#re reboot because of matts ‘and there’s nothing wrong with that’

[filminvasion]

Scream (2022) Movie Review

“Scream” still begins with a landline phone call and much like movies of its ilk, it’s only really good when it re-digs up the past. The film, from not Wes Craven (who died in 2015) but Matt Bettinelli-Olpin and Tyler Gillet, is what the film is modernly calling a “requel” and when the most clever thing about the fifth movie in your franchise is a new coined term, it’s probably a sign that the freshness was all gone to begin with. 

The new main character here is Sam (Melissa Barrera), who fled Woodsboro years ago but now returns because her younger sister Tara (Jenny Ortega) was attacked, again in the prologue, by a killer, again, wearing a ghostface mask. The killer is again obsessed with slasher films, particularly “Stabbed”, the adaptation of the older events concerning ghostface in Woodsboro. Now this new killer wants to do a reboot and all of Tara’s friends are potential victims, or suspects, as the case may be. 

Best of all this is the returning cast. David Arquette and Courtney Cox still have sparks Dewey and Gale. Dewey is no longer Sheriff, but still knows the rules, while Gale is ready to kick ass. And Neve Campbell is also called in from what seems like a serene life now to do battle again; one of her first lines is “I’m Sidney Prescott, of course I own a fucking gun.” The best kill in the movie actually comes from Campbell and Cox, not the killer. These older characters were always intuitive, knowledgeable and aware of the situation they were in. That hasn’t changed. 

This new cast needs them. Very few have much awareness of the old slashers, in fact many seem to prefer “elevated horror”. They can analyze the shit out of “The Babadook” but put them in an ominous situation where a killer is hunting them and they suddenly start making all the wrong choices. Where “Scream 5” doesn’t really play fair though is that these teens pretty much are your regular horror movie teens; commenting on how helpless and dumb they are doesn’t really strike me as additionally satirical. 

The movie also has a lot to say about the reboot- how connections to the past are important, why turning the lead female into a Mary Sue will only receive scorn, how changing things will only lead to more scorn. I feel like the movie only complicates itself by trying to satirize these things though; it doesn’t have the wit, it just knows enough to reference the cliches. The connection the two main characters have to the past is forgettable while the rest of the film is a lot of gore and manipulative camera placement in the service of jump scares. Basically the same, just with far less emphasis on the bread and butter of the series- victims smart enough to give the killer a fight. 

Based off of Olpin and Gillet’s strategy here, the film almost wants us to forego even caring about the main characters- they’re superfluous- the main attraction is the older cast. They also do nothing new with the kills, rather than make them bloodier. Suspects aren’t worth caring about nor are the dredged up comedy routines based on referencing old horror movie cliches. It might be worth it for the nostalgia purposes and it’s a better slasher flick than “Halloween Kills”, but there’s not a lot here to make this series seem refreshed.      

[daresplaining]

“Purple” Part 3: Several Matt Murdocks Walk into a Bar...

    As much as I dislike the ramifications of the Purple Children’s decision to “solve” Matt’s secret identity dilemma by making everyone forget it, the “Purple” arc that establishes this plot point is quite good. The progression of Matt’s feelings about having a public identity from where Waid left him to the present makes logical sense, and his struggles to figure out how to deal with his escalating problems in this new status quo make for an emotional read. The mind wipe was not his idea, and he has mixed feelings about it, which I appreciate.

    However, for the sake of this run overview, I wanted to highlight #19 in particular, which is a stand-out issue that works just as well as a one-shot as it does an integrated part of the run, and which showcases a vital and-- I think-- perfectly in-character element of Matt’s personality. 

    For this story we are back in Matt’s head, though the landscape of the place looks significantly different than it did in issue #8, thanks to the intrusion of the Purple Man. While Matt’s blindness has always given him a degree of protection against Purple Man’s specific brand of mind-control, in this story arc he has found a way to amp up the potency and reach of his powers by using his children. This issue follows what happens to Matt while under the Purple Man’s sway, and switches back-and-forth between the real world and Matt’s mind-controlled subconscious, which here takes the form of a rather unusual bar.       

    This issue is pencilled and inked by guest artist Marc Laming, who is one of my favorite artists to work on Soule’s run. His work is beautifully detailed and expressive, and he and colorists Matt Milla and Miroslav Mrva do a great job of depicting the many Daredevils (and a few of their significant others) from throughout the comic’s history who populate the bar. For anyone not up on their DD continuity, here’s a breakdown: 

    With one of his greatest nemeses now finally under his full control, the Purple Man is eager to have some revenge. But instead of inflicting his own flavor of  pain on Matt, he decides to take a more insidious approach: he asks Matt to name the worst thing he (Matt) could possibly imagine himself doing. Something repulsive, that would break him were he to actually carry it out. This becomes a topic of debate for the Matts in the bar, each of whom has their own answer.

“Man Without Fear” Matt: “You lose control. You put your hands on the people who can’t defend themselves. You let the darkness out. You hear the bones splintering. You smell the blood, the coppery, swampy blood. You know the exact moment their hearts stop.”

Public Identity Matt: “Easy there, friend. We’re all just trying to have a good time here. How about you get back over there and I’ll buy you a drink?”

“Man Without Fear” Matt: “Who the hell are you supposed to be?”

Public Identity Matt: “Oh, you know.”

    (Please note Public Identity Matt, Foggy, and Kirsten’s facial expressions in the first panel. They crack me up.)

    It’s not only fun, on a geeky level, to see all these different versions of the Daredevil identity fight interact with each other, but it’s also a great way of exploring the huge range of character development Matt has experienced-- which is something I’ve always loved about him. Matt’s mindset and approach to superheroing, and the tone of the stories, encompasses such a huge range that all of the Matts in the bar have slightly different personalities based on where he was, mentally, at the time. And it’s logical that all of these different perspectives and conflicting ideologies are still present in the back of his mind. Matt has always been a complex character, and this issue gifts us a visual representation of that. 

    Black Suit Matt’s presence here is worth pointing out, because he is the result of some messy continuity that has never been resolved. He’s from the Man Without Fear mini-series, which is Frank Miller and John Romita Jr.’s alternate universe re-imagining of Matt’s origin story. It’s much more brutal and violent than Stan Lee’s version, and features a shuffling of the timeline that resulted in Jack dying while Matt was still in high school. Despite the fact that it was not written as a retcon, writers on the main DD series were quick to integrate elements of MWF into 616 Matt’s backstory. But it wasn’t a complete reboot; Matt’s yellow costume is still considered his first by most writers (it’s even in this issue!), Jack still died while Matt was in college (...or law school), and so Black Suit Man Without Fear Matt exists in a strange limbo, not quite canon but still somehow part of the 616 universe. 

    But for the sake of this issue, it’s best to just not think about it too hard. Here, he represents the most violent side of Matt’s psyche, which inspires his first response to the Purple Man’s question: which is seemingly to kill Kirsten. 

Kirsten: “Matt! What are you... What are you doing? Why are you with the Purple Man?”

Purple Man: “Be patient, Kirsten the Girlfriend! You don’t want to spoil the surprise.”

Matt: “You know... no. This feels a little small. I mean, I’ve lost girlfriends before. This would be terrible, sure, but... been there, done that. I can do better. Or worse, actually.”

    ...PHEW. Fortunately, Matt talks himself out of it. 

    If the issue were longer, we might have heard all of the Daredevils’ ideas, but sadly we only get a few more. 

Yellow Suit Matt: “You’re making this too complicated. Keep it simple. Get back to your roots.”

Armored Matt: “Wrong, idiot! You’re not thinking big enough, Murdock. The worst thing needs to be... extreme.”

    Again, part of the entertainment value of this issue is seeing the different Daredevils react to each other, and Soule makes a point of pairing the chipper DDs with the, shall we say, less psychologically healthy ones. And it’s worth noting that the two solid answers to the Purple Man’s question that Matt comes up with are both put forth by his darker identities; as mentioned, Man Without Fear Matt is emotionally raw by design, and while the armored suit period in the 90s wasn’t actually, relatively speaking, that depressing, it was a reinvention of Daredevil that Matt intended to be violent and frightening. And it makes sense that these darker DDs would have an easier time dredging up worst case scenarios. Frankly, it’s surprising that Volume 2 Matt-- arguably the darkest DD of all-- didn’t jump into the conversation (but maybe he was too distracted by hanging out with Milla (see above), and who can blame him?). 

    It’s also clever that the whole discussion is mediated by the one Matt who isn’t a superhero: Matt the Lawyer (who isn’t blind, which is a little weird). While the Daredevils represent all of the bombastic chaos of Matt’s impulses and emotions, Lawyer Matt sorts through their answers from a slightly removed vantage point and tries to apply logic to them. He is the clever, analytical part of Matt’s mind, and I love that he essentially serves as the main character for this issue. 

    Armored Matt (actually, his civilian identity was Jack Batlin, if we want to be really precise about this) makes the requisite “extreme!” 90s comics joke-- which made me laugh out loud the first time I read this issue-- and that leads Lawyer Matt to figure out his final answer. He requests that the Purple Man create worldwide chaos using his newly enhanced powers. And from what Matt and the reader can tell, he does. And then Matt explains what he has in mind.  

Purple Man: “...Now what?”

Lawyer Matt: “Nothing.”

Purple Man: “Wait... what? Nothing?”

Lawyer Matt: “Yes. This is the worst thing. The entire world goes to hell, I know about it, I have the power to help, and I do... nothing.”

Purple Man: “WHAT?”

    Arguments can be made about whether this is the actual worst thing Matt can imagine himself doing. That’s kind of the point of the issue, and I’m sure the answer changes daily for Matt. But it fits, and brings him-- as Yellow Suit DD advises-- “back to [his] roots”. The Daredevil identity serves many purposes for Matt, but one of its main functions is as a tool of empowerment. Its initial purpose was to give him a way to avenge his father’s death without breaking his promise to not become a fighter. After growing up unable to defend himself from bullies, unable to use his training (once he acquired it) out in the open, and ultimately unable to protect the person who meant most to him, he put on a mask and gave himself an alias, and thereby empowered himself to break free of that cycle of helplessness. Losing that power is certainly one of his greatest fears, and so the idea of choosing to render himself useless would be horrifying to him. 

    This is also a theme of Soule’s run in particular. This arc deals with the deterioration of the wonderful life he built for himself, Kirsten, and Foggy in San Francisco-- a destruction that is partly his fault, and which he is powerless to stop. It leads to the Purple Children’s decision to make the world forget Daredevil’s secret identity-- a decision in what Matt had no say. In the arc before this, Matt nearly commits suicide because he was unable to stop Muse from blinding Sam. And of course, the final arc of the run-- “The Death of Daredevil”-- is all about powerlessness; Matt achieves a huge victory over the Kingpin, then realizes it was just a dream. But the lesson inherent in Soule’s run is that whether or not he wins, Matt will never choose to not fight. 

    This moment of clarity and self-awareness, and the realization that his worst nightmare is actually coming true and he needs to stop it, allows Matt to break free of the mind control. He kicks the Purple Man’s butt and saves the Purple Children, who repay him by “solving” his secret identity issues (Hey, at least they meant well. I love the Purple Children...) But regardless of the unfortunate outcome, this is a great battle of wills between Matt and one of his most dangerous enemies, and is definitely one of my favorite single issues of the run.  

[vagrantblvrd]

Okay, so I really want that fic where Gavin has the incredible luck/skills to get out of situations that would kill most people, right? Breaks out various skills and whatnot the others don’t know about when they’re in a tight corner somewhere.

For example, that time their getaway plane crashed in the middle of nowhere and all their tech - phones and whatnot - were useless so they had to Incredible Journey it back to Los Santos. Turns out Gavin knows a surprising amount of survival skills, living off the land and whatnot and refuses to tell anyone where he learned it all.

Whenever one of the crew asks him how he does it he’s like  ¯\_(ツ)_/¯ because they’d never believe him if he told them???

And then at some point it slowly occurs to the crew that someone’s trying to kill Gavin? 

Like.

He’s involved in a lot of accidents and odd little incidents here and there. Shows up at the penthouse in one of his cars, back window gone, bullet holes all over. Rear fender fucked up where it looks like someone hit him, maybe tried to drive him off the road.

“What the hell happened to you?”

Gavin gets out of the car and holds up the coffee he stopped to get just down the street and says, “Sorry I’m late, the line was unbelievable.”

Takes a little sip before heading upstairs like nothing’s wrong.

The moment Gavin’s gone from sight the back bumper falls off and the others are just staring at this poor car with the smoking engine and bullet holes and what the actual fuck???

A sniper taking shots at Gavin randomly. Little surprises like sticky bombs on his cars or bikes. Things like that, and they’re getting increasingly worried because hey, no, they kind of like this idiot and also why isn’t Gavin even the tiniest bit concerned that some wants him really, really, amazingly dead?

Gavin rolls his eyes when the others insist he has to take at least one of them with him wherever he goes. Gives in grudgingly and drags them all over the city just to fuck with them.

AND THEN.

After a couple of weeks of this, of someone doing their best to kill the hell out of Gavin while the crew are scrambling to find out who’s behind it, they get their answer.

In like, one of the worst ways possible because Gavin snuck out - “He's so fucking grounded when we find him!” - and they’re rushing to get wherever he is. (Geoff threatening to get him micro-chipped, get ALL of them micro-chipped when it comes to it because they’re going to give him a heart attack at this rate.)

They get Matt to hack his phone, and they get to listen to everything while they rush to get there ~in time. Pile into various cars or grab a van or truck or something that will fit all of them and peel out of the garage giving no fucks about traffic laws.

Realize Gavin’s playing a game of cat and mouse in an old abandoned factory and are like what the fuck is going on. (Get a phone call from Lindsay who's finally discovered who's been after Gavin all this time. Everyone being like, well, fuck, because that’s the goddamned Vagabond.)

And of course Gavin’s taunting the guy. Pushing his luck like he always does and what the hell did Gavin do to him to make him want him dead this badly?

They get there just in time to see Gavin and the Vagabond up on some rusty little catwalk with ~dramatic lighting and the like.

Gavin all tired and weaponless and staring at the Vagabond who's just watching him, gun in his hand and aimed at Gavin and everyone's like NO, and then the Vagabond is like “Bang.”

Literally says it, and everyone's just ??? because Gavin's bitching at the Vagabond.

And the Vagabond's laughing. Like a dork.

Offers a hand to help Gavin stand up, still bitching as they make their way down to where the others are watching in confusion.

Gavin and the Vagabond stopping short when they realize they're not alone and are like, “Uh, hey?”

And then the yelling, like. Vast amounts of it before Gavin and Ryan manage to tell them that this is a thing Ryan just does.

Plays an elaborate game of Try to Kill Gavin! :DDDD every so often or whenever he's been out of town for a bit.

Claims it's to keep Gavin sharp, stay on his toes and whatnot, but Gavin's like, “He's a damn lunatic.”

Tries to sound all annoyed and put out, but he sounds fond, and the Vagabond is so, so amused and seriously, what the fuck???

The crew realizing the reason Gavin has so many of these skills/abilities/whatever is thanks to Ryan.

(They totally did “The Most Dangerous Game” thing on an island somewhere for a week or so way back when, and Gavin took it upon himself to learn survival skills around Los Santos because he never knows if Ryan's going to pull the same thing out here.)

Ryan offering to help run them through the same “training” and everyone is like NO. 

(Except for maybe Jeremy, and even then it's more in the “How can I use this opportunity to fuck with my friends and co-workers?” kind of way and/or creative use of explosives and such.)

Ryan just sort of vanishes for a while and everyone is like GAVIN. Why is your friend a goddamn lunatic?

¯\_(ツ)_/¯

The cycle repeats a few more times with the crew just being so done with Gavin and Ryan and this bizarre foreplay thing they have going on.

The third time around Geoff is like, “Look, buddy. How about you stop trying to kill Gavin already? Like. Come on, man. Ask him on a date, something. You're killing me here.”

Ryan looking at Geoff blankly and being like. “...Uh...We're married?”

(Either to mess with Geoff or because it's true – both, probably – and it turns out they got married way back when by accident thanks to wacky shenanigans, and it stuck?)

Geoff's brain shorting out. Everyone being WHAT THE ACTUAL FUCK GAVIN???

When Geoff's brain reboots he's like, “I hate you both, and also,welcome to the crew.”

Eventually Gavin and Ryan telling the crew that Ryan was hired to kill Gavin and just never got around to doing it? Used to pop up once in a while in Gavin's life and give it a try because he was bored or whatever and hey, Gavin's around somewhere?

Somehow turned into this and then the whole “getting married by accident but then they realized it was ~true love” so now Ryan does it when he's been out of town for a while, or for their anniversary?

“What is wrong with you two?”

¯\_(ツ)_/¯

(Look, I just re-watched Chopper Vs. Chopper and Ryan being all “Oh, wow, nice job not dying!” with Gavin during the impromptu race gave me ideas and I'm super duper tired, idk. ¯\_(ツ)_/¯)

Now a fic here: Breaking Light

[fly-pow-bye]

DuckTales 2017 - “The Great Dime Chase!”

Story by: Francisco Angones, Madison Bateman, Colleen Evanson, Christian Magalhaes, Bob Snow, Matt Youngberg

Written by: Madison Bateman

Storyboards by: David Baker, Matthew Humphreys, Tanner Johnson

Directed by: John Aoshima

Worth far more than 10 cents.

One of the big changes DuckTales 2017 is the way they handled the nephew's personalities, and as such, we're going to see more episodes that show them. Woo-oo focused on Dewey, this episode focuses on Louie, and Huey's time in the spotlight will come later. Like the last episode, there's two setups.

Louie is enjoying his new life at McDuck Manor...a little too much, in fact. He adopted a "who cares, we're rich!" attitude, wasting soda, throwing away his phone when it just needs to be charged, and he doesn't even want to reach for the remote when he doesn't like what's on TV. Scrooge McDuck is not too pleased by this, and wants to teach Louie a lesson in the value of working hard.

Meanwhile, we get Dewey doing a continuation of the last minute reveal of “Woo-oo!” Just a reminder: I may not spoil the last minute reveals, but I have to talk about their aftermath, so if you haven't watched the one-hour special yet...why haven't you?

The B plot focuses on Dewey trying to find more information about his missing mother, Della Duck, after finding out she was involved with Scrooge McDuck's adventures. Uncle Donald won't tell him anything, and he only has one photo. Even Webby, who has encyclopedic knowledge of the McDucks, is just as in the dark. Her only file on Della only consists of that aforementioned photo, and anyone who seems to bring her up tends to get silenced. They decide to investigate.

Of the two setups, it's clear which one is more interesting. Della Duck is going to be the main mystery throughout the entire series, and it's something that never really came up in the original. One might be thinking that the title is a bit of a reverse bait and switch, as the more interesting plot has nothing to do with the Number One Dime that is being chased after. With the rest of the episode, I'd say it's a bonus.

After a shortened theme song, which, surprisingly for a show nowadays, is not going to be the norm, Scrooge McDuck takes Louie. Dewey and Webby were allowed to tag along, who immediately tell Scrooge they have to use the restroom. Scrooge...doesn't even reply, and they just run off.

Meanwhile, Huey...doesn't exist in this episode. No, seriously, they don't even mention him. It's better than forcing him in, turning him into one of the other ducks, even if that would be far more fitting than a certain other trio.

Of course, they're not going to the bathroom, they're going to Scrooge McDuck's archives, guarded by the librarian, Miss Quackfaster. The very first thing she says is to tell Webby that only Scrooge McDuck and family can come in. Her emotions instantly change once she sees the nephew.

This episode re-establishes that Webby loves to get every single detail about the McDuck family, as she gets excited about books about Scrooge McDuck's favorite smells. Fresh cookies, for the record. Nothing wacky. As for Dewey, his is going to be very difficult, as Miss Quackfaster has to put him through some unclear trials. You'll never know what comes up next with her.

Webby is sure that Dewey will be able to pass the trials, though. Why shouldn't he, he should be the master of the Dewey Decimal System! They really did that joke.

Back at Scrooge's office, Louie gets a tour, including a big painting of Scrooge and some workers, the Number One Dime, and, of course, the famous moneybin! We even get a joke about how swimming in a pool of hard, solid things is generally not a good idea, with Scrooge saving Louie from learning that the hard way. Twice.

He gets dragged into a meeting with the McDuck Enterprises Board, the vulture capitalists that also happen to be vultures. Scrooge gives Louie the explanation that, since they tend to be cheaper than him, he trusts them more than anything. He then immediately disagrees with them when they suggest that the moneybin isn't a great use of assets. These vultures are going to be villains eventually, I bet.

We get this reboot’s version of Gyro Gearloose, the inventor. Right from his first line, this is not the Gyro from the original cartoon. I actually reblogged an explanation from Francisco Angones a few days ago, which is a good read.

Gyro: Shut up, everyone! I've done something brilliant!

Yeah, he's more of a hothead in this one. Scrooge McDuck even forces him to use cards to pitch his latest invention: Little Bulb. Like Little Helper from the original series and comics, he's a tiny bulb robot that, among other things, allows people the joy of not having to do anything by themselves. Louie is excited at the prospect, but the vultures bring up his general problem: his robots tend to become sentient and evil. While he admits that's at least half-true, he tells his robot not to do so.

He's going to become sentient and evil, isn't he? His invention gets denied, and in the midst of everything, Louie sneaks away to get a soda. And then something goes terribly wrong.

One of the first things Louie saw was the Number One Dime, put on a pillow and a pedestal. Said pedestal is another "waste of assets" according to the vultures, but he's not just going to tell them no.

We even get his origin story for the dime, done in paintings. As a shoeshiner, it was the first dime he has ever gotten. That number one dime that Louie decided to use to get a soda that costs 10 cents more than a dollar. Scrooge doesn't know that one, but Louie sure does, as he manages to walk in as soon as they're talking about it. Oh, Louie!

He rushes back to the soda to see it getting collected! He then has to follow this coin collector, but misses the elevator. One of the main running jokes is that Louie desperately tries to catch elevators, but has to take many, many stairs instead. It doesn't really get old.

Meanwhile, Miss Quackfaster is trying to slash these poor kids open, as people have been harmed to know about Della Duck! I didn't skip too many scenes here; she is very unpredictable. My favorite joke in these scenes is that Dewey manages to pick out a book on how to disarm people...and just throws the book at her. I am glad the show's use of little jokes like that is consistent.

When he finally gets to the door where the collector stored all of the coins from the machine, including the Number One Dime, he's sad to see that it's locked. What's worse is that these coins are about to be collected by a coin sucking machine. Gyro shows up just in time, and Louie convinces him to give him Lil Bulb. He waited for someone to say yes, so he gives it to the little rascal. Guess what happens later.

Lil Bulb unscrews the doorknob, and Louie congratulates...himself. Lil Bulb is not pleased. I probably wouldn't blame Louie, to be honest; it was how Gyro sold him! Actually, that was from the cue cards, so maybe it was Scrooge's fault in the end!

We get some modernization in the form with the existence of smartphones, already seen in the very beginning. He looks up an instructional video on how to unlock doors, and once he gets the robot to search coins for him, he decides to play on his phone. It seems that every other example of trying to tie in modern technology would lead to something becoming dated in the future.

Eventually, after Louie's lack of any real appreciation for what he has done, Lil Bulb gets mad enough that he takes over the coin sucking machine, and becomes...

...the CGI giant robot from the intro, and he's gone coo-coo for dimes! Yes, that little light bulb on that robot among the villains really was Little Helper, though calling him a villain may not be the right word. Rampant?

Speaking of which, Gyro gets to see this robot, and he unfortunately has to make an alteration to his list of robots that became good or evil. Heavily stacked on the evil side, because that what seemed to happen in the comics and the original cartoon, too.

Gotta love those hidden jokes. They even referenced the origin for the Cogs in Toontown Online. I looked that up, for the record. The robot broke the elevator, which is bad news for Louie, as that means more stairs. That also means good news, as Scrooges has to do the same problem. Even Scrooge suffers from the running gag in the end, which is a great touch.

Louie: Lazy sunday means afternoon TV...working hard means giant robot attack...great life lesson, Scrooge!

Oh, Louie.

I was really hoping there wasn't going to be a copout after all of these trials, and it almost looked like one at first. However, I'm glad to that that doesn't turn out to be the case. Not only does the Della Duck mystery advance, we get a little thing that changes quite a bit of it. Like I said before, I don't spoil them, I wait until the results.

As for Louie's plot, it all ends in the very money bin, which Louie climbs down a ladder to get into, proving that he's learned something. I did like Gyro's reasoning for Lil Bulb becoming evil so easily: he was a 75 watt bulb made for a 50 watt robot body; he got mad with power! They would have done the "ba-dum tsh", but they did the joke during an action sequence, so it wouldn't be appropriate. Who would have thought?

As Fly Pow Bye DuckTales 2017 review tradition, I'm not going to get into the endings here, but it's safe to say that everyone in the dime plot is happy in the end. I will say the ending of the "dime" plot is a bit of a copout, though it's not unfitting.

Oh, and there's yet another twist, and while it's not as earth-shattering, it's still gives something to look forward to. I’ll just use that image as a hint. Let’s just say...he gets an idea. Again, results.

How does it stack up?

I felt that this episode was better than Daytrip, though Daytrip is still a great episode by my usual standards. Even the A plot, which is more standalone, was entertaining. It’s only fitting the episode where this screenshot came from also gets the rating its associated with.

Next, Webby meets a new friend!

← Daytrip of Doom! 🦆 The Beagle Birthday Massacre! →