#that was the inciting incident to him being killed

[ectoimp]

Ya know what I find interesting. There are almost no "Lewis lives/is resurrected" fics. Fics where he doesnt die, just swap him dying for someone else dying.

If you go to the "lewis lives" tag on ao3 there are 11 works. All except 2 are actually precave, lewis hasnt died yet or the kind where someone else died instead.

and there are 2 resurrection fics and of those one still involves someone else dying (arthur killing himself specifically)

And yeah, Lewis' death is the inciting incident to the series, but I certainly dont think there are no stories to tell there. I think there could be very interesting character drama there. Especially when you dont have the amnesia thing to make it so no one has to deal with the aftermath

With no ghost induced amnesia, Vivi has to deal with the fact that being the leader, Arthur getting hurt was on her. Lewis getting hurt/almost getting hurt is on her. They went cave exploring with no safety gear. In street clothes (chucks for hiking in a wet cave??). They didnt even have a flashlight. And its seems that no one knew they were going into this cave (since it seems like Lewis' corpse is still there) So they broke every basic rule of caving safety https://www.fs.usda.gov/visit/know-before-you-go/cave-safety

Like even if you dont blame her, I think she would blame herself. And its another thing I dont think I saw explored much. I'd see it get mentioned but usually it would immediately get brushed aside, usually by one of the boys.

But with how unsafe there were being....Lewis could have just died from slipping. No possession required. (obviously the doylist reason is because it would be a pain to design whole new outfits for one scene that was added last minute. They would look super cute in little themed caving outfits tho.)

This started out with just me thinking about "Lewis lives" But now its more about how I kinda want more Vivi angst......

Imagine if Lewis knew Arthur was possessed. If Arthur hadnt been clear he didnt want to go in the cave. Imagine if Lewis blamed Vivi.

[pro-anomalocaris]

This also applies to mentally ill men* whose oppression is worsened by how men are seen as more dangerous.

(*Footnote before people argue with me: Every movie ever with an evil mentally ill male villain who must be killed to save the non-ill and therefore good at/for something protagonists has a direct line connecting it to yet another cop who kills a mentally ill man instead of talking to him and then claims he was 'armed and dangerous' or 'violent and threatening'.)

The more I think about it the more I suspect that a lot of the reason people are resistant to the concept of transandrophobia is that to accept it would make it harder to avoid reckoning with the way we treat men of color, and hell, POC in general.

I know part of it is just...a long-running misunderstanding of intersectionality as "the intersection of various axes of oppression, in which Privileged Identities are irrelevant or even take away from it" rather than "the intersection of all aspects of a person's identity to form a whole that may look very different from someone else who shares a singular trait, or unexpectedly similar to someone who doesn't", and thus reading the concept as "ACKSHUALLY it's WOMEN who oppress MEN and so WE'RE the ones with TWO Oppression Points, not those stupid and shallow and overprivileged trans women!"

But I cannot help but suspect that a lot of people really fucking don't WANT to break away from that misinterpretation because it would mean having to reckon SPECIFICALLY with how that misinterpretation has hurt POC. How it reinforces all the ideas that lead to the brutalization of MOC. How some "anti-racist" people on this site would absolutely have sided against Emmett Till had they lived in that time with the same mindset - that it's not a coincidence that the decline of Black tumblr became so sharp around the George Floyd protests. How they only care about how Black and brown women are masculinized and transvestigated so far as they can hold them up as "collateral damage" evidence of why we should leave white trans people alone.

And honestly, I HOPE that as this exclusionism wave dies down, it doesn't just come with the recognition of the risks that white transmascs face, or white transmascs claiming the increased risks of police brutality as their own struggle first and foremost; I want it to be a fucking leg-up to acknowledging the way gender intersects with MULTIPLE other factors INCLUDING RACE.

I know that "popping the bubble" - grappling with the fact that the way you've misunderstood something has hurt people - is painful. I get it. But you have to fucking do it because the alternative is "keep hurting other people."

[nemesis-is-my-middle-name]

also on the subject of "whoops the main character got written out of the story," if luffy isn't there, then there's nobody to go after arlong and stomp him immediately after he has the marines seize nami's savings, meaning she's just stuck in that situation where she's just been crushed and also everyone she's been trying to save has now decided to go throw themselves on arlong's crew's blades.

so maybe after that happens, she does manage to talk the cocoyasi residents into waiting a little bit longer, but only until, like, the very next time she returns. so when she goes out again with zoro (who i guess at this point is in the know about her situation), they're like, ok, fuck, we gotta pick up the pace. we can't just keep scraping up pennies anymore, we gotta go Big. what's the biggest most lucrative thing we can go after rn. ...so maybe they wind up pursuing the krieg pirates to the baratie

[twenty-qs]

Everything between Jayce and Viktor can really be traced back to their childhood inciting incidents and it’s killing me.

Jayce: a miracle saves him and his mom, forever imprinting him with the certainty that miracles do exist, they can be controlled, he can save his loved ones no matter how awful things get, if he can just be smart and bold and quick enough.

Viktor: he saw the horror of what Singed had done—of forcing a creature to live against its will, of the degradation and terror of being fundamentally changed. For a while he thought he understood Singed, when he decided that he was willing to throw away all his principles to survive his own body. But he didn’t, really. He didn’t understand. There was still a line he would not cross. He wanted to die human.

It’s fitting, then, and unspeakably tragic, that Jayce is the one who played Singed’s role in the end. Because you can’t ask Jayce to let a loved one go, when he knows there’s a miracle that can save him, the solution is right there, it will work if you will just let him try—and so he forces a change onto Viktor against his will. He traps him into the Arcane, takes apart and reassembles his body, strips him of his selfhood and humanity. All so that Viktor will live. Singed wasn’t talking about the desperation not to die—he was talking about the desperation not to lose someone you love.

And so Viktor is…changed. He lives, whether he wants to or not.

And so Jayce loses him anyway.

[drac-kool-aid]

Y'know, something that gets me, is that in the book, Dracula's intentional predation of Lucy starts off with an accidental meeting. Sure, Lucy slept walked, and an argument could be made her path might have been supernaturally influenced, but I say she'd already been a known sleep-walker, and she went directly to a place she was familiar with.

Her stumbling onto Dracula's hiding spot in a very vulnerable state was just an accident, and from there, he intentionally set out to harm her, and through that, everyone around her he could get.

This is sort of related to Jonathan, too. Had Mr. Hawkins not come down with a bad case of gout, Jonathan wouldn't have been sent to Castle Dracula in his stead. Sure, Dracula probably would have had his fun with Hawkins before inevitably killing him, but I doubt he would have drawn it out so long or taken so much delight.

Dracula never sets out with a master-plan to attack Lucy or Jonathan. They just end up in his path and spark his interest. We know that if he isn't interested in you, he'll kill you. He'll, he breaks Mr. Swales neck doesn't even bite him. But the two victims he decides he's going to make suffer the longest he possibly can, he just stumbles upon and goes "oh this will be fun". Later, we see him start choosing victims as a way to retaliate, but for the two inciting incident victims upon which the rest of the story hangs...its just wrong place wrong time.

The reason this struck me is that I was misremembering. For some reason, which I now believe due to thinking about the *through gritted teeth* Coppola film, is that Lucy is sort of hand-picked by Dracula to be his victim. And yeah, the fucking film ain't subtle in its blaming of Lucy's victimization on the fact that she was Too Pretty and Too Flirtatious and Dracula psychically drew her into the garden in a flowing diaphanous dress, but it's really her fault....I hate this movie.

Like, i just read the films Wikipedia plot synopsis, Dracula "psychically seduces" Lucy before biting her. He chooses her out of everyone in England deliberately.

And just...no. That's not what happens. Lucy got so stressed from her wedding that her latent sleep walking started again. Mina gets so tired from the constant stress she falls asleep without meaning to. Lucy went to their favorite spot...Dracula just happened to be there and took advantage and both Lucy and Mina weren't floating along softly into a garden with a fan letting their hair blow, but cold, scared, and covered in mud and blood, and forced to sneak back to the house that way, facing not only the supernatural but the very ordinary horrors of being caught outside at night by a strange man.

Idk. The tragedy is that Dracula didn't set out to fuck with these people. It's just that they were the ones who crossed his path that he took an interest in, and he decided to draw it out as long as possible.

(Oh fuck, this is the crew of the Demeter too. It isn't like Draculas got some big plan. He just decides he's going to play with his food. Had he boarded any other ship it would have ended up the same way.)

I guess in conclusion, I find it odd that adaptions seem to need to find a reason for him doing what he does. Like, Coppola has to conjure up a whole reincarnation backstory at one point, but I don't understand why!! Let Dracula just be an opportunist, his casual cruelty knowing no reason. That makes him scarier.

[fantasywater]

These are the reasons Stolas Horseman still gets dragged for his infidelity even though the circus was supposed to FIX THAT.

This is for Stolas's Western Entergy interpretation and for the fans who agree with it:

Stolas is an adulterer.

No one gets to change the definition of a word just because they don't like it being said about their favorite character.

He's a domestic abuse survivor and an adulterer. Both are true. 

The reason Stolas still gets criticism is because of the execution of how it was written and the Octavia factor.

We were introduced to Stolas and Stella's dynamic with her being pissed that her husband of at least seventeen years cheated on her.

That anger is empathy-inducing to a lot of people because being cheated on, or knowing someone who has, is a relatable experience. It also looks extra disgusting on the one who stepped out when a family is involved.

Even her throwing things at him could be excused because of the context in which it was happening.  

There's a reason why temporary insanity is welcome in legal circles because it gives leeway to the perpetrator in that it asks the question would they have done this awful thing if it wasn't for an extreme mental break forcing them to? 

Stolas's infidelity was that mental break.

Trying to kill him can also fall comfortably under temporary insanity. 

Plus having our protagonists kill innocents as a job also takes the bite out of it. 

It also doesn't help that both Stolas and Stella's voice actors gave their own explanations that pretty much stated what I said above.

Even our first episode was about a cheated-on woman going to extremes, but she was shown in a sympathetic light despite it. 

Yet the very next episode shows the same issue, but because Stolas is a main character we are supposed to fall in line that the adulterer is whose side we should be on. 

Octavia having a mental breakdown(twice now) because of Stolas's infidelity is also not endearing him to the audience.

What he is doing to his child is the biggest reason why his remorseless, continuous, infidelity is not a take-back-my-power move.

The inciting incident for both Stella's recurrent violent anger and death "threats", as well as Octavia's mental breaks, is Stolas's cheating. Therefore what is happening to him now is a consequence of his own actions.

The writing in the problem. We were introduced to a wife and daughter showing anger in different ways because a spouse and father betrayed their family, and yet Viv still expects us to feel sympathetic to Stolas.

In reality, Stolas is the antagonist of Stella, Octavia, and Blitz.

That role was especially blatant in Loolooland.

As for Stella Viv tried to course correct by being heavy-handed in showing her as a cartoonish monster in The Circus. 

However, because of the initial execution of writing her as a scorned wife due to her remorseless, repeatedly cheating husband for a whole season, she has forever poisoned the well for Stolas and she has no one to blame for that but herself.

She is the one who wrote one of her supposedly sympathetic main characters doing Sexual Extortion(Blitz), Adultery(Stella), Mental Break/Child Neglect(Octavia), but then seems to have an issue when a nice chunk of the fandom still thinks only his victims deserve sympathy.

Nevertheless, since the Circus is in the canon now does Stolas owe Stella loyalty and remorse? No. 

However, Stolas is not just a husband. Octavia exists.

Therefore Octavia will always be the reason why his (continuous) infidelity was a selfish and vile act. 

That's also why what's going to happen to him in the leaks is on him.

His karma warranty is up.

The problem is that the karma Viv gives is an illusion because she still wants you to feel sorry for Stolas. That's why there's always a sturdy flavor of demonization in the narrative toward anyone he's harmed to facilitate that.

However, considering the nature of his crimes his comeuppance is deserved, but she still writes like it's not and expects the audience to fall in line.

She also did the same thing with Blitz's issues with him.

So it's a pattern, and it exists because a fujoshi is writing this story. 

It's a failure in the execution when the author's intent and the audience's takeaway is this broken.

[maxwell-grant]

The Penguin: Episode 1 Breakdown

Thank you Lauren LeFranc, Mike Marino, Colin Farrell and Matt Reeves, we owe you the world for this, good God. It's finally here everyone and I've decided I'm gonna give each episode it's own post/breakdown of thoughts, because hahaha holy shit you guys this is beyond what I even dreamed of, and we're gonna be covering this for a while I think. I've worked out enough madness about this out of my system by talking with friends and I can't seem to be able to work on anything else till I get this done, so let's do it.

Bottom line: This isn't even just a must-watch if you like the Penguin or if you like The Batman, this is something I'd recommend to just about anyone in a heartbeat, something I can point to when people ask "why do you like The Penguin so much" and, instead of the elaborate nerd ramble that usually turns them off, I can just tell them to watch this. A friend of mine (who already loves Batman and digs the Penguin quite a bit) even told me as much, that he's starting to get why I love the character so much, and truly, is there a better feeling than this? Well, there is, and it's watching the show. Let's dig into this first episode:

Right upfront I'm gonna say that this doesn't really seem to be the Sopranos rip-off that people have been calling it before release, although there are definitely Sopranos comparisons to make here. I've spent the past months finally watching The Sopranos in order to get the comparison and definitely want to talk about those comparisons after I finish it (and this show ends). This thing aims to stand on it's own legs as a crime show and it's smashing out of the gate with an extremely promising first episode.

So this just casually opens with the reveal that all along, there was a second rich Gotham the whole time that was completely unaffected by everything we saw in the movie, already throwing a great twist on the events of that movie, and further reinforcing how fucking full of shit The Riddler was. All we saw Batman and the others deal with in the movie was just affecting the poorer parts of the city. All Eddie did was drown rats, and make life worse for the people already in the bottom, while never even getting close to targeting the systemic rot that ruined his life. He retains ideological worshippers in subways obsessed with the corruption of the city without doing anything to actually improve it, and because of him, the streets of Gotham are waterlogged shitholes while the rich Falcone suburbs are doing just fine, peachy even.

I said a while back that, in spite of having about 6 scenes/10 minutes of Penguin runtime, The Batman managed to squeeze impeccably controlled Penguin Trademark Scenes, and this show opens with the last one they didn't get to then: Penguin killing someone for making fun of him. In the movie, he tries doing that with Falcone and is beaten to the punch, so here he gets to actually do it to disastrous consequences.

Fucking adore that the inciting incident of the show is based on the fallout of Oswald killing someone for making fun of him. He pours his heart about the dream he lives his life for, his new boss makes fun of him for being an embarassment to their profession and then he does the most typical Penguin thing by killing him for it and laughing afterwards. And then he realizes how badly he fucked up, and then we get a fucking perfect titledrop with his musical theme, the exact moment we finish The Batman and enter The Penguin.

God it is so fucking cool how the make-up/lighting, the scar across his face, makes it look like he's got a genuine beak from certain angles, how they're able to achieve that effect without giving him a more literal beak for a nose. Everytime they talk about the character, Reeves and Farrell always emphasize how integral the make-up was to them figuring out what to do with Oz, how little they knew what to make of his six scenes until Marino created their monster and suddenly everything fell into place. Mike Marino fully deserves co-credit for the creation of Oz.

Pretty amusing that Victor, as designed to be Penguin's Robin, has exactly the same origin as Jason Todd, a poor street kid trying to steal the hubcaps off the Penguinmobile (I'm sure this bodes very well for his odds at survival), as is the way in which Oz goes on about his recruitment. He press-gangs this kid at gunpoint to help him bury a body arguing with himself and eventually the kid why shouldn't he just kill him to be safe, while trying to impress the kid with his car and air freshener and later that bullshit about "What, you think I hire any schmuck off the street?". From the tile drop onwards, he's doing everything on the fly while also spinning long-term plans set in motion as soon as he's on screen, he's taking this kid in out of sympathy and because he enjoys a power dynamic over someone weaker than him and because he very much needs someone to help him get stuff done. I'm extremely interested in exploring Penguin having a mentorship dynamic and I'm beyond curious as to what happens with Victor from this point onwards, but that poor kid is in for a terrible fucking time.

Found it very funny how much he half-asses the murder threat to Victor. Like it's his first time actually doing it and he's trying to be serious, but not too scary because he's already seeing himself in the poor kid with a stutter and wants the kid to think he's also a cool guy like he wants everyone to think he's a cool guy. I also think having Victor as the POV helps to sell moments like these, because it's still terrifying to him. Even as we follow their stories, these power players of Gotham are still big scary monsters to people caught in the dregs and Victor helps to reinforce that.

I enjoy Oz being friends with sex workers and drag queens off the street as much as I enjoy Oz being depicted as the kind of guy who deludes himself into thinking the prostitute he's with actually likes him, Lauren and Farrell launched into a bit about in on the podcast and I'm curious to see what's going on with him and Eve here.

Lots of perfect funny little character moments across the whole thing. Oz insulted by the idea of taking extra pickles off a poor kid's dirty mouth, but with zero hesitation whatsoever for picking jewelry off his boss' corpse. Dude is governed by principles even as he actively has to break them to survive.

"Technically it's plum." "He is the - or was the - new kingpin", "He's got nurse-like qualities." The show is not overtly trying to get you to find Penguin likeable as much as it wants you to find him engaging - making you think he's likeable is Colin Farrell's job and he's masterful at it, definitely a lot more matured within the character compared to the movie.

If there's anything in particular I'm thankful for regarding Gotham (well okay Gotham led directly to Telltale Penguin which was the basis for this one, so really I do have a lot more to be thankful with Gotham), it's the decision to give him a legit waddle via the broken foot, but the way they incorporate it here with the club foot does so much for him, so much as a modern day reinvention of The Penguin. Adds so much to why he's never been a serious candidate for mob leadership, why he kinda had to spend all his time in the Lounge, why he actually needs someone to help him run affairs, why he has such a gaping ego wound and is so murderously angry at people making fun of him / calling him a goddamn penguin, adds so much validation and so much darkness and nuance to Oswald's overwhelming anger and bitterness over how the world treats him (and so much power should he opt to reclaim it, in turn). It's the kind of thing that frankly feels like it should have always been part of the character, like what all the previous versions were itching closer to or trying to get at. Of course this is a guy gets called a penguin and he hates it badly enough to murder people over it, of course.

This gets to really highlight how differently Oz acts depending on who he's with. Traditionally, one of my favorite things about The Penguin, and one of the things that puts him above the other villains, is that, due to his position, he has to interact with a lot more people than the other Bat-villains. He has to manage a lot more relationships and dynamics, he has to play peacekeeper and puppetmaster. he's the only one in the United Underworld who's regularly interacting with and recruiting other villains to do business with. He's the guy who you pin stuff on like the Gangland Guardians, Team Penguin, doing betting pools with the Rogues taking cover in his Lounge while Joker War is happening, having to rig games to keep good standing with Maxie Zeus and Frenchy Blake in Batman Audio Adventures, and so on. So I greatly enjoy this beat here of him talking about how makes himself smaller before the Falcones, and that moment of him adjusting his outfit and practicing expressions in the mirror before meeting with them. How he contorts himself is present in all of his relationships, and retroactively adds to the way he carries himself in The Batman.

It seems that Oz is functionally regarded as the Paulie Walnuts of the Falcones: useful muscle, loyal for the most part and amusing to keep around, but largely an unstable self-serving dumb asskisser kept where he belongs, a liability if not kept on a short leash. I think the show does a good job of highlighting all the reasons why Oz has never been seriously regarded as a viable option for a boss, even putting aside his disability. He is a fundamentally embarassing person for these serious respectable criminals to be around and of course, the joke is ultimately on them..

Of course, there is only two people in the show who actually know what he's capable of, Francis Cobb and Sofia Falcone, said to be the central relationships defining the show moving forward. Both of them also a defining commonality with Oswald, being people who are looked down on and dehumanized, and characters who are underestimated until it's time to bear their fangs.

Extremely invested in where they're going with Sofia Falcone, Cristine Milioti's been killing it, and will in fact not stop killing it. What a perfect villain for Penguin they've set up with her, someone who has his Kryptonite: she does not underestimate him. Although we know in advance that Oz is going to live and be in the next movie, the question here isn't even so much who's going to win the gang war, and rather how much damage these two freaks will do to the city until Batman gets back. In many ways, Sofia represents the shape of things to come just as much as he does.

She is this embodiment of both the pristine unfathomable wealth and privilege and power that he both detests and strives for, as well as this brutal new breed of madness and violence attacking the streets that he has to survive against and make deals with (and is himself very much a part of, however he denies it). She is Falcone's legacy in every way that matters, both a Kingpin of Gotham whose existence creates the oppressive conditions under which a Batman or a Riddler are created, as well as the Arkham Rogue, the larger-than-life sadist with a tragic origin and a signature torture-murder method and an embarassing name for the papers.

Even the fact that she is The Hangman, and Carmine was defined around his penchant for brutally strangling women - regardless of whether or not she did the crimes that got her in Arkham, she's become this larger-than-life themed expression of a violent obsession in a way that sets her up as every bit the Batman villain that The Penguin is. The two champions of the two Gothams, duking it out in this new world The Batman and The Riddler made, The Penguin vs The Hangman.

I am so glad Lauren LeFranc made the call for binning Alberto in the first five minutes so the rest of the show can focus on Sofia and make a real character out of her in a way nobody's ever really done before, every step of the way so far LeFranc has been perfectly on the ball about where to take these characters and their conflict. And speaking of those,

I feel very confident in saying that this is the first time anyone's ever really had something worth doing with Oswald's mother as a character in her own right and not just a source of anguish for Penguin (Gotham was almost onto something with Gertrude, but not nearly enough). When it comes to Penguin origin stories, my favorite's always been the Pre-Crisis one, where he's poor and bullied but happy with his mom and birds until she dies and the government seizes everything he has, which doesn't necessarily involve her much. But here? Francine Cobb is a real character in what little time we get to know her, and what a character she is. We quickly understand the role she's playing in Oz's life, not just as his mom and person he loves and strives to protect, but the person who's sculpting him into the man he's going to become.

She is vulnerable and she does need meds and she's not quite all there, and Penguin's need to care for her is visible in other actions of his. But then they turn it around by showing how strong and demanding she is, how she is fiercely ambitious and pushing him to be something he would otherwise not be, how much she loves him and sees greatness in him. She knows he's a people pleaser, she knows how to push his buttons, and she wants him to be more, so of course he's going to be more, because he lives to please his mom.

Related to this is this absolute bullseye of a summation of The Penguin, that Lauren LeFranc delivered in the podcast: "Perhaps his greatest fear is that love is transactional. And that yet, everything he does, every decision he makes, is as if that's true. As if "love is transactional" is a truth he abides by". Oswald's conception of power is being loved and revered like Rex Calabrese, and the love he wants most in all the world is the one from his mother. So in turn this, and all extensions of it, drive him to greater and darker lengths.

He doesn't have that ambition quite down yet, it's his mom that does. She who's pushing him to take over the city and not just be a guy scraping by for survival. He's smart and ambitious and extremely good at slipping out of trouble, but she's pushing him to be the guy who will be taking the city by the horns because that's what he has to be for their sake. Her legacy to her son is nurturing him having that dog in him that will make him the supervillain who picks fights with Vengeance. She is the force that's turning Oswald into The Goddamn Penguin and I can't wait to see how she's developed.

Of course he reprimands Victor in that scene for lacking ambition, who do you think he gets it from?

Really love what they've done with Sal Maroni in here so far. I like adaptations that take these throwaway Batman backstory gangsters and make something out of them, in this case, with Clancy Brown lending his power and voice and reputation as The Grand Boss of Villainy to play the last Respectable Gangster of Gotham, this intimidating principled old tiger who's inversely proportional to how much of a petty and scummy piece of shit Carmine Falcone was. Extremely a guy I'd want to see playing a hand in the creation of Two-Face. Just as crucial is the fact that he is the one who gets the most effortlessly outplayed by Oz here, because this is The Penguin Show: no room for traditional or respectable gangsters anymore, their purpose is to be crapped all over by our wacko birdman.

There's a lot about this that re-contextualizes his behavior in The Batman and the one I'm gonna point out is: even though he can't be sure his plan didn't completely go to shit, he is still keeping his wits and not being terribly scared about being beaten up and tortured and staring down the scariest Falcone with a gun shoved in his throat. But he craps his pants at the sight of the Batmobile. He gets pain, he gets indignity, but he doesn't get Vengeance, what kind of sick freak would come up with the stuff that guy does. A gun in his mouth and Falcone torture is just Tuesday, but a car that wants to eat his soul is some psycho shit he's just not ready to deal with.

It is the delicious tasty fucking irony that Oswald thinks Vengeance is this weird freak who doesn't play or bend to any rules and is here to fuck up everything, just like the madman who flooded the city, and thinks of himself in turn as a justifiable guy standing for the respectable old-fashioned empathetic way of doing things, instead of the exact same thing that Riddler and Batman are. Only Sofia gets what he really is, the same thing as her, and that's why she is the arch-enemy / the biggest thing he's gotta defeat in life for now.

God, how fucking PERFECT it is that he gets caught and tortured because he, after stabbing out a man's eye and causing him to get run over by a schoolbus, stops to wave at the kids in that schoolbus while covered in blood. Just the Rex Calabrese of it all, the self-image, this guy who's both a mean nasty son of a bitch and also a real bleeding heart softie and in ways that ruin his life and allow him to slip and wriggle his way out of shit he has no right to, as demonstrated by the finale.

Thinking about Sofia chastizing Oz saying he thinks she is a toy to play with, while rattling off the ways in which she owns him and everything he has, all the ridiculous little accessories her daddy let him play him, and he in turn is a ridiculous little accessory for the family she is twisting until it breaks. Perfect fucking villain for him. Can't wait to see how badly these two are gonna burn Gotham.

I knew deep in my heart that all I wanted out of a Penguin show, the thing that I simply needed to have in it, was Penguin pulling a heist set-up in advance, and it fucking delivered. He doesn't even complain at Victor for being late, because if anything, getting captured and tortured while the car crashed was even better for him. No, he complains at Victor for not being sufficiently gruesome with the body. See, unlike other cowardly anti-hero reinventions of Bat-villains, the show never wants you to forget that Oz is a weird freak and a disgusting piece of shit, even if he is a very likeable and even aspirational one. Only by the most random stroke of fate it wasn't Victor that he fed to the wolves at that moment, that he sees himself in the kid isn't exactly ensuring that he's gonna make out of this in one piece.

Mr. Vengeance gets Nirvana, and Mr. Boniface gets Dolly Parton, perfect credits.

In conclusion: Out of everything they could have done following the thunderous success of The Batman and it's ensuing influence over the DCU, out of all the offers Reeves must have gotten to helm their new universe after delivering a megahit reinvention of their breadwinner blockbuster character, Matt Reeves went "Nah, I listened to my crew, and what we really want to do is 8 hours of television about the waddling freak who's in my movie for 10 minutes", and he and his crew deserve the world for that. I dreamed as a kid of getting to make a big Penguin story or show, a wild impossible idea that would never actually happen, and now it's here and it's better than anything I'd ever imagined.

I'm fit to burst with joy and riding a high of no longer having to hunt for scraps and washing away decades of put-downs for the character and enjoying a Penguin renaissance like one I never imagined happening. I am extremely not an unbiased reviewer here, this show rules and I've waited for it since I was a kid and it's here, drink it the fuck in cause it's only the beginning.

[batbabydamian]

The Boy Wonder #3 by Juni Ba rambling about how cool this series would be to read in a single sitting...it's all so connected!!

rambles for issue #1 and issue #2!

i don't have as much personal interpretation for this cover besides it being a solid piece of art in shapes and silhouette! ALSO. bi bg lighting lol. Damian's "X" posing of his cape and swords parallels with Tim's "X" chest straps + the Robin emblem in the center. Tim's closed Red Robin wings frames Robin's own outstretched cape wings; and on top of that, the shadows cast inside the wings nicely frames Damian's demon mask.

Joe and Merle's dynamic has been so fun, especially with the mutual enthusiasm over the storytelling 🥺 Joe also opens up about his circumstances that led him to this moment, which perfectly sets up the setting of this issue! Even his very first introduction becomes a relevant detail when a fancy rich couple drops a champagne glass, uncaring of the people literally below them, saying “some poor sap down there’ll appreciate it” when it bonks Joe’s head.

it all comes around!! and tbh this issue proves how much this series would slap to read in a single sitting (GET THE COLLECTED EDITION)

Going beyond first impressions seems to apply to the color palette in this series. From #1 in the first page of Gotham, we see the gold of upper society to the blue of the downtrodden → from issues #2 and #3, it’s the warm gold of inner Gotham to the cold blue of the rich. there’s a sense of community displayed among the poor - even part of Jason’s intro avenging Bill, a generous man mourned on panel by many. The rich gives off a sense of individualism, celebrating themselves and their excess.

With the change in scenery, this issue steps into the more civilian side of things through a spy theme - fancy suits and lil gadget intros! Going down the civilian route with Tim feels very fitting since it's what makes Tim's run as Robin so charming!

i love that Talia’s taught Damian to be conscious of the rich’s effects on society, especially in the following page of small panels zoning in on the details of wealth and overindulgence. but also LIL DAMIAN. HIS LIL ROUND EYES AND HANDS 🥺

Damian’s aware of the facts, and his disgust is clearer after having just been through lower Gotham and seeing firsthand the poverty directly caused by the wealthy (also not sure if that old lady is the same one from #1 with similar hair and clothes, but pls she can't a break…)

i mentioned Damian’s “inciting incident” for this journey to be the intro of a demon for Damian to prove his worth but i’m correcting the use of that term!! the intro of the demon is more the beginning of plot, whereas the actual inciting incident is beheading the thief!! it’s the main reason he’s in this situation where he felt the need to prove himself, and atone. Most notably is that the beheaded thief is a consistent character that quite literally haunts Damian every step of the way.

The statue of Batman’s head being popped off becomes a significant visual, because while Damian started this journey to prove something to Bruce, the only one that really seems to have (quite literal) eyes for Damian’s journey is the thief. Why does he make more of an appearance than the actual Bat? Even his statue’s head doesn’t make a figurative presence; whereas the only one looming over Damian is the thief. Guilt over killing him may be driving him just as much as his desire to be worthy. Alternatively, it could be that Damian needs to reexamine his motivations since the thief is really getting in Damian's face now.

Damian is proud to be a positive influence on Tim, but the moment is short-lived. It’s an ironic moment to me because Damian doesn't even know the impact he's had on Jason just in the previous issue!! 😭

Damian's so desperate to prove his worth, yet he's been making choices in every issue to help others!! Helping the old woman up in #1, being vulnerable with Jason in #2, and now sacrificing himself for Tim!

The Ra’s "Weakness" panel has been reoccurring since #1, but it's the first time Talia has been included. Being great figures in his life and mind, their silhouettes consume Damian's, similar to a few of Batman's appearances below. This latest disappointment was such a blow to Damian, that Talia (who he might have the most respect for) becomes an added voice in his head.

Final thoughts!!

Like Rok, does the thief actually have a connection to the al Ghuls or is this beard just in fashion at the moment.

Lex is clearly referencing one of the Underwell warehouses that Joe and Merle are presently, so wondering if whatever he and Tim discuss here will be affecting them later.

Ending with Talia’s cover for extra hype!! i’ll probably go back to this for the next ramble, but i’m already gearing myself up to wail about Talia just based on this cover. The Mary and Jesus imagery (more prominent with Damian’s lil crown as a “prince”) but most importantly Talia weathering the flames for Damian…her own shroud/shawl wrapped around Damian and burning… oh boy

[dnphobe]

hello, analysis question. what do you think about the fact that in the slime video dan is the one whose blood is spilled first? the only wound he has is on his hand, as opposed to phil's much more severe one. does this mean anything?

okay, this is going to be based more in personal interpretation than something with references and sources because off the top of my head i can't think of situations that mirror this in horror. I will, however, be sourcing from other people's anlysis on here when it's relevant.

The first blood spilled in a piece of media heavily relating to horror or death is most often the inciting incident. However, I don't think that's relevant here. I think the inciting incident of danandphilcrafts is something that happened off screen. As is very well explained in this post by @dapg-otmebytheballs, everything that happens in these videos is a joint and agreed upon act created by a joint belief system. BUT...there's a clear pattern from all the way back in Squareflakes that Phil is the ringleader in what they're doing. He explains the crafts to Dan and the Audience, he tells him and us what to do and chides Dan if he's not doing it right. It's my personal interpretation that Phil was the original believer and the one who brought Dan in.

That makes Dan's blood something else–the blood of the innocent. The spilling of innocent blood is an inciting incident in itself. It's a point of no return. and can be tied back to its importance in rituals. Rituals (at least in media, i don't claim to speak on real practices) often ask for virgin blood. virginity = innocence. This is often interpreted as a sexual virgin, as that is how the world is most often used today, but (from what i've read) it actually refers to someone who's blood has never been used in a ritual before. Phil has already been sacrificed once, in Potato Prints, so perhaps part of the reason Dan's blood was used is because just Phil's was no longer viable to summon Him.

Back to Phil being the leader of the two of them, I believe the reason Dan gets off with a much smaller wound is, perhaps, a matter of responsibility. If Phil got him into this, then it's only right that he take the brunt of the sacrifice. Dan's sacrifice, all along, has been his innocence, not that either of them know that. By spilling innocent blood, and using it in a ritual, that virginity/innocence is lost. and it only continues to be lost even more as the ritual progresses, resulting in the biggest lost of innocence of all, killing another human being.

Dan's blood being spilled is the point of no return. With Phil back alive again after the events of Potato Prints, they could have made a fresh start. But they're devoted to eachother, and to Him. There was no hope for them, but maybe before this moment, if things had been different, there could have been.

So, in summary, my personal interpretation of the significance is this piece by Jenny Holzer

and this quote by John Darnielle:

This is why people cry at the movies: because everybody’s doomed. No one in a movie can help themselves in any way. Their fate has already staked its claim on them from the moment they appear onscreen.

[caligvlasaqvarivm]

I’m always curious about Kankri being redeemed in any way (maybe because he can become the sufferer). Obviously to do so would be simply punting him to reality and force him to live it, no help from his shoddily-made support structure. But I’m curious how you would go about doing it

Given their role thematically in the story, I'm actually usually not on the train of "fully redeem the dancestors", but I do like giving them some catharsis and reckoning, a place in the fight against LE. One last chance to do something good with their lives/afterlives before the end, and a(n implied) new start as wigglers born into the new universe.

So to that end, in my head, the "turnaround point" for Kankri - the inciting incident that makes him have a mental breakdown that results in him finally taking some accountability for his shitty actions - is having a conversation with Eridan.

In my head, the Dancestor reckoning happens gradually, alongside a series of retcons where the dead trolls are brought back one or two at a time, and deal with their emotional issues a little more with every cast member added back into the party.

The TL;DR series of events is: Terezi asks to bring back Vriska, Vriska asks John to punch out Tavros before she can kill him, Tavros's influence makes Gamzee ask for Equius and Nepeta to be brought back, Equius asks for a redux of Aradiabot, Aradiabot grabs John by the arm and gets him to undo her death and Sollux's fall into depression, Sollux asks for Feferi to be brought back, and then Karkat asks for Eridan.

We know from (Vriska) that the Game Over/Alpha Timeline characters still exist post-Retcon, so those characters would also be continuing their character arcs, just in the afterlife prepping for the LE fight. For example, I think Meenah's reckoning should be delivered by (Karkat) - after having had so long to reflect on his own failures as a leader, he would be perfectly poised to scream at her for hers, which would also serve to make this confrontation a final thesis for Karkat as a whole - what leadership means (caring about your team) - and a conclusion to the Meenah/Karkat dynamic.

So when I say that Kankri needs to talk to Eridan, I mean Eridan and not (Eridan). Full character development, all his teammates are alive, taken full accountability and responsibility for his actions, team good guy Eridan. And as I noted in this essay, Eridan with full character development is actually more annoying than regular Eridan, because he's also the "Devastating: Worst Guy You Know Made An Excellent Point" guy. In bulleted form:

He's still an advocate for murder. Murder is literally what kept his friends alive long enough to play the game, and playing the game itself involves genocide, so he would be the Token Evil Teammate who reminds the team that, hey, murder is an option - and enemies will be considering it. Even at his very best, he's going to struggle with empathy and have an extremely blase view of violence and murder - those were literally just facts of his life through his most formative years.

This also makes him a TOTAL downer, as he's the tempering voice that reminds them that decisions have consequences, and utopia requires sacrifices, and nothing is ever worth fighting for that won't eventually need to be fought for. Like I said, worst guy you know, excellent points. In fact, he's out here volunteering to do the murdering when the situation calls, if nobody else wants to get their fins dirty. He's really good at it.

He's still an idiot who doesn't listen to people. He's perfectly fine at taking orders, but having a conversation with him is still really difficult. I feel like if you make Eridan too smart, mentally flexible, and socially aware, you lose a lot of his Eridan-ness, and I think these characters, fully realized, are more of themselves, not less. I also don't know how you could reasonably expect to fix these traits. He's just Like That.

He drops his fake pro-Empire stuff, because that was basically all just empty posturing in the first place, but...

Now he's a pretentious-ass hipster who judges you for liking Trollor Swift and Troll Marvel. Given that Jake's indiscriminate taste is actually linked to his deficit of Hope (he has little conviction, he's wishy-washy), Eridan coming into full Prince of Hope regalia involves getting even more annoying about his taste in media (shittons of conviction, refusal to budge).

He is also a wizard. He will not shut up about this.

And finally, I think he'd still be out here using slurs. First of all, because it'd be really funny, because he's literally not casteist, but second, because there's two types of "it's equality" - the kind where nobody ever says anything offensive, and the kind where "offensive" stops being a relevant concept because true equality has been achieved. Think of the discourse surrounding the reclamation of slurs IRL, or how the "it's equality" meme gets used - this idea that words can be stripped of power by changing the context of who's saying them, or that objectification/discrimination stop being problems if they're applied evenly across the board, instead of limited to specific groups. I think that this is the exact type of nuanced idea that Homestuck would tackle and its fandom would get incensed about, which is why I think it should stay.

Eridan's role, thus, becomes a sort of "unpleasant truths" kind of character. Violence, both physical and verbal, is unpleasant as hell, and the natural instinct is to avoid it. The problem is, in any true discussion of what society should look like, they're topics that can't be avoided, and are even sometimes necessary not just to recognize, but to utilize (no revolution is bloodless, etc.). Eridan - an extreme personality - is going to represent the uncomfortable extreme of the debate. And by that I mean he's going to be saying slurs and talking about murders and is still going to be unquestionably a force for good.

The reason I'm going so in-depth into this is because Kankri very much represents the opposite: using "polite" language and couching it in the language of courtesy, activism, and liberal ideology, Kankri hides - and worse, spreads - his classist, ableist, misogynistic, puritan beliefs. He enforces the class divide and actively works against his teammates' best interests.

He whines that the lower blood castes should stop complaining about oppression, because others have it worse. He tells the team feminist that misogyny isn't real, then slut shames her. He tells the guy with brain damage that he's making other neurodivergent/TBI people look bad, exacerbates Latula's shame around her inability to smell, and actively guilt trips Cronus into ignoring his epiphany and self-reflection. Kankri is only an activist in that he actively makes everybody worse.

But why does he act like this? Well, it's due to the fact that he was probably culled, and on-sight at that, like Karkat would've been if anyone found out about his mutant blood. Kankri doesn't seem to have a symbol or lusus, either, two thinks Karkat only had because the Signless's followers prepped them for him, so the chances are very high that Kankri was culled since he was hatched. Given the way he discusses culling with Latula, and viciously despises being mothered by Porrim, it's clear he has some really complicated feelings regarding having his agency dismissed. Thus, his work to hamper his team - at least some of which is wilful on his part, as he'll outright cast aspersions on Horuss or Cronus's beliefs for being "imaginary" even as he encourages them to commit to them - is motivated by something quite simple: power, attention, entitlement, and control.

When he goes on his grand lectures, he frequently slips and reveals that he sees himself as a great, unquestionable spiritual leader, often trying to place other characters in subordinate positions to himself - Karkat is his "pupil," and his monologues, I mean, sermons, I mean, diatribes, are spoken as if from a position of authority. He outright tells Meenah that this is what he believes himself to be.

It's a very Seer sort of problem - both that of hubris and that of willful blindness. If you chart out the actual "end goal" of his beliefs, it appears to be a world in which Kankri himself is both the biggest victim and most important voice in the room. He regularly disparages those with actual disadvantages (Damara, Porrim, Mituna) while playing up the false problems of those who don't actually have them (Horuss, Cronus). Those with disadvantages should have their voices amplified - except lowbloods should stop whining and misogyny isn't real. And those with real power should check their privilege - but won't somebody think of the poor highbloods who have ~emotional problems~? Kankri will, and all the highbloods need to do is bend the knee and treat Kankri as their specialest boy.

In short, he's using his intellect, rhetoric, and forceful personality for selfish, emotionally-driven pursuits. The actual substance of his arguments is ephemeral and contradictory because that's the trick - the point is NOT to further equality, but to verbally browbeat his conversation partner into submission. In other words, you can't beat Kankri in a regular debate, because the moment you start trying to actually engage in a debate with him, he wins. The moment you start lunging at his arguments, he's got you in his red-texted labyrinth. The moment you start treating his points like they merit genuine discussion, you're in the pews of Kankri's church, and he's up at the pulpit.

And Eridan is the destroyer of faith. He's also an idiot who doesn't listen to people.

I don't really know exactly how it would play out, but I know in my heart. In the pit of my soul. That Eridan would call Kankri several slurs, (correctly) point out that Kankri's celibacy is stupid because it's clear he has feelings for Cronus and Latula, (correctly) point out that his pro-equality stuff is stupid because he calls violets "Royal-V"s, (incorrectly) accuse Kankri of hitting on him, (correctly) point out that the entire point of a slur is that it hurts and insults the person it's used on, (correctly) call Kankri several more slurs, (correctly) point out that Kankri just wants attention, especially from highbloods, (???) go on an unhinged rant (maybe more) about being a wizard, being a murderer, and being a murderer wizard, (???) insult Kankri's taste in music, and finish it up by (correctly) revealing that Eridan and Karkat are moirails who make out sometimes.

I think Kankri would start crying.

[itsnothingofinterest]

I think the thing that ultimately gets me about how Deku has supposedly inspired away everything that'd lead to more Tenkos turning into Tomuras is...just "why?" Like, why did this:

Happen differently this time? I mean that's a fair question to ask, isn't it? The Walk was effectively the true inciting incident for Tomura, leader of the League, to hate hero society; you'd want a really solid answer as to why that won't happen again I would think.

The narration from Hawks and accompanying imagery implies it's because Deku inspired folks to not sit on the sidelines anymore, further implied to be a Hero Society-wide effect Deku has had that'll supposedly eliminate the bystander effect that led us here and give heroes more free time.

But like...Why is that different from what we've seen of heroes before now? All Might was around for 40 years and Deku, in the end, didn't really do anything AM didn't do; he punched out the big bad for the world to see. And All Might did also inspire people like the origin trio to action...by becoming heroes. Yet civilians like the old lady were inspired to go about her day because a hero would handle it, while Deku inspired her to reach out a hand herself. Why?

I've heard some suggest it's because Deku was less independent, had more of a teamwork focus in his big moment. But I’ve said this before, I think those people assume All Might was a lot more independent than he really was, and Deku a lot less. I mean a lot of Deku's fight was broadcast, including big portions where he was fighting the big bad solo just like All Might in Kamino. And then both fights ended with more heroes coming in to lend support.

So I'm just not seeing why public effect is so radically different.

And it's just that, I have been waiting to see what would prevent more Tomuras from crawling out of the woodworks to destroy even more since MVA; what measures would be taken to prevent that? Perhaps Tomura would destroy hero society, not just its buildings but its corrupt ideals, leadership, & figureheads; and maybe when he was beaten there would be room to rebuild it better from scratch? No, he didn't really destroy much at all actually, and things are being rebuilt just as they were. Would Deku and Tomura perhaps team up going forward after he's saved; with the latter's eyes for what's wrong in the world and the former's ability to fix it without violence? No, Deku kills Tomura because he was just too unforgivable, it's implied he was just after a tasteful way to do that the whole fight. Well, would Deku at least listen to what drove Tomura to villainy and do something about any of that? Nope, if it wasn't his final words to Spinner or their talk about hand holding, it was in one ear and out the other for Deku; and there's no sign he's told many people what little he did learn.

So what saves the Teknos of the world? Well Deku kills the big bad on live TV and it's really inspiring. Why is that different from the past 40 years? ...Horikoshi is to burnt out to answer. That's the ultimate answer to the question I've been asking for nearly 200 chapters.

Well I guess I always knew that if Deku couldn't save Tomura, it'd mean he couldn't save anyone like him. And well, he didn't save Tomura. It's why this plot point of "but they get saved anyway" rings so hollow; it's unearned, unfair, unrealistic, and outright contrived & unbelievable as things have been set-up. I just cannot believe it would work out this way; it is honestly 100 times more believable to suppose the old lady was a guilt-fuelled one-off and most Tenkos will die in the streets or turn to villainy. Especially once this "the villain is dead" high has passed. Because as it is; this resolution as-presented feels as reasonable as our finale in chapter 430 suggesting Deku was so inspirational that no one was ever a villain again either.

[resident-wof-expert]

Unsorted WOF thoughts part 137:

A compilation of The Dragonets being the most diehard group of siblings ever written:

The inciting incident of literally the ENTIRE 15 book series being Glory being threatened with death.

Tsunami stabbing one of the most powerful queens in the world through the tail.

Constantly hyping each other up when one feels insecure.

Clay and Tsunami fighting over who gets to die for the other.

Glory melting a man alive for Clay.

The others joining Tsunami in attacking a random SkyWing, no questions asked.

The others attacking Riptide no questions asked when they thought he was threatening Tsunami.

The others staying with Clay while he was chained to the rock even when the flood was starting to rise around him because they refused to let him be alone.

Tsunami getting her uncle thrown in prison for chaining up Clay.

Starflight not even hesitating to out Blister as Kestrel's killer to protect Tsunami from being outed as Gill's killer.

Glory being ready to kill some RainWings as soon as they seemed to pose a threat to the others.

Clay rushing into the NightWing Kingdom and physically fighting NightWing guards to save Glory after spending his entire life being raised to fear the NightWings.

Sunny chasing her would-be kidnappers across the continent to help out the mission.

Clay taking a dragonbite viper for Sunny.

[muzaktomyears]

In 1980 Peter Brown, a former assistant to Brian Epstein who later ran Apple Corps, managed the Beatles and was best man at John Lennon and Yoko Ono’s wedding, started work on the definitive account of the Beatles. With the American author Steven Gaines, he spoke to the three surviving band members alongside wives, girlfriends, managers, friends, hangers-on and everyone else in the Fabs’ universe. The book promised to be the last word in Beatles history. Then in 1983 The Love You Make was published, and all hell broke loose.

“They were furious,” recalls Gaines, 78, still sounding pained at the memory. “Paul and Linda tore the book apart and burned it in the fireplace, page by page. There was an omerta, a code of silence around the Beatles, and they didn’t think anyone would come forward to tell the truth. But Queenie, Brian Epstein’s mother, told us above all else to be honest.”

“Even she didn’t think we would be quite so honest,” adds Brown, 87, his upper-crust English tones still in place after five decades in New York.

Why did The Love You Make, retitled by Beatles fans as The Muck You Rake, incite such strong feelings? The suggestion of an affair between Lennon and Epstein on a holiday to Barcelona in April 1963, only three weeks after the birth of Lennon’s son Julian, had something to do with it, but more significantly it was taken as a betrayal by a trusted insider. Brown and Gaines locked the recordings in a bank vault and never looked at them again — until now.

“Very good question,” Brown says, when I ask why he and Gaines have decided to publish All You Need Is Love, an oral history made up of the interview transcripts from which The Love You Make was drawn. He is speaking from the Manhattan apartment on Central Park West where he has lived since 1971. “When [Peter Jackson’s documentary] Get Back came out, a journalist from The New York Times wanted me to talk. I told him I hadn’t talked about the Beatles since the book was published and suggested he go to someone else. He said, ‘There isn’t anyone else. Paul, Ringo and you are the only ones left.’ And I thought, do I have a responsibility to clear it all up, once and for all?”

After the death of Epstein in 1967, Brown assumed the day-to-day responsibilities of managing the Beatles and Apple Corps. He had on his desk a red telephone whose number was known only to the four Beatles. Unsurprisingly, given his insider status, the interviews make for fascinating reading. Paul McCartney, yet to be asked the same questions about the Beatles thousands of times over, is remarkably unguarded. Asked by Gaines if the other Beatles were anti-Linda, he replies: “I should think so. Like we were anti-Yoko.” On the image the Fabs had for being good boys on tour, he says, “You are kidding,” before going on to reference a notorious incident involving members of Led Zeppelin, a groupie and a mud shark, concluding: “No, not in the least bit celibate. We just didn’t do it with fish.”

Ono, speaking in the spring of 1981, not long after Lennon was killed in December 1980, reveals that she didn’t sleep with Lennon for the first two years of their relationship — “John didn’t know how to make a move” — and claims that she was blamed by the Beatles camp, George Harrison in particular, for getting Lennon onto heroin in 1969. “Everything we did in those days, anything that was wrong, was my responsibility,” she tells Gaines. But everyone, from the Beatles’ notorious late-period manager Allen Klein to the Greek electronics wizard/hustler “Magic” Alex Mardas — “the Mordred of the Beatles’ Camelot” according to Brown — has their own version of events.

Going through the transcripts reminded Gaines of the long shadow cast by Lennon. “I didn’t realise how sensitive the other Beatles were to John’s opinion,” he says, speaking from his home in the Hamptons, Long Island. “Paul worried about what John would say [in the event Lennon died before being interviewed] and was still longing for his friendship. George said that John didn’t read his autobiography because it was called I, Me, Mine. Those interviews were done before John’s death and Paul’s heart was broken, even then. It wasn’t just the break-up of the Beatles. It was more personal than that.”

From around 1968, the transcripts reveal how the key Beatles duo started to come apart. McCartney’s enthusiasm was only getting stronger. But Lennon grew increasingly bored and disillusioned. “You have to remember that John wasn’t in love with his wife Cynthia,” Gaines says by way of explanation. “He wanted to get away from the life he was leading and that’s why he started to experiment with drugs, all the way up to heroin.”

Brown says Ono was, and probably still is, a distant, mysterious character, exactly the kind of person Lennon was looking for, having done the right thing and married the sensible, quiet Cynthia after she discovered she was pregnant with Julian in 1963. “John told me about meeting this woman, and how frustrated he was that he couldn’t get to know her better; he couldn’t take her to lunch because it would cause gossip. I gave him the key to my apartment so he and Yoko could be together in private and thought, naturally, they were going there to f***. When I went home that evening, the apartment was untouched. They did nothing more than sit on the sofa and talk. That’s what they wanted: to know each other.”

Regarding the long-held, unfair suggestion that Ono broke up the Beatles, Gaines says: “Yoko came along at the right moment to light the fuse, but the dynamite was already packed. They resented her, she was difficult to understand and had a deep effect on John, but they were getting more and more unhappy with each other and needed to have their own lives. As people in the interviews say again and again, [the split] was bound to happen.”

It was Brown who in May 1968 introduced McCartney to Linda Eastman, an ambitious young American photographer whom he knew from his business trips to New York, when she came to London on an assignment to shoot the Rolling Stones. “I was having dinner with Paul at the Bag O’ Nails [a club in Soho] when she turned up, so I introduced them and he was obviously taken with her,” Brown recalls. “The following Friday, May 19, we were holding a party for 12 top photographers at Brian Epstein’s house in London when she walked in. Paul says I didn’t introduce him to his wife … but I did.”

If the book has a villain it is Klein, the New York accountant who took over management of the Beatles and sacked everyone around them, much to McCartney’s horror. As Brown puts it: “He was a hideous person. He even looked like a crook: sloppy and fat, always wearing sneakers and sweatshirts. Everything he didn’t like was ‘for shit’.”

You wonder why Lennon fell for him. “The interviews suggest it is because Allen Klein offered Yoko a million dollars for her movie project,” Gaines says. “She was enticed and John would do anything Yoko said.”

“I asked Mick Jagger to come over and explain to the four Beatles who this Allen Klein was,” Brown remembers. “And John, in his wonderful way, had Klein turn up to the same meeting, which was deeply embarrassing. It made Mick very uncomfortable too.”

Epstein, the man who saw the Beatles’ potential in the first place, is a central figure in All You Need Is Love. It includes a transcript of a recording of him from 1966, not used for the original book. It was in the possession of Epstein’s attorney Nat Weiss, and seemingly made by Epstein to mark the end of the Beatles’ final tour. He claims not only that Lennon felt remorse for the infamous comment on the Beatles being bigger than Jesus — “What upset John more than anything else was that hundreds of people were hurt by that” — but that the Beatles would tour once more. “There’s no reason why they shouldn’t appear in public again,” Epstein claims. They never did, unless you count that rooftop performance on January 30, 1969.

“Brian was driving them around the north of England in his car for a year,” Brown remembers of the early days. “This Jewish guy from Liverpool, who was gay, was with these guys who had been hanging around in Hamburg, so both had interesting backgrounds. They understood each other.”

For Gaines, a self-described “gay Jewish boy from Brooklyn”, Epstein is at the heart of the story. “Brian never felt the love of a real relationship. Then he found the Beatles. Everyone thought it would be just another of his phases, but he had tremendous feelings for John, both sexual and intellectual, and that’s what really pushed him. If there was one thing that started the whole thing off, it was Brian’s love for John Lennon.”

That love affair was the contentious issue of the original book. In his interview, McCartney says of Lennon going to Spain with Epstein: “What was John doing, manipulating this manager of ours? Sucking up to him, going on holiday, becoming his special friend.” It wasn’t the suggestion of a homosexual relationship that was troubling McCartney, but the balance of power tilting in Lennon’s direction.

“Paul wanted to be in charge, and he deserved to be because he was the motor, the driving force,” Gaines says. “Paul felt that John would steal away the power. He felt threatened by John’s relationship with Brian.”

“Paul always wanted to be active,” Brown adds. “After Brian’s death the world had to be carried on. Who was going to do that? It wasn’t going to be John, George or Ringo. Brian was my best friend and I was very upset [at his death]. I had to go to the court to convince the magistrate that it wasn’t a suicide, and the following day Paul set up a meeting so we could discuss what we would do next. I said we’d do it next week, and he said, ‘No, it has to be now.’ He was right.”

How did Brown and Gaines feel about the horrified reaction to the book, not just from fans but the Beatles themselves? “The world has changed,” Gaines says, by way of answer. “Now, after all these years, hopefully people can see it as a truthful, loving and gentle book.” It has been decades since Brown spoke to the surviving Beatles and he has not contacted them about this new publication.

What the interviews really capture in eye-opening detail is the story of four young men who became a phenomenon, then had to deal with the fallout as the dream ended. On December 31, 1970, the day McCartney sued the other three to dissolve the partnership, Brown handed in his resignation as the Beatles’ day-to-day manager and officer of Apple Corps. Ringo Starr said to him: “You didn’t want to be a nursemaid any more, and half the time the babies wouldn’t listen to you anyway.” Brown moved to New York and became chief executive officer of the Robert Stigwood Organisation. But the Beatles never fully left him, and in the wake of Get Back — and the news that Sam Mendes is to direct four biopics, one on each Beatle — he decided he had one last job.

“We have finished our responsibilities,” Brown says with quiet authority. “It is the end of the story.”

EXTRACTS

‘It’s like bloody Julius Caesar, and I’m being stabbed in the back!’

Paul McCartney on the Beatles signing Allen Klein as manager against his wishes

[John Lennon] said, “I’m going with [Allen] Klein, what do you want to do about it?” and I kind of said, “I don’t think I will, that’s my roll.” Then George and Ringo said, “Yeah, we’ll go with John.” Which was their roll. But that was pretty much how it always ended up, the three of them wanted to do stuff, and I was always the fly in the ointment, I was always the one dragging his heels. John used to accuse me of stalling. In fact, there was one classic little meeting when we were recording Abbey Road. It was a Friday evening session, and I was sitting there, and I’d heard a rumour from Neil [Aspinall, road manager] or someone that there was something funny going around. So we got to the session, and Klein came in. To me, he was like a sort of demon that would always haunt my dreams. He got to me. Really, it was like I’d been dreaming of him as a dentist. Anyway, so at this meeting, everyone said, “You’re going to stall for ever now, we know you, you don’t even want to do it on Monday.” And I said, “Well, so what? It’s not a big deal, it’s our prerogative and it could wait a few more days.” They said, “Oh no, typical of you, all that stalling and what. Got to do it now.” I said, “Well, I’m not going to. I demand at least the weekend. I’ll look at it, and on Monday. This is supposed to be a recording session, after all.” I dug me heels in, and they said, “Right, well, we’re going to vote it.” I said, “No, you’ll never get Ringo to.” I looked at Ringo, and he kind of gave me this sick look like, yeah, I’m going with them. Then I said, “Well, this is like bloody Julius Caesar, and I’m being stabbed in the back!”

‘You don’t like to see a chick in the middle of the team’

Paul McCartney on Yoko Ono

Give Yoko a lot . . . that was basically what John and Yoko wanted, recognition for Yoko. We found her sitting on our amps, and like a football team, an all-male thing, you really don’t like to see a chick in the middle of the team. It’s a disturbing thing, they think it throws them off the game or whatever it was, and these were the reasons that I thought, well, this is crazy, we’re gonna have Yoko in the group next. Looking at it now, I feel a bit sorry for her because, if only I had been able to understand what the situation was and think, wait a minute, here’s a girl who’s not had enough attention. I can now not make this into a major crisis and just sort of say, “Sure, what harm is she doing on the amps?” I know they would have really loved me. You know, we didn’t like Yoko at first, and people did call her ugly and stuff, and that must be hard for someone who loves someone and is so passionately in love with them, but I still can’t — I’m still trying to see his point of view. What was the point of all that? They’re very suspicious people [Lennon and Ono], and one of the things that hurt me out of the whole affair, was that we’d come all that way together, and out of either a fault in my character, or out of lack of understanding in their character, I’d still never managed to impress upon them that I wasn’t trying to screw them. I don’t think that I have to this day.

How Cynthia Lennon was driven to drink — at an ashram

Alexis ‘Magic Alex’ Mardas on Ono’s love letters to Lennon

Alexis Mardas was also known as Magic Alex, a name John bestowed on him because he was so taken with Alex’s inventions. Alex was handsome, charming, and a charlatan. (He sued The [New York] Times in Britain for calling him a charlatan and settled out of court. He’s dead now.)

[The Maharishi] was fooling around with several American girls. The Maharishi was making all of us eat vegetarian food, very poorly cooked, but he was eating chicken. No alcohol was allowed in the camp. I had to smuggle alcohol in because Cynthia wanted to drink. Cynthia was very depressed. John was receiving letters from Yoko Ono. Yoko was planning to win John. She was writing very poetic and very romantic letters. I remember those letters because John was coming to me with the letters, and Yoko was saying to John that “I’m a cloud in the sky, and, when you read this letter, turn your head and look in the sky, and if you see a small cloud, this is Yoko. Away from you but watching you.” Poor Cynthia was prepared to do absolutely everything to win John. She was not even allowed to visit the house where John was staying. She was longing for a drink. Now, drinks, they were strictly prohibited in the ashram, but when it was discovered that Maharishi had a drink, I said, “Just a second, at least equal.”

‘He’s become so nasty’

George Harrison on reaching out to John Lennon

What’s wrong with John, he’s become so nasty. It sounds like he hasn’t moved an inch from where he was five or six years ago. I sent Ringo, John, and Paul all a copy of my book. I got a call from Paul. He called me up just to say how much he liked it. I shouldn’t have called it I Me Mine, because that title was a bit much. I sent a copy to John. I’m wondering if he’s actually received it, if he’s received it, he probably doesn’t like it or something offends him about it.

‘I told John that ... it was just a nice feeling’

Yoko Ono advising John Lennon how to take heroin

George said I put John on H, and it wasn’t true at all. I mean, John wouldn’t take anything unless he wanted to do it. When I went to Paris [before I met John], I just had a sniff of it and it was a beautiful feeling. Because the amount was small, I didn’t even get sick. It was just a nice feeling. So I told John that. When you take it properly — properly is not the right word — but when you really snort it, then you get sick right away if you’re not used to it. So I think maybe because I said it wasn’t a bad experience, maybe that had something to do with it, I don’t know. But I mean so, he kept saying, “Tell me how it was?” Why was he asking? That was sort of a preliminary because he wanted to take it, that’s why he was asking. And that’s how we did it. We never injected. Never.

‘It was time’

Ringo Starr on the end of the Beatles

Ringo Starr: Well, I’m pleased it happened because in so many ways, I’m glad it’s not going now. It was time. Things last only so long. Steven Gaines: The Rolling Stones are [still] going. Ringo Starr: Yeah, but they’re old men.

(source)

[necrotic-nephilim]

for the ask game, an AU where (somehow…) jason and tim (begrudgingly) team up in the search for a hero/battle for the cowl era (either when jason says tim should work with him on the gang stuff or when batman jason asks tim to be his robin) :]

for the ask game!

god, Search For A Hero my beloved. for the Search For A Hero version of their team-up, I think I'd write it something like this

I think the biggest reason Tim says no when Jason asks him is Jason asks Tim too early in the arc. as the storyline develops, Tim gets more and more desperate to best Ulysses, which is what pushes him to make the mistake that gets Ulysses' siblings killed. he's in a tight spot and he misjudges the situation. (i think the guilt he carries from that moment is one of the biggest inciting incidents for becoming Red Robin) so, i'd introduce Jason to the plot just a little later. just as Tim is on the edge of desperation. Tim isn't entirely adverse to working with villains if he thinks he can stay on top of them. so instead of sending Jason to prison, i think if Jason came to Tim at the right time, Tim would begrudging accept Jason's help

part of Tim's plan would be leveraging Jason's power with the mafia/mob scene in Gotham. they'd agree that topping the gangs would just cause a power vacuum (i'm pretty sure that's actually addressed in SFAH but i could be misremembering) so it's more about a balancing act, which is where Jason thrives. Tim is right on the cusp of being willing to do more morally questionable things, so it'd be a fun internal war for him to second-guess himself at every turn.

there would be such a delightful lack of trust in their partnerships. TIm has *zero* reason to trust Jason, and while Jason likes Tim enough, i don't think he's naive enough to put any trust in Tim. so there'd be moments where they don't fill each other in on aspects of the plan. Jason kills people behind Tim's back, Tim keys in his cop friend behind Jason's back. it builds the tension between them with a lot of hot arguments that get more and more charged.

the jealousy. there would just have to be a scene where Jason gets wildly jealous over Ulysses' complex over Tim. Ulysses tries so hard to pit himself as like, Tim's biggest adversary, his opposite. and Jason would *despise* that. sure, Jason is working with Tim, but part of the fun is that they're still enemies as they do it. i think it'd be sort of fun to have the moment where Ulysses blows Tim up be something Jason witnesses and he raises unholy hell about. because if anyone is going to kill Tim Drake, it's going to be him. and that angry possessiveness is what makes the romantic/sexual tension something neither of them can ignore anymore.

Tim deciding to put on the Red Robin suit to fight Ulysses would be where Jason just. goes full tilt possessive "he's mine i marked him that's my suit. see. mine. i said so." and Tim would push back but. what ground does he have to stand on bc he could've picked any suit with any cowl to protect his head after the blast, but he did choose Jason's. it was his own open invitation to Jason in a way. and well. they fuck nasty about it. and then Damian becomes Robin, so why not Tim keep the suit and just maybe, keep Jason in his back pocket.

and!! for the Battle for the Cowl version. man on one hand i love "Tim accepts Jason's offer to be his Robin" fics but i feel they lack a bite to them, so this is personally how i would try to pull it off, while being relatively in character.

so the biggest thing for me is, TIm agrees to be Jason's Robin not because he trusts or likes Jason, but for the same reasons he became Robin in the first place: to keep Batman stable. being Jason's Robin isn't about wanting to work with Jason, it would be Tim knowing there's no world Jason is ever going to stop and seeing Jason slowly tip over the edge of madness and well. if Tim was self-sacrificial enough to do it for Bruce and attempt to do it for Jean-Paul, he can do it for Jason.

him agreeing would i think startle Jason. like, Jason's offer was never particularly serious because he's at the point he knows Tim wants nothing to do with him. so when Tim says yes it sort of. snaps Jason out of the rage BftC puts him in. he's so startled but enticed by the thought, he willingly agrees to stipulations Tim sets, like no murder. like even if just to see where this goes, Jason jumps on the chance.

i'd really want to keep Dick and Damian as Batman and Robin, and the weird divide that would exist with Dick/Damian and Jason/Tim both running around as Batman/Robin and how off kilter that puts Gotham. like Gotham is so baffled by it, it actually makes criminals easier to handle. because they have no clue if they're getting the Batman who needs Robin to keep him in line, or the Robin who needs Batman to keep him in line. people know there's two Batmans, two Robins and no one knows quite what to do with that information. who's the "real" Batman? who's the "real" Robin? and on the personal level, the divide between Dick and Tim would be unmistakable. Dick would know what Tim's doing and try to convince him Jason is a lost cause bc well, Dick at this point *really* believes Jason is a lost fucking cause. So Dick's genuine care and concern for Tim just drives a further wedge between them.

i think there'd need to be a scene where Tim flat out asks if Jason even *wants* to be Batman. in a sort of attempt to slowly ween Jason off of being Batman, but also because i don't think Jason ever really wants to be Batman, he just wants Batman to be what his vision of justice is. and it'd be the first real heart to heart they have, discussing the legacy of the Robin and Batman mantles and how it's affected them. it'd be heated, but it'd be their first real conversation as just. Jason and Tim.

to me, i think the end goal of this AU would be Tim successfully "taming" Jason, and not in like a soft way, but in like a manipulative way, where even Jason knows that's what Tim is doing, but he just goes along with it because it's the first real human connection he's had in a while. also, i would work in Scarlet, Jason's sidekick in Batman & Robin (2009) as like. a pseudo daughter figure for them to help Jason find his humanity a bit. so it's not just Tim as Jason's rock, but also this misguided girl they'd both try to help. and well, then they ride into the sunset and all that, but still have a complicated, toxic dynamic they're both aware is unhealthy, but as balanced as it can be.

[physalian]

Transformers Prime Appreciation Post

You know what. You know what?? This show has featured in so much of my writing advice, it deserves its own “This show is amazing and has amazing writing and shit you can learn from it to be a better writer” post. It’s streamable on Netflix at the time of this post. I own it on DVD. I have all three seasons on actual, physical discs that I bought new for my DVD collection. That’s how much I love this show.

What is TFP? TFP aired on The Hub network, the joint venture between Hasbro and Discovery Channel that died after MLP ended, I think. We lost cable before that happened. TFP was probably single-handedly sustained by MLP money for a while, like the rest of HBO on GOT.

This show came out when I entered high school and I have extremely vivid memories of some of the constant previews they showed of the season 1 finale 3-parter, to the point where whenever I watch the scenes that were in those teasers, I still get a physical reaction from being bludgeoned over the head with those lines of dialogue.

I used to scroll ahead in the TV guide as far as the scheduled programming allowed, just to catch snippets of what episodes were slated to air within the next month. This show was the shit.

But it was too expensive and its budget got eaten by Friendship is Magic. The bronies ruin everything I guess.

It’s 3 seasons (technically 2.5 since 3 was only greenlit for half its episode count) of near-perfection and a tv-movie. There are a few weak episodes, sure, and one absolute dud of a clipshow episode, but there are no awful episodes. There ain’t no “Great Divide” for this show.

Why you should watch it:

1. A “kids” show that absolutely takes itself seriously

One of the Autobots dies 5 minutes into the series and it’s the inciting incident for the entire story. He gets blown up, taken prisoner, and then stabbed through his chest by a Decepticon’s fist without warning. He then gets brought back as a zombie, killed again, infects his partner with the zombie juice when she’s trying to save him, and dies for good.

Two main characters get straight-up murdered, long-running characters whose deaths have lofty consequences for the narrative. There’s betrayals, double-agents, robot torture, robots getting eaten alive by scraplets, gaslighting of an amnesiac, near-murders of POWs, near-murders of fan-favorites who get so hurt, their recovery spans 4 whole episodes, attempted child murder, terrorism, and mad science.

But there is also some heavy emotional shit. The surviving partner of the zombie is damaged by his loss for the entire show because she can’t properly manage her grief. There’s characters going on suicide missions to avenge their dead/dying friends, getting beat to shit while a child watches helplessly on the sidelines screaming at them to get up and run through tears. There’s war flashbacks to dead friends and comrades and the terror and fallout of being eons-old soldiers.

There’s quiet moments, too, about grief and loss and living with disability and disfigurement from battlefield wounds. There’s the machinations of a tragic villain, openly and explicitly abused in front of his whole team and who keeps crawling back and groveling at his master’s feet and his internal identity crisis over who he is, if he’s not with his abuser. There’s the fallout of an extremely divisive trolley problem where a normally calm and collected character loses their shit with grief over the decision that was made. There’s the quiet rumblings of dissent and rebellion in the ranks and all the backstabbing that follows.

And there’s clever moments. Rogues and rebels orchestrating complex and interwoven plots to further their agendas. A POW who no one would ever expect to be captured absolutely trouncing their captives and laughing all the while while they free themselves. Characters who always have a backup plan to force others into awful predicaments.

The first episode after the 5-episode mini-movie that opens the show features an A-plot about school science projects, and a B-plot about waking a loyal ‘Con from stasis and trying to convince him to bow down to the ‘Cons’ temp leader, Starscream, while Megatron is elsewhere. It does not end well for him. The very next episode features robots getting eaten alive by alien metal termites.

2. Depth of Character

Beyond the actual plot, the villains might be more compelling characters than the heroes across many arcs and episodes. You’ve got five main autobots for most of the show that generally fit the 5-man band:

Optimus: Leader

Ratchet: Smart Guy

Bulkhead: Tough Guy

Arcee: Lancer

Bumblebee: Heart

Also guest starring the Alien Robot Cowboy Samurai known as Wheeljack, he’s amazing.

These characters have some really rich episodes and arcs, and moments where they have to put their own values, wants, and agendas aside for the greater good or the problem at hand. They feel like real people, for lack of a better word. They laugh, they cry, they rage, they grieve, and since the show is one long storyline, what happens seemingly inconsequentially in season 1 will come back to haunt them in season 3.

But then you have the villains, an extremely dysfunctional team of “every man for himself, we’re all not here because we like each other, but because we hate the Autobots,” and I can tell from the fanfic that the ‘Cons are the much more popular characters to write about.

Megatron: The fascist narcissist warlord

Starscream: His scheming SIC both too smart and too dumb for his own good

Soundwave: The utterly badass TIC comms chief who never loses and is insanely, fiercely loyal to the cause

KnockOut: The absolutely gay-as-fuck cosmedic surgeon/chief of medical voiced by Daran Norris, who’s only design requirement was to make him a sexy sportscar, and they ended up with a cherry red Aston Martin. One of his first lines in the show is "*whistle* Sweet rims” at Optimus in truck mode.

Breakdown: KO’s himbo, canon* boyfriend with some of the best, cringey puns

Airachnid: Arcee’s arch nemesis, the only other female transformer, a “love to loathe her” type

And others down the line for both teams.

*Canon insofar as a kids show on a kids network allows a la “we’ve given you as much subtext as we can, do the rest”.

KO is technically my favorite but it’s a tossup between many and that is a feat, especially when they’re the villains. They are all extremely compelling characters.

3. The Story

With some exceptions, episodes don’t happen in isolation. Most of season 1 is a bit random with a foggy throughline, but season 2 is utterly amazing, sans that one clipshow the producers probably insisted on.

Season 2 is the show’s finest hour and without spoiling anything: The end of season 1 sees this database that had been in the ‘Cons possession suddenly now with the means to decode and decrypt whatever’s locked behind it. The database contains coordinates on Earth of a myriad of confiscated weapons, ancient relics, and the like and the entire season is one big fetch quest with both sides racing and beating the shit out of each other to decode coordinates and retrieve the relics before the other side.

The macguffins are pretty cool in their own right (alien mustard gas, a giant Final Fantasy sword, an alien nuke, a phase-shifter) but it’s the intensity of the story and the action and drama that happens around the various quests that is so amazing.

At one point, the show takes four episodes to tackle a fetch quest across four separate relics that involves the entire cast on both sides and the two rogues all gunning for their targets at the same time, ending with one character critically injured that grinds the whole plot to a stop.

The show is one long story, as I mentioned, where something that happens in episode 2 shows up again as critically important in episode 40 and that’s a heck of an achievement on the writers’ part, making it all feel like it was planned that way from the start, even though it wasn’t.

Season 3 is… lesser, mostly because it has half as many episodes because the show was canceled. However, the writers knew about the cancellation early enough to still deliver a satisfying story, and wrap up loose ends with a tv-movie that is also pretty good.

Episode-to-episode there’s definitely a mixed bag of what kind of tone you’ll get. It’s still a kids show and there are human characters so there are some lesser episodes with the humans’ lives as the focus and the Autobots running support. Then you’ll have small-screen perfection, but like I said, there’s never a single episode of story (not clipshow) that I skip upon rewatch, no matter how many times I’ve seen it. The second “clipshow” episode is far and gone above the first, told through the eyes of a character as they’re on trial, only their scenes through the story, as they await judgment that might see them executed.

4. The Production Value

The majority of the animation budget rightfully went to the transformers themselves, which left the environments and the human characters a little rough around the edges. But you came for alien robots and before I got this show on DVD, I streamed crap quality episodes online. Once I saw these characters in full HD color, for the first time since it aired on TV, I was blown away. The reflections are, bar none, the best part. Which seems like a strange hill to die on but these are shiny metal giants. There’s some shots where you can see the reactions of other characters reflected hazily in the chest plates of the speaking character, and this is kids animated TV.

Some episodes do stand out, possibly because they changed studios, but some do have some off-kilter coloring or shadows, but you wouldn’t notice if you’re not like me and have picked some scenes apart frame by frame.

The music, also, is amazing. It’s grand and epic and far and gone from the 80s synthesizers, with a few choir tracks thrown in. The foley and sound design can get a little gratuitous with the metal-on-metal squeals, but none of it ever feels out of place.

I bought the directors’ commentary without knowing it for seasons 1 and 3 and they talked about having all the digital screens in the backgrounds of both bases constantly moving and showing data, not just static, blank images, and it really ups the feel of the quality and care put into the show when there’s always something cool to look at in every frame.

There are also some money shots. At one point there’s a fight that demands Optimus and Megatron join forces and with zero dialogue between them, only choreography in the span of about 25 seconds of animation shows you that these two really were old friends, old allies, old confidants. Their moves are mirrored, back to back, showing that Megatron clearly taught Optimus how to fight and this shot, the one at the top of the post, is too good to not spoil.

5. The Writing

Beyond the overall arcs, I mentioned in my “How to make your writing less stiff” post that the dialogue in this show is stellar. Due to animation budgets, they didn’t have the means to fully render a huge variety of environments, and that includes anything on Cybertron. So, when necessary, outside of when characters actually go to Cybertron later in the show, they use some beautiful matte paintings and voiceover narration by Ratchet, absolutely dumping exposition on the audience in spectacular fashion.

I have the director’s commentary. I know Ratchet’s monologues were a thing of beauty. They also had the cast all recording their dialogue at once, standing in a big U for more natural line deliveries.

The actual writing though, from the different ways the characters speak to the lore, the backstories, how the show can be a horror trip one minute and a kids’ science fair the next, showed incredible variety and flexibility in the writers’ room.

Optimus’ lines remain my favorite because they’re just that juicy, but then you have characters like Starscream, a perpetual schemer who loves to hear himself talk, pontificating whenever he can about his plans and how much he hates Megatron and how self-important he is. Or other righteous characters who use Big Words like Optimus that don’t feel out of place against somebody like KnockOut who says stuff like “I like the way I look in steel-belted radials” or Wheeljack who clearly learned English from watching Clint Eastwood movies.

Or, a later character, Shockwave, the most “robotic” of the robots and very poncy and scientific with the way he talks and interprets the world, with most of his lines including whether or not a character’s choices were “logical”.

This show is fantastic at creating tension out of mundanity and keeping you on the edge of your seat for nail-biting action scenes. You feel the anguish and the grief with the characters. Their rage and elation and devastation.

Some faults, because I love this show and I can recognize them

The human characters are… well, teenagers. Miko is pretty divisive, you’ve got the camp of “wah she’s a girl and she’s annoying” and just people who don’t find them as compelling. Which, fair. Their animation is a bit gummy and sometimes they disappear for entire episodes and their human world arcs are kind of abandoned. They’re not the best, but this isn’t about humans, it’s about transformers.

Due to probably time constraints with the show being canceled, some transformers’ arcs also felt abandoned or not given their due time to shine (of which fanfic has made painfully clear and rectified). It’s a very tight plot, but there are some dangling loose ends.

Sometimes it is incredibly in-your-face that this is a show meant to sell toys, particularly in season 3 with the whole uh, “we must become beast hunters” and the soft rebrand.

There exists a subplot of C-list villains, human militants who want to dissect cybertronian biology and make weapons. While some of their episodes are absolute bangers, you can tell the writers were getting sick of them before they’re finally written out of the show.

And a few awkward lines here and there.

Other cool shit if nothing else has convinced you

No love triangle or romantic subplot for the two female robots and one of the female humans. You can read one of Arcee’s relationships as romantic or platonic, but she is far beyond just “the girl” of the group, she’s a badass. The other romantic subplot is between a mom who’s deadbeat ex-husband is inexplicably missing, and a pot-bellied Army vet, and it’s really sweet and healthy.

(I think) incredible representation of characters with disability, in Bumblebee’s various war scars and his mutism.

The Gays. I swear there’s a page in the art book (of which I am desperate to find a copy of) for KnockOut and the caption of his art legit says something like “we made him too sexy, oops”.

So. Many. Puns. Puns that know they’re awful and relish in it. Dad jokes, too.

Ratchet losing his mind over how human children can get “twisted limbs and metal burn” if they do a dangerous thing before realizing the latter does not apply. Ratchet losing his mind in general. Just all of the cranky medic. Jeffrey Combs can make a phone book entertaining.

One of the last times we’ll probably get Peter Cullen and Frank Welker together doing Optimus and Megatron, the OGs. And also, one tiny moment where Frank has to say “treasure” and he still flubs it just like he does for Fred in Scooby Doo.

Consistency between character injuries. If Optimus’ sword breaks in a battle, whenever he summons it before he can have time to fix it, it’s still broken in ensuing shots.

An episode of zombies infecting the Decepticons’ ship and Starscream and KnockOut accidentally admitting they love each other while cowering in terror, while also calling back to a different pair of characters they did not witness saying the exact same lines.

Optimus transforming, ramming Megatron in the chest in truck mode, booting him off a cliff, and using his tires to melt rubber in Megatron’s face once they land because he is pissed.

All of Starscream’s immensely satisfying comeuppance for situations he gets himself into.

Using the murder termites for good in a rather horrifying death of a random goon.

Megatron’s hate boner for Optimus that clearly shows how badly these two don’t actually want to kill each other, despite having a million chances to do so, because like Batman and the Joker, “you and I are destined to do this for eternity,” and killing one would leave the other alone, after eons of fighting.

The gorgeous matte paintings.

—

Somebody on here once drew KnockOut with Autobot blue eyes and I have not been able to find that post since. If anyone sees it, please send it to me, it was gorgeous.

Now go watch this show. You can do it in a weekend.

[ghoulliojr]

i can't believe this was just a side quest. i thought Otto was cool before but now he's one of my favorite characters, his son being born a bearer and getting killed for it was essentially the inciting incident for his best friend Cid to start his emancipation campaign in the first place and Otto literally fell in love with him for it. uuughghjdfhkgj my heartttt in a just world they are husbands