#something being lost is a defining characteristic of a lot of episodes

[bluvlet]

you could probably tell if you spent five seconds looking at my in9 fanart but. to me (and i feel it is very important to preface that this is just my completely subjective interpretation of the show) in9 is about grief and all the different ways you can go about processing and experiencing it. i don’t claim it as the ‘secret hidden meaning that ties this anthology series together’ or anything, but as a body of work in9 is a panorama of what it’s like to lose or be missing something

[agentbeeswrites]

It's been quite a weekend, y'all. It kind of feels like pride in a big city where it's treated like a queer holiday. Happy Bees Kiss Weekend.

Now that I have a minute, I'd like to bring up my Ruby theory. It's a little long, and yes, it has pictures!

So back in episode 5, Ruby met the Blacksmith.

They have this exchange:

Blacksmith: You seem to be carrying a rather large burden with you. Ruby: I'm fine. I can handle it. Blacksmith: If you change your mind, you may choose any one of these you like and set your burden down. Ruby: I already have a weapon. I did. Blacksmith: And yet, here you are: searching for something else that you do not even know.

I initially thought that Ruby's burden was the war with Salem to save the world, but it wasn't until something was referenced three times, over this and the 6th episode, that I changed my mind.

While talking with the Blacksmith, Ruby noticed a weapon. It drew her in. The design was similar to Crescent Rose, but with a much older sensibility - an old hunting rifle instead of a sniper rifle, and a large axe head instead of a scythe.

Then she looks closer and sees Summer reflected in the blade.

I immediately thought that was Summer Rose's weapon. Or is it? This looks like something a Woodsman would carry. There's a theory that Summer could be the Woodsman in the Ever After.

I find it more likely that weapon belonged to the Woodsman (whoever that is) than it being the one Summer had in Remanent because it bears too much resemblance to Qrow's weapon. I've never seen a squad from a huntsman school have two people with the same weapon type.

With only four episodes left, I'm not even sure that the Huntsman is going to be Summer.

But Summer is important.

Summer is the burden that Ruby must put down.

She comes up again when Ruby, desperate to get the last ingredient that will return her friends to normal, offers one of the last precious items she has left: the rose pin from Summer. "A mother's promise."

The more she gives, the more she feels lost.

Summer comes up again in the next episode when they're caught at the crossroads.

But Ruby doesn't even notice. She's carried the weight of Summer's legacy her entire life. She doesn't know what it would feel like to not have it.

As a child, she was raised on fairy tales, stories of adventures and heroes, and the story of Summer Rose. She was supermom: baker of cookies and slayer of giant monsters. The stories of her adventures turned into legends of their own. I'm sure that Tai told them often as a way to remember her and Yang reiterated them to Ruby.

Ruby is the only one to carry her name.

She made becoming a huntress her life's goal. Part of it was because she wanted to have an impact on people's lives and do good, but part of it was also to be a hero like in the legends she grew up with. Like the fairy tales. Like Summer Rose who gave her life to protect people.

Ruby obviously has a personality outside of being a huntress, so this isn't a case of it being her one defining characteristic. But a lot of her life has been shaped by Summer: her understanding that life can be short, that people die, that huntsman are the heroes who protect people and do the hard work that keep people safe. That there's a need for that work because the world can be violent and deadly.

That there was a woman who died doing that work and was revered like a saint by her family.

Ruby planned on applying to Beacon before Ozpin scooped her up for early admission. She probably wanted to lead a team just like her mom did in her Beacon years.

Who is Ruby going to be when she puts down the burden of her mother's legacy?

I think that Ruby is going to be given some choices. One will be to go home as she is, lost and broken. Another will be to stay in the Ever After and get wiped. Find a new purpose.

The Blacksmith has offered her the third option: put down her burden and choose a new weapon. A different way of fighting.

Reforge yourself into who you need to be, Ruby. It's the only path forward.

[doomedship]

Episode 5 (spoilers)

I wasn't initially sure why the episode sat poorly with me but I think it's the following:

Lucy is becoming a caricature of herself. They've taken most of the seriousness out of her scenes and she's constantly playing up this hammy, jokey, cutesy character that doesn't really represent who she was introduced to be. A lot of her dialogue has felt off to me this season, e.g. girl crush, oh gag, the egg freezing spiel. I can't think of very many serious lines she's had this year.

Tim has gone the other way and has lost so many of his defining characteristics. I get that he's mellowed and that's fine, but I feel like he's now become too 'perfect man', and no longer has the interesting sharp edges he used to. I actually miss early Tim. Now he seems to be there mostly to be everyone's emotional sounding board and occasional source of humour, which is weird to me. Hopefully his family stuff changes the tone a bit.

I really prefer less of the non-police side characters, e.g. Bailey, Tamara, even Wesley to an extent. The show now seems to revolve much more substantially around them and their lives rather than the police station and beat cop work. The large number of them means everyone becomes siloed without the station as a central focus.

Chenford are having conversations now which would have made sense for where they were two seasons ago, but don't with the level of closeness/intimacy we are expecting now. I.e. yes, showing they're on the same page about kids is nice, but the conversation was entirely framed as them talking about it hypothetically as two uninvolved individuals, without any hint of either of them thinking about it in the context of the other. This is suitable for laying the foundation for the future, but at this point in the show, it's regressive. They showed us a scene where we were clearly meant to understand both of them felt something romantic in episode 1, and then gave us this. Not the kind of conversation you'd have with someone you were starting to understand you had feelings for.

Goes without saying that five seconds of Chenford in the shop, not even showing their encounter with the guy on their windscreen and jumping right to the hospital, seems a waste. Could be Eric related I guess.

On the plus side, no Bailey made things a lot better. No Thorensen also did, not because I don't like him but because this show struggles with being overstuffed and trying to cover too many characters in each episode. Oh, and Nolan's brother is funny, but probably only in small doses.

[aboveallarescuer]

Transcripts of D&D’s Inside the Episode segments talking about Dany

This is a post with transcripts of all the Inside the Episode videos where show!Dany’s character and storyline are discussed by D&D.

We’ve already had enough of these two hacks, I know, but:

I still think discussions about the show can be productive, especially when similarities and differences between the book characters and show characters are explored. Comparing and contrasting book!Dany with show!Dany certainly brings to light interesting aspects that I may not have considered otherwise and enriches my understanding and appreciation of both of them (especially the former) in a similar way that comparing and contrasting book!Dany with book!Jon, book!Cersei and all the other book characters does.

I had already written transcripts of most of these Inside the Episode features for a while to comment on them in my books vs show reviews. However, since I’m no longer sure if I have enough energy and motivation to continue writing the reviews, I decided to finish writing the transcripts that were missing and to post them already. Maybe this can help people find more evidence that show!Dany’s ending was retconned at the last minute (which is what I firmly believe was the case).

Anyway, y’all know the drill... Expect a lot of mischaracterizations, inconsistencies, double standards, sexist remarks and implications and so on. Never accept what they say uncritically.

1.1: Winter is Coming

BENIOFF: Daenerys Targaryen, her nickname is Dany, basically went into exile from her homeland when she was so small she doesn't even remember it. She is the youngest child of the Mad King, Aerys Targaryen.

WEISS: She's never known her father, she's never known her family, she's never known her homeland, the only thing she's ever known has been her brother. She's been raised by her brother Viserys and Viserys has had his eyes on one thing and one thing only, and that is on regaining the throne that was taken from his father.

BENIOFF: She's had no stability in her life, the only constant has been this brother Viserys, so even though he is a cruel and sadistic older brother and even though he is really quite abusive to her, it's all she knows and she's been forced to - if not trust him, at least to follow his wishes, because not doing so would just lead to more abuse.

TIM VAN PATTEN: Like a lot of characters in the show, she is looking for an identity and a larger purpose in life. I think there's something deep inside her that's asleep, that's there, that she acknowledges and you see her start to acknowledge it, certainly, when she's thrown in with a Dothraki and she's presented with the dragon eggs. You could see this thought process starting, but there is something larger out there that I'm supposed to be a part of. I think she's on board for going back to the kingdom and to finding out about her culture and to having a home.

1.3: Lord Snow

BENIOFF: One of Dany's characteristics that comes to be incredibly important as the story progresses is her hatred of slavery, and I think part of the reason why she has great sympathy for the slaves is that she's grown up in a situation where she's had no power, she's basically been forced to follow the whims of her brother her entire life. Dany has a great deal of sympathy for those who are in difficult circumstances, for those who are the weak and the oppressed, and I think it comes to be one of the most compelling things about her as a character.

WEISS: She's been propriety for all intents and purposes, she's been her brother's slave and so I think she has an affinity for those people and she can actually look at these people and start to think about what their lives likely feel, the empathy with them that is natural to somebody who's sort of a slave herself and I think that she really kind of starts to realize that being somebody ese's property is no good and starts to show the beginnings of the impulse towards freedom that end up playing a much bigger role in her life and in the lives of the people around her as her story progresses.

1.4: Cripples, Bastards and Broken Things

WEISS: Daenerys lashes out at her brother - it's just something that's been building up inside her probably for years and years as long as she remembers.

BENIOFF: She comes to realize that he is a fool, he thinks he's going to go back and reconquer the Seven Kingdoms, he can't conquer anything, he can't even beat her in the fight. She comes to believe that she's heir to the Iron Throne, she sees within herself the power that she wasn't even aware existed.

1.6: A Golden Crown

WEISS: Daenerys comes into the Dothraki horde as an outsider and a lot of her story up to this point has been her finding her place in that world.

DANIEL MINAHAN: Eating this stallion's heart becomes a symbol that she's actually carrying the person who's gonna be the savior of that Dothraki people.

WEISS: This is really the place where, in front of the tribe, she becomes one of them. She disconnects from her brother and her brother sees that and that, in turn, pushes him over the edge. Any importance and love or respect that she draws from these people is respect that he's not gonna be getting, so he's alone.

BENIOFF: After he threatens her unborn child and puts the sword point on her pregnant belly, from that point on, he's dead to her, I mean, quite literally dead to her.

WEISS: When Viserys gets his golden crown, you can see in her face that it doesn't mean anything to her.

BENIOFF: She doesn't look like a little girl anymore.

 1.9: Baelor

BENIOFF: Dany's high point with the horde is probably when she eats the stallion's heart and they're really behind their queen and then she starts doing things that they frown upon. For instance, when Drogo gets sick, people start to blame her, because she had this sorceress treat him and, you know, blood magic is very magic against the Dothraki code.

WEISS: Magic is pushed to the periphery of this world and, literally, it's way across the narrow sea in the east and it's way north of the Wall and also, it's very peripheral to people's daily lives. This isn't a world where a wizard shows up with a big pointy hat and a staff and creates all sorts of magical displays. This is a world that is more like our own world in terms of the role that the supernatural has in it, but Mirri is a source of actual magic.

1.10: Fire and Blood

BENIOFF: Mirri Maz Duur is a priestess of the lamb people and she sees a chance to get revenge, not only to avenge her people, but also to prevent this guy from doing it again to other people. From her point of view, it's completely just what she does.

WEISS: She has a pretty good point... I mean, these people did come in, completely rape, pillage and murder her entire village.

BENIOFF: Of course, from Daenerys's point of view, this woman betrayed her. She put her trust in this woman after showing her kindness and now the woman has turned around and betrayed that kindness and, again, it's a theme throughout the story that no good deed goes unpunished.

WEISS: We have people doing terrible things to people that you love and yet, if you were in their shoes and you knew what they know, you would probably do the same thing. Everybody is doing what they're doing for reasons that are grounded in the real human psychology and not in the fact that they're wearing a white hat or that they're wearing the black hat. Daenerys has an understanding that she has to give herself over to something larger than herself without knowing exactly what's going to happen, but she knows that, when she walks into that pyre, she's not going to burn up. Never in her mind is it an act of suicide, even though, in the minds of everybody around her, that's, of course, what it looks like.

BENIOFF: It's the crucial climax and Daenerys is standing there in the pyre and she's become the mother of dragons and the woman you would follow to the ends of the world because that's what those remaining followers are going to do.

WEISS: Dragons in this world are the ultimate source of power and, in a world where authority is directly derived from power, they're the ultimate source of authority and the people who had dragons were the people who shaped the world.

BENIOFF: Dragons are magical, but they're also supposed to be, in this world, real creatures and so, we're looking at bats and pterodactyls and other kind of great flying creatures like that for inspiration and always wanting them to look real, we don't want them to just look like magical creatures that have just popped up.

WEISS: If they survive to maturity and they grow to the size of school buses or however large they end up getting, as their mother, she becomes a very different person than the frightened little girl we saw being sold off to a barbarian in the first episode.

2.6: The Old Gods and the New

WEISS: This whole season is really the season where Dany learns the lesson of self-reliance, she's never, it's a very painful lesson for her to learn, I mean, she's lost all her people, she's lost her husband, she's lost her bloodriders. The temptation for her has always been to lean on someone else, a man of one kind or another. So, I think for her, what she's learning in this episode, especially, is that she can't trust in other people, ultimately, she ends up in a place where she needs to do things for herself and she needs to do things that nobody in the world could possibly do, except her.

BENIOFF: Dany is so defined by her dragons, they're so much a part of her identity at this point, they define her so much that when they're taken from her, it's almost like she reverts to the pre-dragon Daenerys, you know, everyone is a bit defined by who they were when they were an adolescent, you know, no matter how old you get, no matter how powerful you get, and Daenerys was a scared, timid, abused adolescent and I think when her dragons are taken for her, all those feelings, all those memories and emotions are triggered and come back and all the confidence that she's won over the last several months, it's as if that just evaporates and she's back to being a really frightened little girl.

2.10: Valar Morghulis

BENIOFF: I think there's a real, fairly radical change in Daenerys that happens over the course of the last couple episodes of the season, which is... For most of this season, she's been looking for help from others, you know, and asking for help and, by the end of the season, she realizes that she has to do it herself, she's got to help herself and that she's, she can't ask others to give her power, she's got to take it and that she can't rely on anyone else, really. You know, Daenerys Targaryen is not in a position where she can inherit the Iron Throne, the only way she's going to take the Iron Throne and take back the Seven Kingdoms is to conquer them and she's starting to learn what that means, I don't think she really knew before, even when she's asking Khal Drogo to conquer them for her, I don't think she really knew what that meant and she's starting to and it's gonna mean warfare, it's gonna mean slaughter, it's gonna mean a lot of people dying because that's, you know, the only way to conquer anything is through destruction and, I think by the end of the second season, you're seeing her really start to come into her own as the Mother of Dragons and the last of the Targaryens.

3.1: Valar Dohaeris

BENIOFF: For a great leader who is doing something unpopular for a certain segment, whether it's the Warlocks or the slave masters or whatnot, she's creating a lot of enemies, and powerful enemies, and those people are going to try to stop her regardless of how powerful she becomes, and it's something she's actually, in a weird way, used to, because she grew up running from assassins with her brother, you know, from the time, from the earliest time she can remember, she was being spirited from one city to another one step ahead of Robert Baratheon and the assassins, because there were so many people who wanted to destroy the Targaryen family and make King Robert happy and now there are thousands out there for all sorts of different reasons because she's made even more enemies, but, I think in her mind this is just the price you pay for being Daenerys Targaryen, for being the last of the Targaryens, and it's not going to stop her.

Anatomy of a Scene: Daenerys Meets the Unsullied

WEISS: Dany spent the first two seasons of the show leaning on men - her brother, Drogo, Jorah Mormont, Xaro Xhoan Daxos. She came out of season two realizing that the only person that she can completely trust is herself.

BENIOFF: Dany has her lovable side, but she is also ruthless, and she is also fiercely ambitious. What she wants, more than anything, is to return home and to reclaim her birthright.

CLARKE: She needs the manpower to go back and conquer the Iron Throne and to be able to right the wrongs that she sees going on around her.

MINAHAN: She's been brought to Astapor, where she's reluctantly going to meet with slave traders. Her quest in this is to build an army without taking slaves.

Comments from Charlie Somers (location manager) and Christina Moore (supervising art director) that don't have anything to do with the storyline

BENIOFF: The Unsullied were kidnapped as babies from their home countries and brought to Astapor and trained in the ways of the spear and castrated.

EMMANUEL: They won't do anything without the command to do so first.

Comment from Tommy Dunne (weapons master) that doesn't have anything to do with the storyline

CLARKE: She's being introduced to the Unsullied by Kraznys, the slave master in control of them.

EMMANUEL: Kraznys is being quite insulting to Daenerys. And Missandei very cleverly smoothes out her translation, just her initiative doing that shows her intelligence.

CLARKE: Dany sees a lot of herself in her and can kind of see that it's a young girl who's capable of much more than the position she's in. She's his No 1 slave. If you were in the UN, she would be the translator for everyone.

WEISS: Kraznys speaks a version of Valyrian that's been bastardized and mixed with other local languages.

Comment from Majella Hurley (dialect coach) that doesn't have anything to do with the storyline

CLARKE: She's struggling with the moral aspect of the way that these cities are run. And it's something she's been grappling with because they are an army of slaves, which she fundamentally has moral issues with due to the fact that she herself was a slave.

WEISS: The only way she can make the world a better place is to become the biggest slaveowner in the world.

BENIOFF: She's put into a difficult position, and she's got her advisors whispering in her ears.

GLEN: Jorah encourages her to get over her moral scrupules, with taking an army that were duty-bound to follow whatever leader it was, and that could change in an instant.

BENIOFF: Idealism is wonderful, but it's not gonna happen if you're idealistic, you gotta be a realist. She feels like she has this almost divine mission and nothing is gonna prevent her from achieving it.

WEISS: What she wants to do isn't just conquest for the sake of conquest, but it's really conquest for the sake of making the world a better place, and she's a revolutionary in that sense.

BENIOFF: For Daenerys to win, ultimately, she's gonna have to be just as ruthless as the others, and maybe even moreso.

3.3: Walk of Punishment

BENIOFF: Dany has her lovable side, but she is also ruthless, and she is also fiercely ambitious and, funnily, like a Littlefinger style ambition where she's trying to climb this, you know, the social ladder. It's almost like a Joan of Arc kind of ambition where she feels like she has this almost divine mission and nothing's going to prevent her from achieving it, and that might mean sacrificing those who are closest to her.

WEISS: Giving away one of the dragons seems like a completely insane thing to do, especially the biggest one. I mean, we know that, historically, the biggest dragons were those bigger than school buses and they were weapons of mass destruction and able to lay cities to waste in minutes, and no matter how big or effective your army of 8,000 soldiers is. Taking even a small city is going to be a kind of a dangerous prospect for them, and the idea that she's going to give away what they see is her real future for a chance at a small army now seems insane to them.

3.4: And Now His Watch is Ended

WEISS: We never really got this, a sense of her capacity for cruelty. She's surrounded by people who are terrible people, but haven't done anything to her personally, and it's interesting to me that, as the sphere of her empathy widens, the sphere of her cruelty widens as well.

BENIOFF: I think she becomes harder to dismiss, you know, for a long time people have been saying, even if she was alive, you know, really, the only threat she poses is her name, she's a Targaryen, great, but she's a little girl in the edge of the world, so she's starting to knock on people's doors a little bit.

WEISS: All at once she becomes a major force to be reckoned with, she spent a lot of time kind of banging her fists on the doors and declaring that she was owed the Iron Throne by right, but now she's stepped in her own as a conqueror.

BENIOFF: Dany is becoming more and more viable as a threat, you know, both, you know, in attaining an army and because she's the mother of these three dragons who are only gonna get more and more fearsome.

3.7: The Bear and the Maiden Fair

WEISS: Daenerys is coming into her own in a powerful way in the season. She's always been very negatively predisposed towards slavery because she knows what it feels like to be property, I mean, she was a very fancy slave for all intents and purposes, she was somebody who was sold to another man, taken against her will and I think that her feelings about slavery have started to really inform her reasons for wanting the Iron Throne, it's finally started to occur to her that, if I want to take on this responsibility, it's almost - it's incumbent upon me to do something with it, and she sees this great wrong, probably the greatest possible wrong surrounding her, and she's decided that she's not just going to take back the Iron Throne because it's her right, she's gonna take back the Iron Throne because she is the person to make the world a better place than it is. She is going to not just take it, she's gonna use it for something greater than herself.

 3.10: Mhysa

BENIOFF: We see her get an army in episode four, and here in the finale you see her get her people, really, because she's got, she has her Dothraki followers that don't number very many, and she's got the people she's freed from the other cities, but now she is, it's not just - it's something even more, something almost even more religious about it than just a queen, I mean, she's the mother of these people.

WEISS: And it creates a whole new dynamic between her and the people that she's fighting for that she's gonna have to deal with in the future.

BENIOFF: The way they treat her, the way they lift her up and she is...  something that has its... A revelation from a prophecy and that glorious destiny is coming true.

WEISS: Here it seemed like it was really important to let us know just how many people were counting on her to see the full extent of, mostly, the full extent of her army and the tens of thousands of people who flooded out of these gates to pay tribute to her. And then, keeping the dragons in play because they're always such an important part of her identity, we just want to tie all of that together in one great shot.

4.5: First of His Name

WEISS: This scene shows Dany learning a lesson that all revolutionaries learn at one point or another, which is that conquering in many ways is a whole lot easier than ruling.

BENIOFF: This is the pivotal moment for Daenerys because, for so long, her sole goal was getting back to Westeros, conquering Westeros and sitting on the Iron Throne and becoming the queen that she believes she has every right to be, now she has the opportunity.

WEISS: She is driven by a kind of a deep empathy, a much deeper empathy than probably anybody else in the show. It's something that makes her as charismatic as she is to people, because they get a sense of that sincerity of it. Her empathy allows her to look at the people of Westeros and say, why the hell would they follow me if I haven't proven myself through my actions to be somebody worth following, why would they let me rule if I hadn't proven myself to be somebody who has ruled well somewhere else?

4.7: Mockingbird

WEISS: In season one, Dany's sexuality was central to her transformation from basically a piece of propriety into a full-fledged human being and with Drogo the first thing that she took charge of was the only thing that was available to her at the time, which was her own body, and she came into her own as an adult, really, amongst the Dothraki, who were not shy about their bodies in any way. That Dany is not really cut out to be a virgin queen and Daario is a bad boy who seems like a good idea to her at this moment, and she takes her prerogatives as a powerful person as powerful people sometimes do, and yet he's made himself more than available. She didn't ever expect Jorah to find out, she loves Jorah in her own way, she makes it very clear to him that he's far more important to her means, far more to her than a person like Daario ever could, just not in the way that Jorah might like.

BENIOFF: He's been in love with Dany from pretty much her wedding day and now he sees this young upstart, who just entered her life relatively recently, come into his world and sweep her off her feet. I think he's both incredibly jealous and also a little bit angry at Dany that she would fall for a man who he considers so unworthy of her.

4.8: The Mountain and the Viper

WEISS: It's hard to keep a thing like that covered up forever, especially when your enemies are so invested in putting a wedge between you, I mean, they are a good team, they compliment each other nicely in lots of ways that are really troublesome to the Lannisters especially, so it shouldn't be a surprise, I think it's just one of those things that, in hindsight, he probably should've told her a long time ago, and it's more the fact that he kept it from her than the fact that he did it, which seals his fate. I think, from Dany's perspective, this is the most earth-shattering thing that could possibly happen to her. He's her rock and her anchor, the way in which he stops her from flying off into potentially dangerous directions, and when someone that important to you, that central to you, is shown to be not just a liar, but when their entire relationship to you is shown to be based upon a lie, I think it poisons every corner of her world with doubt and mistrust. From his perspective, he may have started as an informer, but she is his whole reason for being, at this point, I mean, he's completely given up on his desire to return to Westeros in any way except by her side. His home now is wherever she happens to be, so this is really like being expelled from the Garden for him, this is the worst thing that could happen to either of them. For her, it's her child; when Viserys put her child in danger and pointed the sword at her stomach, you saw some switch flipping her, you saw something change and she watched him die without blinking an eye, even though he was her family and the other family she had ever known, and when she realizes that Jorah was also responsible for putting that child in danger, I think that's what closes the door on him forever.

4.10: The Children

WEISS: Ruling is about maintaining order and creating an environment for your people that is safe and her dragons, which were such an asset for scaring the shit out of everybody and making people throw down their shores and run in the other direction when she would come knocking as a conqueror, they're becoming a liability that she can't afford anymore. It's one thing to be killing people's goats and you can pay off a goat herder for his goats, you can't pay off a goat herder for his children. So, she realizes that she has to put the interests of her people ahead of her dragons, who are the only real children she's ever going to have.

5.2: The House of Black and White

BENIOFF: There always seemed to be this sense of "manifest destiny" with Dany and that she was going to take what was hers with fire and blood, and she has, but there's a difference between taking and keeping and there's a difference between conquering and ruling and she's finding out that the latter is much more complicated. It's impossible to rule over a city as large as Meereen without infuriating certain people.

WEISS: Dany is trying her very best to do the right thing, to be a good ruler, and sometimes, within the context of this world, being a good ruler means doing things like executing Mossador, it's about laying down a justice that's blind and impartial and applying it evenly to everybody, former master or former slave.

BENIOFF: And, in this case, with Mossador, it's very complicated for her because she has a great deal of affection for this young man who was a slave until she came and that's the reason he was selected to represent the free people on her council and he's been a strong ally of hers and yet he disobeyed her and so, from her mind, she's making a very hard-headed but fair decision, and in the minds of the freedmen and freedwomen watching this execution, she's turning on them and she's executing one of her children, one of the people who called her a mhysa.

WEISS: When she steps up and actually does that, of course, she finds that she doesn't win any friends for her blind justice and her commitment to the law that she alienates her supporters and the people who hated her hate her as much as they did before, so it's one of those things where doing the right thing doesn't have any immediate rewards associated with it, it just leads to a riot that almost gets her head caved in with a bunch of rocks.

5.6: Unbowed, Unbent, Unbroken

(Dany doesn't appear in this episode; D&D discuss events from episode 5.5 here.)

BENIOFF: Looking at Dany in Meereen, she's facing a real tricky dilemma so far in that she's trying to create stability in the city where she's a foreigner, she's an outside power who's coming with a foreign army and she seizes power and about half the city hates her, so the way she's trying to stem the civil war is in part by police action and in part by marrying the head of an ancient family and creating an alliance with those old families and actually trying to bring them onto her side by marrying Hizdahr.

WEISS: She doesn't like Hizdahr, she doesn't trust Hizdahr, but she has enough wisdom to understand that she's not going to get this done by smashing heads alone, she's going to need to create ties to this world that she wants to be a part of and to rule, and she understands that marriage is the way to do that.

5.7: The Gift

BENIOFF: I think Dany is still not quite at that cynical level yet, she still believes that there's a higher purpose that she's there for, it's not just about power, it's about using that power to make humanity better.

WEISS: If somebody is telling you that one of those horrible things that's all the more horrible because you suspect that it's true, and she's an idealist who desperately wants to believe that that's not the case, but, in their relationship, Daario is one of the only people - the only person around her now - who tells her all the things she doesn't want to hear.

BENIOFF: So she's not yet convinced that she needs to be a butcher. At the same time, she realizes that, the longer the season goes on, that she has to be ruthless sometimes in order to maintain security, in order to keep herself in power, so that means some bastards are going to get sacrificed to her dragons, then so be it.

5.8: Hardhome

WEISS: Over the course of their conversation, the similarities in their experiences start to come to the fore, maybe the similarities in their worldview start to come to the fore.

BENIOFF: Tyrion has a lot of empathy for another orphan out there who had another terrible father, y'know, it certainly links that bond them. He realizes maybe Varys was right about her that she's the last chance for Westeros and this is someone who could cross the Narrow Sea and not only bring me back into power, because Tyrion still has his own ambitions, but create a better world for the people over there because, depite everything, despite his occasional cynicism and his lack of sentimentality, Tyrion is one of the few players in this game who believes that it's possible to make things a little bit better for people.

WEISS: Dany talks a good game and she's very charismatic and she's a very impressive young woman, but he's heard lots of people say lots of pretty words over the course of his life and he's seen how those plans go awry when they meet with reality. Like revolutionaries in our own world, she has every intention to change things, even if that means knocking everything down to do it.

5.9: The Dance of Dragons

BENIOFF: Even before we put it in the paper, I remember reading this scene in the book and saying "holy shit" and actually I remember emailing George right after I read the scene, even before I finished the book just after reading the scene and saying: "that's one of the best scenes in any of your books and I have no idea how we're going to do it". This seems like a big scene for a feature movie, let alone a TV show.

WEISS: It's one of the most powerful and seamless allusions we've ever created on the show; we've never had anything remotely like this before.

BENIOFF: Dany could stop this at any moment, as Tyrion says at the moment when it looks like Jorah is going to die, and she can, she's the queen, she can stop anything, right, and she doesn't, because, even if she is the queen, she is, as she says earlier, if I don't keep my word, why would anyone trust me? And she's exiled him from the city twice now, he's come back twice, so, from her perspective, she's not gonna step in and protect him, I mean, he's not worthy of her protection; but, at the same time, as tough as she is, she's watching this man that she's had great affection for for so long and it looks like she might lose him, it looks like he really might die, so there's just this witches' brew of conflicting emotions in Dany's head and Jorah, I think, is really hoping for her to stop and you know, at certain points, like, look what I'm willing to do to get back to you.

WEISS: The look he gives her in that moment, you can just feel how intensely it just digs into her and how it says volumes to her across that dusty arena without ever speaking a word.

WEISS: [the Sons' attack on the arena] It's one of my favorite moments in the scene and the season and in this series, that moment where she realizes this is over and she resigns herself to that faith.

BENIOFF: This isn't the way she saw it happening, it's not the way she wants it to end, but if it's going to happen, she doesn't want to die screaming, she doesn't to die in terror, she wants to have a moment of peace before it's over and then, at that moment, when all seems lost, Drogon comes. There seems to be a connection between them, it's been talked about before on the show and in the books, there's this very deep connection between the Targaryens and their dragons, and certainly that's true with Dany and Drogon, it's more than just a pet of hers, they are in a real sense for her her adopted children and so this is just evidence of Drogon's ability to sense when his mother is in great peril. Jorah has this conversation with Tyrion halfway through the season where he says, I used to be cynical like you, but then I saw this girl step out of the fire with three baby dragons and, if you've ever heard baby dragons singing, it's hard to be cynical after that, and it's the same thing happening here for Tyrion, it's hard to be cynical after watching this young queen fly off on a dragon and it's very hard not to believe that she really is the chosen one.

WEISS: I think at that point it's pretty hard for Tyrion to keep a grip on his cynicism. His expression watching her fly away completely captured what we wanted to capture in the moment, which is he's never seen a girl like this before.

5.10: Mother’s Mercy

WEISS: Daenerys is stuck on this beautiful, but isolated, plateau without any food and a dragon that mostly wants to sleep and get better, so she's got to find her on way, which is fine, except she encounters a group of people she probably didn't expect to encounter again anytime soon. When she sees the Dothraki, she knows what that means, and her relationship with Drogo was one thing, but Drogo is gone and she knows, in a way, that he was sort of an anomaly. She drops the ring because she's smart; that ring is the breadcrumb that's gonna point in the direction that she's being taken and somebody down the line hopefully who means her less harm than the Dothraki will notice.

6.1: The Red Woman

WEISS: Tyrion is very much in the situation along with Varys where they're sitting on a volatile powder keg of a society.

BENIOFF: The enemies of Daenerys see a city ripe to be overthrown and it's going to test Tyrion's political skills, his diplomatic skills, all of his experience.

WEISS: He's optimistic in a strange way for him, he's not generally an optimistic person, but I think he feels inspired for the first time and he feels equal to the challenge that's facing him when it comes to Meereen.

6.3: Oathbreaker

WEISS: I think when Dany returns to Vaes Dothrak it's obviously with a certain sense of dread, because she knows that these widows of the former khals are not likely to welcome her with open arms, it's not like a "long-lost sister, where have you been?", it's "here's a funny-looking, white-haired girl who has put herself on a record as thinking she's all that" and stringing a bunch of highfalutin titles after her name. But the High Priestess of the Dosh Khaleen is not coming at it from the perspective of somebody who's looking to punish this young person with inflated ideas of her own greatness, I think she remembers what it was like to think that a glorious destiny awaited her and to find out that that wasn't the case. I think the High Priestess has a certain amount of empathy with Dany's position, which you see in the way that she relates to her, which is stern, but not quite as awful as anybody might have expected it to be.

6.4: Book of the Stranger

BENIOFF: The historical examples that we looked to in writing these scenes was, oddly, that was Abraham Lincoln, because Lincoln was trying desperately to stave off a civil war between the North and the South and he wasn't ready to get rid of slavery quite as quickly as people think. I mean, he was trying to talk to the southerners and work out some kind of compromise at first and, you know, with Tyrion it's, as he says to Grey Worm and Missandei, slavery is an evil, war is an evil, and I can't have both at once, so what's the solution here? The whole point of diplomacy is compromise. He's proposed compromise, which he thinks of as a good idea, is incredibly offensive to Missandei and Grey Worm, who were slaves and, you know, from their point of view, you don't make a compromise with slavers because that's making a deal with the devil, so they're entering into these negotiations with slavers with deep skepticism, but Daenerys did choose this man to advise her, so if he's saying there's a chance, they're willing to try it, but with great suspicions.

BENIOFF: One of the things that was interesting for us was, you know, seeing how Dany can be strong when she is not in a position of power, you know, all the khals of all the gathered khalasars were within the temple of the Dosh Khaleen and Dany, an unarmed little woman, killed them all, by herself. You know, she didn't have a dragon flying and doing it, it was all Dany.

WEISS: The end of episode 604 definitely meant consciously to echo the end of episode 110. It's Dany stepping out of a flame to great effect; this time it was just on a much, much larger scale.

BENIOFF: Rebirth is clearly a theme this season, whether it's Jon Snow or Dany emerging again from the fires. When she did it the first time, only, you know, a few score people witnessed this miracle of Daenerys Targaryen emerging unscathed from the flames. Now it's the Dothraki as a people who witnessed this.

WEISS: The act of stepping out of that burning temple, in which all the Dothraki power structure had just perished, pretty much makes her the queen of the Dothraki in one fell swoop.

BENIOFF: And, of course, it's hard not to be impressed when you see her emerging from the fires unscathed. It's like a god being reborn, and that's why they all bow to her.

6.6: Blood of my Blood

BENIOFF: Daenerys talks about the dragons being her children and that the dragons are the only children she'll have. Of her three children, she's always been closest to Drogon, and they clearly have some kind of connection that goes beyond words and she just senses that he's out there in the scene. One of our favorite moments from season one was watching Khal Drogo deliver a speech to his gathered khalasar. That speech lingered in Daenerys's mind and she's echoing almost the exact same language when she's talking to the Dothraki now. So she's basically telling them the promise that one of the great khals had made years before and saying now's the time to live up to that promise and to fulfill it. It's something that's been set up for quite a long time and now we're seeing it come to pass.

6.9: Battle of the Bastards

WEISS: Daenerys, when she comes back to that situation, she has no idea what to expect, she doesn't know what's happened in Meereen. In a way, you feel for Tyrion because she left him with a terrible situation; the city was under siege from within and without and he really did, for so long, an excellent job of making things better there and, unfortunately, what she comes back to find is exactly what she would have expected to find when she left, and the fact that she has a city at all still is due to him.

BENIOFF: I think Dany's been becoming a Targaryen ever since the end of season one.

WEISS: She's not her father and she's not insane and she's not a sadist, but there's a Targaryen ruthlessness that comes with even the good Targaryens.

BENIOFF: If you're one of the lords of Westeros or one of her potential opponents in the wars to come and you get word of what happened here in Meereen, you have to be pretty nervous because this is an unprecedented threat, you got a woman who's somehow formed an alliance where she's got a Dothraki horde, a legion of Unsullied, she's got the mercenary army of the Second Sons and she's got three dragons who are now pretty close to full-grown, so if she can make it all the way across the Narrow Sea and get to Westeros, who's gonna stand in her way?

6.10: The Winds of Winter

WEISS: Tyrion had a very steep slope to climb to win Dany's trust. His family played an integral part in nearly exterminating her family, but, at this point, especially given the hand he was dealt with Meereen after she left, he's earned her trust. One of the few people in this world at this point who's willing to speak the truth to her face.

BENIOFF: Mainly, he's proven himself to be very loyal, you know, she's gone for most of the season, but he didn't abandon her, he didn't go off looking for the next person to rule him, he was clearly trying to serve her interest while she was gone. Dany's not gonna do anything she doesn't want to do, she's not gonna take anyone's advice if it seems against her interests and so, when he recommends that she cut ties with Daario, she does it because she thinks he's right. The truth is, Tyrion's logic makes a lot of sense to her, you know, he's not gonna be a help for her when she gets to Westeros, she comes over there unencumbered and, as a queen without a king, that could be really useful in the future. You know, Tyrion has become a very capable adviser in a relatively short time, she clearly respects his intelligence and she now respects his loyalty. I think, especially given that she knows where they're heading, they're going back to Westeros, most of the people on her team have never been there, but Tyrion spent his whole life there, served as Hand of the King before, defended King's Landing during an attack, he knows these families, the ruling family, better than anyone, he certainly knows Cersei better than anyone, so, as long as she can trust him, which she does, he's the perfect adviser for her in this war for Westeros. He's the perfect Hand to the Queen and that's why she names him such.

WEISS: That shot of Dany's fleet with all of her newly arrayed allies making its way out of the Slaver's Bay towards the Narrow Sea and home, it's probably the biggest thing that's happened on the show thus far, it's the thing we've been waiting for since the pilot episode of the first season. The person she is now is very, very different from the person she was then. It hasn't been a smooth road, feels like she has earned it at this point.

BENIOFF: It's the shot that we're gonna leave everyone with.

WEISS: It was a real thrill to see her on the bow of that ship, with Tyrion by her side heading west. The ruthlessness that comes with even the good Targaryens, I mean, these are the people who came over from across the narrow sea and conquered the known world. It'll be very interesting to see how that plays out going forward.

7.1: Dragonstone

BENIOFF: For [Cersei] now at this point, it's about survival, and the way to survive is to defeat her enemy. She will do whatever she has to do to win, she'll blow up the sept if that will allow her to win, even if that means killing hundreds, probably thousands of innocent people. She's capable of anything, unlike Dany, who is constrained a little bit by her morality and her fear of hurting innocents. For those of us who have been with the story from the beginning and really followed Dany's journey, coming home is such a massive, game-changer on so many levels, and we just wanted to see that.

WEISS: There is so much weight on that arrival that we felt that a bunch of dialogue was completely unnecessary, it would only step on the emotion of the moment.

BENIOFF: Everyone is giving her a little bit of distance; Tyrion, who is usually the most loquacious of people, he's not talking because he wants her to experience it and, at one point, Grey Worm is about to walk up alongside Dany to guard her and Missandei holds him back because she wants Dany to experience it on her own. And then she has that time and she's ready to begin.

7.2: Stormborn

WEISS: I don't think they're that many situations in film or television where you see four women sitting around a table discussing power and strategy and war. We didn't really plan it that way, but once it landed on that we knew that these things had to be discussed, we knew the plan to take Casterly Rock had to be put out there. I think it's a scene that, had it been the exact same information, situation being put forward by a bunch of old grizzled guys with gray beards, it would have been a lot less interesting to have it be Emilia at one end of the table and Diana at the other end of the table. To me, that just is such a breath of fresh air, and made writing it a lot more fun. The end, after all has been said and done, then Olenna sits her down and tells her to ignore all of that.

Show!Olenna: You're a dragon. Be a dragon.

WEISS: When Diana tells you to do that you start to... go outside the scene and wonder if that applies to every aspect of your life and not just the scene you happen to be shooting.

7.3: The Queen’s Justice

WEISS: The spine of the episode is about their meeting. It was an exciting, thrilling thing to watch happening even as we were shooting it. Once we realized that we're kind of getting a charge out of just seeing this happen on a set, which is a notoriously boring place, we had a sense that it would carry over to the finished version of the scene.

BENIOFF: That audience chamber was built by Aegon Targaryen to intimidate anyone who came there.

WEISS: He doesn't have much insight into what she's gone through. So, I think he sees a rich girl with a fancy name sitting in a big chair with a fancy dress on, proclaiming herself the queen of the world. So, I don't think he's looking upon her with as much respect as she has come to take as her due.

BENIOFF: He's a very strong-willed person. He didn't come down there to bend the knee. He didn't come down there to join her in her fight against Cersei. None of that matters at this point, though. All that matters is... fighting the dead.

WEISS: She looks at him, and she thinks this is some unwashed barbarian from the North and a bastard. His name is Jon Snow, yet he's calling himself king. If she knew what he'd seen, she'd be looking very, very differently... at what he's telling her, but at this moment in time, she only sees somebody who's trying to carve up her piece of her kingdom for himself. And if what this guy is saying is true, then it really is an issue, and she has... her own very serious issues to deal with in the shape of the woman who's now sitting on the throne.

7.4: The Spoils of War

BENIOFF: There's tension on two sides. One is the political, where Jon Snow has his own very specific purpose here on Dragonstone, and that's to get the Dragonglass and, if possible, to convince Dany to fight with him. And Dany has her own very specific purpose, which is to get Jon to bend the knee. There's conflict, and it's conflict between powerful people. And then to make it all even more complicated, they're starting to be attracted to each other. And so much of it is not from dialogue or anything we wrote, it's just the two of them in a small space standing near each other, and us just watching that and feeling the heat of that.

WEISS: She had a nicely triumphant return to Dragonstone, which nobody contested or got in the way of. From that point on, she's lost two of her principle allies, she's lost a lot of her fleet. She's in a position where if she doesn't step up soon and come up with a big win for her side, she's gonna lose this fight before it even begins. I think she really feels the pressure of her situation more than she ever has before. This is the fight she's been waiting for her whole life.

BENIOFF: I think there are several stories interplaying here. Part of it is that Dany's finally cutting loose. The whole first part of the season, she's been frustrated. In following Tyrion's counsel, she's been fighting with one hand behind her back, and so she hasn't really unleashed the Dothraki horde. She hasn't really set the dragons into combat yet.

WEISS: With the loot train battle, one of the things that's most exciting about it for us... This is the first time we've ever had two sets of main characters on opposite sides of the battlefield. And it's impossible to really want any one of them to win, and impossible to want any one of them to lose.

WEISS: This dragon flies up. That makes it a totally different situation. It's almost like, "What if somebody had an F-16 that they brought to a medieval battle?" You start to scrap the history of it a bit, and just think about how would those things interact with each other in a way that's exciting and believable to the extent that dragons are believable?

BENIOFF: Qyburn realized that the dragons were vulnerable. They might be fearsome beasts, but they are mortal and they can be hurt, and they can be killed. We see the scorpion come into play, manned by Bronn. And we see Drogon wounded. Things turn out okay for them, but I think it also changes the calculation a little bit, because now they know these weapons are on the board. This ongoing war with Cersei is entering into a dangerous territory.

WEISS: Jaime's charge at Daenerys is a hard thing to top for me in that sequence, only because when you have a principle character trying to murder another principle character, that doesn't happen all that often.

7.5: Eastwatch

BENIOFF: One of the things that Dany has found immensely frustrating in the beginnings of this war against Cersei is that she is being asked to fight on a certain moral standard and... Cersei isn't. Because of that, Cersei has an advantage over her. The more ruthless opponent will often win. I wouldn't say she's acting like the Mad King because it's rational. She's given them a choice and they choose not to bend the knee to her and she accepts that choice and she does exactly what she told them she would do. And from her standpoint, she's not acting insane in any way. She's just being tough, which is what she needs to be to win. That's one perspective. Tyrion has a different perspective and hopefully people watching will have their own and they'll decide for themselves whether they think what she did was just or immoral.

7.6: Beyond the Wall

BENIOFF: At a certain point, they're just fighting for their survival. Once they retreat all the way to the middle of the lake, there's nowhere farther to run. She's always been willing to risk her life to do what she thinks is right. And in terms of going North to rescue them, a number of people up there have different claims on her heart. And Jorah's been by her side from the beginning, and he saved her life so many times, I think she would feel as if it was a betrayal if she didn't at least try to save him. And then of course, there's Jon Snow. You definitely get the sense that he's become quite important to her in a pretty short amount of time. He sees that they're all gonna die if the dragon doesn't take off. The rational decision at that point is, "You guys go to safety, and I'll try to keep them off you as long as I can." He's the guy who jumps on the grenade to save the rest of the platoon. That's always been Jon.

WEISS: I think that when she sees him return on the back of Coldhand's horse, that's a big moment for her in terms of the way she feels about him.

BENIOFF: I don't think either one of them really knew exactly how powerful their feelings were towards each other until these moments. Just the notion of falling for someone, that involves weakness. It's not something a queen does. But she feels that happening, and he feels it happening for her. I think both of them are on, kinda, unfamiliar ground. And especially because it's with an equal. It's kind of hard for her at that point, I think not to look at this guy, and realize this is not like the other boys.

WEISS: What was fun about the sequence, you know, awful way to us is that up until the end, it's very close to one of those battles where all the good guys get out the other side, and, more or less, scot-free. But we knew that killing the dragon was gonna have a tremendous emotional impact, 'cause over the seasons and seasons of the show it's really been emphasized what they are to Dany. We knew that the Night King would see and seize this opportunity. I'd like to think that when the dragon dies, that it's kind of a one-two punch, 'cause on the one hand, you've just seen the horror of one of these three amazing beings like this in the world going under the water and not coming up again, and processing that. Then you're processing something that's even worse, which is when it comes back out from under the water again, and we see in the last shot of the episode, what it becomes.

7.7: The Dragon and the Wolf

BENIOFF: Jon's not Jon Sand. He's actually, as Bran finally overhears from Lyanna, Aegon Targaryen. And that means he's the rightful heir to the Iron Throne. That changes everything.

WEISS: I would say the challenge with this sequence was finding a way to present information that at least a good portion of the audience already had in a way that was dramatic and exciting, also had a new element to it. Part of the answer as to how to go about doing that was in the montage, inter-cut nature of it. It was about making it clear that this was almost like an information bomb that Jon was heading towards.

Show!Bran: Robert's rebellion was built on a lie.

WEISS: The only way to really emphasize that was to tie those two worlds together cinematically, and to have Bran actually narrating these facts over the footage of Jon and of Dany.

Show!Bran: He's the heir to the Iron Throne.

WEISS: Just as we're seeing these two people come together, we're hearing the information that will inevitably, if not tear them apart, at least cause real problems in their relationship. And she's his aunt.

BENIOFF: It complicates everything on a political level, on a personal level, and it just makes everything that could have been so neat and kind of perfect for Jon and Dany, and it really muddies the waters.

Show!Bran: We need to tell him.

BENIOFF: We tried to contrast the various season endings so that they don't feel too similar. So last season we had a pretty triumphant ending with Dany finally sailing west towards Westeros. This one is definitely much more horrific.

8.1: Winterfell

BENIOFF: It's a whole new procession, and so instead of Robert arriving with Queen Cersei and Jamie Lannister and The Hound, it's Daenerys coming with Jon Snow. I don't think the North is the most welcoming place to outsiders. Dany's smart. She senses that distrust, and she's... gonna make the best of a bad situation, but that doesn't mean that she likes it or she's happy.

WEISS: When you're doing something good for people, and you get met with what Sansa gives her when they meet in the courtyard, it's understandable that she would be upset.

WEISS: I think that if Tyrion were to have shown up on his own to Winterfell, he would've gotten a much different reception from Sansa than he did coming as the Hand of the Queen, Daenerys Targaryen.

BENIOFF: No one's ever ridden a dragon except for Dany. Only Targaryens can ride dragons, and that should be a sign for Jon. Jon's not always the quickest on the uptake, but eventually gets there.

WEISS: We wanted to kind of re-anchor their relationship. It seemed important for it to involve the dragons, since the dragons play such an important role.

BENIOFF: It's a major thing for her when she sees they have some kind of connection to him, they allow him to be around them. And when he flies up with her and shows her where he used to hunt as a kid, I think she falls even farther in love with him.

WEISS: Seeing Jon and Dany on the dragons together, it's a Jon and Dany moment, but it also seeds in the idea that these creatures will accept Jon Snow as one of their riders.

BENIOFF: One of the challenges, but also one of the exciting things about this episode, this whole season, is bringing together characters who have never met. Sam has long been one of the more important characters in the story. But he's never seen Queen Daenerys, and yet they're connected by various threads. The obvious one, which we know from the beginning of the scene, is Jorah. Sam saved him, and so Jorah owes him this great debt. What none of them realize until midway through this scene is that they have another, horrible connection.

WEISS: There are all these things that you know about those characters that the other characters don't know. And some of them are very important. Dany murdered Samwell's father and brother.

BENIOFF: That's a really complicated thing for Sam because he had a really fraught relationship with his father. Yet Sam's older brother was not a bad person, and died, really, quite bravely, standing by his father's side.

WEISS: John Bradley did an excellent job. The difference between the way he takes the news of his father's death and the way he takes the news of his brother's death, it was a subtle thing that he does with very few words. It's the kind of thing that he could find out in a number of different ways, but it seemed like a very ineffective preamble and way into that later moment.

WEISS: The fact that Jon's real parents were who Jon's real parents were is not news to us at this point, but what we don't know is the way that Jon is going to take this. How's the explosion gonna look?

BENIOFF: Sam, as a brother of the Night's Watch, and Jon are more brothers than Bran and Jon ever really were. He knows it's gonna hurt Jon and it's going to shatter his whole worldview. For all they know, the Army of the Dead could attack the next day, and someone has to tell Jon before that.

WEISS: He's being told something that he both knows is true and can't handle. So he tries to throw things in front of it to prevent him from having to deal with the-- the truth of what he's being told. The thing he throws in front of it here is the fact that it means his father was lying to him his whole life. The truth that Samwell tells Jon is probably the most incendiary fact in the entire world of the show. We chose to play the whole thing on Jon's face because, as great a job as John Bradley is doing presenting this information, he's really just presenting information we know already.

8.2: A Knight of the Seven Kingdoms

WEISS: When Jaime shows up to Winterfell, it's very difficult for almost anybody to know how to feel about it. On the one hand, Dany looks at him as the person who murdered her father, and even if she has come to terms with who her father was and what her father really was, it probably doesn't entirely erase the sting of her father's murderer showing up on her doorstep.

BENIOFF: Tyrion has made a number of mistakes now, and Dany's really at the end of her patience. Because she has a lot of fondness and respect for Tyrion, but many of his plans have really gone awry. And now Jaime Lannister's here, but not with the Lannister army. Tyrion can't really fight back because he knows she's right. I mean, he really did make a grievous mistake. If Tyrion has a flaw, he's a very clever man, but sometimes clever people overestimate their own cleverness.

BENIOFF: Dany comes to Sansa with a bit of an olive branch, trying to find a way inside that kind of cool exterior that Sansa presents. And one commonality between them is they both love Jon. Dany's his lover and Sansa's his sister. It's very much coming at it from the point of view of a monarch trying to make peace with her subject, and Sansa's not quite willing to accept Dany as her monarch yet. She's suspicious of people for a reason. She's had too many hard experiences not to be suspicious of people. And she sees Dany as possibly a tyrant, as somebody who has a lot of power and is seeking to get even more.

8.3: The Long Night

WEISS: We wanted our characters to feel, like, that this-- maybe this is all gonna work out, maybe things are all gonna be okay. We've seen how devastating a Dothraki charge can be just with their regular swords, and now when they're galloping into combat with, uh, flaming arakhs, it's-- it's-- Uh... What could possibly stand against that?

BENIOFF: What they see is just the end of the Dothraki, essentially.

WEISS: They have a plan, and it's important to wait for the Night King to reveal himself, and then have two dragons against one dragon, and a really good chance of-- of defeating him. One thing that they couldn't have foreseen was Dany's reaction to seeing the Dothraki decimated. Jon is the person who wants to stick to the plan, but the Dothraki are not Jon's; they're not loyal to Jon, they're loyal to Dany, and I think that Dany can't bring herself to just watch them die, and so the plan starts to fall apart the second she gets on her dragon, so he does too, and then we take it from there.

BENIOFF: We knew this episode was gonna be almost entirely battle, and that can get really boring really quickly. You can watch it for a certain number of minutes before the effect starts to dampen. Part of it was making sure that we really stayed focused on the characters, and so whether it's Arya's storyline, or Sansa and Tyrion down the crypt, or Jon Snow and Dany up on the dragons. Kinda like all these separate little battles within the... within the greater battle.

BENIOFF: I mean, we talked about various endings for Jorah for a long time, but, you know, you think about Jorah, from the very first time we met him, he was with Dany, and from that time, he's been mostly by her side. Part of Jorah's tragedy is that he was in love with a woman who couldn't love him back, but he's accepted that for quite a long time, at the same time he was going to fight for her as long as he could and as well as he could.

WEISS: There'd never been a moment where she more needed someone to fight to protect her than this moment. And if he could've chosen a way to die, this is how he would've chosen to die. So, it was something we thought would be powerful to give him.

8.4: The Last of the Starks

WEISS: Dany kind of structures the feast scene, in a way. I mean, she's really the person whose emotions and choices are guiding the scene.

BENIOFF: And things start to shift a little bit when Daenerys calls for Gendry and-- and names him the new Lord of Storm's End.

WEISS: It's almost like, as the queen, she's giving people... permission to-- to celebrate what they've done.

BENIOFF:  Things start to relax a little bit, and these people did survive and they-- they won, and they emerged victorious. And so what started as a very funereal scene gradually starts to shift into more of a party atmosphere as people get drunker and drunker. That shift does not happen with Daenerys; she's scarred by the events that just took place, but she's also very much thinking about... what Jon Snow told her, and she's really shaken when she sees everyone celebrating with him, and talking about what a mad man and what a king he is for getting on a dragon.

WEISS:  He has love and respect from these people that, even with the gesture that she just made, she can't ever equal.

BENIOFF: She realizes that his true identity is a real threat to her if it comes out. So, she's in a fairly dark place and while other people are starting to try to celebrate their survival and their victory, Dany's not in a celebratory mood.

WEISS: After the feast, she comes to talk to him and... with the intention of-- of... of making this all work out, and of bringing things back to the way they were before.

BENIOFF: There's a moment when they're kissing, and-- and it seems like things are kind of getting back to where they were, but... it's almost as if he remembers all of a sudden what she really is. It's tense for him. For her, she grew up hearing all these stories about how their ancestors who were related to each other were also lovers, and it doesn't seem that strange to her.  For him, it is a strange thing.

WEISS: Once Dany introduces the idea that everything can be as it was if... Jon... keeps this secret buttoned down and tells no one, she's introducing a conflict that plays forward.

BENIOFF:  From his standpoint, he's already declared his loyalty to her. He's promised her and he's a man of his word. But he's also, you know, a family man, and so, the idea that he wouldn't tell Sansa and Arya about his true identity, it just seems very wrong to him.

BENIOFF: He thinks he can have it both ways; that he can tell Arya and Sansa the truth about who he really is, and he can maintain his loyalty to Dany and everyone's gonna learn to live together.

WEISS: One thing everybody who... comes into contact with this information seems to understand is how incendiary the information is. Sansa's left with a very difficult decision, 'cause she promises Jon that she won't tell anyone, and yet when she's sitting up there on that wall with Tyrion, she knows... what will happen if she gives Tyrion this information. She's a student of Littlefinger, and she knows how information travels, and she can think many steps ahead into the game, the way Littlefinger did, and know that if she tells Tyrion, it's almost impossible for Tyrion not to tell Varys, and if you tell-- I think these are all things that have been occurring to Sansa between the time we see her get that information and the time she passes the message on.

BENIOFF: Part of the story here is that while we've been concentrating on Winterfell and the fight against the army of the dead, Dany's other enemies have not been just sitting still; they've been planning for-- for the final battle. We saw in season seven that Qyburn had invented this giant dragon-killing scorpion and it didn't quite work. Qyburn went back to the drawing board and he made even larger, more powerful scorpions. Dozens of them are now lining the walls of King's Landing, and dozens more are mounted on the decks of the Iron Fleet. While Dany kind of forgot about the Iron fleet and Euron's forces, they certainly haven't forgotten about her, and they're just waiting for her to come back. By this point, they would have gotten news that her army's emerged victorious and were gonna head south, and so they're just waiting in ambush for her return.

WEISS: In some ways, the most important thing that happens... to Daenerys in four, is the death of her second dragon. Now she's got one dragon, and that dragon presumably is just as vulnerable... as Rhaegal was. So, there's this-- the mourning of a child, which is very real to her, and then their best friend is taken. Dany knows that once Cersei has Missandei that she's not going to see Missandei alive again.

BENIOFF: This is a moment for Cersei where she has a chance to... maybe to flee and get away if she surrenders, but that's-- I think anyone who knows Cersei knows she's not gonna make that choice. Her feeling is, "If I give up the throne, I'm dead, and so, my only chance now is to win." And that's what she says to Ned Stark in season one. Dany is this young queen coming to try to usurp her, and Cersei's not gonna give up the throne that easily. She's captured an enemy, and this is how Cersei deals with enemies. Tyrion's perspective is-- is, you know, while we have these various wars for supremacy and everything, let's not forget about the people who are gonna suffer the most from it. He can envision what will happen to King's Landing if these two armies clash and dragons are involved, and it's an obvious catastrophe. She feels like the odds are actually pretty good on-- on-- for her at this point, and she's willing to roll the dice. I think for Cersei, the only good prisoner is a dead prisoner.

WEISS: She's really back... where she was... at the very beginning. Emotionally, she's alone in the world, and she can't really trust anybody.

BENIOFF: People have underestimated Dany's strength many times before, and-- and... no one's really done very well underestimating her strengths.

WEISS: Unlike them, she's extremely powerful, and unlike them, she's filled with a rage that's aimed at one person specifically.

BENIOFF: I think what's probably echoing in Dany's head in those final moments would be Missandei's final words. Dracarys is clearly meant for Dany. Missandei knows that her life is over, and she is saying, you know, "Light them up."

8.5: The Bells

BENIOFF: Dany's an incredibly strong person, she's also someone who has had really close friendships and close advisors for her entire run of the show. You look at these people who have been closest to her for such a long time, and almost of them have either turned on her or died, and she's very much alone. And that's a dangerous thing for someone who's got so much power, to feel that isolated. So at the very time when she needs guidance and those kind of close friendships and advice the most, everyone's gone.

WEISS: I think that Varys knew that it was unlikely that he would survive the attempt to overthrow Dany in favor of Jon. And he also knew that he ethically, in his mind, had no choice but to... try to do that anyway. I think that Tyrion is saying goodbye to his best friend in the world outside of his brother. And the amount of guilt that he feels over being the cause for his best friend's imminent death, it's hard to really get your head around.

BENIOFF: Jon Snow is someone that she's fallen in love with. And as far as she's concerned, by this point, Jon has betrayed her by telling people about his true identity, and also the fact he's unable to return her affections at this point.

WEISS: I think that when she says, "Let it be fear," she's resigning herself to the fact that she may have to get things done in a way that isn't pleasant. And she may have to get things done in a way that is horrible for lots of people.

BENIOFF: She chose violence. A Targaryen choosing violence is a pretty terrifying thing.

BENIOFF: Even when you look back to season one, when Khal Drogo gives the golden crown to Viserys, and her reaction of watching her brother's head melted off ...and he was a terrible brother, you know, so I don't think anyone out there was-- was crying when Viserys died, but... there is something kind of chilling about the way that Dany has responded to the death of her enemies. And if circumstances had been different, I don't think this side of Dany ever would've come out. If Cersei hadn't betrayed her, if Cersei hadn't executed Missandei, if Jon hadn't told her the truth. Like, if all of these things had happened in any different way, then I don't think we'd be seeing this side of Daenerys Targaryen.

WEISS: I don't think she decided ahead of time that she was... going to do what she did. And then she sees the Red Keep, which is, to her, the home that her family built when they first came over to this country 300 years ago. It's in that moment, on the walls of King's Landing, where she's looking at that symbol of everything that was taken from her, when she makes the decision to-- to make this personal. We wanted her to be just death from above, as seen from the perspective of the people who are on the business end of that dragon. In most large stories like this, it seems like there's a tendency to focus on the heroic figures and not pay much attention to the people who may be suffering the repercussions of the decisions made by those heroic people, and we-- we really wanted to keep our perspective and our-- our sympathies on the ground at this moment 'cause those are the people who are really paying the price for the decisions that she's making.

WEISS: I think that Jon is also in a kind of denial. At first, the siege is a war, soldiers killing soldiers. That's what war is. I think Jon is someone who's always been a very good soldier, who has never enjoyed being a soldier. He's been trained as a fighter from the time he was a little boy, and he's quite good at it, he's quite good at leading men into battle, and he also hates it. I think, for him, it all starts out seeming like it's gonna work out, and then it turns into a nightmare.

WEISS: When she takes off and starts burning the city, the Unsullied on the ground and the Northmen on the ground, take that as their cue that it's a moral free-for-all. The good guys are behaving like the bad guys, and the bad guys in this shot are the ones who are doing all of these horrific things around him, who are his own men. The moral lines that he's drawn, for himself, in his own life, can't be maintained for everyone in all situations.

WEISS: Feels like you needed a perspective to carry you through this horror. Like you need a Virgil to take you through the hell that Dany's building.

BENIOFF: The reason we decided to follow Arya out of King's Landing and to see the fall of King's Landing through her eyes is... something that we talked about with an earlier episode. You just care a lot more when you're with a character that you care about. So if we saw a lot of extras running around on fire and buildings falling apart, it might've been visually interesting, but it wouldn't have had much of an emotional impact. But when you're there on the ground with Arya, who's one of the people we care the most about, then everything takes on that much more of an edge.

WEISS: We knew that the Hound would be convincing her to part ways with him and to not go to her death. And once she decides she needs to get out of the city, well, she's in-- she's in the worst possible place you can be. So she's gotta get from that central point all the way outside the walls of the city. It's the longest, hardest journey anybody has to make in the entire episode.

8.6: The Iron Throne

WEISS: Dany has been above it all, literally, throughout this entire battle, she's fought the whole thing from the air, so, when she's in the plaza, all she's seeing is her own army's triumph in the city that she came to conquer for all the best reasons, and I think the idea of spreading her brand of revolution around the entire world is a very attractive idea to her at this moment in her mind, it's a very ethical idea because she's not seeing the cost the way Jon and the way Tyrion have seen the cost.

BENIOFF: What's interesting about it is that she's been making similar kinds of speeches for a long time and we've always been rooting for her and this is kind of a natural outcome of that philosophy and that willingness to go forth and conquer all your enemies and it's just not quite as fun anymore. 

WEISS: I think the final scene between Jon and Daenerys is something we came up with sometime, in the midst of the third season of the show? The broad strokes of it anyway. But there was a tremendous amount of pressure to get it right because we know this is not a scene that is giving people what they want.

BENIOFF: We got there and were like, oh my God this is gonna be so emotional and then it was realizing that we actually had to do so much work to get all those shots that we needed.

WEISS: There’s this discussion through the whole show of whether or not Daenerys is like her father, who was insane. Throughout the whole conversation they have, she maintains, like, a reasonable approach to the thing that she’s done and there are only a few places where something peaks out that tells him what’s really coming.

WEISS: The big question in people’s minds seem to be who’s going to end up on the Iron Throne. One of the things we decided about the same time we decided what would happen in the scene is that the throne would not survive, that the thing that everybody wanted, the thing that caused everybody to be so horrible to each other to everybody else over the course of the past eight seasons was going to melt away. The dragon flying away with Dany’s lifeless body, that’s the climax of the show.

[picturejasper20]

Steven and White Diamond parallels

Many fans in the Steven universe fandom have talked about how Steven and Jasper share many similarities in Future, such as their refusal to get help, lacking purpose in Era 3 and being rejected by someone. (Lapis in Jasper’s case and Connie rejecting Steven´s proposal in Together Forever).

Yet something I haven´t seen covered very much is the parallels that Steven and White Diamond share and how they are both foil of each other. In this post i´m going to point out a few parallels I have noticed while watching the series and reading others Steven universe fans´ posts.

An year ago @dippingpines​ made a post with gifs pointing out the similarities between this two characters: Both grow pink when they are confronted about their hidden feelings and want ¨to be better¨.

¨I can't tell Pearl how I feel, 'cause she'll blame herself, and spiral outta control, and I'll have to pick up the pieces. And- I don't want any more 'high and mighty' advice from Garnet. I just want to know better for once- Steven in Prickly Pair

¨But I'm not supposed to be like this! I'm supposed to know better, I'm supposed to be better, I'm supposed to make everything better!¨ White Diamond in Change your Mind

This is one of the parallels that is easiest to spot: Both Steven and White Diamond have an unhealthy tendency of burying their feelings in a way no one would be able to find out there is something wrong with them. This is motivated by their desire to be perfect and be a ¨good person¨ which involves knowing what it is best for others and not having any flaws.

They both take their selflessness to extremes, ignoring their own issues and considering thinking about themselves as a very selfish thing to do. When someone tries confronting them about this issue, they deny it and pretend to be fine.

Aside from them burying their feelings, they both often lack identity: Their own self is usually defined by what they think they should be and not what they really want to be. This leads them to go through an identity crisis when realize they don´t have to be what others expect from them.

When White Diamond found out she had a flaw, she completely broke down because, according to her, a diamond can´t have a flawed. They need to be perfect, they need to have zero weakness and they know what is best for the rest of the gems. It got to the point that her entire personality was only defined by being perfect that she didn´t know who she was supposed to be if she couldn´t be a diamond.

¨This can't be happening, I can't have a flaw, I'm supposed to be flawless! If I'm not perfect then who am I? If you're not Pink, then, who are you? Who is anyone?¨ White Diamond in Change Your Mind

In Steven´s case for a long time he tried to be like his mom. Once he accepted he could be his own person and that Rose only wanted him to be himself, he didn’t know who he was really supposed to be. What´s more is that growing up his relationship with his friends and family was defined by helping them with their problems that lead him to feeling lost in Future when they didn´t really needed his help anymore.

¨This beach,it never changes. I mean, a lot has changed. I'm trying to be cool about it, but it feels weird. Everyone's moving on, a-and I should be too¨

¨They're better off learning from Garnet, Amethyst and Pearl. I used to be helpful, but the Gems don't need me anymore. Agh! Why do I need to be needed? Steven, pull it together!¨ Steven in Prickly Pair

Another aspect that both characters share is assuming they know what best for another person. They both have this need to control and telling others what they think they need instead of just asking or considering the other person´s feelings first.

In the episode ¨Prickly Pair¨ this characteristic is when is most evident: Steven creates this space in where he can have control his plant ¨friends¨ who aren´t going to leave him and need his help. Steven started carrying out this little experiment as a way to cope with how all his friends were leaving and how he felt things were changing too fast for him.

In this specific situation Steven behaved in similar way White Diamond did when she was stuck in her own ship on Homeworld: Telling everyone what to do and what they should be, ignoring other gems´ agencies and feelings. With White Diamond it is more notice because of her gem powers allowing her to control other gems and her dialogue in ¨Change your mind¨.

Now I want to talk briefly about how Steven and White foil for each other.

According to Wikipedia a foil is:  ¨A character who contrasts with another character; typically, a character who contrasts with the protagonist, in order to better highlight or differentiate certain qualities of the protagonist.¨

In this post I already mentioned how Steven and White are selflessness and want to help other gems. The thing is there is a big difference on how their methods when it comes to helping:

Steven allows others to be flawed and grow in their own pace. He doesn´t force them to change and accepts that people are not perfect. He wants to help people to recover but at the same time he understands he can´t tell them what they should be. He knows each person has they own feelings and thoughts and there is a line you shouldn’t cross.

White Diamond thinks that the gems are an extension of herself and thus she thinks she knows what is best for them. She wants to erase the gems’ flaws instead of letting them grow in their own way. She uses her powers to ¨help¨ them to be perfect without realizing she is forcing herself in other people. White wants to help but only as long as others do what she thinks is best for them.

¨Please stop helping them. You'll only make things worse. That's what you do. I make things better. Here. There we are! I've removed their flaws. Now there is nothing to hinder my white light from sparkling through them.¨ White Diamond in Change Your Mind

To put more simple: Steven lets others to have flaws and be their own person while White forces others to do what she thinks is best for them, often using her powers to erase things she considers character flaws.

In conclusion: Steven and White Diamond are two characters that share similarities despite being so different. They both want to ¨fix¨ people with their own methods and often neglect their own feelings. White acts as good foil to Steven thanks to all these parallels which are emphatized when they two finally confront each other in ¨Change Your Mind¨.

Credits to Steven Universe Wikia for the gifs used

[popanalysis99]

Elliot Alderson/The Mastermind (Mr. Robot): Analysis

Elliot Alderson is the main protagonist of the series Mr. Robot. He is portrayed by Rami Malek. He is a cybersecurity engineer by day and a vigilante hacker by night. He then gets invited by a mysterious anarchist only known as Mr. Robot to an underground hacker group known as fsociety, whose goal is to take down the company ECorp, who is responsible for the death of Elliot’s father and redistribute the wealth. (Spoilers Alert and Trigger Warning for Child Sexual Abuse)

Early Life

From what we know so far, Elliot, along with his sister Darlene did not have a very good healthy family life. After the death of their father, their mother had gotten very physically and emotionally abusive of the both of them, but she mostly abused Darlene. And then in the later episode we find out that his father wasn’t a perfect saint as we thought, he was a monster who molested Elliot as a child, which physically and mentally scarred Elliot, which caused him to develop a plethora of mental illnesses such as depression, anxiety, PTSD and DID. The DID even gave birth to the following split personalities of Elliot: Mr. Robot (The Protector), The Mother (The Persecutor), The Child, The Audience (Voyeurs) and The Mastermind (The Elliot we’ve been following throughout the series).

His Traumatic Journey

Throughout the series, we see him as a vigilante hacker take down men who are the worst parts of the society such as abusers, cheaters, rapists and pedophiles (a role which is usually filled by the “angry woman” vigilante). He then joins fsociety to help take down E Corp. But unfortunately, he goes through a series of traumatic events to achieve that goal, he loses his girlfriend Shayla when she gets killed by her psychotic ex, he finds out that Mr. Robot is his split personality and Darlene is actually his sister. Then we he went to prison, Mr. Robot psychologically abused him, he was then beaten up by prison guards, nearly raped by neo-nazis and when he got out, he was shot in the stomach by Tyrell Wellick just because he refused to be a part of something that would kill millions. He then was psychologically abused and gaslighted by his former best friend/crush Angela Moss and failed to stop a terrorist attack that cost millions of lives. He then tried to kill himself and almost lost his life at the hands of the Dark Army along with Darlene’s. Then he lost Angela to them, nearly overdosed on heroin, was stalked by the same psychotic ex of Shayla’s, who then forced him to find out about his childhood trauma. Then he was trapped in a nuclear meltdown, which he was finally saved from thanks to his hacking skills shutting it down, but unfortunately at the same time, he found out that he himself wasn’t a real person the whole time, he was just another personality of the real Elliot Alderson.

But what is so remarkable about him is that no matter how much he goes through, he always finds a way to stand back up and keep going no matter what life throws at him. While other characters in the series go through the similar things and easily break down, Elliot had it the worst but survives and is still able to live through it the best.

Subverting the Revolutionary Anti Hero trope

While Mr. Robot was first said to have picked up some elements from movies such as Taxi Driver (cynical narrator plot) and Fight Club (the season 1 plot twist), as the series progresses it completely subverts those narratives and makes the portrayal more humane, tragic and relatable. Travis Bickle and The Narrator represent the misguided and misrepresented trope of mental illness and masculinity and depict the “white male angered by the society” trope while Elliot completely subverts those tropes and gives a more human and humble perspective. He mostly represents the more “strong feminine” characteristics without being ridiculed or emasculated for it. As a poc man with mental health issues, he shows a more relatable struggle as he battles both his inner and outer demons and finally is able to prevail. While most white male anti-heroes would use their anger towards society for selfish and violent reasons, Elliot uses them for good reasons and to help others. His pro and con is that he cares so much for others and their needs but he forgets about his own safety most of the times.

Beauty Equals Goodness

One of the remarkable things about Elliot is also his beauty. He is mostly shown to be very pretty and gorgeous. TV Tropes defines “Beauty Equals Goodness”: “If a character is beautiful, then that means they must be a very good person.” Unlike Travis and The Narrator who are shown to be very average and entitled-yet-crazy and violent, Under his black-hooded figure, Elliot is shown to have extremely angelic beauty, which represents his kind-heartedness and selflessness towards others. He has innocent blue eyes which shows his innocence and naivete but doesn’t mean that he is not smart and clever.

Living in state of Victimhood

Most of the times, Elliot ends up being constantly victimized by anyone he comes across, even if it’s someone he knows. Tyrell ends up being obsessed with the idea of him and begins to believe 5/9 made them gods. Ray uses Elliot’s skills for his Dark Website and tells him how much he reminds him of his dead wife and calls him his saviour. Angela ends up psychologically abusing him and gaslighting him due to Whiterose’s machinations and Vera becomes disturbingly and instantly obsessed with him the minute he sees him. We do know that Elliot has a really good soul who has a gift for hacking and uses it for good reasons and is portrayed as a really beautiful and kind leader, but then there are a lot of people out there who begin to use and abuse him for their own selfish and personal gain, which is also one of the most heartbreaking aspects of his life.

Conclusion

Despite all the hell he’s been through, Elliot had finally found his strenght and peace through the love of others such as Darlene, Leon and Krista and has learnt how to love himself and stay strong. Elliot Alderson/Mastermind is one of the most inspiring characters out there and is one of the most best ones ever.

[adhdashketchum]

ADHD Ash Ketchum: Canon Evidence

So, I’ve been thinking a lot about Ash being very heavily ADHD coded, and, after some of my mutuals have expressed interest in my nonsensical ramblings about this topic, I finally sat myself down and wrote this out. This is probably going to be long, so I’ll put it under Read More. Warning: this is going to be very text heavy with lots of links! Sorry about that in advance ^.^

Ash is incredibly one-track minded: for example, his goal is always to travel to the next town and win his next Badge so he can get into the League. It’s a very physical, easy to see and follow course. There isn’t much planning beyond get to the next Gym for the next battle. This can actually be seen multiple times throughout the series (here is one example), as he has a tendency to beeline directly to Gyms, or to start walking without even knowing where the Gym is located.

On a sidenote, his goal of becoming a Pokemon Master is very vague, and although this has been stated to be because it’s literally the goal of a child, representing a childlike fantasy, it can also be seen from an ADHD point of view. It makes sense in Ash’s brain, and it’s vague enough that he doesn’t have to put much thought into it. It’s also clear that there’s not many limits to his dream, such as time constraints, that the ADHD mind doesn’t consider.

Hyperfixates on battles, to the point where he becomes impatient and visibly upset when he can’t immediately battle the Gym leader or is somehow delayed. Furthermore, because battling is so important to him, he gets upset in situations like the one with Skyla in BW (for those who don’t know, Skyla started doing what she called “Air Battles,” where she just decided based on match-ups whether she thought she would win the battle or not, and gave out badges that way) or Volkner in DP (Volkner lost interest in battles and instead was just letting anyone take a badge if they wanted one).

Ash is a very creative thinker, and his battling style reflects this. He wins many battles by thinking outside of the box and using things like the terrain or even his oppponent’s own moves against them in surprising ways. This is commented on by many different characters fairly often.

Although Ash is an amazing battler, he isn’t too good at classwork/deskwork (see my post here for a specific example of this). Ash also is very hands-on when it comes to learning, and is much better with visuals than audio cues. He sometimes doesn’t understand concepts when they’re explained to him without a visual aid.

Also a good note, he’s an incredibly quick learner and thinks very well on his feet and while under pressure. His ability to turn the tides during battles stems from his ability to analyze situations and respond to them in unique ways, which ties back to point 3.

Ash also teaches in a hands-on style, and often relates to/understands and even trains Pokemon by acting out their movements or using himself as an example.

In addition to the above point, Ash is also easily distracted and can’t sit still very well. The post (and response) here give an example of this. Ash gets bored easily; he gets sidetracked; and, perhaps most importantly, he wanders. A lot. Alola is unique in that it’s the first time Ash hasn’t travelled throughout a region and has instead stayed in relatively one area the whole season, and even then he does things like travel to Treasure Island with Pikachu because he’s bored and wants to do something. Ash needs constant stimulation, and he gets this through traveling and being constantly on the move.

Ash is very expressive, using his face and sometimes his whole body to make gestures and react to his surroundings. He emotes very clearly and almost loudly, and his emotions can often jump drastically in a short time. He’s very excitable, and he even stims. Here and here are two more examples of excitable/stimming behavior, as well as in a different episode of Sun and Moon (which is very good at showing his ADHD traits) where he gets so excited about something that he flaps his hands. 

He’s incredibly impulsive. It’s a defining characteristic of his. He’s stubborn as shit and impulsive as fuck. He’s always ready to defend his friends and his Pokemon and regularly risks his life for them, as well as just being down to fight in general. Do I need to go on?

Rejection sensitivity dysphoria, especially in relation to his Pokemon. Often times, after losing a big battle, such as the one with Wulfric in XY or the one against Paul in DP, Ash gets upset and sinks into a sort of depressive state. He expresses the feeling of letting his team down, and he takes losses very personally, even when logically he shouldn’t. His Pokemon always snap him out of this state by reassuring him that they don’t blame him for their loss, and that they still love and support him no matter what. This is an obvious sign of rejection sensitivity disorder, wherein Ash is afraid that, after big losses, his Pokemon no longer respect him and don’t want to be his friends anymore or battle with him, despite all evidence pointing to the fact that they all love him dearly and would never abandon him like that.

All of this is just what I can remember off the top of my head, and I’m sure there’s plenty more evidence that I’ve missed. Please feel free to add more as you see fit, and thanks for reading this far!

By the way, click here for another post about Ash’s ADHD and autistic traits. It’s relatively short but a very good read nontheless!

[holyjareau]

imo, the show was often unilaterally focused on Piper, but only on what she could do for others (Piper the wife and Piper the mother) rather than who she was as a person. Piper's individual characterization was lost sometime around s5 as soon as she got pregnant, and being a mother and wife pretty much became her sole defining characteristic for the rest of the series. I would be very interested to hear what you define as Piper's mental issues/trauma, bc as you say it doesn't get said enough

this has been in my inbox forever and i’m just getting around to it so my apologies.

but okay. so. yes. i think a lot of tv shows fall into this weird place where like. all of their characters begin with these kinda vague personalities because you’re just getting to know them. and as the show goes on, you pick up more pieces and stuff . and that’s great. that’s interesting and entertaining and it takes you on a journey and all. but often what happens is many shows fall into this pit where writers either get lazy, they change, or whatever, and the actors are tired of playing the part or whatever . and like. the characters become like. caricatures of themselves. and it just gets exhausting to watch because they’re not like. real people anymore.

Piper's individual characterization

so now for the charmed thing. so from the beginning. i have loved piper. like she’s the middle sister, overlooked, quiet, reserved, pessimistic but also realistic, gentle, thoughtful, all that. we see right away that she loves to cook .. she’s so happy her family is back together. she kept in touch with phoebe behind prue’s back. but she’s loyal to the both of them. her first idea was to have a reunion dinner when phoebe came home. she’s literally so cute n she deserves a hug. but no like. as we go on, we see that she wants to be good, she wants a stable life with no more loss, she Loves Love !! like. she wants to just be happy , open her own restaurant n just cook. she’s also so shy .. definitely panicky and anxious. and she doesn’t trust herself. she’s skeptical of everything, and she’s very thoughtful when it comes to big situations. even in the early days with leo and into season 2, she mentioned a few things about like “i’ve been thinking a lot about this...” and you can see she’s good at communicating with people. she’s also got these other dimensions to her like . she is interested in lots of cuisine types, she loves to read (and is a camus fan !!) , she drives a jeep (which i wanna know how she got bc i have questions), when she found out she was a witch her first thought was just . i need to go and see if i am still a good person . and she went to church. prue was surprised to learn that piper enjoys knitting. in the early seasons (especially mid-late season 3) we saw her with her plants and all. she’s just this natural peacekeeper. but like. we literally got a crying scene in the second episode because she was so conflicted about this. and she’s such a deep and complex character that i fell in love with so fast . and like . literally my favourite fictional character to exist . genuinely holly breathed so much life into piper . anyway . so. here’s the thing.

being a mother and wife pretty much became her sole defining characteristic for the rest of the series

like. piper was who i described above. and like . i kinda think . a bit. that like . the writers . especially in s4 . were like . hmm well  . she’s just lost prue, she’s gonna be grieving . and like we need more for her. so. she’s been married to leo for the better part of a year, been with him for like . 3 years. so. let’s maybe consider giving them a kid but not just yet . just Content kinda stuff. so anyway they drop little hints in here and there starting in like . 4x07 i think? which . brain drain really paid the rent . fully just. holly did so well. but like. that ep was just. a neat way of looking into her mind and seeing the horrors of manipulation and gaslighting and everything . and of course holly knocked it out of the park. but at that point, they were kinda like . hmm . kids ? and they started toying with the idea, having piper and leo consider it, talk about it, they had paige and phoebe ask about it , all of that good stuff. as you do. made for some funny tv at some points. and like . i really, really Get It . when piper’s like . ahh the baby wouldn’t be safe around here !!!! like. Girl, Valid . your sister just died and like . you went on forever about how she was The Most Powerful One . The Strongest One . and yet she still died . so she’s like ??? am i next ?? and like obv it doesn’t make sense for her to jump on this train of like . i’m gonna have a kid !!!! so she’s really valid in her thought process there. and like. after having wyatt . i think the writers really . idk. couldn’t do waaay too much with her character anymore because i feel like . to an extent, anything she does will be scrutinized bc i’m not just . saying this . i rlly feel like sometimes piper’s the easiest to hate. like idk why but i loved her. but anyway. if she stays at home with wyatt and doesn’t wanna fight demons n all . then she’s selfish towards her sisters n she’s awful n prue wouldn’t have let her do that !!!! etc . but if she fought demons it’s like . uh sweetie you have a child . really ??? why put yourself in a situation that might have you ending up like patty 2.0 ... bc i could do a Whole post on how patty’s situation messed piper up the most. but anyway.

it’s the way i’m fully rambling so if you’re reading this . i love you . anyway okay . so . i think in a tv show you’ve gotta kinda check boxes. the best tv shows have characters you see yourself in . you relate to them. you hear them and understand their decisions and actions and thoughts. the things they do just makes sense 2 you. so like. with prue, anyone married to their job could relate to her. any oldest sibling could see themselves in her, you know ? she was hard-working, committed, logical, protective. and with phoebe, anyone who couldn’t “settle down” in their early 20s related 2 her, anyone who felt like the outcast of the family, the “screw-up” .. right. makes sense. she was so kind, caring, had-your-back kinda girl. we all love those. paige was like . the new kid, trying to fit in, creative, curious, and definitely a lifelong learner. and then there’s piper who was shy, resistant, really just wanted to be normal. and loved. and i think everyone could kinda identify with at least one of the sisters regardless of where you stood in your own family. so as the show went on, it’s like . they still want you to keep watching and keep being able to identify with them because it’s not like they’re humans with normal lives so they’ve already kinda lowkey got that going against them . so their more “human” and normal lives... we’ve gotta be able to identify with them to be able to invest time. so they had prue always working, having trouble balancing love and work, looking out for her family. we had phoebe kinda living her life, getting her career going, then kinda wanting a family. we had paige learning magic and being super interested and involved and then getting married. and we had piper who had her career pretty early on, got married, and had kids. like. i think the big thing is the marriage and kids. and when you’re a mother . the only mother really in the show, the show lowkey centres around you . like. for starters, the show usually is in the manor, and if you’re a mother, you’re very likely at home, esp with young kids. so i think that alone kinda was like . huh yeah . won’t see piper out waaay too much anymore i guess !!! but no like . there’s That. that’s kinda. the thing that really can’t change with the show . like. piper’s got kids now and a husband and very, very likely . her life will be centred around her home. which. listen she’s wanted that i think - the stability . she’s wanted that forever. and this is the form it came in. but i should stop rambling here and cut to the point .

Piper's mental issues/trauma

disclaimer: i’m not diagnosing her, i’m just speculating based off of my own experiences with mental health

so. okay. very early on. we saw that anxiety. like. yes . she was nervous about like a whole new life experience . or whatever we’re gonna call it when you figure out you’re a witch . but like she was Anxious . like. crying in the attic over being a bad person . needing phoebe to talk her down by telling her she’s such a caring person, she’s always doing things for other people . and then there’s the whole anxiety that comes with. my family’s falling apart because my sisters are fighting so i use really awkward methods of getting out of things . like using humour as a coping mechanism !!! which. gave us some iconic one-liners. but that’s beside the point . anyway. point is. early on, that anxiety was there. there’s an ep in season 1 where she’s literally entering a panic attack in her kitchen and phoebe’s using a menu to cool her down. like. Yikes! and then she’s just. her awkward self around everyone but that’s endearing and is just part of her personality . and i think a lot of the anxiety stemmed from childhood. we heard a few times about how prue and phoebe had boyfriends growing up, were always pretty and popular and all. phoebe was popular, too, just, in the other crowd. but nonetheless, piper faded into the background, doing well in math - well enough to go off and be a banker . and like. she sacrificed a lot for grams. she stayed in san francisco ... we all know the girl had the marks for stanford or something . like. though . still, i think she liked the stability of home and prob would’ve stayed . but in 3x17 she’s all !!! grams !!! the doctor said no caffeine !!! and when grams was taking the pic of them outside and she had an episode , piper was all !!!! shallow breaths !!! like. it was clear piper was the one taking her to the appointments and footing the bill. like. she literally became a banker just bc it had benefits n stuff. like. poor girl really thought . anyway that’s a whole spiral. but no. like she really sacrificed The Most for her family and everyone still thought she was selfish for wanting to move out . when like back then grams was literally ... sick ... and prue was out here moving out and phoebe was nowhere to be found . so. that . definitely would have added to her anxiety about even wanting to do anything for herself because she’ll be perceived as selfish in a heartbeat. even if it’s not Mean . it’s just. she’d never risk it. but there’s the anxiety. there are a few lil things here n there about how she gets nervous n stuff, she represses things (3x07 i think was where phoebe said piper represses her anger n just sucks it up n does whatever) . she literally cancelled her doctor’s appointment Twice . anyway. it still angers me. then in season 7 . patty and victor were like . oh she had night terrors that were so bad we took her to the doctor ! and i just ... honey . baby. she thought she caused the divorce. at 4? 5? she watched victor leave on her 5th birthday, watched a demon attack her, grams, and victor. prue said she didn’t cry at patty’s funeral and i’ll make a safe bet that piper did. and i think growing up without patty was strange for sure. prue had more memories and phoebe had none. and piper had fragments of this person everyone loved . and she was stuck between knowing her and not knowing her. and when patty was sent to her for her wedding day, (as well as in 1x17) . both times when patty hugged them . prue and phoebe hugged her, eyes closed n all. while piper was on the outside, eyes open . looking numb as all hell . and you know. i rlly think she was Giving Them That because phoebe didn’t get her and prue kinda . in a way. lost more of her . if that makes sense ?? and i just. patty really was like . they sent me to You. and 5 seconds later . piper’s like . they sent mom to Us !!! and it’s that idea of sacrifice and never having anything for yourself because she was never just . given anything for herself . everything in her life has been a sacrifice and as a mother, that’s perpetuated. she can assume that role with more of a purpose . like. people won’t really feel sorry for her now as the “forgotten” sister, they won’t try and coddle her or anything. and another thing. control. piper craved stability and control. i think while cooking was something she loved, it also gave her a lot of control . she could control her whole kitchen . even in season 8 .. maybe vaya con leos actually . leo mentioned how much piper craves control. and the control motif makes sense with her powers too. like. piper craved control so much that her powers allowed her to control things down to the atom. so there’s the whole anxiety and needing to control things to ease her anxiety and all. there’s That whole thing.

and then we get to the infamous season 5 fearless spell . ms girl really sat in the attic just writing everything on the wall and it’s the way i screenshotted it and like . zoomed in and tried deciphering it . and like . there’s words like “stop” and i think “sister” is in there a few times, so is “loss” or “lost”. when i watch it next i’ll grab a cap because it’s . disturbing. girl was so scared . literally was writing a spell to get rid of her fears . she also writes Fear . as in. capital F . and like. yeah that’s deep but i do it too like i emphasize words with a capital letter . and like holly marie combs might just have quirky n fun writing but like ... capital F . for Fear. for real . that’s . trauma !!! and she also was having panic attacks at the beginning of season 5. let’s not forget those. which ... we should’ve gotten more of an explanation for . i hope that girl is getting help bc she was Going Through It . and in season 7 when zankou reads her diary . firstly. we Knew this girl kept a diary like . for Sure . she did. and just that little excerpt of when prue died . oops. i’d pay big money to see the rest because again i just think she’s got such a complex mind and like. i’d be so interested to read that. and i think everything re: prue is just Awful for her. like . idk if this is just something quirky i noticed but obv we know prue died in may 2001 . but at the end of 4x03, when piper goes 2 paige’s work 2 bring her muffins !! soft !!! the calendar on one of the desks reads july 2001 ... and i really just. ms girl. i Know they prob just filmed the ep in july but it honestly tracks that she’d be so awfully upset about everything and just . barely able to do anything but cook . for 2 months. like. honey. baby. i wanted 2 just cuddle her bc she was so sad. and like. she tells paige she’s having “good hours” and “not so good hours” . she’s going by the Hour . by the Hour . just. need i say more . i’m so . but no like. if anything like i could see her having like . depression where she’s high-functioning and like just . walking depression i guess ?? like . not even after prue. i think in general. like . she definitely has a melancholic temperament and a type 6 enneagram (the skeptic). that’s For Sure . but i think. just. she’s always just had time to think bc she’s always alone, reading, knitting, cooking, tending to her plants, all that. and i just . think. she has issues. and i think prue knew that. of all people. and i think her knowing that . and then dying. destroyed piper. she lost the last person that was truly a constant in her life . like they shared a roof over their heads forever. and then she was just . gone . and piper was suddenly left to pick up the pieces . and become the oldest sister . and i’m So glad she didn’t fully assume her personality. i’m glad she stayed as piper . just. she’s more cynical and snarky and defensive and cold and that’s okay. she’s hurting. she’s always gonna hurt . and i think it makes her human . she’s pessimistic and sad and has a short fuse at times . but just. again. i love her to bits and i think those issues make her more relatable for me. because while many like to say she became selfish and a negative person and just . awful to be around . i’d say the opposite . i won’t sit and apologize or justify things. also i don’t think piper’s done anything wrong . i just think she’s hurt. she’s been wronged so many times. and she’s .... scared. i think she’s scared . and in season 5 “sympathy for the demon” we learn her true biggest fear is her happiness being stolen away. and like . it’s not that she’s scared she won’t be happy. she’s scared all of the good she’s got will be taken from her . and that’s . terrifying . so . i see why she’s so snarky and bitter and tired and all . she’s terrified of things being taken from her like they have been her whole life. and as i watch the show i really like to just keep that in mind as i get further and further in because yes. she did become a mother and a wife and we saw her arguing with leo a lot and their marriage falling apart and That Whole Era . we saw how it kind of took over her life but i think it happens . i think she even said at one point . i’ve been so many things to so many people, i don’t know who i am anymore . and i think it sums her up perfectly. she doesn’t know who she is because she’s someone to everyone . she’s just. nobody to herself except this scared little girl who just wants Something . Anything . to make sense . some Stability . and her babies, her husband, and her sisters . are all she has for that idea of stability to make sense in her mind. and it was an easy hole to fall into - the Mother - but i think she jumped in. because at the Very Least . nobody could take that title away from her . regardless of how hard they tried .

[silvokrent]

RWBY Character Analysis: Pietro and Penny Polendina

Up until now I’ve been keeping quiet about my opinions on the newest volume, in no small part because my personal life has been one absurd setback after another, and I haven’t had the energy to engage in fandom meta. If you do want to know what my current opinion of RWBY is, go over to @itsclydebitches blog, search through her #rwby-recaps tag, and read every single one. At this point, her metas are basically an itemized list of all my grievances with the show. I highly recommend you check ’em out.

Or, if you don’t feel like reading several hours’ worth of recaps, then go find a sheet of paper, give yourself a papercut, and then squeeze a lemon into it. That should give you an accurate impression of my feelings.

In truth, I have a lot to say about the show, particularly how I think CRWBY has mishandled the plot, characters, tone, and intended message of their series. And while I enjoy dissecting RWBY with what amounts to mad scientist levels of glee, I think plenty of other folks have already discussed V7′s and V8′s various issues in greater depth and with far more eloquence. Any contribution I could theoretically make at this point would be somewhat redundant.

That being said, I’d like to talk about something that’s been bothering me for a while, which (to my knowledge) no one else in the fandom has brought up. (And feel free to correct me if I’m wrong.)

Today’s topic of concern is Pietro Polendina, and his relationship with Penny.

And because I’m absolutely certain this post is going to be controversial and summon anonymous armchair critics to fill my inbox with sweary claptrap, I may as well just come out and say it:

Pietro Polendina, as he’s currently portrayed in the show, is an inherently abusive parental figure.

Let me take a second to clarify that I don’t think it was RWBY’s intention to portray Pietro that way. Much like other aspects of the show, a lot of nuance is often lost when discussing the difference between intention versus implementation, or telling versus showing. It’s what happens when a writer tries to characterize a person one way, but in execution portrays them in an entirely different light. Compounding this problem is what feels like a series of rather myopic writing decisions that started as early as Volume 2, concerning Penny’s sense of agency, and how the canon would bear out the implications of an autonomous being grappling with her identity. It’s infuriating that the show has spent seven seasons staunchly refusing to ask any sort of ethical questions surrounding her existence, only to then—with minimal setup—give us Pietro’s “heartfelt” emotional breakdown when he has to choose between “saving” Penny or “sacrificing” her for the greater good.

Yeah, no thanks.

If we want to talk about why this moment read as hollow and insincere, we need to first make sure everyone’s on the same page.

Spoilers for V8.E5 - “Amity.” Let’s not waste any time.

In light of the newest episode and its—shall we say—questionable implications, I figured now was the best time to bring it up while the thoughts were still fresh in my mind. (Because nothing generates momentum quite like frothing-at-the-mouth rage.)

The first time we’re told anything about Pietro, it comes from an exchange between Penny and Ruby. From V2.E2 - “A Minor Hiccup.”

Penny: I've never been to another kingdom before. My father asked me not to venture out too far, but... You have to understand, my father loves me very much. He just worries a lot.

Ruby: Believe me, I know the feeling. But why not let us know you were okay?

Penny: I…was asked not to talk to you. Or Weiss. Or Blake. Or Yang. Anybody, really.

Ruby: Was your dad that upset?

Penny: No, it wasn’t my father.

The scene immediately diverts our attention to a public unveiling of the AK-200. A hologram of James Ironwood is presenting this newest model of Atlesian Knight to a crowd of enthusiastic spectators, along with the Atlesian Paladin, a piloted mech. During the demonstration, James informs his audience that Atlas’ military created them with the intent of removing people from the battlefield and mitigating casualties (presumably against Grimm).

Penny is quickly spotted by several soldiers, and flees. Ruby follows, and in the process the two are nearly hit by a truck. Penny’s display of strength draws a crowd and prompts her to retreat into an alley, where Ruby learns that Penny isn’t “a real girl.”

This scene continues in the next episode, “Painting the Town…”

Penny: Most girls are born, but I was made. I’m the world’s first synthetic person capable of generating an Aura. [Averts her gaze.] I’m not real…

After Ruby assures her that no, you don’t have to be organic in order to have personhood, Penny proceeds to hug her with slightly more force than necessary.

Ruby: [Muffled noise of pain.] I can see why your father would want to protect such a delicate flower!

Penny: [Releases Ruby.] Oh, he’s very sweet! My father’s the one that built me! I’m sure you would love him.

Ruby: Wow. He built you all by himself?

Penny: Well, almost! He had some help from Mr. Ironwood.

Ruby: The general? Wait, is that why those soldiers were after you?

Penny: They like to protect me, too!

Ruby: They don't think you can protect yourself?

Penny: They're not sure if I'm ready yet. One day, it will be my job to save the world, but I still have a lot left to learn. That's why my father let me come to the Vytal Festival. I want to see what it's like in the rest of the world, and test myself in the Tournament.

Their conversation is interrupted by the sound of the approaching soldiers from earlier. Despite Ruby’s protests, Penny proceeds to yeet her into the nearby dumpster, all while reassuring her that it’s to keep Ruby out of trouble, not her. When the soldiers arrive, they ask her if she’s okay, then proceed to lightly scold her for causing a scene. Penny’s told that her father “isn’t going to be happy about this,” and is then politely asked (not ordered; asked) to let them escort her back.

Let’s take a second to break down these events.

When these two episodes first aired, the wording and visuals (“No, it wasn’t my father,” followed by the cutaway to James unveiling the automatons) implied that James was the one forbidding her from interacting with other people. It’s supposed to make you think that James is being restrictive and harsh, while Pietro is meant as a foil—the sweet, but cautious father figure. But here’s the thing: both of these depictions are inaccurate, and frankly, Penny’s the one at fault here. Penny blew her cover within minutes of interacting with Ruby—a scenario that Penny was responsible for because she was sneaking off without permission. Penny is a classified, top-secret military project, as made clear by the fact that she begs Ruby to not say anything to anyone. Penny is in full acknowledgement that her existence, if made public, could cause massive issues for her (something that she’s clearly experienced before, if her line, “You’re taking this extraordinarily well,” is anything to go by).

But here’s the thing—keeping Penny on a short leash wasn’t a unilateral decision made by James. That was Pietro’s choice as well. “My father asked me not to venture out too far,” “Your father isn’t going to be happy about this”—as much as this scene is desperately trying to put the onus on James for Penny’s truant behavior, Pietro canonically shares that blame. And Penny (to some extent) is in recognition of the fact that she did something wrong.

Back in Volumes 1 – 3, before the series butchered James’ characterization, these moments were meant as pretty clever examples of foreshadowing and subverting the controlling-military-general trope. This scene is meant to illustrate that yes, Penny is craving social interaction outside of military personnel as a consequence of being hidden, but that hiding her is also a necessity. It’s a complicated situation with no easy answer, but it’s also something of a necessary evil (as Penny’s close call with the truck and her disclosing that intel to Ruby are anything to go by).

Let’s skip ahead to Volume 7, shortly after Watts tampered with the drone footage and framed her for several deaths. In V7.E7 - “Worst Case Scenario,” a newscaster informs us that people in Atlas and Mantle want Penny to be deactivated, despite James’ insistence that the footage was doctored and Penny didn’t go on a killing spree. The public’s unfavorable opinion of Penny—a sentiment that Jacques of all people embodies when he brings it up in V7.E8��reinforces V2’s assessment of why keeping her secret was necessary. Not only is her existence controversial because Aura research is still taboo, but people are afraid that a mechanical person with military-grade hardware could be hacked and weaponized against them. (Something which Volume 8 actually validates when James has Watts take control of her in the most recent episode.)

But I digress.

We’re taken to Pietro’s lab, where Penny is hooked up to some sort of recharge/docking station. Ruby, Weiss, and Maria look on in concern while the machine is uploading the visual data from her systems. There’s one part of their conversation I want to focus on in particular:

Pietro: When the general first challenged us to find the next breakthrough in defense technology, most of my colleagues pursued more obvious choices. I was one of the few who believed in looking inward for inspiration.

Ruby: You wanted a protector with a soul.

Pietro: I did. And when General Ironwood saw her, he did too. Much to my surprise, the Penny Project was chosen over all the other proposals.

Allow me to break down their conversation so we can fully appreciate what he’s actually saying.

The Penny Project was picked as the candidate for the next breakthrough in defense technology.

Pietro wanted a protector with a SOUL.

In RWBY, Aura and souls are one of the defining characteristics of personhood. Personhood is central to Penny’s identity and internal conflict (particularly when we consider that she’s based on Pinocchio). That’s why Penny accepts Ruby’s reassurances that she’s a real person. That’s why she wants to have emotional connections with others.

What makes that revelation disturbing is when you realize that Pietro knowingly created a child soldier.

Look, there’s no getting around this. Pietro fully admits that he wanted to create a person—a human being—a fucking child—as a "defense technology” to throw at the Grimm (and by extension, Salem). Everything, from the language he uses, to the mere fact that he entered Penny in the Vytal Tournament as a proving ground where she could “test [her]self,” tells us that he either didn’t consider or didn’t care about the implications behind his proposal.

When you break it all down, this is what we end up with:

“Hey, I have an idea: Why don’t we make a person, cram as many weapons as we can fit into that person, and then inform her every day for the rest of her life that she was built for the sole purpose of fighting monsters, just so we don’t have to risk the lives of others. Let’s then take away anything remotely resembling autonomy, minimize her interactions with people, and basically indoctrinate her into thinking that this is something she wants for herself. Oh, and in case she starts to raise objections, remind her that I donated part of my soul to her. If we make her feel guilty about this generous sacrifice I made so she could have the privilege of existing, she won’t question our motives. Next, let’s give her a taste of freedom by having her fight in a gladiatorial blood sport so that we can prove our child soldier is an effective killer. And then, after she’s brutally murdered on international television, we can rebuild her and assign her to protecting an entire city that’s inherently prejudiced against her, all while I brood in my lab about how sad I am.”

Holy fuck. Watts might be a morally bankrupt asshole, but at least his proposal didn’t hinge on manufacturing state-of-the-art living weapons. They should have just gone with his idea.

(Which, hilariously enough, they did. Watts is the inventor of the Paladins—Paladins which, I’ll remind you, were invented so the army could remove people from the battlefield. You know, people. Kind of like what Penny is.)

Do you see why this entire scene might have pissed me off? Even if the show didn’t intend for any of this to be the case, when you think critically about the circumstances there’s no denying the tacit implications.

To reiterate, V8.E5 is the episode where Pietro says, and I quote:

“I don’t care about the big picture! I care about my daughter! I lost you before. Are you asking me to go through that again? No. I want the chance to watch you live your life.”

Oh, yeah? And what life is that? The one where she’s supposed to kill Grimm and literally nothing else? You do realize that she died specifically because you made her for the purpose of fighting, right?

No one, literally no one, was holding a gun to Pietro’s head and telling him that he had to build a living weapon. That was his idea. He chose to do that.

Remember when Cinder said, “I don’t serve anyone! And you wouldn’t either, if you weren’t built that way.” She…basically has a point. Penny has never been given the option to explore the world in a capacity where she wasn’t charged with defending it by her father. We know she doesn’t have many friends, courtesy of Ironwood dissuading her against it in V7. But I’m left with the troubling realization that the show (and the fandom), in their crusade to vilify James, are ignoring the fact that Pietro is also complicit in this behavior by virtue of being her creator. If we condemn the man that prevents Penny from having relationships, then what will we do to the man who forced her into that existence in the first place?

Being her “father” has given him a free pass to overlook the ethics of having a child who was created with a pre-planned purpose. How the hell did the show intend for Pietro to reconcile “I want you to live your life” with “I created you so you’d spend your life defending the world”? It viscerally reminds me of the sort of narcissistic parents who have kids because they want to pass on the family name, or continue their bloodline, or have live-in caregivers when they get older, only on a larger and much more horrific scale. And that’s fucked up.

Now, I’m not saying I’m against having a conflict like this in the show. In fact, I’d love to have a character who has to grapple with her own humanity while questioning the environment she grew up in. Penny is a character who is extremely fascinating because of all the potential she represents—a young woman who through a chance encounter befriends a group of strangers, and over time, is exposed to freedoms and friendships she was previously denied. Slowly, she begins to unlearn the mindset she was indoctrinated with, and starts to petition for agency and autonomy. Pietro is forced to confront the fact that what he did was traumatic and cruel, and that his love for her doesn’t erase the harm he unintentionally subjected her to, nor does it change the fact that he knowingly burdened a person with a responsibility she never consented to. There’s a wealth of character growth and narrative payoff buried here, but like most things in RWBY, it was either underdeveloped or not thought through all the way.

The wholesome father-daughter relationship the show wants Pietro and Penny to have is fundamentally contradicted by the nature of her existence, and the fact that no one (besides the villains) calls attention to it. I’d love for them to have that sort of dynamic, but the show had to do more to earn it. Instead, it’ll forever be another item on RWBY’s ever-growing list of disappointments—

Because Pietro’s remorse is more artificial than Penny could ever hope to be.

[wrxn-blxkely]

𝐏𝐀𝐑𝐓 𝟏: 𝐓𝐇𝐄 𝐁𝐀𝐒𝐈𝐂𝐒

What is your full name?:  Wren Kirk Blakely

Where and when were you born?: February 10th,1997

Who are/were your parents?:

Amelia Blakely, 53, retired museum curator who now runs her own art studio. She freelances here and there, but mainly lives a retired lifestyle with flexible hours. It was important for Amelia to spend as much time as she could with Wren, trying to be the PTA-attending-hockey-type of mom.

personality: head strong, earnest, gregarious, demanding, & hot-headed

Mia Blakely, 49, social worker in Quebec and helped raise Wren. Both sisters lived together shortly after Wren’s sixth birthday. Since then they just accepted their situation and continued with it. When it came to Mia she was known as the fun aunt---not to same Amelia was strict by any means, but where her sister had to put on her motherly face...Mia was allowed to indulge in being a bit mischievous with Wren.

personality: Wily, energetic, humorous, thoughtful, & judgmental.

Do you have any siblings? What are/were they like?: Wren doesn’t have any siblings, neither a very large family. His mother’s siblings, which would add his uncle Patrick, didn’t bother becoming parents so he doesn’t share any nephews or nieces.

Where do you live now, and with whom? Describe the place and the person/people: Wren now lives at camp, within the mageia house along with several other mages.

As for Wren’s bedroom it pretty much a breathing VSCO aesthetic mess of neon, album wall art, & art-hoe aesthetics. The room feels wider than other rooms, with his bed built into the wall with a ladder to climb to it; a reversed looking bunk bed with out the lower bunk. His walls are littered with music lyrics, star chart clippings, and magazine collages he threw together during one of his manic stoned episodes

What is your occupation?: Was a  lead singer/guitarist for a college band but now a mage, son of Asteria, a warrior for Camp Godspeed

Write a full physical description of yourself: Wren is a fairly slender, mildly toned male who is as meek as he is pale. Naturally brunnette, but you’d most likely find him with colored or treated, often finding the need to change up his style depending on his mood. Style and fashion for Wren is more of a mirror to him than what is in or truly stylish. If he’s sad you can tell just by his wardrobe, the expression is important for him. Now that being said he isn’t strutting the cat walk all the time, he dresses fairly regularly unless the occasion calls for something else.  At first glance you either catch Wren in a good moment where he looks bright eyed and aware of his surroundings; playful and social or who looks lost in thought, only innocence behind those wide eyes.

To which social class do you belong?: Middle-upper. Wren lived comfortably and knew very little of his financial status into he was older. College was expensive but not back breaking, which made Wren learn that he was privileged but no where near being rich.

Do you have any allergies, diseases, or other physical weaknesses?: Wren is allergic to pears & no real weaknesses.

Are you right- or left-handed?: Right dominant but can play guitar both left and right.

What does your voice sound like?: Voice claim Dylan Minnette Singing calim: Leader singer of Dayglow. I think of Wren’s voice as soft, mild manner and mostly friendly. It takes a lot for him to raise his voice, at least angrily, which often makes his voice crack as he hates screaming at others.

What words and/or phrases do you use very frequently?: Fuck, well actually, and often runs on tangents if he can’t exactly pinpoint what he’s trying to say.

What do you have in your pockets?: Some kind of hard candy, sharpie marker/pen for when he’s bored, & in his back pocket a small moleskin journal for notes.  

Do you have any quirks, strange mannerisms, annoying habits, or other defining characteristics?: Wren gets easily stimulated, he’s very emotive, so he often needs clarity and will be direct when needed. So he disbelieves a lot, a bit dismissive of himself but over encouraging of others.

[royalnugget42]

SPN is ending

And here’s my take on how it will go down, based on the limited knowledge we have. Please be aware that these are not foolproof predictions. Title analysis can only get you so far, and some of the titles are vague enough that they could mean just about anything. Still I’d like to try my best to predict the narrative based on how I would go about it and based on the vague references.

I’ll go episode by episode, include as many details as I can reasonably add, and try to keep my Destiel shipping goggles off as much as possible. Buckle up.

14

First one is pretty easy. Episode 14, “Last Holiday” promises to be kind of literal, with a mysterious figure appearing and giving Jack, Sam, and Dean the holidays they missed out on. However, I was curious, since Supernatural has a habit of including obscure or not so obscure references in their titles, if there was any other thing we could correlate this to.

There is actually a movie called “Last Holiday” starting Queen Latifah, whose character is diagnosed with a terminal illness, which results in her making the decision to abandon her boring life and live like a millionaire in Europe.

The idea of the fight with Chuck being a “terminal illness” on the horizon could be why now is the best time for these guys to live it up.

This possible reference coupled with the ‘last’ seems to say that this episode will be a sort of final moment of levity before the endgame. Past this episode there be monsters, lads. I’d also like to point out that since it will be just Jack and the brothers if the promo photos are anything to go by, this will be a good time to get in some forgiveness and family bonding for our characters before things go downhill again.

Looking at promo photos for this episode again, I’m not sure where, but the episode may also carry some development for the plot. I’m not sure whether the photos of Cas, Amara, and Charlie were for this episode or another one (since they are not listed as cast members for the episode on IMDb), but we’ll be seeing all of them again soon it looks like, and I can’t wait for Cas and Jack to go on a hunt together again.

15

This episode will be the beginning of the descent. We’re standing on the edge and staring into the void, and we’re about to take the plunge. How do I know this?

“Gimme Shelter”, the title for this new episode, seems to have a literal meaning of the characters continuing to try to hide from God. However, as usual, the title is also a reference, this time to a song by The Rolling Stones. The lyrics to said song are nice and foreboding.

Oh, a storm is threat'ning

My very life today

If I don't get some shelter

Oh yeah, I'm gonna fade away

War, children, it's just a shot away

It's just a shot away

War, children, it's just a shot away

It's just a shot away

Ooh, see the fire is sweepin'

Our very street today

Burns like a red coal carpet

Mad bull lost its way

War, children, it's just a shot away

It's just a shot away

War, children, it's just a shot away

It's just a shot away

Rape, murder!

It's just a shot away

It's just a shot away (3X)

The floods is threat'ning

My very life today

Gimme, gimme shelter

Or I'm gonna fade away

War, children, it's just a shot away

It's just a shot away (4X)

I tell you love, sister, it's just a kiss away

It's just a kiss away (5X)

Kiss away, kiss away

Cue nervous anticipation

This is definitely where things are going to really pick up plot wise. Most likely, more will be revealed about Billie’s Plan to Kill God TM. Although, the idea of Death herself leading the Winchesters to victory feels sketchy to me still. She is deliberately withholding all the details, and she’s doing it for a reason.

Something down the line is going to make the Winchesters angry with her, and she’s not going to tell them about it unless it’s absolutely necessary. I have a feeling what it is will get revealed in the next episode.

16

“Drag Me Away (From You)” has some very clear negative connotations, and on top of everything has a weird format. It could be based on the lyric from Africa by Toto, ‘it’s gonna take a lot to drag me away from you’, or a reference to the song “Drag Me Away” by Melissa Etheridge, whose lyrics mention angels, and are about resistance and perseverance, two defining characteristics of the Winchesters. However, I’d like to point out another correlation.

Like I said before, the title has a weird format. The only other episode of Supernatural with a similar title to this one is season 12 episode 12 “Stuck in the Middle (With You)”. That episode was about what seemed like a normal hunt, but was actually a mission for Mary by the British Men of Letters to get the Colt. In that episode, Cas came ridiculously close to dying a painful and slow death, which does not bode well for this episode if it’s correlated in any way.

If what I’m predicting for Billie’s plan is true, this episode will be where the viewers are clued in on the thing she won’t tell the Winchesters about. The brothers might not necessarily get clued in (like how they still hadn’t realized Mary’s involvement with the BMOL at the end of 12x12), but whatever Billie is withholding will have serious consequences.

For this episode, I predict that Cas will come absurdly close to death again, because I believe Billie’s plan involves him dying. Billie doesn’t consider Cas a member of TFW. Multiple times in the most recent episodes, she talks about how important Jack is, how important the Winchesters are, but never Cas, and it feels like a weird oversight.

“Ever since I got this new job, I stand witness to a much larger picture. You know what I see? You. And your brother. You’re important.” 13x05 “Advanced Thanatology”

“I told you Dean, you and your brother have work to do.” 15x12 “Galaxy Brain”

Surely Cas has a part to play, since he’s one of the main characters right? But Billie doesn’t trust Cas, as well she shouldn’t. Cas is a wildcard, an angel who doesn’t do as he’s told. He straight up stabbed her in the back, something that she was completely caught off guard by.

I could make an entire post about how Cas hasn’t played by the rules of the universe since season 4 episode 18 “The Monster at the End of This Book”, but I digress. The point is that this episode is probably going to shed some light on the true threat the team is facing. Which leads us into...

17-18

Here’s where things start to get muddy. The titles from this point on get vague, and without any solid information about the previous episodes, these could be headed anywhere.

“Unity” is the next episode, number 17, and that could mean a lot of things. In my proposed timeline it is after a supposed revelation about Billie’s plan, so maybe they feel more unified after learning it.

In Supernatural‘s usual story structure, though, it feels like this episode will probably be the buildup to what seems like the end of the villain, but will actually be the darkest hour.

The episode following right after this is titled “Despair” and I think that’s telling. Supernatural writers do this often, where the boys make a plan, and inevitably when they follow it something goes wrong. “Unity” is the plan being made and carried out, and “Despair” is either the episode where everything goes wrong, or the aftermath.

[EDIT: The title of episode 18 is actually “The Truth”, which I believe may still narratively serve the same purpose, but now I’m more convinced that this is where the Winchesters learn about Castiel’s deal and/or something that Billie has been keeping from them about the plan to kill God. Thank you to @kingofthecrossroads for the updated information.]

Before I go into detail about this two-episode arc, an obligatory

Warning: Shipping Ahead

To my eyes, “Unity” seems like the perfect place for Castiel’s arc to reach a breaking point. If I’m right, and this is the episode where everything seems to succeed, then what better time for The Empty to snatch Cas away from his happiness.

If I was a writer, and I was in fact planning on making Destiel canon, this is where I’d do it. It makes the most sense to have Dean and Cas finally realizing their love for each other be the catalyst for Cas “finally giving himself permission to be happy” especially if this episode also contains a false climax regarding the Chuck storyline. Cas has said multiple times that he’s “far from happy”, so there has to be something huge happen for Cas to get there. Not to mention, Cas would be a sort of vessel for the audience, simultaneously happier than we’ve ever been because we were finally right, and sadder than ever because Cas is gone.

“Despair” won’t just be despair that the plan failed. It could also be Dean’s despair at losing Cas, our despair at seeing our hopes for them dashed.

[EDIT: Again, the title will NOT be “Despair” it will be “The Truth”, but I still think it’s telling that Despair was a working title for long enough that it’s on the IMDb page, and if “The Truth” contains the truth about how Dean and Cas feel about each other, then this will still be a dark episode.]

Shipping over, let’s continue.

19

Now we come to another referential episode, “Inherit the Earth”. There’s really not enough information to have anything solid regarding the nitty gritty details, but we can take a look at what this title is most likely referencing. “Inherit the Earth” is just a tiny part of a common phrase. It’s used in media all the time, but we’re interested in the original source.

I’m not sure if the episode will contain references to all the pieces of this passage from the Bible, but “Blessed are the meek, for they will inherit the earth” seems to build off of the last episode, “Despair”. Another translation for the word meek in this instance may have been “powerless”, and after the negative moments in the previous episode TFW would probably feel pretty powerless. Maybe, in the previous episodes, Jack failed and lost his powers again, and that’s what caused Despair, but now he will inherit the powers that God had, or inherit control of earth.

If the rest of the passage is to be taken into account here, there’s also the “poor in spirit” who will ascend to the “kingdom of heaven”, possibly a reference to Cas being depressed and fighting for Heaven to be maintained. “Those who mourn will be comforted”, and that may actually bode well for Sam and Dean, who constantly mourn for the friends they’ve lost. Maybe in this episode they’ll get some closure on that front, maybe with their friends trapped in Hell going to Heaven (Kevin). The next line after “inherit the earth” refers to “those who hunger and thirst for righteousness”, and if that isn’t Michael/Adam to a T...maybe this will be the episode we see him team up to fight God. I’m not sure who the last line might refer to other than Sam, if you have any ideas feel free to tell me.

And after all this, we have the big one.

20

“Carry On” is referring to “Carry On My Wayward Son” by Kansas, and I don’t have a clue what it will entail. If the previous episode goes well, then this will be a sort of epilogue, with a (hopefully) happy ending for TFW, maybe we see Eileen and Sam get together, some kind of family dinner with Jody and the girls to resolve that plot line, or potentially, if the writers plan on doing it, a scene confirming Destiel.

It’d be interesting if they showed the brothers going on a normal, run-of-the-mill hunting trip, like a simple salt-and-burn, or even a (different) woman in white. It would be a nice way to bookend the story, to end on a hunt, but instead of the brothers on their own, it’s the brothers with the help of everyone they’ve come to know and care about in their journey, all the lives they’ve touched.

If, however, the conflict is not resolved by the end of the previous episode, this could be the resolution and epilogue all rolled into one, though if it were me I would want as much time as possible to resolve any lingering character questions because, at the end of the day, Supernatural has survived because of the characters. They are what people stay for, what they watch for.

Reminder that all of this is speculation. I do not know what will happen, this is just how I think the story could progress based on what we know so far.

For better or for worse, at this point Supernatural will be over. Will they do a perfect job? Probably not. This is Supernatural, it’s not the most perfect show. However, I’m excited to see where the writers will go with it. They have their work cut out for them.

[EDITED]

[michaelfoote2000]

David Lynch & Surrealism: When the Non-Traditional Becomes Traditional

Often described as “one of the most unique visionaries working in cinema today,” it is not hard to see why director David Lynch and his unusual catalogue of work have garnered a lot of attention since the 80s (ScreenRant). Looking at his career holistically, it is evident how little his style has actually changed. Meanwhile, public perception of him and his productions has fluctuated quite a bit from decade to decade. After a somewhat uncertain start in the 1970s, he eventually rose to become arguably one of the most popular directors in the 21st century, which brought about strong implications for the world of independent cinema. The rise in popularity of David Lynch’s small but strong category of films brought about a wider acceptance of surrealist storytelling, as more audiences embraced the non-traditional storytelling so often associated with independent projects, further blurring the lines between industries and individuals.

David Lynch’s directorial debut, Eraserhead, actually serves as a perfect microcosm of his cinematic style and approach. First and foremost, it is utterly and proudly surreal. The entire film takes place in an ambiguous and unsettling interpretation of America – as many of his projects do – operating within a world that manages to both feel very familiar and very foreign at the same time. The film’s plot, focusing on a man and his grotesque, barely human child, is incredibly vague; Lynch keeps the purpose of the story open to interpretation, simply leaving the viewer with the shock and confusion at what they just watched. Eraserhead does not hold back: like many of Lynch’s films that follow it, it is gruesome, graphic, and sexual (ScreenRant). In other words, it had many of the characteristics that defined a number of flicks as independent cinema. Taking the risk of making such an off-putting movie did not come without its consequences, though.

Released to limited audiences in 1977, the film initially received a good amount of backlash. Variety denounced it as “unwatchable” due to the vagueness and brutality of its content, and since Lynch is notorious for refusing to give any clarification on most of his projects, interviewing him about the project provided no satisfying answers (Variety). It has since become something of a cult classic, embraced by fans of such dramatic and stupefying cinema (Chion 3). But it is easy to see why Lynch did not fit in with mainstream cinema at first. He made it clear that the kind of work he wanted to make did not have accessibility or comfort in mind. If Lynch wanted to be a surrealist director, it seemed he would have to accept that he would inevitably fail to capture the hearts of the average American viewers.

And yet, despite such a baffling first project, Lynch managed to break into Hollywood rather quickly. He found himself directing an adaptation of the science fiction novel Dune only seven years later in the mid-1980s. Much unlike his first work, Dune turned out to be very slow and boring. Its story is far more concrete, given it is drawing from a popular source text in a genre proven to have reliable appeal. The appeal did not transfer over, though; Dune was a commercial and critical flop (Hollywood Reporter). Lynch was not happy with it either; famously, there were a multitude of clashes and complications with the studio that led to the final release of the film differing greatly from his original four-hour vision. The disconnect is not only felt by Lynch, as Dune does stand out like a sore thumb amongst the rest of his filmography. It is considerably less obtuse and unusual than everything that came before and after, and yet still audiences refused to embrace it. The mainstream had rejected Lynch once again, who refused to be deterred.

Lynch stuck with his comfort zone and returned to writing and directing projects that outright ignored the mold in favor of the atypical (as independent filmmakers are known to do) (Nochimson 11). For instance, Blue Velvet was another clear example of Lynch’s untethered approach to storytelling, a late-80s suburban tale that was much more in line with his personal stylings than that of the mainstream movie circuit (Nerdist). Blue Velvet was a success, much more so than Dune or Eraserhead, but still did not become a Hollywood-level hit (Far Out Magazine). At this time, independent cinema had not quite reached the heights of popularity that it would soar to by the turn of the century. Audiences were not used to his level of surrealism…that is, until the arrival of a certain TV phenomenon. David Lynch’s first major foray into television was the mystery series Twin Peaks, premiering in 1990 on the ABC network. The opening episode was actually shot as a movie in case the show did not get picked up – and was even released as one outside of America with a more ‘concrete’ ending (well, concrete by Lynch’s standards). This premiere is arguably the most important work of David Lynch’s entire career, as it kickstarted what was his first project to really achieve true mainstream success. Its original run only lasted two years before a swift cancellation, but it made a huge impression on the audiences it did reach, especially after it took a hard turn into supernatural elements and had a massively ambiguous ending. Audiences were enthralled and intrigued after being hooked with the more mainstream premise of a teenage girl’s murder; Lynch had finally found a way to hook more viewers on to one of his non-standard projects (Nerdist). Thus, the attention achieved from the original finale of Twin Peaks (the only episodes he directed outside of the opening few of the first season) naturally had a very tangible impact on Lynch’s career.

After writing and directing another mind-bending independent film that came in the form of 1997’s Lost Highway, David Lynch signed on to direct the G-rated Disney romp The Straight Story (Filmmaker Magazine). This 1999 film is easily David Lynch’s most mainstream work. However, miniscule touches of his style are still prominent throughout the film. While it is the kind of saccharine story one would expect from Disney, it has a colorful cast of side characters (reminiscent of the residents of Twin Peaks) and its camerawork shares some broad similarities with Blue Velvet (Variety). All of this makes sense, given that The Straight Story was the first feature film that David Lynch directed while having no hand in the writing. Still, Lynch’s involvement in the project proved that Hollywood was finally recognizing his talents and seeking his unique style.

Ever since then, David Lynch has remained in the peripheral vision of mainstream audiences. While not quite a household name, his works have propelled him to being one of the more well-known American directors of the past half century or so. People retroactively began to look back on his older works and find renewed interest, turning Eraserhead and Blue Velvet into strong cult classics among film nerds alongside Twin Peaks. Concurrently, Lynch worked on a number of short films and shows across the 2000s, 2010s, and even into the 2020s. One of his most intriguing and baffling productions was a short, 60-second commercial he made for a Sony video game console, dubbed simply PlayStation 2: The Third Place. It is no more nonsensical than the rest of Lynch’s work, but it stands out because of its role as a promo for what would go on to be one of the best-selling video game consoles of all time. Even though it would be misguided to credit that all to Lynch’s advertisement, it nevertheless left a sizeable impact on a widespread audience, remaining in the memories of gaming communities for decades to come. In part thanks to the opportunity to reach wider audiences due to advancements made in the internet age, surrealist art was touching more people than ever and finding new audiences. Along with the rising popularity of independent film around the turn of the century, where non-traditional storytelling almost became its own miniature fad in Hollywood, David Lynch’s style was on its way to becoming mainstream.

What really cemented David Lynch in the hearts of cinephiles was his 2001 film Mulholland Drive. It felt like a perfect companion piece or spiritual successor to Twin Peaks with its interweaving plotlines, otherworldly side characters, and unclear lines of reality. The ending of Mulholland Drive is perhaps one of the most debated story moments of Lynch’s career because of just how surreal and non-linear it was. The film was quickly labeled one of the best films of the decade and has remained on many such lists in the following two decades (Nerdist). Since its release, Lynch has shifted his attention to television and other short-form content. He has continued to make surrealist short films like What Would Jack Do? that ended up on Netflix among other originals that became some of the most popular mainstream media of the decade. Meanwhile, he has used his YouTube channel to produce loads of short videos colored with his signature oddities, which consistently draw in thousands of viewers (Far Out Magazine). But the ultimate evidence of cultural power that Lynch managed to achieve – despite his rejection of mainstream filmic practices – was the story behind the Twin Peaks revival season that aired in 2017, known simply as The Return. A season that almost did not happen when executive and budget limitations stopped him from making the project, Showtime gave David Lynch completely free reign to make the 18-episode story he desired. It was slow, raw, abstract, uncomfortable – everything his works have come to be known for (Nerdist). And it was a massive success. Fans tuned in every week for to watch some of the most bizarre, dream-like television ever produced, proving that Showtime’s permission of creative liberties paid off.

Although Lynch may permanently shift mediums going forward, his surrealist style of storytelling will likely never dissipate. Not only is it essential to building the character of his works, it has become widely embraced across the nation as the appeal of his films (Creed 2). Lynchian surrealism brought him from the world of independent cinema to mainstream eyes, demonstrating how non-traditional storytelling has found popularity and widespread success with film audiences in recent years.

Want to learn more? My sources:

David Lynch by Michel Chion

The Passion of David Lynch: Wild at Heart in Hollywood by Martha P. Nochimson

The Untamed Eye and the Dark Side of Surrealism: Hitchcock, Lynch and Cronenberg by Barbara Creed

ScreenRant: https://screenrant.com/david-lynch-eraserhead-established-director-style/

Nerdist: https://nerdist.com/article/david-lynch-filmography-streaming/

Far Out Magazine: https://faroutmagazine.co.uk/david-lynch-career-eccentric-master-cinematic-surrealism/

Hollywood Reporter: https://www.hollywoodreporter.com/news/general-news/dune-review-1984-movie-953878/

Variety (1): https://variety.com/1999/film/reviews/the-straight-story-1117499811/

Variety (2): https://variety.com/1976/film/reviews/eraserhead-1200424018/

Filmmaker Magazine: https://filmmakermagazine.com/110889-theres-so-much-darkness-so-much-room-to-dream-david-lynch-on-lost-highway/#.YJK4JrVKiM9

[endlessdoom]

Master Levels for Doom II.

By various authors.

1995.

https://doomwiki.org/wiki/Master_Levels_for_Doom_II

MAP01: Attack

This is our first introduction to the iconic maps of the Master Levels. Created by Tim Willits and his sister, Teresa Chasar. This is a medium sized map with a boxed design that manages to establish a good sense of progress with a bit of dynamism and balanced combat. Taking into account that it's 1995, this is a decent/solid map that, if we play it in the order I'm using (Xaser's order) works as a good start to this classic collection. Interesting to know that Tim Willits' story is one of, uh, quite the polemic stuff, but it is also good to know that he did not do this as a lonely map, on the contrary, he made these maps with his sister. Quite an interesting story and an equally fascinating map.

MAP02: Canyon

Canyon, second map in the order of Xaser, is also the second map made by Tim Willits and Theresa Chasar. We start with an abstract arena of combat with a few pillars and multiple directions to advance. The use of items is favorable enough to compensate the instantaneous combat. Surprisingly, although not so visually appealing, this map has certain areas that have their own unique appeal, such as a catwalk with a small acid pool and a beautiful green waterfall. What stands out the most in this solid map is the unique and well designed progression, being simple but always maintaining a constant rhythm that makes us move without major stops. What can you expect from one of Id's lead designers?

MAP03: The Catwalk

Christen Klie is the author of the third map of the Master Levels. An author with a fairly prolific track record during the 1990's that would capture the attention of Id Software and then other companies like LucasArts, The Catwalk is a mid-sized map that encapsulates the early art of mapping during the 1990's. An amalgamation of different designs that tries to recreate together under the same progress, along with interesting quirks that give it a certain flavor of adventure and a little bit of discomfort. This is a simple map that stands out more for its layout than for its simplified and tight gameplay. The one titled Catwalk is actually only part of the end of the level, but leaving that aside, this is a pretty interesting attempt to create something distinctive but still relevant. Did it succeed? I'll leave it to you.

MAP4: The Fistula

Another map by Christen Klie. This one appears also on the PS website, being the sixth map of the first episode. This is a medium size map with a claustrophobic design and a somewhat forgettable layout. Confusing at times and with a somewhat mediocre gameplay, it's a map that fortunately ends quickly so we shouldn't hate it too much.

MAP05: The Combine

Christen Klie certainly designed a lot of maps, with at least a quarter of the Master Levels being made by him, sharing the honor with the legendary Dr. Sleep. The Combine is a medium sized map with a rather abstract design that actually reveals without any problem the year and the design philosophy it has. With a large number of doors, meaningless roads, alignment errors and a few hesitant design decisions, this is a map that is at best mediocre. Only about 65 enemies in UV but it can take us more than 8 minutes to find the exit despite being a relatively small-medium map. Interestingly, Chris' maps seem to drop in quality as we go forward, this is probably the one I like the least.

MAP06: Subspace

Oh boy. What we have here is an interesting and classic attempt at prog mapping in the 90s by Chris. Tricks, uh, interesting, plus a somewhat strange progression and a confusing layout. Visually we don't have to wait for anything, they are 100% stock textures without any creativity. After that we have nothing more interesting than a floating switch that until today I wonder: What was the idealization process to create such a thing? This is a map that seems to stand out only because of the innocent charm it has, but stripped to the bone, it is rather mediocre.

MAP07: Paradox

Now we have more interesting things. The first and only map by Tom Mustaine (not related to the famous guitarist and singer) and an interesting example of good design, layout and not-so-raw gameplay, but totally uninspired and with very bland visuals and ultimately, a very lost layout. Trying to find that red key is a pain in the ass or just a walk-in-the-park, 50 / 50, and that really lowers the overall fun of this map.

MAP08: Subterra

Christen Klie is back with another map that starts quite hot brings an interesting gameplay curve all around. A design that for to point I consider typical of Chris: varied rooms connected to a central path as well as a bizarre search for keys. He seems to focus more on finding an avant-garde design. This is a map, like his previous ones, doesn't stand out at all for its visuals but at least it defends itself a bit with a somewhat rough but challenging gameplay. Some acid softlocks and pit with no exit may slow down progress, and the confusing path system goes into some unnecessary roads that bog down progression. Not a good map, to be honest.

MAP09: The Garrison

More square than ever and with a somewhat gothic visual style. At least it's not completely brown. What we have here is another classic example of Christen's maps. They are not funny. They are pretty rough to look at and play with, with a cryptic and unfair progression system. There's not much I can say, maybe just defend it with the fact that it's 1995, but still, other mappers do a much better job. This is not a good map but luckily it is the author's last one in the Master Levels.

MAP10: Black Tower

Here we have something quite interesting. A massive level created by Sverre André Kvernmo (Cranium), an author who would remain active for almost 2 decades (although a little sporadically and with a few hiatuses). This is the first truly massive map in the Master Levels, and also one of the most creative thanks to its interesting progression system that, despite being quite lost, feels like a real exploration adventure of the 90s. A big black tower in the middle of the map where we will have to search and find all the keys through teleports, rooms, traps, etc. This is a pretty decent map that manages to entertain for the 20 to 30 minutes it lasts. It is big, no doubt, but in its well-made creativity and quality of the 90s, it is one that manages to be successful.

MAP11: Virgil’s Lead

Created by the legendary Dr. Sleep. Virgil's Lead is the first map of Dr. Sleep in the Xaser Master Levels order, continuing with our adventure we now have a mapper who acquired a legendary status for his incredible vision and fantastic mapping skills. This map is a testament to his ability to create even during 1995. A medium size map with a very characteristic style that reminds me of the visual theme of Thy Flesh Consumend. With a good progression, an entertaining breakthrough and a well balanced challenge as well as well defined examples of architecture, this is a great map that is part of the famous Inferno series.

MAP12: Mino’s Judgement

Dr. Sleep established a legacy thanks to his fantastic contributions to the community and his great signature style that would later inspire a multitude of new mappers. This style can be well appreciated in this series, part of the Master Levels. Minos' Judgement follows the same remissive style of E4 (marble and tight architecture) with a nice unique touch that gives it a very appreciable atmosphere. This is a bigger map but with a much more complicated style that in spite of having a multitude of interconnected roads, we always manage to know where to go and how to go. Progress is key and the gameplay feels incredibly satisfying because of that. Apart from some fantastic visuals for the 90s, this is a good map in every aspect.

MAP13: Nessus

Dr. Sleep continues to pamper us with his fantastic maps. This is a simpler, more modest one with a simple and easy to understand layout without any unnecessary complexity. The progression is designed to make you go through the whole map twice but offering different paths and a dynamic combat with varied enemies, as well as different encounters and solid visuals.

MAP14: Geryon

Geryon: 6th Canto of Inferno by Dr. Sleep, part of his classic Inferno series. This time around we have a more simplistec yet fun medium-size map and a more palpable modesty. With a style that encourages adventure/exploration, this is a map that shouldn't be too difficult but fun enough to finish without problems. It highlights the final area where we have a good battlefield, creating a palpable and appreciable style.

MAP15: Vesperas

The last entry of Dr. Sleep's Inferno series in the Master Levels. It is a medium sized map with a box design that promotes constant combat under different tight and open areas, making use of plenty of teleporters and monster closets. Challenging but surmountable! Ammunition can be a problem. Unfortunately, this map is a bit lost and it can be slightly annoying to try to find the keys, which do not seem to be very visible. Starting with the fact that if we don't know that there is a small invisible ledge that leads to the yellow key, we will probably have a good time wondering what to do. In spite of that, this map rewards us with a good and exciting gameplay.

MAP16: Titan Manor

Here we have the first map by Jim Flynn. Titan Manor is one big boxed manor set in the moon of Saturn, Titan. What appears to be quite simple on the outside reveals an intricate layout on the inside, with good attention to detail (for 1995) and several routes to take as well as secrets to reveal. In spite of having an interesting design and promoting exploration, this map has a rather cryptic and difficult to understand progression system; designed based on hidden switches, tiny platforms and other things. Expect to spend a lot of time trying to find your way out if you don't have a guide.

MAP17: Trapped On Titan

This map feels like a direct sequel to the previous Titan Manor, but now we are stuck in Titan. Or something like that. It's a map that combines elements of abstract design with areas that try to look like cities or urban settings, all with a good dose of weird but understandable progression. This is a difficult map, you have to say that. The beginning and the middle are quite tight and the items are usually hidden in unofficial secrets or other areas. The end is also a hot one but if we were careful we should have enough HP, armor and ammo to survive. In general, this is a pretty solid map that has a particularly hot design that makes it attractive for those looking for challenges. It is not as lost as the previous one so that is an extra point.

MAP18: The Express Elevator To Hell

I had been warned a little about this map... I see why. What we have here is a clear example of an original and fun idea but executed in a wrong way and too much of a novice. The essence of it is to cross a map with an elevator that takes us to different paths that we need to travel to complete it. The problem is that such an elevator is a bit annoying to use, the enemies are too many and in places with 0 maneuverability and by the way the items are very short, resulting in a map of very high difficulty that does not feel satisfactory. Especially the final area, ugh. I have mixed opinions about this adventure, but it's not all bad.

MAP19: Bloodsea Keep

Another map by Sverre André Kvernmo who seems to have a little creativity in mind. I had high hopes for this map, since I like the idea of castles and fortresses, however, this is a classic example of a beautiful design ruined by a terrible gameplay. The positioning of enemies is terrible and it is made with the purpose of delaying you as much as possible while offering you the minimum of ammunition to survive. There is no SSG in sight, only in the secrets that will not be so easy to find. Unfortunately, I can't give a positive opinion about this map since it cost me half a soul to finish it, at least I can say that its layout and design is attractive enough, although it doesn't manage to make synergy with the clearly outdated gameplay.

MAP20: Mephisto's Maosoleum

This one feels like the previous one. An interesting (though clearly outdated) map that is on the theme of castles. It has a slightly more interesting gameplay and offers more interesting alternatives. I'm not a fan of the fact that the vast majority of enemies are Revenants, which are not easy to balance on open levels. On the other hand, the middle of the map is interesting enough to be worthwhile, but the end is disastrous. This is a IoS fight but with only one window of opportunity to attack Romero. Such window is located in a super narrow corridor right next to the spawn point of the cubes. Totally absurd and unfair, but oh well, that's the end of it!

MAP21: Bad Dream

This is probably the most mediocre map of all, but at the same time, an interesting proposal. The last level in the Xasers order of the Master Levels and one of those levels that we would find with 1 of 5 or 5 of 5 stars in /idgames. A simple enormous circular level with dozens of Cyberdemons and a single Spidermastermind that blocks our way. The trick is simple: make the Cyberdemons attack the Spidermastermind and then run for our lives while we pick up the keys one by one. The roof will start to crush us slowly so it's a matter of repeating the process until victory is achieved. What else can we expect from a secret level of the 90s?

End textscreen.

Overall:

Master Levels for Doom II (1995)

By various authors

 Let's travel in time. Let's go precisely to the year 1995, on the date of December 26th. It is practically a post-celebration day for many and some are even still resting and recovering from Christmas hangovers. It is a time of celebration and joy for many, and for others it is just another day. But... for some people, somewhere in the world, it is a unique day of premiere in which they will see things they never imagined before. For some Doomers in whatever part of the world they were, possibly the US, it's the day the legendary Master Levels for Doom II was released. Iconic, dear, mixed, hated, infamous, etc. There are many opinions about this particular collection of 21 maps for this fantastic game. Some talk about it with positive voices and memories of nostalgia mixed with a hint of longing; others despise it and consider it as a mediocre point in the life of Id Software where they only collected a bunch of levels and called it a day. Well, that is true, indeed. Master Levels for Doom II is pretty much that: a collection of 21 maps from different authors that range in quality and quantity, sometimes going from the very best that 1995 had to offer, to also the very worst that we can find, all in vanilla, lovely vanilla flavor. Well, then, what makes it so special? We could start with the simple fact that this is an official release from Id Software, which in theory could be considered a curated list of maps that the boys considered worthy of release during 1995. Something we would never see again with this style. Of course, there are many collections of shovelware with different styles and certain legends behind them, Maximum Doom is a good example (which is included alongside the Master Levels but that's another beast for another day) but probably the only underground collection with true legendary status is this one. The Master Levels are a distant memory of past times, of creative nostalgia and stages of immaturity. This is vanilla beauty and also inept ugliness. Mediocrity and fantasy come together to give us a bag full of gold and dirt. Here we have a piece of history, and like any story, it can be as ugly as it is beautiful. This is a relic of the days of yore, and one that I’m about to give my honest opinion and also some words of exterior retrospective. So, shall we?

 The Master Levels for Doom II is a collection of 21 maps by different authors, ranging from some well-known community legends like Dr. Sleep, to even some authors that would later become official Id members, like Tim Willits. Created with the purpose of making direct competition to the rest of the creators of collections/compilations of shovelware, according to the words of the Johns: to "give the D!ZONE guys a run for their money." In that I think we can agree on that they did achieved it. While other collections are not as well known to this day, much less played, the Master Levels even have a certain cult category that gives them relevant popularity among Doom fans. Surprisingly, Maximum Doom probably has a more representative but equally interesting cult next to the Master Levels.

 Most of the maps that we find here are from already existing WADs released previously by their creators, such as the Inferno series by Dr. Sleep.  According to Sverre Kvernmo, one of the authors, most of the stuff was hunted by Id Software looking for some skilled mappers who might have some unreleased material, hence why this is more considered of collection than a properly made WAD. Some maps have special touches to give them some quality value, while others are in their pure and raw state no matter what. Inside you go and inside you play. In spite of that, the Master Levels have a certain air of born quality that we can detect without the need to make further extensive analysis within the range of levels that we will find. Of course, these are not the best maps of 1995, but they certainly have a certain touch of quality. Taking into account that this is 1995, a stage in which the level editors were not yet as convenient as they are now. Primitive tools, primitive maps. But don't let that fool you, the primordial state always has appreciable qualities even if hundreds of years go by. After all, it was called the Master Levels for something. The levels here were published with the idea that they would be of the highest quality, almost elite, making an allegory to the fact that their authors were masters of such creations. We only have to look at the ad of the Australian magazine version to read: ''Dust of Doom II, because now the master creators bring you...'' So, yeah, this was going in with quite the spiciness.

But in the end, does it manage to meet these high expectations? Well, that is quite hard to say. How can we compare it in current years? That would be unfair taking into account that even the best of the Master Levels looks pretty dull and boring compared to some recent stuff that has come out. Yet, how was the game for 1995? Well, things get interesting if we start to look at it from a more... antique perspective. Sure, playing the Master Levels in 2020 or 2021 probably isn't the most rewarding experience in the world, but I still have to admit it was fun. But what about going to 1995? Remember, this is before Final Doom and other projects that would revolutionize map design philosophy and change the world of WADs. This is 1995, Thy Flesh Consumed had just come out a few months ago so there wasn't much competition between official Id products. But competition between PWADs? Well, Memento Mori came out just a few days ago, the closest I can think of to compare between a community-made WAD but, of course, not Id released. Both are pretty iconic now a days, with Memento Mori probably being more played now a days. On the other hand, Memento Mori does suffer a bit from being outdated for today standards, and well, so does the Master Levels, yet, for 1995? Oh boy, I’m pretty sure these things were like gold bars for a Doom enthusiast.

I can’t say much about relating to that kind of experience, but I can try to, at least, lower my perception and look through a different kind of mirror into the past.

For 1995, the Master Levels are pretty solid in much of their levels. Heck, even the bad ones could be acceptable in 1995. As a matter of fact, I’m actually willing to say that most of the levels found here are superior in their overall quality to Doom II. Quite the fascinating subject of study but looking it in a more closely way, we begin to appreciate the kind of work that this collection offers, but to do so in a fair a just way, we have to look at each single of the authors in the Master Levels.

Going in with just the general order that the Doomwiki has, we start with:

Dr. Sleep: Legendary mapper and one of the earliest WAD masters that actually deserve the title. A great artist who stood out for his great ability to create levels that were as aesthetically appealing as they were fantastic to play; a stylized progression that combines gameplay elements as well as a classic example of early synergy with level design and enemy placement. Creator of the iconic Inferno series, five maps from this series are present in the Master Levels. Each of his maps stands out for having a fantastic presentation that makes great use of geometry and innovative attention to detail. From Virgil’s Lead to Vesperas, these are classic levels that are really worth playing and manage to stay relevant after all these years thanks to having good progression and a solid gameplay that will offer us good minutes of fun. Even if some of the areas of some maps can be seen as a bit old-fashioned for current years, his maps still manage to hold their own thanks to the simple fact that they are fun to play, even in today’s date.

Jim Flynn: An interesting case study of a mapper who seems to have ambitious ideas and even a bit of narrative. Creator of two maps, Titan Manor and Trapped in Titan. Flynn has an interesting style where he embraces more to the great and big, than to the modest or simplistic, straying from the traditional style of small levels with tight interiors. Its maps have a mood of adventure and exploration that seems to be clearly designed with the purpose of giving the player a few minutes of thought. Unfortunately, this is why his maps are the tardiest of all the Master Levels, with some very hard-to-understand progression, which can be somewhat detrimental to some players.

Christen Klie: Klie did six total levels for the Master Levels (curiously enough all his work was published in 1995, and then he just stopped doing Doom WADs) making him the most prolific mapper in the group. Unfortunately, as the saying goes, number does not equal quality and Klie offers several maps of very questionable quality. His maps, for 2020 or 2021, are horrible, but even for 1995 I think they are rather mixed examples of level design. They tend to be simple in presentation and their size is usually around medium to small, but it is in progression and gameplay where I really think he fails. his maps are lost, cryptic and with a style that makes us scratch our heads numerous times, which damages a lot the general quality. Interestingly enough, he would then make a multitude of other maps to release for free to the community, including a megawad and some maps for Heretic. So at least for that, thanks for the content, I guess.

Sverre André Kvernmo: Oh boy, this is the guy most people point at when talking about the hard levels of the Master Levels, cause let me tell you, his levels are tough as nails. Sverre aka Cranium, gives us a total of five levels for the Master Levels, ranging from interesting concepts to living nightmares in terms of design and difficulty. His best map is probably Black Tower, a concept map that stands out for offering an interesting adventure through different areas connected by teleporters. The map suffers a little bit of bad progression, but it is good enough. On the other hand, the rest of his maps are rather challenging to play with in every sense of the word. A bit lost, but always offering interesting original concepts although somewhat poorly executed. I can't say much about Sverre, their levels are solid for 1995 and have the charm of being challenging, except for Bad Dream which is a joke practically. After that, it's an interesting mapper that reminds me of Jim Flynn style. Sverre is also the only mapper that still contributes to the community in modern times, albeit quite sporadically. His last map was in released in 2016, after all.

Tom Mustaine: Not related to the famous metal guitarist and singer. Mustaine only contributed one level to the Master Levels, so there's not much to say about his overall legacy here, but he did have a special legacy elsewhere. Concentrating here, his only level, Paradox, is a square map with a simple design and too brown, but making use of an interesting and dynamic layout that allows a good fight and feels fun, even if a bit raw. After that, Mustaine, unfortunately, didn't contribute with more levels to the Master Levels. On the other hand, his legacy extends to multiple commercial projects, contributing with several maps to projects such as TNT: Evilution, Perdition's Gate and Hell To Pay. Also, he did other contributions to community projects like Memento Mori and even made music for Icarus and TNT: Evilution. A prolific author for the 90s, no doubt. A pity he didn't continue with the contributions. I think he would have achieved an admirable style among the community.

Tim Willits: The last ‘’Master Creator’’ of this article and probably the most infamous of them all. Willits is well known within the Doom community for becoming the studio director and co-owner of Id Software for over a decade, eventually leaving the company during 2019. Not well liked for his hot-takes and somewhat ass attitude, which has given him a bad reputation even among the gaming community in general, but now we will focus on another point that is often obscured by his previous bullshit. Willits is practically the dream of many mappers and designers in the community. He was recruited by Id Software after impressing them with his Raven and Empire WAD series. His levels were no doubt at Id's level to get him to join the team, since, we can see with his contributions to the Master Levels. We can quickly see that he had a special flair for level creation. Attack and Canyon are his two contributions to this collection. Maps made with the help of his sister, Theresa Chasar, of whom there is not much information other than that she co-authored many of the Willits' maps. Its two maps are solid and of a good quality, enough to offer a good entertainment thanks to a somewhat adventurous progression but always maintaining a constant rhythm that does not stop in terms of flow or combat. Making use of a little bit of abstract or surrealistic designs, Willits delivers two solid maps that are fun to play with. I wish he would have refrained to that alone.

As we can see more easily, this collection of maps brings 6 (or 7) authors of different ranges to give us 21 maps of different quality. Each author has, in one way or another, a certain style or set of characteristics that give them a distinguishable touch, either for good or for bad. Much can be said after so many years, but we always have to take into account that this is a work that was made almost 3 decades ago. Almost! That is quite a long time and a great testament to the fantastic work of conservation, perseverance and constant classical appreciation that this community possesses. We can see that these maps are, for lack of a more sensual word, ancient for modern times, and they show it in all honesty. Misuse of textures, confusing layouts, abstract themes, original but poorly executed concepts, boring and simple visuals, etc. But just as we can see the mistakes at first sight, we also have to be able to change our perspective and see what they did well with effort and a certain charisma. Original, creative maps, extravagant layouts, palpable design philosophies, different themes for each author, adventure designs, exploration capabilities, etc.

The Master Levels are, in one way or another, a master creation of different maps by different authors that all manage to have a distinguishable trademark.  Launched on December 26, 1995, it is a creation as fantastic as it is terrible. Constantly changing levels of quality and style that show us different ways to play as well as paths to take that can lead us to rewarding exploration or to get lost in the pools of frustration while we are constantly struggling: Where the fuck do I go from here? That's what the Master Levels are all about. They may be a mixed box for these times, but I can't repeat again that what we have here is a piece of history that deserves all the attention it can get. This is just a glimpse of what the future holds. We have mappers who showed us the capabilities that our community would reveal over the years to come. We have mappers who would also show us the ugly and mixed face of many of the maps that would plague us for eternity. But, most of all, we have a collection of chocolates of different flavors ala Forest Gump. You don't know what you'll get, but you know you'll eat it and you know damn well… it is a chocolate. A tiny fraction of taste, of flavor. Just a small piece of candy for you to enjoy.

Personally, I had a lot of fun going through this historic delivery. Perhaps it is because I consider myself a historian and archivist of any piece of knowledge or content that exists. I like the idea of numbers, I have to admit, but I am also a lover of quality like everyone else, but, above all, I am an admirer of variation. The Master Levels present us with both factors, a trifecta of a fascinating odyssey: There is number, there is quality (in part) and there is a lot of variation. All this together and we have a piece of history that can never be erased from this world. They may not be as well-known as Final Doom or other installments, but the Master Levels are still a milestone that everyone should play, if only for the simple retrospective value it offers. After all, the true taste is found in tasting everything, until finally understanding each flavor. The Master flavors.

Fun fact: The Doom Master Wadazine name is inspired by, yes, indeed, the Master Levels.

Fun fact 2: And pretty much anything I’d do is going to carry Master as part of their name/title. Sorry not sorry.

[genos-walking-autoclave]

Cybernetic Humanity

In a lot of the discourse surrounding what might become of Genos in the future it seems that many have concluded that he would have to regain his physical body as a part of his fulfillment process. I understand that analysis and I can think of a few times when the world does seem to suggest that a human body, despite its inherent fragility, has a greater potential for growth than a body which is limited by its component parts. 

But honestly, it would mean a lot to me if ONE doesn’t take that approach in the long run.

So clearly, mechanical parts have limitations. But so do physical bodies. Physical bodies can heal themselves, mechanisms can be rebuilt, replaced, repaired maybe nano-bots would be a thing :O. Fundamentally, we’re all just meat machines. Clearly, the dependency thing is an issue but there are also plenty of ‘normal’ humans who are dependent in their own ways, Fubuki comes to mind for example. And if Cyborgs in OPM are fundamentally human (and Saitama’s recognition of Genos as human is a big indicator that they are), it doesn't make much sense to me that there should be a ‘right’ and a ‘wrong’ expression of humanity.

It doesn’t seem right to me that a decision you made, or were forced to make due to tragic circumstances, should forever prevent a human from being able to have the very human opportunity of pushing, stretching, and hopefully eventually exceeding one’s own limits. The idea that choosing to be a cyborg, regardless of the motive to do so, is a permanent and irreversible step toward something inherently prevents one’s opportunity for growth is repugnant to me. I do also believe that the show more than shows us that cyborgs are just as able to grow, change, and develop (maybe more so) as their human counterparts. 

There is also this tease of an episode I’ve already talked about before, the 3rd OVA from the Second season which is absolutely my favorite OVA. I don’t take the OVAs particularly seriously for the most part but this one definitely made me think. It has a clear ‘nature vs machine’ theme to it where rather than painting the ‘natural way’ as something we should idealize or return to, it was a monster defeated by Genos. This whole OVA just seemed really symbolic, and personal.

“I am the lord of the mountains, I was created by the spite of the creatures driven out by you humans.” -LotM

[Could this somehow be a metaphor for Genos’ lost body? Among a list of other possible implications.]

...

“You want me to spare you? You’re a machine? You cursed man-made artifice! Can you even understand? This is revenge!” -LotM

“Revenge?” -Genos

 “You drove us from out tranquil homes. Now you’ll feel the pain of our anger!” -LotM

[We still don’t know much about the circumstances surrounding when and how Genos specifically became a Cyborg, if he actively chose to leave his human body behind or if he ended up losing it slowly over a number of careless battle incidents, this could have even heavier implications as an analogy. Rage and possibly regret from the loss of his human body which may indeed be canonical emotions (missing webcomic reference)]

I-I’m not ready yet… I’m not ready to die here! -Genos

[This is something we’re actually seeing a lot with cyborgs and Genos specifically, the stubborn intent to live, to survive at all costs, is certainly one of Genos’ defining characteristics.]

… 

“Thanks to you, I was able to remember everything. I appreciate it. As a token of my gratitude, I will get rid of your anger for you.”  -Genos

[Just wow. But what could the significance be of the natural rage helping him remember who he is, his purpose? And if this episode is roughly about Genos’ internal conflict how powerful is that? To be grateful to his furious monstrous reflection and remove the anger from himself to return to himself? There has to be some pretty powerful stuff in there.] 

Anyway, I have yet to be disappointed by anything ONE has done with his characters not having read any MP100 so I imagine that even if Genos regains his body it will be done in a way that I can admire/appreciate. However, I don’t think that Genos has to regain his ‘human body’ to be any more human and I think the assumption that he absolutely does could be problematic unless properly qualified. 

Like I said, there is no one perfect expression of humanity. Except maybe Saitama, jk he’s depressed af

[tigpooh67]

New interview from Pedro.    Did my best to translate to English.

Enjoy!!

**************************************************************************************

Looks like Pedro Pascal is in every possible universe. Here and there. In the past, in the present and in galaxies far, far away. Today, the actor is considered the great benchmark of entertainment and one of those in charge of saving a franchise that seemed lost. Sufficient reasons to talk exclusively about discipline, gastronomy, creeds and how he swallowed his dad in 30 seconds.

 The SAR defines 'creed' as the set of ideas, principles or convictions of a person or group. For example, by creed, one can leave his country and be in exile. It just so happens that one can leave the loved one behind. Or simply live in another reality. And you can also put on a helmet to pretend never to take it off again. If that is the way to go, the creed says that it must be done with the profession of faith and without stopping to look. As he turned the pages of the script for The Mandalorian, the Disney+ series that revived passion and nostalgia for the Star Wars franchise, Pedro Pascal came across this definition in every dialogue and moment, and reflection worked his way.

It has been more than two decades since the Chilean-American Pedro Pascal began his acting career and today, named as the great benchmark of 2020, misses the theater and still hurts him not to have the discipline to exercise and maintain a healthy diet while recognizing the ironic of having the best year of his career in the midst of one of the worst in recent history. But even in physical solitude, the man who carried Christmas's best-selling baby rescues many positive things and shares the vision of the universes he has traveled through, his passion for distant galaxies, and how to traumatify your family with a simple TV scene. In interview, the Mandalorian of Latin America.

 IMDB named you the 2020 benchmark in entertainment, a year in which the world took refuge in fiction. What was it like to live your best time locked up and what do you rescue on a human level from him?

The strength of family relationships and friendship. For them, we endure this physical loneliness. I find it ironic that in 2020 I received projects so well received by the public, although they were carried out before the pandemic and their impact was during this one, and that year I was isolated and alone. But I must stress that loneliness is a privilege when many people had to keep working, surviving and maintaining the functioning of the world. We just had to be alone, but they had more than that and you have to value it too.

 Among the activities you've lost, how much do you miss the theater?

A lot, really. It's something I miss most and being with people without feeling afraid. See a play and return to those experiences of being with people doing and living things in common. That's what I need most, besides my loved ones.

 Disney went into streaming and its strong card has your face, what do you think of the discussion of platforms against movie theaters?

In streaming there are amazing things and many people develop great projects that they didn't access before. The diversity of voices is taking its way and it is important to recognize that opportunities grow exponentially and limits change. It's amazing how much availability we have to very well-made content and how creative people can share their work in different ways. But I also want to be honest: limiting the experience of viewing content only on our gadgets or at home is a mistake that affects the stories we can tell. A mix of opportunities and challenges must be achieved.

Leaps between the fictional universes that mark the last decades until they reach the universe of universes. What is your first Star Wars memory and how do you sum up the essence of this legendary story?

For me, Star Wars is nostalgia itself. It's one of the primary things in my memory, of my childhood. I came to the United States with my Chilean family when I was under two years old and one of my first memories is going to the movies with my dad to see the saga; it becomes one of those romantic things about childhood, that open your mind, so imagine how special it is to participate in this project. I think the creators of The Mandalorian fully understand this nostalgia and power, and they managed to count on that element as a great ally for the Star Wars world and I can't be happier to be a part of it. (Of which we look forward to the third season The Mandalorian)

 The Mandalorian exploits the power and nuances of your voice, did you have that letter on your resume?

I didn't know I could do it, but I resorted to my theatrical preparation, which was very physical at all levels and feelings. There are elements that have to do with creating a role, and they teach you that voice is a primary thing, something you have to start with and can't hide. Now I've learned a lot more about the importance of that, and how to use it with economics. The body also has to do with it, because something very subtle communicates something. At The Mandalorian, I had a great time figuring out how to do it, they gave me the opportunity to develop it in different ways. The opportunity to be very intense in it.

 What about the ego when someone works under a suit and mask?

In the conversations about the project, before doing so, we were informed of the idea and concept of the whole season, so I clearly understood what it was. I wanted it to be the most powerful version of what they were trying to accomplish, so it didn't make sense for me to involve my ego, you know? It was already very clear what the project meant, so I knew about the character, the piece he represented for himself and the opportunity it was for me, so I was just focused on better executing the part that touched me in all this. In the theater, I worked several times under a mask and it helped me develop the experience.

It seems that The Mandalorian has a very theatrical base...

Exactly, and thanks to the physical experience of working in theater, making a play a few times a week, discovering how your body and your voice communicate, being part of an entire image, and how you will tell that story visually, I achieved this character. I never imagined it would be something I would have to use in such an important Star Wars project.

 On the list of entertainment greats, there are names like Steven Spielberg and George Lucas, do you think John Favreau's should be added to the list?

I think his name is already included. Without a doubt, it's in that category and it's amazing. I'm fascinated by his vision. I remember a chapter in the second season, and I had some boots and I walked so much in the snow, that it stuck to them. He noticed, so he talked to the art department about the kind of boots you need when you're in the snow. They came up to me and gave me some new ones that fulfilled the idea I was looking for. He noticed it in an instant. It is such a wonderful detail and is repeated at scale in every session with it. Think of absolutely everything and your vision of using technology is admirable. He's someone who makes you feel motivated and always sees how to achieve the goal.

 One of the reflections of the series is on how and under what circumstances a man can break his creed and the way he lives. What makes you break up with your beliefs?

I think you must follow your heart so as not to repent of anything; even if it sometimes brings pain or conflict, deep down when you go back, it's all worth it because it's what you heard in your heart. I'm very afraid to deny that feeling or not to take care of it. Now I'm 45 years old and I can't believe I have a finer philosophy. Make him more disciplined. It's ridiculous, but I'm trying to accept that I am and that's all I can say, "Follow your heart." Although, you know, I still don't follow a good diet, I still have trouble sleeping or exercising.

 Are you still good at Chilean empanadas?

Yes, I couldn't stop. And also how good that I don't live in Mexico City because I would only spend it eating. I could move my whole life to the defe just to eat.

 I want to deviate and ask you, who did you see the chapter of your death in Game of Thrones and what trauma did you cause to your family?

For me, no trauma. I separate myself well from the characters, although I fully understand that if I were a Game of Thrones audience and loved that character, it would make an incredible impression on me. Thank you, it wasn't. I had to interpret it and there was a model of my head to be crushed that way with the tubes and the fake blood, you know? I lay there, with pieces of my flesh, it was funny in the end. But not for my family. There's nothing funny about them and it's traumatic. My dad totally changed his voice when we saw the episode, turned around and said, "I didn't like it, Pedro. No, Pedro, not this."

 The media found similarities between your villain in Wonder Woman: 1984 and Donald Trump. When you play a character with characteristics like that, do you humanize or understand it?

The project had nothing to do with the former president. I was always told that my character in Wonder Woman:1984 was emotionally messy, and I took that and took it as far away as possible. Instead of creating it with images or certain inspirations from life, it was more working with what was on the page. Personally, what made sense to me is the size of the story being told and there's always more, and we all want more. Creatively, if this makes sense, that meant "flying it out of the park." Connect a hit with the character and be committed to telling their story faithfully, in a way that was true to me. So all the exterior elements found their way.

 What way to start 2021 with the theme of the Capitol... how do you perceive that moment?

I am not a politician and it is not that I have no opinion on such events; However, there is no need to express the obvious. My opinion would be very simple compared to that of a person who studied this, who knows how to act in these kinds of scenarios; I think I'm next to the majority who lived this, which is the logical result of what we've been through over the years and we're all horrified. It was distressing to see this violence.

 If you had the monolith in your hands, what would be your wish?

My wish would be... it's impossible, the truth (laughs). I think it's being together again, with less fear and people having a chance to connect.

 What is your position of the reality that Chile has experienced in recent years and how has the relationship with your country been since exile?

It's something I'm developing and I keep doing it in my life, trying to understand that it's my home. Being in Chile is being at home, but my life has been very nomadic, living different things and having many influences; so it's strange, I don't feel the title of a full Chilean identity or an American.

 Neither from here nor there?

In a sense, but I'm also completely both. My parents are Chileans, my brothers were born there before my parents traveled, and I returned sometimes because my family is so big; in fact, my parents came back. It's always been there, it's still developing, and it's going to be a part of me. I don't know if I answer your question, but it has a lot to do with who I am.

 What is your relationship with Latin American cinema? Interested in you?

A lot, it's invaded me in life like American cinema. The movies I have in my heart, seeing something like And your mom was also something that changed me; I also love the work that comes out of Chile, and all I can say is that it is a cinema that needs more access and projects.

You got a comedy with Nicolas Cage on your doorstep today, can you tell me something?

It's my first chance at comedy, as a complete story within the genre. Speaking of American influences, in the 1980s I saw all the films where Nicolas Cage was coming out, he came into my life and it's great to be his partner after seeing all his performances.

 What's your relationship with the comedy genre like?

I love it, I've done a lot of comedy in the theater, what happens is that in film and television themes, I was always part of drama castings. And in the cinema, you go where the doors open; although I identify with one or the other, I think being an actor, you go and do what you have to do. Comedy is something unique, it's very challenging because it has to be very real to make it funny, you can't hide or use normal tricks. I was very excited to have this challenge in front of a camera.

 Finally, Pedro, after going through so many fictional worlds, literally, what do you dream of when you sleep?

I dream that my bathroom is dirty, that I haven't done my math homework, that the oven and all that stuff are on. Of course, there are times when I close my eyes and see myself in all these projects, although my conscience is with the anxieties of the day you can imagine.

[mtvswatches]

Wynonna Earp 3x04 No Cure For Crazy

Click here for previous recaps!

Stray thoughts

1) Did that… did that tree just fucking walk?

Is the tree possessed by Dolls or something? Why is a tree helping Wynonna and Doc?

And why is Peacemaker not working?

2)

3) Okay, the trees are fucking bleeding and this dude just called it “a murder tree” and what the actual fuck!

4) So… the “fire” never really happened, it was just a Black Badge cover-up for the massacre. I really want to see where they go with this whole backstory they’ve given Nicole because so far? Not into it.

Nicole does make a good point of asking Waverly why she hasn’t talked to her mom yet to figure out who her parents are. She seemed quite intent on figuring it out last season, and here she has the perfect opportunity to have every answer she’s looking for, and she’s not taking it? Waverly is anything but a chicken, so I’d figured she would confront her mother head on but I guess she’s been conveniently written OOC so that the writers can keep this mystery going for a while. I hope they don’t stretch this for too long, though.

5) Why did Nicole randomly and carelessly throw the ring in the middle of the forest? Huh? That’s also kind of OOC? Wasn’t she talking about disposing of it carefully two minutes ago?

6) MORE OF THIS, PLEASE.

7) And more of this.

8) Okay, so Waverly IS going to see her mother, she just didn’t disclose that bit of information to Nicole, why? She just made this big speech about not keeping secrets from each other… or is it that she wasn’t planning on seeing her mom until Wynonna brought it up and basically set it all up for her?

And suuuure, Mama is doin’ just fine!

9) So, Wynonna couldn’t shoot Peacemaker because she ran out of bullets, which is a more logical explanation than what I was expecting. I don’t know why but I just assumed Peacemaker had magical ammo and it didn’t require reloading? Anywho, look at these two idiots flirting with each other and basically dry-humping…

10) SHIT. That was a low blow.

But how fucking adorable is it that he’d taken the time to buy - or build! - baby Alice a crib? My heart!

11) Why was their mother so intent on Waverly never finding out where she was or seeing her? And what’s going to happen when Waverly does…? There must be a reason. It seems she was trying to protect them.

12) Why are they giving me so much Doc/Wynonna in this episode? What’s going to happen? (Listen, I’ve grown up watching Joss Whedon shows, I’m conditioned to believe that happiness is followed by utter and complete destruction and mysery!)

13)

NICOLE: Can we talk? It’s about Nedley.

WYNONNA: Not again. How many more plungers do we need?

 14) Wait, did I forget that Jeremy was gay or they haven’t mentioned it before? Because I’m all for it, and especially about the way it was casually brought up in conversation because it’s not Jeremy’s single defining characteristic. 

15) I guess the mother-daughter reunion is happening sooner than expected, since Waverly was contacted as her last known emergency contact.

16) Jeremy is totally vibing with this Robin dude who found the murder tree and they’re making silly tree puns and it’s gay heaven, I love it.

17) Well, that couldn’t have gone any worse…

And yet, I can’t help but feel she means something else? I still feel she’s trying to protect Waverly.

Something happened when Waverly touched her, too, and then she kept saying “she’s unbound, she’s loose, kill the demon.” Waverly of course assumes her mom is referring to her as “the demon”, but I have a feeling she’s talking about an actual demon.

18) I really felt for Nedley when he admitted he’s tired of covering the supernatural shit up. Man, I hated him on the first episode of the show and now I’ve really grown to like him? And Wynonna suggested he should step aside and let Nicole take charge, and he’s actually considering it, and I’m here for Sheriff Haught.

19) Listen, I’m not usually into Gay, meet Gay, now get together because you’re the only two Gays so therefore you must be attracted to each other and date, but… I’m really liking the Jeremy/Robin interactions so far? They’re really cute!

20) And now they’re two gays who have zero idea about the woods lost in the forest and they found the stairway to heaven…

21) Mama Gibson is not messing around.

22) Ah, great, the idiots who let a dangerous convict escape have now locked Wynonna up. Marvelous.

23) Damn, Waverly keeps thinking her mother wants to kill her and that she called her a demon, but I just fucking know she’s talking about a literal demon that’s probably threatening Waverly’s life, that’s why she’s kept away from her.

24) Wait, what?

NEDLEY: Michelle didn’t go to prison because she burned down the barn. She went because her youngest daughter was in it.

Her youngest is Waverly? So did she try to set Waverly on fire? I have a hunch she’s possessed.

25) Oh, dang, Doc is hearing a baby’s cry in the woods. Of course, this is a trigger for him, he’s thinking of Alice, and he’s being lured into the woods.

26) Major Spike vibes in this scene…

27) Hm. Bulshar just tried to strike up a deal with Doc – he’ll give Doc reprieve from the knowledge of his miserable destiny if Doc does his bidding. And Doc was really contemplating accepting. Don’t be weak, Doc. Come on. There has to be a way.

28) So, this fucking corrupt guard suggests they should just off Wynonna and write it off as if Michelle murdered her own daughter when she was trying to escape. And of course, he’s a fucking revenant. It’s definitely going to be interesting to see how Wynonna gets out of this one while handcuffed and without Peacemaker…

I mean, she was fucking tasered and yet…

QUEEN.

29) Nedley, my heart. He’s so heartbroken over this.

NEDLEY: Well, I got a call to a situation at the Earp farm. By the time I got there, the barn was lit up like a torch. You... somehow you escaped. I mean, you were covered with soot, you were crying, but you were unharmed. WAVERLY: And my mother? NEDLEY: She was... locked in your daddy's patrol car. She set the fire. But she was no murderous sociopath. She was Michelle Gibson. Rodeo spitfire. The wild heart and loyal soul of Purgatory. Even the thugs and the dimwits drank to her. With her. They loved her. Look, she wasn't herself that night. She kept... she kept insisting that... that she was trying to vanquish a demon. WAVERLY: A demon she thought was... me. NEDLEY: Well, that would explain The occult nonsense that Ward saw plastered all over the barn before she lit the match. Did you believe it? That was Ward's interpretation. Look, your pop was my boss, so... And I know... I know I should've been braver. I should've defended her. But... I booked Michelle like I was told to. God, this just keeps getting worse. I've been trying to make up for it ever since. I kept watch over you. I tried to set Wynonna on the straight and narrow. That didn't work out. And when I became Sheriff, I pulled the report. I didn't want anyone seeing it.

30) Why would Wynonna let the revenant in on the fact that she got a kid? I mean, wasn’t the whole point of sending Alice away to protect her from the likes of him? I get that she used that bit of information to distract him, and yeah, she did this later…

…but maybe don’t go talking about your child out loud around the enemies?

31) Why is he coughing dirt? Is he going to get gay-buried before he can be allowed to actually gay?

32) Now Waverly is listening to her mom’s tapes with a psychiatrist or therapist or something, and yep, I’m still convinced she was possessed or something and the reason she was trying to stay away from Waverly is because she wanted to protect her. As she was talking to the therapist, she said “Shut up!” or something like that and she was clearly talking to someone else who was not there, like someone who might be in her own head or that only she can see. Someone or something that might be using her to kill her own daughter. The question is, who and why? Is it Bulshar manipulating her the same way he tried to manipulate Doc? Or is it something else altogether? And why is this something or someone so intent on killing Waves? What is she? What kind of role is she supposed to play in the grand scheme of things for this evil entity to want her dead so badly?

33) Okay, theory confirmed, Doc just heard a third, infernal voice on the tape.

34) Oh shit, is history going to repeat itself?!

Yep, there was an actual demon in serious need of a facial and makeover.

35) Bye bye Robin, I guess?

36) Who the fuck is Jolene and why is everyone acting like Stepford Wives? Is this some sort of Ted/Dawn scenario?! And why is it that, in a supernatural show, this is by far the creepiest thing I’ve seen?! 

37) So, I’ve got a lot of questions. First of all, I want to know more about the murder trees. How do they come to be? Are they inhabited by serial killers? We saw the face in one of them, and they can actually walk and move around, but why do they bleed? Is it like their victim’s blood? Also, who the fuck is Jolene? I mean, I know she’s probably the demon that showed up in the barn, but what’s her deal? What does she want? I mean, she didn’t kill Waverly, and instead she’s feeding and glamouring the whole group… to do what? Where was Robin taken? Can we please not do the whole bury-your-gays trope? I expect better of this show. Will Doc accept Bulshar’s deal? Please don’t, Doc. And what is Waverly?! That’s the biggest question of all, so I’m guessing the answer will be delayed till the season finale.

That was yet another fun, exciting Wynonna Earp episode, setting up a lot of stuff for the season, I guess. And I want answers!

38) Hope you enjoyed my recap, and, as usual, if you’ve got this far, thank you for reading! If you enjoy my recaps and my blog, please consider supporting it on ko-fi. Thanks!