#probably not since this isn't the first time they referred specific scenes or images to lines in the songs

[alexiethymia]

To love someone and to want to be loved means that there is an equal amount of pain involved That’s why I kept my heart closed But now you have entered deep into it The wall crumbled and a bridge was built

- Rapport, Bleach Sennen Kessen-Hen

[profundcherrylady]

With the Book of Bill that came out recently and the amount of new things that have been revealed, I think it's clear for everyone that the canon existence of the multiverse and alternate timelines has given the fandom a lot to talk about. Some of the ones that have been most pointed out have been the Dipper who didn't get his body back from Bill, the Mabel zombie, Dipper in the digital world, Mabel the gnome queen, Dipper killed by Gideon and even Mabel possesed by Bill. I, however, haven't seen that many people talk about that one specific timeline that we can also see there, which is the one from the episode "The inconveniencing" where Mabel dies from eating too much Smile Dip (can't exactly remember where she is at the image with the other timelines, but she's there in some corner). I get that some (if not all) of this alternate timelines are pretty dark, but I think this one is not nearly talked about enough. I mean, imagine you're Dipper and you decided to lie about your age to look good infront of your crush so she lets you hang out with her and her older friends, tag your sister along and you all go to a creepy abandoned convenience store that is supposedly haunted. Everything is cool at first, then you see your sister find some discontinued candy which you know is banned from the country for being highly toxic, yet you get quickly distracted by the fun and games. You have fun and play around with your crush and her friends, completely distracted from whatever it is your sister is doing or how she is. During a breif moment, you see her again and notice that maybe she's eating too much from that stuff because she's clearly hallucinating due to the toxic contents of the candy, and yet again, the fun and attention your crush is giving you by saying you'rr pretty mature for your age redirect your attention away from your sister. A while passes and you probably realize you haven't heard her in a while, like not even the slightest sound of her or sign that she's doing anything. No laughing, screaming, jumping, footsteps, and you probably wonder if it was a good idea to let her eat that much candy, so you figure you should go check on her only to find out that she's passed away right there, probably surrounded by empty Smile Dip packages and covered in sugar. Just like that, she's gone. That's not even paranormal or anything, that's just... sad. A literal intoxication, which is like, super real. Probably the realest death in all these alternate timelines, because this is something that didn't even happen because of a sueprnatural event related to Gravity Falls; it was just... a consequence of various bad and irresponsible decisions. Of course I do know that in this episode of the series there's a whole ghost situation but that isn't even related to the Mabel's death itself; it happened on it's own. And we don't know how these events ended up happening, if they did happen, exactly. I can just speculate and form an idea of what most likely was the course of events. I'm guessing it could be during the scene where Dipper asks Mabel how many Smile Dips she had and she answers "Bleven-teen" could be a good reference of when she passed away on that alternate timeline. Like maybe Dipper is seeing the store is haunted, he goes and tries to ask his sister for help since no one is answering the phone at the mystery shack just to find that she's dead (which I would hope made the whole group leave the store before even attempting to step on the place where the owners died, but who knows how that turned out). Anyway, I could be here all day trying to speculate a hundred different scenarios from a hundred different timelines, but I'd rather leave that for another time maybe

[pan-magi]

Manga Bonus and Omake Time!

It's June, so I'll do one of the gayest ones. Surprisingly, it's none of Judar's, though they came in very close second hahaha. Nah, I'm going to go over the other magi with vol 19's.

The scans below are mine. I was too lazy to find good copies online, despite cleaning up the images from my shit camera probably was more effort than just finding them. Another note is that they're the English translation from Viz Media. I usually like fan translations a lot of time for analysis because I find it easier to pick apart the more literal translations a lot go for. Alas, I don't have that so these are the same that were published at the end of the volume in America.

These are mostly my own interpretations from this specific scene. Nothing really to back anything up, more-so to explain my thought process because I can and I think it's fun.

Not gonna lie, when I first read that I was like yesss. Fuck gender and sexuality! That's the spirit. And I do think, even though the conversation before is talking about gender, sexuality also applies to the statement since the immediate reply to Scheherazade's words is refuted as Aladdin's perverse behavior is brought up. If she wasn't referring to both then that would be a bigger leap in the conversation. I'm also biased because I am ace, lol.

(for the record, I do see Scheherazade as acespec, and both Aladdin and Yunan under the non-binary umbrella, though not necessarily agender for either of them. I will get my pride Magi hcs up this month. Idk when though so stating this here in case curious.)

(from right to left)

I feel like Scheherazade is doing her best to help Titus out and explain but she should let Titus identify himself.

Titus, you deserve the world. All the future happiness to you to help ease any doubt <3.

This is one of the times gender is the focus on the conversation, and it's about Titus being self conscious on his gender. We see a bit of Yunan's other lives, with some being shown feminine, but that's it. The manga brings attention to it for Titus, although this isn't in the main manga either. The whole conversation and Titus in general gives off big trans energy.

I dunno. I like that they reassure him on who he is. Should have laid off him in the first place, but it's sweet.

(Plus, Aladdin, you are a little shit and should apologize for invading the guy's space when you met and not just for assuming his gender. Bad child.)

I love when they do start to talk about Aladdin, Titus mentions that neither he or Sphintus gets it concerning woman. It could be because they're young, and that's fair. But the more important conclusion:

They're gay, your honor.

Yup, that's what I have. I enjoy that the main talking point was about gender and sexuality, and for me it's easy to see no one there as cishet. The end note is that Scheherazade is likely more wordly than she appears (or wants to be), but I do still see her as ace. I will break down more of my headcanons later; this is long enough already.

Happy Pride Month All. Sharing all my fluffy freshly-baked ace cakes.

[ackermanshoe]

Do not tell me if I'm wrong but here's

rivamika moments we haven't talked about enough- pt 1

Before I start you dont have to agree with me this is just what my thoughts are and how I perceived these moments when I first saw them.

Ok time to start nitpicking.

Levi when they came to the squad in the scorching heat : looking reasonably mad as usual.

And this, this is his face right after Mikasa had said her input about Marley not understanding them as people.

Excuse me? I'm not sure if he's looking at her but you can't ignore the fact that his face had this major change from the look of annoyence to a look of exhaustion? Pity? How should I say the mix of both with a pinch of love? Adoration? You get the idea right 💆‍♀️

Okay, moving on...

Okay my marking game ain't too strong but you get the picture yes?

The "out on a walk, women on tow.." why isn't this line talked about enough?? ( Is it just me or does this line seem high-key disrespectful??)

So after this random as man refered to the "women" next to him, you can see his face turn to Mikasa's side- ( 😭) he is turned to the man is now mentioning going shopping and that man is right next to Mikasa. Knowing the ugly nature of civilians this gives me a sense that isayama was probably attempting a cliche "harrassment scene". That, but very subtly. And because of the fact that Levi was specifically drawn leaning toward Mikasa's side rather than Sasha's side, it makes me very suspicious of what isayama was trying to portray here. As a shipper I'd like to see this image as Levi being aware of these men's not so pure undertone while speaking about women and specifically a certain woman, and hence Levi's protective instinct kicking in. And since I refuse to hold anything back here, I'd say even though it was Sasha who made the "Eek!"

Noise, it was Mikasa that he subconsciously looked out for.

🥴🥴 no body is allowed to disagree with me on this ☺️☺️

Because I have thought about this for a long time, since I read this chapter and thought how different the uprising arc was in the manga than the anime. And these specific details make the biggest difference to how we see them develop ( or at least to me ).

And to further add fuel to my last theory about Mikasa possibly reminding Levi of his mother, this scene is oddly put in. This starving woman with her child obviously reminded Levi of his tragic childhood and his mother. But do you see how closely this panel and mikasa's panel is put in? It's right above the other. One where not so obvious implication of Levi being protective over Mikasa is shown and then one where Levi being reminded of his mother is implied. I don't think it's a coincidence ppl 😌🖖

And if I must refer back to the fact that both Levi and Mikasa is reaching for the same kind of tranquility in life then I must say, Levi also very clearly cares about family. Or children at least, he had the toughest life as a child seeing his mother rot right in front of him, he does not want a repeat of that, he wants a family where he can give the love his younger self was deprived off. And it's the same for Mikasa as if it wasn't clear enough that she longs for a family, seeing how hers were taken away from her of course she would want to live a life with children who do not have to see the same fate. Basically what I'm saying is that "rivamika are perfect for each other and I don't fucking get why they aren't married already like what the fuck" but more politely :)

Anyways I'm gonna end this here, I was not happy with how I worded my analysis of Levi's mother and Mikasa like I can't believe people read that 😢 I didn't do my thoughts justice.

( thank you everyone for reading once again, I feel like everyone is active here posting content when it's night for me so I become really bored during the day it's fine I guess it becomes a routine to check the rivamika tag every 5 minutes 🤡 )

[alto-angel]

in this post, i would like to present my thesis on why the song metaphor by the crane wives belongs to goro akechi.

"i've gotten good at leaning on metaphors": goro's speech as the detective prince is very flowery, exaggerated, and calculated, in order to please the crowds of people with their eyes trained on him at all times. public appearances, television shows, and interviews are all very important for his image, and as such he's forced to adapt his speech and choose his wording carefully to appease those watching. robbie daymond especially does a very good job of vocally pushing the line of politeness into a tone that sounds just a bit too sugary to be genuine, but not something u would notice unless u were listening closely.

"i've gotten good at living on someone else's page": much like the first line, this one can also refer to goro's public image. because he's put an immense amount of work into his life as the detective prince, he aims to please. or at least, he needs to act as though he does. in order to keep up appearances, he needs to be able to get a read of those around him and keep himself on the same wavelength as them. this also applies to shido—not only does goro need to please his fans, but shido as well, in order to stay one step ahead of him. goro is purposefully putting himself on eggshells every day of his life, and in order to keep that up as well as keep himself safe, this is what he has to practice.

"i cut my teeth on secondhand sentiments": goro is often forced to follow a script, or at least an embellished, public-friendly version of his own thoughts. the things that he says when acting as the detective prince are rarely ever his own thoughts as they would be presented in normal conversation. goro has to hide his true opinion of the phantom thieves behind crowd pleasing buzzwords, keep up appearances by catering his opinions, and even quotes philosophers and other literature ("to paraphrase hegel"). the things that he says as detective prince goro akechi are rarely ever entirely his own, and he's gotten very good at tailoring his speech.

"you can't trust a single thing i say": this one, i think, is fairly self-explanatory. the "you" doesn't just apply to the phantom thieves, but to those goro works with as well. what is it he says to sae; "to trick your enemies, you must first trick your allies"? he uses deception to get what he wants, but his primary motivation for it is to move his plan forward, and to protect himself. obviously, if he were honest with shido, he would've been killed on the spot. goro's proficiency with lies isn't just a tool he uses, but a defense mechanism as well. bc of his fear of and difficulty grasping the concept of opening up to someone, through that skill, he is able to keep himself closed off and in control (that is, until he meets akira).

"i keep my closet free of skeletons": this one strikes me as irony, personally. goro's closet is so full of skeletons that it's practically bursting at the seams. but as the detective prince, something like that just isn't allowed. he needs to play the part, otherwise he pays the price. as himself, as goro akechi, he's got so many skeletons in his closet that he probably can't open the door anymore. but as the detective prince, he has to uphold an air of perfection that seems unattainable to others. goro as the detective prince is the epitome of the culture behind the idolization of celebrities, and the way others place and expect them on pedestals of something near godhood, far above the rest of the world.

"cause i'm much better at digging graves": well, goro akechi is certainly no stranger to the art of killing someone without a trace. we have no idea how many shutdowns or breakdowns he induced over the course of his professional relationship with shido. but i also think this lyric in tandem with the one right before it could relate to goro's tendencies towards repression; the idea that he cannot and should not have any "demons" or "skeletons"—such as past traumas, meaningful relationships, or feelings that he's jammed down and shut the closet doors on, if u will—bc since vengeance is his only objective, then digging graves is his primary task, or the only thing he's good for, in his mind. the word skeletons doesn't have to represent mistakes specifically, but could also refer to how goro views his own heart and how he deals with his emotions. something like, he feels he shouldn't deal with all that turbulence, bc he's far better at warping it into anger—something that he's used to dealing with, and can easily rationalize. the more complicated emotions, not so much.

"but i always dig up bones in your sympathy": this is where i start connecting things to goro and akira specifically. another definition of sympathy entails two people who share an understanding of each other. doesn't that sound like goro and akira to u? so, if u take these lyrics to be from goro to akira, it feels to me like this one could represent his regrets/desire to leave his situation. according to rank seven of his confidant in royal, we know that goro is practically screaming for help before the events of sae's palace. unfortunately, as the player, we are not able to save him. but i think this lyric could represent his desire to connect with akira despite his better judgement—"dig up bones," as in; i'll still arrive at the decision to bury them in the first place, but bc we have an understanding, i'll show u as well as i can that i do not want to be doing this. and that's exactly how rank seven with goro plays out, through the metaphor of a billiards game.

"i can't trust a single thing you say": this could refer to the fact that both goro and akira are withholding truths from each other throughout their relationship, and since they are of equal standing, the same deception that applies to goro would apply to akira as well, albiet in a far different way. however, i can also see it as an unwillingness on goro's part; he feels as though he cannot trust akira not bc akira is truly lying to him, but bc there's no other way for him to rationalize the fact that akira cares for him and wants to spend time with him. as goro akechi, not the detective prince. goro can't trust the kindness akira extends to him not only bc he's used to conditional love (shido, foster parents, etc.), but also bc he doesn't feel as though he deserves it. goro does not have a very high image of himself, as we see later on, and it's easy to see throughout his confidant that he cannot quite understand why someone would want to spend time with him, and not the perfectly crafted version of him that he presents to everyone else.

"don't look too hard, cause you won't like the scars he left in me": the "he" here refers to shido. shido is the sole reason for all of goro's trauma and hardships. he has scarred goro more than anyone else in his life. and goro's sharing of these traumas is very limited: he opens up seemingly out of nowhere, before immediately retreating under the guise of things like "oh, that isn't like me," or "oh, am i bothering u?" such as the scenes that take place in leblanc and the bathhouse. goro cannot fathom the fact that someone (akira) would wish to get to know him, as he is, so he assumes that a normal interaction between friends is somehow too much transparency, and keeps himself at a distance. he mistakes his feelings for akira as hatred, right? obviously, that's entirely the wrong word to describe them. but if goro himself believes that he hates akira, he would likely believe akira to hate him as well; as evidenced by the fact that the dialogue options which give u the most points are the ones where u mention ur "rivalry"—bc again, goro cannot rationalize his emotions as anything other than negative; anger, hatred, etc. it's far easier for goro to blurt out the words "i hate u" rather than "i love u," or "i care for u," isn't it? and this is how he keeps himself at enough of a distance, although simultaneously feels himself drawing closer. emotional closeness is not something goro is well versed in, and bc goro has built his image on being talented and skilled, he refuses to reveal his shortcomings.

"i've gotten good at making up metaphors": the words here are only slightly different than the ones at the beginning, which i think works for goro's further descent into his deal with shido, and subsequent difficulty. instead of "leaning" on metaphors, he's completely making them up. it's more drastic, which could represent a sort of desperation. almost as if he's losing his touch—which we do see after the events of sae's palace, during the tv interview where he monologues internally about his backstory, and we start to really see how damaged he is. goro is frazzled and distraught, enough for it to visibly show, something he prided himself on being able to avoid.

"i've gotten good at stretching the truth out of shape": again, the same situation as before. similar to the beginning, with slightly harsher wording. the lies that goro is immersing himself in are getting more intense, and almost impossible to separate from. his "murder" of akira is a turning point, in a way; akira is the first and only character we see goro kill in what he believes to be outside of the metaverse. he's not only stretching the truth out of shape, but he himself is bent out of shape as well—this stuck out to me on my ng+ run; his sprites in the scene just after akira is reported to be dead from him to shido are very unsettling and absent, as if he's almost completely zoning out. it's a very jarring scene to watch, and i think at least part of that has to be due to the severity of his actions.

"and all these words are sweet and meaningless": this feels to me, if we're going by the timeline i've been suggesting throughout all this, like it's directed at shido. now that akira is dead and the phantom thieves are no longer a threat to goro's plan for revenge, he can focus his energy back on his original objective. goro lays it on incredibly thick in his scenes with shido, so much so that it sometime surprises me that he didn't realize shido was onto him. again with the more intense wording here, which fits with the events i'm corresponding it with.

"you can't trust a single thing i say": now this wording is exactly the same as the first time, but given the progression of everything i've talked about, i take this as a sort of last word to both shido and akira. goro intends to follow through with his vengeance no matter the cost, and this could read as a final nail in that coffin. the song repeats this lyric four times, as well. if i wanted to keep it up all the way up to the engine room scene, and go completely off the rails in the process, i could say that the first iteration of this line is an affirmation to both shido and akira that his revenge takes precedence, therefore it would be stupid to trust him. the second is an affirmation to himself that he is in fact doing the right thing, and everything will pay off in the end, that this is just the way things are supposed to be, as always. the third is a kind of plea, born from confusion, after he's defeated by the theives and they offer to bring him with them to take down shido, an offer he cannot fathom the reason for extending. a sort of "why would u trust me" in the form of "u shouldn't trust me." and the fourth would refer directly to goro speaking to his cognitive self; as he decieves the deciever, making it seem as though he is running back to shido only to close the bulkhead door and resign himself to his "noble" sacrifice.

i hope at least some of this makes any semblance of sense. put this song on ur goro playlists, goroboys.

[fly-pow-bye]

DuckTales 2017 - “The Lost Cargo of Kit Cloudkicker!”

Story by: Francisco Angones, Madison Bateman, Colleen Evanson, Christian Magalhaes, Ben Siemon, Bob Snow, Tanner Johnson

Written by: Colleen Evanson & Tanner Johnson

Storyboard by: Vince Aparo, Kristen Gish, Victoria Harris, Ben Holm

Directed by: Tanner Johnson

Spin it!

Before doing research when Don Karnage first came to the series, my knowledge of TaleSpin began and ended with me having that awful Genesis game as a kid. I do know that the show took place long before the modern day, which is when DuckTales 2017 takes place, and it appears that the events of TaleSpin in this universe still goes with that. Why do I know this? Because this episode does not start with Baloo piloting the Sea Duck...

...but a grown-up version of his surrogate son, Kit Cloudkicker, who is now running Higher for Hire by himself. However, while things have definitely changed for Higher for Hire since Baloo's apparent retirement, mostly for the worse, some things remained the same. Namely, he is still being tormented by the nefarious Sky Pirate of the Skies, the corsair of the air, Don Karnage. Or Dan, as he calls him much to Karnage's annoyance. The good news is that Kit is now an ace pilot who can easily fight off sky pirates like he did back in the glory days. The bad news is that he can still do what he did as a kid with a giant cargo plane. He even says it, and with most of his dialogue in this cold opening suggests this is going to make him look foolish.

Even worse news for the business is that the fragile box addressed to F.O.W.L. is just sitting in the center of the cargo bay with no security whatsoever aside from a caged chicken and a goat. After rocking back and forth due to Kit fending off against Don Karnage, the box breaks to reveal a rock with a blue lion carved into it, and when that aforementioned chicken and goat touch it, they both turn into some sort of chicken-goat hybrid that Kit has to fight. How is able to fight this goat-chicken while piloting the plane? Simple: he puts a crowbar in the steering wheel, just like Baloo did in the original. Here, the idea is played as silly as it would be to someone who had never heard of TaleSpin. It is doubly sad when one considers Kit treats this crowbar like his only crewmate, because it is.

I do like that this first scene introduces this show's version of Kit very well. He's obviously an incompetent pilot, and not one that is lovably incompetent like Launchpad, and this incompetence is pretty well known among his customers judging by this line:

Kit Cloudkicker: Who's the terrible pilot now, everyone?

He's surprisingly cheerful about that, which, again, makes him look foolish. Despite all of this foolishness, he does appear to still be competent at coming up with plans to defeat his enemies, whether they be sky pirates or mutated goat-chickens, even if those plans end up putting the cargo he was supposed to deliver into the water. This includes that lion stone. He looks onto this and says "my bad" in a way that shows that his business is definitely going to be in the red in a few years.

A few years later, we see that Della is taking Huey, Dewey, and nobody else to Cape Suzette, and she's even allowing Dewey to fly the plane along with her. It is easy to see why Huey is extra prepared even if Dewey is doing surprisingly well, as Huey is not only using extra seatbelts, but having a Safety Boy helmet as well. Huey's also prepared with the knowledge of that Lion Stone we saw go into the ocean in the previous scene, which, you guessed it, is a Missing Mystery of Isabella Finch. Specifically, it's the Stone Of What Was, which was described with the mysterious phrase "what was once two becomes a-new." Huey does not seem to figure that one out. The good news is that it was found, but the bad news was that it was found by F.O.W.L, but the better news is that they lost it, but the worse news was that the stone was made of potassium benzoate. Okay, that last one was made up. There's a few throwaway lines to fill in how Huey even knows F.O.W.L. had the stone in other scenes, and those plot holes are really not that important.

After nearing their destination, which we learn was based on a clue from an intercepted F.O.W.L. transmission from a throwaway line from Huey slightly later in the episode, Della has the bright idea to let Dewey land the plane. Letting a little kid fly a plane? Not a good idea. Letting a little kid land a plane? Also not a good idea. Telling that little kid that there's nothing wrong with a basic landing? May be a good idea in the off chance it could even come up, but definitely not a good idea when it comes to Dewey. To Della's credit, at least it was Huey that did that last one.

After the crash landing, and not a Launchpad-type one, they arrive at Higher for Hire, which shows an advertisement showing its legacy playing on a television screen with plenty of TaleSpin references. This includes one shot of Baloo and another shot of a younger Kit and Molly Cunningham riding on an airfoil done in the style of the original show. This is great for people who were not aware of TaleSpin, which the target audience for this show may not have seen unless they have Disney Plus. Kit, still shown to be the sole employee years later, assumes anyone knocking at his door is the bank demanding payments, but he's delighted to see one of his former classmates at pilot school. He constantly has to tell Della that he is an ace pilot now. Most likely, he's telling that to himself too, as we'll see in the next scene. He at least has reason to believe he's a better pilot than his former classmate, as it doesn't look like her plane is in good shape. Della could have explained that this state was because she let one of her less competent sons fly the plane...and that would have probably made her case about a thousand times worse.

That television commercial also inspires a sort of B-plot that also ties into Kit's character arc, as seeing young Kit cloudkicking makes him want to do it, too. Despite his failure at even mimicking it, Kit is happy to see a fellow cloudkicker and would be glad to teach him the ropes. Della is not too excited by this prospect, but ends up allowing it, because she doesn't want to be the mother that does not support her kid. They aboard the plane, which ends up being a very bumpy ride, and Della goes to investigate, only to find that Kit was in the bathroom, letting his only other employee, the crowbar, be his substitute.

Kit tries to stop what he calls "mutiny" by saying that he's the only one who knows where the cargo could be, only for the crowbar to slip and reveal that he's been keeping a map in the glove compartment. The map actually has some Xs and a circle on it, which suggests that Kit may have been trying to correct his previous mistake, but either never getting the motivation to go through with it, or, more likely, he isn't competent enough to deal with whatever is on that island he circled. Maybe I am thinking about this too hard, but I would say it would be fitting.

Kit decides to distract everyone from him getting kicked out of the pilot's chair by giving Dewey his airfoil and the cloudkicking rope for him to hold onto, and a shot of Dewey's excitement instantly cuts to Dewey screaming for his life, holding on for dear life as he can't seem to. The parallel between a former cloudkicking guy who isn't really a good pilot, and a kid who can actually fly a plane who isn't really a good cloudkicker is easy to notice, and the episode plays around with this. For starters, similar to Kit and his not-so-ace piloting skills, Dewey also tries his hardest to hide how terrified he is at the cool new thing he wanted to do. Of course, it is very possible that Kit is acting the way he does because he's in a certain someone's shadow. Dewey just does it because that's how he is.

Despite that difference, this parallel is enhanced even more when they get attacked by the Sky Pirates, and Kit has to intervene and show that he, at the very least, can get Dewey out of the danger that Kit himself has caused. And yes, Don Karnage's Sky Pirates are now working for the very organization that they indirectly harmed years before by attacking that cargo plane and making them lose that precious stone. That does not come up at all, not even as a throwaway line. What does come up is that Don Karnage is delighted that one of the people after the Stone of What Was is his new arch-nemesis, Dewey. It's a long story that started all the way back in Don's debut in Season 1. It's neat to see these old references. After they all make a landing on the circled island, some more safe than others, they get to meet the wildlife of the island. Let's say there's a good reason why this island was circled, and why Kit could not handle it by himself.

It's a rhino and a gorilla crossed together, either a rhinosorilla or a gorillanoceros depending on whether one likes Dewey's word for it or Kit's. Clearly, this is the result of the Stone of What Was...what was...Wuz...Wuzzles! Admittedly, the Wuzzle was also not a show I grew up with, though that could be because it lasted only a season. In fact, I just now notice the lion carved into the Stone of What Was happens to have bumblebee wings. These animals are a little more realistic here, as they don't talk, and they're not cute or fuzzy like the original Wuzzles were. In fact, the character this gorillanoceros was based on was actually a monkey-rhino. There is a difference, even if they are very similar species genetically!

They eventually get to the stone, only to see that Don Karnage and his crewmates have found the stone first. Hiding, they see Don Karnage command Hardtack Hattie, his strongest crewmember, to lift it up. Unfortunately, she happened to lift it as a bunch of ants were crawling on it, turning her into an ant centaur to her and Don's horror. Despite that horror, and fitting for someone who just wants to finish his mission, he tries to get some of the other crew members to lift it...

...leading to these freaks of nature, which is what Don Karnage actually calls them. DuckTales 2017 isn't too afraid to show the horrifying nature of some of these fusions, continuing with the theme of how they portray the Wuzzles as these monstrous beasts. I would not call it nightmare fuel, but I would not be surprised if it already has an entry on TV Tropes. What makes these even worse is that there is no way for these guys to revert back to their normal forms. There's no "if the stone feels like it, it'll separate you" clause here, that snail-dog is permanently a snail-dog, and that pirate will have to live with a hand for his head for the rest of his days. These guys just end up getting forgotten.

Della tries to sneak by climbing around this horrific scene, only to be caught on some sort of sticky rock. Dewey decides to try to save her with his airfoil-riding skills, much to Huey's disagreement. Dewey's got to Dewey it! Oh yeah, I forgot, Dewey ends up doing "Dewey" puns for most of the episode. It's not funny, but I have a feeling it wasn't meant to be funny, and it's certainly not funny when he ends up falling down near the pirates. Face to face with someone who considers him his arch-nemesis, he tries to save face when he notices Kit stole Don Karnage's plane...which he immediately crashes into a rock.

As for the rock that Della was stuck on, it turns out it wasn't a rock. Nor was it a rock lobster, either!

It hatches into another classic Wuzzle character: the Butterbear, or the Bear-terfly as Don Karnage calls it. They never quite match the original Wuzzle names, and it is not like they would know them. There is one part of this where Kit and the Bear-terfly cross paths, and it almost seems like they're going to bond because they happen to be a similar race. Then, it instantly cuts to Kit running away from a rampaging Bear-terfly. How are they going to continue from this? Have the Bear-terfly get caught in some rope, and have it run in a way that ties up the stone, and have it fly away with Della still on its back. It is a bit convoluted, but it works in the end as it is a way for the stone to travel without it mutating even more people. Whether any of these fusions can use the stone to combine into other fusions is left unanswered, which is for the best.

One may notice I didn't talk a whole lot about what Huey did, and that's because he really didn't do much for most of the episode. He delivered the exposition, he tries to stop Dewey from "Deweying it", and that's about it. However, he does have a major part in the episode: he gets to take part in the scene where the two bumbling fools realize what they have been doing was foolish. Namely, they needed to realize that they should do what they were good at: Kit should cloudkick and Dewey should fly the plane. It is a good lesson that had some good buildup. Sure, they were pretty much failing throughout the episode, but there were scenes where they were surprisingly competent, like the scene where Kit rescued Dewey with his Cloudkicking skills, and Dewey managing to fly the plane in the beginning before he decided to "Dewey it" and crash it. It does not come out of nowhere. Speaking of which...

Dewey: Okay, let's do it.

What would be an unremarkable line actually works really well here, mainly because he decided not to make a pun on his own name, which he did way too much. It does show development, as if this fun-loving showboater is actually learning his lesson throughout the episode. I expect this from DuckTales 2017, and there are certainly cartoons where I don't.

Fittingly for a TaleSpin episode, this all ends with a flight chase scene. No, not the usual DuckTales 2017 fight scene, though there are some fights here and there, especially with Kit and Don Karnage, armed with that crow bar and sword, respectively. The scene actually manages to make Dewey keeping the plane steady an action packed scene, as he has to save his Mom while trying not to let the stone fall into the ocean and make an octopus-fish-squid hybrid that would rival the Eldritch horrors. Again, whether any of these fusions can use the stone to combine into other fusions is left unanswered, which is for the best.

It's not really a spoiler to say the good guys win, but I will say the TaleSpin part of the plot is very much all tied up in the end. If Kit only makes a minor appearance in the finale, and I'd actually be surprised if he didn't appear considering how packed the clips were, it would be completely understandable. Also, there's a cliffhanger and we finally get to hear Don Karnage sing another song, if a very short one. It seemed like he just couldn't do it in his other appearances.

How does it stack up?

With the genius way of using not just one Disney show's legacy, but another Disney show as well, there's a lot to love about this episode, though I wouldn't say it's among the absolute best. Four Scrooges.

Next, Scrooge gets indicted.

← Beaks In The Shell! 🦆 The Life and Crimes of Scrooge McDuck! →

[morkhan]

Will Byers is Gay: The Evidence So Far

With the release of Stranger Things 3, there has been a lot of discussion kicked up about the character of Will Byers and his sexuality (or lack thereof). I've seen a lot of takes about what "it's not my fault you don't like girls" was intended to mean, many of which seem to take it in isolation, so I wanted to make a post putting it into what I think is its proper context; not an isolated incident, but the latest carriage in veritable train of queer themed language and imagery that has followed Will Byers since episode one of season one, and before that. You ready? Alright, let's go.

Season Zero: the Montauk Files

Before Stranger Things became Stranger Things, it was called Montauk. Like many would-be show makers, the Duffer Bros put together a "show bible" describing the premise, setting, tone, and characters of the show they intended to make. Like many shows, a lot of these ideas changed or were lost on their way to the screen, but it's always worth looking into their original concepts. Here is their description of Will Byers in the Montauk show bible:

Obviously, the major whammy there is in the first line "sexual identity issues." But there are some other interesting notes, like his "colorful clothes" that you might want to keep a lookout for on your next rewatch. Now, onto...

Season 1

The thing to pay attention to regarding Will in season 1 is in the language used to refer to him when he is not present (which he isn't for most of the season).

Episode 1: the subject of bullying comes up right away in the conversation between Joyce and Hopper. "The kids, they're mean. They laugh at him, laugh at his clothes, call him names." "What's wrong with his clothes?" "I don't know!" This harkens back to the Montauk show bible, but it's arguable, since it's never made clear what about his clothes draws ire.

She also mentions that he is "sensitive," "not like most," and that his dad said he was "queer" and called him a "fag." Hopper asks "is he?" to which she replies "He's missing is what he is!"

Episode 3: Troy says he's not missing, he's dead. "Probably killed by some other queer."

Episode 4: Troy, again "Will's in fairyland, flying around with all the other little fairies, all happy and gay."

Sensitive, queer, fag, fairy, and gay are all used to describe Will in season 1, but perhaps more notable is the fact that they aren't used to describe anyone else. If the show were truly period accurate, let's be real; the whole party would've been called queers on a pretty regular basis, because "queer" doubled as a generic insult back then. But in season 1, these words are only ever used in relation to Will, with one exception; in episode 6, Steve says to Will's brother, "I used to think you were queer." So it's not even an active accusation in that moment; it's used in the negative.

Hell, Troy walked up to Lucas mockingly proposing to Mike and proclaiming his love for him, and he still didn't call them queers. That language is reserved for Will.

Now granted, most of these are used as insults by characters who don't like Will, but still; as a writer, if you want your audience to remember something, repetition is an excellent way to embed it in their minds. There's a reason for the specificity of language surrounding Will, and a reason that language keeps coming up over and over and over again.

Season 2

Season 2 retires much of the homophobic language used to insult Will, replacing it with "Zombie Boy." The only homophobic language used in season 2 is the word "faggot," used by Billy's father to refer to Billy, who expresses a clear interest in women (and an arguable interest in one particular man, but that's the subject of another post).

Still, there is an arguable bit of queer theming in Will's conversation with Jonathan regarding the benefits of being a "freak" and how normal people never accomplish anything. Jonathan even invokes bisexual icon David Bowie to make Will feel better about his "freakishness."

The clearest piece of queer theming for Will in season 2 comes in episode 8, in this beautiful speech from Joyce to Possessed Will:

"When you turned eight, I gave you that huge box of crayons, do you remember that? It was 120 colors. And all your friends got you Star Wars toys, but all you wanted to do was draw with all your new colors. And you drew this big spaceship, but it wasn't from a movie. It was YOUR spaceship; a RAINBOW Ship, that's what you called it. And you, you must have used every color in the box. I took that with me to Melvald's, and I put it up. I told everyone who came in, 'My son drew this.' And you were so embarrassed, but I was so proud. I was so, so proud."

This is one of the most powerful memories of her son that Joyce has, an image so strong and distinct that she uses it to invoke his true identity against the monster that is slowly subsuming him. She notes very specifically that it's not something he copied, but something that came entirely from Will himself, an image that she felt represented him so perfectly that she took it with her to work and proudly touted it as his to everyone she knew. The Rainbow Ship is Joyce's picture of her son's very heart, and surely I don't need to explain to you how powerful a piece of queer imagery the rainbow is.

Some subtextual stuff; in episode 9, when the girl asks Will to dance, he stammers "I... I don't..." and only goes to dance with her when Mike literally pushes him towards her.

During the final montage, the scene cuts to different characters in time with appropriate lines from the song: "every move you make" cuts to Mike and El (as he is teaching her to dance), "every vow you break" cuts to Nancy dancing with Dustin (as she technically cheated on Steve with Jonathan), "I'll be watching you" cuts to Lucas dancing with Max (as she has playfully called him 'stalker' all season). What line cuts to Will? "Every smile you fake," specifically on the word fake, while Will dances with a girl wearing this expression:

That is not a real smile, that is not a comfortable boy, and that is not an accident; Noah Schnapp is one of the best actors in the entire show, and of the young boys, he is the one the Duffers trust most to do dramatic heavy lifting.

Do you want it to be a little more explicit? Okay, here is that scene in the script:

I mean, that pretty much speaks for itself. It's less explicit in the actual show, but it's still there, you know?

Season 3

And now, the biggest and most explicit thing to date; The Scene. I mean, you could discuss the obvious subtext in the simple fact that Will is the only male main character who has yet to find a girlfriend or express any interest in girls whatsoever, but that pales in comparison to The Scene.

The setup for The Scene is pretty simple; after declaring "a day free of girls" in order to get his friends to run the D&D campaign he's probably spent a significant amount of time creating, his friends have blown him off to continue bemoaning their girl troubles, so Will has decided to leave. Mike, realizing too late that he has genuinely upset his friend, chases after him to try and get him to come back.

A back-and-forth argument ensues, where Will accuses Mike of ruining the party and abandoning his friends in favor of girls, and Mike, in the heat of the moment, responds with "It's not my fault you don't like girls!" After which, everything stops. There is a full second of silence, and a close up on Noah Schnapp's face so you can take in his reaction.

There is a lot to unpack here. Now, acting is up to interpretation to a degree, but to me, that expression conveys two primary emotions; shock, and betrayal. That face says "how could you?" Because here's the thing; regardless of what Mike does or doesn't know about Will's sexuality, Mike knows for a fact that Will has been called a queer all his life by everyone from his school bullies to his own fucking dirtbag father. By invoking even the specter of that, Mike has crossed a fucking line, and he knows it. And we know he knows it, because he immediately backtracks and tries to mitigate the damage. But it's too late. The damage has been done.

I also think there is a tinge of fear in that image. Just a moment of soul raking panic that pretty much every closeted queer person knows intimately. It's very brief. But I think it's there, if you look.

This scene sends Will into an emotional tailspin that culminates in him tearing down the literal last bastion of his childhood in a fit of sorrow and rage. His innocence has been destroyed. He cannot regain what he has lost, and he can never go back to the way things were before. This is the emotional climax of his arc for season three. It's a powerful one-- shame it comes in the third of eight episodes, but that's neither here nor there.

And that's pretty much it for now. Any one of these things taken in isolation could be very easily dismissed, but here's the thing; they aren't isolated incidents. They are part of a clear and consistent pattern, one that goes all the way back to the show's inception, before even one minute of footage was filmed. And this pattern points to one very obvious conclusion; the Duffer Brothers have always intended, and continue to intend, for Will Byers to be gay.

Now, for the obvious question; why haven't they made it explicit yet?

The answer is as unfortunate as it is obvious; I don't know.

It's entirely possible that there is some external force that the Duffers have to answer to that is preventing them from actively pursuing this particular storyline. This happens all the time in Hollywood, and it could be anything from Netflix to Noah Schnapp's parents to Noah Schnapp himself just being uncomfortable with it. Many are the creators who dream Big Gay Dreams only to run into the horrors of our Forced Hetero Reality. If the Duffers ultimately submit to these pressures, I hope you won't be too hard on them. This shit is harder than you think to get to the screen sometimes.

But it's also possible that they just aren't ready for it yet. That they have been saving this for a future storyline, that they just want their characters (and the actors) to get a little older before they pursue this particular storyline explicitly, but they've been busily laying groundwork for it so that anyone paying attention will know it's coming.

I don't know. Only time will tell for sure.

For now, I can tell you this; I see a great deal of evidence that the Duffers still intend for Will to be gay, and precisely zero that they have changed their minds.

I hope that holds true.

[dragonthunders01]

Since a while doing size chart of prehistoric and spec evo lifeforms I had also the desire of try to scale up ficticious species from movies and other media, becoming something of goal make a size chart related to the JW Mosasaurus as for a while looking though time the charts done by various sources that tried to depict this leviathan are quite poorly made or very wrong due to use the wrong proportions which was the reason that made me take the initiative to try to create my own version.

At first I had to work on an appropriate, well-proportioned illustration of the Mosasaurus of the movie since to have a better and more accurate measure I need to work with the proportions of the movie, it is something that seems in many charts people forget and add the proportions of any other species of mosasauru (it is as if someone put the silhouette of a real Velociraptor to scale up the JP one)

As well working in the species of Mosasaurus was based of: Mosasaurus hoffmanni.

After the complicated part came... scale everything...

I started to work with the scale based from the size estimations as there are many from many parts of the franchise marketine, some contradictory and some undecided, including the website and some promo material and one interview mention of its size. At the end I got the 4 size estimates which 2 are just the smaller ones from the original promo, and 2 that are from the main movies, one practically confirmed and other is based on scale. I tried to back up comparing with physical objects like people and animals on which she interacts, giving a more certain measurements.

The resulta were quite interesring...

In the part below there is the biggest mosasaur known, Mosasaurus hoffmanni (one reworked version), which has been previously estimated with a length of 17 meters, however this has been due to the fact that the largest specimen has been scaled based on a head:body length ratio of 1:10 (similar to its relative Tylosaurus) from a skull size of 1.7 m long, recently many people disagree with it considering the proportions of it are different from other mosasaurs, being more robust and short tailed and reaching less than 13 m long, of course even if there are 17 m long mosasaurs they don't come near the head size and body of the JW counterpart.

The two specimens on grey scaled up are based from the lenght given on the official site (55 ft or 16 m long) as in posters and proportional images, sometimes varying the number from 22 to 25.9 meters in length, but comparing on these with the references I go from the movie I got her bigger than 25 m, reaching up to the size of 36.6 meters long, this being a size mentioned in an article.

The references I mentioned are from two main scenes, the Pteranodon ambush and The I. rex Death scene.

I excluded the very iconic shark scene due to being the most difficult to scale due to being CG, the white shark on the movie can be 3 or 4 meters long as its their average size.

And at last there is the JWFK Mosasaurus which is the same individual but 3 years after the events of the first movie, which... got its size duplicated, I tried to use for main reference the only two clear scenes where she interact with humans including Jack the mercenary death and the Surfer attack, which on both we are just having the head as a indicator of her size, which is very, very massive, at least passing the 65 meters long... this is probably the only size I'm speculating from the rest as there isn't any specific source that could totally confirm it but I don't think there is something that could deny is much bigger that her original JW form.

Note: Of what I gathered weeks after I did this chart is that it seems she is suppose to be the same size as on JW so perhaps is an angle distorsion that cause the oversize, I got a little more confirmation from the little frame at the Battle at Big Rock scene as scaling it the shark keeps a size of 36.6 m long...

At the end I found interesting and surprising how unbalanced are some data that are given within the new movies and franchise, as of the information that people interpret to obtain measurement, but, I don't want people to think this is an attempt to demigrate or endorse the film, I just tried to check the data to obtain a result, because my interest is always to understand stuff, specially in this particular subject which has been brough time to time.