muscles with training” thing reminds me of the tomatoes from s2 ep 1.

Mob Psycho 100 11

(Mob says something along the lines of “you need to rely on others to help you survive.”) - Welp, Mob, that’s a consumerist post-Fordist society for ya.

“…don’t use your psychic powers against others.” Don’t think I’ve corrected any subs in a while.

…and randomly, Reigen.

Post-credits scene. Keep watching!

I just realised these “courses” mentiond in the next-ep previews are related to the Japanese side of things – BDs, DVDs, events and manga.

Egao no Daika 11

Almost done with the season, eh?

Couldn’t Huey have been shown giving the money, rather than keeping it a secre until the rest of the group did it…?

Please say that’s an armistice, Yu-oh no.

I feel like revealing Izana’s death to his family now…is a bit late.

That’s Stella’s fish bowl! Great Scott! (Okay…that was a terrible pun. Y’see, Scott was the one who believed Stella was Layla’s daughter…and he was right.)

Oh…end of credits segment. Keep watching.

Notably, the ep 12 title (”The Price of Smiles”) is written in kanji + hiragana, instead of the katakana of the show title.

Spec Ops Asuka 11

“I don’t want to run.” – Well, with Nozo-chan leaning on her like that, Sayako definitely won’t be running…in more ways than one.

Ken can mean “dog” in certain contexts, y’know. So Kenjou seems like a good name for a dog boi...spirit…thing?

My Roommate is a Cat 11

I’m going to miss this show when it’s gone…

I feel like a better episode title translation would be “Overlapping Feelings”.

Hmm…I never thought he (Subaru) was wearing a tonne of blue because he liked it. I just thought it was a good aesthetic choice on the part of the mangaka…welp, at least there’s a reason for it now.

Rabbiteye blueberries. I’d never heard of them before, to be honest. (Isn’t blue meant to be rare in nature???)

I could tell from the silhouette it was Kawase…

I know that feel…haven’t you seen the meme that goes…oh, I’ll go find it. Then you’ll understand what I mean.

^…This one.

LOL, that image of Haru on Kawase’s computer.

This show makes me wanna hug my parents…Update: Hey, I said that a few episodes ago. That makes me feel really stupid.

[thepeakmoment]

More Peaks Returns

It appears to me that Lynch is inserting some heavy commentary about societal behavior, the most obvious being the “fix your hearts or die” assertion about Denise Bryson’s transition. Another clear instance is the decay of social norms exemplified by the elaborate unfolding drug storyline. Several characters are being depicted wheeling and using drugs, and Lynch-Frost are telling an updated version in P5 of the illicit activity, how it has already effected Shelly’s daughter and husband, a continuing cycle of abuse and dysfunction still playing out.

I also believe Sherrif Frank Truman is a personification of Lynch’s transcendental meditation wisdom. Harry Truman’s brother is an honest character and to be trusted absolutely as a transparent truth teller. His name is the very meaning of honest, open, direct — Frank. His earnestness is exemplified when Doris Truman shows up at station spouting domestic house anxieties while Truman remains sitting, saying nothing at all throughout. It reads like a subtle teaching of how not to respond to anxious energy, worry and dis-ease — do not engage with it. This is classic buddhism — how everything arises from conditions, has a presence in the moment, then decays when conditions change — thus, everything changes, no reason to get wrapped in unnecessary entanglements, including the wrath of someone overreacting to common occurrence. See impermanence.

A Twin Peaks Podcast: A Podcast About Twin Peaks and Deer Meadow Radio are two of the better podcasts on The Return worthy of listening.

Random

Richard Horne — is this the first clue from ?????’s prophetic clues, “Watch for Richard… and Lynda.”

Richard Horne passes bribe money in a pack of Morley cigarettes… the brand of choice for Cigarette Smoking Man.

Salesman asking Lucy at desk for Sheriff Truman, Lucy asks which one? An in-joke allusion to another Sheriff Truman duality, Harry-Frank.

There was a bonsai plant on side table next to Sam sitting on couch in P1, which was also featured in original series’ S2 Windom Earle arch.

Marjorie Green carries her dog, Armstrong, a small Mexican Chihuahua.

Here’s a good article on the absence of Badalamenti music thus far in The Return. 

No white dot in Bob Cooper's pupil/eye — life-less .

End of P4 before Bang Bang Bar is blue rose scene… shot in blue tint

Owl cookie jar on counter behind Dougie Cooper during breakfast 

A lot of Lynch visuals hearkens to Eraserhead, coming full circle in his cinematic journey of a master’s craft.

On Jun 4, 2017, at 9:59 AM, Dom wrote: I think I made a nice discovery which I posted on Reddit (Fred_Truax).

I cannot find Fred[undescore]Truax in any reddit search — author:Fred_Truax yields nothing. I’m not a Reddit reader, the whole thing is a fuck show of multi-threaded comments. It hurts my brain to go there. I can tolerate direct links, though.…

Reading Best Fan Theories at Indiewire, one theory suggests Wally Brando is really dead (source: Reddit /u/chblank), that “Lucy and Andy [are] in denial and shock … of losing her only son as a child.… Sheriff [Frank] Truman may have hired an actor to play their son — a role that fake Wally took literally, considering his “The Wild One” getup and bad “Godfather” impersonation. This could also explain why Wally Brando makes a point of telling his parents that they can convert his childhood bedroom into a study, as a way to help them move on and let go of the past.”

Same article posits that the headless body in the librarian’s apartment belongs to Major Briggs (source: Reddit /u/billy_yllib11). “Although the decapitated head belongs to the dead woman, there is a grotesquely contorted body detached underneath, one that comes from an unknown person. Later, we learn the forensics team has a match on the body, but they need military clearance to unlock its identity. Perhaps the kind of clearance that Major Briggs once had when he was working on top secret projects for the government? Of course, if the decapitated body does in fact belong to Major Briggs, it would also contextualize the appearance of his disembodied head, which floated in space at the beginning of [P3].” …But how does Dougie Cooper’s ring get in stomach?

I also noticed something strange about those two scenes:

In episode one when Sam leaves the Glass Box room the second time to go into the lobby to see Tracey (and the security guard is NOT there) he leaves the small black box of video cards on the step ladder near one of the cameras. The black box remains on the step ladder for the entire scene almost. The box disappears for a moment when they start to take off their clothes, then is back on the step ladder right before they are attacked.

However in episode 2 when Cooper enters the Glass Box and we think Sam is in the Lobby with Tracey, you can clearly see the black box of video cards and his pen on the side table next to the small couch he sits on.

Did Cooper enter this room at a different time they what it appears to be? Is Cooper in a second identical room? I just think its weird the black box is in two different locations in what appears to be the same time?

What do you guys think?

I’m beginning to understand these time shifts as backward dimension bleeding into forward dimension. BOB Cooper begins “‘yrev' very good to see you again old friend” to Gordon Cole when they first see each other again (P4). Relatedly, there’s fervent speculation that Sonny Jim blinks backwards while in back seat of car when Dougie Cooper notices Sonny and sheds a tear (P5).

Backward-forward are the two directions in which one can enter-exit the Black Lodge, shown to us in Classic Peaks and FWWM. Now we’re seeing vertical up-down direction to enter into-exit out of the Lodge, exhibited by the sudden vertical floor vibration as the Arm's doppelgänger appears and Cooper falls down through floor. Or Laura pulled up off the floor screaming into oblivion, as well as  the ghostly pirate-like figure in a jail cell floating up into thin air.

Backwards is a reality dimension different from forward (as normal) dimension. P3 glitchy quick backward-forward movement when Cooper lands into hub in space and interacts with eyes sown shut woman, a reality between the two dimensions (?), existing on the threshold — Dweller on the Threshold?

This new movement is depicted in the opening title sequence when the wavy-flowing red curtains cross fade to chevron pattern panning across floor, seemingly tracking the camera in a circle. I love the new title sequence opening drone shot over the falls, hangs on waterfall from above, dissolves to a slight CU of waterfall spray, then segues to the rhythmic curtains — an abstract version of the classic series opening dissolves from the waterfalls to a flowing river.

I am also convinced that Laura is going to leave the Black Lodge somehow and venture into the real world.

On Jun 4, 2017, at 3:01 PM, Erik wrote: Dom, did you see the Tweet I sent your way? with the info that the Casino Cooper goes to in Vegas was actually filmed in Commerce, CA. (they have actual casinos there) about 35 miles from my house. judge for yourself...

<PHOTO>

Dudes, when we finally graduate from trekking back to Peaks (WA), we have to eat at The Roadhouse Restaurant & Inn. Can’t believe we overlooked this. We’ve done the original Mar-T Cafe (plus the deplorably named and renovated Twede’s) and Fall City Grill (Haps Diner), we gotta do the Roudhouse, regardless if it’s only the exterior.

It will be interesting to see if the green revolving doors that Cooper has trouble with are actually here as well. So I guess we know where you might stay next time you come out here to Pin Peaks Locations. I thought it would even be fun to get a room and watch the season finale there, then go down to the gaming floor and "Helllloooooo!"

As far as the actual plot...

I have come upon no clues or conclusions at all. It is very dense material. What little I have read online is complex and sometimes implausable, but who am I to say?   I like the scene when Douggie is getting dressed and Sonny Boy … comes out and they make a lot of visual and action references to the Season 2 opening scene. What does it mean?  No clue.

In P4 Cooper is Home — Dougie Cooper says aloud, “Home.” This is symbolized as a birthday with balloons in the kitchen behind him. Similar balloon shapes appear when he is dropped off at outside of work building, when Cooper mimics statue pointing gun. I’m thinking Dougie is the character Lynch-Frost are using to teach the viewer how to assimilate and understand the Twin Peaks world view. From Dougie's point of view, he seems to know little or nothing about the world. He’s in process of making sense of it, and now that he's starting from home, we should follow along and we'll learn together. As viewers, we’re putting some faith in the storyline will resolve eventually, even if only in part. During the following scene when Gordon meets Denise Bryson in her office, she says, "I trust you Gordon." We should trust Lynch.… But how does this all jive with ??????’s “You are far from home”?

Gonna review a bit and start my edible regimen, no cherry pie this week, coffee and donuts YES. Last time, I cracked a beer when it started, had a full bowl next to the food. I did not touch either of them for 2 hours straight. Completely forgot about them actually. Totally engaged.   Only ate pie, donuts and coffee... I'll have messenger open at 5:30PM est standing by.

On Jun 7, 2017, at 4:38 PM, Dom wrote: So who do you think are Richard Horne's parents? Audrey and Cooper? Audrey and Jack? Ben and his wife? Jerry and some random chick?

Definitely not the son of Cooper and Audrey. Cooper’s been in the Lodge and he shot Audrey down at every turn before meeting Annie. The other possibilities are intriguing and any of them are plausible. Audrey and Jack — do you mean John Justice Wheeler? Richard Horne seems to be 25 years old and got hooked up with the wrong crowd, that’s easy to do these days. Ben and his wife? Maybe, they could have reconciled their stormy marriage. Ben does seem to have remained steadfast in earnest goodness since emerging from his civil war. Perhaps Richard Horne is Jerry's son that steals his father’s weed to sell. Or maybe Jerry is a big kahuna now in the drug trade? I doubt it. Regardless who the parents are, Richard is a Bobby Peru/Leo Johnson mutt that fits right into Lynch’s social commentary of prevalent drug use still running amok in the world.

Great to see Mike return too.

Would be cool if Mike and Bobby had a beer together at The Roadhouse, catch up a bit with each other — Bobby asking Mike, “Do you remember Laura Palmer?…” I wonder how Bobby will act around Shelly?

I also have another prediction;

The person Gordon wants to look at Cooper will be Diane play by Laura Dern. That's not much of a shock but...

Remember when Albert says he doesn't know where she lives, but knows where she drinks...

My prediction is that they will find Diane (Laura Dern) in that bar we went to in Los Angeles that night I arrived on my last visit. It has all of the nice woodwork and we had to walk down a flight of stairs to enter.

I have resisted right from the outset of Laura Dern cast as Diane. I don’t really want Diane’s identity to be revealed, would much rather have her remain anonymous on the other side of Cooper’s dictaphone. I know there’s speculation and makes sense that Diane will appear as Dern, but this way too obvious, especially after all Lynch has presented us thus far — even considering how close Dern is to Lynch. But still, I hope it isn’t so.…

I also find it weird that Agent Tammy Preston in episode 4 had to ask Albert who Phillip Jeffries is. She learned about his existence in the Secret history of Twin Peaks as she was the agent in charge of examining the dossier. She even added her own notes about him.

That is awesome about the Casino. Next time I come to Los Angeles, I am so game to go play some slots. HELLO  O  OOO OOOO!

[twdmusicboxmystery]

FTWD 5x12: Ner Tamid - Analysis

Wow! This episode had so much in it! You know how sometimes I don't go over the minute details in the background because I feel like you guys already know them and they only serve to illustrate parallel? This was kind of the opposite. I will talk about the major parallels I saw, but the amount of small details was mind blowing and I think they're important.

***As always, spoilers abound for episode 5x12 below. Don't read until you’ve watched.***

We start with the image of the fire burning. It's a rope that's being lit by a match. We also see a chalice that has a Star of David on it. This is a rabbi in a mosque who is observing some Jewish worship. The first thing this reminded me of is the altar that Morgan built in Coda.

Of course, the rabbi’s sermon gets interrupted by walkers. I thought it was interesting that he put on a jacket. After all, it didn't look particularly cold outside.

They had him stop and put on a black jacket for no apparent reason. He was wearing a black jacket over a white shirt, so suddenly he was wearing black and white.

While outside, he sees a car with three walkers trying to get into it. My first thought was that there must be someone in it, and there was. He took down the first two walkers without too much trouble, but the third one ended up on top of him. Then the car door opens and Charlie steps out.

Okay, so many interesting clues in this sequence. We have the altar from Coda, the Star of David, the black and white colors, and the fact that there's a girl alive in the back of the car with walkers surrounding her.

Naturally, my first thought was that maybe Charlie is meant to be a proxy for Beth here. I think she is, and I've wondered before if maybe she's meant to be. There hasn't been anything super huge pointing to her being a Beth proxy thus far, but remember that she shot Nick. And it's not like Beth shot any main characters before she disappeared or anything, but even so, I thought there might be something to that. Ever since Charlie appeared, she's been sort of a background character. She's always around but they haven't spent a lot of time on her characterization. I thought maybe they were holding her in reserve for something. Given her role in this episode, she's definitely starting to look like a proxy.

The rabbi introduces himself Rabbi Jacob Kessner and says the mosque is called Temple B’nai Israel. Charlie says she saw the light in his church, and that's what drew her toward him. He tells her it's not a light. It's Ner Tamid (title of episode). It's the flame of truth or of God and God lead her to him. Then, it looks like the light is flickering and about to go out and he says that flame of truth needs new batteries.

Holy TD symbolism, Batman! First of all, Battery Theory. And there's a big emphasis on batteries throughout this episode. Of course, all that started at Grady because we saw so many batteries that were dying. Also remember that Norman said that Beth was Daryl's light in the darkness and to see that light go out was very sad. Now, in this episode, we have an emphasis on a perpetually burning light that's never supposed to go out. Sounds like a Beth parallel to me.

Another interesting detail: the rabbi keeps referring to God as a “she.” At first, I thought maybe he was referring to the flame as a “she.” And maybe he was. But he did it more than once. I can tell you that’s a little weird. A very traditional Jewish rabbi, as this guy seems to have been, would not think of God as a woman. The god of the Old Testament, whom they worship, is and was always male. So why would he do this? Whether he’s meant to be referring to God or the flame, it feels like a hint from the writers about who the flame or Christ figure in the show is, you know?

Back with Sarah, Dwight, and the rest of the group, we see the armored truck roll over a walker’s head. 

After that, the rest of the cars in the convoy also went over the walker and smash it to bits. It just reminded me of Consumed. When Daryl and Carol were following the cop car into Atlanta to look for Beth, we very obviously saw them smash a walker head in the same way.

When the convoy stops to set up camp, they use rolls of chain-link to guard against walkers. It just reminded me of the prison. We also saw Charlie and the rabbi killing walkers on the fence around his synagogue. So lots of callbacks to the prison.

When the caravan stops to rest, they us a circular setup for their camp with the tanker in the center. It's a smart way to set up camp against walkers and other enemies, but the circle is also interesting. A couple of things I think this could be.

We’ve talked before about how Morgan’s symbol of the X inside the circle, which we saw in Coda, could possibly be a lamp sign or the symbol for the positive charge of the battery, which is also often symbolized by an X or cross inside a circle. This looks at the negative charge the battery. The minus sign inside a circle. And given that there's a big emphasis on batteries here, I think that's interesting. I may be developing more of a theory about this, but I'll leave it for another time.

Charlie refers to the Light of Truth a lamp once or twice. Which, to be fair, it is. It’s not an actual flame, but rather a light, which can be plugged into a batter, in the shape of a flame. So it works in a literal sense. But also, Lamp Theory.

The other thing I couldn't help but think of is that when we first met the hipsters (Jadis’s people), they encircled Rick's group and we got a bird’s eye shot of them in a circle. I think this is probably part of that same symbolism.

We heard a few 8s in this episode. When talking about going to get gas, Sarah said it would be “tank town at 0800,” which was her way of saying they were going to get gas at eight. Of course they didn't, because they realized Charlie was missing.

Then the rabbi said it took him eight years at Yeshiva to understand what Charlie had already figured out. I looked it up and Yeshiva is a Jewish university. I’m really side-eyeing that. He’s referencing 8 years of education. Remember that there was an 8 beside Beth in Tyreese’s death hallucination and now we’re 8 years post-Coda.

The Rabbi was talking about how God had led her to him and he said, "maybe there's something you need here." So, more of the “something you need” theme.

It occurred to me that the inside of the synagogue looked a little bit like Ezekiel's theater in the kingdom. Because it’s q synagogue with pews, it also naturally looks a little bit like Father Gabriel's church. And of course there’s the church Glenn and Enid went into in 6a.

The rabbi also explained the resurrection in a way that had a very strong parallel to what Herschel told Rick in S2. While on the highway in the finale, waiting for the others to find them, Herschel said he'd always believed in the resurrection of the dead, but what was going on with the walkers wasn't exactly what he had in mind. The rabbi said something very similar. That he used to tell his congregation that eventually the dead would reunite with their bodies and be resurrected, but he thought he only got it halfway right. So, a major call back to Herschel and S2.

He also said tradition was very important. This is definitely true from what I understand of Jewish culture. They're very ardent about their traditions. I also took it to perhaps be a line the writers might be aiming toward us and the symbolism in general. As if to say that precedent in the show is very important.

We had more emphasis on the battery because he was on his last battery and it started to go out. In order to keep the lights going, he needed to find new batteries. Definitely feels like a theme to me. Obviously, the light equals hope and you need batteries, apparently, to keep that hope burning. These are all things we saw heavily around Beth and Grady.

The rabbi goes to another building and finds that it's full of walkers, who are escaping. My first thought upon seeing building is that it looked like a lot like the school from S5. The same school the Termites camped out in front of. Many of Father Gabriel's congregation (as walkers) were in it, which is why he broke out of his church in Coda and went there. It was in that scene that we saw him look at a bible and one of the pages said Bethel on it.  

So this rabbi definitely has heavy parallels to Father Gabriel in S5. He is alone in his synagogue and his congregation is dead. They been imprisoned in a building some distance away from his church. 

When he goes looking for them, there's a circular driveway in front of the building. So that circle theme appears again. We also see red flowers. I'm thinking the red flowers, just like the color red, equals death. I was reminded of the poem, In Flanders Fields, which is a famous poem about red poppies growing where men in war died. Just goes to show that his congregation was dead, even though they hadn't revealed that to us yet in the show.

Upon seeing this, my first question was whether the rabbi locked his congregation in there, just as Gabriel locked his congregation out. We don’t find out what happened until about three quarters of the way through the episode. This rabbi didn't have as much culpability as FG did. He didn't actively sentence his congregation to death. We do find out that he was having a crisis of faith — much like FG in S5 — and that he abandoned his flock to go try and figure out his own psychological crisis.

When he returned, they’d been locked in that building already. So, he abandoned them and then they died. But he did not orchestrate their deaths in quite the same way FG did with his flock. Still, the parallels are there.

I think this is important is because 1) We saw this around FG in S5 while Grady was happening. So even though Beth never met FG, it was definitely happening around her storyline. And 2) FG is now a walking embodiment of Sirius symbolism.

John and June come to pick up Charlie and the bring a battery for the rabbi. They emphasized the number 36 by having June say there were 36 people in the convoy. The rabbi then said that some people believe there were 36 righteous people in the world at any given time. There are a few ways you could read this. 6x03 is Glenn’s death fake out episode. 3x06 doesn’t especially stand out to me. Series number 36 was 4x01. You know, where Beth came front and center?

Meanwhile, back at camp, Sarah and Dwight sit atop a trailer, keeping watch together and drinking beer. Dwight says the beer is pretty good, and Sarah says, "Seriously?" There’s the Sirius reference for this episode. Pretty much every episode of this season has had one.

The two of them have a casual conversation, but I found it kind of interesting. Sarah asked Dwight how long he'd been on his own, and he didn’t know. He said he lost track of time. So, he doesn't even know how long he's been gone from DC. Interesting, as they’re kind of playing with time again. Then Sarah says, "but your gal kept going, the idea of her?" Definitely something that could be applied to Daryl. Dwight answered that the walkers kept him going too. He said he used to watch them, wandering who knows how far, not knowing where they'd come from and where they were going. Just a lot of things about traveling long distances and being on journeys that I feel it could apply to Beth.

Meanwhile, Dwight keeps looking through blue binoculars. So there's that pesky blue color again and the binoculars theme. He’s also sitting on a blue cooler (@frangipanilove’s blue coolers theories) and there is a red/green diamond pattern on his shirt (Beth = Queen of Diamonds).

Back in the synagogue, we also find out the rabbi makes his own wine. He says he has a “green thumb.” Of course, the wine he makes is probably much different than moonshine, but the concept is the same. He's making his own booze.

While John and June are there, the rest of the rabbi’s congregation break out of the building through the glass (Breaking Glass Theory) and the synagogue is suddenly surrounded by walkers.

Then we have some ladders! After posting my ladder theory this last week, I was excited to see this. They were trying to find a way down to go help the convoy because Logan's people had found them and they were on the run. John uses a ladder and slams it into a car windshield, breaking it. He and June descend and use the ladder as a bridge between cars to try to get across the lot without actually having to walk among the walkers or kill them. Think about that. They’re using LADDERS as BRIDGES across CARS to get through a WALKER HORDE.

They nearly make it, but in the final leg of their journey, one of the fences falls — not unlike the church falling in 6x07 and letting walkers into Alexandria, and they know they can’t make it out.

Charlie had one of Beth's lines here. Yet another way to show that she's a Beth proxy. When the rabbi tells her that it's okay, she says, "It's not okay, it's not okay." Beth said that twice a Grady as well. In fact, it was one of the last things she said before being shot, in reference to Noah staying behind.

John also used the phrase “exhibit A." He’s talking about how she wasn’t necessarily wrong to do what she did. She kept them all moving to avoid exactly the situation they were in: surrounded by walkers and trapped on top of a car. He says their “current circumstances are exhibit A.” So this is the A theory. I have more to say about this, but just keep it in mind for today.

In order to save John and June, who were then trapped into the car, and get all them out of there, the rabbi blew a horn—a Jewish horn called a shofar—to lure the walkers into the church. 

A couple of things about this. 1) The home is not unlike the wolf horn blown in 6x02, which also led the walker horde toward it, and led to Glenn’s death fake out sequence. 2) What follows in this episode is exactly what happened with Father Gabriel’s church in Coda. They lure the walkers into the synagogue and then trap them inside by barring the front doors.

It works, but the church/synagogue are lost. And once again, the last time we saw this was in CODA.

By the way, a shofar is made from the horn of a ram. We saw a ram one very prominent time before: in 5b when Aaron and Daryl were trying to capture buttons, Aaron tripped over one and nearly got bitten by a walker. So it’s a symbol they’ve used before. 

In the end, the battery dies, the light goes out, and the Rabbi goes with them.

Meanwhile, Logan’s men chase Sarah and Dwight and the convoy for quite a while. Once they have them cornered (Sarah’s truck runs out of gas) they just drive away. It seems, at first, because Logan’s guys saw John and June in Al’s SWAT truck coming to the rescue, but Dwight still thinks it’s weird. He says these guys don’t do anything unless it’s on purpose. (Clue about the symbols in the show perhaps?)

Turns out, Dwight’s a smart dude when he wants to be. Somehow, probably from watching the Al’s tapes that he took from the vault last episode, he’s figured out where the oil fields are. He purposely had his guys chase Dwight’s group away so he could go steal the oil without them trying to stop him. The episode ends with him arriving at a place called Lonesome Quarry, where apparently the oil is.

That’s super interesting to me. I need to think on this some more and maybe I’ll address it again later on, but it’s interesting that it’s a quarry. That actually gave me a bit of a lightbulb moment. I started thinking about the quart from 6a. The group started Operation Lead the Walkers Away from there in 6x01 and it led to Glenn’s death fake out in 6x03. If you recall, there were even semis and tanker trucks in that quarry. The operation started a day early because on of them fell off a ledge, which allowed the walkers a way out of the quarry, so they had to start the operation earlier than expected.

So I’m wondering if that was a foreshadow to this, or if they’re at least purposely paralleling the two. Remember there was a death fake out involved in that. Both the beginning of a death fake out, and the end where Glenn was revealed to be alive. So I’m very curious to see where this will go.

Looking at the trailer for next week’s episode, where Logan will obviously make a play for the oil, there are things that look a LOT like 6a. Like this. 

It’s Logan, probably running from Sarah in her truck. But it just LOOKS a lot like Rich running during 6a. 

And then we see people approaching on horseback. 

No idea who they are as the picture is intentionally blurry in the trailer, but probably new characters. Helicopter people? Highwaymen? Also reminds me of the horse from the TWD S10 trailer.

So again, no idea who it is, but I’m excited to find out.

So what are my major takeaways from this episode? We saw a lot of callbacks to the prison and to Father Gabriel’s story line in particular. Those are things that were happening in S4/S5 around Beth. Another religious dude with a crisis of faith. Losing his synagogue, like losing FG’s church, along with the alter, were both specifically seen in Coda.

Then there’s the eternal light and it’s ties to Beth, and the fact that the rabbi keeps referring to it and/or God as “she.” And finally, something big will probably go down over this fight for the oil. So a good episode. Leaves us with lots of questions, but I enjoyed it.

I’ll stop there for today. I have a lot more to say. Not about the episode specifically (a few things about it, though) but a lot of what I saw here symbolically made me start thinking or rethinking some of our theories. I suppose I just have some musings about where this may be going and how things might connect. So, pretty much predictions post. I’ll post more thoughts throughout the coming week. How did everyone else like this episode?

[nightmareonfilmstreet]

[Recap] STRANGER THINGS 2, Episodes 6-9: A Stunning Finish

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[Recap] STRANGER THINGS 2, Episodes 6-9: A Stunning Finish

I’m back with recaps of the final four episodes of season two of Netflix sensation Stranger Things. If you haven’t looked over the recaps for the first half, you can find them here. Alright, let’s dig in!

Episode 6 – “The Spy”

If things start to come together in episodes four and five, six is where Stranger Things season two really begins to deliver on its potential. Following Will (Noah Schnapp)’s seizures, Joyce (Winona Ryder), Hopper (David Harbour), and Mike (Finn Wolfhard) wind up at Hawkins Lab where Dr. Owens (Paul Reiser) and his team struggle to properly diagnose him. What is clear is that Will‘s memory is being affected by the otherworldly presence and, as the episode progresses, his amnesia is symptomatic of the fact that he can no longer be trusted.

It’s unfortunate that the titles of Stranger Things are so prominently displayed at the start of each episode, because the reveal that Will has broken bad is blatantly telegraphed. Despite this, I still found myself swept up in the action, especially when Steve (Joe Keery), Dustin (Gaten Matarazzo), Lucas (Caleb McLaughlin) and Max (Sadie Sink) wind up trapped at the abandoned car junkyard thanks to the appearance of multiple demi-dogs. Collectively the cliffhanger at the lab and Steve‘s near-death helps to ratchet up the momentum as the series heads into its final few episodes.

Odds and Ends:

The relationship building between Steve and Dustin is easily one of the episode highlights. Plus: the scene of the group walking along the train tracks is heavily evocative of Stephen King’s Stand By Me.

I’m no big fan of Nancy (Natalia Dyer) and Jonathan (Charlie Heaton)’s sojourn into conspiracy theory-ville with Murray (Brett Gelman), though his ability to diagnose their unrequited love affair is mildly amusing.

The fatal climax, in which Will‘s deliberately leads the soldiers into a trap, is a clear homage to James Cameron’s Aliens, right down to the images appearing on the radar screen. Love it.

This is the first episode of the series that doesn’t feature Eleven (Millie Bobby Brown).

Eleven’s standalone episode 2×07 “The Lost Sister” is a singular mistake

Episode 7 – “The Lost Sister”

UGH. I wanted to give this episode the benefit of a doubt, but five minutes in I began checking my watch. Then I did some laundry. Then I began surfing YouTube for funny cat videos.

Yes, folks, this is undoubtedly THE WORST episode of Stranger Things that the series has ever produced. Yes, it pays off Eleven‘s “family” arc by reuniting her with her titular “lost sister”, Kali (Linnea Berthelsen). Outside of teaching Eleven how to hone her powers and helping her to realize that Mike and the others are her real family, however, this is 55 minutes of duds-ville.

It got so bad that I began making jokey memes about its awfulness on Twitter to pass the time. Seriously, this is one to tell friends to avoid – as Alan Sepinwall of HitFix suggests, it plays more like a bizarre backdoor pilot for a spin-off series that no one asked for.

Odds and Ends:

This is the first episode of the series that doesn’t feature any of the rest of the regular cast.

When Kali and her friends give Eleven an 80s punk look, I couldn’t help but think of the iconic ditty from Clone High about makeovers. MAKEOVER!

This is your first Matthew Modine-cameo alert for S2.

Seriously, I’d like to know who thought this episode (and its timing in the season) was a good idea? The only element that I enjoyed was that weird moment where the episode turned into a home-invasion thriller in the vein of The Purge & The Strangers.

The harrowing escape from Hawkins Laboratory is a focal point of 2×08 “The Mind Flayer”

Episode 8 – “The Mind Flayer”

With the worst creative decision that Stranger Things has ever made firmly in the rearview mirror, “The Mind Flayer” picks up right after the cliffhanger from 2×06. The escape from the Hawkins Lab is superb, particularly the cross-cutting between Bob (Sean Astin)’s solo mission to reset the power and Dr. Owens‘ guidance on the surveillance cameras (shades of Jurassic Park). And while horror fans undoubtedly knew that the writing was on the wall for Bob the moment he was told his exit path was “home free,” his death – and Joyce‘s reaction to it – are well-done.

With the season’s big death crossed off, the time comes to reconvene the disparate groups at the Byers house and prepare for the big battle. This is the calm before the storm as everyone catches up and they strategically plot their options. I’ll confess that while I appreciate the effort made to gently address the lunacy of Dustin‘s Mind Flayer/hive mind connection plan, it’s pretty unbelievable that everyone basically just goes along with it.

Once again the focus returns to Will and, in a well-executed montage, the infected boy is awoken and treated to trips down memory lane that double as opportunities to communicate how to shut down the otherworldly threat (using Morse Code, naturally). With a plan in hand and time running out, the group is seemingly beseiged by demi-dogs when Eleven returns from Duffer Brothers purgatory to finally rejoin the main group. Thank goodness – let’s get this climax on the road!

Odds and Ends:

In an episode filled with highs, the extended scene of Billy (Dacre Montgomery)’s dad beating him up for losing track of Max just feels so unnecessary. It’s still unclear why this storyline needed to exist.

Eleven and Hopper’s reunion is one of the finale’s strongest emotional beats

Episode 9 – “The Gate”

Here we go – the big finale. If there’s anything surprising about this episode, it is how quickly the threat is dispensed with: we’re barely half through the episode when Eleven manages to close the gate. This winds up being a smart decision because it avoids a long, drawn out battle in favour of narrative and emotional closure for nearly all of the characters, while once again teasing another season of Stranger Things.

After coming together briefly last episode, our protagonists split into three groups: 1) Hopper and Eleven head for the gate, 2) Joyce, Jonathan, and Nancy create a home sauna to steam the demon out of Will and 3) the D-Listers (eventually) head back into the tunnels to draw attention away from the gate and clear a path for Eleven and Hopper. And barring the occasional hurdle, including – UGH – Billy, as well as one last encounter with D’Art, things more or less go to plan.

Of course I’m doing the finale a complete disservice by being so nonchalant. In all honestly “The Gate” is easily one of the most satisfying hours that the series has ever produced, hitting all of the right action AND emotional beats.

Let’s talk about each of those individually:

1) The action when Eleven goes up against the gate (and begins levitating!) is a stunning achievement. Visually (those special effects!) and aurally (that score!), the scene delivers a more bombastic finish than some big budget Hollywood tentpoles. Throw in Millie Bobby Brown’s absolutely commanding screen presence, masterfully conveying the entirety of Eleven‘s two season journey in a nearly silent performance and you have an absolutely killer sequence.

2) As significant an achievement as the action is, however, it would be nothing without the quieter moments. I was particular awestruck by Eleven and Hopper‘s extended conversation in the truck. There’s a reason why the Duffer Brothers paired these two together and while I complained about how repetitive their storyline was in the first few episodes, it really pays off here.

Ditto the moments when Mike attacks Hopper for lying to him and when Eleven and Mike lock eyes at the dance. These scenes only work because of our investment in these characters, so kudos on making us give a damn about these people in between all of the action and special effects.

Odds and Ends:

I mentioned last episode that I didn’t understand the point of Billy‘s storyline and aside from adding an additional obstacle to the team’s success, my opinions have not changed. I have nothing against Montgomery as an actor, but this was one addition too many in S2. Seeing Max finally stand up to her step-brother’s abuse (when he’s already drugged) just didn’t work for me.

Now that the Hawkins Lab has been shut down and Barb got her damn funeral, is this a wrap on #JusticeForBarb? PLEASE?

Nancy‘s pity dance with Dustin at the Snow Ball gave off some pretty heavy John Hughes vibes. If Stranger Things had been made in the 80s, I could easily see Molly Ringwald in the Nancy role.

So Joyce and Hopper are totally going to hook up now, right?

Finally, what do we think of the final teaser/twist? Personally I found it underwhelming (the Upside Down still exists? Colour me unsurprised!) but I appreciate that this is a way to hint that there’s more to come without undoing the narrative closure covered by the second half of this episode.

So that’s it for season two. What are your thoughts now that it’s all said and done? What do you expect to see in season three? Hit the comments below and sound off with your reactions and predictions.

[ambitionsource]

AMBITION Season 2 ♫ “Contingency Plan” [ 2.07 ]

CREATED BY Esther (rapunzles) & Maggie (quincywillows) || S2 Tag || Official Page

JUST IN CASE – In preparation for the looming pressure of senior year, Eric meets with each junior for a mandatory check-in. Unwanted attention sheds light on areas of weakness. Contents under pressure can only bend so much before they break.

70 Minutes (20K words) || CONTENT WARNING: suicide attempt (not shown); suicidal ideation; depictions of anxiety. Take care of yourselves and read with discretion.

[ ← Trapped ] [ S2 Synopsis ] [ Got A Lotta Livin’ To Do → ]

( Follow along with the music on Spotify here! )

INT. AUDITORIUM - DAY

Song Cue ♫ ♪ “A Million Dreams” as performed by The Greatest Showman Original Cast || Performed by Eric Matthews (feat. Angela Moore)

From the back, we open on a young student sitting backwards on a chair underneath a gleaming spotlight. As they launch into the opening notes of the number, something about the voice is vaguely familiar albeit a much higher tenor than we’re used to. As the camera eases in a circle around them…

We come to face YOUNG ERIC MATTHEWS (16). He’s fresh-faced, excited, sporting his ridiculously good ‘90s hair and with a layer of baby fat on his cheeks. He’s in the role all of our protagonists are in now, the world he once occupied -- a hopeful performing arts student, dizzyingly proclaiming all of the dreams he’s going to accomplish.

There’s something truly charming about his youthful performance. An unwavering belief in his passion, an electric energy as he dances across the stage that has matured into something deeper as he’s gotten older. Undoubtedly, he’s also good, really good -- just as good as any of the students at AAA despite not attending some fancy academy for the arts.

INT. AAA - AUDITORIUM - DAY

When the vocal tenor shifts in the middle of the song, younger Eric spins and the camera goes with him, transforming into ERIC MATTHEWS in present day. He’s still singing the same song, reprising the number on the AAA stage. The junior A class sits scattered in the audience, visible mostly from the back of their heads like how young Eric was first viewed.

A surprise guest joins in, ANGELA MOORE floating onto the stage with gusto. The A class performers react accordingly to this, excitement in their features at their former coach making a grand return. On the line “share your dreams with me,” she smiles and holds her hands to her heart -- MAYA HART emulates the gesture in the audience, obviously so happy she’s back.

Angela and Eric finish out the duet impressively, reminding us that the faculty at AAA certainly hold an understanding of what their students are currently living through. They round out a spin together and fall into a hug as the piano takes the song out, before walking to the front of the stage and clasping their hands together in front of themselves.

HARPER BURGESS jogs onto the stage to join them as the A class applauds, completing the trio and matching their stance.

Harper: Welcome to check-in week.

As they go on to explain, this is the annual week in the midst of each class’ junior year during which they meet with Eric -- and this time, maybe Angela! -- to discuss what their current goals and plans for the future are. Colleges, auditions, the real world is just around the corner, and it’s time for them to start preparing for it.

The response to this impending reality is decidedly mixed. Some seem excited, invigorated, whereas others look reluctant or just plain scared. Off these varied emotions --

Cue title sequence.

INT. AAA - CAFETERIA - DAY

The diva crop of performers are together again, Maya leading the discussion as she, ZAY BABINEAUX, NIGEL CHEY, YINDRA AMINO, and ISADORA DE LA CRUZ eagerly discuss the content of the week. Maya has every detail of her life seemingly planned down to the wire, more than prepared to chase that elusive dream by every single choreographed move.

Yindra and Nigel add in their two cents, the former claiming she wants to jet-set straight to Los Angeles to start trying to break into the music industry. Maya scoffs at this, claiming that’s a pretty risky business venture. Nigel notes that he wants to attend one of the theater schools in New York before jumping the ocean to study / start up some roles in London at the West End. Every great actor gets their start in the West End.

Zay and Isadora are particularly quiet. As Zay listens to his friends verbally shoot for the stars, he contemplates that maybe he’s selling himself too short or approaching his future too modestly. Isadora feels totally lost, way behind on the performer uptake and not even sure what she wants to pursue once they graduate.

Nigel: Well, better to have many talents you can’t choose between than be tethered to one that may or may not pan out.

Maybe so, Nigel. Maybe so. Isadora smiles half-heartedly, averting her gaze as they jump back into daydreaming. She notices FARKLE MINKUS seated a couple tables away by himself, excusing herself softly.

Oddly enough, Farkle is suddenly… looking and acting a lot more like his former self. He’s back in his more polished fashion from season one, despite how it doesn’t fit right anymore with his height gain and weight loss. His hair has been swept back off his forehead into what could be considered a coiff… if you squint.

More than that, what’s so jarring about it is the fervor that seems to have taken him over. He’s spent much of the school year being uncharacteristically listless unless provoked, and now he’s suddenly back to work at a ferocious pace. He’s bent over his laptop and a notebook, meticulously crafting his “future” presentation for Eric.

Isadora raises her eyebrows as she approaches, keeping the table safely between them.

Isadora: Well, didn’t realize future week meant we were throwing back to the past.

Farkle: [ lifting his head, glaring ] What?

Isadora: I’m just… you’re looking…

[ She isn’t sure what to say. Communicating is hard. ]

Isadora: You’ve certainly made a return to form, that’s all.

Farkle: Well, if nothing else is going to change then I don’t see why I should. The assignment for the week reminded me that nothing is more important than our goals -- that’s the only reason we’re at this school in the first place. And I guess something just… came over me.

Isadora: Yes, the ghost of Farkles past.

Farkle, unamused: Are you done wasting my time? And yours. Surely you would be better off spending your energy trying to figure out your paradoxical existence and decide which part of yourself you’re going to cut out to fully devote yourself to a set future at the age of sixteen.

Isadora honestly has no idea what to say. Partially because Farkle is being so waspish, and also because he sort of hit the nail on the head. She backs off without further comment, only glancing back over her shoulder once before marching away.

INT. AAA - CORY’S CLASSROOM - DAY

RILEY MATTHEWS is having lunch with CORY MATTHEWS, wisely avoiding the overwhelming atmosphere of the junior lunch period this week. As the two of them discuss her future potential, Cory is predictably all about one thing -- the dream. To him, Riley unequivocally has what it takes to make it, and she shouldn’t be giving that up for anything.

This is an uplifting take, and it’s nice that Cory believes in her so faithfully. But it’s not necessarily helpful, and doesn’t give Riley much to work with when it comes to outlining her plans in a tangible way for Eric to judge them.

She gives him a smile, turning back to her food as it falters somewhat.

INT. AAA - HALLWAY - DAY

As Riley heads back into the hall, she accidentally runs into CHARLIE GARDNER. They exchange apologies, Riley attempting to strike up conversation about check-in week. But Charlie isn’t all that talkative, politely claiming he’s running late for a meeting and really needs to go.

Riley watches as he jogs away, finding his behavior a little odd. He’s Charlie, and he’s always been odd, but now Riley is more attuned to it since they’re tentatively rebuilding a friendship.

She lets it drop for now, but the expression on her face makes it clear she isn’t finished with it.

INT. AAA - DANCE STUDIO - DAY

Zay is already warming up when Charlie arrives for their typical practice. Both of them are obviously a bit on edge due to the nature of the week, but at different levels of willing to talk about it. Zay laments how stupid the whole week is, whereas Charlie isn’t ready to give it any thought whatsoever.

Charlie can tell that Zay’s attitude goes deeper than annoyance, however, so he nudges him into talking about it. After a moment, Zay admits that he feels like maybe his approach in being realistic has instead turned pessimistic, and he’s being his own worst enemy.

Zay: My parents are both very logical people, okay? They totally support me and Jada in whatever we want to do -- and of course, we both chose artistic and ridiculous passions --

Charlie: True test of supportive parenting, they should be prepared for it.

Zay: But there was always this logical caveat nested in my brain. Like, I could do it, but it would take planning and perseverance and tons of hard work.

Charlie: And that’s wrong?

Zay: I don’t know. Just listening to everyone else talk about it, they’re all thinking big moves. They’re giving themselves the credit to be able to jump to another city or step up for a major audition on a whim. And I always thought I was as bold as the rest, but maybe I’m not. Maybe I’m selling myself short before I even go on sale. And I have no idea how to not be that way.

Charlie assures him that thinking logically and realistically isn’t a bad thing. They need a balance of both, he thinks, to actually survive a life in the arts. But if Zay wants to push his own boundaries and think bigger, then he needs to start by reaching as high as he can.

As if to demonstrate the notion of pushing boundaries, Charlie braves taking his hands when he comes to stand in front of him. Despite the fact that they’re at school, and anyone could walk into the dance studio at any moment. Zay glances down at their hands while Charlie asks him to think bigger, to think about what he thinks the highest bar he could reach might be.

They do the exercise back and forth for a bit, Zay saying something in his possible post-graduate trajectory and Charlie instructing him to go even grander. It escalates until it gets truly ridiculous, Charlie laughing as Zay says something like usurping Beyoncé fresh out of AAA and going on a world tour.

Sure, that’ll never happen, but the exercise does what it’s supposed to. It opens them both up, and Zay thanks Charlie sincerely.

He then tries to return the favor and allow Charlie the chance to talk about his future anxieties, but he’s not having it. He slips from his grasp, claiming they should really get to practicing.

Charlie: Can’t usurp Beyoncé if you’re not in top shape.

INT. BLUE’S APARTMENT - DAY

Isadora goes to visit BLUE NGUYEN after school, settling into his apartment. She’s eager to discuss the week’s assignment with someone who knows her well but is a removed neutral party, but it seems as though Blue is distracted. He’s got stuff going on with his new job -- since he can’t afford to go to college yet on his own -- and although he still attempts to be an avid listener Isadora can tell his mind is elsewhere.

She changes tracks instead, asking him what he’s working on. He seems grateful for the chance to talk about it, Isadora nodding along with a tight smile.

INT. MATTHEWS APARTMENT - MASTER BEDROOM - DAY

Riley isn’t getting much work done on her own future outline, distracted by Topanga’s incoming visit for family dinner. She’s fixated on picking the perfect outfit and trying to seem put together, obsessively fixing her new short hair in the mirror.

Maya is on a completely different page, erecting a whole moodboard for her meeting. It’s like a flashy, diva science fair board, and she’s lovingly adding pieces and tweaking them to perfection. She questions why Riley is so panicked over the meal while adding a photo of Britney Spears to the collage, right next to Valerie De La Cruz under “career inspirations.”

Riley: You’ve never had dinner with my family, okay? Especially not recently.

Maya: Really hyping this up for me, honey.

Riley: Besides I… I don’t know. I just have this… there’s this feeling…

She can’t articulate it, but she trusts her gut. She knows the other shoe has to drop eventually, although she’s not sure in what regard or what that might mean for them. How the hell is she supposed to focus on the future when her present is such a disaster?

INT. BABINEAUX HOUSE - KITCHEN - NIGHT

Zay is leaning against the kitchen counter, lamenting his future troubles to DONNA BABINEAUX as she bustles around making dinner. She essentially echoes exactly what Charlie told him, albeit with her own touch.

Donna: Look, you work hard. You work twice as hard as the rest of the divas in that class to earn half the respect, and you’ve got the accolades to prove that you’re some of the best they’ve got. So to hell with reservations, you should not be concerned about reaching too high. Worry about the fall when you get there.

Convincing argument. Zay contemplates, nodding and gearing up to rearrange some things in his presentation for Eric.

INT. MATTHEWS APARTMENT - NIGHT

The full clan is assembled along with Maya, TOPANGA LAWRENCE avidly holding conversation with AUGGIE MATTHEWS. Cory mostly remains quiet as usual, smiling where appropriate and speaking when invited by others. Riley is quiet as well, unusually nervous.

Topanga lights up with a thought, remembering that there was something she wanted to let them all know. She happily declares that she’s decided where she wants to relocate permanently -- upstate! Out of the city, where her practice can really thrive and she can maybe expand.

But also hours away rather than minutes by train. This is a bombshell revelation, and Riley barely gets the chance to react to it before Topanga is already changing the subject again. She pulls Maya into conversation, wanting to know more about her and hear all about her time at AAA as compared to Riley’s.

Maya glances at Riley before taking up the conversational slack. Riley looks to Cory, wide-eyed, but he doesn’t have any optimism to offer. As this heavy reality settles over this dinner…

INT. GARDNER HOME - DINING ROOM - NIGHT

The more distant future is up for discussion at the Gardner table. ELEANOR GARDNER and AMBROSE GARDNER are curious to hear what this “check-in week” entails at AAA, and excitedly wonder what Charlie has thought about in regards to his future. ROSAMUND GARDNER and DAISY GARDNER listen plaintively, grateful it’s not them in the hot seat.

This is an uncomfortable topic, because Charlie doesn’t feel like he has any grasp on a future for himself. He barely knows who he is right now, he can’t fathom the future. He tries to give them something to chew on anyway, admitting that he loves dance a lot, but isn’t sure what he wants to do with that.

Rosie: Why are you at dance school then?

Charlie glares at her, kicking at her under the table. She sneers back, waiting until both parents aren’t looking to stick her tongue out at him. Eleanor jumps back into the brainstorming session Charlie never asked for, eagerly suggesting that he consider theology school if he isn’t sure what else he wants to do.

Eleanor: They have a great institution, Aggie loved it. They even have a performing arts major, which would be fun and still aligned with your interests.

Daisy, under her breath: Bridal college...

Ambrose laughs lightly, playing off of Daisy’s comment.

Ambrose: There you go, Charlie. Daisy’s onto something. You could get yourself a future and a wife, nice two-for-one.

Charlie: Oh, perfect. All figured out then. Ha ha.

Charlie’s words do not match his expression. He looks like he’s going to be sick, stabbing at his peas and forcing himself to swallow a forkful.

INT. AAA - ERIC’S OFFICE - DAY

Before Charlie’s fork can hit the plate again, Maya’s moodboard hits the surface of Eric’s desk. She launches into professional and compelling presentation mode, giving a thorough, impassioned, and somewhat overwhelming explanation of how she’s outlined the next fifteen years of her career.

It all starts with arts college, of course, to which she’s selected a list of five in preference order that she will be applying to come next fall. From there, she has about four branching plans for each school that accounts for even the smallest details, creating an elaborate future tree that all eventually leads to the inevitable -- her name in lights, doing what she was born to do.

In the midst of Maya’s monologue, a classic AMBITION montage throws other juniors into the chair across from Eric to discuss their futures. Nigel makes commentary about how he just wants to act, but he figures going to AAA has given him plenty of practice for dealing with the drama of the industry. Yindra explains that she wants to head straight to Los Angeles, maybe major in music production but predominantly focus on building connections.

Yindra: Rumor has it you have a younger brother in the music industry. Want to share contact info, Mister E?

LUCAS FRIAR takes the chair across from Eric, and from the (: expression on his face we can tell that he’s not going to be making this easy for the well-meaning counselor. He essentially answers all of his questions with non-answers, spinning the question or throwing it back in his direction.

Eric: Come on, Lucas. It doesn’t have to be difficult. What exactly have you been thinking for your future?

Lucas: What have you been thinking for your future, Mister Matthews?

Eric: I’m sorry?

Lucas: You know, social security is running out. I’m doomed for retirement, but you still have a chance and should consider your options.

Eric: I don’t --

Lucas: In fact, you could be contemplating retirement right now.

Eric: How old do you think I am?

Lucas: You know what, you’ve got a lot to think about. Let me just get out of your hair. Best of luck with this next phase in your life, sir. Save a little social security for the rest of us provided climate change doesn’t kill us first!

Lucas slides out of the seat, propelling himself through the doors before Eric can even register what just happened. He rubs his face, totally confused.

A couple other A class students follow after.

Darby: I just don’t know if I’m cut out for this thing, you know? Sarah is always telling me I’m just a follower, but the world needs followers too, doesn’t it? Who would become social media influencers if there was no one to influence?

Eric: It’s okay if you don’t want to pursue the arts.

Darby: I mean, but what am I going to do instead? Follow in the footsteps of my mom? I won’t survive veterinary school, Mister E. And you can only cure lung cancer once!

[ Haley takes the seat next. ]

Haley: All I know is I want to stay in New York.

Eric: Why’s that?

Haley: Well, Clarissa is staying here because she wants to go to Juilliard to study music. I think she wants to be an orchestra or general music teacher, which would be so good for her. She’s like, sweet and patient but also sassy, and kids will like that. But I don’t wanna go too far, because we’re best friends and we’ve never been that far apart.

Eric: Uh huh…

Haley: Also, I guess if I want to try and be an actress and stuff, this is the place to be.

Eric: Do you want to try and be an actress?

Haley: Yes. I mean… not particularly. Maybe? It just feels like I’ve been following the path for so long it would be a major disappointment to have gotten this far and end up not following it through. It kind of... [ a beat ] It kind of feels like my whole crush on Charlie thing. It’s like, if it doesn’t end with us eventually riding off into the sunset together, then what was the whole point? [ a beat, then panicked ] Oh, God. Do you think I’ve been running on false hope this entire time?

Eric: Well, I wouldn’t say that --

Haley: You’re right! You’re right, haha, I’m just jumping to the worst case scenario. I’m going to stick with my flower shop with Clarissa plan and wait for Charlie to finally come around and come buy flowers for me and it will all work out. Thanks, Mister Eric.

Eric: … you’re welcome.

What a mess. But that’s every check-in week. It’s somewhat of a relief when Zay Babineaux walks through the door next, Eric greeting him cheerfully at the prospect of actually having a calm, rational conversation with someone.

Although a little nervous, Zay does a good job of laying out his new plans to Eric. The counselor listens eagerly, nodding along and seemingly impressed with some of the bolder ideas he has for paths to pursue post-graduation. When he finishes with an exhale, Eric applauds his creativity and ambition. Of course, he supports him considering he knows how hardworking and talented he is, and it’s obvious that his heart and soul went into thinking about this.

But on the other hand… Eric is obligated to point out the lack of back-up planning. Zay clearly has a lot of drive and ambition, which is excellent, but in throwing his reservations out the window to redo his plans he might’ve thrown them too far. What if he discovers he doesn’t want to pursue the arts after all? What if those high-reaching conservatories he applied to don’t accept him?

Fair points, but a difficult conversation to have with someone already feeling overlooked and stuck. The commentary hits a nerve and Zay grows defensive, arguing that Eric didn’t have all this criticism to give Maya. In Maya’s defense, she had fourteen thousand alternate routes mapped out, but that’s not what is really bothering Zay.

And so, for the first time, Zay has his diva meltdown. As he goes on to say, this is just more of the same that he’s endured since the moment he showed up at AAA. They’ve chosen their favorites and who they plan to back, and that’s clearly never going to change. He’s never going to be good enough for them.

Eric frantically tries to assure him that isn’t the case, but Zay is already marching out of the office. Yet another victim of the pressure of check-in week. As the grungy bass beat floats in...

INT. AAA - HALLWAY - DAY

Song Cue ♫ ♪ “Consideration” as performed by Rihanna & SZA || Performed by Zay Babineaux

It’s been a while since we got some classic R&B funk from Zay Babineaux, and the frustration that is finally bubbling over the surface is the perfect catalyst to bring it. Zay does Rihanna proud as he saunters through the halls, angrily spitting out the tune. He does some light freestyling as he goes, expertly dancing around other students as they pay him no attention walking to their next class.

Still overlooked. Will you ever respect me? No…

INT. AAA - AUDITORIUM - DAY

Charlie is on stage between run throughs, conversing with Haley and CLARISSA CRUZ. After some offhand conversation about how stressful the week is, during which Charlie is notably quiet, the girls claim they have to get changed before lunch. Each of them give him a quick hug.

While embracing Haley, Charlie seems to realize something. He’s hugging Haley -- and Clarissa -- because they’re friends. And no one is thinking anything of it. They bid him farewell, heading down the hall.

Charlie contemplates the matter as he finishes gathering his things. No one is watching his every move, calculating every single thing he does and trying to pick apart his motives. If that can be true for his friendship with them…

Well, perhaps that’s not entirely true. Riley enters the wings and stops as the girls are finishing up their hugs with him, observing curiously. It bothers her that he seems so completely comfortable with them and yet continues to act so weird with her. She chews her lip, frowning.

INT. AAA - CAFETERIA - DAY

By the time she’s made it to lunch with Maya and Isadora, Riley has made realizations of her own. In her mind, there is obviously something deeper to the whole weirdness between her and Charlie that she’s not in on. There’s a greater conspiracy at play, and she’s going to get to the bottom of it.

Isadora: Riley, you know I love a good mystery. But this… is crazy.

Maya: Yeah, what do you think you’re going to “uncover?” This is Charlie Gardner we’re talking about.

Isadora: I repeat. You’re being crazy.

Maya: The most shocking thing you’re going to end up finding out is that all his GAP fare is actually from Banana Republic.

Riley is adamant, though, and a little miffed that they’re not supporting her. Maya points out another truth to the situation.

Maya: Do you think maybe you’re… deflecting a bit? With everything that’s happening with your parents --

Isadora: What? What happened now?

Riley: No, no, that has nothing to do with this. This is a long game, okay? Charlie has been weird with me since the day I showed up at Triple A, you can’t deny that.

Maya shrugs, already losing interest. Riley goes on to highlight how uneven his relationship has been solely with her, and she feels she deserves answers. She’s fixed and figured out problems before, and she’s going to get to the bottom of this one.

Isadora and Maya exchange a look, opting to leave Riley be. She’s happier when she has a project anyway, and happiness is in short supply these days.

INT. AAA - AUDITORIUM - DAY

The techies are assembled in the back section, idly discussing the progression of check-in week. JADE BEAMON asks Nate how his meeting went, and he scoffs.

Nate: Easy. I could feed Mister E anything and he would’ve approved it. We all know they only really care about their superstar performers and their fast tracks to fame.

Doesn’t look like any of them are going to disagree. ASHER GARCIA mutters about not wanting to step into Eric’s office ever again, since every time they end up in there it leads to eventual disaster. DYLAN ORLANDO asks DAVE WILLIAMS if he’s thought about what he’s going to say in his meeting.

Dylan: Do you know what you want to do once you blow this popsicle stand?

Dave: There are popsicles here? Why am I only learning this now?!

Nate clarifies, meaning what does he want to do with his future. Dave pauses, thinking.

Dave: Might be nice to help combat the impending danger of climate change and issues with renewable resources by studying environmental sciences or maybe aeronautical space engineering in pursuit of space materials that could be used as new energy sources.

Jade: … oh?

Dave: Yeah. Ooh, or a rodeo clown!

The rest of them exchange content looks. There it is. Lucas arrives just as they’re moving past the nice moment, Nate turning the question on him and asking how his check-in went. Lucas scoffs, putting out an air of smugness as he claims he totally blew it off. Eric probably doesn’t even know what hit him after their meeting.

Whereas this sort of behavior from Lucas is usually brushed off, the pressure of the week (and well, the whole year) has worn patience thin. So rather than just rolling her eyes, Jade actually questions whether or not Lucas doing such a thing was a wise decision. Or a polite one, at that.

Lucas: Do you really care what the hell I do in my meeting with counselor Eric?

Jade: No, I’m only saying is being rude to someone who’s just trying to help guide you really something to be proud of?

Oh. There’s a tension to the techie brigade that hasn’t ever really been there before. Dylan clears his throat and tries to alleviate it, saying diplomatically that he doubts it’s a big deal. But Lucas isn’t used to his fellow techies stepping to him, least of all Jade, so he can’t let it go.

Lucas: Do you have a problem with me, Jade? Because if you are, you can just say it to my face.

Jade, defensively: I mean, I am, but to be fair you’re not really listening to anybody right now.

Nate whistles, grimacing. The conversation quickly escalates, Lucas trying to defend himself in a group that’s supposed to be non-confrontational while Jade -- and eventually, JEFF MONROE -- step up and argue against how bad his behavior has been this year. To be frank, it’s obnoxious, and more than that they’re concerned. They’re his friends, and he hasn’t been treating anybody much like friends as of late.

The frustration is valid and the intentions are good, but Lucas isn’t ready to be criticized. He deflects, feeling cornered and essentially hissing by telling them to back off before storming out.

Dylan and Asher immediately leap up to go after him, the former disappearing quickly but the latter not making it out before they come for him, too. Jeff points out that they’re not really helping with Lucas’s attitude when they back him up all the time.

Asher: Well, what am I supposed to do? Nothing?

Jade: No, but do you think you’re making anything better by just enabling his shitty behavior? I know you don’t -- you’ve told me you don’t. If you’re really his best friends, you could be doing more to combat it and make him… I don’t know, check himself.

Asher blinks, absorbing the blow from his other best friend. Knowing that she’s right, hating the fact that she is. Then he huffs, following the same pattern as Lucas.

Asher, sharply: Let me handle my own problems, alright?

Asher whips around, jogging after Lucas and Dylan. Jade shakes her head, exchanging an exasperated look with Jeff. Dave reaches forward and pats her on the shoulder.

INT. AAA - HALLWAY - DAY

Riley meets with Charlie at his locker, cheerfully greeting him and suggesting that the two of them partner together for their English assignment. Crazy, to still have other homework in the midst of all this chaos, but oh yeah, they’re also high school students. Charlie agrees, liking the prospect of working with Riley again even if he’s super stressed about everything else.

She accepts his agreement as commitment, happily telling him she’ll text him with ideas before flouncing off. She’s being a bit too peppy, even for Riley, but before Charlie can think on it too much he’s delivered an entirely new distraction.

Zay is marching down the hall, in a clearly worse mood than he normally lets show at school. Charlie frowns, jumping out to catch him from passing him by and pulling him back towards the lockers. He tries to get him to talk to him, asking what’s going on.

Zay recaps the gist of the meeting with Eric, getting worked up all over again. It’s obvious how deeply this hurt runs, regardless of how well he’s buried it down over the last three years. Charlie attempts to talk him down but he’s beyond that at the moment, totally emotionally overrun. So Charlie braves a different approach entirely, taking his shoulders and pulling him into a hug.

A hug. In the middle of the hallway. Where anybody can see. Zay tenses up at first, glancing around them with trained hesitation.

Zay: Charlie, man --

Charlie: It’s okay. [ a beat, softer ] It’s okay.

It’s okay, because he decided it’s okay. Charlie said it’s okay, and so it is. Zay hesitates for a moment longer before sinking into the embrace, actually gleaning comfort from it. Charlie closes his eyes, Zay tucking his head into his shoulder.

The rest of the school passes them by, not even giving them a second glance.

INT. AAA - BLACK BOX THEATER - DAY

Angela is in the black box conversing with Harper, the two of them carrying on a rather pleasant conversation. When Angela asks about how she’s faring working with her admittedly stubborn boyfriend, Harper is spared from having to comment when Maya shows up early to class. She exchanges an enthusiastic hug with Angela, the latter commending her on her extensive and impressive future itinerary. Not that she had any doubts Maya would come correct.

When Angela shifts gears and quietly asks Maya about how she’s handling Katy’s relocation, she deflects and claims with diva levels of confidence that she’s fine. Unideal, but she’s trucking on regardless. Nothing to worry about here.

Other A class members begin to filter in, including Zay and Charlie. Zay catches the soft, fond exchange between Maya and Angela, another subtle reminder of the favoritism that has always existed in their class.

As Maya settles into her seat, she looks around before tapping Riley’s shoulder.

Maya: Where’s Izzy?

INT. AAA - AUDITORIUM - DAY

Isadora is skipping performers lecture, wandering into the auditorium to try and catch the techies. If she’s having trouble finding an anchor elsewhere, then maybe a return to form is exactly what she needs.

She only finds four of them, Lucas, Dylan, and Asher still MIA. They’re hanging around on the stage, mood deflated and unusually quiet after their earlier conversation. Jade is focused on fixing a costume piece, but her hands are trembling as she works with the needle and thread.

Isadora’s arrival is a surprise to all of them, and she completely misreads the tone of the room. She makes a joke about how uncharacteristically grim they all are and it doesn’t go over well. Nate makes a backhanded comment about how she loves to just float back around to say hi whenever it’s convenient for her, and Jeff subtly seconds the notion by asking Isadora what she’s even doing there when she should be in class.

Isadora: Oh, so what, suddenly we’re all saints who never skip class? Didn’t realize how much could change in such a short amount of time.

Nate: Yeah. No kidding.

Isadora: … okay, what the hell is up with you guys?

Keeping it short and sweet, essentially, Lucas sucks. Isadora is like okay, tell me something I don’t know, but that doesn’t settle well with Jade.

Jade: Actually, Isa, you don’t know. Because you haven’t been here spending all year with him. You dropped him when you dropped the rest of us and haven’t had to deal with it since.

Whew, Jade is on fire today. Isadora blinks, wondering if all of them are seriously upset with her. She argues against dropping them, struggling to find a defense and stating once again that she didn’t completely drop tech.

Jeff: Okay. Sure.

Isadora: I didn’t. I told you guys, I’m doing both --

Jade: Are you? Really? Because I haven’t talked to you in like, months. You didn’t contribute any tech work to the last four weeks of performances, and we built all of the materials for Into the Woods on our own, including after someone destroyed it the first time around.

Isadora: Well, if you want to get pissed about that --

Jeff: You haven’t sat with us for lunch since the end of last year. You don’t participate in the group chat.

Nate: Which is dead anyway, considering everyone is in such a pissy mood with Lucas being a fucking demon since you totally dumped him for the spotlight.

Isadora snaps, growing defensive. She states she’s not going to take responsibility for Lucas’s horrible attitude, but she admittedly has trouble taking responsibility for her own faults too. Turns out pride runs just as deep in the techie brigade as it does in the performers, at least when they’re fracturing apart and no longer a united front.

Isadora: I tried to tell you all, I’m doing both --

Jade, harshly: No, you’re not, Isa! You’re not doing both! You dropped your tech responsibilities and you know it. [ choked up ] And you dropped our friendship too.

Isadora shakes her head, but no words come out to argue against her. Jade’s eyes are glossy, and she chews on her cheek to keep it together. Nate delivers the final blow, crossing his arms and scoffing.

Nate: Like mother, like daughter.

That’s one step too far. Isadora’s hurt flares to anger in an instant. She marches forward and steps up onto the acting block in front of Nate, putting her at the perfect height to land a resounding slap across his face.

There’s a second of silence, and then all hell breaks loose. Isadora seems to only recognize what she’s done as the heat of the moment passes, her emotion shifting to blank horror on her face. Jade jumps up to pull Nate away from her, attempting to make sure he’s okay until he shrugs out of her grasp in embarrassment.

In spite of everything that’s been said, it’s Dave -- normally cheery, oblivious Dave -- who ends the confrontation. He glares at Isadora over his shoulder as he jogs over to catch up with Nate.

Dave: What the hell are you still doing here?

The four of them storm out in a flurry, leaving Isadora standing alone on the acting block. The doors slam, and then she’s surrounded by the imposing silence of the auditorium. Alone on the stage, an island of isolation that she’s somehow created all by herself. No way to escape it.

Song Cue ♫ ♪ “Waving Through A Window” as performed by Dear Evan Hansen Original Broadway Cast || Performed by Isadora De La Cruz

Isadora starts the ode to feeling alone from her spot on the acting block, tiny against the vast setting of the empty auditorium. She spends the first verse trapped on it, seemingly struggling with how to dismount from the position she’s found herself in. Her Converse -- the same black ones that Lucas said were her favorite -- toe the line from stumbling off the edge, but she can’t bring herself to step off in any direction.

INT. AAA - HALLWAY - DAY

As the number progresses, Isadora makes her way dazedly through the halls as classes are in session all around her. She’s on the outside looking in of every classroom, every social setting, separated by windows from her classmates.

She starts to pick up her pace as the bridge swells, ending up running down the hallway. Quiet settles for just a moment…

EXT. AAA - LUNCH COURTYARD - DAY

Until it explodes into the final third of the performance, Isadora giving the impassioned solo her all. A light snow is falling, sprinkling the scenery in frost. She’s spinning and dancing on the constraints of what used to be her and Lucas’s usual table, close ups of her Converse depicting that same risk of slipping right off the edge multiple times only to step back to safety at the last moment.

This time, the conceit of being on the outside looking in has been inverted. All around the windows looking into the courtyard, Isadora’s classmates and other AAA students glare at her through the glass as they fill in the background vocals. She can’t communicate with any of them, she can’t connect -- she’s simply on display, able to be ridiculed or criticized without any sense of how to get back to join them.

INT. AAA - AUDITORIUM - DAY

As the song comes to an end, Isadora is back on the acting block. Out of breath, obviously emotional, staring down at the ground from where she stands only a couple of feet above it.

Still, she can’t bring herself to move, frozen with uncertainty.

INT. MINKUS HOME - NIGHT

Farkle is still working on his presentation, spread out on the dining room table. He’s working obsessively, unable to keep still as he researches details for his career trajectory and adds them to his poster board. Even while he’s thinking he’s moving, fingers tapping against his arms or shifting from foot to foot.

Either way, it’s an abrupt shift from how lethargic he’s been, which seems like a relief to JENNIFER MINKUS. She asks him how it’s going as she comes out for a quick snack before heading to bed, suggesting he not stay up too late. He waves off the concern, but his investment in the project is loud and clear.

Farkle: Everything else going on right now doesn’t matter. I’ve been stuck on -- and it’s all -- it’s meaningless. What matters is this. The dream. [ ripping something off the board without hesitation ] If I get this right, then everything else won’t matter.

A bit single-minded, but passionate. Passion is a good thing, so this is an improvement if anything. Jennifer gives him a quick kiss on the cheek that he lightly shrugs away from before she heads off, leaving him alone again.

Despite how much progress he’s making, the longer we stay with him the more obvious it is that he’s struggling. He has energy, that’s for sure, but it’s all over the place. He can hardly focus, restless and growing frustrated over nothing in particular.

He takes a second and covers his face, sliding his hands up and tugging at his hair as he exhales. Glancing forward, the spark of an idea glimmers in his eyes.

INT. MINKUS HOME - KITCHEN - NIGHT

Rattles and bumps accompany a handful of pill bottles hitting the countertop. Farkle is digging through the family pill cabinet, searching for something in particular.

Finally, he finds it. A bottle specifically for ADHD, prescribed to Uri Minkus. He opens it and pops a couple of them, tossing everything back into the cabinet haphazardly.

Just has to get through the week. Just the week…

INT. LUCAS’S APARTMENT - LUCAS’S BEDROOM - NIGHT

Lucas is using his brick of a laptop again, room otherwise dark as he works. He’s got a few pamphlets on the bed next to him, and his browser has a dozen or so tabs open with different college sites.

He’s trying to actually take the future seriously, but it’s too much. His focus goes to key words on each page like “prestigious,” “well-rounded,” and “tuition.” The expectations and prices always feel far too high, making him frustrated.

Other words jump out to him too, none more intimidating than “passion.” College is for people who have ambition -- who have potential -- and Lucas knows he has neither.

But he knows this isn’t just going to go away. He switches back to his school email tab, a message open from Eric on screen. It mentions how poorly their first meeting went and requests that Lucas come in for another meeting as soon as possible so they can have a more constructive discussion.

Lucas scowls, slamming the computer shut. He pushes it off the bed along with the pamphlets, falling back onto his mattress. He yanks his blanket towards him and curls up towards the wall, hiding from it all.

Riley, pre-lap: You really don’t think we can do any better than that?

INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT

Riley is picking away at her assignment as well, but she’s on the phone with Charlie as she works. They’re discussing their English assignment, and from the sound of it they’re not giving it very much effort considering everything else going on. Charlie suggests they keep it simple, but Riley makes a point of still insisting that they meet up after school sometime to work on it.

Charlie: Is it really that important to you?

Riley: … I just like to work face-to-face, that’s all. You know, collaborative communication.

Maya rolls her eyes from her spot on her bed. The conversation is interrupted when Cory raises his voice from the living room, making both girls  jump. Topanga matches his volume a second later, Maya sitting up and locking eyes with Riley.

Riley: I… gotta go.

Riley hangs up without further explanation. Before she can say anything Auggie arrives at her door, looking wide-eyed and concerned as to what is going on out there. He asks Riley what’s happening, and she quickly pulls him into the room out of trouble before rushing out to investigate herself.

Awkwardly, this leaves Maya with Auggie. She glances at him and gives him a tight smile, nodding a ‘sup at a loss of what to offer otherwise.

INT. MATTHEWS APARTMENT - NIGHT

Riley leans around the doorway to the living room as Topanga and Cory escalate in their argument, obviously both impassioned over it. She can’t even find a time to jump in and try to break it up -- she doesn’t know where to begin.

It doesn’t take long to figure out the problem, however.

Cory: You can’t take them from me. You’ve already taken everything else. You can’t just decide you want to hit the reset button on your life and then take my son with you!

Topanga: Don’t be dramatic, Cory. I’ve told you exactly why but you’re refusing to listen -- the schools are far better upstate, and he’d have a far more stable lifestyle in a neighborhood that’s not the middle of Manhattan.

Cory: [ with a derisive laugh ] Stable? You’re talking about stable?

Topanga: Cory --

Cory: You’re the one who disrupted all of our lives in the first place! So don’t talk to me about stable, Topanga!

So that’s it, then. Topanga isn’t just removing herself from the equation of the Matthews family -- she intends to take Auggie with her. Riley is stunned, stepping into the room but not sure what to even say.

Topanga is done with the discussion anyway. She criticizes Cory’s theatrics again, pulling back on her coat and heading towards the door. She stops once she’s opened it, saying her last piece.

Topanga: I hope this won’t become a big thing. I am the litigator, remember. I think we know who would win a case.

This hits Cory hard. There’s silence in the room after she closes the door behind her, Riley watching her seemingly frozen father warily.

Riley: … dad?

And then it’s over. Cory collapses into a full break down, all of the emotion over the separation that he’s been trying to compartmentalize for the sake of everyone crashing down on him. Riley jogs over to help him and guides him towards the couch, doing her best to comfort him.

But it’s clear Riley doesn’t know how to deal with this development either. Her expression is blank as she hugs her father, totally forgetting about everything else piling up on her plate.

INT. AAA - ERIC’S OFFICE - DAY

Isadora is in the seat across from Eric, finishing up her discussion about the future. Although she does an excellent job of maintaining a poker face, the conversation between the two of them seems to reflect everything else she’s feeling conflicted about -- where she ends up depends on what she wants to do, and what she wants to do depends on who she is, and how does she begin to figure out who she is when she feels like she’s being pulled in a hundred different directions?

There’s a lot she could choose to dissect about the situation, but Isadora chooses to seek help for none of it. She merely nods along to Eric’s tentative guidance about her choice in schools, but she makes an escape when he tries to get her to talk about what else might be going on. The aloof mask might be fooling others, but it doesn’t fool him.

Today seems to be a particularly difficult day for meetings. SARAH CARLSON acts nonchalant in her one-on-one before bursting into tears, surprising Eric and causing him to cautiously pass the tissue box across the desk. Jade is already on thin ice emotionally and basically refuses to talk at all, speaking only about her future college programs for costuming. Her voice warbles even in discussing that, and Eric is sure if he asks her anything else there will be waterworks.

Dylan is a mess all his own, but more for Eric than himself. All things considered, Dylan is actually quite well-adjusted and happy with his plan for the future -- which is to say, he hardly has a plan at all.

Dylan: I might go to college, but also I don’t know. Seems like a lot of money, especially when I don’t really wanna do anything, you know?

Eric: … what are you hoping to do in the future, then?

Dylan, excitedly: Well, the main thing is to be a good partner, father, and homemaker. My dad had to do that all on his own when my mom died, you know, so he instilled the importance in me from an early age. Then I guess if I have time, I’ll keep making my videos. You’ve seen my vlogs, right? [ with a shrug ] As long as that keeps being fun, I figure I can do that along with being Asher’s number one fan.

Eric: … and you don’t… Dylan, I’m just wondering if… [ quickly ] you’re banking your entire future on Asher, and you don’t think maybe that’s a bit short-sighted?

Dylan: Actually, I’m near-sighted. But I wear contacts.

Eric looks as though he’s going to start crying.

He’s still carrying that exhaustion when Farkle gets in the hot seat, expressing far more “vision” than Dylan. He bullets through his presentation, speaking with confidence but also as if he’s out of breath. He’ll start sentences and then stop them or backtrack to start a different thought, nervously pulling at his hair when he gets distracted.

Once he’s finished, Eric offers him a bright smile. It’s a great plan, lots of ambition and forward-thinking, and he loves to see that. Farkle also clearly put a lot of heart into it, and Eric commends that. The future certainly isn’t worth investing in if there’s no heart.

However… he has to point out the fact that he lacks alternative options. He’s set himself up to have one path, and it’s clear that Eric is concerned about what happens if that path doesn’t work out exactly as planned.

Farkle, blankly: … what?

Eric: Again, I’m not saying that this isn’t an excellent plan. It just lacks periphery, that’s all. You want a contingency plan -- your options that you’ll consider if this one-way ticket doesn’t go as planned.

Farkle: I don’t -- this is the plan. This. There’s nothing else if -- I put a lot of hard work into this.

Eric: I know that, and I’m not saying this won’t work. I’m only suggesting that --

Farkle: I put everything into this. Everything. It’s going to -- you can’t tell me that it -- this is my future!

Eric can tell he’s not taking the conversation well. He attempts to placate, speaking delicately and stating that he’s proud that Farkle has such a sense of belief in what he was meant to do. Many people don’t have that drive, and that’s amazing. But it’s only wise to consider a contingency plan in the off chance that the dream… remains a dream.

Farkle seems as though he might actually have another diva meltdown, it’s written all over his face -- when suddenly he goes completely calm. He thanks Eric for his guidance shortly, gathering his things in a flurry. Eric encourages him to sit back down so they can discuss those options, but he claims he’s heard everything he needs to hear.

Farkle: My future is clear to me now, Mister Matthews. Thank you for your time.

He delivers the sentiment with disarmingly cool confidence. Then he spins on his heel and exits without another word. Eric looks like he’s going to go after him, but a phone call pulls him back to his desk. He assures the teacher on the other line that he’ll be right there, obviously having to go put out another fire.

INT. AAA - HALLWAY - DAY

Farkle walks at a swift pace away from the counselor’s office, but he doesn’t seem to have a set direction. Whereas his facade held up in front of Eric it’s starting to splinter now, his body trembling and breathing shallow. He dumps his presentation materials in the trash without looking, clearly desperate to be rid of them.

Haley: Don’t throw another tantrum.

Haley is just the first voice to address him, Farkle glancing over his shoulder as she passes him. But the glimpse of her is blurry, like it’s just out of the corner of his eye.

Charlie: Guess this isn’t turning out like you thought, huh?

Yindra: Only got yourself to blame that you’re unstable.

Harper: You’re nothing new.

Farkle flinches with every word thrown in his direction. He spins to try and catch them digging at him but whenever he turns to look they’re long gone, evading his anxious glare.

He walks faster, more sentiments from his classmates that have echoed in his head for three years following him through the hall.

Maya: Coward.

Farkle whips around as he slams right into someone -- Maya herself. She tosses him a sneer and tells him to watch where he’s going, only her expression shifts when she gets a better look at him. She hesitates, venturing another word.

Maya: Farkle… are you okay?

Farkle: I -- I’m --

He stares at her, as if just realizing she’s actually there. Then he pushes past her without further comment, jogging towards the auditorium. Maya spins to watch him take off, debating whether or not she should go after him.

INT. AAA - AUDITORIUM - NIGHT

The accusations and voices are growing louder, what feels like the entire A class waiting for him in the auditorium as he stumbles in through the wings.

Lucas: Go on, keep spiraling for attention.

Isadora: As if he has a shred of decorum not to.

Clarissa: Hasn’t he had enough drama for a lifetime?

The word “enough” seems to echo particularly strong, leaving a ringing in Farkle’s ears. The jeers continue from all around him, spinning him into a frenzy.

Lila: God, you are such a disease.

Eric: Did you really think that this was going to work out? After --

Riley: Everything you’ve done?

Farkle, breathless: No… no, you forgave me.

Riley: And you think that makes a difference? You think that’s enough?

Farkle screws his eyes shut, turning away from her. He covers his ears but it doesn’t do any good, only accenting the blood pounding in his ears.

Harper: That horrible attitude of yours isn’t --

Farkle: Enough --

Stuart: And when are you going to start thinking seriously about --

Eric: Your future?

Lila: If you’re going just going to waste your existence --

Riley: Running your mouth --

Maya: Consumed with inferiority --

Angela: Do you remember what I told you, Farkle?

Jennifer: I’m sure your friends are --

Maya: Done.

Farkle: Enough --

Asher / Dylan: You don’t even know who you are!

Lucas: Should’ve known this is exactly how things would go.

Stuart: A fad.

Angela: Otherwise it’s just --

Eric: Lacks periphery --

Isadora: Fucking isolated --

Maya: Monster --

Zay: Is it finally --

Farkle: ENOUGH!

His fraught exclamation clears the chaos until there’s nothing but silence, resounding and somehow more imposing than the constant sound. Because it leaves him alone -- and he’s so tired of being alone.

Song Cue ♫ ♪ “Santa Fe” as performed by Newsies Original Broadway Cast || Performed by Farkle Minkus (starting at 00:22)

Farkle stands center stage, trembling, staring out into the empty house. Standing in the place he’s always felt destined to occupy, only now it doesn’t feel like he belongs there anymore. It’s a dream, nothing more, and he’s a nothing never meant to get it right.

It’s this cold realization that provokes the rawest and most spectacular performance from Farkle Minkus. As he barrels through the desperate plea to escape, it's as though we’re watching him go through the five stages of grief towards the dream that he let totally consume him for as long as he can remember.

And what it leaves behind is a broken shell -- without the dream, he decides, he’s nothing. Empty. “Trapped where there ain’t no future, even at sixteen.”

By the time he makes it to the last few lines and the volume drops to a soft piano, Farkle is back at center stage, right under the spotlight. His eyes are shining in the lights, seeming more fragile and smaller than he’s ever seemed before. As he riles himself back into the final emotional crescendo, he drops to his knees and expels everything he has left in him into those final notes.

Then he collapses in on himself, a huddled form isolated under the spotlight and otherwise surrounded by darkness. The song ends, sending us back into the quiet of the auditorium.

The only sound is Farkle’s muffled sobs, shoulders shaking as the screen smashes to black.

INT. GARDNER HOME - LIVING ROOM - NIGHT

Charlie is still working on his assignment, drawing a blank as his notebook page is completely empty. How is he supposed to paint a picture of his future when he can barely paint an accurate picture of the present?

He straightens up when his father enters the room, exchanging a comfortable back and forth with him as he settles into the armchair a few feet away and opens the newspaper to read. Charlie hesitates, chewing on the end of his pen before he braves the question of asking Ambrose for advice on his assignment.  

Charlie: I know we already talked about it at dinner the other night, but I’m… I’m still having trouble. I was just wondering if you had any other thoughts or... words of fatherly wisdom?

Ambrose: Well, it’s funny that you think fatherhood comes with wisdom.

Charlie cracks a smile as Ambrose chuckles at his own joke. Then he gives it some thought, clearly taking the matter seriously. It’s easier to talk about it, just the two of them, rather than with the whole family.

Ambrose: Honestly, bud, I think that the most important thing is you choose what makes you happy. You don’t want to spend your whole life doing something that doesn’t feel true to you. Do you know what I mean?

Charlie, tightly: … yeah, I do.

Ambrose gives him a smile, going back to his paper. Charlie drops his head back down to his notebook, expression growing grim. His own father doesn’t even know what’s true to him. If that’s the key to a good future, then he knows he’s damned.

Charlie swallows hard, shutting the notebook.

INT. FOSTER HOME - KITCHEN - NIGHT

Isadora is at the sink, doing dishes for the house even though she clearly would rather be out of sight and out of mind. She’s gritting her teeth as she cleans, on edge from all of the pressure of the week.

STEPHEN VAN HERSCHING brings in the last of the dishes, giving her a grateful smile as he passes them to her. In an attempt to be an attentive parent and work on repairing his relationship with Isadora that seems to have been deteriorating lately, he innocently ventures the question of how school is going. She answers shortly, explaining the gist of the week.

Stephen is interested, eagerly inquiring as to what she’s been thinking about. Only he doesn’t phrase it all that well, and it comes off more like an interrogation than soft interest. Isadora doesn’t keep her mask intact after holding it up all day, snapping.

Isadora: I don’t know, okay! I! DON’T! KNOW!

She starts to go into a meltdown, trying to escape the conversation as KAREN VAN HERSCHING enters the room to see what all the commotion is about. She incidentally also criticizes Isadora for her noise level, stating that she’ll wake her younger siblings. The whole argument turns into a huge miscommunication, the foster parents mistaking her emotion and meltdown for increasingly rude behavior whereas Isadora just really needs space.

It continues to escalate until JERICHO TORRES sees what is going on and runs to get BEATRIX TORRES. She steps in and pulls Isadora out of the situation, flatly telling the Van Herschings that she’ll handle it.

Isadora: I don’t need to be handled! Stop talking about me like I’m not here! I’m here! I’m here! I’m not invisible, I’M HERE!

Beatrix doesn’t take it personally, persisting in removing her from the room. Karen and Stephen share a loaded look.

INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT

Riley has forgone the future entirely and is throwing herself into her new investigation. She scours through Charlie’s social media, currently on Instagram and scrolling way back into last year to look for any sort of indication as to what’s really going on with him. She knows for a fact that he’s all about promoting false narratives, but she doesn’t see where that involves her or when the lines are drawn.

Unfortunately, she makes the cardinal error of lurking. She accidentally double-taps and likes a photo from last year, letting out a loud oh, shit as she frantically unlikes it.

INT. GARDNER HOME - CHARLIE’S BEDROOM - NIGHT

That doesn’t stop Charlie from getting the notification, though. He’s just getting ready for bed when his phone lights up, displaying that Riley liked his photo. He frowns, opening the app and checking which photo she liked.

It’s a photo from around the time of Les Miserables, so a long way back. Even more concerning, it’s a photo of him and Zay during the phase where they were spending a lot of time together. Riley lurking is confusing enough, but someone zeroing in on him and Zay in particular…

Eric, pre-lap: Why do you think that is?

INT. AAA - ERIC’S OFFICE - DAY

Charlie is staring at the desk, seated across from Eric. He’s startled out of his daze, blinking and coming back down to Earth.

Charlie: What?

Eric: You said you were having trouble figuring out your plans. I asked why you thought that might be.

Charlie: Oh. Um, probably just the uncertainty of it. Lots to um… consider.

Charlie is not doing a good job of appearing in top shape like usual. Eric pauses, cautiously shifting gears and attempting to question if there’s anything else going on that Charlie wants to discuss. He mentions a couple of other issues his fellow students have been having in vague terms, gently finding ways to allude to possible identity issues that he might be having. He can remember being in the closet himself, and he evidently wants to help Charlie even if he’s not sure how to go about it.

Evidently, it doesn’t come across as intended. Charlie gets the message, but it only instills more paranoia in him that people are onto him. Riley and Eric are connected after all, and if they know, who else is going to end up in the know?

Eric tries to smooth things over and focus on the positive, highlighting how when Charlie graduates he’ll find a sense of personal freedom and maybe the future won’t seem so complicated to figure out. But with his anxiety, all Charlie can focus on is the here and now, and right now he knows he needs to escape. He thanks Eric for his help, getting up to go.

Flipping back to Eric, he poses a new question.

Eric: You’re absolutely sure there’s nothing you want to talk about?

As we rotate back around, it’s no longer Charlie in the hot seat, but Asher. He’s maintaining his composure, voice even and expression neutral as he confirms that he has nothing to discuss.

But Eric has had Asher as a student for three years, just like the rest of them, and he knows tells when he sees them. Asher might be shy, and has anxiety, but he’s cheery and pleasant more often than not. Usually when he’s in the chair opposite him, the conversation is enjoyable -- far from the strained, succinct exchange they’re having now.

When he rephrases the question, Asher states that he did the assignment and presented it, so he doesn’t know what else he’s expected to be discussing. In fact, he gives him the short version again, speaking slowly and clearly without tripping up once. Rehearsed, practically perfect. Eric relents, but he gives him a piece of advice before he goes that lands.

Eric: You’re well aware of your own limitations and needs, I know that. You demonstrate immense maturity, outshining many of your peers in that regard despite being younger. And you’ve never been trouble -- in fact you’ve helped prevent trouble on a number of occasions. That doesn’t go unnoticed. [ a beat ] I merely suggest that avoiding trouble doesn’t have to mean staying quiet. If you have something you think you need to say, then by all means, you should speak up. In fact, it may do more good than the harm you think it will.

For the first time all meeting, Asher’s neutral demeanor cracks. Uncertainty flashes across his features for half a second, then he pulls it back together and offers a nod.

Asher: Thanks, Mister Matthews. I’ll think about it.

Whether or not he actually will is impossible to tell.

A couple other students occupy the chair opposite him, Eric growing more flustered as they progress. It all culminates with Lucas’s second meeting, and he’s changed his approach from avoiding the topic entirely to going absolutely batshit with his proposals. He’s totally in his element too, acting like he owns the place. He’s got his feet up on the desk, arms behind his head and speaking with a breezy nonchalance.

Lucas: I looked into “space cowboy,” but as it turns out you need a degree in aerospace engineering as well as a license to boy cows, and that seems like a lot of work. So then I thought, well, if I don’t have the capacity to work, what else is there in this capitalistic hell we call society? Sure, I could probably enter myself in human cage fights and scrap to death for spare change, but I think that would hurt after a while and to be honest, I think I’d feel a bit like a piece of meat if I took up that mantle. Who would I be fighting to impress? The bourgeoisie? Hard pass.

Eric: I --

Lucas: But after some deep, probing soul-searching, I finally hit the one. [ a beat ] Trophy husband.

Eric: That --

Lucas: Now, I know what you’re thinking. To accomplish such a grand ambition, I’d have to get someone to like me. And that’s a pretty hefty task, believe me I know, but I’ve devised a work around. This is, as Dave would say, galaxy-brained thinking, Mister E. [ holding out his arms ] I’m going to put an ad on Craigslist.

He’s finally done it -- Eric Matthews is at a loss for words. He’s completely stumped as to where to take this conversation, as Lucas has driven it right off the cliffside and effectively derailed any meaningful discussion.

Lucas: My only trouble is that I cannot decide whether I should advertise myself as “seeking companionship,” or if I should just forgo that entirely and tell it like it is -- that I really don’t have anything to offer and I’ll pretty much do whatever as long as they pay me. But does that make me sound trampy? I’m white trash, yeah, but I do have standards, you know?

As much as he’s enjoying giving Eric an ulcer, Lucas’s fun comes to an end the moment the door opens behind him. His eyes widen as JACK HUNTER enters, immediately glaring at him with his feet up looking so high and mighty. He snaps at him for wasting all of their time, knocking his legs off the desk.

Jack: And get your feet off the table, who do you think you are?

Lucas: [ straightening up, sheepish ] I thought this meeting was a one-on-one.

Jack: It was. But you had your first chance, and as far as I can tell it looks like you’re fumbling this one too. So here we are, third time’s the charm. Don’t strike out.

Jack crosses his arms, standing next to Eric and watching as the counselor tentatively attempts to explain to Lucas that he brought him in because he was having difficulty getting an honest conversation out of him. He thought if he had another mentor present, he might be willing to take the discussion more seriously.

Lucas: [ under his breath ] Don’t flatter him.

Jack: Well, either way, I’m here. So let’s talk, shall we? Do you want to talk about why you’re insisting on being such a --

Eric: Thoughtful words, thoughtful words…

Jack: … why you’re making things so difficult for no reason, or do you just wanna jump right to the part where we try again?

Bravado dismantled, Lucas gets bristly as Jack forces him to actually consider his options for the future. With actual pressure to deliver, the issue becomes plain as day pretty quickly -- Lucas doesn’t want to think about the future because as far as he’s concerned…

Lucas, snapping: What do you want me to say? I don’t have any plans! [ cracking ] I have no talent and I have no drive, so what’s the fucking point? You want my future? Great, here it is -- I don’t have one!

Lucas jumps to his feet, knocking over a bunch of stuff before storming out. Eric flinches, obviously reaching an emotional breaking point himself this week. Jack frowns, clambering over the stuff on the floor to call after him.

Jack: Lucas! LUCAS JAMES!

He’s long gone. Jack turns to look at Eric over his shoulder, shaking his head in disbelief.

INT. AAA - HALLWAY - DAY

Song Cue ♫ ♪ “Loser” as performed by Glee Cast || Performed by Asher Garcia & Dylan Orlando (feat. AAA Juniors)

Lucas storms down the hall, passing right by Dylan leaning against the wall. He’s strumming the guitar opening to the number, only he doesn’t quite… look like himself. The discrepancy is in how he’s dressed, sporting a lot of dark hues for the kid who wears bright yellow at any given opportunity.

As the camera pans away from him, it slowly finds its way to Asher. He’s following the performance dress code, dressed completely unlike himself in dark jeans and a grungy long sleeve crew neck. However, it’s the snapback that gives it away -- they’re both channeling Lucas, some sort of weird representation of him rather than actually themselves.

Asher kicks off the song, Dylan sauntering up still playing his guitar as they stride through the halls. They both look directly at the camera, the breaking of the fourth wall creating a pointed discomforting feeling. They look away at the end of the first verse, turning to face one another with the same sullen expressions on their faces. Dave and Nate join them, dressed similarly, Dave delivering the “yo,” before they launch into the rest of the song.

From there, the general conceit of the number becomes crystal clear. Wherever Lucas is -- in class, in the booth, walking through the halls, the crew of them are right behind him echoing the same exhausted sentiment. He can’t escape it no matter where he goes, and as the song progresses, more and more of his classmates join the throng. I’m a loser, baby, so why don’t you kill me? Why don’t you kill me?!

In the bridge, as the music seems to play backwards and in warped tones, the image of the A class becomes warped as well. They’re seated along the edge of the stage, looking towards the booth, but it’s all jarring close ups and looped moments. It’s familiar, but it’s not reality. A representation of how easily someone’s perspective can be bent...

Back in the hallway, there’s one potential light moment of reprieve, when Dave seems to forget the message and changes into more positive thinking (“I’m a driver, I’m a winner,”). But Lucas glares at him, then shoves him out of frame.

By the end of the song, what feels like the entire student body of AAA is marching behind Lucas as he moves through the halls, a resounding chorus asking why no one will kill them.

It only comes to an end when Lucas finally snaps, whipping around and shouting at them.

Lucas: Oh my God, could you SHUT. UP?

Only when he spins and marches away, Dylan, Asher, and the rest of them aren’t there. The hallway is completely empty.

INT. AAA - HALLWAY - DAY

Lucas isn’t the only one who feels like he’s losing his mind. Charlie is on edge as he makes his way through the halls, nearly bumping into people and apologizing offhandedly.

Zay is waiting for him by his locker, noticing his odd demeanor immediately. He straightens up and asks what’s going on and if he’s okay, but Charlie isn’t focused on that.

Charlie: What are you doing here? You can’t just stand at my locker.

The statement isn’t said harshly (distractedly would be a better descriptor), but it still stings. Zay tries not to take it personally, instead trying to figure out what the hell is up with him. Charlie is over it a second later anyway, starting half of a conversation while glancing over his shoulder. He spins his locker combination but doesn’t open it, hands shaking.

Zay takes his upper arm and gets him to look at him, asking again if everything is okay. Charlie hesitates, examining him and trying to decide whether to talk about any of it. But he knows Zay is already having a rough week, and he doesn’t want to burden him with his stupid bullshit that he still hasn’t been able to get over after eight months. He’s already being unfair to him and he knows it, not to mention he fears that if he starts opening up, he won’t be able to stop.

So he deflects instead, claiming everything is fine despite every obvious sign that it isn’t. Distracted and without thinking, he leans forward and gives Zay a kiss on the cheek before jogging off to get away.

Zay is stunned, freezing and absorbing the moment. He looks around them to make sure no one else noticed, then looks over his shoulder with a bewildered frown at the direction Charlie ran in. But he’s already long gone.

INT. AAA - DRESSING ROOM HALL - DAY

Charlie darts into the dressing room hall, running right into Clarissa and Haley. They greet him, asking him how his meeting with Eric went. Clarissa notices his weird behavior first, pointing out that he’s sweating. They ask him if he’s okay and he breathlessly states he’s fine, although his delivery is not convincing.

Haley: Are you sure? You look kind of pale.

Clarissa: We can walk you to the nurse?

Haley: Or we can talk about --

Charlie: I can’t. I can’t talk -- I can’t talk right now. I’m sorry, I have to --

Charlie darts away from them, pushing deeper into the auditorium. Clarissa and Haley exchange hesitant looks, obviously wondering if they should go after him or leave him be. This week has everyone in hysterics, after all.

INT. AAA - COSTUME LOFT - DAY

Charlie doesn’t find sanctuary until he gets to the costume loft, relieved to find that no one else is around. He lets out a painful exhale and stumbles onto the platform, legs shaking so much that he basically collapses into a pile of costumes. He starts to push himself back up but then pauses, giving up and laying back against them in defeat.

He presses his palms to his eyes, trying to talk himself down from the panic. The words start as variations on telling himself to breathe and transform into a prayer, Charlie murmuring a plea for God to be with him before repeating a Bible verse he’s got memorized like the back of his hand. He continues to mutter it to himself, until he can breathe and the room stops spinning.

When he finally pulls his hands back from his face, Charlie stares listlessly at the ceiling. Wondering how he ended up like this, fearing that it’s always going to be this way.

That he’s never going to be able to properly breathe again.

Song Cue ♫ ♪ “Exhale” as performed by Sabrina Carpenter || Performed by Charlie Gardner

Whereas the other performances of the episode have been surprisingly grand and a bit of a spectacle, the power of this request for a reprieve is in its simplicity. There’s no fanfare, no blurred lines between what’s real and what is not, just Charlie and his soft tenor and his sheer, utter exhaustion.

The entire first verse and chorus stay solely on Charlie, slowly easing out of a close up until we’re further and further away from him, making him feel smaller than he is. The second verse takes us back into the darkened auditorium, Charlie walking behind the back curtain along the wall where all of the Class 2 x 4s are.

Every year, the freshman class adds their plank of wood to the wall, signing with their initials. It’s an AAA tradition, and it’s what Charlie focuses on as he wanders aimlessly. On “try to keep a sense of knowing who I am,” he lightly brushes his fingers over his own initials from two and a half years ago. His expression twists as he sings “I try to be an angel but I don’t think I can,” holding back tears as he slouches back against the wall to finish the verse.

He rounds out the number back in the costume loft, managing to push himself into a sitting position and propping his elbows on his knees. He forces himself to breathe as he finishes out the song, then puts his head against his knees and shuts out everything else.

Breathing, for just one second, as if that’ll be enough.

INT. AAA - HALLWAY - DAY

Lucas is at his locker, a storm brewing behind his eyes. Riley spots him from down the hall and jogs over to join him, seemingly happy to see him. She starts talking to him eagerly, lamenting how crazy the week has been and how relieved she is that it’s almost over.

Searching for a safe place to vent, she almost starts talking about her parents given how that has been weighing on her all week as well, but unfortunately Lucas is far from stable ground right now. He interrupts her, voice dull.

Lucas: Why are you talking to me?

Riley: … because I -- I thought we talked about this. I thought when we talked during group week --

Lucas: Well you thought wrong. You’re wasting your time, and I’m wasting everybody else’s, so don’t bother.

Riley: … what are you talking about? Lucas --

Lucas: Riley, I...

He locks eyes with her, the sentiment hanging unfinished between them. She holds his gaze, wide-eyed, waiting for him to speak.

One step forward, two steps back. Whatever he might’ve said, he chooses not to, too embroiled in the chorus of negativity echoing in his own head. Riley could do much better than him, he knows, so it’s about time she realized it too.

Lucas, half-heartedly: Just leave me alone.

He shuts his locker, marching away from her. Riley stares after him, completely dumbstruck.

INT. AAA - AUDITORIUM - DAY

Zay is in the auditorium, looking for Charlie. He happens to run into someone else on the hunt, Angela entering through the wings and greeting him. She questions whether or not he’s seen Farkle, as she has been trying to catch him all week and seems to be constantly missing him. Zay claims he hasn’t.

Whereas it seems like he wants there to be more to say, Angela thanks him and starts heading out. There’s a moment where it seems like Zay might just swallow the dismissal, like he always does, but this time something in him snaps.

Zay: Don’t you have anything you’d like to say to me?

Angela whips around, a bit surprised. She pleasantly asks if there’s something he wants to talk about, which seems to frustrate him more. At first he brushes off the question, but then doubles back and states that there is. That there’s a toxic, broken culture here at AAA, and in some ways it's her fault.

This kind of declaration is unusual coming from Zay, and Angela is understandably taken aback. She tries to defend herself but he doesn’t let her interject, growing more worked up the more he gets to speak. He laments the fact that this school is so built on favorites, and Angela has been feeding that culture since day one. She’s still doing it, making a point of enthusiastically greeting Maya and making special time to catch up with Farkle while saying fuck all to the rest of them.

Zay: Don’t you think that I might want to catch up with the teacher who was supposed to have been fostering my talent for two years? Don’t you think Yindra, or Nigel, or Haley or literally anybody else other than the Diva Twins might want a scrap of your attention?

Angela: Zay, I fully believe that all of you --

Zay: It’s easy to say you believe in someone, Miss Moore. Showing up for them is a different story. [ a beat ] And you chose who you’re backing from the first time we set foot on this stage.

He says his piece, storming past her. Angela absorbs the blow, knowing that the emotion is somewhat misdirected but still feeling the sting. She stands alone on the stage, overcome with nostalgia and wondering if the impact she left behind was all that good after all.

INT. AAA - ERIC’S OFFICE - DAY

Riley is at a limit of her own, breaking down in the chair across from Eric. This meeting has nothing to do with the future -- this is all about right now, and it’s clear that Riley is losing her ability to cope. Still, there’s nothing she hates more than crying in front of others, so she’s a sniffling, embarrassed mess as she laments the state of affairs. The tissue she’s gripping in her fist is less tissue and more so just shreds after so much crumpling and twisting.

She admits that she’s been using other people as her distraction, but the fact is she can’t keep running from it. Her life is in shambles, and now her family is legitimately falling apart. She’s been trying to keep things together, but whenever she gets one thing straightened out another just crashes out of nowhere and she can’t keep up with it. She can’t do it anymore.

Eric frowns, getting up from his desk. He pulls over the other chair against the wall, sitting next to her instead of separated behind administrator lines.

Eric: I’m swapping hats for a second here. Counselor out, uncle in. I’m very versatile, I don’t know if you knew.

Riley can’t help but laugh, although it’s weak. Eric goes on to say that he genuinely can imagine how she’s feeling. This week in particular has been a challenge unlike anything he’s felt in a long time, and there are days where he wishes he didn’t have to come in and face it.

Eric: But, and I know this isn’t what you want to hear, the only thing I can say is to keep doing your best. Keep being compassionate, even when it’s hard.

Riley: How? I mean, how do you do that?

Eric, with a shrug: It’s the only thing I know how to do. I can’t imagine moving forward without it.

An honest confession, and something that seems to resonate with Riley. And if Eric is still going after all these years, then she supposes she’ll be able to as well. Somehow.

She dabs at her eyes, offering him a smile when he reaches out and pats her shoulder. A sorely needed moment of unity amidst all of the destruction.

INT. AAA - TECHNICIAN’S BOOTH - DAY

Asher and Dylan have followed Lucas into the tech booth, the latter still in a foul mood. Dylan is doing his usual approach of trying to lighten the mood and echoing Lucas’s derisive commentary about how stupid all of this is, but Asher is hanging back. He’s hesitant as Lucas collapses into the rolling chair, once again bluntly claiming that his future is shit anyway, so why should he even bother?

Asher, after a moment: Well, don’t you think that’s a bit self-defeatist?

[ The booth goes quiet. Lucas glances at him, obviously surprised he’s arguing the counterpoint. ]

Lucas: Huh?

[ More quiet. Asher glances at Dylan, who is staring at him, wondering what he’s going to do next. ]

Asher: I’m just saying. By deciding prematurely that you have no future, you’re sort of inherently guaranteeing that you won’t have one. Self-fulfilling prophecy, we learned about that in English.

Lucas: You think I pay attention to anything Matthews has to say?

Asher: [ with waning patience ] My point is that if you don’t take the time to really think about what you can do, then you’re right, you won’t do anything. And I think that would be a pretty big shame.

Lucas, with a snort: Please, tell me how you really feel.

There’s an odd tension in the air that’s never been there between the trio before. Or perhaps it has, growing more and more potent the longer they’ve elected to ignore it. The dismissive comment only exacerbates it, Asher frowning. He steps past Dylan and approaches the lighting board, standing face-to-face with Lucas.

Asher: You want me to tell you how I really feel?

Lucas: If you think you can.

Asher: Fine. [ dropping his bag on the table pointedly ] I think you’re being stupid.

Lucas scoffs, but Asher isn’t done. He elaborates, pointing out all of the ways that Lucas has been sabotaging himself this entire year when it feels as though things could improve even a fraction if he just cut it out. It’s an impressive catalogue of points, being delivered expertly from someone who has clearly been paying close attention and bottling it all up.

Asher: You’re being stupid about this assignment, when if you just took it seriously you might realize you could actually do lots of things with the right resources. That’s what Eric and Jack are there for.

Lucas: Yeah, well --

Asher: You’re being stupid about Riley, who has been nothing but nice to you despite you treating her like garbage.

Lucas, defensively: Don’t talk about her --

Dylan: [ with a nervous laugh ] Guys, come on --

Asher: And you’re being stupid about the way you treat everyone else, including people who just want what’s best for you. You keep pushing, and pushing, and it’s like you want the rubber band to finally snap. [ exasperated ] Look at that and tell me it’s not fucking stupid!

Lucas: Well, what do you expect? Who are you talking to?

Asher: That’s the worst part about it! That’s what’s so frustrating is that I know you’re not stupid, Lucas. I know that, but it’s like you don’t. Either that or you just don’t care, and I don’t know which one is worse!

The can of worms has been opened, and it’s not going to be put away so easily. Dylan attempts to deescalate the discussion but it just keeps spiraling, Lucas and Asher’s voices rising the more they go back and forth. Asher complains that all they’re trying to do is support him because that’s why they’re friends, and all he’s doing is rebuffing them. Lucas finally rises from his seat, glaring at him with at least his height dominance back intact.

Lucas: Oh, you wanna know why we’re friends? [ flatly ] It’s because you wanna fix me.

Asher: What the hell are you talking about?

Dylan: Guys --

Lucas: Come on, we both know it’s true. You’re the reasonable one, put together and perfect, and I’m the trainwreck. It’s great, too, because it’s like a double win. I get you to do all this crazy and ridiculous stuff, and for five seconds you feel cool. Then you get to go home to your perfect house and your perfect family and forget about it, until the next time you want to let loose. I make you feel good about yourself.

Dylan: Hey, seriously --

Asher: Is that seriously what you think?

Lucas: [ mockingly ] It’s what I know! I am just like the most fascinating little mess for you to tidy up, to placate to that incessant, neurotic need you have to put everything in perfect order. Only now I’m not doing it right, I’m not running right anymore, and isn’t it so annoying when your perfect little toy train won’t run off the tracks exactly the way you want it to.

Asher, voice cracking: I can’t believe --

Lucas: Well, I’m sorry, spaghetti! I’m sorry that you have to settle and deal with one thing in your life that isn’t absolutely fucking perfect!

Dylan, harshly: HEY!

Dylan has moved forward, nearly stepping between them and holding out a hand to keep Lucas back. It’s as if his presence snaps him out of it, Lucas staring at him and realizing just how intense the situation has become. Dylan is looking at him with wide eyes, his anger only lasting as long as it took to get them both to hold off and having faded to shock.

Asher’s expression is harder. He’s glaring at Lucas, eyes glassy, clenching his jaw. Lucas hesitates, clearly wanting to say something, but Asher moves before he can speak. He snatches his bag off the table, clutching it close as he marches to the steps and exits out of the booth without another word.

Dylan whips around and watches him leave, mouth hanging open slightly. Lucas stares after him, expression shifting to something like hurt, before he spins away from the door and crashes back into the chair. He stays facing away from Dylan, who is still standing frozen in the middle of the booth.

Lucas: Well? Aren’t you going to go after him?

There’s a pause. Dylan blinks, returning to a state of impressive calm in spite of the chaos. He shifts back towards Lucas, eyeing him sadly.

Dylan: Yes. But I want to make sure you’re okay, too.

Lucas: [ snorting ] Why?

Dylan: … because I know you don’t mean it. I don’t know what’s going on, but… I know you didn’t mean it.

Lucas can’t look at him. He chews the inside of his cheek, picking at a hangnail.

Dylan: We’re friends, Lucas. We care about you. Asher wasn’t lying about that. [ a beat ] And when you decide you want to do something about this, we’ll be there. When you need us... we’re going to be there for you. No matter what.

Lucas has picked at the hangnail badly enough to draw blood. Dylan doesn’t wait for a response, looking at him for a moment longer before descending down the steps and leaving him alone.

Lucas curses under his breath, hiding his head in his hands.

INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT

Maya’s phone lights up on the bed, Katy’s picture filling the screen. Maya enthusiastically moves away from her future moodboard and reaches to grab it, picking up and excitedly greeting her. They catch up on how Katy is settling in back home in Vermont, and Maya gives her the low down on how insane the week has been but how bright her future feels. She boldly assures her mom that she’s great when she asks, repeating how well the week went for her.

But that’s not what Katy is asking, really. She knows her daughter better than she knows herself, and she knows how good she is at deflecting. So when she questions once again is everything is really fine…

The walls come down. Maya chews her lip and tries not to let the tears fall but they do anyway, the facade crumbling as she lets out a shaky “no.” Then it’s spilling out of her, all of the things that are far from going right. How it feels like her entire class is imploding, how she’s willing to do whatever it takes for the dream but being cut throat has become exhausting, how no matter how obsessively she outlines her future she’s gripped by the fear that it isn’t going to pan out. That she’s going to be a failure, just like her father and like 90% of the people who walk the halls of Adams.

Most predominantly, more than any of that, she misses Farkle Minkus.

Maya, tearfully: I know I said I was done with him, I told him we were… but I don’t know. I don’t know what I want. He hurt me, and what I’ve always thought is that when someone hurts you, you get rid of them. That’s what we did with dad, basically. [ a beat ] But then… I don’t know.

Katy: Baby girl, few people in your life are going to hurt you like your dad did.

[ Maya scrunches her face, wiping at the tears on her cheeks. ]

Katy: I wish I had the right answer, but things like this are never going to be obvious. There will always be pros and cons to every decision. But from what you’re saying to me… it sounds like you don’t want to say goodbye quite yet.

Maya lets out another whimper, pressing her palm to her eyes. When she resurfaces, she lets out a sigh and shakes her head.

Maya, weakly: I wish you were here.

Honestly, don’t we all. Katy returns the sentiment, Maya settling back into the corner of her bed and staying on the phone with her mom for a while longer.

INT. AAA - CLASSROOM - DAY

Riley and Charlie are working in the English classroom, the only two still around after school on Friday. Riley has lost her investigative fire after her conversation with Eric, treating the project as exactly what it is and nothing more.

For what it’s worth, this seems to loosen up some of the awkwardness between them. For once, they’re not both trying to pick apart one another’s every move. They actually work quite well together, diligently getting the work done and even exchanging some tired but entertaining banter while they go.

Once they declare they’re pretty close to finishing, Charlie claims he needs to go run and grab his dance duffle from the practice room where he left it. When he gets back, they should be able to wrap this thing up. Riley nods agreeably, focusing back on the final touches while he jogs out of the room.

The quiet is disrupted by Charlie’s phone, vibrating on the table top. Riley glances at it, but then forces herself to ignore it. She’s done snooping after all… only the contact name that lights up the screen catches her interest.

After a moment of indecision, Riley glances at the door before gently sliding the phone closer to her so she can read the lock screen. Over the saved background of Charlie with his younger sisters, a couple of messages from Zay sit unread on the screen.

“Hey couldn’t find you after school, you still here? you seemed a little out of it yesterday. hope everything is okay”

“Craziest thing happened with miss moore, i’ll tell you all about it. in the usual studio”

The last text message comes through as Riley is taking the phone into her hands, shock taking over her features as she reads it.

“Love you”

Riley is staring at the phone, speechless.

Charlie: What the hell are you doing?

She shoots her head up to find Charlie standing in the doorway with his duffle. He’s staring at her, mortified, and she’s mirroring his panicked expression to a tee.

Busted.

INT. AAA - HALLWAY - DAY

Zay glances up from his phone just in time to avoid ramming right into Harper. Both of them apologize, laughing off one another’s pleasantries. She asks if he has a second to talk, gesturing him into the black box.

INT. AAA - BLACK BOX THEATER - DAY

Harper is calm as she explains that Angela told her about their confrontation on the stage. Zay jumps into defensive mode, claiming that he doesn’t regret what he said.

Harper: I understand, Zay. I agree with you.

Zay: Well, I -- oh. Oh, good. [ a beat ] Really?

Harper cracks a smile, sauntering back over to join him at the desks. She settles into sitting on top of one, admitting that she knows exactly what Zay is talking about and she thinks Angela knows it too. When she told her about what happened, she did not seem like she was denying her fault in the situation.

Realizing that this environment might be safer than he thought, Zay hesitates before really getting into what’s been needling him all week --and really, all year.

Zay: I just don’t get what else I’m supposed to do. It’s like, I’m doing everything I’m supposed to. I’m trying and I’m trying and giving everything I’ve got. And all I know is that when I went out there in the real world, when we put our stuff to the test, I came out on top. Kossal looked at all of us and chose me, I was identified as the top player.

Harper: Rightfully so, I’m sure.

Zay: I was the one worth acknowledging, worth accolading, worth… stepping up to be proud of. So how can that be true, but in every other way it’s the opposite? I’m still just shoved into the background?

Harper empathizes. She states she knows exactly what he’s talking about -- favoritism, especially in their industry, is as old as time itself. Not to mention the layers being a person of color adds to that struggle.

Harper: I recognize it, believe me. You work three times harder than everyone else, and no one respects it. You have to be ambitious and driven like the others, yet also be kind and well-liked and not ruffle any feathers.

Zay: Courtesy is the deadest art form at AAA, yes.

Harper: The unfortunate truth is, teachers aren’t perfect. [ off his eye roll, smirking ] Shocking, I know. But we make mistakes just as easily as students do, and unintentional favoritism is likely the most common offense. That has nothing to do with you, though, as you’ve clearly figured out.

She goes on to explain that the other unfortunate truth to an industry like theirs is that sometimes, even your very best is never enough. There are always factors you can’t control, people more talented or better connected than you, and a million reasons to write you off versus the handful of people will choose to acknowledge to uplift you. It’s not an easy world, as she’s sure he’s well aware.

Harper: I don’t know if this will make you feel better or worse, but the truth is it all comes down to endurance. How long you can take it, how long you can stick it out until it ends up being your shot. The true test of who lives the dream is who hangs on… and who gives up.

Not all that inspiring, but honest. Zay evidently appreciates it as he nods, thanking her for taking the time to listen. Despite how rough the transition has been, he does think she’s a good teacher. The comment seems to resonate with Harper, who gives him a grateful smile.

INT. AAA - CLASSROOM - DAY

Charlie breaks the ice first, dropping his duffle bag as he darts into the room. He snaps at Riley for looking through his things, snatching the phone out of her hands in a frenzy. She flinches, trying to regain her bearings on the situation. She stammers out an apology, Charlie turning away from her and reading the texts that she saw for herself.

Silence settles over the room again. Charlie stays turned away from her, no longer breathing. Riley slowly rises to her feet, not sure what to say next.

Riley: That… um. [ tentatively ] Are…  are you -- ?

Charlie: You can’t tell anyone.

Charlie whips around, locking eyes with her. His eyes are wide and he’s shaking again, already on the verge of another panic attack. Only this one is bound to be worse, because the looming fear that he’s going to be found out is now a very real threat.

Charlie: Riley, you can’t. You can’t tell anyone.

Riley: I wasn’t going to --

Charlie, hyperventilating: You can’t. Riley, you can’t. You can’t tell anyone, okay, you can’t -- !

Riley: Charlie. Charlie!

Riley reaches out and takes his arms, getting him to stop cold. She holds his terrified gaze, aware of how he’s literally shaking in her hands.

Riley, sincerely: I would never tell anyone.

There’s an excruciatingly tense moment between them, Charlie having to determine whether or not he believes her. Neither of them move, neither of them breathe. You could hear a pin drop.

Then he lets out an exhausted exhale, nodding and muttering an affirmation. He slips from her grasp, stepping around her and collapsing back into his seat at the desk. Riley stays where she is for a moment, attempting to process what the hell she just learned.

Once she catches up, she spins back to look at him with his face hidden in his hands. She lightly claims she knows what he’s going through -- well, not exactly, but being pansexual definitely gives her a sense of what he might be experiencing. She knows she was lucky to not have many factors keeping her from sharing that side of herself, and she’s sorry that he feels like he does.

Riley: I can’t imagine what that must be like, trying to hide such a big part of yourself. What you might feel like you have to do, like holding things back and… [ realizing ] controlling the narrative.

The Confessions posts. Suddenly, it feels glaringly obvious.

Charlie, under his breath: Fucked. It’s all fucked

Riley frowns sympathetically, cautiously sliding back into her seat next to him. She looks at him, searching for something to say that might be easier to discuss.

Riley: So… Zay?

Charlie takes a deep breath, still hiding in his hands. But after a moment, he nods. Riley smiles.

Riley: That’s great. Honestly, that’s amazing. It’s about time someone appreciated Zay for how wonderful he is. I guess I noticed he had been happier, actually, I just wasn’t sure… [ a beat ] How long?

Charlie lifts his head, inhaling slowly. When he speaks, although he’s backed off the ledge, his voice is shaky.

Charlie: Eight months. [ softer ] But feels like longer.

Riley’s eyes widen, stunned. That long and nobody knows… but on the other hand, it’s hard not to be endeared. It’s so obvious from how delicately he talks about it how much the relationship means to Charlie.

Charlie: I know it’s so stupid. All the stress I’m putting myself through.

Riley: It’s not stupid.

Charlie: It is. Like, maybe it’s not, but it is. I’m just still trying to… I’m not sure how this is supposed to work. It’s like I’ve got this one version of reality, where like… everything is in black and white. There’s good and there’s bad and there’s black and there’s white, and it’s my job to stay clearly on one side. And I do, I do a good job of it, and that’s why the show goes on. It’s not ideal, but it’s manageable. It’s what I know, and you can settle for what you know when you don’t know any different.

Riley listens attentively. Charlie is clearly working through these thoughts for the first time, hesitating and grimacing and stammering over the words. The next statement, however, he says with breathless certainty.

Charlie: Then, there’s Zay, and it’s like… we’re in technicolor. [ a beat ] How are you supposed to go back to settling for black and white when you’ve seen the rainbow?

Riley smiles again. Her voice is soft when she tells him that it’s going to work out, and he’s going to figure it out. When he questions how she can be so certain about that, she admits that she isn’t, but it’s kind of her thing, being hopeful. As someone important reminded her, it’s really all they have.

Song Cue ♫ ♪ “Rainbow” as performed by Kesha || Performed by Riley Matthews & Charlie Gardner

Riley starts off the duet tentatively, transitioning pretty smoothly from their conversation (“I used to live in the darkness / dressed in black act so heartless / but now I see that colors are everything”). She carries through the first verse, smiling lightly and encouraging Charlie to relax and allow himself a smile as well. In this moment, they’re safe. It’s okay.

Charlie picks up the second verse. He brings a little more emotion to the arrangement, clearly needing the catharsis of finally getting to be open for the first time in what feels like his entire life. The two of them pass the harmonies back and forth, performing well as a duo when the situation isn’t forced in some unidentifiable way. Finally both on the same page.

As the last verse wraps up, Riley reaches forward and takes his hand. They keep their fingers joined together straight through to the end, the camaraderie obviously a relief to Charlie.

Focus hangs on the hand hold, a symbol of coming together when it feels as though everything is falling apart.

INT. AAA - ERIC’S OFFICE - DAY

Isadora swings by Eric’s office, poking her head in and a bit surprised to find him still around. When he greets her and asks what the expression on her face is for, she admits that she figured after the hell week they had, he’d be running off to escape for the weekend faster than anyone else. He certainly would’ve earned that right, at least.

Eric laughs, nodding in acquiescence. But he’s survived this week for years now at AAA, and he figures he’ll survive a handful more before retirement comes to free him. He turns the tables and gently asks Isadora how she’s feeling at the conclusion of this week -- he got the sense she wasn’t being entirely forthcoming during their structured meeting.

Isadora hesitates, then caves. She admits he’s correct, sauntering in and slowly settling into one of the chairs. He keeps the atmosphere casual, coming to lean against the front of his desk. She states that things aren’t going all that well at home, but she figures the social worker must’ve already passed that intel to him.

Eric: And the future?

Isadora: … honestly… I don’t know. I don’t even have right now worked out. I’ve been thinking about it all week, hoping that a clear path would just emerge. But instead I just fell down a lot of sinkholes instead.

Eric: Any injuries to report?

Isadora: Maybe internally. [ a beat ] But they’ll heal.

Eric: And so…

Isadora: And so… right now, I don’t know. Nigel said it was better to have lots of options rather than one or none at all, so I guess he’s right. As for which one is the right one… no idea.

Eric: And you know? That’s totally okay.

Eric goes on to state that the point of the week, despite its reputation, isn’t to get them to make definitive irreversible decisions about their prospects. It’s just to get them thinking about it, to get those wheels turning so that when that time does come around, hopefully they’ll already have a little bit of clarity.

Eric: And considering you’re Isadora De La Cruz, I am positive you’ll work it out.

Isadora accepts the compliment shyly, offering a small smile. Then she asks him how he’s faring. He had to carry everyone’s baggage even more than usual, and that can’t be fun. He seems touched by the fact that she’s asking at all, and he admits that he’s got some things going on in his own life that aren’t helping matters.

Isadora: Well, can I offer you some advice?

Eric, with a laugh: Sure.

Isadora: Whatever you’re struggling with, maybe it would help to get to talk about it with someone who can help, too. I feel better after coming in here and talking to you, so maybe you’ll feel better if you go and give yourself the same opportunity. If it’s with someone who can actually address the things you’re grappling with, even better.

Not bad advice. Eric jokes that maybe Isadora has a career in counseling in her future, which earns a snort out of her. She gets up and thanks him one last time, heading towards the door.

Eric: No… thank you.

Isadora nods, disappearing from the doorway. Eric takes a moment to breathe, glancing at the office around him. Having survived another week, for better or for worse.

INT. AAA - SHAWN’S OFFICE - DAY

Angela finds SHAWN HUNTER hidden away in his cramped office, the two of them exchanging jokes about how it’s typical for him to stay out of sight during check-in week. In his defense, he claims, his presence sometimes only adds stress. Angela can’t argue with that.

She comes to sit with him, settling casually onto his lap. She gently approaches the topic of what happened with Zay, and the conversation she had with Harper afterwards. She feels bad for having made their students feel that way, and she’s realizing that maybe the way the two of them approached working at AAA isn’t the only, or even the best, way to go about things.

Maybe, Angela concludes pointedly, it might be better to stop combatting the change and embrace it for what it’s worth. Harper might just surprise him. Shawn is reluctant simply due to embarrassment for his behavior, but Angela softens the blow by giving him a quick kiss.

Much to consider moving forward, that’s for sure.

INT. AAA - DANCE STUDIO - DAY

Zay is in the studio as he said he would be, working hard as usual. Not yet spooked away from his passion, Harper’s talk with him giving him more perspective than acting as a deterrent.

Charlie finally makes it there, and this time it's his turn to hang in the doorway and watch Zay dance. He crosses his arms and leans against the doorframe, expression softening and a light smile blooming onto his face. It’s the most content he’s looked all week.

When Zay spins out of a dance step he spots him, expressing relief. He asks where he’s been -- he feels like he hasn’t seen him all day. Charlie apologizes, sauntering into the room and asking what happened with Angela that he wanted to tell him about. Zay pauses, then shrugs.

Zay: Nothing. It’s not important. Miss Burgess is pretty cool, though.

Charlie: Yeah?

Zay: Yeah. Nothing like Miss Moore, but maybe that’s not the worst thing in the world.

Charlie shrugs. Seeing as they’ve come up on Friday, Zay playfully questions if Charlie has figured out his grand plans for the future. He shakes his head, clasping his hands together in front of him as he comes to stand in front of his boyfriend.

Charlie: I don’t think I can know what I’m going to be then until I like… know myself now. Or feel like I know myself more consistently than I do at the moment.

Gently, Charlie reaches for Zay’s hands. The latter hesitates, examining him curiously and well aware that they’re still in public school property despite how much this studio feels like their own safe haven. But Charlie seems comfortable with the gesture, dipping his head down to look at their joined hands.

Charlie also quietly informs him that Riley now knows, which is major news. Zay immediately asks how it went, how she reacted, but from Charlie’s calm demeanor he can only assume it didn’t go horribly. He confirms it, admitting that it wasn’t the end of the world. As for what that means for the future...

Charlie: I just hope that… I don’t know. I hope that when I get there, I’ll be… happy. Content, at least.

Zay, lightly teasing: Big ask.

Charlie: I know. Feels like it, but… [ locking eyes with him ] I know it’s possible. I know it when I feel it.

The subtext of the message goes without saying. Zay smiles, rubbing his thumbs over the back of his hands. Charlie takes it a step further, leaning forward and starting a soft kiss. It’s tentative, new for different reasons, like being in a place where potentially anybody could see. But it’s sweet and it lingers, Zay smiling when they pull apart.

Charlie presses his forehead against his, staying in the moment while he can. Holding onto the safety of this thing, this place right now, when the future remains wholly uncertain.

Eric, pre-lap: Thanks for being here with me.

INT. AAA - ERIC’S OFFICE - DAY

Eric finishes filling a mug from his coffee maker. The cup is steaming as he hands it to Jack, who takes it with a tentative but grateful smile. He admits he’s surprised Eric invited him to come do their usual tradition of ending this hell week with one another, considering how… off things have been between them.

Eric acknowledges that, admitting that he hasn’t been able to stop thinking about that. He starts to apologize but Jack beats him to it, murmuring about how he knows he shouldn’t have kept things from him. He does trust him, and he values him more than anything. There’s no one better at what he does -- this week alone is evident enough of that -- and he’s grateful that he’s there keeping the ship running with him. He regrets what he said to him, and hopes he’ll believe him when he says he’s sorry. He let his emotions get the best of him is all.

Eric, after a moment: Well, I’m not one to say that a little emotion is ever a bad thing.

And like that, the tension is gone. Jack smiles, taking a long sip of his coffee.

Song Cue ♫ ♪ “Lullaby” as performed by Sleeping At Last || Performed by AAA Juniors

The a capella humming of the junior class floats over the scene, underscoring the rest of the episode. It’s delicate, pretty, but the slightest bit haunting. Heavy with the context of the week.

Jack asks Eric how he thought the week went overall, in spite of the trainwreck he was there to witness himself. Eric shrugs, admitting that it’s always hard to tell. Talking about the future is never easy, and the additional uncertainty of this career path that they all think they might want doesn’t soften it.

Eric: I just hope that… I hope they realize this isn’t the end of the world. The future is so malleable, and it will take them in directions they don’t even know are options right now. I mean, look at me. I was just like them at this age. I thought I was going to be a star.

Jack, jokingly: [ behind his mug ] Still have the theatrics to prove it.

Eric gives him a look, but it melts into a smile after Jack shrugs pithily.

Eric: Did I ever think this was where I would end up? No. But life has a way of getting you where you’re supposed to be. [ looking at Jack ] And I wouldn’t want to be anywhere else.

Jack claims he’ll toast to that. The two of them clink their mugs together, taking a sip and settling into the quiet.

INT. MATTHEWS APARTMENT - AUGGIE’S BEDROOM - NIGHT

Cory is tucking Auggie into bed, taking his time with it considering how the times he’ll get to do so are numbered. He gives him a kiss on the forehead, smiling when Auggie says something silly to him in response.

Riley leans against the doorframe, watching with a bittersweet smile on her face. Not wanting this to change…

INT. FOSTER HOME - NIGHT

Isadora grows tired with helping Jericho with his homework, excusing herself and skirting around her other siblings to escape to her room. Stephen and Karen watch her from the kitchen, exchanging knowing looks.

INT. GARCIA HOME - ASHER’S BEDROOM - NIGHT

Asher is seated on his bed, doing his practice of journaling down all the good things that happened, then writing down the bad and crumpling it up so he can metaphorically throw it away. But he’s already got a couple of paper balls littering the floor at his feet, and he’s tear-stained as he rips another page out and crumples it.

He gives up on all of it, letting the journal and the crumpled page fall off his lap and onto the floor. Dylan emerges from the window, slipping inside the room and coming to join him.

They don’t say anything. Dylan simply climbs onto the bed and wraps his arms around him from behind, Asher closing his eyes. Dylan kisses his cheek, then his shoulder, tucking his head against it.

INT. LUCAS’S APARTMENT - LUCAS’S BEDROOM - NIGHT

Alternatively, Lucas’s bedroom is cold and empty. His window is still open to the fire escape, letting in frigid February air.

EXT. LUCAS’S APARTMENT - NIGHT

He’s not on the fire escape either. Drifting upwards, we pass a few more floors until we find him, huddled up on the roof of the building by himself. He’s shivering, but he doesn’t move. He’s looking at the city, sprawled and twinkling in front of him, but his expression is blank.

I’m a loser, baby, so why don’t you…

INT. SUBWAY STOP - NIGHT

The train doors open, Zay and Charlie emerging onto the platform. It’s still bustling for a Friday night, the two of them just another part of the crowd. Charlie takes his hand, the two of them exchanging a meaningful look before Zay begins to lead the way through the masses.

INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT

Maya is tweaking her future moodboard, rearranging some items and changing it up. She’s making it a little more personal rather than so cold and calculated, aiming for the future she wants to lead rather than the one she feels like she has to in order to survive the industry.

She picks up one of the photos on her bed, hesitating on it. It’s a polaroid of her and Farkle, goofing around in the auditorium during spring semester. She brushes her thumb over Farkle, obviously contemplative.

Then she looks back at the moodboard. Perhaps it will find a place in her future after all…

INT. MINKUS HOME - HALLWAY - NIGHT

STUART MINKUS approaches Farkle’s door, lightly knocking and asking if he can come inside and chat. Jennifer informed him that he passed on dinner, and hasn’t emerged from his room since, so he wanted to come see what’s going on. His mom said he seemed like he was feeling better this week? Is that the case?

Farkle doesn’t answer, so Stuart sighs and settles for hanging outside. He speaks through the door instead, struggling to find exactly what he wants to say but doing his best to get it out.

Stuart: Listen, I… I’ve been thinking a lot about that discussion we had during the holidays. The things we said to each other… I think you had some points. Smart as you are, of course you did, but… when I said what I did, I was only trying to look out for you. I know it doesn’t seem like it, considering I’m not always… you’re right. I could afford to be around more, and I guess I just needed you to confront me with the truth of that to recognize it as such. [ a beat ] I’m sorry I made you feel like I don’t notice or care, Farkle. I do. I do, and you make me proud every day. Even if I don’t quite understand it, I know you’re making strides in what’s important to you. And I want to be there for more of that. Genuinely.

A really nice sentiment, one long overdue. Still, Farkle doesn’t give him anything in return. Stuart sighs in frustration, knowing they can’t make any progress if he won’t even hear him out.

Stuart: Farkle, come on. Can we just chat about this --

INT. MINKUS HOME - FARKLE’S BEDROOM - NIGHT

Stuart gently pushes open the door, searching the dimly lit room for Farkle so they can talk face to face. But he’s not at his desk or on his bed, and it takes a full scan of the room for his gaze to drift to the floor.

First confusion passes over his features, then a moment later, panic. Sheer, absolute panic.

Stuart, choked: Farkle? [ bursting into the room ] FARKLE!

Stuart drops down to the ground, kneeling just in front of the camera. He immediately descends into hysterics.

Stuart: Farkle, come on. No -- Jennifer! JENNIFER, CALL AN AMBULANCE!

The last notes of “Lullaby” take us out as the screen goes to black.

Stuart, broken: Farkle!

END OF EPISODE.

IF ANY of the content in this episode has been triggering, please reach out and talk to somebody you trust and who can help you. The following links are resources including hotlines, prevention organizations, and international numbers.

Suicide Prevention: https://suicidepreventionlifeline.org/

List of Suicide Hotlines: https://ibpf.org/resource/list-international-suicide-hotlines https://suicidestop.com/call_a_hotline.html

[twdmusicboxmystery]

9x04: Details

Okay, let's get down to the details. 

***As always, spoilers for 9x04 abound in this post. Don’t read until you’ve watched! You’ve been warned!***

Michonne: 

 In the opening sequence with Michonne, we saw a lot of interesting symbols. Apples (which we later also saw Daryl eating; Apple Theory), lots of books with visible titles, and we also saw Michonne journaling, which reminded me of Beth.

In the sequence where she saw the walker hanging and eventually picked up the bat, it reminded a lot of us of Sasha in S5. Michonne just seemed angry and somewhat out of control.

Negan, talking to Michonne, proclaimed himself on the C team. Kind of interesting because back in the prison, entire group stayed in the C block of the prison. Symbolically, C seems to represent wherever TF is currently living. So just more reinforcement of the ABCD symbolism.

Talking to Michonne, he tells her she’s a warrior and should embrace her violence. (Ever the manipulator.) Negan says that behind walls and bars, "we die." He means the warrior. I don’t even think this is a particularly TD theme, but we’ve seen it in the show before. Um, back in S5? Remember Carl said being in Alexandria would make them weak, and then Rick, Carol and Daryl discussed it on the porch. Just saying this is yet another theme that ties back to S5.

This isn’t anything new, but it also struck me how often Carl has been mentioned since he died. Michonne kept saying, "He’s still here," and she means that he's there in spirit, even though he's dead. Notice how they never said anything like that said about Beth. Father Gabriel asked Maggie about her in 5x10, but since then we've had exactly zilch.

Judith’s painting on the wall looked just like Eastman's daughter’s. Just pointing that out.

At one point, Negan tells Michonne, "we’re the same," and repeats it twice. That's exactly what Crazy Tattoo Guy at Terminus said too. So callbacks to Terminus, and the reiteration of that theme.

It’s an interesting theme. They’ve talked about it a lot on the show, and on TTD. Just about how there’s potential for EVERYONE to become a monster. The difference comes in individual choices. An interesting theory about this was put forth in my group, though. Since they were talking about parenting children, and Negan said he and Michonne were the same…perhaps a hint that Negan is Gracie’s father after all?

I thought it was sweet that Michonne talked about her sons (plural) and her daughter (Judith). Negan also said “nothing is worse than nothing.” (The profound themes were strong with this episode.)

I also wondered about the Game Day book Michonne read to Judith. I noticed the part she read talked about everyone putting on their gear for the game. Might have just been a small foreshadow that shit’s about to go down, either with Rick or the Whisperers. Don’t know if it will connect to anything else. Kind of interesting, though.

Eugene:

It caught my ear that Eugene talked about how there was a big buildup of water under the bridge overnight. That was significant because it happened overnight, not over a long period of time. It reminded me of 4x01 when Carol told Daryl that there'd been a big buildup of walkers against the prison fences overnight. The dialogue is even the same. (”big buildup overnight...”)

We were right about the names of the hordes being Shakespearean! Yea!

I knew right away we were when he called the new herds Tybalt and Cordelia. Seriously, I've never heard the name Tybalt used anywhere except in conjunction with Shakespeare. But then Eugene goes on to admit that the names are coming not only from Shakespeare's characters, but specifically from deceased characters in his plays.

Carol:

I don’t have a whole lot about Carol and Rick's interaction, except that Angela Kang did say on TTD that it's a callback to S4. Basically, it's supposed to be a mirror or an anti-mirror of the fact that Rick banished Carol in S4. Here, he talks about how he admires her, and her transformation gives him hope.

In this part, Carol says if the state saviors leave the rest of the group, that's on them. They need to “figure out who they want to be.” Major theme right there.

When Jed and the Saviors showed up to pick a fight at the bridge, Carol of course pretends to stand aside at first and then kicks his butt. He takes the keys, and the camera focused on those a lot. (Key theory.)

That's actually the last we saw of this particular plot. Rick and Daryl heard the gunshots and worried it would draw the walkers, but we don't actually know how the fight between Carol and the Saviors turned out.

Rick and Daryl falling into the hole:

Daryl says, “this time, man, it’s gonna go the way it was supposed to.” That theme was repeated constantly throughout 5x09. You know, the last episode we SAW Beth in before S9? (“It went the way it had to. The way it was always going to.”

The biggest thing this reminded me of is the Governor episodes. In 4x06, at the end of the episode, he falls into the big hole, that looks like a grave, with Megan. Walkers fall in as well and he has to fight to keep them from biting her. Walkers even fell into Rick and Daryl’s pit eventually, just like with the Gov.

The most significant thing about this, aside from all the Beth parallels in the Governor episodes, is that right after falling into a grave, the Gov is reunited with people he knew before and hadn't seen a long time (Martinez). That makes me hopeful.

We also have some serious resurrection symbolism here because we have living people trying to claw their way out of a grave.

There are so many interesting things in their conversation, some of which I talked about yesterday.

Daryl also mentioned, "trying" which we know is a theme. One we specifically heard him talking about in 5x06, Consumed, when he was looking for Beth.

He also talked about having faith. He said Rick wanted them to have faith in other people, but the truth is that Rick didn't have enough faith in them. Rick denied that being true, and explained that he was trying to honor Carl. And who was the original person to lecture Daryl about faith? That would be Beth.

It was super-sweet when Daryl said he would die for Rick and would've died for Carl.

I think it's super important that Rick and Daryl had to help each other get out of the pit. There's a lot of symbolism there, and for me, it's yet another way of showing that Rick will be back. Daryl couldn't get out of the pit without Rick any more than Rick could've gotten out without Daryl. They need one another to survive and thrive, so Rick can’t be dying yet. 

Everyone in my FB group immediately recognized the parallels between this scene and Daryl Rick climbing out of the ravine in S2. I’ve also seen edits of it around the fandom, so this wasn’t lost on anyone. It’s kind of an opposite situation, though.

In S2, Merle wasn’t truly there. Daryl was just hallucinating him. (Which also might be a foreshadow of Rick’s coming hallucinations, btw.) Here, obviously Rick is present in the flesh. But more than that, Merle didn't actually help Daryl out of the ravine in S2. Daryl had to get himself out. Here, Rick reached down with his hand, called Daryl ‘brother,’ and helped him out.

It was even more poignant because of the parallels to Merle, imho.

They were climbing out of a grave while death tried to pull them down. We even saw the walker hands reaching up from below, which I thought was a powerful image. 

I even feel like…

…okay, maybe I’m delving WAY too deeply into this, but I was thinking that Rick and Daryl ended up in that pit because of their own stupidity. They were having a petty argument, and it came blows. Then they accidentally rolled into a RANDOM. GINORMOUS pit. I mean, who put it there? And why didn’t either of them notice it? Probably because they were too busy punching one another.

So again, I feel like they fell in because of their own foolishness, and then had to claw their way out. Sounds a lot like what happened at Grady. Beth stabbed Dawn in the shoulder. By doing something foolish, she kinda got herself “killed.” And I do believe that afterward she clawed her way back from death. AND it had something to do with a walker horde, hence the hands reaching up for Rick and Daryl. Just felt like a really sympatico parallel to me.

Two things about the very end:

1)    Rick riding a white horse to go save the bridge. White horse equals Beth and the horse symbolism.

2)    Rick wanted to do something very dangerous (try to lead the walker horde away from the bridge) and Daryl told him not to. Rick didn't listen, so eventually Daryl relented. This is a very close parallel what happened at Grady. Daryl didn't stop Beth from hugging Noah, and because of that she was shot. Here, Daryl didn't stop Rick from doing something dangerous, and because of it. Rick was impaled. If he loses Rick now because of that, it's going to completely devastate Daryl.

Did I say two things? I meant three! (I actually wrote the above two first and then, re-watching, realized a third.)

3)    The white horse. It occurred to me that I had no idea where that white horse came from. It just showed up all of a sudden. I re-watched all the Rick and Daryl parts to figure out where the horse shows up from and finally understood that it came from the Carol/Saviors confrontation. When the guns start going off, we see it running away from the scene. It got scared and took off, ending up near Rick and Daryl. Okay, that explains where it came from. But it’s still a little convenient, no? And as far as Rick and Daryl are concerned, it basically just came out of nowhere, running out of the woods.

So my go-to response is that this must be symbolic. And we all know who the white horse represents, right? So I’d say this represents Beth suddenly appearing out of the woods…right when Rick heads off toward the walker horde.

Oh, but it gets even better than that. Also while re-watching the Rick/Daryl scenes (seriously give yourself permission to re-watch those scenes in this episode a hundred times) something else caught my eye.

Rick physically pulls Daryl up out of the pit, right? I noticed that when trying to do that, as Daryl is reaching up and they sort of miss hands several times, Rick keeps repeating, “You’re almost there. You’re almost there.

That struck me as a little odd. Not “we’re” almost there. “You’re” almost there. So think of it this way. If the pit with walkers at the bottom represent death, and Rick and Daryl getting out represents coming back to life, we have Rick saying to Daryl, “You’re almost there. You’re almost there.” We all know Daryl has emotionally been in the pit since he lost Beth in S5. The emotional pit where he believes all these negative things about letting people go and not honoring the dead.

So I feel like this is the writers telling us that symbolically, he’s finally going to make it out of the pit. And what shows up right after he does? The white horse. Randomly. From out of nowhere. 

And because Rick is involved; the one who says this line, helps Daryl out and rides off on the white horse, I feel like something about Rick is what will bring Daryl out of the pit. In other words, something about what Rick is about to will lead to Beth. Which will finally pull Daryl out of his 4-season emotional funk.

Man, I hope I’m right about this. ;D

It was also pointed out in my group that Rick's wound is in the side, which actually is a mirror of one of Christ's wounds. He was stabbed in the side before dying. And that's not the first time we've seen stigmata wounds on Rick. Remember, he impaled his hand in a crucifixion sort of way when he was fighting Winslow in S7. Just more evidence that this death will be a fake out and he'll be returning.

P.S. Sucks to be Father Gabriel. Poor guy.

I think that’s all I have for now. Given that today is Halloween, I can’t promise I’ll have a post for Thursday, but I do want to go over some things said on TTD. There were a lot of them this week and many of them were very important. So I’ll aim for that for Friday. Cheers!