#the flash armageddon spoilers

[consultingcompanion94]

Once Upon an Eternity

Chapter 1

Months after Aziraphale left for Heaven, Crowley finds himself waking up back in the bookshop after months of coping with his broken heart. But… is it the first time he’s been back? Why does it seem like there’s something he’s missing? When he’s reunited with the new Archangel for the first time since that day, he can’t stop the overwhelming dread that something is very, very wrong… AU of my interpretation of S3 as inspired by the show Once Upon a Time. If you’ve seen it, no spoilers for anyone who hasn’t!!! If you have, hope you enjoy my little mash-up!!!

Notes:

Hello everyone! Welcome to my first fic in the GO fandom! I fell in love with the show after binging the whole thing just in time to dive right into S2 when it aired (and experience all the devastation that brought us all). I was finally inspired enough to dive back into fanfic after a very long hiatus by the show and by Rebecca Flutter’s amazing GO podfics on Youtube (seriously, do yourself a favor and check them out!) I couldn’t stop picturing certain scenes from another one of my favorite shows, Once Upon a Time, with Crowley and Aziraphale, and this is the result! Hope you enjoy, and let’s get on with the show!

The storm must have been what finally caused Crowley to come to. Lighting lit the sky as rain beat against the windows, thunder crashing just far enough away to not be an immediate concern. 

Speaking of immediate concerns…

Now that Crowley was slowly regaining awareness, he shot to his feet from his current position on the floor. Not his floor, mind you, his flat strewn with bottles as it had been for months. Not even the floor of one of the hotels of questionable quality he vaguely recalled bolting to the numerous times he couldn’t bear being anywhere near Soho since…

Since he’d last been here in the bookshop.

Tensed and alert, Crowley fled from the back room. He was fully set on outrunning the memories ready and waiting to spring like arrows notched and ready to fly, before freezing at the sight of another figure slumped near the register.

“What the…” the flash of panic and concern that struck Crowley seemed out of place (at least in its intensity), considering how comparatively little he’d had to do with the small Scrivener to warrant such a reaction on their behalf. “Muriel?”

Apparently his words did what the storm had not, Muriel shifting weakly as Crowley crossed the room and bent to help lift them from the ground.

“M-Mister Crowley?” Muriel groaned, eyes still unfocused and leaning against Crowley for support. “W-when did you come back? I- I thought you’d driven off after Archangel Az-”

“How many times have I gotta tell you to drop the Mister? I’m ancient, not old,” Crowley cut them off with a huff, and where the Heaven did that come from? As if it was a long standing argument? He very pointedly shoved aside acknowledging that his interruption also served to prevent Murial from saying his name (He included himself in the list of people he was very good at lying to.)

Frowning Muriel questioned again, “When did you get here? How did you get here?”

Having no answers, Crowley could only shrug noncommittally. His eyes darted around the room, taking in every inch as he’d done when assessing the bookshop after the Armageddon that wasn’t. He failed to find even the smallest of changes this time around, but that didn’t stop his hands from twitching uneasily as he felt the air faintly stir with an energy he could only describe as wrong.

Both beings jolted at the sound of the front door’s bell ringing, Maggie and Nina stumbling their way into the shop looking as if they were in a similar state of disorientation.

“What the hell have you gotten us into this time?” Nina snapped, marching up to Crowley and crossing her arms with a pointed glare.

“Does it look like I have any clue what’s going on here?” Crowley retaliated, only stopped from advancing on Nina when he saw Maggie place a calming but firmly restraining arm on Nina’s arm.

“She’s just tense and jumping to conclusions. Can’t blame her really. Both of us woke up in Nina’s shop with no idea how we got there, on top of it being the first time in months we’ve seen your car hanging around rather than just passing through…” Maggie paused her explanation, brows furrowing before she continued questioningly, “It.. it is the first time you’ve been back… right?”

“Course it is, what kind of question…” Crowley trailed off, matching Maggie’s state of confusion. 

Now that he paid attention, he had that feeling of an unexplainably increased sense of familiarity, eerily identical to what he’d felt with Muriel and equally as uncountable. Not only that, but how was he so much more unaffected than he should have been by being back in the place he’d had his heart obliterated? He hadn’t expected his first time back (assuming he ever did come back), to feel anything less than agonizing, yet here he stood, heart still unmistakably raw and scarred over far more than he expected but not actively bleeding out.

“See, not as far of a stretch to link you to whatever's going on as you thought, wouldn’t be the first time you’ve meddled in something and caused a right mess,” Nina grumbled, still visibly on edge but less openly hostile.

“Excuse you, but if you recall, you know very well the main meddler last time was…” Crowley swallowed, flinching at coming even close to mentioning him.

“What’s that lovely human expression? Oh yes- guilty as charged,” a posh voice replied from the shadows near the front door as they all whirled to face the intruder. Crowley shivered at the familiar cadence he’d know anywhere, though not from pain as would be assumed, but from the unfamiliar iciness he’d never heard from that voice.

“Aziraphale?” Crowley breathed, frozen to the spot as he took in the figure walking into the dim lighting the storm had brought on. 

“Speak of the devil as they say,” Aziraphale smirked, stopping just shy of the group clustered in the middle of the shop. The sterile white of the new suit was less surprising than the harsh, sharp angles of the design that contrasted so severely with the soft lines and curves of the Angels usual ensemble. It was nowhere near what Crowley would have imagined from the new Archangel, had he been in any state of mind to ponder such things, anymore than the flecks of dark gray mixed in with the halo of blond curls that had never changed until now.

Unsettling as all of that was, what caused Crowley's blood to freeze in his corporation was when he finally met Aziraphale’s eyes. Gone was the ocean blue Crowley had gotten lost in far more times than his sunglasses would have allowed anyone to know. 

The gaze that met his eyes now was not the lavender he wasn’t sure if he would have recoiled from due to its association with a certain former Archangel, or embraced despite everything because it still would have been his Angel gazing back regardless of the hue of his irises.

What Crowley saw now was a twisted shadow of that same flowers vibrant shade, if left uncared for to grow dark, decayed, and withered, long since abandoned to rot. 

“W-what are you doing here?” Crowley stammered, breathing erratic as Aziraphale slowly continued his progress towards the group, “You’ve been plenty content to piss off to Heaven without a backward glance until now, don’t let trivial little connections like ours hold you back now Archangel,” Crowley spat, doing his best not to shrink away every step closer Aziraphale advanced.

Chuckling darkly, Aziraphale lifted his hand to caress Crowley’s cheek, smirking at the shiver his touch was able to cause in the Demon even now. 

“Ah, you see, therein lies the problem. I admit that you were right in one respect. My newly appointed position wasn’t exactly as I expected. Some… Changes were required,” Aziraphale paused with a curl of his lips. “However, I suppose you could say that leaves us even, considering I was also right.”

“In what way?” Crowley barely managed to choke out, stomach dropping as the Archangel snickered sinisterly.

“That you had no idea what I was offering you,”  Aziraphale sneered. One of his hands fisted into Crowley’s lapels as the other rested on his face, a lovers embrace that should have been warm and tender but was instead forceful and possessive. Breaths mingling for only a moment, Aziraphale hissed quietly enough only Crowley could have heard it, “And I’m going to ensure you regret turning me down, that you beg me for another chance. And don’t worry, when you’re ready, I’ll be waiting.”

Breaking the embrace, there was a flash of blinding light, and the Archangel was gone.

Thank you all for reading! If you want to read more now, here’s the link to what I have up so far on AO3. See you all in the next chapter!

Next Chapter

[trunepfalz]

Highly Crafted Minutes (s2 spoilers)

Just rewatched Good Omens S2 ending. SO tightly crafted, the camera handling, the music, facial expressions. Some thoughts:

When the Metatron showed up in S1, I wondered why they got such a heavy hitter as Jacobi for that part. But now I see; not only did he deliver "the Second Coming" with an ineffable mix of lightness and gravitas (in a moment when his head completely eclipses Aziraphale on the screen), but also he conveys subtle relief when the elevator door closes and he has succeeded in spiriting Az away from Crowley. After all, the two of them derailed Armageddon, of course they would have to be split up before Heaven tries for a Second Coming. Almost demonic, Sir Jacobi!

I'm puzzled by why so many on teh interwebz persist in seeing the kiss as a simple romantic moment. If the two weren't so equal, it would be an assault. Of course Az is shocked, and his "I forgive you" (once more a reproach, as it was in S1) makes perfect sense to me. But then, it seems to me I see a flash of thoughtfulness as his own fingers touch his lips, as if to test that sensation ...

When the Metatron spills the Second Coming beans, the music ... most oddly ... makes the same sort of sparkling riff Arnold uses when magic happens. Is the magic in THIS moment that Az realizes what the Metatron is actually up to? He turns to look at Crowley; is he wondering if Crowley will give up on him? Because Az will need help.

As the elevator rises during the credits, Az's facial expression is hard for me to read. Sheen's face gradually hardens, becomes almost bitter. Or slightly defiant. I cannot believe that is in reaction to Crowley; is he thinking about the time to come in Heaven? Right before his face fades out, there is a most un-angelic smile. What is he thinking?

If there is a season 3, will we see Muriel? As between S1 and S2, there probably would be a gap of years. If she spends that time reading and peoplewatching, she will be a MUCH less naive angel!

There has to be a season 3. Arnold's poignant musical cliffhanger must be resolved, or it will drive me insane.

[hauntedmansion2003apologist]

An in detail dissection/ramble of the first scene of the film (2k words)

I will admit some of this is probably me reaching for straws and also my own personal thoughts/head canons on certain things, + pulling some things I found within the first draft script of the film I've found, where there's overlap of the story that adds details. 

Oh and if course SPOILER WARNING DUH

Anyway let's get started

The film starts with an eerie music alongside the Walt Disney logo. Which in a flash of lightning becomes the Gracey manor as a dark foreboding fog swirls around, lightning continuing to flash.

Great start but nothing really to dive into, as I'll get into more details on the manor itself later.

Of course we are then greeted by the iconic line of the ghost host telling us, "welcome foolish mortals" I'd like to note that it's the only time the voice is used, and it begs the question, what is our place in the story? I have reason to believe that we as the audience are being told this story through supernatural means (perhaps Madame Leota is the one showing us? with her telling us to "hurry back" at the end?

Then from the black screen we see the floating candelabras dancing across the screen. an obvious reference to the ride in the endless hallway, not much else to say there.

The next item to float across the screen are two keys. To me this is a clever moment of foreshadowing for both later in this scene and the movie. I would also like to note the ornamentation on the top of the key is a heart, which to me looks to be formed out of two human figures kissing. 

The next shot is at the doors of the mansion. On each door is a knocker adorned to look like the heads of lion biting the snakes. Valor will overcome treachery if you will.

As the doors open into the foyer, we are greeted by a crowd of masquerade guests socializing, celebrating Mardi Gras. While your eyes may be drawn to the crowd, I'd rather draw your attention to the surroundings. This is more of a fun little reference to the ride's changing portraits. At the top of the stairs there are 5 paintings, only 4 of which I can make out. I could be totally wrong in what I'm seeing but from left to right they're what I believe to be Medusa or perhaps it's the witch of Walpurgis, the unused portrait of Daphne (if you don't know look it up), unfortunately the middle one is blocked by a clock however based on the size, and after reading the first revised draft script I have reason to believe it is a painting of  Armageddon  , cat lady and the unused dust bowl painting. Now the only one I'm 100% sure on is the cat lady portrait (as it can be seen later on in the film clearly (no not in the changing portrait scene although it's there too). I'd like to note that on the left in front of what I believe to be the Daphne portrait, the way the stone thingy (I'm not sure what it is) looks like a noose. The other item in the foyer to note is the clock, however I'll circle back to it later.

When the screen then fades to black and does a tarot pull from a few cards. Now of course, everyone noticed the lovers. That's a pretty self explanatory card, but I wouldn't like to note that the angel/god/whatever in that card becomes a skeleton, much like a reaper of death if you will, and so does the woman, indicating Elizabeth's soon to be demise, and the demise of her and Edward's relationship. But also hidden I can see three other cards facing us. The first I will talk about is the tower. The tower card represents sudden change and upheaval that's beyond your control. I'd call that a pretty significant card sneakily hidden by distracting us with the lovers. Just barely seen behind the tower is the nine of swords, which represents anxiety and worry, which fits in well with what is about to happen to our dear old Edward Gracey. Unfortunately I cannot figure out what the one behind the nine of swords is, as it does not match up with any of the cards in that specific deck.

The next shot is in the ballroom. Guests are dancing all happy and of course there is the organ in the background. I would also like to point out the fact that some of these outfits we see the guests wear are genuine historic pieces. And we see Edward Gracey step out from the right, and walk towards the camera in the center between the dancers. As he comes forward we see a smile spread across his face, I'm assuming because he saw Elizabeth, but a I can't be sure. However I'm going to take the liberty to say that these flashes of the party we see were throughout the night, and that Elizabeth was there for most of the party.

Next we see a golden mask on the screen, and I would like to note that the name onscreen at that moment is Terence Stamp, who was Ramsley, and as we know Ramsley was pretending to be a great guy and keep Edward's trust, all the while being deceitful and manipulative, thus the mask.

The next shot of the ballroom is of the dancers, and it's a bit blurry, as if you the watcher were feeling unwell. Before the music box is opened as it spins, and so do masks. I take that as when we saw Gracey in the previous shot walking forward with a smile it was to presumably ask Elizabeth to dance with him. And the music box surrounded by the masks, with the figures of Edward and Elizabeth dancing and the figures' reflections are skeletons is representative of their last dance together, their last happy moments. That could be pushed further by the fact we see the dancers in the background still fading in and out.

The next shot is Elizabeth writing a letter to Edward or it could be Ramsley's forgery, however I choose to believe this first shots is Elizabeth . This is Elizabeth's letter we are seeing and not the forgery, the full letter reads,  "My Dearest, I have given much thought to our conversation in the garden, where we then talked at great lengths about our 'secret'. My dear sweet Edward you only see the good in the world around you. You give me strength to give you the answer you asked for. Yes, my dear heart, I will marry you. I will love you for all eternity. And tonight, at last, we will be together. I do!  Forever Yours, Elizabeth" However, through clever shots and transitions the only parts of the letter we can actually make out are, "My Dearest, I have given much thought to our conversation in the garden, where we then talked at great lengths about our 'secret'. My dear sweet Edward you only see the good in the world... Forever Yours, Elizabeth"

Everything fades but the pen, and more of the blurred dancers dance across the screen, and a second pen appears, matching the movements of the dancers. The second one is hinting at ramsley forging a letter from Elizabeth. We then see a gloved hand who is certainly Ramsley, seal a letter in a red envelope, and slip it under a door. Where the dancers serve as a transition to a distraught Edward reading the note before running off.

The next transition is a drop of something in a goblet of wine and a skull as a brief poison foreshadowing.

The next tarot card we see is death, which represents transformation and release. Right before we see Elizabeth's arm go limp holding the goblet of poison wine spilling it, clearly dead We see Edward running from the ballroom and down the foyer stairs.

Now it's time to talk about the clock a little. The clock from a distance looks like it has wings because of how the "draped" bronze sits, and if you look at the top of the clock, it looks like it has two sets of horns, one smaller and one larger. And of course the hour hand looks like a devil tail. And when the clock strikes midnight, instead of twelve, its thirteen. 13 the unlucky number, Edward is too late to save Elizabeth. As the clock chimes once the 12 changes to 13. Twice, as he sobs over her body, praying she may somehow still be alive. Thrice as he carries her body out of the study and into the crowd of guests. And a fourth time as he climbs the stairs, with the guests watching. One thing I wonder is after we see him carry her body through the crowd in the foyer, what does he do with the body after?

We see that he burned the forged letter which at the end reads "without you. Forever Yours, Elizabeth" Now through reading the draft script (specifically some dialogue where Edward tells his story to Sara), and just general guesswork I can assume the full letter reads, "My Dearest, I have given much thought to our conversation in the garden, where we then talked at great lengths about our 'secret'. My dear sweet Edward you only see the good in the world around you. It is with deepest sadness, my dear heart, I cannot, I will not be the reason for you giving away your life, and family name. But I cannot live without you. Goodbye. Forever Yours, Elizabeth"

Now this next part can be interpreted one of two ways, depending on whether you think this is the same night as the masquerade, or you think time has passed. 

Starting with if you think it's the same night, after the letter burns we zoom out to Edward frantically throwing papers off his desk. Perhaps as if he were looking for something? possibly the deed to the house which his father hid from him, maybe in order to sell the mansion and escape the pain and heartbreak? Or perhaps he's looking for a way to bring Elizabeth back. The next question brought up if you think it's the same night, is what was done with Elizabeth's body before this moment? 

Now if you think time has passed, which I do. Personally I believe 8 months passed specifically, now why specifically 8 months? What better time to bring a curse upon the mansion before dying than on Halloween? (Elizabeth died March 1st 1881 how did I come to that date? Well, if you look at the deleted scene from the movie, in the attic between the kids, and Ezra and Emma, Emma says, "It's been 122 years since the black spell fell over this house. 122 years since she died" and assuming the movie takes place in 2003, 122 years before 2003 is 1881. Now, how did I land on March 1st specifically? We know she died on Mardi Gras, and looking at the official NOAA National Weather Service page on New Orleans Mardi Gras Weather History; Mardi Gras in 1881 took place on March 1st) Now moving on from my tangent and moving back to Edward's meltdown. He's turned to the dark arts to bring her back, without success. When we see him throwing the papers on his desk, it is likely he's looking for something anything in one last desperate attempt to bring her back. I also like to believe that this is the moment the house gets cursed, and he unknowingly trapped Elizabeth's spirit in the house. 

In both cases he shoves a bunch of things off the desk in frustration. In a transition to more tarot cards flying out, highlighting the three of swords, representing sadness and pain. 

Then next shot, we see him hanging in the attic. We hear a woman scream, probably a maid who I believe is likely Emma, finding his hanging body in the attic.

As we zoom out from the window we zoom out on the house, which is a blend of the Disneyland and Disney World façades. I think it's quite cool that all exterior shots of the manor are a combination of an actual façade set, and CGI to make it appear much taller.

That concludes my rant on the first scene of the movie. 

[kitkatt0430]

For the unpopular/popular opinion game - it ultimately does not matter whether the Flash pulls off it's version of Cobalt Blue or not because the fact of the matter is if they were going to do that storyline at all it should've been a LEAST a few seasons ago.

strongly agree | agree | neutral | disagree | strongly disagree

So I've been putting off watching the four part finale until the show is done, but I haven't been staying away from spoilers/episode trailers either. And. I'm definitely skeptical of where things are going with it.

Season 1 was probably the best season of the whole show. Hands down. It had it's problems, of course, but it's definitely the most loved season with good reason. Unfortunately the show itself likes to look back on that season with sort of... rose tinted glasses.

From that first kiss - cheating on Eddie - to Eobard surviving somehow despite the paradox of Eddie's death erasing him... later seasons tend to romanticize certain parts of that season - revisiting ad nauseam - while pretending the parts that don't support later developments just... didn't happen.

But the thing is... S1 had Iris choose Eddie before he died. And Eddie gave that future they both wanted up when he died because Iris' safety mattered more to him than having his own future or leaving behind some glorious legacy.

She never gets to really grieve for him, though. We see in S2 that Iris has to support Barry in his grief. Where is Barry supporting her?

We have later seasons Iris saying she wants to be in a relationship with Barry because it's 'destiny', not because she loves him. Then later saying she thinks she's been in love with Barry since the night he was brought to her house after his mom died. And now apparently we're getting her telling Eddie that 'it was always going to be Barry'. And I get it. Iris/Barry are endgame, have always been endgame. Eddie was never going to get the girl.

But does the show have to repeatedly insult what Iris had with Eddie in order to establish how great what Iris has with Barry now? No.

Just because Iris wanted a life with Eddie at one point doesn't diminish the life she's built with Barry, doesn't mean that she wouldn't fight tooth and nail to keep the life she has and the future she's been promised over a what could have been with someone else. But it sounds like what we're getting is S9 going 'nanner, nanner, nanner' to anyone who liked Iris/Eddie as a ship.

And this doesn't seem like the only way Eddie's getting insulted. He died a hero in S1. Now they've brought him back as a villain. And it looks like he's teamed up with Eobard, Zolomon, and possibly other villains from Barry's past? Even if Eddie comes back from this and dies a hero again or whatever... it's still an insult to his S1 arc and actions.

Honestly, I'm not sure when the time to do Cobalt Blue would have been. S8 maybe? That's where I stuck Malcolm Thawne in my Armageddon Revised plotline rewrites. But to be honest... I'm not sure Cobalt Blue as a villain really had a place on the show. With Eddie dead, who would Cobalt Blue even be? Eddie's heretofore unknown cousin? All I can really think of is E2 Eddie or some other Earth's variation of him.

I'm gonna watch the final episodes sometime later this week. And who knows, I might even enjoy them despite knowing what's gonna happen with Eddie. But...

I will probably still think that if ever there was a time to do a Cobalt Blue arc... this probably was not it.

[rainbowchewynuggets]

Hellboy & The Gatekeeper (pt 5)

(This section contains important spoilers for the plot of the Hellboy comics.)

G: This is my burden. I’ll handle it alone. You should go back before it’s too late.

Hellboy and the Gateekeeper are officially somewhere else now. They pass into dappled shadow as they enter a forest of coral that forms a sort of tunnel. Purple fires burn in the distance, winking through gaps in the freeform lattice.

H: No dice. I’ve got a job to do, too.

G: You’re a Gatekeeper?

H: Special investigator. I protect people from paranormal stuff. Like, uh…

G: *dejected* Like me?

H: No, no. Not like you.

Hellboy grasps at what to say. He draws a blank.

Figures from his past seize the opportunity to possess his mind. Rasputin, the mad monk who tried to use him to begin the apocalypse with his stone hand. His demon father, Azzael, who created him as a tool of such destruction and power. Hecate, the witch goddess with a body made of snakes who tried to force him to fulfill his destiny after he refused it.

Rasputin: Bring the end.

Azzael and Hecate: Bring us the end.

Flashes of frogs, hooks, tentacles, serpents, blood, and fire.

The figures press in behind Hellboy. He walks without acknowledging them, but the long curved red horns and flaming crown on his head betray the grave reality of their words. Their speech bubbles crowd his head oppressively.

Rasputin, Azzael, and Hecate: Your destiny is coming. You will bring the end of man. The end of order. The return of the dragon.

The seven enormous squirming spiked octopic beasts they’re talking about break through their crystal cages, far off in space. They reach downward, pressing down on Hellboy from above.

Other creatures and humans stare from the void, those who have wanted to take the Right Hand of Doom or the crown of Armageddon for themselves, or have attempted to wrest control over their futures from him in other ways. Among them is Malcolm Frost, who was present at Hellboy’s arrival on Earth as a child. He was so convinced of the evil of the little boy’s presence that he spent the rest of his life trying to have him killed. The man whispers in motionless terror from one corner.

Frost: Destroyer.

Hellboy refocuses on the present, his horns cut and crown out of sight, walking next to this kid in the cold dark passage.

H: Chaos. I protect them from chaos.

G: Oh.

The coral starts forming a more implausibly natural structure: a temple. Dense formations have been shaved down into pillars, long skinny support rods that crisscross the chambered ceilings, and decorative willowy carvings. (Imagine something halfway between the Kandariaya Mahadeva temple and a Greek acropolis, made of stone mesh and full of holes.) Its corridors stretch as far as the eye can see, with purple-white hazy light filling the distance of every direction.

Hellboy looks out a window.

Far below, an intricate city of clay, stone, and coral lies in a great valley in the dark. Robed people of the same race as the Keeper and Advisor go about their business with their own farms and trades, though uneasily. They seem aware of the trouble brewing in the temple on the hill. A spirit or two float their way up from wherever their bodies passed away in the vast city.

Hellboy and the Keeper pass under an archway with the gate symbol carved into it (the same one on the Keeper and Advisor’s necks) and into a small junction of pathways.

G: We’re here.

H: Okay, which way do we–

The rumbling begins again. Dust rains down from above. From a nearby passage, a horde of possessed robed people appear–none quite as large as the Advisor, but more intimidating in number. The Gate carvings on their necks are stretched and distorted. They all start shouting aggressively at the Keeper as the rumbling subsides.

Horde: Bastard! Traitor! Kill them!

Hellboy: Come on. Lay off, already!

The horde rushes forward. Hellboy reels his stone hand back in readiness.

The Keeper instantly climbs one of the porous walls and doesn’t stop until they’re near to the ceiling. They press themself on a shallow ledge as the fight below ignites.

------------

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[wanderersrest]

Mazinger Z Preview: The Introduction is the Most Important Part

Spoilers for, amusingly enough, Mobile Fighter G Gundam. Also I forgot how quickly the shots between Domon and Shining Gundam flash. So keep that in mind if you have something like epilepsy.

This is going to be a "short" preview of my upcoming post on the Mazinger Z franchise. And all I really want to highlight is that how a series introduces a giant robot is important. Take for example...

Shin Getter One in Getter Robo Armageddon

Shin Getter One's introduction highlights the fact that Shin Getter does not care about Musashi and Benkei's well-being, which indicates that it is currently unknown if it is a friend or a foe. This is amplified by the fact that it is shown fighting an invader seconds later. More importantly, we get a glimpse of how brutal Shin Getter One is as a machine not only in how it fights Getter 3, but how it ruthlessly and bloodily it tears apart the invader. For another powerful giant robot introduction, let's take a look at...

God Gundam vs Shining Gundam in Mobile Fighter G Gundam

G Gundam does a pretty good job using the introduction of the main character's Gundams to highlight a contrast in how he has changed as a person.

With the Shining Gundam's first appearance, it's landing pod crashes violently in Rome. And the suit-up sequence for the Shining Gundam is iconic: Domon's suit-up sequence is a violent affair, which really showcases that this is a man filled to the brim with nothing but anger.

Once he upgrades to the God Gundam though, things change. Even God Gundam's very first appearance is different from how Shining's intro. Whereas the latter is this explosive and destructive affair, the former's very first appearance harkens back to Michelangelo's Pieta as it carries the now-destroyed Shining Gundam in its arms. Even Domon's transformation sequence for the God Gundam is more peaceful, which makes sense as far as characterization goes since Domon has, at this point, learned how to reign in his emotions.

It's not just G Gundam that does this, by the way. You'd be surprised to note that Gun X Sword does this as well. Van's Original Seven Armor Dann of Thursday is treated as this otherworldly and almost angelic Armor that descends from the skies.

Meanwhile, Ray Lundgren, the Gun to Van's Sword, summons his Armor Volkein by having it rise from under the Earth. Fittingly enough, Volkein also has more of a chthonic and lived-in look to it as well to contrast it with the more ethereal and almost alien-looking Dann.

Music is (also) the Key to Victory!!

Another key factor in a mecha's introduction is the soundtrack. A soundtrack, while not necessarily being the only factor in what makes a mecha's introduction, can almost certainly elevate it's introduction. You see this with the aforementioned Dann of Thursday, but there are two examples that stand out in my mind that aren't Dann: The King of Braves GaoGaiGar, whose final fusion sequence is paired with the theme of the same name...

...and The Big O, where the titular mecha's theme is complimented by the soundtrack Sure Promise.

In both cases, the soundtracks mentioned help to really sell the idea that a powerful and heroic machine has appeared. Both robots use these themes really well when it comes to selling the fictions behind their machines. Sure Promise helps to sell the image of Big O as this massive, monstrous, and destructive savior whose every movements shake the very earth itself.

Meanwhile, Final Fusion sells us on the idea that GaoGaiGar isn't just a hero. He is the hero. The King of Braves is finally here, and by god is he going to save the day.

So... What's the Point, Me? What Does This Have to Do With Mazinger Z?

Well, I really made this post more because I couldn't fit all of this in with the Mazinger Z post I'm working on. But Mazinger Z, and specifically Mazinger Edition Z/Shin Mazinger Z, was the series that taught me that a mecha's first introduction is of vital importance. To bring in one last example before I sign off, think about how the Death Star is introduced in the original Star Wars.

The first time we're introduced to the Empire's greatest weapon, the very first thing we are shown it can do is destroy a planet (to the horror of a captive Princess Leia, it was her home planet of Alderaan specifically). The introduction of this moon-sized battle station helps to clue us in on how evil the Empire (represented in the original film by Grand Moff Tarkin): they built the Death Star as the ultimate deterrence against anyone who tries to pick a fight against them. It's a battle station that is not only armed to with a planet-destroying laser but also houses a whole armada of TIE Fighters, landing shuttles, and Lord knows how many storm troopers. The Death Star blowing up Alderaan wasn't just by chance; it served to explicitly show to both Leia and the audience that the Empire would be more than willing to use the laser if anyone stood up against them.

As for Mazinger Z... you'll have to wait and see. However, if you've read An Abbreviated History of Mecha, you've probably seen the introduction that I'm hinting at.

[mylistofmovies]

2023

sluberland

pinocchio

the menu

puss in boots the last wish

the green knight

meet cute

aftersun

amsterdam

ella enchanted

i used to be famous

to leslie

you people

the fabelmans

shotgun weeding

babylon

triangle of sadness

spoiler alert

somebody i used to know

my fake boyfriend

lady chatterley’s lover

emergency

the whale

knock at the cabin

your place or mine

long weekend

a man called otto

cocaine bear

we have ghost

80 for brady

operation fortune russe de guerre

my policeman

goodnight mommy

the pale blue eye

the good nurse

the abyss

murder mystery 2

a futile and stupid gesture

champions

shazam fury of the gods

65 millions years ago

ant man and the wasp quantumania

call jane

the amazing maurice

what’s love got to do with it

lars and the real girl

reinfield

the donor party

dungeons and dragons honor amongst thieves

the super mario bros the movie

robots

jonh wick chapter 4

magic mike last dance

mathilda the musical

mafia mamma

air

peter pan and wendy

crater

the portable door

beau is afraid

book club the next chapter

one true loves

armageddon time

maggie moore (s)

are you there god? it’s me margaret

hocus pocus

about my father

fool’s paradise

guardians of the galaxy vol 3

mona lisa and the blood moon

maybe i do

book club

you hurt my feelings

knights of the zodiac

opening night

somewhere in queens

love again

someone great

robin robin

the outlaws

best in show

asteroid city

dear zoe

the estate

bird box barcelona

the kids are all right

the flash

ruby gillman teenage kraken

transformers rise of the beasts

outside in

barbie

no hard feelings

the little mermaid

namona

oppenheimer

joy ride

the chronicles of narnia the lion the witch and the wardrobe

the chronicles of narnia prince caspian

the chronicles of narnia the voyage of dawn treader

happiness for beginners

the house

tourist guide to love

spiderman across the spiderverse

duck butter

red white and royal blue

the adventures of priscilla queen of the desert

elemental

little shop of horrors

the adults

confess, fletch

infity pool

hot fuzz

nightbooks

meg 2 the trench

past lives

you are so not invited to my bat mitzva

the world's end

white noise

the wedding singer

tour de pharmacy

the last voyage of the demeter

teenage mutant ninja turtles mutant mayhem

theater camp

the afterlife of the party

the beanie bubble

bottoms

how do you know

strays

scooby doo and krypto too

the monkey king

love at first sight

when you finish saving the world

cassandro

haunted mansion

puppy love

totally killer

nandor fondor and the talking mongoose

hubbie halloween

no one will save you

killers of the flower moon

strange way of life

chicken run

pain hustlers

five nights at freddy's

nightmare before christmas

hocus pocus 2

a haunting in venice

if you were the last

quiz lady

a good person

fools rush in

nyad

she came to me

foe

lego avengers code red

the creator

hunger games the ballad of songbirds and snakes

trolls band together

paint

leo

ode to joy

cabaret

fingernails

may december

freelance

leave the world behind

cat person

genie

vacation friends 2

chicken run the dawn of the nugget

saltburn

elf

the wonderful life of henry sugar

the rat catcher

poison

the swan

family switch

exmas

[ogradyfilm]

Recently Viewed: Oppenheimer

[The following review contains MINOR SPOILERS; YOU HAVE BEEN WARNED!]

How should a director approach depicting the concept of “genius?” Mental processes are, after all, inherently internal, making them difficult to convey in a visual medium—so how do you show the viewer intelligence, rather than merely telling them about it?

In Oppenheimer, Christopher Nolan overcomes this creative challenge by embracing abstraction. Brief flashes of surreal imagery—explosive sparks of kinetic energy igniting in brilliantly beautiful arcs, countless light particles drifting weightlessly through abyssal darkness like falling ash, collapsing stars blossoming in the void like flowers sculpted entirely from flame—vividly illustrate the quantum mechanics that govern the universe, thus allowing the audience to experience the world exactly as the protagonist does: in subatomic and cosmic terms.

The music and sound design are likewise sublime. Initially, the score is a chaotic jumble of isolated strings and chords accompanied by the occasional electronic drone or metallic clang. As the Manhattan Project nears the completion of its goal, however, this cacophony gradually evolves into a more conventionally harmonious (albeit also subtly foreboding) symphony—like basic elements forming complex chemical bonds, or disparate scientific disciplines uniting under a common cause.

These stylistic flourishes are enriched by their absence in scenes set outside of our hero’s subjective point-of-view. The subplot revolving around Lewis Strauss, for example, is presented entirely in black-and-white, reflecting his narrow, mundane, unimaginative perspective. He doesn’t care about the moral repercussions of Oppenheimer’s theoretical research—just the concrete results of its practical application (particularly with regards to how the nuclear arms race might advance his own political ambitions).

In this context, it’s hard to interpret the movie as anything other than a metaphor for Nolan himself; in an industry cluttered with derivative, formulaic blockbusters that reduce art to “content,” he remains one of the few mainstream filmmakers whose work feels fundamentally cinematic. Through editing, he deconstructs and reassembles narrative structure, transcending physical space and linear time. His spectacle is neither empty nor obligatory; every maximalist frame serves a clear thematic purpose. Even his expository dialogue is akin to poetry—not a single word is wasted; each line is propulsive, pushing the story relentlessly towards its inevitable conclusion.

Oppenheimer ends with the title character shutting his eyes in a desperate attempt to banish the nightmarish prophecies of Armageddon that torment his psyche in the aftermath of Hiroshima and Nagasaki. The A-bomb is his masterpiece, his magnum opus, his crowning achievement—and that terrible legacy will forever haunt him. In adapting his cautionary tale for the silver screen, Nolan, too, attains a measure of immortality. Epic, intimate, and powerfully humanist, Oppenheimer is a genuine tour de force. Biopics and historical dramas are a dime a dozen; this, on the other hand, is one in a million.

[soysaucevictim]

Just to highlight what I was talking about and not to derail that post too much. Here's the ending chunk of "Spoiler Alert":

If you’re in the Bible, it ends in Armageddon. If you’re in the Y2K, it’s less upsetting. If you’re living in the 80s, spoiler: gay Wham! Space ships can blow up. Trickle-down economics is a scam, but you’ll figure that out. I don’t want to wreck the ending for you, make you pout. …in the future, do not do what you do. If you’re in the French Revolution, I warn it won’t last. If you’re in the Kennedy clan, beware a muzzle flash. Airplanes, also, quite often destroyed them. And if you’re a Lennon, there’s a Chapman. Avoid him. Boy when I’m spoiling the ending you frown. No empire lasts forever, go to town, but if you’re old Rome, look out for that Nero. In case you’re a countdown, look out for zero. Any time you’re a ticking bomb, explode (and nobody make it out except Horatio), ‘cause every peanut brittle’s got a snake inside and Jacks-in-the-box, meant to startle, pop high. If you didn’t know already, I’ll apologize. Peek-a-boo’s a game; it’s a trick of the eyes, not a bending of reality itself. Spoiler for infants: adults use stealth.

Also, it's amusing to dig at infants still learning about object permanence. (Playing games like peek-a-boo with them actually IS good for their cognitive development on many levels - besides that spatial skill it's also a social exercise!)

[tigstripe]

Re: Armageddon and "the Talk" with Mia

Because evidently we need to have a discussion about why what Iris said isn't just the Flash writers slamming Oliver (again).

[thinkolicity]

Mia on TF Armageddon p. 5

In case you missed it (or just didn't watch 💀) Mia did nothing relevant on The Flush. She was just a tool to attract Arrow viewers and, probably, conclude the Armageddon event with a boom in ratings.

Remember when they said Larry needed her help to prevent disaster, well, in short:

She was searching for William (who's been missing for 2 years) and idk caught someone's "force signal" (Thawne's?), followed it/jumped in a "time window" (?) and ended up in 2021 Central City.

At Team Flush's headquarters they discussed how to stop Thawne. Mia wanted to kill him.

Got a condescending pep-talk from Irish about how Oliver thought the same thing, that killing was necessary to protect his city but ended up "ruining his life" and that's why Mia is afraid to go see her mom?? Like girl whaaaaaaaaat SHUT UP you're talking about the man who, among other things, died to save your pathetic brotherhusband. You know nothing. This b*tch istg. Mia told her the one who's afraid is Irish-fracking-Allen herself bc she doesn't have the balls to kill Thawne after he killed Joe, almost tricked her into marrying him etc and could possibly still ruin her life in the future if she lets him live. Queen™.

Pissed-off Mia got possessed by Despero bc he wanted to kill Thawne.

While Larry was off dealing with Despero, Mia tried to kill Irish, Frost/Caitlin & two others uknown to me. The girls managed to make Mia un-possess herself.

Larry & Co decided to defeat Despero by disconnecting him from the time-force or whatever and take away Thawne's speed to save his life. Larry did it. Thawne then went ballistic bc his speed was his life and by taking it away it's as if Larry killed him. Larry can't do nothing right.

Afterwards, they all glammed up and went to a bar (?) to celebrate Larry's accomplishment. Irish called him a hero. Obvi. Best sisterwife ever.

Now my fave bit: Damien Dahrk appeared at the bar. Mia produced a knife out of thin air, put it against his throat and said "I know what you did to L*urel L*nce" and got all vengeful about it. I was like BABY GIRL YOU DIDN'T EVEN KNOW HER how about you get mad about, idk, YOUR OWN MOTHER who got shot and ended up paralysed because of him?? My tweet lamenting this brought out the Lollies who told me I'm dumb bc Felicity's alive and LL is not and Mia knowing how close her parents and the team were to LL/read about her/was talked about her/whatever + knowing Black S*ren justified her rage. Nah. Her mother and her trauma should take precedence over her father's unknown ex gf.

After this, Irish gave the hozen back to Mia and said that her super speshul source guy had connections and was able to match one of the symbols on the hozen to a symbol...somewhere else so this can help Mia find William. Somehow. So you really want to tell me nobody on Arrow - Oliver, Felicity, William, Mia herself maybe cuz she's not stupid - never bothered all these years to decode/translate the symbols on that stone like, out of curiosity? I have to laugh. I mean think about it. Mia's had that stone for two (2) years and NEVER ONCE thought about using it to find her brother? Knowing the stone was his? 1+1? Nooo she had to wait for Irish's genius brain. Well thank gOD for her 🙄🙄 give me a breeeak.

Then I guess she went back to her own time but I don't remember. No wait she mentioned she needed a hacker and knew a pretty good one so I guess she went to visit Felicity and her 2yo self ;-; Or she could even "summon" her in the future maybe Oliver too we'll never know ;-;

That's it. Pretty underwhelming if you ask me. Plus the usual shitting on Oliver to prop up Welshalley, the wondrous couple.

Kinda frustrating how they keep portraying Oliver as a cold-blooded killer, a monster full of darkness, who always did the wrong thing by killing and brought all disgraces onto himself blah blah just to inflate the notion that Larry is the morally superior, innocent ray of sunshine, the "true hero" like Cecile I think called him. As if him messing with timelines for his own selfish reasons, erasing lives, is totes ok 🙄

Was nice seeing Mia again though, despite everything. It was like coming home :3

[thaddeusthawne]

You mean to tell me Caitlin finally gets to confront thawne????? I’ve been waiting for this since the season 1 finale 😭😭😭😭😭😭

[morganupstead]

okay i really did not think that the flash armageddon was going to be as good as they were trying to hype up, but i was so freaking wrong

my heart hurts and it's not even half over

[thetyifs]

The W in Wildmoore stands for winners because that is what we are.

In every timeline, every universe, Ryan & Sophie are soulmates. No matter what angst awaits January, I can rest well knowing I’m watching the events that lead to their wedding & adopting.

[thundergrace]

[sharpe-lances]

“The Injustice Protocols were put into place for a reason, to protect the world when one of us goes rogue.”