#syd is his endgame but first he has to grow up to be the man he can be as opposed the bear

[gingergofastboatsmojito]

Pretty in pink

Another reason why I always knew Clairmy was never gonna be endgame.

This piece of meta has been sitting in my drafts for months. Since I watched S2 for the first time, back in January. After yesterday's teaser, I thought I just might dust it off and hang it out to dry in the sun, so here it is and actually, this is much better timing because I get to supplement it with more and newer meta I came up with later on.

So, the second I heard the first few tunes of the soundtrack I just knew.

The Bear | Pop | 02x05

Storer wasn't subtle.

I just knew that C was gonna end up with someone else, or just letting him go, and when I heard Carmy saying these words:

and they rang soooo untrue and unhinged and even forced or coaxed coming from him and in that context, so OOC, etc... I took it as all the confirmation I needed to firmly stand my anti-clairmy ground even before I got to know her.

It was obvious to me that that was not Carmen Berzatto talking, but The Bear Jr., the kid in HS who grew up isolated and under Michael's shadow.

He was coming from a place of complete and utter stuckness, a stagnant position he regressed to, the second his frustrated HS sweetheart won this battle:

He wasn't necessarily lying when he said he liked her, at least not consciously:

But the TENSE was the problem. He said "I like you so much" when it was the HS stuttery kid the one talking, the one who wished SHE talked to him more, so he didn't have to because he was too shy. He should have said liked if he was being honest with himself and her.

He should have told her something along the lines of: "I had a crush on you in HS, and when you came onto me, I choked. This is so not the right timing for me to do this because I'm tied up with the restaurant, and I just... instead of telling you all of that, I took the easy and cowardly way out and gave you the wrong number. Sorry."

BTW, that's a pattern he will have to outgrow because of Syd if he doesn't wanna lose her. He will have to start telling the woman he loves in proper timing how he feels and why and do the chasing if he must because Syd, unlike C, is NOT A CHASER, she's a walker (pattern she will have to outgrow herself too, as I mentioned → here). No more room for the shy kid, he's gonna have to man up in S4.

After delivering those lines that to me were OOC and plain blatant, he turned into Logan to fit in the party and in C's life (or make her fit into his, whatever).

So, my point is that when I heard the Pretty in Pink soundtrack I immediately drew these parallels:

Duckie is Carmy and Andy is the C person. IDGAF who was gonna play Blane, I assumed that character was gonna be introduced to us later in the series, or not at all. But Andie and Duckie do not end up together because they are not right for each other even though they grew up together. They are just not right for each other because coming from the same place doesn't determine shit in life, the choices you make do. In the movie, they didn't choose each other. PerioT. That was a hell of a musical foreshadowing and I thank the sadist for it because the second I associated that musical piece of data with ep 01x03 I was like: “OK, how much more obvious can you be, Storer? Really? Try harder, please.”

Because why would he give Molly Ringwald such important lines in S1 if Pretty in Pink was not a huge lead we needed to follow in S2 when the same plot of one of her biggest hits made a cameo on the show, right?

So, anyway... I always knew these 2 were endgame:

Waayyyy before Syd said it. Actually, Syd didn't say it bc we don't know who she was talking about, it was STORER who did that in the teaser, HE IS THE ONE WHO SYNCS UP THE MUSIC WITH THE FRAMES OR SIGNS OFF ON WHAT THE EDITORS SYNC UP AS PER HIS REQUEST AND HE'S THE ONE WHO DECIDES WHO ARE ENDGAME ON HIS SHOW. So it's Storer who yesterday told us Pretty in Pink doesn't get the guy, which was pretty obvious, if you ask me :)

Bonus track: Syd is his redemption plot. Syd is his endgame, sure, but first, he has to grow up to be the man he can be as opposed to the bear he is. I always said his whole redemption arc is Kierkegaardian:

And he even looks like him, c'mon!

Remember to follow my tag #Gingerpovs 💋

[yannaryartside]

If Sydcarmy is not engame….

This is a rant. A sad rant but still. I know we have evidence, I would go to the supreme court with it, but hear me out.

If sydcarmy is not endgame:

It would make the show a disappointment for me. It will kinda ruin it to some extent. But not only as a shipper they had her expectations unsatisfied, but as a conscious viewer. I would like to explain why.

Part 1: the meaning of their connection

I was a shipper of this relationship the moment the characters met. She was cute, awkward and brilliant. He was cute, awkward and angsty. I normally go hard for shipping character where I find both of them interesting, and I like their dynamic. This is the ship that had consumed my head the most in all my years of consuming fiction. They both have real traumas and flaws. Even if the show wasn't so obvious with its intentions, I would have shipped them until they both got their respective soulmates. These two characters taught me how complex developing a romance could be, and how satisfactory if the pieces went together. Just the fact that they are so complex and I got to ship them is something I am grateful for. I will never write romance the same way.

Now, I don't know if is the time of the month fatalism hits, but I have been recently seriously considering the fact that it may not happen. That Claire was always supposed to be Carmy’s endgame.

Part 2: potential

The first reason why I would be disappointed if they are not engame is because the concept of two people building something together while supporting each others flaws is what got me into the show. It is such a beautiful concept for a couple, and I know it works on friends, but I once read that romance appears in your life when you have to open yourself to new potentials. In Carmy, Syd saw the potential for grow and movement, in Syd, Carmy saw the potential for peace and sincerity. Not to mention I rather ship two messed up characters than one messed up character and another that the show has called “perfeft” multiple times.

Part 3: Claire

Thinking Claire bear is endgame is to admit that she has to grow of the flaws we all saw, that Carmy could make her better (wich I don't think because Claire seemed to have a lot of lack of empathy to begin with) but ok. The thing that could never work for me is that we know Syd can make Carmy feel peace but Claire can't. It is the theme of the show that a woman should learn how to be like other woman in order to maker her man happy? We will define how much good she can do to Carmy on how much peace she could bring like Syd did. That doesn't sound right to me.

Part 4: Syd

I don't think the purpose of Syd in the whole story is to be Carmy’s endgame, but a lot of her screentime so far has been defined by her relationship with him. In the good things she does for him and his family. We know she has feeling for him. We know that she has had her heart broken before and then this could break it again. Again, that is the theme of your show? That a woman needs to get her heart broken in order to grow or get to her full potential? Who asked for this?

You made her fall for a guy that may never support her creative journey, that may have defined how she view herself as an artist? That she will have to deal with her broken heart and decide to find another spot to work? Are we supposed to believe that is something good for her? You wanna to contribute to a narrative of glorifying women's pain to justify growth? You are gonna use these amazing character just to have her heart broken 3 seasons out of 4. Is that supposed to be her big lesson? Her motivation even?

Not that is justification for Carmy and Syd getting together, but what a waste of time. If you had established and denied the attraction earlier or just never make her have feelings for Carm you could have her a interesting arc worthy of such an interesting character.

Not only that, but it seems all so cruel, to create a dynamic that in friendship can make her grow but because she developed feelings for him can hurt her immensely.

Idk, maybe I just made a story on my head that I thought made sense but the author insist on disagreeing. Maybe I am making storm out of nothing since they may have us a satisfactory thing. But yet…

[aion-rsa]

How Alias Anticipated Modern Superhero Storytelling

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J.J. Abrams’ spy drama Alias, which turns 20 this week, was a lot of things: high-octane action-adventure series, twentysomethings relationship drama, occasional National Treasure homage. It was also, surprisingly, a spiritual predecessor to today’s hyper-saturated superhero movie and TV universes: A preternaturally gifted fighter, Sydney Bristow (Jennifer Garner) inhabits comic-book-esque alter egos to infiltrate secret missions related to ancient artifacts and promised immortality, all while ensuring that her nearest and dearest don’t know how many times she’s saved the world—or which side she’s really on.

Like the series’ MacGuffin-generating Nostradamus figure Milo Rambaldi, Alias has proven to be somewhat prophetic itself about what makes for the kinds of superhero stories that land today. With some 20th-anniversary hindsight, let’s look back at what made Sydney’s story so super and what lessons Abrams’ ridiculous(ly fun) series can still impart to the current crop of superhero sagas.

The Secret Identity as Kiss of Death

The highest priority that spies and superheroes share is that they cannot get made—that is, have their identity as a larger-than-life individual linked to their “normal” selves. They must always keep their personal and professional personas separate, lest they risk losing the people who know both sides of them. Alias establishes this difficult lesson in the first half hour of the pilot, when Sydney reveals her true work (she thinks SD-6 is just a covert branch of the CIA) to doctor fiancé Danny, only for him to blab about it later and get bloodily taken out in their bathtub. It’s the first time that SD-6 treats its sweet protégée harshly, making clear the consequences of her actions should she open up to anyone else in her life. And then she defects to the CIA, which will be a death sentence for her if SD-6 ever finds out.

Yet beyond the specter of grisly assassination, what the series really digs into is Syd’s growing ethical dilemma about being a double agent where it concerns the actually good people at SD-6, primarily her longtime partner Dixon (Carl Lumbly) and sweetly awkward Q stand-in Marshall (Kevin Weisman). It would be too easy if the series were only about her getting long-game revenge on SD-6 director Arvin Sloane (Ron Rifkin); the real conflict comes from Sydney lying to Dixon’s face on every stakeout, knowing that he still thinks he’s working for the good guys and she can’t ruin that fantasy for him without potentially turning him into collateral damage.

Similarly, the moments in which Sydney’s two (or three) lives begin to collide have other heartbreaking consequences: While the scene in which her best friend Will (Bradley Cooper cast as the friendzoned buddy, amazing) gets kidnapped and sees Syd saving him, is one of the decade’s best laugh-out-loud moments, it also leads to Will going into the Witness Protection Program. His life ends, in a sense, because Sydney couldn’t keep everything compartmentalized. And we haven’t even gotten to the awful fate that befalls her best friend Francie (Merrin Dungey)…

What Alias Predicted: The beating heart (or arc reactor) of many a superhero story is this tension between selves—which means that the big reveal of a secret identity has to be carefully timed and deliberately presented. It’s as emotional as Peter Parker’s (Tobey Maguire) mask getting ripped away when he saves the subway car of people in Sam Raimi’s Spider-Man 2, as big as Spider-Man: Far From Home doxxing that Peter Parker (Tom Holland) in a commentary on fake news, or as pure and simple as Tony Stark (Robert Downey, Jr.) outing himself as Iron Man in the very first installment of the MCU. You cannot unring that bell, so it better be a memorable moment.

What Superhero Stories Can Still Learn: Rev the secret identity stakes back up! Captain America: Civil War ably took on the game-changing Marvel Comics arc of the same name by having heroes collectively unmask, and movies like Spider-Man: Far From Home are still playing out those ramifications. But mostly we see the dangerous ramifications of heroes doxxing themselves, without really digging into the strain for heroes to constantly have to lie about the things that truly matter to them.

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Campy Disguises and Clever Aliases

If you’ve watched Alias or were even vaguely aware of it, no doubt the first thing you envision is Sydney in black leather and bright red hair, a.k.a. her iconic look from the pilot. Her non-SD-6-sanctioned, under-the-radar disguise (impersonating Will’s sister) displays her ingenuity and establishes the series’ brand: attention-grabbing hair paired with increasingly ridiculous outfits, from chain mail waitress ensembles to rubber dresses. She’s played punks, rich bimbos, alluring businesswomen, escorts, and all manner of female personas upon which her marks would project their assumptions—all of which belied her true strength and cunning.

Even when future episodes riffed on the color wheel with teal, magenta, purple, and good old-fashioned blonde wigs, it was still within a clear spectrum established on that pivotal mission, when she channels a silly girl who cares more about the color of her hair than her safety, only to pin her torturer with the same chair to which she’s bound.

What Alias Predicted: I would hazard a guess that Natasha Romanoff’s first appearance in 2012’s The Avengers—a seemingly helpless redhead tied to a chair, about to be nastily interrogated—was a nod toward Sydney’s triumphant pilot mission. What’s more, despite the first ten years of the MCU leaning toward sleek costumes, later phases (like WandaVision‘s cheeky Halloween callbacks) have realized that they can embrace the bold colors and campy designs of the comic-book source material.

What Superhero Stories Can Still Learn: Better to lean into the bold colors and campy designs of the comic-book source material than to go for more sleek and cool. WandaVision did this, albeit cheekily and using the excuse of Halloween, but the nod toward Scarlet Witch’s original outfit was well received. Because any superhero can look cool in leather, but only the standouts can rock color.

Rambaldi Artifacts, Immortality, and Clones

While replicating the romantic dramas of Felicity, Abrams was also playing with early iterations of his signature “puzzle box” narrative style: The pilot has Sydney chasing after the mysterious Mueller device, which turns out to be… a floating red ball… which bursts into water the moment she tries to remove it. That head-scratcher of a device is only one of many inventions belonging to Milo Rambaldi, a fictional Renaissance-era philosopher whose sketches and writings all pointed toward the ultimate endgame: immortality. You know, just normal spy thriller things.

The series saw Sydney and co. chasing after all manner of Rambaldi MacGuffins, from a clock to a kaleidoscope to a music box to flowers that either demonstrated proof of eternal life (by never wilting) or amped up human aggression. Through all of this, it becomes clear that Sloane helped found SD-6 in order to collect all of Rambaldi’s artifacts and capture immortality for himself—even and especially at the cost of people like his daughter, Sydney’s half-sister Nadia Santos (Mía Maestro).

Before we get more into Rambaldi’s prophecies about the sisters, we can’t forget the parallel fever dream of the series: clones! Or, rather, secret agents genetically modified to look like anyone—which means everyone is a suspect. This constant paranoia quickly got out of hand on the series, but its first reveal was perfect TV drama: There’s not an Alias fan who doesn’t remember “Francie doesn’t like coffee ice cream” and the complete devastation that followed—the knock-down, drag-out fight that destroyed Sydney’s apartment just as badly as Danny’s death, but also Sydney’s heartbreak upon realizing that her best friend was already long dead.

What Alias Predicted: The Infinity Stones themselves are less interesting than in various superheroes’ personal connections to them: Loki (Tom Hiddleston) tempted by the tesseract in Thor: Ragnarok; Star Lord (Chris Pratt) and the Guardians of the Galaxy channeling their friendship to withstand the effects of the Power Stone; Wanda Maximoff’s (Elizabeth Olsen) stages of grief as she copes with trying to keep the memory of Vision (Paul Bettany) alive even without the Mind Stone. In short: grounding the most out-there plotlines in the personal ensures they will always land.

What Superhero Stories Can Still Learn: Ground the most bonkers of plotlines in the personal, and they’ll always land.

The Chosen One and the Passenger

This is when the Rambaldi business started getting less National Treasure levels of charming and more outright weird. Turns out the team wasn’t just recovering a treasure trove of artifacts, but also Rambaldi’s prophetic writings—including the mysterious “Page 47,” which featured a drawing of a woman known as the Chosen One… who bears quite the resemblance to Sydney herself. That would be easy enough to dismiss as a strange doppelgänger coincidence, but then comes the reveal of “Project Christmas”: When Syd discovers that she didn’t just stumble into the spy life on her own, but was actually trained as a sleeper agent from childhood, it only amplifies her fears that she has no true agency over her life.

Further Rambaldi writings center Sydney and Nadia into predestined roles as the Chosen One and the Passenger: supposed foes who are fated to clash, with one dying. Nadia getting injected with “Rambaldi fluid” in order to tap directly into the long-dead man’s consciousness (contained within another artifact known as the Sphere of Life) only earns her some nasty apocalyptic visions. But despite their genuine friendship that comes from bonding over their fucked-up childhoods, Sydney and Nadia are forced into that preordained confrontation when the latter is injected with a compound that reduces her to a mindless killing machine… all while a giant red ball is hovering over a city in Russia, because why not. Even after Nadia dies, and is brought back to life, then dies again, with her ghost haunting Sloane as he finally attains immortality, she remains a presence on the series.

There are certainly echoes to Black Widow and how it handles Natasha and adoptive sister Yelena’s (Florence Pugh) strained reconciliation after the older sister got out of the Red Room while the younger was still caught in its web. Their bickering banter about vests and poses, their differing memories of their false childhood, and their respective feelings of abandonment are what elevated Black Widow’s standalone outing—and made it even more tragic, on multiple levels, that this was the only time we would see the two of them in a movie together.

What Alias Predicted: Sister stories are gold! The Rambaldi storylines would mean nothing if they didn’t hinge on a tragically preordained confrontation, just as the MCU’s Red Room depiction seemed overdone until it was presented within the context of multiple generations’ differing experiences with its bloody legacy.

What Superhero Stories Can Still Learn: More stories about sisters! With Nat dead not long after she and Yelena had just started to bond again, it’s vital that Yelena’s future MCU appearances show her still grappling with the little time they got together.

After all, the best superhero stories are the ones that can feel just as fresh now as they did 20 years ago.

Alias is currently streaming on Amazon Prime Video.

The post How Alias Anticipated Modern Superhero Storytelling appeared first on Den of Geek.

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