#it's a callback to the previous episode
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itswhatyougive · 1 year ago
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Steve's breathy little "Easy, easy...." said whilst Eddie is climbing up the blanket rope lives rent-free in my head
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egg-node · 7 months ago
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WAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA
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thelaughingmerman · 9 months ago
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Everyone was exasperated with Eugene by the end of episode 4 but in episode 6 when they find the discarded fish net Hildas like " Well I don't think fish appreciate being caught 😠" and that's nice.
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les-pompiers118 · 2 years ago
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I’m watching Full Moon (Creepy AF) from S1 again, the scene where Buck pulls the tapeworm out of the sushi-loving guy in the ambulance...
And he says to the guy...
He says...
“Congratulations, Connor. It’s a boy.”
🤣🤣🤣
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infizero · 1 year ago
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its funny how before i started rewatching adventure time i was under the impression in my head that it was mostly just episodic stuff with the occasional overarching things thrown in there, but it actually has some of the best continuity i've ever seen 😭😭
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justanotherhyperfixation · 1 year ago
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obviously: chapter 10
Wille has taken to sleeping with his phone tucked under the edge of his pillow so that if Simon calls him in the middle of the night again, he will feel it vibrate but won’t disturb Evy. This is why, when he wakes to it vibrating in the deep darkness of a January night, he doesn’t even open his eyes, just grabs it blindly, answers the call and says hoarsely, “Simon?”
“Wille, it’s Mamma.”
He props himself up slightly on one elbow and hears Evy shift in bed behind him. “What time is it?” he asks groggily.
He will remember, afterwards, another call that had come at two or three in the morning, when he was much younger, a call from one of his mother’s brothers. They’d still had a house phone, and its ringing had woken Wille up. He had sat at the top of the stairs listening to his mother cry until his father had carried him back to bed.
“Wille, älskling,” his mother says, his question ignored. “It’s - it’s Erik.”
Read the chapter on AO3.
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in-the-multiverse · 11 months ago
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Also, secret life has the most references to past seasons especially to limited life. It’s almost like the clocker family never quite left, they still called each other mom, dad, son- Bdubs held on to the gripe about not being the favourite son. Cleo gave him the title, and they all laughed knowing that Scar would be upset. Almost every episode, they acknowledged the family in one way or another
The bad boys still helped each other out. The exchange of hearts and Joel calling it in the name of bad boys. He got tricked into completing Grian’s task in the beginning, but when the entire server was red later on- he didn’t hesitate to help Grian one last time. Even death didn’t separate them. Jimmy stuck around as a guardian angel, guiding one of his boys, laughing as they did ridiculous things- just like the old days. Every now and then, they remembered
The nosy neighbours didn’t forget each other. Although their interactions were rare, when they brought it up was special. Pearl tried apologizing to him (I can’t remember for what), Bigb says he doesn’t forgive her. Just like that, Pearl brings out her big sad wet eyes “but…nosy neighbours?” and Bigb immediately softens his voice and says he was joking. All is good between them. In the finale, Pearl sees him peeking out behind a wall. A fond, familiar sight. “Always watching?” Bigb shifts away and says it back “Always watching” they go their separate ways
I’m not sure if there were references to mean gills or team ties, but those other teams stood out strongly. And there were plenty more to double life, last life, 3rd life. It’s sorta strange, but in a welcoming way, to see more and more callbacks to previous teams. In a season where a huge part of the game mechanic is keeping a secret, in a series where past alliances are usually brushed aside, people leaned over to each other and went “hey, remember when…”
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madlori · 7 months ago
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7x06 thoughts
That was the best episode of the season and it's not even close
Kenneth Choi is Amazing, send tweet
Tim really coming in hot with the previous seasons callbacks and I LOVE IT
I'm GLAD they cut down the bachelor party nonsense because if it had been more it would have been totally out of step with the rest of the episode which was WRENCHING
Chimney Han the man that you are. You have encephalitis and you snap into paramedic mode immediately, probably saved some lives without even knowing who you are. WE ARE NOT WORTHY.
She's awful but Madge Buckley looked phenomenal in that MOB dress.
When Chimney wanted to go home he went to the Lees' house I AM NOT OKAY
I'm gonna guess it's been a few weeks since the end of 7x05 based on Buck and Tommy's comfort level with each other. They've been on other dates in the meantime.
A lot of predicted Chimney might fall victim to some kind of crime but nobody that I heard predicted this and I LOVE IT it was so...appropriate? somehow?
Okay so That Kiss
holy fuck
um
Buck is super horny for his hot firefighter boyfriend who he just called a beast and mauled in a hospital corridor and if they haven't already they are having a bunch of sex tonight
I loooooooove putting in this lighthearted moment at the end of such a wrenching and tearjerking episode.
Having Buck come out with that goofy rom com trick was somehow perfect? Eddie's smug little smirk (ha ha ha I knew already!) Hen saying "it's about time" and just ALL OF IT yes thank you
I'm somehow really happy we got some firefighting calls during the flashbacks? I've missed them, the season's been a little light on them.
10/10 NO NOTES
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sepublic · 3 months ago
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The Gus sequence of Luz’s nightmare in the finale messes me up because it hearkens back to Enchanting Grom Fright and how Luz didn’t conquer her fears about her mother there… And this reminder comes just after doing so with Camila no less?
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Plus all of that happened in front of the school, whose reactions to Gromila weren’t shown for Luz’s narrative privacy, and they didn’t make fun of her for it thankfully; Luz did do the job none of them would’ve, and still technically succeeded!
But it does call back to Luz’s ostracizing and bullying, and this fear of public shame by her peers and even teachers who maliciously fail her (hence that art teacher from Thanks to Them and even scrapped character Caduceia), leading to moments like Luz worrying about the Tunnel of Love being too cheesy for Amity; That moment spells out that Luz was bullied directly, and still questions because of it whether she should be herself. And it’s not enough that Luz’s friends hate her in this illusion, so does all of Hexside, which DID accept her, and whom Luz just helped in the previous episode; Undermining another development from FtF!
This moment is meant to make Luz doubt her decisions and believe she’s just hurting people again, just as Grometheus did; This nightmare as a whole is a callback to Grom! Except…
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Luz does conquer her fears and face them while they wear the faces of loved ones, and does realize they would never say that to her, with said loved ones and everyone else confirming it afterwards; They love her! Hell yeah.
(I appreciate String Bean’s very helpful input and advice during this moment; Specifically, existing. Funky lil thang.)
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teds-asso · 1 year ago
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Honestly, I was so confused by this show in the second half. It was like no one knew which way anything was going to go. That late in the season, they shouldn't have been pulling the rug out from all of our feet in every episode, especially with this allegedly being the last season. When Ted walked into Rebecca's kitchen, I was honestly relieved because fucking finally we had an actual conclusion to one of the plotlines they'd set up and I was only marginally rooting for the ship.
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I guess all the hints and insistence on the “romcom” aspect of the show and talks of soulmates and signs and t/r’s parallel past lives were all accidental
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This is such a nonanswer to a perfectly valid question. Do they see how they fucked up when someone completely lays out why tedbecca was set up as romantic? In what sense was any of it *platonic*???? They’re barely even friends in season 2 and 3
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stedes-tarty-pink-robe · 3 days ago
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I like how many callbacks to previous episodes showed up in this episode. It helps a show that plays fast and loose with continuity feel more complete. Guillermo wearing a "Yas, Sean" shirt. Laszlo's dad saying rotten soldier. Many references to the ghost episode, including Colin's grandma. Laszlo's car returning. And of course, finally acknowledging again that Laszlo raised Colin and hinting at the emotional toil the loss of their parent-child relationship took on Laszlo. The only thing that caught me off guard is that Nandor's shape-shifting girlfriend was a opossum girl and not Gail, the werewolf. All in all, this was a great episode that helped the wwdits universe feel more lived in.
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canonicallyobserving911 · 4 days ago
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Buddie: Episodes 6x10 vs. 8x7
Last Thursday when I watched the promo for this week's episode, I noticed a lot of similarities to 6x10 and since then I've been wondering if the callback to the lightning strike will have any significance along with an effect on Buck and Eddie. Aside from the obvious of a firefighter hanging from a ladder truck's aerial, there are several others that are blatant and appear to have been done on purpose.
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Since season 8 began, there have been numerous callbacks to previous seasons and they include emergency calls the 118 has been dispatched to. In 8x6, they were sent to a home where a young boy was trapped in a pipe and it looked similar to the well Eddie rescued Hayden from in 3x15. However, before Eddie could be pulled up to safety, the well collapsed and Buck lost his mind and started clawing at the ground and trying to dig Eddie up with his bare hands. Now, even though the 8x6 callback to the well didn't appear to have any obvious effects on Buck and Eddie, it's possible the call in 8x7 might.
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An actor from the TV show set of "Hotshots" gets injured and he ends up hanging from the 119's aerial. It's too eerily similar to a call the 118 was dispatched to in 6x10 and it's when Buck got struck by lightning and he died for 3 minutes and 17 seconds. However, this call seems to be more than just a similarity because all of the 118 team members are standing in positions and doing the same things they did in 6x10. It almost seems like TM (showrunner) is setting up something big and he's trying to jog someone's (Buck's) memory (it makes me think my Buddie Crack Theory [linked here] is still in play).
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Reminder Buck was dead, so he has no idea what happened after he got struck but everyone else does. In CANON, no one has told him about that time period that he was hanging in the air and the look on his face in the promo makes it seem like he's trying to figure something out.
Let's get started.
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After the 118 arrives on the scene, one of the first things I noticed is Eddie, Chimney and Buck are all standing in the same positions they were in before Buck climbed up the ladder in 6x10. Eddie and Chimney are right beside each other and Buck is standing away from them. In 6x10, he was preparing to go up the ladder.
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The second thing I noticed was Bobby looking up at the Hotshots' actor the same way he looked up at Buck after he was struck.
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Hen was looking up too the same way she did in 6x10.
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Furthermore, Eddie's (it looks like Eddie on the left and Buck on the ladder on the right) position on the ladder in 8x7 appears to be the same as it was when he climbed up without a harness to save Buck.
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There weren't any shots of Chimney looking up in 8x7 or of how he will be involved in the rescue but his role was key in 6x10 so I'm anxious to see how it will all play out.
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Gerrard and Bobby are standing side by side and they're both looking up so I want to know if Bobby will have a flashback to Buck being struck and I also want to know if he'll have to tell Gerrard the best way to get the actor down.
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I also noticed Chimney and Eddie are wearing sunglasses but no one else is. They all have them and since the sun is out and Buck's squinting when he looks up, it seems like he should be wearing a pair. Hen has eyeglasses that have lenses in them that transition to sunglasses but she's not wearing them. Also, I've noticed Eddie only wears sunglasses when he doesn't want anyone to see his eyes 👀.
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When Buck (on the right) and Eddie (on the left) start trying to rescue the actor, Buck starts yelling "No, no, no, no!" and it sounds similar to the yell he let out after he was struck by lightning.
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Just saying.
It's unclear what TM is doing and no one will know until the episode airs but I'm excited to see if Eddie being in the same position he was in after Buck got struck will have an effect on him.
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I'm excited for 8x7 and I hope the obvious call back will have some meaning and allow the 118 to remember what happened to Buck and hopefully, Buck will ask questions about what happened to him. Reminder, he STILL HASN'T PROCESSED HIS DEATH.
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lightwise · 8 months ago
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Full Circle - The Return to The Outpost
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The Return is a masterpiece in visual, verbal, metaphorical, and situational parallel and payoff. We have been waiting for 3 long seasons to see Crosshair and his family come to terms with their choices, reunite, and move forward together, and this episode somehow manages to give us all of it by walking us point by point through the scene of Crosshair’s change of heart—The Outpost. Most likely the themes presented here will continue to be parsed out for the rest of the season, but their fulfillment is begun here. 
We start with Crosshair outside of the ship, choosing target practice as a thinly-veiled excuse for avoiding his brothers. He is reunited, but not yet comfortable or fully trusted. In The Outpost, the scenes open with Crosshair outside of the ship on a smoking toothpick break, and he is approached by a Lieutenant who is decidedly not amenable to him. In both instances he is starting to be a little more open, however—his helmet is off, and in the first is listening to a group of regs, and the second, chatting with Omega and letting her show him physical affection. 
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After a reunion on everyone’s part with Echo, who we see fully embrace a hug from Omega, and slip back into familiar banter with Crosshair, we are taken to the dining area on Pabu. This is a callback to the dinner that the main group had when they first arrived on the island, except this time, Crosshair and Echo have come home, and there is an empty chair symbolizing the absence of Tech. This episode shows no other characters besides the Batch (now including Batcher as the best girl that she is). The conflicts and themes in this episode are meant to fully delve into the heart of what makes this family tick. 
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Barton IV is, as Crosshair states, a “remote, understaffed facility. It shouldn’t be a problem to infiltrate.” He can barely hold eye contact with Hunter while saying it, when once he was Hunter’s second. Hunter wants Omega to be safe and instructs her to remain behind, but she is adamant that they should stick together, just like she always has since joining them. Hunter almost looks like he’s going to cry, but he relents to both her demands and Crosshair’s input, although he is still suspicious of Crosshair’s motives. 
Before they leave, Crosshair has his original Bad Batch armor returned to him by Wrecker. His old identity and loyalties, kept by his family the same way he never left their hearts. A contrast to his previous mission, where Crosshair and the other clones are considered “used equipment,” and their only purpose is to protect and retrieve the shiny new armor meant for their replacements. 
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As they make their way to the base, the weather also points to a drastic difference between the two episodes. In The Outpost, the weather is MISERABLE. Cold, stormy, clouded, dangerous. Crosshair’s inner turmoil at that time cost Mayday his life, and broke his allegiance to the Empire. But on their return it is clear, sunny, calm, settled—almost serene (on the surface). Crosshair has thawed and grown as a person, and his emotions appear to be in a much calmer, if somber, place. As they land, Echo states that there are no signs of life on the scanners. 
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The planet is a graveyard. A memorial. A resting place. Made to dredge up and bury. 
A baptism. A resurrection. 
They exit the ship, and a vulture shrieks overhead, a reminder of Crosshair’s failures. Crosshair lifts his head to look at it, and his shoulders slump. (There’s an excellent little explanation of the vulture symbolism here.)
Mayday had told him that the vultures are vicious creatures who find a way to survive. They bury the dead and they take the scraps and they clean up for everyone else. They are shunned but beautiful. And they survive. Against all odds. 
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The second the vulture disappears, tension between Hunter and Crosshair begins to spill over. While the others are happy to see Crosshair assuming his old identity, Hunter is suspicious that the planet is deserted yet still heavily guarded by sensor beacons, and rounds on Crosshair demanding explanations. Crosshair has willingly led them to the site of his trauma but he is NOT ready to talk about it yet, and matches Hunter snark for snark. According to him (he should know) the danger (local raiders) has been taken care of. Hunter is even more pissed off as he gets a glimpse of Crosshair’s activities under the Empire, and Omega is disappointed in both of them. Their feelings remain tense and tight as Echo convinces them all to get inside and focus on their mission. 
Once inside, Wrecker asks a question that encapsulates the fate of all the clones. 
“So why’d the empire abandon this place?” “I guess it served it’s purpose.” “Hmm, sounds familiar.” 
This prompts Crosshair to separate from the rest and go to a side storage room, where he first comes across the same heater that Mayday had once carried over to him as a gesture of friendship. It is dark and dead now. A sweep of his flashlight, and an even more sickening sight awaits him. All of Mayday’s troopers helmets, once lined up in a silent memorial, are now in a pile on the floor. And Mayday’s is among them.
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Crosshair must have known this was a possibility, coming back. He isn’t ready to talk about his feelings toward this place, but his face tells us all we need to know about his grief and his regret. He steps over and in reverence, greets the helmet of his friend. He understands now. Loss, grief, death. The burden that Mayday carried. Succumbed to. At the time, Crosshair had merely watched. Now he participates and gives Mayday and his squad the honor they are due. Hunter, who has become more and more suspicious of what Crosshair isn’t telling him, catches sight of his brother honoring a (supposedly) random group of regs, but slips away to not disturb him. Yet. 
Crosshair rejoins the others as the sensors are turned off to redirect the power supply, and Batcher suddenly starts acting up. Crosshair takes her seriously, although he is forgetting something important that Mayday once told him—“you’ll freeze to death in that armor—if what’s in the ice doesn’t get you first.” Typically this is Hunter’s job, to be alert to shifts in the environment, but he is so focused on Crosshair “leaving” that he seems to be completely unaware of something stirring outside. 
Crosshair walks out both to scout and to process his feelings, and is greeted with an up close look at the ice vulture that has haunted him. He starts to scowl and as the bird takes off, asks “are you going to be my shadow everywhere?” A statement that could hold true for both the vulture and Hunter, who has followed him. And Hunter gets right to the heart of it.
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“I know you,” he says. Or I did, before you became someone I don’t recognize. Someone who would betray us and leave. “There’s more you’re not telling us. Start talking. What did you do to get on the Empire’s bad side?” Hunter needs proof. He wants to know how the brother who swore loyalty to the Empire thrice over and stayed on that Kaminoan platform had a supposed change of heart. But he frames it bitterly, believing that Crosshair is simply repeating a pattern—one that had almost made them enemies. 
Crosshair’s hand shakes so much that his toothpick slips (like the sharp and pointed wit that often protects and comforts him), and we see a rumbling in the ice. Their emotions are starting to bubble and seethe.  
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“You thought we’d take you back and not ask questions? I don’t think so.” Hunter is losing his grip on his emotions and physically shoves Crosshair in an attempt to spark the fight. His face is drawn, angry, and anticipating hurt. 
Crosshair remains remarkably calm, not even necessarily wanting to make an argument out of it, but he eventually responds to Hunter’s indignation with his own. And this time he doesn’t hold back. He starts at the end, admitting he killed an Imperial officer, but holds the tender explanation of why close to his chest still. Instead he tells Hunter what he thinks he wants to hear—that his betrayal of the Empire mirrors his betrayal of the Batch. Except Crosshair adds his own perspective—that he only betrays after feeling like he has been betrayed first.  
Hunter doesn’t have time to ponder that information as Crosshair now unleashes the root of his own turmoil onto him—and he knows how to hit Hunter where it hurts. Where he’s failed.
“I risked EVERYTHING to send you that message! You ignored it. You let Omega be taken to Tantiss.” The hurt blooms on Hunter’s face. “You failed.”
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Crosshair isn’t even concerned about what happened to him on Tantiss. He’s concerned about Omega. And he knows that fact will twist Hunter’s gut in ways nothing else can. Hunter is their leader. He by default bears the blame of what happens to them, even though his squad makes their own choices freely. Crosshair doesn’t want to let him forget it. Hunter never lets himself forget it either. 
Both men only know their own sides of the story. And it’s tearing them apart.
They’re ready to trade blows but their attention is pulled back to their family and larger circumstances by Batcher barking. Hunter finally realizes where their emotions have brought them, but it’s too late. The snow erupts from a giant wyrm creature, no longer kept at bay by the high-pitched hum of the sensors. No matter the gulf between him and Crosshair, Hunter’s first priority is to shove him away screaming “move!”--echoing Mayday trying to save Crosshair during the avalanche. They fall to their knees and the ground splits between them. They barely make it back to the base as the symbol of their outburst chases them across the snow. 
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Plans are made. The squad won’t be safe until this threat is dealt with. Each member volunteers their strengths. Hunter is in mission mode now, his face open, and extends an olive branch after his brother offers to shoulder the burden of leading the creature back beyond the perimeter alone. “We’ll do it together.” But now it’s Crosshair’s turn to be suspicious. Will Hunter really trust me again? Can I trust him?
The creature follows them. Disaster strikes. Hunter shrieks and falls below the ice. All animosity gone, Crosshair rushes to him, panic lacing his voice. Hunter! I can’t lose you the way I lost Mayday, buried beneath the snow.
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And now, it is Hunter’s turn to tunnel into the darkness below the ice and face everything he’s been running from. Shot for shot, Crosshair has already been on this journey, already faced himself, his fears, his failures, down there. They can’t reconcile their perspectives, because Hunter has yet to do the same. Hunter commits to making sure that the wyrm is led away from his family, putting himself in harms way to make sure they stay safe. However, he has a safety line—Crosshair and Batcher up top, tracking him, covering for his usual role. 
“We found a weak point in the ice. We’ll try to dig through.” “You’ll try?” Their old banter makes a hesitant appearance. Hunter is still running. Crosshair is willing to try, as long as that effort is acknowledged. But despite their words, they hope that they won’t let each other down this time. 
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“Am I going to have a way out or not?” “If you end up where we hope you do.” Hunter needs reassurance of an outcome first. But Crosshair reminds him that he is the only one who can plot his path, and its consequences. Hunter has to take responsibility for his own journey. The way out of this predicament hinges on how far, and where, Hunter lands. And he won’t take shortcuts, even when Crosshair begs him to go ahead and exit the tunnel once they find each other. He begged Wrecker to get Tech back onto the railcar. This time, he’s in the trenches himself. 
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Tuned into his senses again, Hunter still doesn’t jump even as he feels the wyrm get closer, until the sensors are reactivated. Finally, he accepts Crosshair’s to help pull him out of the literal mouth of danger as the worm barrels into view. And they run again, leaping to safety just in time, having accomplished their mission. The wyrm is now harmless, roaring at them from the other side of the perimeter, chastened until it finally slinks away. 
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The boys collapse, share a fully open look. All they need now is a nod. They have each others’ backs. Approval, gratitude, and trust now have space to grow. They are brothers again.
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And Crosshair gets a redo of his trek back to the platform, except this time, instead of Mayday dying in his arms, Hunter is by his side, unharmed, and Batcher prances alongside them. Instead of silent TK Troopers and the insolent sneer of Lieutenant Nolan, they are greeted by Echo and Omega’s shining faces, and Wrecker running to meet them (and hug them. We all know they secretly loved it.)
(Side note: both Crosshair and Hunter have shown self-sacrifice on behalf of someone else in these parallels. Behind the scenes, Echo and Omega have a conversation that hints at the fact that Omega might be contemplating the same. The outcome of the guilt and confusion shadowing her even while Crosshair returns to the light remains to be seen, but it does not bode well.) 
The episode could end here. But it doesn’t. Now the real conversations can begin. It’s late in the evening and they have dug their ship out in order to depart. Bathed in warm light, Crosshair is finally ready to open up, at least a little, although he can’t face Hunter in the process. 
“I thought I knew what I was getting into with the Empire.” Owning up to his perspectives, not shifting blame. It was a choice he made. “I’ve done things. I’ve made mistakes.” Ones that he regrets. Crosshair's default is still to paint himself in the worst light possible when trying to reconcile with someone, in the hopes that the darkest parts of him will be accepted. He so desperately wants to be accepted for who he is, even when he knows he has done terrible things, and maybe especially, because he hasn't fully forgiven himself for them yet. So he tries to shock and hurt in the hopes that either his inner self-loathing will be corroborated, or his need for forgiveness can come from an outside source. 
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And Hunter does forgive him, and doesn't even dwell on the many, many things he could blame Crosshair for, now that his own anger has passed. He acknowledges that he has regrets too, gives an even playing field by saying that none of them really had full information of what was going on when their separation first began, and extends solidarity in the best way he knows how. 
A smoothing of the path behind, and a glimpse toward the path ahead. He doesn't know what it holds either, but he's willing to walk it together.
And I think their choice of words is what they needed from each other. Hunter needed to know how Crosshair viewed his own actions. Crosshair needed to know how Hunter felt about the consequences, both those caused by him and those caused by Hunter’s own choices since. Hunter has always questioned his brother’s perspectives—his mind. Crosshair has always questioned his brother’s heart—his loyalty. Their strengths--and also their weaknesses.
“All we can do is keep trying to be better. Who knows? There might just be hope for us yet.” 
And for now, it’s enough. Crosshair looks into the sky, watches the ice vulture flying overhead once again, except this time, it flies off into the sunset, leaving him still mournful, but slightly more whole than when he first arrived. 
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kaythefloppa · 10 days ago
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Wild Kratts - Chimpanzee and Me - Thoughts
The last of this week's new episode premiere, released online today alongside Salamander Streaming and Bumblezzzz. Will air on TV this coming Wednesday so as always, spoilers ahead!
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K, so huge confession but Zooboomafo was the only other show by the Kratt Brothers I distinctively remember watching. I watched a few clips of Kratts' Creatures, but mistook them for WK as a kid. This is most definitely a callback to some Chimpanzee adventure episode in KC that I did not happen to pick up. So it's totally lost on me.
That being said, my prediction of references to previous Kratt Brothers' works reigns supreme (and for those who view all four Kratt Brother shows in one hollistic "canon" here's some ammo for your fan-theories).
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Look at those delicious yummy grapes... wonder if they're being saved for later.
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I will still never forget when the synopsis for this episode came out about Chris spraining his ankle, as well as when a synopsis for the clip came of him tripping on grapes. The constant memes and reactions omfg /silly
But seriously this man is in PAIN. This season for what it's worth, does a lot of angst and in ways you'd never expect.
I've never sprained or broken a limb, so I'm probably in no place to talk, but from the looks of that frame, Chris bent his ankle pretty damn good. He's definitely gonna be on hiatus for the next few weeks (which could ironically be taken metacontextually since after this episode we'll be on another hiatus until next year when the live show comes)
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Ok let's talk about the villain's plan here. He wants to replace his Zachbots with a Chimpanzee he can roboticize to do his work. Here are my many thoughts and takeaways from this, some of which, definitely are just me reaching.
A step up from his dumbass plan in the last episode. Not threatening, but motivations that are actually sensible (but still evil though).
More than once have I seen the theory floating aound where Zach programmed his bots to be smart enough to obey his commands, but dumb enough to where they won't turn against him. I assumed that this episode was going to end with the cliche of Zach's creations turning on him as laser guided karma (hint it doesn't) so it really puts things into perspective.
Considering how we are getting two Zach-related episodes in a row, coming just off the heels of Our Blue and Green World, I like to headcanon that Zach's overall character in this batch of episodes is some form of response or byproduct of the events of that special. Because between Paisley's sudden betrayal, Donita's callous threat of physical violence in the previous episode, and his henchmen's limited intellect, he realizes how much he is fundamentally losing control, both in the villain team, and in his own endeavors as a villain. He's slowly, yet consistently and constantly being knocked down from the pedestal that he views himself on, and by trying to change the status quo with a new animal assistant, he thinks he can keep himself up at the top where he thinks he belongs, completely oblivious to how he's his own worst enemy. Yes, I'm overanalyzing all 3 episodes and I love it.
This is another moment where I HAVE to use my one-video-only-free-card to convey the point across because a certain scene is that good. This is only a 34 second action sequence where the chimpanzees are running from the Zachbots, but holy hell the background music. I had to isolate the background noises just to share it with y'all so you can see my point as to how the music absolutely carries this scene. Pure West has always gone so hard with the scores in this show, but they were absolutely on fire for this brief chase scene. I actually tensed up seeing the Chimp's mother getting torn away from her baby as the music swole up. Yet another reason why PBS should release an official soundtrack for the series, it's so fucking good.
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Ok so Chris doesn't activate Chimpanzee Powers, nor does he invent the disc but goddamnit! This entire plot is so cute, and dare I say, the episode actually works better with Chris not being the one to activate the suit.
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Now I can use my allotted time to point out how much I love this scene and why it makes this episode very well-liked for most people, myself included. This isn't the first PBS Kids show to educate viewers on non-verbal communication such as facial expressions and sign language, and it's definitely far from the last, but it's a really sweet and sincere moment that's both educational, and really good rep for people who use sign language. It gets its point across efficiently and could very well reach out to any children at home who use ASL. It's magnificent.
Also, Leah is fun, I hope we see her more in future eps.
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THE CHIMPANZEE POWER SUIT
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Ok I take it back: This is definitely the best designed Creature Power Suit of S7. I remember dreading it because of how alike Chimpanzees and Humans are physically, but oh my god I am so glad to be wrong. It's giving full Season 1 vibes (looks a lot like the Orangutan Suit, total sense), and I am all FOR IT.
And again, I feel like I would/should be angry or disappointed that Chris didn't activate the suit, but again, the plot actually works better without him using the suit, and the design of the Chimpanzee Suit itself is so good, everything just comes together neatly.
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Bro is in his peak.
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I mean, still peak.
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Joss pointed this out better than I could, but there are a lot of varied facial expressions for Zach in this episode. As mentioned earlier, during the hiatus in between Season 6 and 7, new builders and riggers were hired on the animation team for Wild Kratts, many of them likely fans of the show themselves. And again, seeing as there's a 2 year gap between S6 and S7 in terms of development, there's bound to be some slight differences in rigs or models. Which is definitely why we get a lot of moments like this in the episode.
My two cents. I can definitely see why people would be caught off guard, and yeah, at such a high frequency it can get off-putting and requires some getting used to. But at the same time, I kinda dig it, just for the camp factor. It also somewhat reminds me of some of the facial expressions used in the pilot episode, (which has the stronger excuse of different animation + art-style to back it up), but yeah, definitely something that catches the eye.
Zach's hair is defnitely giving Kovu from Lion King 2 and I mean this in the worst. Possible. Way.
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This entire scene can be seen as an allegory for two different types of parenting. Zach takes harsh, demanding approaches, speaking without listening for the sake of control, all out of a place of emotional unintelligence and immaturity, which alienates + drives away the child; Whilst Chris takes a more constructive, compassionate, understanding, yet still direct approach to get through to the child/chimp, allowing for a proper solution to the issue at hand. Yes, I'm pointlessly over analyzing even more but in an episode where communication is the main focus & moral of the episode as well as the resolution to the climax, I have to wonder if someone, whether it'd be the writers, animators, or even network execs did it on purpose. Because once again, you could takeaway a really good lesson for kids, and even adults with this interpretation in mind.
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Oh yeah, once we get past that stuff, the climax of this episode is like, really fucking hilarious. And Zach getting mind-controlled by his own helmet is still a good dose of laser guided karma.
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CONCLUSION:
Cons:
A few of the facial expressions can be a bit jarring. Again, Joss pointed it out perfectly how this episode could've been earlier in S7's development so these adjusted rigs probably can and will get better. I wouldn't even say it as a con, it's just some little thing of the episode that doesn't really lower my overall opinions.
This is a personal nitpick of mine; Not a critique. I think we could've seen more of the chimpanzees in action. I'm talking about face-offs with gorillas (which I think we might get an episode on that in the future, idk), hunting monkeys, leopard attacks! But I do get why it wasn't in the episode, it would've just bogged down time. Frankly, the only reason why I'm putting the cons first is because there is so much I have to say otherwise.
Pros:
The animation overall
The backgrounds
The Chimpanzee Power Suit
The Chimpanzees themselves.
The Background Music
Chris angst!!!!!!
The A plot and B plot perfectly complementing each other, which makes certain writing decisions that could've fallen short, work so much better as a result in execution!
Zach not being a dumb POS like he was in the last epiosde!
The chimpanzee designs!!!!
The very well-handled representation and depiction of sign-language and lessons of communications to its young audiences!
Final Ranking: 9.2/10. Our Blue and Green World and No Name Dream subverted expectations (mainly through Paisley's redemption and the S1 callbacks + the return of the Draco Power Suit). This is the first episode of Season 7 that exceeded my expectations. It is far better than how I thought it would be, and the experimental writing that this season has been hinged upon thus far hit the mark entirely when it came to this episode. So much so that it actually raised the already-high expectations I had for the new season. It is that. Fucking. Good. I'd easily call it a contender for one of the best episodes of the season, but again, we'll have to wait and see.
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doctorwhoisadhd · 11 months ago
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captain jack harkness (the episode) (not the guy) (not the other guy either) has EVERYTHING. vote saxon posters. bad wolf graffiti. captain jack harkness. captain jack harkness. captain jack harkness and captain jack harkness kissing sloppy style in front of everyone. callbacks to previous episodes. jazz standards. the clarinet. companions getting their own companions. non-white companions in the past having their fears taken seriously. bad wolf theme. jack being forced to tell someone else on the torchwood team the truth. gareth david lloyd putting his whole pussy into the role of ianto (this is a given but still). owen gets shot. gay kissing. theres even blood
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thesoftboiledegg · 11 months ago
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"Fear No Mort" was constant whiplash. In fact, I struggled to evaluate this episode at first because it was one twist after another. Throughout the episode, I had flashbacks to "M. Night Shaym-Aliens!" (the rap scene might've been a direct reference) and the Rickbot reveal in "Ricktional Mortpoon's Rickmas Mortcation."
For better or worse, season seven's had a lot of callbacks and episodes that mirrored previous ones: "That's Amorte" played out like "Mortynight Run"; "Air Force Wong" brought together Dr. Wong, the president and Unity; "Rise of the Numbericons: The Movie" was a "Get Schwifty" sequel.
Seasons six and seven have also piled on the fanservice. The first four seasons stubbornly refused to give us what we want, dangling fan theories or a gentler Rick in our faces before yanking it away. Rick started to change in season five, but it's another ten episodes before you get Rick in a suit and tie, Rick announcing that Rickcest is canon, Rick regularly going to therapy, Space Beth joining the family and other content that's floated around the fandom since 2017.
And let's not forget the big one: C-137 Rick and Morty, Prime Rick and Evil Morty in one episode, fighting and teaming up after we saw Evil Morty's once-forbidden backstory.
Some call it cheap thrills, but I call it a gift to the fandom that's patiently waited for the fakeouts to end. And now that I've said that: "Fear No Mort" was one giant fakeout.
But was it, though?
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This is the most unpopular opinion in the world, but I'm not invested in Rick and Diane's relationship. As a gay woman, I just don't connect with opposite-gender couples. Also, I dislike the trope of the idolized dead wife that the audience only learns about through her widower. She's not her own character, just an extension of the male protagonist.
When the fake Rick and Diane reconnected, I thought "Oh boy, this is getting cheesy." They're falling for each other again: check. Rick feels guilty about her death: check. We see how similar they are: check. Rick doesn't want to leave: aaaand, check.
I'm also a little lost after the ending. Morty was the only one in the hole, so why did we see all these scenes from fake Rick's perspective? Was an NPC really that busy?
How much we learned about Diane is debatable, too, since Morty never met her. I guess his ideas came from whatever Rick's told him and maybe the ship's voice since she's based on Diane.
I did like how the episode kept reminding us that Morty's still in the Fear Hole. I mean, we didn't know that, but we knew that. No "Are they in the Fear Hole or not??" until all the twists in the third act.
Aside from that, I don't want the show to revisit the past too much because Rick needs to let go. If you're a Marvel fan, you saw the backlash to Steve Rogers traveling back in time to spend a lifetime with Peggy in "Endgame." He had a life in the present, but he refused to move on.
Nostalgia makes us yearn for earlier years, but if Rick abandoned his family to live with Diane in another reality, I wouldn't call that a sweet ending. I'd call that a disappointment and a waste of his character.
Turns out, Rick never had that option at all.
Well...in a way, he did. And when Morty told him what he saw in the Fear Hole, Rick ran back to the restroom. He looked into the hole. He thought about it. And then he did what I wanted him to do, which was walk away. In this moment, he chose the present.
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Admittedly, Morty's fear came true: Rick didn't jump in the hole after him, he did just sit there and watch, and he didn't want to say that Morty's irreplaceable out loud. Plus, Rick was bewildered when Morty hugged him. But for the first time, instead of standing stiffly or gently pushing him away, Rick started to hug him back.
We also saw what Morty didn't: Rick smiling to himself after hanging up the picture of Morty that he kept in his wallet. He had the chance to wallow in shadows of the past, but he didn't take it. Rick chose him.
"Fear No Mort" could've ended with Rick just saying "Let's go" and leaving, but it didn't. Seasons one and two Rick would've bitched and moaned about Morty taking so long. Season three Rick would've left him there for a while to torment him. Season four Rick would've found a way to take advantage of this.
But seasons five, six, seven? That's real character development. That's what all the Twitter users saying "Wow, Rick and Morty is actually good" have been missing out on.
And for the first time in the series, a season didn't end with Rick relapsing or getting a (well-deserved) ass kicking. Is Morty going to get the grandfather that he deserves? Or will he move on, too, now that Rick's releasing his iron grip? Speculating is fun, but for now, let's focus on today.
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