#please writers i would like more of tim’s backstory

[bluespiritshonour]

NGL Batman sometimes reads like The Ones Who Walk Away From Omelas (or Brothers Karamazov, whatever you please)

Like, in order to keep saving the city Batman needs a child to demean and abuse and take his emotional frustrations out on. The cost would be paid by those children so Batman can go out and be a hero (selfless? Ha, selfless!)

And no, I'm not coming at it from the child soldier angle. It's fiction, I can suspend my disbelief.

But when canon comics themselves hate the concept of Robin and write storyline after storyline focusing on loss of innocence (Jason Todd dying; Tim Drake losing his whole world—Grayson was spared because he wasn't Robin any longer—but soon enough they were retroactively injecting that shit into his backstory (Robin: Year One and many others that I can't care to list)—so yeah, kinda hard to keep my disbelief suspended when canon is trying to shake me into ✨rEaLiSm✨

It's really funny to see them try to juggle gritty realism and also keep Batman a hero. Like, I can suspend my disbelief that a benevolent billionaire exists—but, uh, it looks like the creators have a thing against suspension of disbelief.

But even then, it's not about the Robins being child soldiers. Golden Age comics never treated Robin as child endangerment—it was just Bruce who was simply a jerk. Dick had abandonment issues and really low standards of parental affection and none of it had to do with being Robin. It was Bruce's shitty parenting.

But I am speaking of it as in, Batman has infinite patience for random kids on the streets but not those in his tutelage—the way he loves only in death (dead people don't need emotional labour from you; neither do kids that don't really depend on you)

And more often than not, one of these kids has been dealt a far worse hand by life than Batman has ever had. And he still has the gall (the writers and DC and everyone else) still have the gall to pretend his tragedy is the greatest.

He lost his parents! So did countless other superheroes; if anything he was more fortunate than most.

Fans love to say Dick Grayson was everything positive in his life and changed him for the better—and so does canon sometimes—but that's simply not true. (If it is, why don't you ever see it play out fully? The only time I ever saw it happen was in Lego Batman)

He doesn't love Grayson enough to change for him, if anything, he just found a kid that he can lean on emotionally and give nothing in return. As a result he was slightly better adjusted. Introduced him to the vigilante lifestyle not because he thought it was good for him (in most cases it was) but because he himself was lonely. In this way, he gets to have companionship and not do the emotional labour that's required of a father.

He doesn't love anyone enough to change for them: his kids, his friends, his lovers. He's only ever capable of loving in death.

(The exception, again, being Andrea Beaumont from Mask of the Phantasm; the only time I ever felt bad for Batman and actually liked him)

But then, what's one movie in the face of more than 80 years of canon?

It's really funny to see.

“He makes so many personal sacrifices”—well, he does take out the frustration of it on those that he's supposed to look after and care for or he'll go off the rails...so? Your point?

It is Omelas.

[youngjustus]

raven’s name has technically been rachel roth for 20 years too but im not fucking calling her that lmao…idk for me it’s partially 1) fuck johns and the way he sought to completely change kon’s character and spit in the face of all his prior development just to make his stupid fan theory canon 2) having a character go from going by kon to conner is like going from tim to timothy. why make it longer, yfeel? and 3) 50% of the people who call him conner misspell it as connor, which would be fine (annoying, but ultimately harmless) except dc already has a connor, and i’m vehemently against dc’s inability to come up with an original name for any of their characters. hashtag team jon should’ve been given literally any other name bc there’s already like 6 jonathan kents

i know there is a lot to criticize about johns's run, but i honestly don't find a lot of things with what he did with conner leading up to his death in infinite crisis in terms of characterization to be out of character. although, full disclosure, i haven't revisited teen titans vol. 3 in [checks calendar] 7 years, so there might be some gaps in my memory.

i like that he's getting used to having an actual structured life with going to school and living in a house with parents that care about him. he's also still dealing with the aftermath of the finale of his solo series and graduation day! he's adjusting! it would be normal for him to feel weird and off. this is a post that i made a few years ago with a good addition from another user that puts this well.

however, i do generally dislike the luthor reveal because of how many stories that came after for conner have so heavily focused on it, when a) we already did something similar in the 90's with his original backstory and b) it contributes to one of the most annoying fan discourses i've had to see for my entire comics reading experience regarding superman being a 'dead beat dad'. unfortunately, at this point, it is a part of canon that is ingrained in too many fans and writers' heads, and is tied into too many plot lines for them to go away with it. such is the nature of a shared intellectual property! ¯\_(ツ)_/¯

i think i'm probably misreading what you're saying, but kon isn't short for conner, and i don't think tim's full name is a good comparison. they’re two separate names. i've posted about the origin's of the name kon-el a few times over the years, and i even have the issue where he receives it in my personal comic collection. it is a very important part of the character's history, and a good thing to point to when people doubt the positive relationship between conner and superman. the name is one with real history, and it is a gift!

this is where my own headcanons and speculation comes in: it makes the most amount of sense to me that conner is a name that he specifically chose himself when he was adopted by the kents.

if somehow i missed a random issue of superman or action comics from between when his superboy series was canceled to him showing up in teen titans that gives an origin to the civilian name conner kent, or even just an interview with the creatives discussing the issue the name first shows up in, please send it my way!

if such a comic or interview does not exist, and if i ever had the chance to write the character, this is 100% something i'd like to explore. i have my own ideas that i've thought about a lot over the years (and even a middle name picked, too).

i also think that there are much bigger problems with dc comics than a few characters sharing a first name. like a lot more problems.

conner is his name as much as it is kon, and it's not wrong to call him it in the way that it's not wrong to refer to superman as clark or kal. the comparison at the start of this ask to raven is interesting, but i think the key difference there is that rachel roth feels like a regression (she's deaged and put in high school) and to me conner kent is further growth (being with the family that wants him in their lives).

[guardian-angle22]

One of my wishes for Paul next season is that he gets a multi episode arc like Marjan did this season. We get a Begins type episode every season and he is next in line. What would you like for them to explore?

Yessss. I need a multi-episode arc for him desperately. He had a two episode arc back in s3 with his heart issues, but that's the only one I recall him having.

I would love to know more about how Paul got into firefighting. It's something we know about Owen, TK, and Judd from previous seasons. This season answered that question for me about Marjan, how she wanted to make sure she was able to save her friends after the accident she went through as a child. It also answered how Mateo ended up down his path with his episode about his relationship with his cousin and how it shaped him. So that leaves Paul with a bit of a question mark about how he ended up in this career.

I know Paul said in the pilot episode that he transitioned on the job in Chicago, so he chose firefighter as a career before he transitioned, but that's all we really know. I do think episodes with flashbacks for Paul have a more delicate line to walk of what’s best to show of his past within the context of his trans identity. I am not trans so I don’t speak for that community and I honestly don’t know whether showing him pre-transition would be something that is considered helpful or hurtful representation. I think that’s something Brian would be able to help the writers decide how best to handle. Whatever way they did it though, I definitely want some more backstory with him. More about his relationship with his father. He was incredibly passionate about that in 3x09.

Outside of the “begins” episode, I absolutely want some more development with his relationship with Asha. They skipped over quite a bit of them actually getting together unfortunately. Maybe we can see more of their relationship as he’s about to say “I love you” for the first time or some other milestone like that. I also can’t be the only one that clocked the mention of her nut allergy happening TWICE 👀 so I’m wondering if they’ll bring that around. Maybe the 126 responding to a call of her having a reaction and Paul needing to be the one to realize what’s going on and saving her life.

Whatever plot they decide for him outside of those things, I just swear to god man please don’t involve more people dying. I can’t handle it dude. His mama better stay safe or I will hunt Tim down myself.

[whumpypepsigal]

taking a wee break from the witcher to talk about a new obsession of mine.

i only watched “the rookie” for their whumpy episodes. but lately i found videos of chenford and as someone who isn’t a part of the fandom; i am… OBSESSED with tim bradford and lucy chen. their chemistry is off the chains wowza. tim is this handsome training officer who is stoic, hardass, brooding, mysterious background, complicated, always has to do stuff the right way, closed off emotionally, takes no nonsense kind of guy. he trains the rookie, lucy chen, who is this beautiful, smart, cute, bubbly, happy go-to and annoys the hell out of tim lmao. he is so harsh on her while training her and makes her go through several difficult tests appropriately named “the tim tests”. but ever since he rescued lucy, lucy always managed to bring out his vulnerable side. tim is so protective of lucy and vice versa *smiles warmly*. i watched all of their compilation vids on YT and loved how he slowly opens up to chen and becomes vulnerable to show his emotions more.

in the recent episodes, they showed us a part of tim’s backstory. he is a survivor of child of abuse, done by the hands of his abusive father. still deals with the trauma. one instance, when his sister mentioned how hard their father was on tim and that he made him go through “tests” to make him “a man”, lucy makes a throwaway comment of the tests being like the “tim tests” he made her go through. and his face after that comment was of such heartbreak. like the man really thought he might be turning into his abusive father. tim struggled throughout the episode and when he finally faced his abusive father, tim was re-traumatized and lucy was there to comfort him. WHEN SHE HUGGED HIM AND SAID HE ISN’T LIKE HIS FATHER…THAT SCENE …GAVE ME PROPER WHUMPERFLIES I TELL YOU. HE LOOKED SO BROKEN.

for someone who never watched the show properly, i LOVE THEM. the slow burn is killing me tho. the show is in its fourth season already and the “will they/won’t they” game is till going lol. i think the writers want them to build a stronger friendship relation before getting them together or sth? i don’t know. all i know is, they are meant to be together. they are endgame. period.

LOOK. AT. THEM! INJECT THIS DIRECTLY INTO MY VEINS. MY CHEST IS THROBBING. THIS IS MY MEDICINE *chuckles warmly*

sorry this is such a long post, just had to pour out my thoughts. anyone else in this fandom? please share more info of these characters. would love to know more haha. and if anyone know any whump fanfics of tim pleeeeeeease send it to me. the man doesn’t get whumped enough in this show sigh.

in the meantime, i am about to post the gifs from the scene I just mentioned above. the emotional whump is just 🤌💯😋

[leverage-commentary]

Leverage Season 3, Episode 4, The Scheherezade Job, Audio Commentary Transcript

John: From left to right on your radio dial this is John Rogers, executive producer.

Aldis: This is DJ Chocolate Skittles, also known as Aldis Hodge.

Chris: And this is Chris Downey, executive producer and writer of this episode, The Scheherazade Job.

John: Aldis has very kindly decided to join us for this commentary since he was-

Aldis: Hello!

John: He did a lot of work on this episode. This one rode- 

Chris: Oh yeah

John: This was one of those ones where you're just like, ‘This actor's gonna be working his ass off for this.’

Aldis: Oh joy.

John: Well Chris, why don't you tell us the origin of this episode?

Chris: Ah well the origin came from a- my friend here to the left, Aldis, back in season one we were just talking about you know things we like to do in our spare time and Aldis mentioned that he loved the violin, he’d been studying it, it was the closest thing to the human voice for an instrument.

Aldis: Yes.

Chris: And coincidentally my wife is a violinist and at the time I said to you, ‘I'm gonna find a way in an episode of Leverage to have you play the violin’ and what did you say to me?

Aldis: I think I said, ‘Do it.’

[Laughter]

Chris: And then you laughed at me.

Aldis: Yeah, we were shooting what was that, the season finale?

Chris: Might've been the season finale

Aldis: That was- yeah, Pasadena?

John: Yup

Aldis: Yeah, yeah, I remember that conversation.

Chris: And this is Martha Boles, terrific actress from Los Angeles.

John: This is interesting actually, we had a- when we were setting up the bad guy here, we had an interesting conversation about- and this is one of those things you talk about in television. Should the reporter be white or not?

Chris: Yeah.

John: Yeah. We were looking at casting and we were like, no it should be a black reporter working with that. And then we got some, you know, feedback that's like, well now it's a white crew of criminals, apparently missing Aldis’s presence, helping out a black reporter. 

Aldis: Don’t worry, they miss me all the time.

John: It's one of those- it’s tricky, it's one of those things where one of the reasons we kinda were leery of doing international crimes, first season and second season. And you kinda- because it's always a minefield, it just is. And now in third season, everyone’s comfortable and everyone knows the show well enough that you can kinda try to swing outside the box. I think Chris did a great job taking this outside the box for the first time on the show.

Chris: Yeah it was- it was interesting cause most- I think we talked about this, most episodes start with the bad guy and we kinda work our way from there. We kinda talk about ‘what's the bad guy, what does he want, what is his weaknesses’. And this is one of those episodes that started with a big idea late in the episode which was the orchestra heist, and we kinda worked from there to kind of try and figure out whose our bad guy? And that's- we decided- we hadn't done an African kleptocrat, we wanted to do that for a long time, and this seemed like a good opportunity to do that.

John: Now also when doing a straight heist, because we were coming at it as a straight heist, we wanted a small highly portable object. The cleaner the object, the cleaner the goal of the heist, the more you can work around the elegance of the heist itself. And when you're staring with an elegant heist, which is the music heist, you have to do something very clean, which was diamonds. And so it all sort of fed into this one storyline.

Chris: Yes, yes.

Aldis: Didn't you want to play the organ? At first I mean that's plain and portable and-

[Laughter]

John: Yes, originally it was a giant Wurlitzer organ. 

Aldis: Yeah, just a whole thing.

John: This was a ton of fun, this was a great little fight scene. 

Chris: Yeah.

Aldis: Kane had too much fun shooting this.

Chris: He had a lot of fun here. And these gentlemen are Garfield Wedderburn and- yeah, Garfield Wedderburn is the lead goon here; his name is goon.

Aldis: Goon.

[Laughter]

Chris: And there he is doing this- some kind of scary tai chi?

Aldis: That was actually a joke and it just made it on the reel, it was like-

John: You know what? We saw it in the dailies, we were gonna cut out of it but it was like- but the idea he would just scare the shit out of those guys to get them to go. ‘Can your dog do that?’ That was great.

Chris: ‘Can your dog do that?’

John: It is nice every now and then to remind people exactly why everyone on the team is there.

Chris: By the way, I love that you named the dog Megabyte. 

Aldis: Megabyte, yeah, yes.

John: That was you, that’s right. 

Chris: That was all you.

Aldis: If anybody can get that, Megabyte, yes. Now if one of those days we just see the dog, which will probably be a poofy little yorkie or something like that.

John: Dogs are too expensive; we can't afford them.

Chris: We can't afford them.

Aldis: We can't afford dogs.

Chris: We'll do a virtual dog.

Aldis: A virtual dog, yes.

John: That's sad.

Aldis: The little mechanical one with the batteries? Yeah.

Chris: Sure.

John: Now continuing the original conversation, so we knew we were working backwards towards an African kleptocrat, but how do you find a guy who’s like based in the states, so we’re not flying overseas, we’re not trying to fake a city you can't fake on our budget. And so that led us to the research and- did we find someone who was real, Chris?

Chris: Well, there's no similarities to persons living or dead. But, um-

John: We’d like to say for both legal reasons, and so we don't get shot in the face.

Chris: Yes, please.

John: Oh my god, this guy is real and he's horrible!

Chris: He's real, he's horrible. He's not a classical music fan, that was something we brought to it, to facilitate the story. But he is a very wealthy relative of an African kleptocrat who has a house here in the United States and in Paris and has a Bugatti and all the things you would imagine a kleptocrat would.

John: All the way down, actually, to the fact that the reason he does not fall under the- is not criminalized under some of the kleptocrat laws we have here in the States, with the same plot point we have in the show, which is he's been a friend in the war on terror.

Chris: Yes, yes that’s all true.

John: Which looks like he pretty much turns in political opponents.

Chris: Wow, we certainly don't want to say that he does that, but-

John: But oh come on.

Chris: And here we have-

John: Your name’s on the show, they're gonna kill you. I'm not too worried. 

[Laughter]

John: And here's Elisabetta Canalis, the loveliest Elisabetta Canalis.

Aldis: Aldis Hodge was never here, was never here. This actually is the second time we've seen her in the entire arc of this third season. So now the audience is getting another taste of exactly who she is, because she just left us off with blackmail, and now, you know, we're digging into her story. Of course at the end of the show, we get to see that she's not as fair game as she comes up to be.

Chris: Yeah, and we wanted to make her kind of you know sexy and mysterious, and I like this scene cause-

Aldis: Sexy what? Sexy?

Chris: Yeah well she-

John: Well there's no reason we just shoot her legs in every scene.

[Laughter]

Aldis: Exactly, there's no reason to put her in heels and closeups on the face, no! Not at all.

John: This was a nice bit that you came up with: the idea that kind of flirting, sexy, dangerous. And Nate Ford being smart enough to realize it’s a very bad idea.

Chris: I love this, this is one of my favorite flashes.

John: It's one of my favorite zooms, it's a hypothetical zoom, it's something we never usually do.

Chris: I like it because right here she looks so bored,

[Laughter]

Chris: There's something about the insouciance of it, of her.

John: Oh another guy being garotted in front of me.

Chris: Oh stop the tape.

John: It's another Thursday for me.

Chris: And he was- Tim was great at, you know, holding his throat like that.

John: Yeah the- well the sort of implication, again, is again, it’s tricky the team has been playing a lot without ever being taken down themselves. Tim has to carry a lot of the weight acting because he's the one who interacts with Elizabetta the most, to convey the threat she portrays to make sure you take her seriously. And nice diagrams on the glass boards. I always love the glass boards

Aldis: Provided by…?

John: Who drew on that one? I don't think I drew on that one, I wasn't there for that one. 

Aldis: Really?

John: No, that handwriting is too good that's not me. Usually- yeah, usually I spew the bullshit that goes up on the glass.

Chris: Now what's nice- 

Aldis: And it- oh, sorry, go ahead

Chris: Oh I was gonna say it’s a nice opportunity to get a little bit into Eliot's backstory which we, in the early scene in the bar, he alludes to the fact that knows about these- what goes on in these countries, these Chinese- these child soldiers. And you know I think here you can kinda see this whole- this whole particular case is really, you know, affecting him directly.

John: Yeah it's part of the over the course of the arc, kind of peeling back everybodys past this season. And we gave Eliot you know- we really wanted to sort of reset and remind people for the finale that Eliot, you know Eliot killed people. Eliot was not a good guy and is trying to be a better guy.

Aldis: What I had to say was nowhere near as intuitive as that, but the prior scene a lot of- a lot of times you'll see Sophie wearing that dog tag, it’s blank. It's like a name tag, but it's blank, and that's an ode to the fact that she hasn't given Nate her real name. And it kind plays throughout the entire season so for those of you have paid attention-

John: We actually used it, we actually- the audience doesn't know those dog tags are blank because she doesnt show the dog tags. But when she told us she was doing it we wrote- 

Aldis: Did I just give up a secret?

John: No, no, no it’s cool. What happened is: she wears them. And we were like, ‘What are those?’ And she told us dog tags are blank, it's a little private joke. So we wrote it into the show, that's why she gets the blank pendant in episode 13, cause we just thought that was really cool and that's something Gina came up with on her own.

Aldis: It's just gonna be a drinking game every time they spot the dog tags. 

John: Sure, there's already a lot of drinking games.

Aldis: There are.

John: There are a lot on the web, you go on there's a lot of drinking games.

Aldis: Every time we say ‘seriously’, drink! 

[Laughter]

Aldis: Not that we promote that here, no.

Chris: Not at all.

John: No, I don't do all of these with a beer in my hand.

Chris: No no drinking games.

Aldis: What is that you're drinking John, water?

John: It’s- yes, dark Irish water.

Aldis: Yes.

John: This was a nice again- we started splitting people up so we could- the coverage is a little easier. and it helped us remind- Third season we started taking a lot of the prep that was implied in act 0 of seasons 1 and 2 and moving it into act 1 and act 2 of this season. Where you see them doing the prep and putting together the plan on the fly as they get information.

Chris: Right.

John: Which both makes it more dynamic, and helps us with shooting.

Chris: Yeah, I mean this is a very plan-intensive episode, and you want to try and make the planning side interesting visually.

John: Yeah because there's so much pipe to lay in a believable way to get to that great fourth act. I mean you have to make sure the audience is utterly invested by that point.

Chris: I like this little bit with you guys right here.

Aldis: Me and Kane man, when we get together it's always a party.

Chris: But what's great about you guys is it's not always the bickering brothers, where you're yelling at each other that makes me laugh. It's just the little throwaway things of the two of you together.

Aldis: It's the little things that bring the sparkle to your eye, the little things.

[Laughter]

Chris: And they just the way we did this- 

Aldis: This was a funny sequence to shoot.

John: Yeah this was great. This was- what did we name the reporter?

Chris: Guy Hamilton which is an ode to Mel Gibson's character in The Year of Living Dangerously.

[Laughter]

Chris: For all you folks out there keeping score. By the way, I forgot yesterday when we did Gone Fishing Job that you are- your names when you went into the bank and were Brody and Quinn from Jaws.

John: Because you're gonna need a bigger boat.

Chris: This looks great, by the way!

Aldis: I'm pretty sure you need another drink for that.

Chris: Look at that, he's there!

John: I've seen far less convincing stuff on CNN.

[Laughter]

John: I'm fairly sure, yeah

Chris: And there's Giancarlo Esposito fantastic.

John: Friend of Tim, came in and did this for us. Really really great, flew in.

Aldis: His daughters’ actually in the orchestra, they- one plays violin the other plays viola.

John: Oh cool.

Aldis: Yeah, so he had a lot to discuss.

John: I love seeing the evil dude Skype list; I just realized we could see it on there. It’s like ‘Lefou is away. Where is Lefou?’

Chris: Pizza Hut? Why does he have Pizza Hut on Skype?

John: On Skype? That's weird. And who is that lurking behind him?

Chris: Oh lurking behind him is Nnamdi Asomugha who is an all pro cornerback for the Oakland Raiders. Arguably the best cornerback in the NFL.

Aldis: And you have your Raiders ball here, it's perfect.

Chris: And I have my Raiders ball here to prove it.

John: Now how did he wind up on the show?

Chris: Well, you know, like any famous Hollywood story, it started at a hockey game.

[Laughter]

Chris: My- we have a mutual agent, and he invited me to a hockey game and said, ‘This is my friend Nnamdi.’ And although I am a big sports fan, for some reason the best cornerback in the NFL eluded me and I just met him as a guy. And we were chatting and found out he was- he acted and I asked him at the time, his families from Nigeria and I- this was a year ago, and I said, ‘Can you do a good African accent?’ He said, ‘Oh definitely.’ I said, ‘Alright, well if we get a part for, you know a big guy, menacing guy with an African accent I'll call you’. And lo and behold, episode came up and he did a fantastic job.

John: I think his family is from Ethiopia, actually.

Chris: No, I think he’s Nigerian.

John: Nigerian? Oh ok. And here- this is her playing Christie Connelly again.

Chris: Yes, yes.

John: Yes, this is why we started bringing back the- as we realized that they are gonna be roles that the- it also sort of came up as we did our research that con artists tend to settle into certain roles that they've done background on, and also that they've established the credentials to. We mention later actually on another episode that she's like, ‘I got seven years worth of work on this identity’, so she's doing a similar gig, so why not use the same name?

Chris: And let's be honest it's also our nod to James Garner, who was Jimmy Joe Meeker in multiple episodes of the Rockford Files.

John: Yes exactly, also she gets to use her native accent in this.

Chris: Yeah, that’s right!

John: Cause Gina is from New Zealand, not England. Most people- she grew up in England but she was born in New Zealand, and was a child in New Zealand, so she gets to use her kiwi accent here. Very kicky little gold chain going on there.

Chris: And I love this, this is a great kind of subtle sales pitch that she just sells so well.

John: Yeah. And again this is one of those great things in the show, not blowing smoke up our own skirts, but the fun of having great actors is you con, con, con, and then you park it on these little two-person scenes and it's fun, you know, it actually plays.

Chris: And here's- you know I like the idea that we've kind of developed with Hardison’s character that, you know, he's chafing a little bit around the crew, and, kind of, as the youngest member of the crew, kind of like, sees that he’d like to run his own crew someday and kind of expressing that here. I mean how did you approach this Aldis? Was that something that you kinda thought of for the character?

Aldis: I approached it, I stretched, I, uh, did a couple push ups.

John: Well we get a lot of emails from him ‘I should be the lead of the show,’ so it's a similar thing.

[Laughter]

Chris: But I know we had discussions about it not being a typical father/son kind of vibe. Right?

Aldis: Right, right, right. This is- this entire situation was newly presented to me in the script. That's when I found out that I was  like, ‘OK, Hardison wants to step up.’ But I think that- I mean, it's a great premise and he is the youngest, so he has the most to learn because he hasn't figured out all of his bad habits just yet. 

Chris: Right.

Aldis: And so he can sit back, watch his team, watch how they work, watch the mistakes they make, and then ten season later, hint hint, audience, hint hint-

Chris: Ten seasons when you'll be all of 35.

[Laughter]

Aldis: Exactly.

John: Then you'll be ready to lead the crew. 

Aldis: Exactly.

John: Yeah no it's- we really played around with it. It's not father/son it's sort of- it’s really Paper Chase but for crime.

Chris: Yes, yes, very much, I think that's a great way of putting it. And I love, here, too, if I can blow some more smoke up you, that, you know, we play big characters in these cons that are, like, larger than life. I mean, I think, you know, the Ice Man Job character comes to mind-

Aldis: [Mimicking the accent he did] The Ice Man Job.

Chris: When you play a kind of a small reserved guy, all inside, it's such a nice change, and it’s like it adds a vulnerability to these con characters that I think is great.

Aldis: He's very not- he wasn't a meek character, but he's very, very humble.

Chris: Humble that's better.

Aldis: He came from a hard life, he knew how to appreciate what was there, he knows how to prioritize, you know, to put everything else before his own needs. And that's kinda where I felt this character was coming from. He couldn't be too big or else, you know, with all of the skills, his grandeur, he would have done something with that by now; he's a cab driver, so he's gotta be quiet about something.

John: And the- also, this was the first time I think we put- we had talked about the different skills, as you go into every season you talk about like, ‘How do we make sure we focus on the characters? How do we make sure nobody blends in the background?’ And one of the things is reminding everyone- and we did this really in the Jailbreak and especially in this one to set it up, Parker is great at three dimensional heists. Parker rotates objects in three dimensional space. So she's Nate's partner here; he might be able to cook up plans, but she's the one telling him the parameters of those plans with the physical heists. 

Aldis: Right.

John: No one is better than her at physical insertion, and that's one of the things we kinda hammered during this season. 

Aldis: I think our skills- I mean we’re all necessary to one another, but our skills kinda levy a system of checks and balances-

John: Yeah.

Aldis: The way the government should do it. But we can do one thing and take it only so far and then pass it off, then the next team member polishes it up and takes you to the very next level. 

John: What- Chris why don't you talk about how we structured the heist?

Chris: Well you know the- back when we were trying to break the story the initial idea behind it was that there would be two levels of tension in the big act, in the big heist. There would be part of the team breaking in to steal the object, and there would be Hardison on stage sweating out having to play this impossible solo in front of people. And the problem that I was running  into was: why did these two things have to happen at the same time? Why now? Why can't they be breaking in on a Wednesday, you know, when Hardison's not scheduled to play this. And John, you said- thought about it for a minute, and you said, ‘Well obviously it's the only time that they can do the heist is when there’s- when the orchestra is playing because that's when they have to turn off the motion detectors.’

Aldis: Because John has stolen from an orchestra before, when they-

[Laughter]

Aldis: He speaks from personal experience.

Chris: And I took a minute and I said, ‘I could kiss you on the mouth.’

[Laughter]

John: That was one of those ‘what's in the Arclight’ days? I contributed almost nothing else to this episode. I was busy off doing the season opener. We were banging these out before the rest of the staff- and I came up with that bit and I'm like, ‘You're gold, go have fun, I’m out.’ I got that, and then we basically- knowing the motion detectors couldn't be beaten and played us back into the other security measures, and created this impossible vault. And that was also fun, we started for the first time throwing stuff at the team where it's like, ‘yeah there's some stuff you just can't beat,’ you know, that you have to go sideways. 

Aldis: I’d like to note here that I'm wearing every possible shade of gray that there is known to man.

[Laughter]

John: Why is that? Is that an emotional choice? Is that about his ambivalence about his role in the con? Or is that-?

Aldis: I have no idea

John: Always say- you know what? Do the thing I just did with him, start with ‘obviously’ it's a good way- when you wanna throw up an enormous amount of bullshit just start with ‘Obviously.’

Aldis: Obviously!

John: And then just, people buy it.

Aldis: What we wanted to do was confuse the audience.

John: Oh Scheherezade, exactly how'd you choose Scheherezade?

Chris: Well we needed- we needed a piece that was public domain, as a practical matter, because we have budget constraints in this show. And that ended on a violin solo. And it was- I forgot what the other candidates were, but my wife, I have to give her credit at least a little, fantastic violinist, picked Scheherezade and said, ‘You gotta listen to this.’ And I listened to the last 7 minutes because I knew we needed it to kind of roll out in real time over the course of the heist. And the solo just kinda like dropped me, I thought, ‘Oh my god, this is gonna be fantastic.’ And then when I did a little research on Scheherezade’s story, how she was the wife of a- in the story of the Arabian Nights he killed- every night he married a different wife, and killed them the next morning. And then Scheherezade walked in and figured she'd be finished, but every night she told him a story, and the story kept him on- you know, on the edge of his seat, she never told him the ending and finally after 1001 nights he married her. So I said OK, that’s the first grifter in history’. And that just kinda fit in thematically with the whole episode, and that's when we knew we had to use that piece.

John: And our music guy Joe Deluca putting a lovely little sort of spin, sort of- 

Chris: Yeah he had a very nice-

John: -Arabian Nights spin on the score there. Now, you play violin. What did you think when we dropped Scheherezade on your lap?

Aldis: Well I was screaming inside, running for my life.

[Laughter]

Aldis: Jesus I've only been playing just for- not even five years, and when I took the music to my music teacher, she like- lord have mercy, she had a heart attack. She was like- she had been playing professionally for 20 years before she tackled Scheherezade. My other teacher had been playing, also, I believe between 20 and 30 years before she tackled Scheherezade so I had no confidence whatsoever. No, kidding, obviously I was very impressed with the piece. It's a beautiful piece. I love the song and I was actually very open to the challenge. I just wanted to make sure I did it well enough to do the song some justice. Now shooting these scenes being surrounded by actual musicians was awe-inspiring and-

John: Really? You really? Oh.

Aldis: Man, it was terrifying.

Chris: Yeah where did this rank among the scarier things you've done on the show? Where would you put this?

Aldis: This is the top right here.

Chris: This is the top right here.

John: So not running on top of a moving train.

[Laughter]

Aldis: Not at all man.

John: Really? That was fine, but this? This was terrifying.

Aldis: I'm a nut man, I'm a nut. I can do that because-

John: I can tell you as your executive producer with an insurance policy on you, you can do this whenever you want, don't do the train again.

Aldis: I shan't! I shall not.

Chris: And this actor, Michael Winther, fantastic New York stage actor who came in and did an amazing job. It was originally written I think he was Spanish and then I asked Michael-

John: Well you were kinda basing it on Dudamel.

Chris: Exactly it was based on Gustavo Dudamel who was the Venezuelan, kind of, rockstar conductor of the LA Philharmonic.

Aldis: Oh yeah.

Chris: Yeah, and Michael said that he could do German and I thought well there's nothing more intimidating than someone talking to you with a German accent.

Aldis: German accent, yeah.

John: Really?

Chris: And he was just great.

John: Even if it's like ‘I would like some hugs now,’ still it's creepy, it's not- yeah.

[Laughter]

John: Apologies, and now the angry letters from people with a German accent will be coming in.

Aldis: Exactly, you'll be getting a letter from the government.

John: A nice stall, you can't get it too far. And, you know, this again is kinda focusing on how everyone does things. Parker needs paper. Parker needs plans. Parker needs drawings. This is how she thinks. She was trained by an old school thief, and it's cool cause we're kinda hinting at the thing you're gonna find out in episode 5, like how she was trained, you know, trained by an old school thief, she thinks like an old school thief.

Aldis: Yeah

John: And then we do the fun- and this is, when you're constructing something based on a high concept, the fun of it was we have an impossible heist, stuff rolls back from that. Okay if it's impossible, that means we have to see the planning, we have to see the surveillance, we have to see the surveillance to establish to the audience the rules of the heist. 

Chris: Right.

John: Cause you had already said, and I will say the first thing you said to me was ‘I wanna do a heist where there's no words.’

Chris: Yes.

John: And I said ‘You're out of your mind and it's unshootable’. I actually utterly dismissed you, and then you came back like, ‘We do it this way.’ And I was like, ‘Alright, that’s slightly less insane.’ But that required the rest of the episode to do an enormous amount of work.

Chris: Yeah, you need to know- once you got to the heist, you need to know exactly what people were doing and why, without any dialogue. And so- and that kinda required that the heist needed to be fairly simple.

John: Yes.

Chris: So, you know, that kinda was a little bit liberating for me, cause once I realized, OK, I drew this corridor, you know, we had to get past this keypad, and then there was a room, we had to blow a hole in the floor, it was like from a to b to c, as long as I made it fairly simple and easy to remember in the planning stages, we could carry it out. 

John: And this is also one of the great things about physical production. You actually flew up and scouted this, right? 

Chris: Yeah, we did.

John: You adjusted the heist based around the physical location.

Chris: Yeah well, we built this hallway here-

John: Is that a build? I thought it was a-

Chris: This is the hardest working hallway in show business.

John: I thought it was the hallway on the other side of the concert hall?

Chris: No, no.

Aldis: No, me and Chrisitan built it ourselves.

John: Oh that's where Elizabetta was. That's right, there you go. 

Chris: That’s right.

John: Yeah, now we're establishing the rules, and a little hint there that Nnamdi is not your ordinary thug. 

Chris: Yeah.

Aldis: Yes.

John: Yeah, just that little wince. 

Chris: And here, again, you know, it was we had plans in front of Tim that he could actually trace the line and that's exactly where you were going. Those are the plans of the set. 

John: Those are the plans for the set?

Chris: Yeah. 

Aldis: Yeah!

John: That’s great!

Chris: I mean that showed him, he could draw- I showed him here's where you draw the hole, that’s where it’s gonna be.

John: Yeah and big props to Bekka Melino and everybody in production design this year. That vault looked gorgeous. 

Chris: Yeah, it did.

John: Everything looked gorgeous, you know, set dec.

Chris: I have to give her credit for something else in that too. In the original script, the locker numbers in the vault were numbered; they were just numbered. And she called me up and said, ‘What do you think if we made like some kind of symbol or something for them, and maybe like musical terms?’ And I said, ‘That's fantastic.’ And it kinda helped build the character of Moto as someone who is just, you know, obsessed with music.

Aldis: Appreciates music.

John: Yeah. 

Chris: And here's where-

Aldis: This is a tough thing, a tough deal for me. Not me personally, but for Hardison because of the fact that- I mean, this is a big deal trying to walk away from a mission with such reasonable cause. 

Chris: Right.

Aldis: Only because of the fact that he's afraid, it's not because his life is endangered, it's simply because he's afraid. 

Chris: Did you feel like that was- I mean, but performing without being prepared is like the, sort of, go to nightmare that people have, right?

John: Only if you were pantless could this be worse.

Aldis: Exactly, it's also the fact that if he performs poorly he could mess up the entire heist.

Chris: Yes

Aldis: But he was more afraid of himself performing badly then messing up the heist. And-

John: It's an interesting look into the character, because he's a perfectionist and he tends to- he’s tended to take the path he has in life because he's been able to be good at it.

Aldis: Yes.

Chris: Right.

John: You know, it's always interesting once you're past school and once you're an adult when you try to do things, you try to learn a new skill once you're out of your teens, and you realize ‘Oh, this is very hard.‘

Aldis: Yeah it's like learning violin.

John: Yeah exactly.

Aldis: As an adult, as I am doing now.

John: Really hard. But no, you just couldn't drop Scheherezade on you.

Chris: Here's a great-

John: This is a great shot actually, because we actually never shot this. This was footage of them actually getting into place.

Chris: Yes.

John: From the dailies that we had when we rolled the camera on. And that we wound up assembling together into a shot and then digitally placing the conductor into the middle of it.

Chris: Oh yeah, when we get to the later shot of the conductor there, that was- that’s totally digital. This the- orchestra is Marshall Tuttle is the conductor of the orchestra, it’s a local Portland community college orchestra. And they, you know, I have to give a lot of props to them because they got the music and they had to mock play the piece, but that meant they had to prepare for it, they had to know. 

Aldis: Yeah I actually learned from them that day the rest of the piece. I mean all I knew up to that point was the solo. Until they said- and I knew bits and pieces of the other music until they said, ‘Hey, so we actually wanna shoot you playing the, you know, the bit before stuff.’ I’m like, ‘Right now, guys?’ 

John: Oh yes, a surprise by the way.

Aldis: Surprise! 

John: This quick thing, they're gonna pop the camera on you there as you do this thing you just learned how to do.

Aldis: So I was just watching my fellow musicians around me as we shot, I was just watching their fingers and going off of them but hopefully you can’t tell.

John: That's a great little shake, that head shake like, ‘No, let's not get too heavily invested’.

Aldis: That was a real head shake that was ‘I do not wanna shoot this scene right now.’

[Laughter]

John: Could we please stop?

Aldis: None of the trepidation in this is faked, it’s real fear people. Real fear. 

[Laughter]

Aldis: I dreaded this more than anything.

Chris: So there was less acting in this than typical episodes because you actually had fear.

Aldis: The fear yes, no acting at all, man, it was not hard to be afraid. At all. Whatsoever.

John: And here's Elizabetta, and it was interesting- I will be totally honest we knew we needed stuff for the finale-

Chris: Yeah.

John: And no idea what we needed it to be yet.

Chris: Right and right. And also to a certain degree, you know, when you have a MacGuffin, you know an item I want you to get, and you struggle as to what it could be, and we did struggle, we argued what is- what's in the envelope? And ultimately it's pretty cool when you don't know what it is.

John: Yeah it's point blank. It’s- yeah.

Chris: And you know we don't want to give anything away, but it did help us in the finale.

John: Yeah, well they've seen it by now, in theory. 

Chris: Oh, okay.

John: Usually they watch all the way through and then do the commentaries.

Chris: That’s fine then. So that's fine, I'm not a spoiler.

Aldis: So what was in the envelope, fellows?

John: In the envelope is the evidence that the Italian needs because she's part of the shadowy international intelligence organization that launders money through Moto’s blood diamond accounts.

Chris: Yes.

John: And yeah that's actually- if you do a lot of research in money laundering, we did a lot of money laundering this year. 

Aldis: Yes we did.

John: You find out that a lot of sort of black ops stuff, and a lot of the governments- there's a reason it's still around. You know governments find it useful, you know, and certain parts of governments find money laundering, international money laundering useful.

Chris: And here we go now we start- we start the clock and the dialogue is about to end pretty quickly.

John: Yeah I think we did like two touches, two clarifying things once we test screened it.

Chris: Yeah.

Aldis: We did an entire fourth act with just pure music.

Chris: Yeah, this is it here, we go.

John: Yeah this is it. Nnamdi did a great job in this, by the way, I want to say, because he's acting without dialogue and that's hard, you know, for a young actor. 

Aldis: It’s like stare at this paper bag and make it interesting.

John: Yeah, exactly.

Chris: And I have to give Brian Gonosey here, our editor, a lot of credit here, too, because this was like editing a music video, because this was- we had to kinda time this stuff to the music, and this was, you know, this- in listening to the piece, you know, in my mind I had punching in numbers for this part, cause I could hear it in my head, and-

Aldis: Now this-

Chris: And now- oh.

Aldis: No, I’m sorry, go ahead.

Chris: Well this is just when you have an all pro quarterback from the NFL on your show, and you have Christian Kane who is a gigantic football fan, you're gonna have him knock him down in full run.

Aldis: Now Christian really took that hit.

Chris: He sure did folks.

John: He hit that wall hard, baby!

Aldis: This man is paid to hit people.

[Laughter]

John: Beth took this hit too.

Aldis: Yeah.

Chris: She did take that hit.

Aldis: She took it like a trooper.

John: Wait where'd- Chris played football for a while, what was he, tailback? What was Chris?

Chris: Well I know, back in high school, yeah.

Aldis: He played in it, and he wrestled, too. Nnamdi is a big guy.

John: Nnamdi is a big guy.

Aldis: He's like 6’ 4” something, 6’ 6”?

Chris: And he wanted to do all his own stunts and we were like, ‘Please, we do not want Al Davis on our ass.’

[Laughter]

John: ‘I'm sorry, did you hurt the greatest quarterback in the NFL in your little pretend show this weekend?’

Chris: He's like, ‘You know what the stunt mans doing? I can do that!’ And we said, ‘We know! Please don’t!’

Aldis: Now the NFL owns Leverage.

John: We’d have a bigger budget, that'd be alright. 

[Laughter]

John: And then now down through the floor, this was fun playing around with- thank you Mythbusters, playing around with directional blowouts, and thermite and all the other sort of how to- oh that's a- and Nnamdi won't go down. 

Chris: No, he won’t.

John: We were- this- he’s the thug who ate his Wheaties.

Aldis: I think that's a great part about this entire sequence and just the character in general is: cause he finally- somebody gave Eliot a challenge, a real challenge you know. It was kinda like the season finale for the first season.

John: But that guy had technique, you know, that was the thing. What Eliot is facing right now is another dude who kills people professionally.

Aldis: Yeah.

John: You know, and just with power. It's also fun cause it’s- all Eliot/Parker scenes are inherently fun.

Chris: And here, and this was all built around the music. We knew this was gonna- we were gonna build to- there's a giant gong hit here and that was gonna be- that was the whole thing was timed to the explosion and now one of the words ‘boom’.

Aldis: We really blew a hole in a floor and let Nnamdi fall through? He was a trooper, he took it?

John: Yes, please don’t tell the Raiders.

Chris: Please don't tell Al Davis.

Aldis: I'm kidding, guys. Kinda.

John: This was actually shot later, we actually rebuilt the ceiling and then dropped it in later.

Chris: Yeah, it’s great.

John: They did a great job because they- it was like ‘We need you to build that ceiling that we built a couple episodes, but put a hole in it.’ Like, ‘Alright.’ Yeah. And Nate being in the middle of it unexpectedly is a wonderful development.

Chris: Even this, all this all the editing was just timed perfectly to the music as he pulls, Walle is his character, pulls into the corner. And here it is.

John: That's a nice beat, actually, was Sophie- that's a nice choice by Gina, Sophie being totally confident because she knows, she's already in on the hypnosis thing. So she's already ahead of it, and what that was meant to be encouraging. 

Chris: Now here it is. 

Aldis: [Humming the song]

Chris: And, you know, I have to say my wife, violinist, gives you huge props here for your fingering and your bow work.

Aldis: Thank you. You do realize this song haunted me as I was practicing and preparing for it? It literally was playing in my head when no other sound was on in the room. I painted a picture called The Scheherazade. I painted the notes themselves because I had to get it outta my head. It was-

Chris: That’s great.

John: Where's the painting?

Aldis: It’s still back in Portland waiting for me to get back to it.

John: Nice.

Chris: Now what kind of response did you get from people when this aired?

Aldis: A lot of musicians actually said I did a good job, which I was proud about. I was- I was more concerned about how musicians would take it. Because they know what to look for, and as I watched I was like, ‘Alright,’ you know, cringing, but a lot of them they really, really dug it.

John: Well you always see the flaws in your performance, you know.

Aldis: Yeah of course because I’m looking for it, as the actor. By the way, this scene when Beth has the tear, that wasn't a tear she just had allergies, but played to her strengths and- right there the yeah.

John: It's just the smoke and stuff, the allergies.

Aldis: Very dusty, you know, we just kept it, we kept it. I’m kidding Beth’s a great actress, she did that on her own.

Chris: She’s fantastic. She did that, I mean, that's pretty amazing. 

Aldis: Yeah was that her choice there?

Chris: Yeah.

John: Yeah, that wasn’t in the script.

Chris: And we didn't have a lot of time for that, too, we were really running out of time for that scene and they, boy were they great reacting to it.

Aldis: The boy did it! Uh!

[Laughter]

Aldis: Y'all know what this is! Sexual chocolate!

John: We’re gonna have to make t-shirts now, I hope.

Aldis: We are gonna have to make t-shirts.

Chris: Now in the original script, you got a girl's phone number; we had to cut it for time but there was.

John: Sexy violinists.

Aldis: It's alright, Hardison gets numbers.

Chris: You know, Hardison, we've been trying to hook you up and I'm sorry we ran out of time.

John: Well, you know that's alright, there's- I don't think the fans would like the girl.

Aldis: I think if I ever got hooked up, fans would just murder Hardison because-

John: They would not be happy.

Aldis: They're waiting on Parker.

John: Well also, you know, and what's interesting is: you've kind of changed looks since the first season. You were a very skinny kid when you came in that first season. You turned 21 the night we hired you.

Aldis: Yeah 21, I'm 24 now.

John: Yeah, you put a little man weight on you now.

Aldis: Man weight, shaved the whiskers a little bit, try to give you a little something different each year. Next year I'm gonna come in about 250 pounds.

John: Nice, maybe with a cane cause you can't quite walk, you got the gout.

Aldis: Cankles baby.

John: Rock the gout. This is brutal- just looking for the rematch.

Chris: I love the look.

John: Every time I see this, I try to figure out a way to bring that character back.

Chris: Can we bring him back?

John: Seriously man, that look as he rolls forward is like, I want that rematch.

Chris: You know he makes more money than everyone in- you know, I mean he's- he’ll fly out on a private jet and come do it.

John: Just I gotta figure out something. And then I remember cause it was great, cause- I was actually out of town and then you shot this, and I didn’t see anything until I saw the first cut of this. I didn't see any dailies and so I saw the first cut of this and when he rolled forward that time I'm like ‘Oh! No wait, I know there's no rematch’ but-

Aldis: Yeah.

John: It’s- it was fun it was being able to watch this episode as a fan was a big treat.

Chris: Yeah, and here it was trying to pay off the Scheherezade story by having Nate make up something on the fly.

John: Yeah, it's the- thematically it yeah it starts with a con, it has a heist in the middle, and ends with a con.

Chris: Ends with a con.

Aldis: Yeah.

John: And you just the balls- the sheer stones it takes, ‘I have no idea what's in this.’

Chris: Yeah, right?

John: Just absolute sheer stones. To just bet on a sealed deck. We actually talked about that, we had played around with poker episodes and just what kind of- we talked at length- and it's one of those things that will never wind up in the show but we wind up talking in the room, what kind of gambler Nate is. And Nate is a guy who will bet on whole cards he hasn't seen.

Chris: Right, yes.

John: Yeah which is not necessarily the smartest thing in the world, but that’s that guy.

Aldis: He's the kind of guy who loses all his money first at the table, but eventually gains a couple chips back.

John: Yeah, yeah. Or manages to just be luckier than smarter, but smart enough to know he's lucky.

Chris: And I have to say Marcel Davis here played Simian Moto the president, and did an amazing job. I mean he's a local Portland actor. 

John: Yeah, really- Portland. Never disappoints, Portland is a great place with great actors.

Chris: Now you can kinda see Gina slipping in there. It was- I know we had a couple of comments.

John: We had ten people on that set!

Chris: It was hard.

John: She's that black shape that kinda moves in with the secret service.

Aldis: I just saw her slip in there, keep your eyes open.

Chris: Keep your eyes open folks. She had- apparently she had a great time assembling this gun.

John: She was kinda rocking out the Helen Mirren in RED there.

Chris: She was.

John: She was really kinda- that was hot. She did- I watched the dailies on that like eight times, come on, she's very good at this. And the gloat, the drag out, the gloat.

Chris: The gloat and the drag away.

John: Very nice and the president. Oh Nnamdi wants to go! Let them go! Let them fight! That drinking game for Enter the Dragon. It’s like every time.

Chris: There we go, another time we’ll bring him back.

Aldis: Let's just send this out to all the Oakland raiders fans and see if they put in a vote, do you want Nnamdi back?

Chris: Do you wanna see Nnamdi back, please?

Aldis: Let's see what happens.

John: Promised by the DVD. Yeah. 

Aldis: I feel it'll be promising.

John: And this was a nice set up, and again it was interesting because she had such the upper hand in the first episode, this is the one where Chris really kinda reset that, yeah, Nate Ford is not a patsy. 

Chris: Yeah.

John: You know he is- there's a reason they’re using him. He's a dangerous guy, and he's become more of a dangerous guy this year because he's acknowledged who he is. Last year this would've played out differently.

Chris: Yeah, no it was- you know, the sequence was flirty, dangerous, a little bit of banter then she puts the screws to him and then he puts the screws to her here.

John: Yeah cause he knows. He knows, he dealt with these types of people, you know, he's not ignorant of exactly how big a game he's playing in right now. Great, great shot. She- this is a 1960s shot, that shot right there, I really love this. And she's got a very classic late 60s look and that was interesting because we used it- we actually called the character the Italian as shorthand because it was an archetype from the 60s, and then when she came on the show we were trying to come up with a name it's like, we're not gonna beat The Italian. 

Chris: No no, it’s the best.

John: Just keep it there. And it kinda kept her in the headspace, when we wrote the scripts it kept her in that zone.

Aldis: And when she happened to actually be Italian!

John: We started with that, that was the-

Aldis: Ahhh, ohhh, ahhhh!

John: Did we not explain that to you?

Aldis: Ahhhh!

John: We just happened to get Elisabetta. Yeah, there you go.

Aldis: There go- ahhh!

Chris: And this is a nice kind of close out to, you know we sort of set up earlier that Eliot has some regrets of things that he may have done back when he was a soldier. Things he saw in Africa. And I thought Tim had a nice ad lib here, cause he kinda indicated that it was Eliot's idea to provide money for kids in the community based on them selling the violin.

John: And that's- and yeah it was another thing, too, as we moved into the third season of, why are these people still together. You know the second year they had realized they were family but were not emotionally evolved enough to explain, to acknowledge that. Third year where they are together and you begin to see- you know Hardison sees this as his crime college. And he loves these people, but this is his crime college. You know, Eliot is beginning to see the path to his redemption. You know, Nate is the acknowledgement of his identity. Parker is becoming a human being. You know, everyone has their reason they're there. You know, Sophie's reason to be there is basically, she had come back to run the crew while Nate was in prison. And to be acknowledged as the co-lead. This is a great scene. By the way, you play this wonderfully, this is a big turn here.

Chris: Yeah.

Aldis: Thanks.

Chris: It was- you know this was a tricky reveal here because- and I'll say that on the hypnosis front I consulted with a hypnotist-

[Laughter]

Chris: This is not just me making stuff up out of thin air.

John: I'm the one to make stuff up out of thin air, Chris actually researches shit.

Chris: And in fact, the hypnotist said to me that if somebody had a- was extremely proficient in something at an early age, whether it was athletics or music, that he could put someone in a deep trance state and return them to their ability, that their life experience is kinda what's gotten in the way of their ability, that it's all up there in their head. And that's all that we’re saying here, we’re not saying that he made you- Nate made Hardison able to play, Hardison always knew how to play, it was just cleaning out the cobwebs to get you back.

Aldis: Right.

John: Also Sophie's- Gina's playing that complicitness in a really nice way, which is she went with it, she didn't like it, and she doesn't necessarily like what Nate’s become. Also fun, you had really focused on this is, during the research, the idea that prison is a bad idea for most criminals. Most criminals just go in and become better criminals. It's- they call it crime college, you know, and what tricks had Nate picked up while he was inside.

Chris: And look ultimately that the one of the things that makes Nate able to run this crew from- is that he's not a nice guy. And that he will push any button to get whatever he wants done. And that makes him, I think, a better leader, and a more interesting character than if he's just you know got your back every time you're in trouble.

John: We cannot say this enough: Nate Ford is not a nice man. 

Chris: Yeah.

Aldis: Right.

John: But that's what's required in the world that we set up in this show. And that's Scheherezade Job! Amazing job, both of you. I really wanna say this, I came to this as a viewer and this is one of my favorite episodes of the season, and of the entire run.

Aldis: It's one of my favorites.

John: I told the first time I watched this, I told Chris I wish my name was on it. I wish that I had the ‘Written by’ credit.

Chris: And you, you know I made a little comment to you back in season one, and boy did you make me happy.

Aldis: It happened. 

John: It’s great.

Aldis: Well thank you man I enjoyed it. The script was one of my best scripts, one of my favorite scripts from the entire three seasons, so.

John: Thanks man.

Chris: Thanks.

John: Alright stay tuned more coming up.

Aldis: Peace.

[butwhyduh]

I just. Love Jason so much. Even the titans adaption who doesn't know who Machiavelli was, but slept in the catwalks above his school auditorium and watched plays and musicals go on under him. I feel like people really forget that he had ever been anything other than the Red Hood or someone who was replaced. Even in the comics, he wanted to do what was he thought was right. Even when his mother betrayed him, he still tried to save her. Not to mention the ending of "The Diplomat's Son" (which, by the way, I'd love to hear your thoughts on. Do you think he pushed Felipe Garzonas or not?)

Curran Walters' performance as Jason Todd is very good, I'll stand by it. I know it's unlikely, but I kinda want his Jason to get the white streak. I know it's not a canon thing, but I really like it. What I wouldn't kill to see what that first year as Robin before he joined up with Dick was like. I feel like we barely get a good feel for his dynamic with Bruce, which I'm super curious about considering what we saw of Dick's relationship with the Bat. That's another thing I hope we'll get out of season 3, since it's Gotham time.

I totally agree with your opinions on Garth and Bruce. I know we didn't get much of Garth in the first place, but that's more of a reason to go all out on making him look more like the comics. I'm not sure if they wanted to have more of a contrast between him and Donna visually or what? As far as Bruce goes, he just seems really old to be playing the variety of Batman we've been seeing in the show. Iain Glen is 60, and his acting isn't bad, but he just doesn't feel like Bruce Wayne. This is mostly just me rambling and also being very interested in your thoughts (as well as your writing ❤️)

- 💌💋

Ramble with me!!! I ramble on comics everyday lmao

So tw for suicide and domestic abuse in this paragraph and the pictures right beneath it. Okay so the whole thing about the Diplomat’s son is that he was basically abusive to a woman and batman and Robin (Jason) find out. They go back to find her hanging and dead from suicide. Jason gets mad and runs off without batman to confront the man who either falls, jumps, or was pushed off a high balcony. But the end result is that he died and Jason didn’t save him, maybe even kills him. I personally think that Jason scared him off. I don’t think he killed him purposefully. I also think it’s cheap that post red hood writers want to act like it’s an important sign that he’s a future killer. It is interesting that he didn’t save the guy with one of his tools or ropes but I don’t think Jason Todd was capable of murder before he died. That’s part of why if was so tragic is that he was a kind hood hearted Robin turned into a murderer. Not that he was doomed and corrupt from the start.

And this picture just shows his passionate he was for protecting women in general.

I do think Curren Walters does a good job playing Jason/Robin too. Give us a little bit more of innocent naive robin so that the impact of his death is greater would certainly be nice. I hope they really go all out on things in Gotham so that next season they can go somewhere else with the Titans.

I’ve always had mixed feelings in the streak in Jason’s hair. On one hand it’s a little anime main character but on the other hand it finally gives me more info to tell which bat is which because in the comics it gets hard with multiple black haired blue eyed white guys wearing black.

I’m worried about Tim drake in titans tbh. I like the actor choice and everything but please don’t make him poor and angry and other racist stereotypes. He’s rich in canon and poc can be rich. It’s literally important to his backstory that he was a neglected rich kid.

I actually liked the character they called Garth even tho he wasn’t Garth from comics. Like as an original character, he was cute and I liked the thing with Donna even tho, from the comics, that’s mad confusing but whatever.

And yeah, I’ll have to get used to the Bruce Wayne. His hallucination dancing was pretty funny.

[me4ml]

Why don't you like Maribat? Why do you think it's a spite or salt ship?

This is presumably because of my Adrigaminette post or the whole Maribat being on the ship list thing.

Quick disclaimer: if you read/ship/write/like Maribat, cool! This is not an attack. This is me answering why I, personally, do not like it. It’s tagged anti, and salt, so it should be filtered. Please don’t harass me over it.

Another note before we start: a lot of what I’m about to write is based on what I’ve read, fic wise or meta, and I blocked off the Maribat tag and fandom a long time ago. It may have changed over there-I doubt it, and I have zero desire to go and look-but this is based on what I’ve seen and read about.

There are, principally, three reasons I can’t stand Maribat, why I think it’s a spite/salt ship.

1). I don’t like Damian Wayne.

2). I don’t like how Damian and the DCU are written in Maribat.

3). Maribat is a mutated salt fic.

If you want to see my reasons why, the rest is under the read more.

1). I don’t like Damian Wayne.

Damian’s not just my least favorite Robin, ranking behind any of the others who have born the name. He’s my least favorite Batfam sidekick overall.

Part of this is his introduction, where he’s a violent, murderous, arrogant, entitled, snotty little brat of a thug. Lest we forget, one of his first acts is to go out, kill a guy, cut off his head, stuff a grenade into the decapitated head’s mouth, and try to blow up Tim. This is his introduction! There are a number of other occasions, including how he treats Jon, his best friend, and the rest of his siblings.

Another part is that he believes that he deserves to be Robin simply because he’s Bruce’s son, and therefore has the blood right to be Robin, to become Batman, and damn anyone else, who are all pretenders. Doesn’t matter that those characters might have a right to become Robin, or the future Batman, he’s the bio son, he deserves it!

Additionally, Damian feels.....not unnecessary, but repetitive, in his actions/characterization. There are other characters who can perform pretty much the same way for whatever storyline is necessary, without including Damian.

Trained by an abusive family to be the best, as an assassin and warrior? Cassandra.

A killer who breaks the main rule of his mentor, which causes tension and strain in the family? Jason.

Incredibly intelligent and talented? Tim.

Damian isn’t unique in what he does, and while that can make him an interesting character, it can also make the focus on him unnecessary.

As well, so much of Damian’s actions and motivations feels like he gets away with stuff, in-universe, because he’s Bruce’s biological son, and so Bruce gives him too much slack, and out-universe, because the writers let him/the fans will defend him. He gets woobified, or leather pantsed. Which leads to:

2). I don’t like how Damian and the DCU are written for Maribat.

For all his (numerous) faults, when written well, Damian can be an interesting character. For example: How does he deal with being deeply insecure? By putting on a mask of arrogance and overconfidence.

Some more examples: How does Damian act like an actual child, when he’s never had a childhood? How can he be a hero, if he’s been trained to be a killer? Can he ever catch up to his siblings, or will he feel like they’re always better than him?

Damian’s sense of being Batman’s son, of being the heir to the Cowl, slams right up against the idea of the Batfam: that there are people who have just as much of a right to call Batman their father/father figure, people who are just as talented and skilled and capable as Damian himself is, if not more. Watching Damian develop, when he’s written right, is actually enjoyable; mainly because when it’s done right, it shows Damian actually progressing and growing, becoming more of a person, with friends and interests. Most times, seeing Damian with his pets can be adorable, same with when he hangs out with Jon.

Is he still a brat? Still sometimes a bit too much of a Demon, an al-Ghul? Yes, but that’s always going to be part of him, and as long as he’s shown to try and grow, or gets called out on that, it’s less of an issue (There’s a completely different rant to be written about how DC likes to chuck character development or backstory into the trash when it suits them for a new run. Damian gets hit with this, as does Tim, or they get handed the idiot/conflict ball, but not the space for it).

Maribat hurls this all out the window. Damian’s bad traits are all “fixed” offscreen-he’s developed, matured, gotten better, whatever you want to call it. It’s basically a writer’s hand wave to make Damian into the character who will be the lead of the story, perfectly suited for his main role of being Marinette’s boyfriend and utterly devoted to her every whim and will. He’s enchanted by her at first glimpse, and defends her against everyone who hates her, because no one can understand her like he can!

Uh, what? This is not Damian Wayne. Even at his best, he’s no broody boy, pulled from his “dark path” by the love of a gentle girl. He’s a Jerk with a Heart of Gold-emphasis on the Jerk. There’s a reason his nickname usually involves “Demon.” Is Damian trying to get better? Yes. But even then, he’s not the type to immediately fall in love. He takes a while to warm up to people, for them to earn his trust, and Marinette would not be like that?

Let’s say that Robin is in Paris for a case, he runs into Ladybug and Chat, and after they explains what’s going on, Robin gives them a stare over his mask, and goes “TT! What a worthless hero, I would have caught him already.” LB and Chat would probably want to deck him, and that’s before he keeps talking.

Same with if Damian transfers to the class, or they meet on a field trip to Gotham. Damian’s not gonna care about some random French teenagers on a tour, or if he was transferred he’s gonna be trying to figure out why his father sent him to Paris, and be focused on the mission, not making friends.

Of all of the Robins, the ones that would be the most likely to capture Marinette’s interest would be Dick or Tim, not Damian. He would remind her too much of Chloe, as Damian, and as Robin, he would be dismissive of Ladybug’s abilities, which would absolutely piss her, and Chat Noir, off.

In characters that aren’t Damian, no one seems to be written properly over in Maribatland. One huge example is that Marinette is so beloved, so pure, that she can make any character fall in love with her, and reform by her pure goodness, including a fic where the Joker-THE JOKER!-becomes her “Uncle J,” and pranks Lila on her behalf.

Uh-huh. Sure. Completely and totally something that one of the biggest, most sadistic twisted, notorious villains in pop culture would do. Maribat winds up worshipping the ground that Marinette walks on, cause she’s “Teh best evar!”

Which then leads to my third and final point:

3). The whole Maribat concept is a mutated salt fic.

Most of the themes you’ll find in Maribat? You will find in nearly every salt fic.

Maybe my biggest issue with the whole Maribat idea is that it doesn’t feel like a proper crossover, which, at their best, explore how characters from one universe and their rules would interact with characters from another universe, and the rules of that one. Putting ML and DC together is a rich opportunity to play with concepts in both worlds!

And yet, it’s mainly used to bash ML characters who the writers despise, predominantly Adrien, Alya, and Lila, with members of the class thrown in depending on feeling, and potentially even Marinette’s parents! The only “good” ML characters are the ones who are on Marinette’s side, usually Luka, Kagami, a Chloe who for some reason has been redeemed and is now Marinette’s best friend, and whatever members of the class the writer decides to throw in there.

You’ll notice it’s not called “MiracuBat”, or LadyBat and Bat Noir-it’s MariBat. It’s meant as a focus on Marinette, making her-the hero of the Miraculous Ladybug franchise, someone in-story in story who is incredibly smart and talented and the leader of her team, future Guardian-even more awesome.....by beating down everyone else around her.

Marinette is simultaneously treated as an beaten-up, beaten-down walked-on carpet, and the best person to ever exist ever, go who only needs a group of new, different, better people to recognize that and save her from the clutches of those greedy and ungrateful assholes! That doesn’t include the fics where she’s the unknown child of a superhero or supervillain, making her even more special.

It’s Chameleon salt, class salt, with pointy ears and a cape on.

Some specific examples.

Adrien: Adrien is a spineless doormat who prioritizes Lila over Marinette, or an entitled bastard sexual harasser, only fixated on Ladybug, or even both. Sometimes it’ll get worse, as Adrien will threaten or abandon Marinette if she steps off of his “high road,” and Chat will be a budding rapist, stalking or capturing Marinette after he’s learned she’s Ladybug, while ignoring her prior to that. He will, of course, have his ring stripped and handed off to Damian, who is the “true” soul of Destruction and so therefore a “perfect match” to Marinette’s Creation soul. Occasionally it will be Jason, or Tim, or Dick, but the key thing is that it’s not Adrien!

While Damian’s issues are magically fixed, Adrien gets no such courtesy. Adrien has been abused, just like Damian, and while Damian’s abuse is more extensive and extreme, abuse is abuse. If anything, if Damian met Adrien, he would probably see another abused kid, and want to be his friend/have his “adopt stray person!” Instincts go off. I can much more imagine Damian dragging a bewildered Adrien into the Batcave and yelling “Father I’ve found another one for you to adopt!” than I can Damian immediately hating Adrien, or Chat, simply for breathing.

We never see Clark taking Adrien under his wing, or Bruce, or any of the other Batfam; nor any of the other Justice Leaguers. We never see Selina try to fight Bruce over the kid, because he’s cat-themed, and Selina can train him, this one’s hers Bat, get off!

Adrien’s never treated as a kid, or given actual development. A major complaint among salters is that Adrien is treated as perfect and never develops, and in fic, rather than developing him, Adrien either remains static, with his flaws narratively exploded, or is developed negatively. He’s there to be beaten up on and punished by the writers, if not actually physically beaten up by characters in the fic.

Alya: the not-so-good friend, the cheap excuse for a journalist, the awful person who abandons Marinette for Lila and her “connections.” Never mind that Alya was Marinette’s friend from the beginning, or that Marinette’s chosen her multiple times for a Miraculous. One instance of questioning Marinette about Lila, and Alya’s a backstabbing bitch.

Maribat treats Alya as neglectful, bossy, domineering and submissive at the same time to Marinette and Lila respectively, and as a journalist, the worst of the worst. She’s played as a two-bit paparazzo, and once again, the DCU is used to punish her. We don’t see Alya get mentored by Lois or Clark-indeed, if they notice her, it’s with disdain or disappointment. Often, they’re crushing her under their heel, calling her not only a bad journalist, but a bad friend/person. This forgetting, of course, that Alya runs her blog as a hobby so far, she’s only a teenager, and that she’s had Marinette’s back against Chloe and Lila.

The Class: the dupes or allies as needed. Class salt levels depend on what the writer needs. If they’re pro-class, they’re all on Marinette’s side, aside from Alya Adrien and Lila. Chloe, for some ungodly reason, is “redeemed” nigh instantaneously, and often will become Marinette’s best friend, if that isn’t Kagami already. Kagami will drop Adrien like a wet tissue, never trying to reconcile him with the clas, or encourage him to stand up for himself, or if she does, Adrien, of course, will not listen.

If the writer is anti-class, whoo boy. Openly mentally, emotionally, physically abusive to Marinette, the worst gang of people you would ever have the displeasure of meeting, they all need to be in Arkham.

We never see any of the class make friends with the Batfam, the Titans, Young Justice-unless they’re on Marinette’s side, of course. There’s no Alix stopping Selina at the Louvre, for instance, or Max hanging out with Babs. It’s all based on how Marinette is treated as to whether or not the class is portrayed as being worse than the worst of the Rogues Gallery.

Wrapping it all up, Maribat has made me dislike the entire concept of a DC/ML crossover.

Even if someone had written an non-salt, in-character crossover, I don’t know if I would read it, simply because the well has been that poisoned.

[bigskydreaming]

I know some people just aren’t comfortable engaging with parts of canon where Bruce is abusive, because that’s just not the version of the character they’re here for, and I get that.

But the second a fic shows a willingness to address or even center itself around something like RHATO #25 or the Batman issue from King’s run where Bruce hits Tim......but DOESN’T acknowledge any of the many, MANY times that Bruce has been abusive to Dick on both sides of the Reboot, from post-Forever Evil to after Jason’s death post-Crisis and times in between?

Yeah, that’s when I see red.

Cuz that’s when it starts to look an awful lot like people are viewing abuse as some kind of narrative spice that they can selectively dole out only to those characters they like, while ignoring the times its applied to characters they don’t like because it might make them too sympathetic or interesting or what the fuck ever.

And I know people aren’t viewing abuse that way, right? Like surely there’s got to be some other explanation for why fics that heavily reference every single time Bruce has done something bad to Jason or Tim seem to act like Dick was just passively at Bruce’s side through all this, backing him up or else just being too naive to think Bruce could ever be like that, instead of like....actively a victim of their father’s abuse as well.

Look, its one thing for a certain character to not be your focal point or someone you’re particularly interested in, but you GOTTA look at the way this looks when you treat a character who has had instances of being a victim of Bruce’s abuse going back over thirty years, as like, being enabling, uncaring of or even party to Bruce’s abuse to the others in more recent years. Like, I focus a lot on the times he’s done it with Dick like in NW #30 or NTT #55 and just talk about Bruce and Dick in reference to those, because I’m trying to keep the focus limited to just Bruce and Dick for the purposes of whatever point I’m making, but the thing about that is.....I’m not CLAIMING that Bruce has never been abusive with any of the others, they’re just literally not even coming into the post because it isn’t about them. 

But the second you open things up to a full fic where things from all points of canon are being referenced in characters’ issues with Bruce, and you have a full cast list assembled.....it doesn’t work the same way because now you’re not just not talking about Dick’s experiences there because he’s not the focal point, now you’re actively writing over his experiences with a veneer of oh Dick and Bruce are fine, nothing like this has ever or would ever happen with them. That’s when you’re making for whatever reason a conscious CHOICE to depict certain kids of Bruce’s as victims at his hands, but NOT depicting the one who inarguably has been written that way the LONGEST and going back the furthest....because you simply don’t WANT him to be as sympathetic or the others or someone who can relate to them on this front, you want him to be an OBSTACLE to all that.

That’s shitty. I don’t know how else to tell you that that’s shitty. Please stop reserving abuse as some kind of ‘prize’ that’s only awarded to your personal faves’ backstories, because oh my god is that an offensive fucking take both coming and going. Not only are you unintentionally framing abuse as something ‘that can be quite good, actually, cuz it makes characters (people) interesting,’ you’re also again, as I said, seeing absolutely zero problem with taking a canon abuse survivor and making him part of the issue instead of someone similarly affected by it, simply because you don’t like him or find him interesting and you don’t want him to be the same as Jason or the others in this regard.

Frankly, this applies to the way this fandom treats a LOT of specific kinds of traumas. Like catch me side-eyeing the massive trend of Jason-as-Robin era fics that have Jason view Dick as spoiled, pampered, and harder to relate to or understand even than Bruce because god forbid one of those fics go with the juvie origin for Dick. I’ve more than once heard people say “I just don’t like that origin for Dick because I find it too angsty” and I gotta say, its a good thing that Cass and Damian’s origins aren’t too angsty to avoid and that nobody has ever extrapolated from what we do know about Jason and Tim’s childhoods to go into extremely elaborate and angsty detail about every possible facet of abuse or neglect they might have endured. 

I mean nah, this isn’t yet another way in which people deliberately depict Dick as just ‘not getting it’ because he hasn’t been through the kinds of stuff the others have, and its like. Okay but see thing is, he actually HAS, and you not acknowledging any of those instances is a CHOICE that you’re making as a writer, and as readers, we’re allowed to question those choices. We can look at what you’re presenting in the way that you’re presenting it, and think okay, but one of these things is not like the others, and the way you treat various characters as extremely sympathetic because of various aspects of their canon stories or their backstories while acting like the same could never ever be true of a character it absolutely has been true of on many different occasions....its super uncomfortable. And it kinda casts a shadow over everything you write into your story about abuse or specific other traumas because now there’s actually this implicit undertone where its like, okay but we actually only care about these things when they’re affecting someone or some character we LIKE, and that’s.....yeah. Not awesome.

I’ve ranted many a time before about the abuse apologism that runs rampant in this fandom, particularly in the vein of people refusing to acknowledge Bruce’s abusive actions (which again, I understand and am fine with up UNTIL...) but being perfectly comfortable sticking with any and all of Dick’s REACTIONS to literal abuse, but now deliberately separated from the inciting actions which makes it look like he’s just instigating shit or upset for no reason whatsoever. That’s literal abuse apologism, no matter what your intentions are, because hate to break it to people, but “Avoid Acknowledging An Abuser’s Actions And Flip The Focus To What The Abuse Victim Is Doing Wrong Instead” is literally chapter one of Abuse Apologism 101. But this shit? Abuse only happens to people I care about or find sympathetic already, because weirdly I seem to be able to make excuses for or overlook any instances of abuse that happen to someone I DON’T like?

That’s literally chapter two of the same damn book.

And good god but am I tired of people harping endlessly on about how much they care about these topics while blithely doing nothing BUT reinforce abuse apologism tropes and narratives in the process of shining a spotlight on the abuse that happens to personal faves and personal faves only.

And this definitely falls into the same pattern of people who happily talk about taking a match to canon and watching it burn at the exact same time they make the deliberate choices to depict Dick as the one Batkid who just doesn’t truly get the others and never will, or is unrelatable or all these other things.....

And its like hey guys? 90% of the stuff you hold against Dick Grayson or cite as your reasons for not liking him? When we say those aren’t canon its not because we’re trying to be the canon police always showing up to bust up your fun and be like no no no you naughty people, that never happened so you’re not allowed to write that. No. That’s not a thing. That’s not what that is. What it ACTUALLY is, is us pointing out all the times and ways where when Dick comes across as a giant asshole in fics, and we’re like why tho, we’re just literally trying to understand where your interpretation of his character is coming from, and you guys are like bitch its canon, and we’re like okay no but thing is, its really actually not. Its us just being like hey, the vast majority of the stuff you say you dont like about the guy or the times you leave out all the stuff that you cite as what you DO like about other characters, its like....

But anyway....

[outrunningthedark]

They really went "oh look how inclusive we are" for showing Frank for like .2 seconds huh? Do you know what what would be nice? Seeing Eddie be vulnerable or make a breakthrough with Frank, that would be amazing. Frank being the first one Eddie can voice his questioning sexuality to? (He's already done questioning it but it's the first time he can admit he's not straight)

A fic through the eyes of Frank as he watches the Diaz family come together (and also imagine getting to have some backstory to Frank, have him go home to a husband and his own kid???!!)

I realize I'm a broken record when it comes to pointing out how our show isn't really "representing" anybody other than the average white viewer, but let's recap: - Hen is an out and proud lesbian. Fact. Her wife is a recurring character, rather than a main, AND she is not part of the firefam, meaning their scenes together are only necessary to further a plot (this season it was giving Nia back to her biological mother and caring for Toni) - Michael is an out and proud gay man with two kids and a new partner. Fact. However, his relationship progressed mostly off screen because... if Tim can't come up with good ~drama~ for a couple he's not putting them in the script. Michael and David received less screen time in season four than Taylor Kelly. Pleasing the hetero men, lesbians, and bi gals lusting after Megan West apparently makes more sense than incorporating a black gay couple at regular intervals. - Christopher Diaz is portrayed by a boy with CP IRL. Excellent. Love it. The writers made sure Eddie defended Shannon time and time again for not having the mentality required to care for her DISABLED CHILD that her stans decided they were "right" to love her and feel sorry for her. She gets more sympathy than her own son. - Frank, a character played by a man missing one of his legs, has been in two episodes according to what the internet tells me. That's less than Ali. He doesn't need to be a consistent presence, but just TWO episodes back-to-back in season 3? (Fallout & The Christmas Spirit) That's it? And now Tim is wishy-washy on whether Eddie will seek therapy post-shooting in season 5, excluding a perfectly good opportunity to represent the disabled community in an "easy" way? - The show isn't representing Latinas properly when they hire a biracial woman to play a character that doesn't match her race just because she looks the part. - Where are the bi characters??? If you insist on praising 911 for their "good representation", then your standards for "good representation" weren't very high to begin with. ANYWAY. MORE FRANK IN SEASON 5. MORE FRANK = MORE THERAPY FOR YOUR FAVE. MORE THERAPY = MORE EMOTIONAL PAIN. MORE EMOTIONAL PAIN = AN EMOTIONAL BREAKTHROUGH. Everybody wins!

[bonyarishitafuan]

A lot of people probably are gonna hate me for this, and if you disagree with what I’m about to say, please don't bother to respond, just ignore me completely and move on, go make yourself happy.

It’s just that I honestly don't see how this:

can be the same as this:

Personally, I don't care for Dick-lite Pre-Crisis Jason at all, because he’s never seemed to me a real character with any real personality of his own, and I just really don’t buy the idea of a teenager, with still very recently murdered parents that might as well be every bit as the same kind of loving parents and positive influences to their kid as the Flying Graysons, getting over the loss of their old parents’ and accepting someone they’ve only just met around the time their parents died as his true new parent in practically no time at all...especially when it’s happened in a world where a preteen could end up spending the rest of his adulthood fighting crimes in a bat suit after witnessing his parents being gunned down by a mugger.

The only thing Pre-Crisis/Earth 1 Jason Robin seemed to have going on was being a son to Batman/Bruce (and a son to Nocturna, because clearly if he could’ve gotten over his real dad so easily, why wouldn’t he have also gotten over his real mom and come to think of this mysterious criminal lady as his true new mom when she had wanted so much for him to be her son and they had lived together for like a week)--and I feel that if the executives at the time had really wanted Bruce to become a dad, they'd probably just let him settle down and give him a biological child as in the Golden Age, but instead they gave him a second Robin; and the way they laid themselves out to make the relationship between him and this second Robin to be exactly father-and-son despite the fact that Bruce would’ve had to be real stupid to actively endangering a young person whom he consider his own little boy by bringing him to fight crimes just never sits right with me.

It always seems to me like they’re just trying to retcon the original Batman and Robin relationship without actually retconning Bruce and Dick, who hadn’t really been Bruce’s adopted kid just then and had often regarded his mentor Bruce as more of his older brother/closest friend rather than just plain old “dad”--It’s like they’re just trying to remove every implication that there's ever anything gay/creepy in the original Batman and Robin dynamic, simply by bringing in another Robin character, one with the exact same backstory as Dick and nothing that could actually differentiate him from Dick (except him being originally blond-haired and himself outright telling people that he’s “not Dick” in one of his few featurings in the New Titans where he’s portrayed as every bit as much as a smart, decent, capable young person equipped to be a successful young hero just as Dick Robin or Tim Robin would’ve easily been portrayed), and making his relationship with Batman to be plainly, unequivocally father-and-son, then with there being no actual difference between Robin II and Robin I and the two Robins being virtually the same, sure the viewers would see that the relationship between Batman and Robin II and the relationship between Batman and Robin I are very much the same too, and no one could say if there’s any resemblance of a gay couple with a creepy age difference in the original Batman and Robin’s dynamic ever again since they’ve always been father and son.

It just feels so manipulative to me and I hate it, but that’s just how I feel and I’m not saying that it’s truly the case. I’m sorry if this offends anyone who loves Earth 1 Jason. If you love him, that’s great. There’s nothing wrong to love a wholesome Robin and his altogether wholesome relationship with Batman, nor there’s anything wrong to love Red Hood Jason but prefer his softer New52 version which would’ve certainly seemed to be a less drastic change from his Pre52 version if he’s more like his Earth 1 counterpart to begin with.

There’s absolutely nothing wrong to prefer one version of a character to another, to just say fuck canon and recreate a character you love into the way you could enjoy them most and have all the fun you want with them.

What gets to me and drives me bonkers, is when people couldn’t just be happy with their headcanon, but have to go out of their way to tell other people that it’s fact that Pre-Crsis/Earth 1 Jason and Post-Crisis/New Earth Jason are the same character, while in actuality, they weren’t even meant to be the same in the first place.

If DC had ever wanted to just keep using Pre-Crisis Jason but give him a new backstory, they would just follow up on whatever he had been doing with Bruce as his pre-crisis self while casually throwing in his new backstory at some point, just as they did with a lot of other characters such as Donna post-crisis, not give him a full reintroduction in Batman #408 and rewrite his relationship with Bruce from the ground up.

It just makes me want to scream, when people, who never seems to have a lot of problems with Under the Hood and maybe also Lost Days, have to go out and call every portrayal of Pre-52 Jason and some of the more recent Red Hood Jason that shares a resemblance to him wrong for not portraying Jason as that sweet little bookworm he really truly was, and that an entire different life experience just cannot change a character in any substantial way, and Jason being an angry kid with aggressive and violent tendencies is just something that had never been established until the more recent retcon/the OOC work of Jim Starlin, while in truth Pre-Crisis Jason with the exact same backstory as Dick just simply cannot be the same as Crime Alley Kid Jason, who doesn’t even have the same biological parents as Pre-Crisis Jason to provide him with the same gene that the Flying Todds, which were Joe and Trina Todd, had created their son with. 

If Pre-Crisis Jason and Post-Crisis Jason are one and the same, then it’d mean Dick is also very much the same as Jason is the same as Tim is the same as Damian is the same as Bruce and no one character is truly unique and special because every character ever made is just an alternate version of another character.

It had been shown most clearly since his first appearance that Post-Crisis/New Earth Jason, other than literally being a different kid with the same name, was nothing like his pre-crisis counterpart, but rather a bold, outspoken, confrontational, fully independent and proactive ghetto kid, who had got some serious stones to rob Batman’s gear, actually succeed in taking the tire off the freaking Batmobile and getting away originally, and had only run into Batman when he had come back to steal more, and called Batman a “big boob” after he had given him a good hit right in his Bat stomach.

This precious cupcake here↓

↑...that was often used as a proof that the NE Angry Robin Jason is a later retcon/ mere misconception had actually only ever existed in Detective Comics #569-573 during the earlier part of the writer Mike Barr’s run. These 5 issues from Barr are all notably 60s-ish, and while they’re published after CoIE and Batman Year one, it’s clear that they’re Earth 1 stories, seeing that they’re written with characters such as Earth 1 Catwoman. It was only in #574 that Jason’s New Earth origin was first introduced in Detective Comics, right before Batman Year Two; and although the issue was still written by Mike Barr and it did seem to have followed directly after #573, the previous issue was ended with the caption of “The New Origin of Batman”, and the tone of #574 as well as the writer’s latter issues and his portrayal of Jason Robin were no longer the same.

↑Detective Comics #574↑

It was stated by Bruce repeatedly, in both his own title and Detective Comics, that the reason he had taken in NE Jason as his new Robin was to save him from walking down the wrong path and to provide an outlet for his rage.

While no doubt Jim Starlin’s NE Jason Robin (that everyone hates) was the most aggressive and violent, it had never contradicted how the character was initially written by Max Allen Collins, the writer of Batman #408.

↑Batman #410 by Collins↑

↑ Batman #411 by Collins, after Jason had found out that Willis was murdered by Two-Face and Bruce had been hiding the information from him ↑

Although in the end of Batman #411, Jason did seem to have gotten over his anger and saved Two-Face’s life, judging by the way he’d talked about his dad Willis in his first introduction and the fact that he’d never before bothered to find out what had happened to the man the whole time while he’s in the manor where he had all the resources to acquire the information, it was doubtful that he and Willis had had a good relationship, and what he’d felt for his crook dad then could hardly be the same as what he felt later in “The Diplomat’s Son” story.

NE Jason had always been consistent in being a fearless, proactive, feisty individual with a hot temper, even in the hand of a writer with a much mellower sense of writing like Mike Barr.

↑ Jason and Bruce encountered Two-Face again in Detective Comics #580-581 by Barrs ↑

It had been established from the get-go that NE Jason Robin was the type of kid who would challenge Batman and go out handling a criminal on his own without consulting him or anyone else first, and was morally questionable with tendencies to aggression and violence, which was perfectly understandable for someone with his background--Only at the beginning it’s easy to brush these things off, because there's never any real consequence to his behavior and so Bruce was okay when he’d behaved this way at the beginning, and since Jason’d still got a lot to learn and was eager to learn from Bruce at the beginning, it would only be right that he’s more agreeable and willing to obey Bruce, but once he had completed his training and been allowed on the field, it would also only be right for him to feel like he had learnt enough and gotten the hang of the business already, and so just easily slipped into his old habit of handling things on his own, just as he had always been while he had been surviving in the Crime Alley on his own before Bruce came along.

NE Jason Robin wasn’t suddenly turned from 0-100 in The Diplomat’s Son story (though I really doubt that it’d be impossible for someone, especially someone around Jason’s age, to go from 0-100 if they have to deal with what Jason had dealt with in the story)--

↓ This didn’t happen until after the diplomat’s son was let go by the police due to his status, and on his way out of the police station where he’d been initially brought in by Jason and Bruce for raping and kidnapping an innocent woman, the mofo called his victim right in front of Jason and Bruce and threatened her on the phone, which led the woman to immediately commit suicide. 

I’ve always thought it’s a good story and a lot more tasteful than it’s usually given credit for. It wouldn’t even have been the first time a “teenage superhero” has killed in the DCU (whether it was accidental or intentional); it’s certainly not something so dark and controversial that DC wouldn’t go for it, they could’ve easily just gone for it and had Jason Robin murder a criminal then, except they never really showed that he did. The audience just naturally assumed that he did because the whole scene was shown through Bruce’s view, and Bruce could see that even if Jason didn’t really kill the rapist then, he might very well be capable of it, and it makes the whole Under the Hood storyline as well as the continuation of Red Hood Jason possible.

The concept of Under the Hood and the continuing existence of Red Hood Jason works, instead of just being a complete character assassination like One-Year-Later Cass, only with Jason being his post-crisis version with all of his very established traits and his very established problems with Bruce.

If Under the Hood Jason is indeed Earth 1 Jason or similar to him, he would really need to be under some outside influence for him to do the things he had done, for there’s just no other justification for his action.

He would really have to be driven mad by the effect of the Lazarus Pit (which has only ever been showed to exist momentarily on other characters), he would have to be incapacitated the whole time, unable to control his own action or even form any conscious decision--and it would only make it extremely possible for him to do something truly awful such as killing some innocent or other heroes or even someone in the Batfam, since he wouldn’t be able to stop himself even if he wanted to, or be able to tell if that’s wrong; that’s what being incapacitated means, that’s why people who’s committed crimes, even as bad as murders, cannot be held legally accountable when they’re proven to be mentally ill--and if that’s truly the case, then Bruce as well as Dick (who had a pretty amicable relationship with Earth 1 Jason) and everybody else who has any knowledge about the matter would all have to be some real awful persons to not lift a finger to help him, by making it a point to stop him from committing any more murder that he wouldn’t have committed if he could help it, and figuring out a way to relieve him from the influence by means of the various science and magic overflowing in their world, like they’ve repeatedly done for many others who’ve been in the similar position, and eventually getting him the hell out of this altogether traumatic crime-fighting life, so he could finally begin to heal from his extensive traumas, including being forced to kill which has always been a very common cause of PTSD for soldiers at war; and even if Jason doesn’t leave the crime-fighting life forever, he could no longer continue operating as the Red Hood; it’d just make no sense for him to keep up the identity previously belonged to his murderer, and have it constantly remind him of how he didn’t just get brutally murdered, he was also forced into becoming a murderer himself, which.he never would’ve become if he wasn’t literally out of his mind.

Moreover, there could never have been a Tim Robin (even if Tim didn’t go by Robin but something else), if the Jason who died in A Death in the Family had the same disposition as Earth 1 Jason and none of his NE traits which was the one and only justification Bruce had for taking in Tim as his third teenage partner, seeing that Tim is patient and careful and cooperative with all the qualities to become the same kind of hero like Dick, and not at all “reckless” and “rebellious” like NE Jason, and so he’s likely to turn out like Dick and not get himself killed like Jason (that’s the only true significant retcon Pre52 Jason had. Although NE Jason Robin could be rather reckless and rebellious, that’s certainly not why he had gotten killed. They just made Bruce and everyone pretend that that’s what killed him, so it wouldn’t seem so utterly horrible for Bruce to endanger another teenage kid with no superpower or any previous fighting training by bringing them in the business that had already gotten one kid killed, and also for Dick and everyone else to just let him).

It’s a complete disregard of facts and logic to call Earth 1 Jason and Red Hood Jason the same character, which doesn’t really matter as long as it’s only headcanon; but when people push it as a fact, it really just sound to me like they’re saying that it’s wrong to like Pre 52 Jason/Post-Crisis Jason Robin, which I very much do because I actually think he’s an interesting character with an interesting and more coherent story than a lot of other DC characters.

It’s like they’re saying that it’s just plain wrong and unnatural for a person to have aggressive and violent tendencies and be inclined to criminal behavior simply because they had grown up in a most crime-infested place and had to rely on themselves and learned to do what it takes to survive since before twelve, or become more and more violent simply because they’ve been made to work in an extremely violent environment and have never been provided with any kind of actual aid for their mental health the entire time.

It’s like that if a person, after being brutally murdered and then coming back to find that their mentor/guardian who was the closest thing they had to a family and was also responsible for their death in a major way just didn’t seem to be giving any shit about that at all, is filled with such murderous rage that they could very well just go out and kill a bunch of criminals, but they aren’t actually a smol whump baby with no absolutely agency of their own that must be protected at all times all along, then they’re just no good at all and don’t deserve any love or respect or understanding.

...I don’t like myself for ranting about this. I hope I could just not give any shit about this dumb thing, but it’d been driving me crazy and I’d just got to let it out.

[brave-clarice]

“Clarice” Liveblog: Episode 2

Again, some extremely unfashionably late hot takes.

(Special thanks to @kathrynethegreat and @special-agent-pendragon​ for encouraging another liveblog!)

Clarice is working out! And eating junk food! I love it.

and cleaning her gun!

hey, Ardelia is drinking what I’m going to assume is her grandmother’s “smart people tea”.

Krendler disciplining Clarice already is infuriating but appropriate.

“I lost control.” Oh no, I don’t like that. Don’t make Clarice unstable. Her mental and emotional state never had anything to do with her failing career.

getting weird mixed signals from Ardelia. Last week, she obviously didn’t want Clarice to lie/stick to the script Krendler gave her, but now she’s telling Clarice she messed up by not doing so...?

“I better know you if you’re calling this early.” Amen, Ardelia.

I’m in love: this cinematography is straight out of the film (when she’s flying to WV with Crawford)!

“When’s the last time you went back to Appalachia?” “It’s been years.” What??? It has NOT been years--Clarice was JUST in West Virginia last week as well as in Silence, and she arguably attended college there as well. (UVA is at least nestled in the mountains, and you don’t have to drive far outside the Albemarle Valley to hit Appalachia proper.) After all the details about her character they’ve been nailing, they miss this glaring error? 

I like the tiny details she’s noticing (like the guy biting his nails). Not only because she’s an investigator, but because it’s reminiscent of Hannibal’s influence (imo).

Clarice Is Short: The Saga continues

still not getting any creepy vibes off Krendler. He’s going to be much less effective as an antagonist if he isn’t lewd as well as a dick.

I really don’t care for the way the opening “credits” fade out from the death’s-head moth to Clarice’s face. There are MANY animals that represent her, or parts of her, in the books--lions, lambs, horses, and of course birds--so this choice feels empty and lazy to me.

also lazy: having a fellow agent straight-up tell her in episode 2 “you shouldn’t be in the Bureau.” Maybe in two or three years, after some further “Death Angel”-type incidents, I could see this blatant rudeness, but not yet.

“Reesey”? Thanks, I hate it.

this flashback must be of Clarice’s little brother. That answers one question I had last week. That said...Clarice’s brother doesn’t play the same role in her story that Mischa does in Hannibal’s--but this sure feels like a Mischa-esque flashback.

good: they’re finally getting to the source of Clarice’s actual trauma!

bad: this is NOT how Clarice found out about her father. In fact, that whole incident is laid out in detail in the novels, and there’s nothing overly literary/un-cinematic about it, so this feels unnecessary. “The police are here! Something happened to Daddy!” No, bad! Show, don’t tell!

she would’ve known better than to introduce herself to that kid as “Clarice Starling, FBI,” come on now.

were they regularly able to wire tap hair clips in 1993? 

actually, nothing in this show looks very 90s to me so far. I’m sad about it.

so in eighteen months, Ruth Martin has gone from a junior Senator to the Attorney freakin’ General, and now she might run for governor?? At least let her get settled in one position of power first, why don’t you!

yet more Buffalo Bill flashbacks...alas.

are they trying to make this guy another surrogate Hannibal character? He’s commenting on Clarice’s accent and the dryness of her skin, asking about who she “left behind”...it all feels very Hannibal. (I know he’s a Charismatic Cult Leader trope, too--but when played off of Clarice...)

“Ew.” “I hate this guy.” I laughed.

I understand that Clarice probably feels conflicted re: her siblings in the book, but I’m really not digging the flashbacks of this Tim Burton character her brother.

@ the writers: Clarice already has the lamb backstory/symbolism, too. We don’t need this Little Brother stuff.

*shrieking* Mrs. Starling! At the sink washing the blood out of his hat!!! 

...aaand they had to ruin it with the brother’s painfully bad dialogue. Will still be good for gif-making, though.

are we supposed to interpret all these flashbacks as Clarice being incapable of controlling her emotions/state of mind? She keeps losing herself in memories and emerging all doe-eyed and panicky. I don’t like it.

not to be a broken record but...Clarice should be TOUGH. Again, Ardelia only saw her cry once in seven years. But she’s more worked up in this scene than Jodie was in Memphis!

when Mr. Cult Leader shouts “Agent Starling! Agent Starling!” he sounds exactly like Hannibal calling her back to his cell in the asylum. That has to be intentional. 

damn, wish that I could look as good five minutes after I’ve been crying as Clarice does.

I LOVE that Ardelia gets to be the crucial behind-the-scenes book-smart partner to Clarice’s action heroine.

AG Martin’s just playing politics by turning a blind eye to the crooked sheriff. But when her own daughter was just kidnapped and almost killed, she looks like a real hypocrite.

gosh, Rebecca Breeds is great. I already hope she gets nominated for an Emmy.

so Krendler is...doing the right thing???

Clarice’s father was definitely not a sheriff. I hope she’s just exaggerating for dramatic effect. (Maybe this will be clarified later.)

she couldn’t just sit with a manipulative guy without getting emotional, but she’s cool as a cucumber while telling an extended story about her father? HmmMM.

sometimes her mannerisms and facial expressions are so much like Jodie’s that it’s uncanny, like here when she leans forward to confront the Cult Leader.

“She did it.” Damn straight!

another great callback to Silence. this show’s camera crew knows its stuff!

“He’s concerned I have some residual trauma from Bill.” I. Hate. This. Subplot--and all its OOC implications.

“Catherine was close to her father, too.” Ooh, a nice allusion to the novel! Clarice makes note of their “common wound,” the loss of a father, when she’s in Catherine’s apartment in Silence.

she is just SO pretty.

little Clarice looks a LOT like Rebecca Breeds. I hope we see some more of her. 

The Good:

the continuing visual nods to the Silence film via cinematography

Mama Starling!!!

Clarice’s “The World Will Not Be This Way Within the Reach of my Arm” attitude, refusing to leave without helping the victims.

Ardelia Mapp coming in clutch! 

Clarice being, generally, a badass

and using psychological tricks/mind games to pin the antagonist...that’s the woman who disarmed a monster with just a few words.

Rebecca Breed’s acting has been phenomenal so far.

I like Clarice’s haircut a lot better when worn down (though it’s not very practical for fieldwork, so we probably won’t see it much).

The Bad:

the continuing Buffalo Bill-related Trauma Subplot. Ugh.

all the flashbacks to Clarice’s brother (and the not-so-subtle suggestion that her brother is, symbolically, another lamb).

will the real Paul Krendler please come forward? this guy is so TAME.

the other agents’ hostility towards Clarice needs to be toned down slightly so that it can escalate. Otherwise, where’s the tension?

is this actually 1993? I’m not feeling it. Shouldn’t it have a little of that Season 1/2 X-Files aesthetic? Please give me more than once-an-episode references to pagers and fax machines!

that glaring Appalachia continuity error...it’s still bugging me.

I missed the overt Hannibal references, even though they’re not necessary to any part of this episode. A lady can dream!

Overall, I really liked this one despite my various issues with it. It started shakily but built to a great finish. The emphasis across both episodes on Clarice being in the FBI not just to “get out, get anywhere,” but out of a genuine desire to help victims has been wonderful. I just hope they don’t swerve too far into the “too traumatized and emotionally compromised to function” lane. It would be a disservice to Clarice’s character and to her journey (and would smack too much of “Hannibal really did prey on her weak mind/brainwash her”.

Things I’d still like to see: More of her personality. Her hobbies and interests. That she’s cleaning her gun is great! Now let’s see “Poison Oakley” practicing her sharpshooting skills. Or car shopping. Or clothes shopping to show off her “developing taste.” (Ardelia can come!) I’ll take literally anything. Give us more of Clarice’s sense of humor as well. She had some subtle funny moments in the pilot, and it’s nice to see Rebecca smile for a change.

And Krendler? Smear that man in grease! I appreciated a happy ending even though Clarice’s career is, as we know, already in a downward spiral--the last thing we want is for every episode to be a slog, especially when a good chunk of the audience hasn’t read the book and doesn’t know Clarice is doomed to fail in the Bureau.

However... Krendler’s not a “redemption arc” kind of character. Or even a “run-of-the-mill sexist asshole” character. This is a man who spent seven years systematically sabotaging a young woman’s career because a) he was jealous that she solved the Gumb case before him, and b) she wouldn’t fuck him. He was a Justice Department official working fist-in-glove with a serial child molester who was planning some of the heinous vigilante justice imaginable. THAT’S why his very gruesome end at Hannibal’s hands felt deserved--even Clarice thought so! In short, he needs to get nasty.

Anyway, thanks for coming to another long-overdue TedTalk. Fingers crossed that the next one will be more timely (aiming for Sunday night)! 

[phoenix43song]

Little Women [2019] Film Review and Analysis

I have been reading the Little Women series since I was a child and I grew up on the 1994 film version that stars Winona Ryder. I have also watched the 1933, 1949, 2017 (mini series), and the 2018 modern film adaptation. I have watched and enjoyed the web series The March Family Letters on youTube, which is another modern adaptation take on the story, though unfinished. I have a graphic novel and a novel called Meg and Jo that are also modern adaptations. I love the songs from the musical, and I wish to play Jo one day (after I get my singing voice back). You can say I am a bit obsessed, though it has been quite awhile since I last read Little Women and did research on Louisa May Alcott. When I heard Greta Gerwig was going to be making another adapation I reread the whole series. The research I have done on Louisa, and the research that I have read from other fans and scholars has made reading Little Women all the more interesting. I try to be a writer, though I've only ever written novella's and short stories and short films. I love the theatre, acting, and now I am directing for the first time. I have so many story ideas for novels, series, and for feature films (maybe even TV). I've also always loved art, though without praticing much since adulthood my skills have dwindled. I identify with Jo and with Amy and I am really glad that this version of the book did these character justice...well Greta went wayland on Jo a bit.

The character of Jo in this adaptation is fully realized, three dimentional, however she is made to be have way more of a temper when she's an adult, unlike the book. Jo has this Peter Pan mentality where she wants to keep living in childhood and never grow up. She is in denial of her feelings, and she doesn't understand romantic love fully until the end. Greta decided to really incorporate Louisa herself into Jo. Louisa wrote the book loosely based on herself and her sisters growing up because she was pressured in writing a children's novel. She didn't want Jo to get married: she wanted Jo to remain a spinster like herself. Louisa was pressured to marry Jo off so she did. And then she continued to write two more novels after Little Women (technically Good Wives): Little Men and Jo's Boys. She created Friedrich Bhaer for Jo, who was the perfect choice for her...and most readers can't seem to see why Jo fell in love with him when, based on the research that I did and others did, Louisa created him off of men she had crushes on. Yes Louisa had crushes; she most likely had a few short lived romances, but we'll never know because if she wrote any of this down in her diary or in letters they have been destroyed.

Friedrich Bhaer in Greta's Little Women is not Friedrich Bhaer. He shares but a few qualities. Louis Garrel did an amazing job with what material he was given and he understands his characters and Frieidrich's relationship with Jo far better than Greta does. Based off of interviews and other comments that Greta has mentioned Greta hates Friedrich and can't stand that Jo married in the end. She doesn't understand him nor their relationship. She took away everything that Friedrich is, how Jo became friends with him, the courting he does, and one of the most romantic proposals in classic literature. Greta decided on an ambiguous ending for her movie and I absolutely hate it. The umbrella scene is rushed, hurried, and not romantic at all and it's edited in a way that this only happens in the novel that Jo writes because she is pressured, or somewhat forced, to marry off her heroine. Then there are cuts where we see Jo at her school for boys and girls, where her family presents a cake for Marmee's 60thbirthday and we see that Friedrich is there. This is cut where Jo is watching her book being made and she hugs it to herself: I really enjoyed this part of the ending, but the ending could have still followed the book more and not edited and written in a way where Jo's love for Friedrich and marriage isn't fiction. I mean Greta even had Amy and Meg drag Jo to go after him when Friedrich leaves and claim that Jo loves him. This is a change that...it destroys the characters in a huge way.

Friedrich isn't German in this film, though we do see him go into a German Beer Hall with his friends. I did love the dance scene in the Beer Hall and him dancing with Jo. He's French because Louis is French. Part of me wishes Greta would've gotten a German actor because Germany in it's people and culture was a huge part of Louisa's life and German is scattered all over the book. But I love Louis Garrel so this aspect of Friedrich didn't bother me that much. However...we don't get to know him and we don't get his backstory in this film. He doesn't play with the children, his immigration and carring for his orphaned nephews isn't mentioned, and him bringing Jo to intelletual gatherings isn't seen. Him giving Jo Shakespeare is in the film, but it's not done in person. He helps Jo with giving honest feedback on her stories and Jo doesn't take constructive critism well at all and yells at him. Friedrich likes Jo and you can tell. It's even shown that Jo likes him as well, but we sadly don't get to see their friendship: hell they don't really have much of a relationship in this movie. When Friedrich comes to visit Jo at the March house, we can see that Jo is surprised but pleased. I really do love how the family really likes him and gets to know him, and that they can see that the two love each other but that Jo is in denial. Except...Jo isn't really in denial in the book. She blushes when she realizes that Friedrich has come to court her. Jo in the book feels more mature by this point then she does in the movie.

Jo also tries to make herself love Laurie by writing him a letter because she's lonely. She never does this in the book. She does have one mention of a what if scenario but she stands by what she always thought: that she only loved Laurie like a brother. I really loved the scene where Jo rejects Laurie when he proposes because she's telling the truth and we even see in the movie that that have this special commarderie that's close but platonic, and not romantic. I do love how Greta explains and shows different kinds of love and growth in the sisters. But this seemed to degrade Jo a bit when it comes to actual full realized growth. I just don't understand where Greta was going with this and why she doesn't seem to understand Jo and Jo and Friedrich together. She put way too much of Louisa into Jo when Jo is a fictional character and not 100% Louisa. It's made to look like the umbrella propsal is fiction and that Jo did end a spinster. I am so upset right now at this that I will talk about what I did love and more of my analysis from a filmmaking aspect. (I doubled majored in theatre and in film in college and I do know that there will be changes in adaptations. However this doesn't mean that you can change characters and relationships to fit your own idea of how they should act and how they should end up. When you adapt a story you have to keep who the characters are and Greta doesn't do this with Friedrich nor with Jo in the end with her as a character and the relationship between the two).

So. This film is gorgeous. Beautiful cinematography, direction, costumes, acting, score, and editing. The only thing that I didn't like was how the characters read their letters to the camera. It took me out of the story and didn't fit in at all. The editing of present to past was well done, and I loved how it went with parallel themes. Each sister is three dimentional and real, and the different takes on money and love was really interesting. Beth's sickness and death was well done and so heartbreaking poignant. I loved how she got Jo to write again, and I loved the montage of Jo writing her novel. Mr. Dashwood was hilarious, and Meryl Streep had a blast playing Aunt March. Laura Dern made a capible Marmee but she didn't feel like Marmee to me sadly. Mr. March was barely in the film, but he's barely in the book so that was ok. The scenes between Mr. Lawerence and Beth were beautiful, and the scenes between Mr. Lawernce and Jo were good as well. I liked seeing Meg wanting riches, her feelings about being poor, but her love for John was a lot stronger and she made sacrifices. Amy was great, espeacially as an adult in Paris.

Laurie...I have a lot of thoughts on how Laurie was protrayed. I liked how his Italian ancestry was mentioned a lot and that Laurie could never sit still. I liked how he was represented as a drunk and ladies man until Amy talked sense into him. I like how we got to see how Amy and Laurie fell in love, and how Laurie realized that his love for Jo wasn't of the romantic nature either. He does love Jo and you can diffinitely see that, but at the same time they're best friends. Yes it's good to want to marry your best friend but at the same time you need more than just physical attraction ( and that's where Friedrich comes into the pitcuture). But there was something off about how he was represented. I honestly think it's because that Tim looks way too young for the adult version (even though he is an adult in real life), and that he's too skinny. Sorry I said it: Tim needs to put some meat on his bones.

This film does deserve awards and it bothers me that the film wasn't nominated for a Golden Globe (though Saoirse being nominated for Best Actress was a choice well deserved) or for an SAG awards. I hope the film is nominated a lot at the Oscar's at least. I would give this film somewhere between a 2.5 to a 3 out of 4 stars. This would've been a perfect 4/4...I know a lot of critics and fans love the ending, and that's there's only a minority of us that understand and love Friedrich, and Jo/Fritz together. At least we have other film adaptations and the musical – love the musical! - and I am really tempted to write my own version of a Little Women feature or mini series. I want to do more research on Louisa and write a biopic. I even have my own modern adapation ideas. This is a beloved book and I wish more people will read it, along with the rest of the series. To understand Jo/Fritz you have to read the last two books. This isn't really an essay or full on anaylsis, but more of me rambling, but let me know your thoughts in the comments. I would love to discuss Little Women and hear your thoughts and opinions. (Also sorry for spelling and grammar errors: I wrote this up really fast and didn’t bother to edit as I’m rather busy). 

[popculturebuffet]

Comics Corner: Child’s Play #1 “Night of the Living Doll”

S

Happy days before Halloween everybody. While I have an X-tra Spooky treat planned for the day itself, I thought i’d start branching out from X-Men Comics (though that will be my primary focus), with a comic i’ve been dying to read since I found out it existed: The Child’s Play mini series from innovation comic, one of only two series and 10 comics overall starring your faviorite murder doll and mine: Charles “Chucky” Lee Ray. Also contains a slasher off to see who would win between Chucky and some classsic killers because the comic put the idea in my brain. Wanna Play? Then join me after the cut. 

WARNING: This review contains scenes of Gore. While I did try to cut it down being a horror comic about a slasher villain, this was inevitable, Discretion is advised. 

Child’s Play is a horror franchise I absoltuley love. While i’ve procastinated on seeing the DTV sequels, not that I think their bad i’m just a forgetful mess sometimes, and Seed, because no amount of Jennifer Tilly or intresting gender identity issue stuff will compensate for me having to watch Chucky masturbate, I have followed the series for years, afraid to watch it because I wasn’t a huge horror fan at the time and Chucky scared the shit out of me as a kid. Eventually I realized that despite my fear I loved the franchise for it’s thoroughly interesting killer, entertaining kills, and at it’s best great stories and at it’s worst so bad it’s good royalty. Even the Don Manncini, creator of the series and writer of every film and director of three, disowned remake is pretty good if thoroughly it’s own thing.  So naturally a Mini-Series taking place between 2 and 3 that may fit neatly into continuity, this is my shit and i’m so happy to finally read it. 

For the lapsed and unintiated, the Chucky/Child’s Play series, the original anyway the remake is it’s own thing and has it’s own backstory, follows Charles Lee Ray, aka Chucky, a serial killer who in desperation to get away from the cop perusing him after his partner ratted him out, used his vodoo knowledge, because every serial killer knows voodoo apparently, to put himself in the nearest vessel, a doll. The rest of the backstory can be covered as we go as the first issue does a really good job of organically explaning it for the unaware. Granted I don’t know if most non child’s play watchers would be intrested in this comic but it’s a nice gesture. 

This mini comes to us from innovation entertainment, a 90′s publishing company that made tie in comics for a number of things, and from writer Andy Mangels who also wrote Innovation’s Nightmare on Elm Street comics, which Linkara has covered in detail if your curious and which i’ll probably cover myself at some point, especially since this issue made a strong impression on me.  Speaking of which, the mini as mentioned takes place between the second and third films, both of which have their own adaptations that i’ll cover eventually, but I felt the original story was more appealing. As far as I can tell there have only been really three bits of media outside the franchise, not counting the aborted video game: A , from all accounts, terrible endless runner game, this mini series, and another mini series from Hack/Slash creator and former Nightwing Maestro Tim Seely, as well as a crossover between Hack/Slash and Chucky from Seely. And having read said crossover and found it excellent and feeling just like the movies in regards to the little shit, I hope to find the mini one day and share it with you lovely people. But even if I had i’d probably be covering this one first since chronological order combined with the fact it seems that mini dosen’t fit into canon anymore and this one might. Now the exposition is out of the way let’s get to the good stuff. 

Since I didn’t really cover the covers in my first two X-Men reviews, and feel I really should going issue by issue it just hadn’t occured to me, let’s look at the cover. It’s decent, kinda a parody of old horror comics covers or old horror movie covers and a nice start to things.. although frankly I would’ve preffered the splash page instead. 

I love it. It’s a nice little gag, and while the blood splatter is partly nonsensical and looks like Chucky just killed a guy to splatter some extra blood about to make his collection look more badass.. though given who we’re dealing with it wouldn’t suprise me, so it dosen’t really detract. That being said being a burgeoning horror fan and having seen films from most of these franchises and knowing enough about those I don’t from other reviewers reviews, i’d be remiss if I didn’t speculate about if Chucky could win against these other titans of terror. PLACE YOUR BETS BITCHES, IT’S A SLASHER OFF. 

Chucky Versus Micheal Meyers: He’d stab him for the love guru. Easy joke aside the horror of haddonefield does have size and strength, even in his old man version from the recent movie and upcoming sequels, over Chucky and while I thought this would be easily him... Chucky has him in speed and agility. He could climb that fucker and stab him up and down, shadow of colossus style, until even Micheal would have to buckle over, or just as likely set an elaborate trap like 2k18 Laurie. Micheal has some intellegence and a Chuck’s own drive not to give up, but that won’t save him from an opponent who’s faster, smarter and just as piss angry stubborn. Chucky wins.  Chucky Versus the Creature from the Black Lagoon: Chucky. The creature is strong but chucky’s craftier and would poison a lake just to kill a bastard.  Chucky Versus Jason: Tough call. Like Micheal, Jason is slow.. but he’s also 20 times more durrable, stronger and way more likely to get Chucky off him. He’s also more likely to use the environment meaning even if I vastly prefer Chucky, it’s a more even fight and more likely to go in Jason’s favor, as any trap Chucky set would likely get walked off. Jason wins.  Chucky Vs The Phantom of the Opera: Not really a traditional slasher and I don’t really know the version that is or the version that isn’t to be frank, but it seems like Erik could take chucky in cleverness and ruthlessness and combined with having home field advantage, i’m calling advantage Erik. He wins.  Chucky Vs Dracula: Okay 1, make this a movie yesterday Mancini and 2, this is a tough one. On the one hand Drac has mist, a horde of brides, wolves and transformation. If it’s home court, Chucky’s gonna die, especially if the count simply uses his brides to seduce him as Chucky is kinda easy that way. But in the US? Chucky is an onry bastard and Dracula has a ton of weakness, so I could see Chucky loosing round one then coming back to kill the bastard at dawn and anyone dumb enough to defend his coffin. Plus Chucky isn’t alone having Tiffany and the ablity to split himself among good guy dolls, so I could see Chucky creating another army of himself to do a suicide run on Drac’s castle. It’d hurt but Chucky is a vengeful dick. Chucky wins. Seriously Mancni get on this.  Chucky Vs Freddy: Depends on the setting: In the Dream World, it’s likely Freddy as he can throw Chuck off guard by giving him his body back or using former survivors, while in the real world it’s Chucky’s turf but Freddy still has knife hands with more reach than his lumbering opponents, so even with prep I expect Chucky to eat that one, so I give it to Freddy. But honestly I prefer Don Mancini’s ACTUAL pitch for a crossover he’s trying to get happening: Chucky and Freddy meet up, and actually admire each other’s style but realize that two killers in town will dry up all the victims so they wage a dirty rotten scoundrel’s style looser leaves town contest: whoever chops up the most teens by dawn stays. I want that yesterday too.  Chucky Vs Xenomorph: If it’s a facehugger as shown, Chucky, it probably woudln’t be able to bond with him and he’d stab it. But a proper showdown.. xenomorph. It matches Chucky’s speed, ferocity and while not as intelligent is still far stronger and just as ruthless.  Chucky Vs Leatherface: Chucky. While Leatherface has the better weapon and matching speed, Chucky can outthink him. Chucky wins but while I haven’t seen Texas Chainsaw Massacre, against the whole clan Chucky probably woudln’t win.. but would probably throw in with them long enough to survive since he’s a murderous bastard too and as long as he dosen’t have to join in dinner, it’s essentially his MO with help and family. He’d probably grow to either love them or get annoyed enough to kill em all.  Chucky Vs  The Tall Man: Tall Man. The Phantasm Ball is just too powerful and Chucky too vunerable and stubborn for a teamup.  Chucky vs Pinhead: Pinhead. I may be too squeamish for hellraiser but he’s FAR above Chucky’s paygrade.  So overall it’s 4 to 6 with Chucky loosing, but he still put up a far better fight than you’d think. And for funsies before we move on to the actual meat of the comic at long fucking last.  Chucky Vs Ash: Ash. Ash is dumb sometimes sure, but he’s just as stubborn, has dealt with being accused of murder before so framing him won’t work, and unlike the Slashers he’s got a shot gun, which while chucky can dodge, I could see Ash pining him. Dumb dosen’t mean he isn’t clever. However I do want to see the hyjinks that would insue so please, Mancini, do this one if you either can’t get freddy or if you can after that. Please? Okay so with ALLLL of that out of the way, let’s dive in. 

We open on the above, what’s left of Chucky after Child’s Play 2, being reforged into a fresh body. It’s exactly as pleasant as you’d think. 

Maybe he just says that because the sight of him with lipstick gives grown men heart attacks. 

See? Unsuprisingly, that’s one of my faviorite Child’s Play moments. Or maybe he just needs a pair of fresh eyes to stop being so hetronormative. 

I do love this bit, it’s a nice bit of comedy that dosen’t feel too broad and fits right into the franchise, even before the outright horror comedies. And now for you ladies and gentleman and other’s pleasure...LIVE NUDE CHUCKY!

Granted Bride would later retcon in a penis, but given he’s in a third body by then. Or maybe it’s the fact his body gets more human the longer he’s in one, so maybe he grows one or fused a strapon to himself. I dunno. I’m not an expert in Chucky’s Penis. That’s Don Mancini’s job. So Chucky puts some pants on, because wether it’s because you love somebody or want to stab them silly, you put your pants on for them, and wonders if he should wear something more inconspicuous before realizing he’s a 3 foot animate doll.. he’s always going to be conspicuous, another inspired bit of comedy. This is something I like about the issue: Regognizing how ludicrious the two sequels at the time were, Mangels leans into the comedy a little, but without overriding the horror, as you’ll soon see, somehow correctly predicting the direction of the franchise. But chucky made a mistake.. the last page showed him triggering an alarm by accident and well. 

As you can see in a neat stylistic choice, the siren blares over the entire page as Chucky makes a run for it and a mysterious observer sees a slight against god running about, decides cool and follows. He accidently slams into chucky in another funny bit. He offers a ride and while Chucky balks at this weirdo, said weirdo points out that how’s he’s going to outrun the cops otherwise and Chucky reluctantly gets in. And it says something if the guy with a bigger body count than a heart attack still has reservations going with you. The teen says Chucky reminds him of a kid who was in the papers for claming a doll killed some people and his mother who backed up the story, was suspected to have did it and put her in an insane asylum, or as this little shit calls it “Electro-Shock Pallace” as someone who himself is mentally ill, and afraid of asylums and lives in a world two decades removed where mass killings happen often and are often pinned on mental illness, fuck this twerp and I can’t wait for his commupance. Chucky sets him straight. 

See this is why I didn’t jsut do a big infodump on everything right up front, the comic does a good cjob recapping child’s play 1, and 2 isn’t relevant to the plot aside from the intro. They explain things quick and fast and chucky himself gives a good chunk of the film’s backstory pretty quickly once he and shades here get back to his house. 

This is also interesting as even the films haven’t really gone into how Charles Lee Ray felt as he became a doll or if he was conscious when Karen first got him. There’s more of course, and while it’s not necessary to this story, Karen does show up in this series, so i’ll fill you in on where the story went from there, as well as what Chucky left out or wasn’t there for. Here we go... Karen Barclay was the struggling mother of young Andy, who wanted a Good Guy doll for his birthday. Karen, not having much, found one second hand... Chucky. Chucky started manipulating the young kid, offscreen though that just makes it more unsettling even if the mystery of if Chucky’s real or not is kinda pointless when we saw a guy explode himself into a doll. I also like the nod that Chucky knows about as much as the fans do as to why their was a mega explosion. He first kills Karen’s best friend and Andy’s babysitter for the night, which Andy blames Chucky. No one belivies him.. which is understandable.. what’s not is when Chucky kills next, having andy take him to his acomplice’s house and blowing it up, NO ONE seems to question why a little child blew up a known criminal, how he knew where the house was, or why, when the previous crime was done in the home with motive, he killed some random guy. I do love this film but this bit feels especially dumb on the cops part not even bending a LITTLE. But this isn’t a review of the first movie so let’s move on.  Andy is comitted, which as sad as it is to see an innocent child thrown in an institution does make at least some sense so they can find out if he’s really seeing things or not, and Karen returns.. and finds that the Good Guy dolls don’t come with batteries, yet Chucky has been talking like any other toy. As a result we get one of the best scenes in the franchise history if not it’s best, and really, as much as I try I can’t do it justice. Though if you can’t watch in short he does an exorcist when she checks the batteries, she threatens to burn him, and he reveals himself. In long... it’s worth a watch. 

Chucky runs for it, Karen tries to tell Mike who dosen’t belivie her.. until Chucky comes for him. Chucky then heads for Dr.Death, his vodoo 101 teacher, who refuses to help him viewing him an abomination but stupidly left a vodoo fetish of himself around and you can guess the rest. He reveals Chucky can only transfer to the first person he revealed himself too so he heads for Andy with .. this. 

Mancini had to know what he was doing right? Right? Anyway. Karen and Mike find a dying Death who tells them to aim for the heart and who his target is. Andy dodges Chucky and escapes the Aslyum heading home where we get a final confrontation between the Barclay’s, Mike and Chucky, which is damn good and ends with Andy burning the fucker with a badass response to his claim of being his friend to the end “This is the end friend”. This dosen’t quite finish him but a shot to the heart, with Mike to blame, kills the bastard.. for now. Now we’re all caught up, let’s get back to the story. 

Dipshit has called his friends to see Chucky and as seen above, Chucky is wondering why he shoudln’t kill the guy.. but Dumbass has a good point for once: his one friend is studying magic, presumibly at Durmstrang since Hogwarts dosen’t tolerate that kinda shit, and could help summon dr. death to see if they can fix his situation. Granted Death viewed him as an abomination and wanted nothing to do with Chucky, but he might let something slip or have no choice and it’s better than the nothing Chucky has to go on. Chucky gives exposition to Fuckwit’s friends and claims he killed Dr.Death in self defense, which isn’t entirely innacurate and Steaming Bowl of Elephant Piss suggests holding a seance. But one of his friends, Burt, who seems to be the only one to see Chucky for the red flag he is, calls an audible and Chucky grumbles off while they talk in private. 

As you can see, Fuckbucket sets the intellgence standard for his group. However their not SO obnoxious that it distracts from how horrible what’s about to happen will them will be. Except shitty shitty bang bang. Since It’s hard to remember all of the dead meets names i’ll be calling the girl Molly Ringwald, Burt by his name since he’s being sensiable, the moron drinking his own blood Edgelord, and Numbnuts MCGee my current barrage of creative insults. But yeah none of them take Chucky as a threat seriously, which is a nice little meta commentary on how most people think they could take Chucky, even though the guy is nigh unkillable, smart and fast and stronger, if not heavier, than him being a doll would make you think. Burt is the ONLY one here who seems to think harboring a serial killing doll is a terrible idea and thus the only one I respect. And “Most LIkely To Run Into A Wall” has the genius observation seen above where he asks “we’re helping him why would he hurt us”... when he’s already threatned to kill him and has no use for any of them once he has any info they can scrape up, with Burt pointing out even if their sucessful they’ll be responsible for more killing. Sadly he’s outvoted. Seriously while I do like Mangels, I question his opinon on teenagers and horror fans, especially given his long screed about the horrors of the world at the front of the issue and how his comics horrors don’t compare to racisim or homphobia, though the latter is a nice touch considering this was the early 90′s and some horror audiences could be homphobic morons, when the horror fans he portray are a darwin award of the decade winner, a moron who cuts himself not because he has serious issues with depression but to drink his own blood, a witch who goes along with their stupidity, and ... one likeable guy who’s coded as a wuss but is the only sane one here. 

So morons r us, plus burt and chucky, call Dr.Death’s spirit forth in a very moody and atmospheric scene. Naturally it goes GREAT. 

Dr.Death’s form dissolves terrifyingly and awesomely and our morons, and Burt,  are left, literally since they turned the light’s down in the dark> Burt is freaking out and has shards of crap in him thanks to all this.. couldn’t of killed fuckaround could you John? Burt is lead to the bathroom, while Fuckwit and Edgelord head downstairs, Fuckwit heading further down to check the breakers since the power is out for the whole house while Edgelord actually says something smart and wonders what they ALL shoudlv’e been thinking about: Where’s chucky? He has a response in this AWESOME looking panel. 

And here’s where the it dosen’t undercut the tragedy bit comes into play. Sure these kids are kinda dumb.. but most teens are, and they might not belivie he actually killed peope or even if they did, think they can take him as foolishly stated. They had their whole lives to become better people, and Mollly Ringwald and Burt seemed like decent enough people while Edgelord was probably going though a phase. Dum Dum Dumbassigan dosen’t really get a huge repreive but the point is NONE of them deserve to die and they aren’t dialed up to obnoxious, except assface, to be that unsympathetic. Their being stupid sure, but again MOST TEENS ARE or will at least be easily talked into doing something that all common sense says should kill them. And sadly in David, aka edgelord’s case...

Yeah it took a while but I had that gore warning for a reason. And he then decides to fill David with knives. I also stopped calling him edgelord because well. .look at it. The death is horrifying, well drawn and only made worse when Chucky decides to play “pin cushion” and fill him with knives off screen. His next target is sadly my man burt. He does complain A LOT and while a little whiny, given he’s covered in cuts, about to die and was the ONLY ONE here to excercise caution.. yeah he has a right to be. And then.. this happens to Burt in the bathroom...

Yup, THAT just happened. But I like it a lot.. it’s done with style, humor.. but not without horror either. A nicely done little parody. Molly, or wendy as the comic calls her, wonders around the Darkness for a bit.. and then finds David’s corpse.. which I own’t show as holy shit it’s as graphic as it is horrifying. And given what I showed you of his death earlier, that’s saying something.She tells an approaching Moron to stay back.. and well..

In order....... I am so angry at that first panel “I don’t know what happened here....” I DON’T KNOW WHAT HAPPENED HERE. 

BITCHCAKES, YOU LET A SERIAL KILLER INTO YOUR HOUSE WHO VANISHED ON YOU AFTER A SPOOKY GHOST TOLD YOU TO KILL HIM OR SUFFER THE CONSEQUENCES. WHAT IN THE STAR SPANGLED, CHERRY COATED MARSHMELLOW FUCK DID YOU THINK HAPPENED.  Second, while I get her logic, Fartnugget isn’t capable of working out basic sequence of events let alone killing a person.  And finally.. there is no amount of gifs that can convey how happy I am at that last panel. 

Wendy goes mad from the shock and Chucky, whos’ been lurking under the table this whole time with a Freddy Glove, strikes. 

It’s no “welcome to prime time BITCH”, but I think Freddy would dig it. Naturally, the glove dosen’t kill her but she snaps her neck.. and then chucky , of all things, calls the police. 

I’ll not explode with rage again btu the david’s dead line tempted me, as HE JUST KILLED YOUR FRIEND OF COURSE HE DID. As for his threat... Chucky is unimpressed. See this was his plan. At least once they stopped being useful. Gee who could’ve predicted that? Chucky has decided to frame ponytailed idiot for it, a real brilliant way of going about things, and to me WHY Chucky is such a threat. Even if you beat him, if you don’t have proof.. he still gets you locked up and then comes back stronger than ever. This ending also actually helps with a plot hole some might have with the series. 

Chucky dosen’t leave fingerprints. He MIGHT as he turns more human, bud odds are he dosen’t, thus it’s easy enough to frame whoever’s left.. though it was neat to see him do so intentionally. Truck Nuts breaks down, Chucky flees and we end on a teaser for the next issue as some mysterious Doctor has come to Karen Barclay with promises to help go after Chucky. But that’s for another day. For now our story is done. There’s also a page for a “Stuck On Chuck” contest, with the winners getting to be in issue 5. Just bringing that up so if I ever get there, I won’t have missed it. And with that we finally close out. 

Final Thoughts: 

This issue is excellent. I was expecting something slightly cheesy and not great, and while there are narmy elements: the commentary on horror being a media scapegoat seems out of place and as I made abdundantly clear on second read the lead is insufferable. His fate is still tragic, but he’s such a moron I can’t help but feel he brought it on himself, but his friends aren’t so obnoxious that you don’t feel bad when they do die, a mistake full on horror movies make too often. The kills are gory, as shown there’s some nice visual flair here and there, and chucky is drawn amazingly, especially for the time. There’s an awkward shot here or there but for the most part the artist really captures him well. This comic is a hidden Gem and if your a fan of the films or even just the first one, I strongly recommend it, or if nothing else as I haven’t gotten to the rest, this issue.  If you liked this review, feel free to like or reblog, and if you want one like it for the issue or graphic novel of your choice, just pm and slip 5 bucks into my paypal and i’ll get right on it as soon as the first week of november. Until then, i’m your friend to the end. 

[michelles-garden-of-evil]

Episode 19 Review: She Was One of Us

{ YouTube: 1 | 2 }

{ Synopses/Recaps: Debby Graham | Bryan Gruszka }

{ Screencaps }

In the last episode, we saw Jean Paul’s lawyer and Alison’s fiancé Dan depart from the main island, at the behest of Jacques. This means that now all major characters save Vangie are on the isle of Maljardin, prisoners detained guests forced to partake in the funeral that Jean Paul reluctantly agreed to hold for Erica while he waits for her to return from the dead.

We open in the crypt, where Raxl and Quito are leaving flowers on top of the cryonics capsule. Raxl starts talking about how she wants Erica’s soul to “depart to the Great Serpent,” which Jean Paul overhears when he and Alison enter. “You don’t seem to have much faith in the last rites of Christianity,” he remarks. (Look who’s talking!) Jean Paul explains briefly to Alison that Raxl’s religion predates Christianity (which she calls “the new religion”), which soon devolves into yet another “Erica is dead forever and should be buried”/”Erica will rise again” argument. I’ve lost count of how many times he and Alison have argued about this, but I think we’re up to Argument Number #389723. They’re both determined to beat the dead horse until it’s reduced to a pile of smashed bones suitable only for fertilizer.

Colin, are you reading the Teleprompter?

She says that she wishes that he would have Erica put in the ground, and he responds that technically she is. I would call him a smart-ass, but the way he delivers the line doesn’t come across as sarcastic. In fact, at this point on the show, Jean Paul doesn’t seem to have a sense of humor. Jacques is the witty, sarcastic one, and Jean Paul is the serious one with the one-track mind that can only think of Erica. Later on in Desmond Hall, they try to give Jean Paul a sense of humor by having him make a joke every now and then, but it doesn’t work because it goes against his original characterization. Maljardin-era Jean Paul doesn’t joke around and rarely even uses sarcasm.

Despite his humorlessness, he is a joy to look at in this episode. Here he is earlier in the scene with Alison, putting flowers on the capsule and looking just dashing.

Anyway, Jean Paul sends everyone out of the crypt, so that he can have a few moments alone with the capsule. He clasps his hands together as through praying, although whether it’s to the Christian God, the Great Serpent, or himself is unclear because he stays silent.

Back in the great hall, Alison asks Dan and Matt some more about Raxl and Quito’s religious practices and learns that, because their religion considers Christianity heresy, they may refuse to take part in the funeral despite loving Erica. (They attend, anyway, although they do perform their own rites/ritual separately beforehand.)

Alison, the thought of that seems to please you a lot.

Holly comes downstairs and, after a recap conversation with her mother and Tim, goes to see Matt. She starts out by telling him that she’s wary of attending any funerals until her own (because of the quarrel that occurred at her father’s), but then mentions another reason why she doesn’t want to attend and why she couldn’t sleep in the previous episode:

Holly: "Look Reverend, you're going to think this is way off, but last night, I had a very strange nightmare."   Matt: "What about?" Holly: "About me. Like...some kind of a warning."

Raxl, presumably on Holly.

She lights some incense and then a message appears in the writing box where Quito wrote something a moment before. A message from the Serpent about Holly, perhaps?

Holly: "Suddenly, there was this woman, like a priestess, who seemed to be in a temple, she was standing over me with a strange kind of headdress and she looked like my mother." Matt: "Your dreams are beginning to sound like a B-movie. Go on." Holly: "Well, then she said, 'Those who are part of this evil must pay the price.'"

She asks him what the dream means. He declines to answer because he’s not an authority in dream interpretation, but insists that she attend the funeral despite her worries. Because he can’t answer, I shall try to provide one for him based on some of the research that other fans have done on Ian Martin’s original plans for the Maljardin arc.

(WARNING: The YouTube and Maljardin Blog links in the next four paragraphs contain spoilers for later Maljardin episodes.)

For the first nine weeks of Strange Paradise, all episodes were credited to Ian Martin, a veteran actor and soap opera writer who appears to have been quite emotionally invested in the story, as there is evidence that he may have based Erica on his first wife Inge Adams, who also died young. I’ve read a rumor that Krantz Films owner Steve Krantz and his wife Judith (who later became a famous and influential romance novelist) may have ghostwritten some episodes, but there is no evidence to support the presence of any ghostwriters in this period of the show’s history.

Nevertheless, as the Maljardin arc went on, a discrepancy started to appear between the episode summaries in newspapers and the actual content of the episodes that aired starting in Episode 30. Strange Paradise historian Curt Ladnier has written many blog posts on these “lost episodes,” comparing the newspaper listings with the aired episodes and analyzing the changed plot points. Ladnier attributes the changes to executive meddling, requiring Martin to rewrite episode scripts when he was already writing five per week.

One of the most notable changes to these scripts was the omission of a new character named Tarasca, whom the newspaper summary for Episode 42 describes as “a native high priestess in love with Jacques, a French buccaneer.” Because Elizabeth dreamed about being her in the original version of that episode, we can safely assume that the priestess in Holly’s nightmare who resembled her was Tarasca. Also, given that this show mostly uses dream sequences as a means of showing events that happened in the past, we can also infer that, at some point, she sacrificed a young woman who looked identical to Holly, meaning that Martin was most likely planning on writing a 17th-century counterpart for her as well.

Several other early episodes hint at (or appear to hint at) the character of Tarasca and her connection to Elizabeth Marshall, including a cryptic line in Episode 12 where Jacques promises Elizabeth a “change” while she is on Maljardin. For more information and some more speculation about Tarasca’s role and backstory, see this video. I’m a little obsessed with this aborted storyline and have been waiting since October for a chance to discuss it, so, from now on, I’m going to reference it often and provide my own thoughts as to how I think it would have played out.

Erica’s funeral. Why is no one wearing black save for Dan and (obviously) Raxl and Quito? At the very least, Alison should be, because she takes her sister’s funeral more seriously than anyone else.

Jean Paul, I know what you’re thinking, but Reverend Dawson’s not talking about the possibility of Jacques resurrecting her. You really do have a one-track mind.

Jacques: “I do believe Holly needs me to jack her up by the bootstraps.”

Holly’s response to seeing Elizabeth chatting with Jean Paul. Really, Holly? Your mother marrying the richest man in the world *who adores you* is probably the best thing that could possibly happen to you.

After the funeral and a couple boring scenes about Holly’s subplot (there are a lot of references to the stupid Holly portrait in this episode), we see Dan confront Jean Paul about whether the guests can finally leave the island. Even though Jacques re-hired him last episode, he claims to be looking for a new job and he wants to make Alison leave the island with him and return to New York. Before Jean Paul has time to object, Jacques crashes the after-funeral reception, which he treats as a party. Ignoring Dan’s question of whether he and Alison can return to the mainland, he opens up the bar and commences trolling his detained guests:

So not suspicious. ;)

Tim: "With your permission, sir, I would like to propose a toast. To the departed. To Mrs. Desmond!"

Jacques: "Cheers--I mean, thank you."

He also pressures Alison into staying, giving her Dr. Menkin’s lab to use for her research. He then brags to Dan that none of the other guests want to leave and insists that he, too, can if he wants, but he will have to do it himself because it’s too late for Quito to sail him back:

BISSITS!

After the reception, Jacques returns to the crypt and gloats a little to Erica about how he has now imprisoned everyone on Maljardin. The handsome devil once again makes it clear that he doesn’t intend on freeing her and that she, too, is his prisoner. And, of course, he has some pun with it, as one might expect:

Can’t criticize this one, because even Shakespeare made it and I think it’s funny. I like puns, sometimes, just not terrible puns like the “pose” one from last episode.

Not even a detained guest anymore?

I think I just broke my comedy drum set. ;)

Coming up next: Another episode with a flashback to Maljardin in 1689, which means another two-parter. I also have a special essay in the works about the copyright status of Strange Paradise in the United States, which may surprise you. (It certainly surprised me.) Stay tuned for all these posts, as well as the Bad Subtitle Special for Week 4 after the Episode 20 review.

{ <-- Previous: Episode 18   ||   Next: Episode 20, Part I --> }

[vidaflxwer]

For the writers ask thing: pulitzer, backstory, faulkner, record, mifflin, and notepad! (I hope they're not too many😅)

(THIS IS NOT TOO MANY DARLING I LOVE TALKING ABOUT WRITING SO THANK YOU SO MUCH...)

pulitzer: i’m gonna link a google doc with a few of the poems i’ve written that i’m the proudest of (which please feel free to tell me which ones you enjoy the most! i’m always curious about what appeals most to people in terms of my work) but one of them has quite the story. i wrote it when i was fourteen. i’d just joined my school’s literary magazine at the request of my friends, who adored my writing and wanted to break me out of my fanfic writing shell, and our first day there, the teachers supervising the club gave us some time to just each work on a little writing piece or drawing! i don’t really know where the concept of the poem i wrote came from - i was really into creepypastas at the time so i’m sure it’s slightly inspired by them - but all i know is everyone was extremely surprised at how quickly i’d finished it. while my friends were still working, i was already done and i had twenty minutes to kind of relax and do whatever i wanted. little did i know though that we were all going to share our work with each other, and i didn’t put my name on the piece i’d written. not even three minutes after we’d put all of our work on these desks in the middle of the room, does one of the teachers pick up my poem and ask, “who wrote this?” i didn’t want to come forward and admit it was me, i’d backed into a corner of the room the moment i saw her pick up my poem, but my friends pushed my forward and i admitted it was mine. and she just asked me why i didn’t put my name on it, and i looked at her all confusedly and she went, “you shouldn’t be trying to hide this talent. this is such a beautiful poem.” and at this point i was freaking out even more because i hadn’t really wanted to submit anything to the magazine, but she asked me to type it up for her so that it could be in the magazine. everyone adored that poem. i still don’t know why, but i always make jokes about it because it eerily reminds me of a character i fell in love with years after i’d written it. 

it’s the first poem in this document, by the way! i put four poems in here, all in chronological order from oldest to newest, that i actually don’t hate! so enjoy!

https://docs.google.com/document/d/12Bip1QZ6l9L7VJtfFnqyTgxqrJEMXA8GTmDBamlMrig/edit?usp=sharing

backstory: ah, well. this is going to be a bit of a bittersweet story, but you’ll come to learn why writing’s so important to me. when i was in elementary school, i lost all of my friends midway through 4th grade, leaving me with no one in 5th grade. but in 5th grade, we got this assignment to work on writing three haikus that we had to turn in for a grade. and, for whatever reason, that assignment made me fall in love with writing. i’d been an avid reader before that, there was hardly a weekend that passed that i wasn’t at the library or a bookstore, but never a writer. i don’t really know why but i never felt like i had it in me. but something about that assignment, about turning that paper in and seeing the mistakes come back in red ink, made me want to work harder than i ever had in my entire life. i bought a cheap dollar store notebook and spend every recess sitting at a picnic table underneath the shade of a tree, trying to perfect my poems. to make them the best they could be. and from there, writing just became what i used to distract myself from being lonely. i’m so thankful to this day that i actually found something i was so passionate about, because up until that point i didn’t really have “my thing”. i didn’t care for playing instruments, didn’t care for singing, didn’t care for sports. i just loved reading and watching tim burton movies over and over again. so to have finally found something that i felt so connected to, and to see how far i’ve come since then, it really brings tears to my eyes. especially because i can’t tell you how many times writing’s saved me from myself. 

faulkner: i don’t really do tropes in my work but, my guiltiest pleasure that appears a whole lot would be the whole “sadistic doctor or teacher” thing. mostly because my favorite character ever is a sadistic doctor. i’m aware i have bad taste. i rather enjoy cruel princes, too. and older villains taking in younger kids off of the streets and raising them up to be the next generation of villains. it’s a specific type of found family that i’m very weak for. i basically like villains. can you tell i like villains? because i love villains. 

record: oh absolutely! i love writing pieces based off of songs! nothing but thieves inspires a whole lot of my work, just because i really emotionally connect with their music. especially take this lonely heart from what did you think when you made me this way and hostage from their self-titled. but often times i’ll take lines from songs and use them as fic titles, or certain scenes in my books will be inspired by whatever i’m listening to. 

mifflin: i don’t really know? i don’t really consider my writing strong in any regard, if i’m being honest. i’m honored to have you all here supporting me because i’ve never been able to see much merit in my work. the only positive bit of it i could see is that i really put all of my heart into it. i don’t hold back when it comes to emotional scenes and i, quite literally, spill my heart out onto the page. my writing’s the only place where i can really confront certain insecurities about myself so they often bleed through into the struggles that my characters are facing. that’s all i could see as possibly good about it but other than that, i don’t have much positive to say. 

notepad: oh i can write anywhere! i actually love writing at school, a bit more than i should. there’s usually fanfics scribbled in the margins of my notes for class almost all of the time, usually ones about the fictional love of my life who i’m a bit too attached to but it helps calm my anxiety a lot. but i don’t really have issues with the location of where i write whatsoever! 

[americankimchi]

cindy how would u recommend going about becoming familiar with the various robins and batchildren and such? any particular comics or shows or whatever?

oh man u have UNLEASHED the BEAST 

it’s been a Hot Second since i’ve read the comics but

COMICS:

if you just want to know who’s who then i’d say start with nu52 bc it crams a lot of characters old and new together in a godless chaotic way

if you want to know the batfam SPECIFICALLY, then i’d start with pre-boot stuff like batman: cataclysm, the final crisis arc (well it’s not Just the batfam but it provides the context for/leads into the next arc which is pretty choice), Batman R.I.P, Battle for the Cowl, and the subsequent arcs

(does the will smith pose) now for my favorite boy wonder whomst is blessed with the name dick grayson, bestboy, who has done some things wrong and many that are questionable but then again who hasn’t in comics since the writers are a rotating wheelhouse of inconsistencies and strange character choices nothing wrong ever in his entire life, the first robin, nightwing, batman 2 (kicks bat!azrael under the rug), and the love of my life,

PLEASE read batman and robin (with dick and damian as the subsequent holders of each title) because it is just. good. i love them. i love these kids. they’re A FAMBILY........... (pours one out for tim u_u)

or read any of the titans comics! not the teen titans ones (i mean u could nothing is stopping u go forth and live ur best life) but the ones where they’re all grown up...... donna troy.............. my WIFE

nu52 has a really cool arc with the court of owls called “night of the owls” which introduces a REALLY cool new spin on dick’s backstory which is *chef’s kiss* choice

/pointedly ignores everything that happened to dick after this arc because honestly, what the fuck, What The Fuck, and i repeat WHAT the FUCK,,

for tim drake, read young justice since that’s His team or his titular red robin series and i’m so!!! proud of him!!!! baby boy!!!! BABEY!!!!!!!!!!!! honestly if i hadn’t been introduced to dick grayson first (i mean,,, most of us have been since he was the first and the most popular in terms of media rep ghjdfkghfj) i’m like....... pretty sure he’d be my favorite robin. he’s the best detective among the robins (though that’s not saying that they’re lightweights in that department; every single bat is Incredibly Proficient in investigation. it’s just that tim’s the best, possibly even better than batman himself, which is truly saying something)

JASON TODD THE MAN WITH THE TRULY QUESTIONABLE CHOICE IN HEADWEAR.......... shoutout to condom!jason we’ll never forget this truly iconic look

read red hood and the outlaws!!! i think that’s the best way to get to know Ya Boi since it shows him in the best light :>

damian........... son boy allowed........... most of his arcs are tied in with dick’s and bruce’s but he’s got some good ones too!!! although most of those are in nu52 now and i don’t know much about nu52 except for that unfortunate time where dc Tried It with my boy. aside from that the aforementioned batman and robin series is SUPER good for dames

AS FOR THE BATGIRLS............. god i am ashamed to say that,,, i don’t know much about them,,,,,,, aside from batgirl, black bat, and the birds of prey comics (pre-boot, not nu52) which has ORACLE!BABS!!!! oracle babs....................... how i miss you.................... /stares longingly into the distance................... back when they did you justice and didn’t just shaft you back into batgirl status because they decided that they couldn’t just FUCKING use stephanie brown or cass cain no they had to take you from your pinnacle, from your peak, rewind and destroy the struggles that you had to overcome to become the best you you could be after you had batgirl taken from you in the most violent way possible and i! am! still!!! furious!!!!!!!!!!!!!!

bruce is. well he’s batman pick a comic any comic fghkjfhgf

CARTOONS:

justice league the animated series for some WHOLESOME BRUCE WAYNE GOODNESS it’s truly the best at showing bats in the best way... shoutout to the episode where he held [redacted]’s hand bc they were scared ;_;

young justice is super good too! it kind of uh,,, replaced,,, tim’s role as leader with dick grayson which i understand because dick is more popular and that’s how u get the #views but have no fear!!! timbo is in season 2!!! and jason for like 3 seconds!!! but there is also a SEASON THREE NOW WHICH I STILL HAVEN’T SEEN HHHHHHHHHHHHHHHHHHH /grabby hands

teen titans, the OLDER teen titans, not the more memey reboot... honestly who was i, who were we all before the terra arc

and the batman animated series of course!!! also batman: beyond if you want to see old grouchy grandpa batman in the twilight of his years still alpha as FUCK though

and that’s all i got for u off the top of my head!! hope this helped :L