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itsclydebitches · 4 years ago

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RWBY Recaps: Volume 8 “Ultimatum”

Welcome back, everyone! We had an unexpected break last week due to the horror going on in Texas. I'm glad we did. Not because of any salty "RWBY is bad right now yay free Saturday" feelings, but because keeping to a schedule for a fictional webseries should never take precedence over peoples' safety. I can't believe I need to type that sentence out, but it's true! Over the last seven days I've seen fans who are not merely disappointed by the mini hiatus (understandable) but outright hostile towards the crew because they... were ensuring everyone survived during an unprecedented emergency? Yeah. Given the highly critical nature of these recaps — including today's! — I want to be clear that my thoughts towards Rooster Teeth's creative choices are distinct from any thoughts about the crew itself, including the most basic forms of compassion like, “I sure hope everyone is okay over there.” In an age where it has become horrifically common to harass creators and even send them death threats over stories, it has likewise become necessary to remind people: Don't do that shit. Never do that shit. If I can teach anyone anything at all, let it be that!

Anyway, dark fandom reminders out of the way, let's dive straight into our delayed episode. It was certainly a doozy. Titled "Ultimatum," we open on a trigger warning for flashing lights. Good on Rooster Teeth for including that, though I do wonder if creators shouldn't be including time stamps as well? Or perhaps a note that you can find those time stamps in the credits, avoiding any (minor) spoilers for everyone else? I'm not photosensitive myself, so I certainly don't mean to speak for that group, but my first thought was, "So how would I watch this episode if I was? Hand on the pause button, hoping I stop fast enough as soon as the lights start?" Hard to do given the surprise nature of the scene. Really, my answer would be, "Wait for the fandom to post warnings of their own, likely including where it happens so I know when to skip" which is perhaps an indication that this information that should be included from the get-go.

But I am glad the warning exists, regardless. The episode itself begins with a shot of Ironwood looking down at the kingdom. He's used his windows as a vantage point since Volume 7, so that's nothing new, but something about this particular shot reminded me of Ozpin, looking down from his tower. I'm sure the response from many would be simply, "Ah yes, the two power hungry dictators watching over their victims," but I think there's a much more nuanced reading here about leaders being expected to fix the literally unfixable and what that responsibility does to an individual. Of course, it's a nuance that is absolutely obliterated by the episode’s end, but the implication existed for a hot second!

Two other soldiers are in the room with Ironwood, reporting that Cinder has helped Watts escape. They try to soften this with news that they still have Jacques in custody, but receive only a, "I don't give a damn about Jacques Schnee." Which, fair. He's pretty useless at this point. It's when Ironwood learns that both Qrow and Robin escaped too that he really gets mad, something his subordinates have been expecting given their scared expressions.

Now, I'm treading lightly here because I realize how this is going to sound given the end of our episode, but I still want to note that outside of that ending... this is a weird take? Just hear me out. Since Volume 7 the show has worked very hard to make Ironwood seem scary and unstable — bad setup for what we end with today — but the problem is that none of it works in context and it certainly doesn't work when compared to other characters' actions. They are literally in the midst of an unwinnable battle and thousands of his people are dying. If the audience wants a human being — who also just lost a limb and was betrayed by half his allies — o remain perfectly poised and polite during that, sorry, but that's not how human beings work. But even beyond this, what’s the message here? Ironwood raises his voice, so does Yang. Ironwood hits his desk, Qrow hits a child. If we're going to examine how Ironwood handles his stress and anger, he often handles it better than many of our heroes. Namely, by continually taking that anger out on inanimate objects. I kept waiting for him to attack his subordinates or attack Winter this episode, especially given where we end up, but it never came. Ironwood always has enough control to break the desk or punch the wall, not the person in front of him. Which, of course, would not be a good thing in the real world. I want to be clear given these sensitive subjects that if someone is breaking things in your presence that's a major problem to address. But this isn't the real world. This is a fantasy world in the middle of a war, populated by other characters who express their anger by punching people, slamming them into walls, or screaming at them until they run away. The story wants us to fear Ironwood long before he makes his objectively horrific choices and it tries to achieve that by showing us characters who are clearly terrified in his presence, by giving us a string of broken objects in his wake. But those details don't land well when we compare them to other instances of stress. In the same volume I have watched Ironwood take a deep breath to calm himself down when things have gone horribly wrong. I've also watched Weiss start a conversation by threatening her defenseless brother. So again, what’s the message here? It can’t be that acting violently towards someone = villainous behavior because, as established since Volume 6, that’s common for the heroes. Why are these subordinates terrified about Ironwood slamming his fist on a table, but Whitley has no problem hugging the woman who threatened him? Obviously there is a HUGE difference between our main group and Ironwood when it comes to other actions (cough-bomb threats-cough), but these day-to-day moments don't match up. The show wants to use violence as a way for us to easily identify the Bad Guy while ignoring all the times when our heroes do the same thing.

All of which isn't meant to be a defense of Ironwood. As we'll see in a bit, there is no defense for what he's done. Rather, it's a way of acknowledging just how badly he's been written. Why does a man who consistently reins in his anger and takes it out on objects suddenly shoot a councilman for literally no reason? Why does a man defined by wanting to save as many people as he can suddenly threaten to bomb his city? Ironwood's characterization is all over the place, in the sense that they keep writing him as the morally gray, sometimes harsh, but ultimately compassionate man he started out as... up until they need a villain. Salem isn't here yet, so Ironwood can shoot Oscar. Salem isn't attacking yet, so Ironwood can shoot the councilman. Salem is currently reforming, so Ironwood can threaten YJR and Mantle. He's the B-plot villain whenever Salem is out of commission, which is a problem for both their characterizations. This filler doesn't make sense for Ironwood and it severely undermines the threat of Salem. You finally introduce the Magical Big Bad and our heroes are facing more of a threat from a guy with a broken army and three loyal allies left? Hmmm.

The tl;dr is that Ironwood's arc is a disaster and, frankly, it's gotten old reading simplified takes of, "It's just a realistic look at what white U.S. men will do in power sweetie :) " RWBY does not have the context capable of conveying that sort of critical take because our world is not besieged by literal monsters and an immortal witch, to say nothing of how real life good guys do not get deus ex machina canes that fix the problem instantaneously. Ironwood is not an example of anti-U.S. imperialism, he's an example of writers who don't know how to write.

Anyway, I'm getting severely off topic. Obviously Ironwood is a major part of this episode, but the problems demonstrated here are two years in the making. This is the culmination of things I've been discussing for months across hundreds of posts... so I should probably stop trying to summarize it all in a few paragraphs lol. Perhaps when RWBY is over — or Ironwood has died — I'll do a single meta on his character, try to pull everything into one, unified argument.

For now though, we have an episode to analyze.

While Ironwood is receiving this news we get flashbacks to Qrow and Robyn. Qrow attacks a soldier in his bird form, which is hilarious. Someone GIF that please. It does raise some interesting questions about this magic though: does Qrow retain his aura and strength in this form (something I thought given his choice to transform during the explosion), or was that soldier just so shocked at being attacked by a crow that he went down easy? We'll never know, because that would require establishing concrete rules for this world. The point is Qrow is going feral in his freedom, throwing punches left and right — did he kill that guard? — while Robyn watches it all from under a rock. They're apparently still somewhere in the facility since all the exits are guarded, but that's not the good thing Ironwood seems to think it is. After all, Qrow is out to murder him. He wants to be there.

We all see where this is going, right? The show is going to ignore Qrow's crazy belief that Ironwood got Clover killed in favor of a "Qrow saved Mantle by murdering Ironwood"/“Qrow got revenge for Mantle by murdering Ironwood” ending. Who cares why Qrow wanted to kill him in the first place now that Ironwood has his finger on the trigger? If RWBY is good at anything, it's writing moments that encourage you to ignore everything that came before it. We'll be seeing more of that in just a bit.

"Damn it!" Ironwood yells, because the show is leaning into its cursing. He orders that the subordinates not return until "you have Qrow Branwen in custody." Here we have another great example of the show conflating what the audience knows with what other characters know. See, we know Qrow has a vendetta against Ironwood. We know their relationship is the important one to the story and that Robyn is incidental. Ironwood doesn't know that. There's no reason for him, as a character, to specify that they only bring Qrow back, but it makes sense for the audience who has the whole, thematic picture. Our understanding of the situation is influencing Ironwood's dialogue, which is... not great.

This entire scene we've had creepy music to hammer home just how evil Ironwood is. Except, as said, he takes a breath to calm down and the music fades. Instead of flying into a rage, hurting someone, or doing anything the music suggests he might, Ironwood calmly calls in for an update — which is when the explosion hits.

It's MASSIVE, seeming to originate from a lightning strike, which is weird, since it's coming from inside the whale, but whatever. The animation is very dramatic and pretty, as we've come to expect of RWBY, but the actual plot is lackluster at best. It's funny though because I thought for a hot second, when Winter and the Ace Ops were caught in the blast, that RWBY had actually done something exciting. I mean, holy shit! There are the deaths we expect from a battle like this. My god, what is everyone going to do when they realize that Oscar's needless attack took out five characters, including Weiss' sister —

No wait, never mind. They're fine.

Let's talk about that "needless" descriptor for a moment though. Do you all remember, two weeks ago, when I went, "Hey, why isn't anyone telling Oscar that that Ace Ops are approaching with a bomb? They're on a time limit! If someone would just mention that Very Important Information then Oscar wouldn't keep standing around to fight Salem." See, at the time I was frustrated because of how the plot was needlessly allowing Oscar to put himself in danger (especially when the whole point of this mission was to rescue him). Now, I'm frustrated because that same plot needlessly wasted the most powerful weapon the group had. There was no reason for Oscar to use literal lifetimes worth of stored energy when the heroes already had a bomb to do the same job! What was the point of that? I guess he took out the other grimm too, but without the whale that still would have been a challenge with a finite end, one Ironwood's army and the remaining huntsmen should have been able to handle. It doesn't feel justified to have Oscar use a weapon kept on the bench for lifetimes when there was another option literally minutes away.

There's so much wrong with this I need another list. So:

Ozpin's cane supposedly stores kinetic energy, which may contradict what we've seen from it before. Regardless, we’ve never heard about this. The all powerful weapon comes out of nowhere

It also begs the question of why Ozpin wouldn't use that power at Beacon and why he wouldn't insist that they try to get their cane back while captured. You had an out this whole time! But we’re going to ignore that because Oscar is a little hesitant?

Which makes YJR's presence even more useless than it originally was, which was already pretty useless. Oscar essentially rescued himself

This kinetic energy miraculously doesn't hurt any people or buildings, just grimm

So what is the point of Silver Eyes? That's been their MO since they were first introduced. Sure, Silver Eyes can be used far more often than Ozpin's cane, but it still feels like a let down to learn that the Big Secret behind this weapon is... the exact same thing Ruby has been doing for years

Like Ruby, Oscar likewise didn't need any practice or training. He just set off this massive attack perfectly and without issue

We have now eliminated the biggest threat to the cast instantaneously — the whale and the other grimm — with no effort from the rest of the heroes. Like the Hound, the stakes are obliterated with no satisfying work on the part of our protagonists

Instead, as said, the actual plan already in place never happened. The bomb just... goes back. Kind of like how Cinder attacked and then just went back to Salem. Penny woke up and then just got knocked out again. We continue to go in circles

This is because no one took two seconds to tell Oscar, "There's a bomb on the way"

Because this threat is gone the show needs a new one, hence Ironwood randomly threatening Mantle with said bomb

The one way we might have justified Oscar blowing up the whale instead of Winter is if he did it to save Hazel, but Hazel is implied to be dead

Maybe he's alive, but if he's not that happened off screen and we're not sure how. It couldn't have been because of the blast itself — everyone else is fine — so what, Salem somehow killed him before she was blasted to bits? While he was holding her?

And there's no body?

Salem was torn apart multiple times during that fight and reformed instantaneously, yet now, conveniently, she's taking her time

None of the characters mention the issues above. None of them admit that there was no reason for Oscar to waste LIFETIMES worth of power when they already had a solution in the works. Fantastic

I need to take a moment to acknowledge that so far this recap feels... bad. Disjointed. Bit all over the place. Which makes a certain amount of sense because that's where my thoughts are at. There's so much going on in this episode — so much wrong with it — that I don't know how to boil it all down into a few, neat claims. This episode is a mess! We're barely a few minutes in and the combined issues of Ironwood's characterization and Oscar's choice have left me reeling. So if you're still reading this, bless your patience, I think we'll both need it for the rest of this journey.

Let's snag a neater plot-point to discuss. Amidst all the chaos Neo literally skips away with the Lamp, clearly thrilled at how her own life is going. Later in the episode she'll text Cinder with the obvious: Salem is going to be pretty pissed when she realizes this is gone. “If you want her name you know what you owe me."

So wait... what is Neo leveraging here? Is she agreeing to give the Lamp back so Cinder doesn't get in trouble with Salem? Give Salem the password she's been looking for? Or give Cinder the password to use the Lamp for herself? What would Cinder even want the Lamp for when she's after the Maiden powers? I'm confused about what Cinder is being blackmailed with. Regardless, she needs the lamp for something and presumably what she "owes" Neo is Ruby. We get a cut to her just to hammer that home.

(Side note: both pictures of Neo are hilarious.)

Before that though, back at the whale, everyone is taking stock of the situation when Marrow cries, "Hey, they were still in there!" I feel like this is another scene meant to make him look like the one good guy in the group — he cares about YJOR while the others can’t be bothered — but as always, that reading doesn't fit well with the situation as a whole. The others have barely had time to realize they're alive. I don't think it's a moral failing that they didn't instinctually worry about four betrayers, one of whom attacked them, while they're still checking that they have all their limbs intact. Besides, why does Marrow assume they're dead? The Ace Ops were caught in the blast as well, yet miraculously came out unharmed. They clearly didn't set their own bomb off, so it's logical to assume that YJOR did something themselves. It feels weird to have a "Marrow mourns them and Winter is the only other character who cares" moment when everyone is recovering from bomb shock and no one even knows if the others are dead. But, of course, the show is out to portray only two of these characters as good people, so ignore the logic and run with the emotion of the scene.

All of which is bolstered by Elm pulling away when Vine puts a hand on her shoulder. Why is she acting cold towards him now? Because they're not friends, remember?

While we get more ridiculous relationship dynamics, Ironwood calls in and congratulates them on the bomb working, but tells them to get back because they have another problem in the works. That would be Qrow and Robyn. Winter decides to tell him about the bomb in person.

We cut to Watts and Cinder watching the remnants of the blast from a rooftop. Cinder has tried calling, but no one answered. Unsurprising, given that Salem doesn't have any other allies left. Cinder says that the plan hasn't changed, she's still going to take the Winter Maiden's power for herself, and Watts can help her by bringing Penny here. He explains that he doesn't have full control over her. Rather, he implemented a virus that is setting her on a single path: open the vault, then self-destruct. Cinder, as one might expect, is furious.

She snags Watts by her grimm arm and threatens to toss him over the side of the building. Thus begins the best part of the episode, hands down. Despite the danger he's in, Watts throws common sense out the window in favor of dragging Cinder in the most satisfying manner possible.

“You think you’re entitled to everything just because you suffered, but suffering isn’t enough. You can’t just be strong, you have to be smart. You can’t just be deserving, you have to be worthy! But all you have ever been is a bloody migraine!”

It's true! You know what else is true? This speech could apply to our heroes as well. Accusations of entitlement and reminders to be smart as opposed to just strong hit hard, considering those are the same flaws our protagonists are struggling with. The difference is that Cinder, miraculously, listens, pulling Watts back to safety and going to cry by herself. That moment is simultaneously more growth than Ruby has gotten and more sympathy than Ironwood has gotten. The woman who murdered Pyrrha is treated more kindly by the narrative than one of our initial heroes and our very first villain has taken more time to reconsider her choices than our title character. You know a show is falling apart when excellent choices are applied to the worst possible character.

So Cinder is crying while Watts looks guilty and we cut back to YJOR's group post-blast. Yang is finally able to answer a call from Blake who is obviously overjoyed to see her. Weiss gives them directions to the mansion and they ask what in the world they'll do with Emerald, currently on her knees, mourning Hazel.

Thus begins the third most frustrating part of this episode. See, on the way back the group continues the conversation about what to do with Emerald, with Yang and Jaune distrusting her vs. Ren and Oscar encouraging cooperation. I can't believe I'm saying this after's Ren's speech and Oscar's entire existence... but I'm team Jaune and Yang here. Look, what Oscar and Ren say — the literal words coming out of their mouth — is nonsense. Ren goes, “We can’t let all of our actions stem from fear," as if Yang and Jaune are being ridiculous for mistrusting Emerald, one of the established villains, after years worth of harm from her. It’s weird that Yang points to her arm as something Emerald is responsible for, rather than being framed or the deaths at Beacon, but the general sentiment of, “She’s done horrible things!” is true. Ren’s perspective is the same simplification that was applied to Ironwood last volume, wherein everyone acted as if he was crazy for fearing an attack on his kingdom... post an attack on another kingdom and pre an attack on his kingdom. Putting generic lines in Ren's mouth about not being afraid makes him sound willfully ignorant, as if choosing to believe that someone is good will magically make them so, to say nothing of thinking it will erase all the harm they've already done.

Oscar at least acknowledges the difficulty here, but then follows this up with, “You don’t have to forgive her… just give her a second chance."

Oscar, honey, that amounts to the same thing in this situation. Allowing Emerald a second chance means working with her, which means trust, which means emotionally reaching a point where these characters can put aside the harm she's done them in an effort to give her that chance in the first place. This actually ties into a post I saw last night, one I've come across before, that claims redemption arcs don't require any suffering on the part of the person who has done wrong. I agree in theory, that prolonged suffering doesn't help anyone, but the problem is that people tend to conflate suffering with consequences and someone who has done this level of harm should face consequences for their actions. The problem with redemption arcs is not that the bad people suffer too much — emotionally and physically beating on them as a form of revenge — but that the people they've harmed are put into situations like this one. If Yang and Jaune let Emerald go like she suggests, they are agreeing that she doesn't have to face any consequences for the damage she's done (which, keep in mind, involves multiple deaths, not including all the lost lives here in Atlas). If they agree to give her a second chance, they are forced to jump straight to some level of forgiveness. We might claim they don't have to forgive Emerald to work with her, but from a practical perspective how are they meant to function, especially during a warzone? Anything she provides them with — information, watching their back in a fight, undertaking missions, etc. — requires trusting her enough to allow those things to happen: working with that info, letting her protect them, allowing her that responsibility. It's all about trust, trust she has yet to earn. In order for a redemption arc to be successful, the power has to be in the hands of the victims. They need to be able to see some justice for what was done to them, be offered some proof that the person in question has truly changed, and have the ability to walk away if they decide no, I don't forgive you, glad to hear you've improved, but please stay out of my life. Jaune and Yang have none of that. There are currently no systems in place for Emerald to face consequences for her choices, she has offered them no proof of her remorse or true motivations, and the other half of the group is pressuring them to give her that second chance without closure or reassurance. None of that makes for a good redemption arc and reducing that to, "So you want to see poor Emerald suffer, huh?" ignores the suffering she has already caused. The group are her victims and they are under no obligation to give her a second chance, particularly under these circumstances, which makes the story's choice to have Ren and Oscar act like Yang and Jaune are being stubborn or inconsiderate a problem. The conversation boils down to, "Give the woman you know to be a liar, manipulator, murder accomplice, and servant of our enemy a second chance based entirely on unfounded faith. If you don't you're letting yourself be ruled by fear."

RWBY's touchy-feely themes really don't sit well within its realistic, morally gray premise. We cannot continually have these characters go through hell one moment and then have others accuse them of being paranoid the next. The fact that all of this is wrapped up in the group trusting Robyn, Emerald, and Hazel over their established allies remains beyond frustrating.

Because yeah, you know how Oscar finishes his speech? “I’ve already gotten a lot of help today from someone I don’t exactly trust right now." Meaning Ozpin.

The story is trying to compare Emerald and Hazel to Ozpin.

"Oh hey, I kept a secret from you after lifetimes of watching that secret lead to betrayal and death. I keep apologizing for my mistakes while ignoring that I had no reason to trust a bunch of kids with such world-shattering information and also that you tore it from me in the most traumatic way possible."

"Oh hey, I willingly joined our world's version of the devil and helped her destroy your school, leading to numerous deaths including your friend and headmaster. It was his death that put Oscar in this position in the first place! I then continued to attack your group, leading to another near death of a friend, and a kidnapping, and the destruction of Amity, until I became scared enough to make a run for it."

Which one of these characters is granted an instant second chance? You'll never guess who!

And I do think the word "instant" is important here because just like Jaune and Yang have the right to have distance and justice from Emerald, they had that right with Ozpin too. The difference is they got it. They had the power in the situation, as evidenced by their use of the Lamp and physically attacking him. Ozpin heard what they needed from him — leave us alone — and did that without complaint. They were given months to come to terms with the secrets he kept. They were offered apologies and acts of service to demonstrate intent: saving them in the airship and continually saving Oscar. I don't believe Ozpin ever needed a redemption arc, but even if we think he did, he had it. After three volumes of material Oscar's perspective is still "I don't exactly trust [him] right now" but Hazel and Emerald have earned at least the same amount of trust in a matter of hours? They're really having my boy look at the guy who has tried desperately to do right by him despite unimaginable circumstances, and the guy who tortured him to get information for Salem, and went, "That first guy. He's the one we need to watch out for."

To make things even worse, Oscar tells the others that Ozpin took on all the torture so he wouldn't have to. So he did that and they still don't trust him? If you had told me back in Volume 6 that two years later the group would still be hostile towards Ozpin, while simultaneously urging one another to trust Emerald, I would have said you were lying. RWBY has its problems, but it's not that bad. Yet here we are. I suppose the one silver lining here is that Ren smiles when he realizes Ozpin is back? So at least one of them isn't prepared to draw their weapon at the mere mention of his name.

Both these moments raise more questions though. How in the world did Ozpin take on that torture when we clearly saw Oscar getting pummeled for a good portion of the kidnapping? Is that a weird merge thing the story hasn't bothered to explain? I wouldn't be surprised, considering Oscar said last episode he didn't want to use magic because it hastened the merge, he uses the biggest explosion of magic we've ever seen, and nothing has changed. Ozpin is still in the back of his head, thanking him for the tinniest shreds of decency they get. Ren, meanwhile, seems to be back to mindreading. How in the world does he know that Ozpin is back? I assume it has something to do with his semblance, but we don't know what. They could have shown us Oscar from Ren's perspective, perhaps with two distinct emotions swilling around to imply that he sees two different people now, not a useless shot of Emerald with purple flower petals, whatever purple means.

Oh, but no, we shouldn't have gotten either of these scenes. Remember that Ren's aura broke a very, very short time ago? Is it back already? Can he use this part of his semblance without it? Considering it was near impossible to see Ironwood's aura breaking in the Watts fight and we were then mistakenly told he used his semblance in the office, I'm going to go with, "The writers forgot."

Oscar explains that the cane had "lifetime after lifetime" of power in it and though there's still some left, "we have to be careful with how we use the rest." He says that Ozpin trusted his judgement and of course he did! Ozpin also didn’t know that there was a bomb on the way. Yet funnily enough, no one else mentions that, whoops, your choice made in ignorance was a waste and that's due entirely to us prioritizing hugs over basic mission information.

Also, all these explanations take place in front of Emerald. Half the group doesn't trust her, but they'll freely discuss their powers and limitations here. Remember how the group once wanted to talk about magical relics in front of the old lady they'd just met? Yeah, they've learned nothing.

Combine all this insanity with the fact that Ozpin's magic saved the day before Ironwood's bomb could do the same... while Ruby sat in a mansion drinking tea. Who's our hero again?

So things are a hot mess, to put it lightly. Their conversation finally ends when they hear voices and round the corner to find all the Atlas citizens huddled in the subway. For once the show actually writes them in a sympathetic manner, emphasizing how terrified and helpless they are. This image doesn't lead the group to any revelations though, certainly not anything that would tie back to Ren's earlier speech in the snow. No, once again the justified criticisms here are ignored as we hear that “However this fight ends, we could really use someone like you, [Emerald.]” That's it then. Discussion over. We knew as soon as it started that blindly trusting her was being presented as the "right" thing to do and now here we are, deciding that conclusively, despite Jaune and Yang's complaints. By the time the group reaches the mansion, Oscar is defending Emerald from Ruby. We're supposed to just accept that she's a part of the group now, only minimal pushback allowed.

Before that though we return to Ironwood getting news that their bomb never went off. He briefly wonders who else could have done that, but puts the currently unanswerable question aside for what he does know. They still have the bomb and it could be "useful." See, this moment — like shooting Oscar and the councilman — is when Ironwood just randomly goes off the deep end. One minute he's talking about what they've lost and cradling his new arm,

the next he's saying that he should have tortured Qrow to get Penny to obey him! Which doesn't even make sense since I'm pretty sure Penny hasn't ever spoken to Qrow. She wouldn't want anyone to suffer, true, but it's not like Ironwood had a close friend like Ruby to use as leverage. Qrow is just Some Guy to her. Regardless, he thinks Yang, Jaune, and Ren are decent replacements, despite Penny also having no relationships with them. This is what happens when your characters only start breaking up their teams eight years into the story, the response to Ironwood wanting to torture Ren to hurt Penny is, “Does Penny know Ren exists?” But, you know, torture is torture, right? Maybe. Probably not. I mean, if they're going to turn Ironwood into a cartoon villain, they could at least keep him smart.

Because all of this is just the height of stupidity. Ironwood wants to torture people Penny barely knows to make her listen (so just grab some civilians? It would do the same job...). Ironwood wants to shoot down empty ships, even though no one, including us, knows where in the world those ships would have gone. Ironwood wants to destroy an entire city to try and save another city. He wants to use a bomb meant for a comparatively small whale and acts like that alone will take out the majority of a kingdom. None of it makes sense! And I know the easy comeback for that is, "Well yeah, Ironwood is crazy and evil" but he's not. I mean he is. Threatening torture and bombings is obviously evil, but he's never been insane, or stupid. As said before, his arc (or lack thereof) is an absolute disaster. The fandom assumes so many things about Ironwood given the opportunity — the whale is a suicide mission. He expects the Ace Ops to die on his order — and the writing hints at so many things that never happen — he's going to hurt his subordinates, attack Winter for disobeying him — and every time what we actually get is a far more compassionate, level-headed character... until he randomly does a 180 and goes, "Let's murder a whole city now!" I never wanted Ironwood to be the bad guy, but they could have at least given me a persuasive decent into this level of horror.

So... yeah. Ironwood has got to die by the end of the volume, yeah? Between Ruby warning the whole world about him and him going into full villain mode, there's no coming back from this.

Neo sends her text to Cinder and the group makes it back to the mansion. Remember Yang's criticisms of Ruby's leadership? The ones she conveniently forgot about when Ren started to agree with her? Yeah, those are entirely gone as the sisters hug it out and, presumably, forgive one another for... daring to admit that things are bad? Look, I'm not going to deny that Ironwood's scene with Winter was creepy as fuck,

but I'm not of the opinion that the heroes are any better when it comes to the theme of obedience. They've attacked one another, screamed at one another, and any dissent from Ruby's leadership results in the questioner being left behind in the snow. We'll accept you again when you fall back in line. I used to adore the relationships in this show, but watching them now is just discomforting. The show might be 100% more obvious with Ironwood, using creepy music, a smile, and that hand on Winter's shoulder, but the concept of, "Sorry I dared to question you before! We won't ever do it again :)" isn't healthy either. The fact that the show keeps erasing theses problems with hugs — Weiss hugs Whitley now, Yang hugs Ruby, someone will probably hug Emerald soon — doesn't make the circumstances any less uncomfortable.

None of this even gets into the Blake and Yang hug. First of all, why is Blake acting like they had a fight and Yang might not want to see her? She's hiding inside rather than rushing to greet them, ears down in a devastated expression until Yang touches her. Combine this with Yang's "Do you think she's mad at me?" and it feels like the writers cut a fight in the final script and then didn't bother to remove the fallout from that. Seriously, where did any of this come from? You can't just have characters act like they've been fighting when they haven’t.

Also, can't forget this.

At this point there's nothing more I can say in regards to RWBY's almost-queer baiting. Is touching foreheads more intimate than the hugs Yang gave the others? Absolutely. Is that an appropriate stand-in for overt representation? Absolutely not. This would have been a perfect time for them to kiss. Take out Blake's nonsensical fear and replace it with them both reuniting after their first separation since Volume 5, working under the knowledge that either one could have been killed, finally admitting their feelings. Hell, they don't actually have to kiss. Not all girlfriends are interested in kissing! But they could use the terminology that makes things unequivocally canon. Another forehead touch when we got that in Volume 6? It's not enough, especially not when our straight couples have all been allowed their rep.

Ren at least wants to know where Nora is. He's presumably told what happened off screen as Oscar tells Ruby that Emerald is their friend now.

Then an emergency call from May interrupts the reunion and the group learns that Ironwood is bombing the Schnee ships. “Those ships… they were going to save people” Weiss whispers. How? Tell me how they were going to save anyone. Where were you going to take these people where they would be safer than where they are now? RWBY continually asserts things without explaining them, meaning there is precisely zero emotional weight here. Again, Ironwood is far past the point of defense, but I'd be a whole lot more critical of this particular action if I had a better sense of why it's bad. He appears to be endangering the people given May's shout to run — falling debris? — but the further implication is that Ironwood has doomed the people of Mantle by denying them these ships. It's that part that makes no sense based on what we've been told.

Which finally comes to the ultimatum of our episode title: Penny opens the vault, or Ironwood bombs Mantle. Great! So glad this plan is wicked smart and works well for his characterization. It's definitely not a nonsensical, unfounded, overblown change that feels like it belongs in a child's cartoon, complete with dramatic spotlight. Nope. Excellent writing choices all around.

Our final line of the episode is, “I hope you live up to the title I gave you," referring to Penny's job as the Protector of Mantle, and you know what? That line could have been very cool if it was delivered by an Ironwood with a persuasive fall and a halfway decent plan in place. I love that we've twisted the concept of a protector and turned the title into a horrifying, rather than honorable responsibility... I just hate everything surrounding those details.

So, usual RWBY fare.

(At least we get to see that Nora is awake!)

Will things get better over the next four episodes? I doubt it. We're still expecting the rest of the Ace Ops + Winter to ditch Ironwood, someone getting the vault open, the fall of Atlas, now the potential destruction of Mantle, and none of that includes Salem who should reform at any moment. Frankly, I'm not looking forward to any of it. The final leg of a season should make its audience excited to see how everything turns out, not dreading it. I've heard from multiple people that this is the volume that finally got them to drop the show and honestly? I'm not surprised.

As a final (happier?) note: we've finally got a bingo! I completely forgot our board last time, which was a terrible oversight, but we can update it now.

Our army of grimm can't kill anyone now that it got KOed by Oscar (that is the third one hit defeat of a major enemy we've seen this volume. Yes, I'm including the Hound considering it was obviously on its last legs after Ruby's eyes.)

I'm likewise including "Ozpin apologizes for everything including his existence" because he's done nothing but apologize since he came back. The emotion is there even if the literal words are not. Oscar reminded everyone of how untrustworthy he is, but kept the group from jumping them again. And Ozpin thanked him for it.

Neo didn't literally backstab Cinder (shame), but the Relic still counts.

So a triple bingo! Is that how bingo works? Idk, I've never played. I feel like I should have thought up some sort of humorous prize, but sadly I've got nothing. If you think of anything, let me know lol

That’s all then, folks. Until next week! 💜

#rwby #rwby spoilers #rwby volume 8 #rwby ultimatum #rwby recaps #mymetas

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baconpal · 4 years ago

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talkin bout fuckig manga

hey it’s me, haven’t had internet for over a week and i’ve been sick and uni and blah blah blah time for a rant about manga

this time its about "Soredemo Machi wa Mawatteiru", tl;dr, good manga read it idk

lots of bullshit below the cut

Before anything I say gets too confusing or I go off on an insane tangent, just know my recommendation is that you read "Soredemo Machi wa Mawatteiru". It's not very easy to find online since it has an official English release (which my recommendation extends far enough to suggest I might pick up in the future, just to have it, but I am very stingy), but there's an alright torrent of all the volumes on your local anime torrenting website, and is at the very least worth the trouble of reading as such. There is also an anime that gets better as it goes, but the manga is my primary recommendation. Beyond this point I'm not gonna give much regard to what I write, so get ready for anything, read the manga and see if you agree with me, or don't and see if I care:

BOUT THE ANIME: The SoreMachi anime is one of those rare comedy anime you find where the animation and overall production is just really extra the entire time. Hopefully you know what I mean because I won't really be able to explain it any other way, it's simply one of those shows where the jokes are decent and it's a fun time for the most part. Unfortunately, the anime makes a couple of critical missteps that kept me from getting far into it when I first tried watching it about a year ago, and in retrospect seem even less reasonable.

Starting with the good, as an adaptation it does a good job with most chapters it covers, it properly sources where each chapter comes from incase you intend to read the manga and skip around to catch up, and the anime adapts some sections to have additional jokes that fit very naturally in to the story. It also covers up some of those problems only manga can have like having a concert segment without any actual music involved, until they invent mp3-paper it's just something we'll have to live with. Translation work was pretty good (I watched the [WhyNot] release for those who care), which is extra important for something as difficult to translate as jokes from another language. The set of episodes they chose to end on was very good, and was expanded to be a lot more impactful in the anime. If it wasn't for the last episode being as strong as it was I may have given up on finding the manga when I saw it wasn't super easy to read online.

As for what the anime fails in, some episodes feature some really blatant over-acting that doesn't really help make characters believable, and there's this obnoxious gag that continues the whole where through where most scenes have a few seconds long line from what is essentially a forced mascot character, which usually mean nothing and only serve to harm the pacing of many episodes (there isn't even any sort of equivalent bit in the manga so I really don't know why they did it, most of the anime original jokes are pretty good so I just really don't get it). The biggest issue the anime faces is that the source material is about 140 chapters, while the anime is only able to cover 24 chapters. This comes with a LOT of problems, the first being what I'd call the "required reading". SoreMachi is not a 1-note simple comedy where you can skip to any chapter and be completely okay; There are many small but meaningful subplots lying beneath, and characters have a fair bit of development throughout. What this means for the anime is that the first 3-4 episodes are just the first few chapters of the manga, which are a bit rough and not as good as the majority of the work, which is true of a lot of comics (god fuck I promise there will be more than a first chapter of my comic I promise it'll get better fuck). In terms of the anime by itself, I'd say episode 1 is decent, 2 is middling, and by 3/4 their still taking a while to introduce members of the cast, and I didn't immediately want to finish it. I put the show down for a long time until my internet started dying and I wanted to watch something fun. Slapping it back on at episode 5 I immediately had a great time and watched the rest of the show pretty soon after. While I understand the reasoning behind doing this, the anime does not pay off this structure, as beyond the first few episodes, the chapters start being presented out of release order and out of chronological order, kind of destroying any consistent throughline. This decision in and of itself isn't the worst, since the comic isn't always chronological, and the volume ordering is a bit different from the release ordering, but the inconsistency makes the first few episodes feel lessened without reason. The other large failure that comes with only animating about 1/7th of the entire work is that many themes and concepts that are core to the manga are not represented in the anime well at all. One of the biggest is the rare but unnerving supernatural chapters, of which only one is animated, and not a particularly good one. In order to talk about these themes I'll have to transition into talking about the manga itself, since they aren't part of the anime.

DA MANGA: So one last recommendation that you read the manga, the whole damn thing. Cus we're gettin into themes and character moments that take a long time to pay off, and obviously is all part of my interpretations, so if that stuff means anything to you don't let me ruin it for ya.

The title of the manga is, in essence, the entire manga's "punchline" in that every chapter could meaningfully end with simply the text "And yet the town still turns..." (My translation of the title, fuck "And yet, the town revolves" or "But the town moves"); by this I mean most chapters end in an anti-climax where a mystery is left unsolved, or a mystery is solved and undercut by the realization that life simply keeps on going without much change. This is used to essentially force your eyes open to all possibilities when reading, as the main character spends her time acting like a detective, and these mysteries end up as either misunderstandings, secrets, riddles, and sometimes something out of the ordinary happens that makes you unable to pin anything down firmly. Similarly, these endings aren't always read-and-forget scenarios. Several chapters come back in the form of a continued joke, a continued mystery, or contribute to some greater purpose later. Readers are properly rewarded for keeping everything they can in mind, while also tormenting such people with loose ends.

I enjoy Hotori as a protagonist due to her character being defined not in flaws and strengths, but in mindedness. Hotori seems like a simple "haha she's dumb" character to start, but consistently throughout she proves that her strengths are in memory, observation, and deduction, while lacking in some more common sense and abilities. Her brain works in strange ways that some people may or may not understand, such as her need to think through even the most trivial fictional scenarios, which I relate to deeply.

The art and paneling throughout are wonderful. Ishiguro Masakazu is one of those artists who draws very simple characters, but knows how to use details and depth to breath so much life into the artwork. He also clearly uses the occasional supernatural happenings as an excuse to draw what he loved, as all sorts of artistic depictions of the supernatural come out that simply look satisfying. These parts obviously meant a lot to him since he's been working on a primarily mystery-action manga that has a lot more of that stuff in it. (Also, as hindsight is 20/20, if you've read any of his new work you'll notice that the main character of it is eerily similar to a character who shows up very late in SoreMachi that the author obviously fell in love with, cus she just keeps coming back and even ends up with a really unsettling end to her character arc despite only being introduced as a component in a harmless mystery. Feel free to call me out for the same shit 30 years from now when I'll probably do the same shit)

I'd like to get into some of the major themes of this work, as a lot of them hit very close to my mind (which I guess is true of any theme you recognize for yourself, you wouldn't really "get it" if it didn't mean something to you...).

The simplest theme, again, comes from the title. The main character, Hotori, expresses a desire that the town she lives in continues going on, unchanged forever. This is obviously a fear of change, which ya know, same, but also an exploration of what it means to fear change. Hotori actively tries to keep businesses from closing down, keep friends from leaving, and keep relationships from changing, while simultaneously making all sorts of new relationships and solving mysteries. Hotori even comes to realize that simply learning the truth about something changes the world through your own perspective, and that such changes can't be undone. In spite of this, Hotori mostly gets her wish, any time she fears that a large change will impact the town, its resolved about the same as any other issue. Whether its a message that even time can't keep you from your loved ones and that change isn't worth fearing, or a concession that large changes to the setting would be a bad idea in terms of humor, I can't really decide. This theme reaches it's conclusion in what is one in a series of "ending" kinda chapters at the end of the series. Hotori is faced with a supernatural ethical situation, save her town from destruction at the cost of her existence, or live through the disaster, knowing her town and the people in it will forever be changed. While the actual result is that nobody disappears and nothing is lost, and the event may have simply been a strange dream, Hotori confidently decides that sparing the people in her town from a life altering event is worth giving up her memories with them. A kind of bold spit-in-the-face to the idea that change is okay, where we find that Hotori didn't fear change for herself, but rather for the people around her.

There's another major idea in this manga, which takes a very long time to pay off, and completes its arc at the very very very actual end of the series, the idea of "leading someone to be something". A character that rides that line between main and side character, Shizuka, is a writer of detective novels, who feels the best person to judge her works would be a version of herself without the bias of being the author. She tries to achieve this by leading Hotori to be interested in detective works (including her own) and generally be just like her, starting from a young age. The end result is a young girl dead set on being a detective herself (or at least another novelist), while Shizuka keeps her identity as an author secret. She then uses Hotori as a scapegoat for herself, attempting to see how she would solve various mysteries and use that as inspiration, and this is depicted as though Shizuka were some sort of villain, which she may feel like she is. The end result of it all, though, is that Hotori was likely already a detective-minded person, and that even if Shizuka pushed her down that path, it was Hotori's decision to continue down it, and the very end of the manga is a scene revealing that Hotori figured out Shizuka's secret at some point, and even still respected Shizuka and aspired to reach her, and the two accept each other for who they are. I enjoy this ending a lot, since as an artist I've worried that some of my love or aspirations for and from other artists came with an ulterior motive of wanting a better community for art to exist in, but people are people and will make their own decisions, and some day everyone may be able to become equals in a truly meaningful sense, where everyone is inspired by and guiding each other together.

So that probably didn't mean shit to nobody and I didn't even really talk about anything in the comic like most of the main characters or any of the shit goin on but ya know fuck you go read it, and thanks for reading this.

#long ass post #also gonna have finals on my birthday this week so awesome #im having a good time this year h-haha

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gingersnapwolves · 4 years ago

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A collection of thoughts on the last arc of The Sleuth of the Ming Dynasty

First off, there was a lot, a LOT, that I loved

Obviously, Noble Consort Wan and her band of Badass Ladies was the Best Thing Ever. We love to see it. Also I really liked the way they showed her relationship with the Emperor over the course of the show, and how it was clear that she really loved him. Bonus points for her and the Dowager Empress supporting each other when it came down to it because at the end of the day, the Emperor is their priority so they’re on the same side.

The return of the Yu siblings! Nice to see them living their best lives at the monastery, away from political bullshit.

Any time Wang Zhi’s gang of street urchins shows up, I get super happy

The archers! Especially the young hot one who shot Wan An’s hat. Personification of ‘zero fucks given’. Needs his own spin off immediately.

Literally every time Wuyunbulage was on screen was gold.

Speaking of gold, the brief interlude where Tang Fan thinks Wang Zhi is dead and then Wang Zhi turns up and is like “even when I’m dead, you’re still lecturing me” lmaoooooo A++ sir

I went back and forth on this in my head for a while, but in the end I decided that I liked that Tang Fan didn’t outsmart Li Zilong. That’s what we would expect, right? And at the beginning it felt strange that he really . . . got played, in the long run. Like. Tang Fan fucked up a lot in this last arc. But in the end he and Sui Zhou won not because they were smarter, but because they were inherently good, decent people who believed in justice and had so much heart. That’s how Tang Fan was able to win over Qing Ge and how Sui Zhou was able to convince Marquis Wuan (now there was a character I didn’t expect to see return) to send his troops in for a rescue.

And last but certainly not least, the ~romance~ of it all. I got distracted during the last arc and didn’t burst out a post weeping over Sui Zhou fighting until he couldn’t stand anymore to defend Tang Fan, but let’s definitely not overlook Tang Fan running into Sui Zhou’s arms during a montage of their significant moments together. As one does. XD

Now on to a few complaints because hey, it’s my blog and I can complain if I want to

Minor complaint: I feel like the conspirators got off way too light, especially Shang Ming. At least Wan An and Wan Tong got banished. Shang Ming gets demoted to being a servant, and yeah, I get that it sucks for him and it’s gotta sting. But, uh, I feel like maybe the guy who plotted the Emperor’s murder shouldn’t still be working in the palace.

Middling complaint: I really don’t like the fact that Wang Zhi left at the end. I mean, part of that is just because I don’t want to see them split up. How can I write cute post-series OT3 fiction if Wang Zhi isn’t in the capital anymore? But like. I know the Emperor was like “this is what you’ve always wanted, right?” and maybe I could buy that more if it had ever, you know, been mentioned before. But it wasn’t. And then Tang Fan came in and was like “isn’t he just getting you out of here because you’ve become so powerful?” and I felt that. I felt it and I didn’t like it. I know there might be cultural aspects I’m missing because I really know very little about Imperial China, but it just didn’t sit right with me. It felt like he was getting punished, not rewarded.

Major complaint: DING RONG. MY BOY. MY POOR PUT UPON SON. THEY DID YOU SO DIRTY.

*ahem*

Listen. LISTEN. I get that Ding Rong had valid reasons to resent Wang Zhi (my kingdom for their backstory btw) because Wang Zhi could be a dick to him sometimes but like. He already had a chance to betray Wang Zhi! Literally the exact same thing had already happened once in the show and he basically gave Shang Ming the biggest middle finger he could! Why would he suddenly change his mind about that at the end?

And okay. There are some possible factors. He thought Wang Zhi was dead for a brief period of time (although, did he? He knew about Yang Fu. He was there when Yang Fu was imprisoned). So he really thought he was going to be in charge of the Western Depot. And I get that it would have sucked to find out ‘oh, just kidding, you’re actually not’. Maybe he felt like Wang Zhi hadn’t trusted him with the plan (although it was clearly a last second improvisation).

I’m not going to say it was wildly out of character, but it did not sit right with me at all. I literally thought it was part of their plan for way longer than I probably should have. I hate that they did it. I hate that the show ended with Ding Rong not on Wang Zhi’s side.

Tl;dr Ding Rong spent 50 episodes putting up with so much bullshit, being just as smart and talented if not more so than any of the main three, possessing the brain cell and herding cats twenty-four/seven. He absolutely deserved a great happy ending, and got completely fucking shafted. I’m not saying it was badly writing, but I am, in fact, saying that I hated it.

Minorest complaint: not enough Pei Huai. XD

#kouri watches tsotmd #liveblog #the sleuth of the ming dynasty

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shinneth · 4 years ago

Video

youtube

Okay! I’m actually really looking forward to this little series!

AzenZone has been my go-to channel for getting acquainted with the Precure franchise without having to watch the 900-something combined episodes from every series. Dude’s close to my age, so we’ve grown up on a lot of the same shows and whatnot, so I get a lot of his obscure references. I’m probably one of the few who totally got it the few times he referenced Urusei Yatsura in his reviews. :P

He’s also mentioned Ojamajo Doremi a few times in the past (even bringing up how nearly two decades prior, it did a better job at tackling racism than last year’s Precure series), and unlike Precure, I actually have a lot of nostalgia and deep love for the series. “Growing up with it” is a stretch since I was already a high school junior by the time I discovered it, but it was undoubtedly the true successor to Sailor Moon as far as my youth and maho-shoujo anime are concerned.

Because yeah, last week my eyes nearly jumped out of my head when I saw this very blatant cameo on Healin’ Good Precure. That’s one of the only times it’s ever actually happened, which feels odd, considering Precure is pretty much the successor to Ojamajo Doremi in several ways.

Unfortunately, as stated in the video, Ojamajo Doremi’s always had a bit of a niche fandom outside of Japan. 4Kids getting their hands on the first season reeeeeally didn’t help matters, either. But it’s one of those series where I (along with @47ness) went out of my way to find as many episodes and merchandise I could get my hands on - because it was quite a few years after Ojamajo Doremi ended before anyone started to regularly sub it. I still have a good number of raw episodes on my external hard drives (and VHS tapes).

So I always felt a little bitter at the unfairness of Ojamajo Doremi staying in relative obscurity while Precure ended up having a much more notable following. Still relatively niche (even down to the dubs - like, Futari wa, Smile, and DokiDoki got some unfortunate localized treatment... just under Saban’s hand rather than 4Kids for the latter two), but much more prominent than Doremi’s fandom ever was. Guess some of that can be owed to the Precure franchise being much more action-oriented but, ehhh.

Still, I couldn’t help but beam with pride when I came to learn that Heartcatch Precure, which had a LOT of staff who previously did work for Doremi (most notably the character designs), is almost universally regarded as the overall best Precure series (or at the very least, in the top 2 or 3) - like, it says a lot that according to a recent popularity poll, Heartcatch is one of the few series where every main cast member placed within the Top 25 - and Erika, pictured above, made it to #3, right behind the OG team of Nagisa/Honoka who never weren’t going to be on the top.

Still, there’s always been a unique kind of charm to Doremi that, as far as I know, you don’t really see in Precure and probably the majority of other magical girl series. It had a continuous, ongoing story for its four seasons (plus an OVA that expanded on and added some lovely details), time actually passed - i.e. characters actually got older with each succeeding series (starting at age 8, ending at age 11), and this series so often made the most of this.

Most impressively for me was the consistent and relevant side-cast. The classmates of the main characters weren’t just background fodder or one-note plot devices - several of them had multifaceted personalities, ties to the main girls, and character arcs of their own! And this shit carried over from season to season - whatever gimmick they had would stay consistent, while at the same time they usually avoided having said character relearn the same lessons over and over again.

So rarely does any show so admirably pull off a setting where almost everybody feels important to some degree. The FLAT4 - basically Rowdyruff Boy expys from the second season, easily could have never shown up again, but they made a resurgence in the final season. Characters carrying over across the seasons often feel like they’re in a different place than they were when they debuted, and considering how often shows struggle just to pull that off with their main characters, it’s doubly amazing that Ojamajo Doremi pulled this off with far more than just their core cast.

It also had a very well-executed, well-paced endgame. Dokkaan! - the final season - concluded with every character going down their own path to forge their future. Their final arc wasn’t just some episodic affair that could have taken place anywhere else on the timeline. As their elementary school days come to a close and middle school is on the horizon, Doremi and her friends won’t be tackling that new chapter of their lives together. The series finale is a heartbreaking affair and one I could relate to all too well, as Doremi is forced to come to terms with the fact that all of her friends (even the long-tenured Hazuki) will be far, far away from her in this new chapter of their lives.

While she put on a brave face for her friends and encouraged them when she first found out that, one-by-one, they were leaving her, Doremi eventually has a nervous breakdown come graduation day and locks herself up at the store where she and her friends have spent so much time together over the series. She can’t bring herself to attend the graduation ceremony - the sorrow tears into Doremi deeply as she finally admits to herself and everyone else that she can’t stand all of this abrupt change that’s going to permanently change her life. Doremi can’t hold down her selfish impulses any longer and does whatever she can to cling to what will soon be her past; her childhood, as it were, as she transitions to becoming a teenager.

This really hit home for me in particular since I’ve gone through similar struggles. A divorce forcibly ripped me away from my home of 14 years - the lovely house I lived in on a lake ridge, the friends I had grown up with, and an entire side of my family I’d rarely see again after spending so much of my life with them - all of that, I had to abandon. I’m not a social person to begin with - and this was about 8 years before I even knew about my autism. It was a very rough adjustment period that to this day, I still don’t feel right calling my current residence “home”. Since I got a job, I’ve been able to live with this, but it was really meaningful to see a protagonist struggle to let the past go and accept her future circumstances. Doremi ultimately managed to pull through, but it’s still a bittersweet ending no matter how you slice it.

For a kids show, Ojamajo Doremi had quite a lot to it. Which is why I really wish it was better remembered and honored.

tl;dr: I’m super excited for this retrospective series.

#ojamajo doremi #healin' good precure #azenzone #retrospective

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takaraphoenix · 4 years ago

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Grey’s Anatomy: Review

Took me four months, but I have successfully watched all 16 seasons of Grey’s Anatomy - and what there is of season 17. Figured it deserves some words.

HOLY SHIT I LOVE THIS SHOW? SO MUCH?

(To set the appropriate mood for this and give you a TL;DR.)

That being said to open it up, it is most definitely not flawless. So let’s start there. For me, the one big flaw it has is really the writers’ cuckolding kink. So. Much. Cheating. And - worse than the cheating plots - the cheating apologism. They echo the exact same sentiment so often, that cheating is only one mistake and humans make mistakes. That’s... at one point, that stops being a plot device and starts to be very telling about the writer, to be quite frank.

That being said, let’s roll out the positive. And let’s kick it off with something that relates to all the cheating; so many forced love-triangles, but they usually don’t include toxic rivalries. It’d be so easy to have the men throw punches over the women or the women pull hair and scratch each other’s eyes... so many other rom-drama shows do it already, after all. But, honestly, the two lose ends on the love V (because these things ain’t triangles) usually have such a good dynamic with each other, ranging from civil to friendships to deep mentor ships - Meredith and Addison, Mark and Jackson, Cristina and Teddy? Seeing these dynamics, quite frankly, makes having to sit through a love-triangle-nonsense actually more than bearable.

The most impressive thing about the show is, to me, the amount of rep on it. I mean sure, the main lead is white and I’d estimate half the overall cast are white, but even from the get go - in 2005 - the ratio of white actors versus actors of color in the main cast was five to four. And they’re not background or side characters - I mean, two of them are, aside from Meredith, the only ones to still be around on season 17. They all have their own plotlines, their own relationships and troubles and struggles. It’s not just the Meredith show, not by far.

And beyond that, the queer rep on this show is... honestly mindblowing? I mean, seriously?

They introduced their first queer character in season 2, in 2005, when other procedual dramas that aired then in large parts just... never... added queer characters. And sure! Joe was only a recurring character and not a main character, but he was recurring for six seasons, he recurred a lot, he got established, he and his husband partook in the plot. And, again, this was just the beginning, back in 2005.

They’ve since then steadily broadened their horizon and become more inclusive.

Recurring and main character wise, we’ve had 5 lesbians, 5 bisexual women, 4 gay men and 2 trans characters over these 17 seasons. That’s a very solid list, honestly. If I look at other shows, again especially procedual dramas that are still largely aimed at a more conservative audience, the fact that we’ve had actual queer storylines in every single season since season 2? That’s amazing.

Even more so on the one-off characters, to be quite honest. Just... casually, this patient has two moms, this man is visited by his husband, here the child of the patient is nonbinary, look this patient is in a polyamorous relationship. Sure, those are only the one-off episodical characters, but you have no idea how much that matters too.

I know I’m repeating myself with this, but especially when compared to other procedual dramas, where the characters are often only queer when it’s important to the plot. He got beaten up and ended up in the hospital because he was gay. She got killed because she was trans. They’re motivational and important to the plot (and also usually used to victimize the characters).

The fact that this show, even 10+ years ago already, just... included queerness as part of our reality, included it casually, positively and repeatedly - really, it’s not just like it’s one episode per season like it’s some obligation, it happens a lot? For no actual needed plot reason, she just has a wife and she’s just happily married to her wife and that’s it, because queer people exist.

And I just, I struggle to express how much this casual rep means to me? And how it becomes even more amazing if you consider how long ago it started? And if you add to it the steady prominent recurring/main character rep?

Sure, it’s not perfect - the majority of their characters of color are black; it’s not overly diverse when it comes to what characters of color it included, it took forever to include the second Asian character and the first Muslim character and it could feature a broader variety of ethnicities, just like it could offer a broader variety of queer experiences, I mean it took them forever to introduce the first mlm main character and they have yet to include a bisexual man, I’d also just love to see an ace character or a polyamorous character, to paint a contrast to the sex-obsession and cheating plotlines - but... it’s doing more than many others and I do think it deserves praise for that and it keeps improving. They didn’t just add Erica and Callie as the first wlw couple and then stuck to only having two queer ladies on screen at the same time and never more, just constantly replacing Callie’s girlfriend. They kept adding more, they keep adding more.

Now, on to my absolute favorite thing about this show.

Because, let’s make one thing clear, I hate cheating and under other circumstances the amount of cheating on this show would have driven me off it ten seasons ago. But despite all of the very forced romance drama and sex obsessed allos on the show, that is not the show’s main focus.

This was never mainly about the romance. It’s always been about the platonic relationships first and foremost. Romances changed and broke up and got complicated, but what prospered were the friendships and found family relationships.

Cristina and Meredith are the defining relationship of this show. They are... friendship portrayed in a way I have never seen friendship portrayed before. The writing on their dynamic is just amazing.

And when Cristina leaves the show, the shift to Meredith-Alex and to the sister-dynamic between Meredith, Maggie and Amelia really works.

Personally, after watching the show, I’ve come to divide it into three arcs, each with a Part A and a Part B.

The first arc of the show - spanning seasons 1 to 5 - are about Meredith, Cristina, George, Izzie and Alex. And they explore the dynamic between those five and the individual relationships between them all, so very well. This was really found family done right.

Arc 2 is what I dubbed the rebranding arc - seasons 6 to 10. In Part A (s6 to s8), we got the focus on the Mercy West merger, ending in the horrific plane crash. While Part B is what I call the outfall, season 9 dealing with the outfall from the plane crash and season 10 being all about that Meredith-Cristina outfall.

I love Arc 1 a whole lot, it’s really good. I think Arc 2 is good too, especially the plane crash and its outfall were very gripping and well done, but I do think that this middle part earns the dub as rebranding because it feels like the show itself is trying to find its footing, trying to figure out a direction after MAGIC graduated into residents (and, inevitably, fell apart with the death of George and the departure of Izzie). It’s a bit unfocused on where it wants to go and I still loathe the big misunderstanding nonsense of season 10 (but am glad that Meredith and Cristina rekindled before Cristina’s departure).

Arc 3 is the sisters arc, where the Meredith-Maggie-Amelia dynamic rules, with a more uneven split between A and B, because A spans seasons 11 to 16 for me and is lovingly dubbed the Merlex arc by me, while B is just... season 17; the corona pandemic is really shifting the tone and focus and it coincides with the departure of Alex.

I’m more mixed on it than I am on the other two. For me, Cristina and Meredith just are the heart and soul of the show, so despite just how brilliantly they handled that all, I still miss them (though I greatly appreciate the fact that she still regularly comes up through phone calls, texts, etc). I greatly disliked Alex’s departure (which is a rant of its own).

On the overall, I would actually rank them in order - the first five seasons were my favorite, followed by the awkward middle because it still added brilliant things to it regardless, and despite coming in last, I do also love the second half of the show with the sisters in the focus.

I do admit that I had high hopes that Jo would become Meredith’s new person in season 17, considering the tremendous growth their relationship had - especially considering how Meredith crawled into Jo’s bed and was the one to coax what had happened with her mother out of her; that was “my person” behavior, quite frankly, and I also thought that Alex’s departure might bring them closer. I truly did not like Alex’s parting words to Meredith that she’s always been her own person.

Well, duh. Meredith Grey is an absolute badass. Which, also a thing I love a lot about this show. She is so incredibly strong and brilliant and takes care of herself.

But the point of her having her person was never that she needed someone else to stand in for her; it was to have someone around whom she didn’t have to be that strong. Someone she could come to to be weak around, someone to have her back when everything became too much. You just... can’t do that for yourself. So that sentiment was just incredible rubbish and I will be very mad if they truly have her embrace that nonsense, because she deserves someone like that.

Lastly, let’s talk romantic relationships. Very broadly, I assure you - I wouldn’t even have the patience to tackle them all, I mean seriously everyone has had sex on this show, or so it feels (no but seriously, the amount of overlapping ships on this show is ridiculous).

The only note I do have on that is that... nothing lasts forever. Quite frankly, the most “endgame” ships on this show are Richard/Catherine and Ben/Miranda (which, bless them, those two are literally my favorite of the canon ships). Everything else is just... fair game? They change, they break up, even if you absolutely hate a ship - don’t worry, it’s gonna end soon.

And occasionally, that... is even more rewarding than seeing a couple you do like get together? I mean, honestly, watching a ship you dislike for x reasons and then having them break up on screen and a character actually listing x reasons to the other’s face? Very carthatic.

I also have to mention the adoption positivity; Meredith and Derek adopt a child, not as a last resort after all else has failed, but simply because they fell in love with that little girl, Ben and Bailey took in Joey, because they have big hearts. So often, adoption is only shown as that very, very last option after you wasted thousands of dollars on all other biological options and then it is like a tragic compromise or something. Seeing them just... fall in love with this baby and adopt her and love her is so refreshing?

This show is just... really, really good? The writing is brilliant. I mean, this show made me laugh more than some comedies have? It’s funny, poignant and... not overly dramatic? I mean, of course it’s dramatic - it’s a drama. But it’s more... grounded. Even with some outstandingly extreme things happening, it is still very down to Earth, compared to other dramas that feel the need to go higher and more bizarre each season. It’s incredibly consistent, it includes so much rep and actual plotlines for every character, it really draws out relationships - familiar, platonic, romantic - in such great details.

I just really love this show.

#Grey's Anatomy #Phoe's Random Show Rants

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unkemptcastiel · 4 years ago

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SPN Finale

I try to limit w/ank on this blog so in the midst of reblogging posts that share my discontentment for the series ending, I don't want to end this show on sole negativity, because it means so much to me. So I'm gonna sum up my feelings on the ending, good and bad. Then I’m going to try to focus on having fun, reblogging memes and reliving good memories with the show and the fandom.

Good:

As far as the show has communicated, everyone is happy. Dean, Sam, Bobby, Rufus, John & Mary, Cas, all apparently happy. Yay!

I like that heaven's walls were taken down. That's something that never felt right to me and seemed indicative of heaven's problems in general- like the fact that everything was so harshly ordered to the point of isolating humans in farces of happiness-bubbles of recreated memories, that all just felt a bit fake and like a symptom of the larger problem of how angels viewed and treated humans. So I'm happy they changed that! :)

I like Betty as new Death.

OH I also liked the brief re-intro of the two archangels. It may have been a little wasted, (but this is the positivity section!) but it was a dynamic I wanted to see for ages. Also lucifer calling michael a cuck: Amazing.

I'm glad Jack didn't die. He's my son and I love him.

Also the thing with the dog & chuck.. pure comedy gold. Amazing.

Confusing:

I'm a little confused what happens to the dimensional "repeat" characters, like.. are there two bobby's chilling next door to each other in heaven, of bobby and apocalypse-world bobby? It's not a huge issue it just wasn't really addressed.

I'm also wondering if angels are basically extinct now? Like Cas is apparently ok but last we heard there were like 7 whole angels left. How's that goin. Hello?

I'm assuming hell is operating per usual? It's been a while since we've seen Rowena but I think she's still running things. A little unsure of where the balance lies between heaven and hell just due to how decimated the angels are.

I'm assuming Jody, and Alex, and Claire and all them are good? Would've liked a check-in of some sort on the recurring characters tbh. There was a lot of me and my friend asking "... So what happened to them?" about side characters who we never really got any goodbye for.

Also same with Amara being kinda written off.

Speaking of, was the woman Sam ended up with Eileen?? It was unclear to me. If not, I wish they would've mentioned her; she's a character I care about a lot.

Bad (Let’s say “Critique”):

The shows writing has dipped each season imo, and this season often felt particularly hollow. I'm not quite sure how to better communicate it beyond... The way it was shot, the dialogue, every behind-the-scenes choice just felt... Off. It was very off-putting, all season for me.

The "Destiel" thing: I’m sorry, it still felt queerbaiting. I'm queer myself but I've never personally really shipped destiel, nor any ship amongst the main trio. So, while not being very invested in a romantic form of Dean+Cas's relationship, I still felt that the confession was used more as a last-minute ploy to attract queer fans who may have since left the show, or in some attempt to make everyone happy, make it ambiguous so both queer and het fans wouldn't feel like their understanding of dean & cas was infringed on. I understand that, from a show-ending perspective, especially from a show that owes so much to its fans, that they'd want to please everybody. Unfortunately, queer representation is still lacking enough that anything outside of clear, unambiguous GAY that no one could argue is anything else, is still sort of regressive and potentially harmful to the LGBTQ+ community. So it ended up feeling like a throw-away, last-minute-gays but still semi-hetero cop-out situation, sadly. (I also think the release of the script was very deliberate in stressing that Dean cannot reciprocate whatever feelings Cas has. It communicated to me "MAYBE a non-human character could be ambiguously-maybe-queer but one of the two leads? Absolutely not.")

On that note --perhaps as a result of the confession scene-- the boys' relationship with Cas felt really weird in the end. For someone they've known and fought with for 12 years, the idea that they wouldn't even look for a way to save him ... It felt OOC, painting Dean and Sam as kind of heartless. I also feel that having Cas saved off-screen and never reappearing on-screen was generally.. a little disrespectful to Misha. His performance of Castiel literally changed the show for the rest of its run (if you're unaware, he was supposed to have a few episodes in s4 and that's it. His performance floored fans so much that he was signed on as a recurring character and eventual series main). So treating him as an afterthought felt callous, both in-show-universe and out here in the real world, show business-wise.

I don't care that Dean was killed by "a nail." I don't care lol. As long as the character didn't die of dysentery or something it doesn't read as stupid or humiliating, imo. I saw it and was like "ye shit happens." And Sam left to live a normal life- Good! My boy’s happy.

My primary issue with how Dean & Sam's lives and deaths went was this:

They make the entire show seem pointless.

To explain: the way that Sam and Dean's lives were going before the events of the pilot were: Dean is hunting primarily on his own, Sam is lined up to live a normal and happy life and eventually start a family of his own. It is discussed many times early-seasons that Dean expects to die early, due to the dangers of hunting, even though it is revealed that he also deeply wants a safe and happy life, he feels it is unattainable. Sam loves his family, but just wants out, and is getting to have that.

Usually in fiction, if an arc is set up then change is to occur to resolve the arc in a new and hopefully better place than it was originally. 15x20 however, looked at s1 Dean and Sam and said "Yep you guessed it exactly right." In-universe, their lives were on these paths once Sam left and went to college, which was a pre-pilot event. The "inciting incident" of the show, which acts as the pilot and which causes the rest of the show to happen in the first place, is Sam leaving his path for normality and returning to hunting. By ending this show with Dean dying on a hunt like he always expected, and Sam leaving to live a normal life with a family like he always originally planned: this arc is negated. We’re basically put right back in a pre-pilot spn world.

This ending was all already lined up to happen pre-pilot. This was ALREADY going to be their lives before the show ever started in 2005-- as a result, the show's events were just a bunch of messiness and conflict in the middle; but spn still ended for the boys the way it would have if basically all the events of the show 2005-2020 just never happened.

So it makes the show seem superfluous, and to me as a viewer it felt insulting because it felt like we ended right where we started, or we went backwards, and it implied that it was a waste of time to even watch the show if it was always going to end the same no matter what events transpired in between. THAT'S what upset me by this ending.

tl;dr: The show's writing felt rushed, confused, and emotionally hollow. As such, we didn't get to see much on the many side characters we care about, which was disappointing. The disappearance of Cas made him seem insignificant and the way each brother's life went was exactly as they were going before the events of the pilot, thus their lives were filled with extra needless pain and turmoil before ending the way they always expected, making the entirety of the show's events and its existence seem useless. Because I loved these characters and invested near a decade into them, this feels insulting to me on the characters' behalf, and on my own behalf as a viewer. That's my issue with the 15x20 ending.

However, I still take more positivity out of this show as a whole than negativity. I’m grateful it even existed in the first place, and that is what I want to try to focus on. 15x20 is one episode. Are there more episodes I dislike? Sure. But they are still a minority in a show that will hold my love for.. the forseeable future. So to every fan, those who disliked the ending and those who loved it, you’re valid, I’m glad I got to know some of you, &

#15x20 #supernatural #finale #spn spoilers #review #positivity #negativity #critique

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miss-musings · 5 years ago

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TROS Review - after second viewing

I’m glad I knew all the spoilers going into my first viewing. If I hadn’t known Ben died, I would’ve screamed. Although I’m pretty sure I heard someone at my second viewing go “What?!” when he fell over and vanished into the Force.

OK, let’s break this down.

THE GOOD

The movie looks great.

Daisy, Adam and John Williams all FUCKING brought it for this movie.

I actually liked some of the fan-service-y bits like Wedge getting a cameo, Han having a memory chat with Kylo/Ben, and Luke motivating Rey. I also noticed on the second go-around that Kylo flies an old Imperial TIE fighter (one from the Death Star ruins) to Exegol. And I like that shot of the old X-Wing of the Rebellion and the old TIE fighter of the Empire there alongside each other.

Most of all, I loved ALL the Reylo scenes we got in this movie. About 70 percent of the runtime seems to be dedicated to Rey, Kylo/Ben or both. I mean, it’s basically Reylo: The Movie, and I’m totally here for it. (But more on that below.)

I actually liked seeing Kylo in the mask again. I think it makes him look... sexy? Idk what I feel, y’all.

Some of the new creatures and characters were cool, even if we didn’t spend much time with them. (Again, more on that below.)

Loved Leia’s moments and how she had a big part to play in the story even if Carrie is gone. 😢

Those are all the big things; there might be a few small things that I’d remember if I were watching the movie in real time, but I can’t remember them now.

So, let’s get into it:

THE BAD

Oh, boy where do I start?

The pacing in both the very beginning (first 20-30 minutes?) and the very end (last 10) was ridiculous. My dad even agreed that the beginning felt rushed and disjointed.

While I love Kylo/Ben and Rey, the movie spends so much time focusing on them that no one else really gets an arc. Say what you will about TLJ, but Finn and Poe both had arcs in that movie, even if they were small. I felt like Poe did in this movie what he did in that last one: took to heart the words of wisdom of others around him (or at least, regurgitate their lines). He did it with Leia and Holdo in TLJ, and he did it with Zorri and Lando in this one. Finn doesn’t get any arc in this and the fact that he’s supposed to be Force-sensitive is like ... ??? What? I don’t even have time to unpack all that.

Also, Rose and Hux were sidelined majorly. I don’t even like Hux but even I felt his character and end were poorly done in this movie.

Something about both Finn and Rey’s Force abilities that bugged me was that I thought all Force sensitives can intuit or understand what others are saying in any alien/droid language. Remember how Rey could understand Chewie when she first met him but Finn couldn’t? It makes sense why Rey could understand a droid like BB-8 but why a Wookiee? Are there a lot of Wookiees on Jakku? No, she could understand him bc she’s Force sensitive and it’s an ability she has. But, in this one, neither she nor Finn could understand Babu Frick. I know it’s a small detail, and I could be misremembering canon, but it just bugged me both times.

So, Rey being a Palpatine... makes no sense. How and when did Palpatine have a kid? Was Rey’s dad a cloning experiment, or a naturally conceived and born child? This is something I’m morbidly curious about. I liked it better in TLJ when we thought she was no one, and this seems like a GIANT retcon and slap in the face to Rian Johnson. They even had to write a line about how Kylo supposedly never lied to her. Part of me wonders whether the Emperor was lying??? Maybe making Rey think she was his granddaughter would trick her into being obligated to come and end his life herself? But then, why was that Jedi Hunter looking for her parents? Oh well. Anyway, I did want her to be Rey of Jakku and no one else. But I also appreciate the thematic parallels and the yin/yang thing going with her and Kylo/Ben. He’s the embodiment of the Dark Side even though he’s descended from the Light, and Rey is the embodiment of the Light Side even though she’s descended from the Dark. So I’m a bit conflicted, but I hate it more than I love it.

I also HATE that Ben died. BUT, at least he didn’t die from falling into the pit, and at least there’s still a possibility that he’s coming back. The worst of it is that after he disappears, he’s never addressed again at all. Wouldn’t Poe or Finn ask about him? They don’t necessarily know he’s dead, and he would be a major threat if he were still alive. And why wasn’t he a Force-Ghost at the end? I HOPE it’s bc they’re leaving it open for him to come back. Or maybe his energy is living on in Rey whether spiritually (the dyad thing) or physically (maybe pregnant???).

But here’s the deal: in some ways this movie felt like the series finale of beloved TV show. All your favorites come back for little cameos, your main characters go out on a high note, and everything is resolved to a greater extent. Sure, there are more stories to tell, probably, but the Main Conflict has now been resolved. Think Avatar: The Last Airbender TV show or Star Trek: Voyager as examples.

BUT, in other ways, it DOESN’T feel like a finale. It feels like they’ve left doors to open and questions to explore in future properties. Is Finn Force-Sensitive? Is Jannah Lando’s relative? Is Ben Solo really dead? What’s gonna happen to Rey? Etc.

So, the movie needed to pick a lane. Either be The End of an era, or not. You can’t wrap up a story but then tease us with more stories. That’s not how this works. Fuck, even Harry Potter — as much as everyone hates JKR — got this right. Big Bad Guy is dead and instigating conflict is now resolved. Palpatine was the one who started this whole thing, so now that he’s dead, all is well???

Well, here’s my other big complaint about the movie. JJ & Co don’t seem to know how the Force works.

The Force is about a balance between the Light and the Dark. When one side becomes too strong, the other side grows stronger to compensate. When one side wipes out the other, the other responds. There must always be balance. Snoke even pointed this out in TLJ that Rey was Kylo’s Equal in the Light bc he was growing stronger.

And the Sith and the Jedi are religions on their respective sides. Not all Dark side users are Sith; not all Light side users are Jedi. And there are some Force users who use both freely and some who stay in balance.

The Mortis arc of TCW demonstrates this very well.

This is why so many people were pissed that Ben died. Not only are you losing a great character but you’re also losing the potential of what Ben and Rey could’ve been together as Force-users.

Palpatine and all the Sith are dead. Luke, Leia and all the Jedi are dead.

Except for Rey, who is descended of the Sith but trained by Jedi. So, she (and Ben) would have to figure out exactly how to keep the Force in balance. If the last Jedi just destroyed the last Sith, then the Dark Side is going to have to respond. But, if Rey could find other Force-users and teach them how to be in balance and use both Light and Dark in harmony then balance could be restored. There would be no need for these extremes if everyone stays in the middle.

This means Rey would have to end the Jedi. Which is what Luke wanted in the last movie. But then we find out that Leia received Jedi training??? So was Leia a Jedi? Is Rey? I’m so confused.

I like the fact that Rey’s saber has a darker hilt but it’s a yellow/orange blade. It kinda hints that maybe she will stay in balance — using both light and dark, being neither Sith nor Jedi, but something in between — a Skywalker, if you will.

So I guess, that’s a tiny win. The theory that the Skywalker(s) could be a new religion of Force-users in balance with the Force could still happen after that scene of Rey on Tatooine.

But, still, I hate all these retcons and the idea that the Jedi are the end-all, be-all. The Sith definitely aren’t good; but the Jedi weren’t always great either. And I hate that Rey had to fight Palpatine alone when it should’ve been her AND Ben — the balance between the Dark and Light should’ve been stronger than him, but whatever.

Also, one last thing, but why did Rey have BB-8 on Tatooine? Didn’t Poe make a big deal about Rey hurting BB-8 at the beginning? Why wasn’t BB-8 with Poe? Why wasn’t Chewie with Rey on the Falcon? (I guess he might’ve been and just never got off the ship.) Wouldn’t R2 and C3PO have been more appropriate in that final shot? They were in all 9 films. They’re more iconic and thematically appropriate than BB-8 to close out the saga, but oh well.

😪

TL;DR: I have really mixed feelings about this movie. At the end of both showings, I was smiling, so that’s something. I had fun... I think?? But yeah, it’s definitely bittersweet.

#reylo #rey x kylo ren #tros #tros spoilers #the rise of skywalker #rise of skywalker #kylo ren #ben solo #rey palpatine #star wars #force dyad #dyad #adam driver #daisy ridley #john williams

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naruhearts · 6 years ago

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14x18 First Watch Thoughts: Mary Winchester the Mirror, TFW and Destiel

**FLAILS**

My thoughts are practically incoherent because I’m having BIG FEELS right now...VERY big feels re: TFW/Destiel narratives.

I am SUPER glad Berens was the one who penned Mary’s death!! The episode was just well-done all around from start to finish and intensely executed, with the proper solid balance of angst, emotional insight from the characters placed inside Mary’s cathartic contextual role, and the consistent reiteration of Mary as TFW’s overall Parental Catharsis in 14x18′s storytelling (and S12-14′s whole parental premise in conjunction with John Winchester’s ghost).

Mary was portrayed as the singular contrasting foil to TFW’s individual and combined arcs. Absence was, obviously, a core theme, with Mary’s absence -- her death -- playing out as A. familial purpose (accountability and her death as the impetus to work together --> forgive each other, forgive yourself), B. self-purpose (self-realization via Jack: what did I do? Why did I do it? Why do we do things?), and C. romantic purpose on the Dean/Cas front.

Let me explain C. -- well, WE BEEN KNEW. The metasphere wrote about this (my post x).

Dean was HEAVILY subtextually framed as the angry spouse undergoing a rough patch with Cas over Mary’s death (the tension, juxtaposed by sad orchestral strings and soft lighting, Dean lashing out at Cas, romantic framing via Dean’s back turned to Cas, their interactions holding frustration yet still underpinned by certain tenderness etc *sighhhhh*) and Dean continuing down the route of giving Cas, not Sam, frosty shoulders -- emphasized by the romantic visual framing of space between them e.g. Sam preventing Cas from comforting Dean during Mary’s funeral, backs again facing each other, Dean and Cas interacting sparsely, Dean bitter and disengaged, Cas longing for forgiveness from Dean, Sam as the overt brother caught in the middle as he embodies the role of mediator and stable thinker for both of them etc -- just strengthens my belief that Destiel is going to experience another (hopefully) intense romance-coded confrontation as intense as the one they had in the cabin -- one that leads up to a lover’s make-up or some kind of emotional breakthrough/realization which has Cas happy enough to be taken by the Empty (remember, DEAN STILL DOESN’T KNOW ABOUT CAS’ DEAL. Cas’ life to save his son’s life, harking back to Dean’s own fatherly self-sacrificial deal by saying Yes to Michael. He is utterly unaware that he’ll lose Cas) and it’s a double punch here, because Dean will realize how stupid he is for not appreciating Cas -- more accurately, trying to be mutually transparent and honest with him (he has, though, and he’s made leaps and bounds) before it’s too late but failing (final regression before progression). He does appreciate Cas, and Cas means more to him than anyone could ever describe *points at his Mind!Bar 14x10* yet their love languages still don’t align. IT’S NEVER TOO LATE TO START ALL OVER AGAIN, DEAN! 14x19 is written by BL so I additionally hope the D/C subtext from this point onwards works in our favour!!

As I said in above and in my liveblog posts, a summary:

The differences in Dean’s grieving are a COMPLETE visual comparison to 12x23, complete with overhead 📸 shots and differing funeral pyre scenes: when he grieved over Cas, he was alone, kneeling on the ground, and was blatantly numb/emotionally incapacitated – Dean mourned the loss of his lover. When he’s grieving Mary, Sam is by his side. Brothers mourning the loss of their mother. Romantic vs familial.

Overt romance-coded parallels with Sam/Rowena keeping constant contact just like Dean/Cas do both offscreen and onscreen

Sam telling Dean IT WASN’T JUST CAS and his own emotional pull in this ep as expressing accountability for TFW’s actions in general – besides internalizing/talking about the self-guilt, shame, and the inevitable pain of losing people despite saving people (also re: the 🔑 theme of doing the wrong, stupid thing for the right reasons) -- was character development on a marvelous scale. Dean was enlightened and began to admit it himself. Honest, open words. Dean and Cas should learn from him!!

Cas was absolutely humanized, subsuming the Winchester Way of Bringing Family Back, and he additionally evoked honesty/an emotional justification while admitting his mistakes and again representing FAITH: faith in Jack narratively linked to FAITH IN HIMSELF and the season-long theme of believing there’s another way -- in believing that good things shall come. As he appropriately told Anael last episode -- loneliness is a construct misconstrued by her; not being in one’s physical presence doesn’t mean they aren’t there -- they are there. They are there for you. Narrative symmetry with 14x17′s presence of emotional acknowledgement despite physical absence re: God (and TFW; just because Cas wasn’t with the Winchesters did not mean he loved them any less) vs 14x18′s absence of full-frontal communication despite physical presence re: Dean and Cas/TFW (being physically present also entails being emotionally present through HONESTY). Berens interlinked the subtext. Negative spaces are being filled. And there’s also an Evil/dark dimension added to this Presence vs Absence commentary: Lucifer’s a visage in Jack’s mind, just like Sam. Jack’s soullessness has come to a psychological crux. He’s teeter-tottering – tried desperately to bring Mary back, and now he might have fucked up the natural order (if BTS pics of zombies in 14x20 is linked to this). Furthermore:

(*clutches chest* There’s the heartbreaking spousal-coded visual narrative.)

Oh, Cas...Jack is BOTH good and evil. This is the intrinsic dualism of human nature. It’s what makes Jack human. And goodness involves badness.

CAS: [Jack] was good for us. Indeed, we know he was. The unhealthily-codependent-abusive notion of family TFW used to possess (where their overarching parental issues -- Chuck’s absence, John’s abuse and Mary’s absence -- crippled their early formative growth, extending into decades) was deconstructed and rebuilt in healthier ways. Being a parent to Jack offset their true capabilities/qualities: FAITH (Cas), HOPE (Sam), and LOVE (Dean), alongside all the stickiness that came with his birth. By direct association, Cas learned (is learning) how to believe in himself. Sam learned (is learning) how to hope in himself. Dean learned (is learning) how to love himself. Mental/emotional release from their internal chains took place (will come to its final culmination in S15). In other words, Jack the Unifying TFW Mirror -- like Mary -- was the great interpersonal conduit for (a Jesus-figure-representation) honesty, appreciation (spending time with your loved ones), positive vs negative self-process, and self-awareness. Keep in mind that Jack has characteristically taken the place of Dean, Cas and Sam’s own dark arcs (Soulless!Sam, in particular) with what looks like a Godstiel mirror in 14x19 -- he’s literally becoming textualized as TFW’s mirror -- and, like his parents, he is going to make his independent (wayward) choices and question the primacy of human nature: good, evil, and the grey in-between. Will he listen to his head or his heart? Most of all, Jack taught them that HuntingTM is filled with pain, horror, and death, but genuine purpose lies beyond it. The lives they live are also innumerably interlinked with joy and happiness. These positive things aren’t as sparse as they think: they have each other.

Mary Winchester is ⚰️ and resides in Heaven (her death successfully made me emotional and packed a deep personal punch; the black and white flashbacks interspersed throughout 14x18 relative to Mary’s influence on TFW was A++). She disappeared right when TFW’s arcs came together to display character progression. Her purpose – pushing TFW to engage in self-introspection, personal growth, and honesty with the Self and others – is done.

Mary, the Cas mirror, carved M.W. into the table with S.W and D.W. You know who should be next, right? CASTIEL W. (and Jack W.) (recall that in 14x17, Mary relayed to Dean that she treasured and enjoyed her time with him and Sam -- channeling Cas’ 14x12 farewell speech. Mary has always embodied LOVE, both romantic and familial, with the great virtue of honesty, and Dean, by proxy, has been telling his family he loves them. Again, who is the next family member he’ll say I LOVE YOU to? What do Dean and Cas WANT? Time to answer this question!!)

WE HAVE COME FULL CIRCLE. Narrative cyclism, y’all. Mary and John Winchester are finally at ✌️, and by so doing, TFW will experience emotional/personal/psychological ✌️ as they leave their past behind to create their own optimistic self-actualized future. THERE’LL BE GENUINE PEACE WHEN YOU ARE DONE.

TFW MUST TALK

I mean, I’ll probably reblog this with new thoughts during the next few days, but yes, ENDGAME’S UPON US, and all the extensive meta regarding Dabb Era Love and...Love, Unity, Family, Honesty, the centrality of interpersonal relationships and Reconciliation of the Past & Future since Season New Beginnings 12/13 over Season Who Am I 14 should be realized in the final two ANGST-filled eps. TL;DR a gigantic multilayered soup of character-positive/relationship growth-positive meta coming to fruition for the main plot.

Berens has killed us all. 14x18 is one of my favourite Emotion-centric episodes yet!

RATING: 10/10

Thank you for reading my sloppier-than-usual word-vomit!

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psyga315 · 5 years ago

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Fixing RWBY Volume 1

RWBY Volume 1 is a case of early instalment weirdness. Most of the problems the fans had with RWBY as a whole could arguably be traced back to this Volume. People complained about the tonal shift? That’s because, in spite of some dark moments, the Volume was more fun and bouncier in contrast to the other Volumes. People complained about Jaune Arc taking up too much of the screen time? The only time that’s relatively happened is when we had an entire month of Jaune-centric episodes. Bumblebee seeming like it came out of nowhere and destroying all the build up that Black Sun had? There wasn’t enough cues for Bumblebee before Sun took center stage.

As such, I decided to do a tweaking of RWBY Volume 1. I’m gonna try to keep most of the story beats intact save for switching around scenes. However, in contrast to Volume 6, I’m going to overhaul some elements and even characters. This is to build upon what is established in later volumes so as to keep a sort of consistency and even a warning flag to the audience that lets them know ahead of time of the tonal shift rather than have the rug pulled from under them like what happened to some in Volume 3.

But first, let’s address an elephant in the room:

TL;DR

If you want a better tweaked Volume 1, I highly recommend the manga that’s currently being published as of this writing.

The Trailers

They’re staying as they are, but the major change is that, about a month or so before RWBY premieres, an Episode 0 is put online. It’s a compilation of the four Trailers, but each of them is fleshed out a bit with World of Remnant-styled 2d animation expositing on a major aspect of the setting. This way the viewer can get introduced to the setting without much need for exposition in the show.

Ruby’s segment begins with a fairy tale talking about the Grimm and how only a trained person known as a Huntsman can defeat them. It’s revealed this is a story being told to Ruby by Summer and we see her grave. Red Trailer begins, but the Beowolves look more like the ones in the show.

Weiss’s segment is told in a news-like style, talking about how the Schnee Dust Company has acquired yet another Dust mine and dropping the information that they’re not only the life essence of humanity, but that it’s in a finite amount. It then talks of a rumor about how the heiress, Weiss Schnee, is going to Beacon Academy instead of Atlas Academy. Cue White Trailer and make it explicit that she gets her scar from the Knight.

Blake’s segment is a speech on how the Faunus are treated. It starts off with Ghira’s voice before it trails off into Adam’s and their tones shift as well, Ghira talking about how the Faunus and Humans should get along before Adam talks of how the Humans must pay for their crimes. Cut to the Black Trailer, but showcase Adam’s manipulation and not his strength.

Yang’s segment is a lecture from Taiyang about how Aura works (get the fact that it needs to be active right out of the gate so that we don’t get those arguments in the future) and warns them to be careful of criminals, as there were reports of them being more active these days. Cut to Yellow Trailer, but downplay Yang’s destructive behaviour.

The Entrance Arc

The episodes are reworked to be 10-15 minutes, with the finale being about 20. Any episode split into Part 1 and Part 2 are merged. Now we got that out of the way, let’s begin.

Episode 1 remains roughly the same, but Ozpin’s interview with Ruby discusses a bit more about Summer. In particular, Ozpin is more wistful on the topic, foreshadowing to what I mentioned in the Tweaking of Volume 6 where she one of the many Huntsmen that Ozpin sent to their death fighting Salem. The interview ends with the idea that Ozpin had Ruby join Beacon because she managed to put Roman on the ropes, but the heavy implication is that he let her in due to her Silver Eyes.

Episode 2 has Ruby meet up with Weiss, Blake, and Jaune in the same manner, but also bumps into a cute clumsy girl named Gretchen. Yes. I’m doing this. You’ll see why in a bit. Anyways, once introductions are out of the way, Ozpin gives a speech, but instead of focusing on knowledge, it’s more focused on choice. Importantly, he asks his students “Why do you want to become Huntsmen?” And we end the episode there.

The Emerald Forest Arc

Episode 3 begins with the group getting ready for their entrance exams. Basically the same thing that happens in the show, but Ozpin gives the stipulation that, once they recovered the relic, they are to bring it to the top of the mountain at all costs. To foreshadow both the tonal shift and his rivalry with Ozpin, Jaune is the only person to question Ozpin’s stipulations without any sort of humor to them like in the original.

They get catapulted as Ruby bumps into Gretchen and Weiss meets up with Jaune. Blake eyes Yang and stalks her through the forest until Yang comes across Ursa Majors and she ends up killing the last one. Blake mentions how she never intended to get a partner, hence her avoidance, and that she picked her to follow because Yang looked the tankiest of the bunch. But Yang flirts with her and teases that she likes her, setting the foundations up for Bumblebee.

Throughout the arc, we get interactions between the lot. Gretchen and Ruby have adorable bonding times, Weiss scolds Jaune over not activating his Aura as well as ask what his Semblance is, and Yang and Blake discuss the question that was asked to them, with Blake saying that there’s a lot of injustice that needs to be taken care of. Yang finds this confusing, since the main role of a Huntsman is to kill Grimm…

The arc hits its climax in Episode 5 when Jaune finds what he presumes to be the relic only to find it’s really the stinger of the Death Stalker. Meanwhile, Yang and Blake wake up a sleeping Nevermore in the middle of a fight. Ruby and Gretchen are the ones to get to the main place first and grab their pieces, only for the other four, followed by Ren and Nora on an Ursa, joining up. Ruby sees the Death Stalker and tries to solo it, only for the Nevermore to pin her cape… When it seemed like the Death Stalker is about to kill Ruby…

Gretchen takes the save. The stinger is impaled onto Gretchen and Ruby takes this opportunity to use her scythe and cut off the tail. Foreshadowing!

There’s a quick chat about how to save Gretchen, but it’s made clear that Ruby has to get the relic to the top. Ruby refuses and tries to carry Gretchen, believing that Ozpin and Glynda will treat the wound and poison. Unfortunately, the Nevermore attacks Ruby, attracted to her grief, and Gretchen is forced to save Ruby again. In a rather depressing scene, she sacrifices herself to save Ruby by hurling herself onto the Nevermore and wounding it just before the Nevermore chucks her off the mountain.

Ruby, filled with grief, ends up activating her Silver Eyes for the first time, creating a bright light that blinds everyone. This light is seen by Ozpin and Glynda, as Ozpin gives a smirk and mutters “Perfect…”

Beacon Routine Arc

Episode 6 opens when Ruby wakes up in the medical bay where the others were. Ruby asks about Gretchen, but the silence is enough for her to realize that, yes, Gretchen is dead. She mourns for her death, only for Ozpin to come in. He formally apologies for the incident, but reminds them that they are to be inducted into Beacon’s ranks, with the ceremony announcing the teams taking place within a week to get things settled. With that in mind, however, he announces that, since Ruby’s without a partner, the teams will be shuffled.

As such, based on what he saw between Weiss and Jaune’s fight, decides to make Weiss Ruby’s partner and have Jaune partner up with an exchange student from Haven Academy, as he had informed the Headmaster there that they were in need of a spare student. He then asks the group to leave him and Ruby alone, and here’s the scene where I decided adding Gretchen would be a good idea for this Tweak/Rewrite.

Ozpin berates Ruby. She had a mission: recover the relic and get to the top at all costs. When she argues that she needed to save Gretchen, Ozpin tells her that a sting from a Death Stalker is fatal and that all she did was slow herself down. He goes into a small rant about how one’s emotions can make a person lose sight of what’s important before he takes a moment, adjusts his glasses, and thanks Ruby regardless for at the least trying to bring both Gretchen and the relic to the top.

Gretchen’s death is to set up multiple things at once.

Obviously, sets up Hazel’s desire for revenge on Ozpin.

Establishes the dark tone that RWBY would eventually take in Volume 3.

Pays off the Silver Eyes earlier.

Sets up Ozpin’s shadiness and the eventual mistrust from the group on the word go.

Sets up Ozpin’s Reincarnation gimmick early on.

There’s probably other things, but for the most part, these are the major five I wanted to establish in Volume 1.

Ruby suffers the fallout of Gretchen’s death pretty hardly as Yang looks from afar. She tells Blake how this isn’t the first time she’s suffered loss and talks about her mother, Summer. She establishes that Ruby changed her last name to Rose to honor her (getting that complaint of “HoW cOmE tHeY hAvE dIfFeReNt LaSt NaMeS?” outta the way) and Yang gets a little sentimental. An eagle-eyed viewer would notice how Blake, Weiss, Ren and Nora are the only people not depressed with Gretchen’s death, setting up that they’ve become accustomed to it.

Speaking of, Ren and Nora were assigned to Jaune and this is where we have Nora and Ren act like surrogate big siblings to Jaune in a rather fun adorable way to lighten the mood. The episode ends with Pyrrha Nikos arriving and Weiss freaking the hell out.

Episode 7 gives a small exposition on who Pyrrha is and Weiss becomes jealous that Jaune gets the celebrity while she gets the crybaby child. Yang gets furious with Weiss and calls her out on her snooty nature, to which she asks why she became a Huntress. Weiss replies to restore the Schnee Family Name, which Blake balks at. Yang deconstructs Weiss’s reason.

“How can you restore the Schnee family name? You’re gonna be risking life and limb slaying monsters, meanwhile Daddy Warbucks is gonna fret and wonder whether his daughter will come back in one piece or in a box!”

“Funny. You’re implying my dad gives a damn about my well-being.” An awkward air hangs in the air as Yang drops the topic and coldly tells Weiss to reconsider her words when talking to Ruby. Weiss and Ruby interact for the first time and Weiss does try to not get upset, restraining herself in the process. Ruby knows better though and tells her to give it to her straight. Weiss inhales and tells her the truth:

“Gretchen died. That’s sad. Your mom died. That’s also sad. But wallowing about them isn’t going to bring them back. Nor is trying to fight against the monsters that killed them. What matters is that you keep a brave face despite the tragedies that come and to keep moving forward.” Ruby is blown away by the motto.

“You know, for an ice princess, you sure have a warm side.” Weiss has a brief smile before she says that she knows what it’s like to lose loved ones.

Cut to Blake who is trying to calm down Yang, although she’s more upset about Weiss than Yang is.

“You shouldn’t get too upset with Weiss. I mean, with how her company works Faunus to death, it’s no surprise she doesn’t care about Gretchen.” She brings up a mining incident that killed a friend’s parents and mentions how people were “scarred by the company”, hinting to Adam. Yang notices something, but keeps it to herself.

Jaune, however, is nervous around Pyrrha as she notices how… unskilled he is. He cracks, however, and asks Pyrrha to train him, mentioning how he felt like what happened to Gretchen was his fault. Pyrrha’s humbled that Jaune is willing to confess how he entered Beacon and accepts his request. Ren and Nora become shippers on the deck.

We cut to the Emerald Forest where we hear a woman’s song and see the Nevermore, turned to stone, suddenly crack.

Episode 8 is the Badge and Burden thing where Ruby and Weiss struggle to get adjusted to one another. Ruby being too carefree and flighty while Weiss is more ridged and structured. Though it’s not like Blake and Yang are doing any favors as well, since Blake relies more on soloing and Yang tries to give every opening she can for Blake to do a team up attack.

Port realizes the dis-coordination and organizes a field trip for the cast to go to the Emerald Forest for some Grimm hunting. Upon realizing that the group will return to the place where Gretchen died, Ruby seizes up and it takes Weiss to lead her there. It’s here that the pairs get more used to one another. Weiss realizes that just because she’s cold and detached doesn’t mean her partner should also be and tries to warm up to Ruby.

Yang and Blake talk about their past, though, with Yang talking about her birth mother and the reason she became a Huntress, to go and find her. Killing Grimm is just the bonus. She mentions how Blake looks a bit like her. Blake, meanwhile, confesses that the reason she approached Yang was because she reminded her a lot about her mentor. She doesn’t directly namedrop him, but Yang gives a knowing glance that makes Blake shudder.

Suddenly, the Nevermore comes out and attacks Ruby. This is where the epic fight from Players and Pieces happens and the team finally coordinates and fight as one… Though this is short lasting as Yang and Blake share stares with each other. Yang then says this:

“You remind me a lot about my mother… In more ways than one.”

We then cut to Roman Torchwick as he plans what is to be the biggest Dust heist in Vale.

Fangs of Resentment Arc

Episode 9 begins with the Vytal Festival being set up, with Weiss talking about how there’ll be a tournament held during the last days of the festival. Ruby and Yang are hyped as their parents were part of the tournament, along with Ruby’s mentor Qrow. Blake, meanwhile, is more intimidated with Yang’s presence.

Then the whole bit from the Stray kicks in as Weiss berates the White Fang for yet another dust robbery. As Blake tries to say that Roman could be behind it, Yang and Ruby agree, though Weiss gives a question that fazes them all:

“What if it was Roman and the White Fang working together?”

Blake is the first to react, saying how the Faunus and Humans don’t work together, only for Weiss to bring up “unless they were forced to”, reminding Blake of the Faunus labours in the SDC. The argument is interrupted by Ruby finding a masked person, a tell-tale sign of a White Fang member. The group gives chase, with Ruby cornering the person with her speed. Blake notices who the man is and attacks Ruby to prevent him from getting captured. The group confront Blake and Episode 10 has Weiss and Blake argue about what happened, with Yang siding with Weiss, telling Blake exactly what sort of injustices she’s going after: The SDC.

Yang reveals to Blake that she’s not some dumb blonde and had dug up on Blake after the initiation. She’s Blake Belladonna, daughter of the founder of the White Fang, Ghira and one of the few members who stuck around when the leadership switched hands. She points out that the masked man they nearly caught was a White Fang general named Adam Taurus and that he was always seen with a “small black cat”. She then goes for the bow as Blake goes on the defensive and that confirms that Blake is this black cat. She then runs off.

This is broken up with some nice scenes of JNPR helping out CFVY for the festival.

Episode 10 is basically the group looking for Blake and the group finally coming to blows with one another over the emotional baggages they have. Ruby with Gretchen’s death, Weiss with her abusive father, and Yang with her abandonment issues. Blake, meanwhile, reacquaints with Adam, but realizes that he really is working with the humans and how he’s gone pretty coocoo for coco puffs. Blake tries to abandon him again, but is slapped by Adam and establishes from the word go that he’s an abusive ex instead of waiting three years to show that and thus have people confused when it happens.

Episode 11, the team finds Blake and save him from Adam, but it’s clear enough that they’re all emotionally compromised and, in tangent with Torchwick’s handiwork, they were unable to beat Adam. He wants to kill Blake, but is told to back off for now. He begrudgingly agrees the order and runs off while Torchwick gives them a parting gift: The Deathstalker that killed Gretchen.

Episode 12 is the final episode, in which JNPR are informed what’s going on and move in to help RWBY fight the Deathstalker. It’s a pretty epic fight scene utilizing all of their moves and abilities, and ends with Ruby impaling the scythe into the Deathstalker and avenging Gretchen. The group managed to have some good teamwork and have resolved their baggage, though Yang confesses to Ruby that her reason to be a Huntress is not as bright as the other reasons, confiding in Blake that her mother also went into Beacon with the intent on training to kill humans.

Finally, the group is formally inducted into Beacon, in which RWBY is named, JNPR is also named, and everyone is happy…

Ozpin gets a message later that night saying that “the queen has pawns.” He just replies and says “me too”.

Cut to credits.

Stinger is that Roman and Adam talk with the person who commanded them: Cinder Fall. Instead of showing off her magic, she instead sings and we find out the song that woke the Nevermore from its stone case was Cinder. This time, she causes a Beowolf that was inside the warehouse they were talking in to come by her side as she pets it like a dog.

DVD Exclusive Episode

If they have the budget for it, RT might sneak in an extra episode for fans of JNPR that is effectively the Jaundice Arc. Though, it’s done in a similar manner to Episode 0.

Namely, it’s split into four parts based off each member. Well, eight parts, the past and the present of each member.

Jaune’s story is how he was able to get a faked transcript. Possibly from Lionheart? Anyways, the present segment has a bully, Cardin, overhearing Jaune on the rooftop about his transcript. He is blackmailed into sabotaging Ren but resists and they attract Grimm, which Jaune is able to seemingly kill.

It basically is an abridged version of the arc, skipping out the whole blackmail thing and getting right to the bit where Jaune fights an Ursa and seemingly kills it.

Nora’s backstory is a bit of the Kuroyuri story from her perspective and the present bit is her trying to comfort Velvet.

Pyrrha’s story is how she is sent by Lionheart to Beacon to replace Gretchen and the present story shows how she lifted Jaune’s shield with her Semblance.

Ren’s story is the other part of Kuroyuri and shows why Cardin hates Ren: he’s the only one of the bunch who stood up to Cardin upon remembering his dad’s advice. We end on Ren looking over both JNP_ and RWBY and giving a smile, nodding to his voice actor being the creator.

And we’ll probably hint that Gretchen’s brother is not to pleased with her death. Maybe?

And that’s it. That’s how I’d tweak Volume 1. Thoughts?

#rwde #rwby #rewrite #rwby rewrite

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yaboylevi · 5 years ago

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hey vivi how are you? hopefully you’re doing good ! question in your personal opinion do you think that we stopped seeing eren’s caring side towards levi bc of what happened in RtS arc? do u think like in a way he resents? or feels betrayed by levi’s actions? i mean eren trusted levi kinda blindly i would say so maybe he felt a little deceived by levi ? anyways i’m just curious on ur thoughts on this, have a good day! :D

Okay hi, so…I got this question once in the past already and I decided to not reply for various reasons. I didn’t really feel like replying to this either, as you could guess by how long it took me to actually reply (I actually typed a full answer 3 times in these 2 months but deleted all of them aahh). But I have a question for y'all I would really love hearing an answer to: Is this a common interpretation/headcanon in the ereri fandom recently?

So, anyway… if they were real people experiencing such a development, based on MY feelings and how I’d react, I would say yes, it would be normal for Eren to have developed a sort of resentment once things calmed down a little and he thought back on how absolutely unfairly Levi treated him back then: he agreed to give Eren the serum only to take back the offer at the last moment; he basically told him to shut down his own feelings, dismissing them, when Levi himself couldn’t do the same; he lost his patience and punched him in the face with such strength that he made Eren lose half of his teeth. I understand why it happened: Levi is not emotionally mature at times, imo, and it was a charged development with important lives at stakes and they were all mentally and physically drained. But he didn’t even apologize.

Granted, no one apologized. However, Eren and Mikasa were made to feel responsible for everything that went down by a number of people (Hange, Floch, the other military in Paradis), and were punished for it. I don’t feel Levi held them responsible because I think at one point he realized he acted worse than them and also understood why they all behaved that way.

Either way, Levi never apologized, even though we could argue that Levi telling them to never regret their choice (as if they even had a say in the matter…) and ruffling their hair was a sort of double apology (i.e: I forgive you and I hope you can forgive me). If it was real life, it wouldn’t be enough, in my opinion.

So long story short, I would feel betrayed alright, if I were Eren. Because Eren has always believed Levi was the better man, someone he could count on to be fair and mature. Levi was none of those things during their altercation on the rooftop.

But if I were to look at the whole situation through the lenses of what is ACTUALLY portrayed in canon, I feel the answer to your questions is no, as it isn’t given the proper depth, for 3 reasons:

1. It seems like there were no grudges left amongst all of them. Especially in chapter 108, they all behave naturally, as they used to do before the timeskip, before the Shiganshina fiasco happened (Isayama would’ve shown it to us if it wasn’t the case). I feel there is tension only between Eren and Armin. Also, there aren’t many instances where the 104th need to rely on Levi’s mentorship as before because they aren’t at war, and international matters are in Hange’s hands so they all rely on Hange when searching for an opinion. But I would like to believe that, when Eren couldn’t see eye to eye with his friends, he consulted with Levi, because they often talked about “feelings” rather than “actions” (so it doesn’t matter if they’re at war or not in their case), they have very similar opinions and went through similar experiences in the past. But so far there’s nothing that supports this in the manga. There’s just that tiny panel of Levi saying that they’ll talk later, but I feel it was forgotten/unimportant. Anyway, no grudges mean they have all forgiven one another because they all understood the others’ actions in Serumbowl…or Isayama simply didn’t care about exploring such conflict amongst them because he had other, more important things he needed to tackle in the story, so he made all of them forgive each other off-screen, with no repercussion whatsoever on their relationships.

2. Eren and Levi barely interact during and post-timeskip, and what we see of their relationship is a shadow and/or a copy-paste of what has already happened in the past (Levi kicking Eren, Levi thinking back only to their first encounter as if everything that happened later on had no weight, Levi acting as Eren’s bodyguard, Levi thinking of Eren as hope). Nothing new, whereas Eren’s relationship with other characters has changed quite a bit.

If we consider it from Eren’s point of view, he stopped opening up to his friends after talking with Yelena, but before that, he was quite open about his opinions with both his friends and Hange and Levi. Levi, though, during these moments, felt distant, opinionless, almost like a background character. And it’s true, Eren kept secrets from his friends and comrades, but he was justified, considering the military’s and Hange’s treatment of Eren himself when it came to his titan’s powers. He always spoke his mind in every other instance. We don’t see Eren and Levi talking, because…I don’t know. But I don’t see resentment from Eren, nor from Levi. And Levi, oh, he should have a lot to talk about. Not only with Eren. With Mikasa, too, about their shared family. With Hange, about Erwin. But he’s just…there.

So the fact that two characters who used to share so much screen time together, who shared such a relationship where one of them used to guide the other, and the other used to open up to the mentor in private in the past, and who both used to play into the same themes of the story, now share close to no screentime, conversations, and themes, makes me think that it is either just to show Levi’s distance to their cause as a whole and Eren’s frustration with everyone in general, OR Isayama simply has no intention of keeping their relationship relevant anymore. And this last point brings me to number 3.

3. Isayama has dropped a significant amount of relationships or characters throughout the series, and sometimes it was very disappointing (Annie, Bertolt, Historia, Ymir, Mike come to mind). I didn’t think it could happen with the series’ most popular character and the protagonist, as they had consistent importance together throughout the whole series until the change of POV in the Marley arc (so for 80 chapters), but it may have as well happened for real.

With Levi dead or out of commission most probably until the end of the story - and so he will never meet with Eren again to have one of their usual talks - and with Eren in the middle of probably the last fight of the story where he will almost certainly die, I can see closure for Eren only in regards to his friends of the 104th. That’s also where the main focus of this whole arc has been. No closure for Levi re:most of his “bonds”. And again, in Eren’s memories in ch120, we see a shot of Levi from the Female Titan Arc, even though Eren and Levi had other relevant conversations down the road. Couple this with Levi’s flashback of an Eren from their first meeting in volume 2 (?), and I get the feeling Isayama has no intention of making them relevant to each other ever again. He decided to 1. make Levi’s character about revenge - and I’m curious to see what he will do with Levi, because he has already punished him for it so I’m waiting for a conclusion - and to emotionally separate him from the main cast, and 2. to make Eren a solo player who may have absorbed Levi’s teachings in (maybe) the wrong way, but his mentor won’t ever be there to confront him about it, because it’s not important as long as Armin, or someone else among the 104th, will act as Eren’s moral compass.

And it is kind of disappointing. It feels like wasted potential and abandoned character development. But I’m also biased about it.

–

tl;dr:

1. Eren has stopped talking to everyone in his group of friends after talking with Yelena. Levi is the one who feels the most distant in such group prior to that.

2. The fact that Eren hasn’t opened up to Levi about certain things could be: a. because we still haven’t been shown this (but I gave up on it, as new important memories were highlighted in ch120 and Levi’s not part of them); b. Eren doesn’t believe Levi has answers for him anymore or that his opinion is valid, as following the Serumbowl fiasco (but there is nothing that supports this in canon); c. Isayama just doesn’t feel their relationship is important to the story anymore.

3. My personal opinion is that Isayama just decided to take a different route with them singularly, in particular axing Levi’s character, and they will never be relevant to each other ever again.

#shingeki asks #don't know if I want to hear other ppl's opinions about it #but go on if you want to engage with this 'salty' analysis #it's not really salty #I'm just very disappointed and disillusioned #Anonymous #eren yeager #levi ackerman #oh and anon I'm good! busy as usual tho lol #hope you have a good day #snk spoilers

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atamascolily · 5 years ago

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Avengers: Endgame review

TL;DR: This is not a terrible movie, especially given how many characters and story arcs the creators are juggling. That said, its success make its missteps all the more frustrating for me.

I like the opening scene, because it's so mundane. Instead of monsters and aliens and fighting, it's just a family picnic in the American Midwest. Even though it feels like Hollywood only knows one way to shoot family/domestic scenes, I like that Clint is teaching his daughter to shoot a bow instead of one of the boys.

I like how quickly the Snap happens, how silent and quiet it is. One minute, everything is fine, and then... Clint looks around and they are gone. He knows right away something is up. There's no place they could have gone. This scene is so short - less than three minutes out of a three hour movie - but the audience already sees where Clint is going next.

This scene also emphasizes how Rapture-like the Snap is - to the point where people online started calling it the Snapture. The film doesn't focus much on post-Snap life, but I'm sure religions would have a lot to say about this. In some ways, exploring life in this scared new world is more interesting to me than more predictable arc of getting it back...

I like Tony and Nebula playing paper football. How intense Nebula is, how into it she gets, how Tony lets her win. Wiki says those scenes were improvised and I approve. The message he leaves for Pepper with his helmet is pure Tony Stark--glib, audacious and yet charming all at once. I can’t decide whether I want to punch him or hug him for it. Maybe both.

I like that Captain Marvel's arrival is so angelic. She's glowing. It's a miracle. Was she sent to find him, or did she just stumble across the ship by chance? We never find out.

I like how the Avengers are able to locate Thanos, only to discover he's destroyed the stones. I like how using the stones has consequences: Thanos is able to use them, but at great personal and physical cost; it's nice foreshadowing for the end.

Thanos is so chill about dying; it makes me suspect he's got something up his sleeve, but apparently, he's okay with dying now that his Crazy Apocalyptic Death Cult has achieved its goal. He manages to break Nebula's heart even more before Thor murders him. It's hard to say who's more surprised in that moment: Thor or Nebula.

Time skip. There's only one real plot reason for a five-year gap, and that's so Tony Stark can have a kid and an excuse to be selfish that doesn't render him completely unsympathetic to the audience. Morgan is cute, and all, but I'm not a fan of what she represents, nor of the stock Hollywood way of portraying children. Tony lives in a log cabin in what is obviously Georgia, and doesn't use his wealth to fix the world or anything. Granted, he's got extreme PTSD, but he's chosen to become a hermit. I guess we should be glad he's not drinking, doing drugs, or screwing journalists, like he did in the first Iron Man movie.

Steve running the support group is poignant, especially since that was always Sam's gig. I wonder if it's his way of honoring Sam. Sob. Marvel claims the gay man in the support group is historic, but I can't help but note it's something that can be easily edited for release in China.

I have not seen the Ant-Man movies, but I like Scott Lang. He is an optimist who soldiers on despite the fact that he is the Butt Monkey of all the jokes. I like how he extricates himself from the storage locker--though the fact that the van is still in storage five years out speaks VOLUMES to how messed up the world is five years later.

I think Scott walks past his house first--then goes to the wall, then to his house and knocks on the door? Or is that just a random house in the background when he first asks the kid on the bike what's wrong? I don't know why the kid doesn't answer him, except to add an aura of mystery to the whole thing.

The stones on Crissy Field are intense. Scott running around in a panic is spot-on--and his confusion when his name is on there, and his relief that Cassie's isn't. He knocks on the door of his house and a now-teenaged daughter greets her father. Again, I'm not sure I buy how Hollywood portrays these kinds of reunions, but it's very moving.

I love Nat and her peanut butter sandwiches, her rapport with Steve. I love these two as friends and I also ship them, and nothing in this scene proves me wrong. I love that Nat is basically in charge of the world now, and that she's the one keeping everything running smoothly --even when, as Okoye puts it, some things like undersea earthquakes don't require any action on her part. I also like her hair - I wasn't a huge fan of her Infinity War look, so I'm glad she's gone back to long/red-dish hair again.

There's also the first stirrings of what Clint is up to, and while I don't like this subplot, I have to say it's set up very well. I can admire skillful plot devices even when I dislike their contents.

Scott showing up is priceless. I love his babbling to the security camera and Steve and Nat's reactions. Also, he drove the van all the way from California to wherever-the-hell-the-Avengers-Institute is located--I think it's supposed to be New York, but the filming location is a car headquarters in Georgia, so I think of it as Georgia.

I like that Bruce and the Hulk have come to an understanding. I wonder what Nat thinks about this. This movie makes it pretty clear Bruce is still into her, even though Nat isn't into him (and most of us are pretending that little subplot in Age of Ultron never happened).

Same with Thor. It hurts to see him so clearly stuck, but Korg is amazing, as always, even if he is an enabler. I don't know why Valkyrie hasn't kicked Thor's ass yet. Maybe she's too busy running things. I wonder if Valkyrie and Nat are talking. I bet they are. I bet they respect each other.

I also like how fanon says that noobmaster69 is really Loki trolling Thor via videogames. Otherwise, the idea of the God of Thunder threatening a teenager is terrible, not funny. It's much better for everyone if it's Loki.

I'm not sure how they get from quantum stuff to time travel, except Plot. I think it would have been less confusing if they'd called it traveling to parallel universes from the get-go, instead of time travel that happens to create parallel universes, because it doesn't act like the standard time travel narrative. There's some meta about this in the film, but I don't think that's enough to compensate. Anyway, timey-wimey-magic-science-plot ball.

Cut to Clint Barton murdering yakuza in Tokyo. I do not like anything about this scene, or Clint. Vigilante justice is not a healthy coping mechanism. Clint pulling back his mask in the rain while Natasha is behind him with an umbrella is beautiful, and I love it. I appreciate the callbacks to Clint reaching out to Natasha when she was brainwashed by the Russians, even though I don't like where this story arc is going.

I love that everyone finally puts their heads together and realizes that the Infinity Stones have all spent an improbably large amount of time on Earth in recent years.

You can hear the smile in Nat's voice when she says "Be right back," and my heart breaks because Oh, Irony.

Tilda Swinton as the Ancient One is a treat, even though I'm mad they whitewashed the character because China complained about making the character a Tibetan (as in the comics). I like how easily she is able to separate Bruce from the Hulk, and how Bruce just sighs and tries to negotiate. Strange giving up the Time Stone is one of the weirdest parts of the last movie, and I'm glad everyone else thinks so too.

(Also, Dr. Strange is in the middle of surgery while the Chitauri are attacking New York? WOW.)

The Captain America vs. Captain America fight is great fun, if painful to watch. Also, that callback to the Elevator scene in The Winter Soldier is great, as is watching all the secret!Hydra agents file in, and Scott says what we're all thinking: "How could you give the stone to them? They LOOK evil!"

Loki getting away with the Space Stone is a wild card, and I don't know what they're going to do with it. Going to Camp Lehigh in the '70s is great on a plot level: Tony gets a chance to chat with his father, and Steve gets more magic particles to further the rest of the plot. And they get the stone, too. Right.

Thor having one last conversation with his mother, oh my heart. Also, he stole his hammer from his past/other self... isn't that going to cause plot problems? Who cares, when we can have TWO flying hammer things in the final battle?

Peter Quill's internal monologue never looks as good from the outside. The directors seem to loath him as much as I do, meaning he is the other Butt Monkey of the party along with Scott. Rhody is genre-savvy and I approve; Nebula is an android and indifferent to personal danger.

The android bit makes things complicated when 2014!Nebula starts spilling bits of 2019!Nebula's memories. 2014!Thanos correctly identifies this as time-travelers from the future/parallel universes trying to prevent him from success. He gets to see the whole thing from 2019!Nebula's POV. I like that even though Thanos is dead in the main timeline/original universe, a different version of him rises up to take his place.

God, Clint and Natasha go to Vormir and it's terrible. Red Skull is appropriately creepy, but the whole premise pisses me off so much. Natasha and Clint fight about who gets to jump; Natasha "wins," causing Clint and everyone else much angst. I hated this in Infinity War, and I hate it even more now. I hate that the movie goes out of its way multiple times to explain there's no way to bring her back, even as it violates causality to replace Gamora. I hate that the only way to get the Soul Stone is to play the stupid game. There ought to be a way to beat it without sacrificing someone, and even if there isn't, why is it always the female characters who get sacrificed for manpain? I knew this was coming, so it wasn't as bad as it would have been otherwise, but I hate it. Hate it, hate it, hate it.

Anyway, so they all come back, and mourn Nat. Continuous emphasis on how she's gone forever. Fuck you all, writers.

Bruce snaps to bring everybody back. He can tolerate gamma radiation. I love the line "It's like I was made for this". Bruce, honey, you're a rock star.

Tony is so freakin' specific about "bring everybody back but don't erase the last five years" because he loves his baby girl so much and cant bear that he have to lose someone himself. All kinds of logistical problems are going to happen as a result, but does he care? No! It would have been just as easy--probably easier--to snap Thanos out of existence right before the Snapture, or to allow Thor to slice off Thanos's head in time. That would also create continuity issues, but I think it would be a Stable Time Loop--and honestly, there are already so many continuity issues, I'm not sure why that would stop the writers. Anyway, I think we can all agree it would have been better if there HADN'T BEEN A FIVE YEAR TIME SKIP and maybe like six months or something, that would have been more manageable for everyone.

(and also if just Thanos is dusted and not the stones, the stones would still exist, although maybe it's for the best that they've been destroyed??)

But evil!Nebula has infiltrated the group, and opens the time machine to bring 2014!Thanos forward right after Bruce's snap brings all the dusted back. How she does this, I'm not sure exactly; is it even explained? Whatever. Plot demands it, so she does. They get Pym particles from somewhere. I don't know.

Anyway, so the Georgia car headquarters is blown to smithereens by an alien spaceship. The lake starts falling into the crater. Clint has the gauntlet with all the stones and is chased by space wolves. Thank goodness he still has exploding arrows.

Good!Nebula manages to convince new!Gamora to betray Thanos (it doesn't take much, tbh), but has to kill her evil!self. Ow. Poor Nebula gets traumatized AGAIN.

Steve wielding Mjolnir is not only a continuation of a brick joke from several movies ago, but also a Crowning Moment of Awesome. So is Dr. Strange opening the portals for everyone to show up and fight. Huge CGI battle ensures. There's no blood and everything's a mess and it's hard to keep track of everything, but man, those Chitauri bone-whale spaceships are cool. Carol Danvers knows how to make an entrance. Peter Parker is awkward and endearing, as per usual. Instant Kill Mode gets a workout.

Wanda attacking Thanos is heartbreaking. "I don't know you." "You took everything from me." HEY TONY, UNDOING THE SNAP THE WAY YOU INSISTED THEY DO IT MEANS VISION IS NEVER COMING BACK! Poor Wanda. I liked Vision. I'm sorry he's gone.

Thanos’s remark that next time he’ll make it so nobody remembers the horror of the Snap and they’ll be grateful to him and stop fighting it is truly horrifying. The Thanos in the first part seemed really resigned to dying, and it’s such a contrast. Thanos is right, of course--he would have gotten away with it “if it weren’t for those meddling kids” and the best way to prevent that is to re-write the universe to Make It So.

Thanos is such a smug, priveleged dudebro. Have I mentioned I hate him? I fucking hate him. He’s like the epitome of Smug Male Privilege crossed with Galactic Warlord. In some ways he’s the galactic foil to Tony Stark, which makes it all the more fitting that Stark is the one to take him down. Thanos is willing to sacrifice his loved ones for his vision of reality, and Tony fights to preserve them, even when it would be “better” not to. (I put “better” in quotes because I freely admit it’s a moral grey area with the whole “five year time skip” thing.) Stark starts off alone, and then dies surrounded by friends and loved ones; Thanos starts off with an army and a family and dies defeated and alone, twice over.

Stephen Strange holding back the waterfall--and gesturing to Tony across the battlefield--both great. "If I tell you, it won't happen." Anti-self-fullfilling prophecy, which amuses me. When all hope is lost, Tony reveals he has the stones and delivers the ultimate one-line--"I am Iron Man" before he snaps. Tony could have snapped for <i>anything</i>, he had ultimate power in that moment, but all he does is turn Thanos and his army into dust. Of course, Thanos is the last one to go, because it's more Dramatic that way.

Tony dies. Pepper gently but firmly pushes Peter out of the way. Peter Quill meets Gamora and Gamora kicks him in the nuts, unimpressed. I know she and Quill will probably get back together in later movies and it will annoy me then just as much as it did before, because he's so much cooler than he is. I had to stop watching the first GotG film because of all the ass shots of Gamora; ugh.

Everyone is appropriately sad and Tony's funeral at the Georgia lakehouse is very well attended in neatly thematic groupings. Nick Fury watches from the porch.

Have I mentioned how much I hate the "posthumous letter from emotionally constipated father figure that makes the audience and his loved ones cry, but which absolves him from any actual emotional development or growth" trope? It happens in the Stranger Things S3 finale and it happens here. Thanks, I hate it. Morgan Stark is cute and sad. God, Happy annoys me so much. I've hated him ever since he was so fucking condescending to "Natalie Rushman"--Natasha's alter ego in Iron Man 2. GOD. There is no justice here.

Steve volunteers to fulfill Bruce's promise to the Ancient One by returning all the stones. (It’s sweet how earnest Bruce is about this. I mean, Bruce has always cared about preserving the universe, even ones he doesn’t necessarily live in, but still. I find it endearing.) The movie doesn't say, but judging from the looks that Bucky and Steve give each other before Steve leaves, Bucky already knows what Steve is planning - to go the long way home and to give the shield to Sam. Bucky also knows where to look for Steve - on the bench by the lake. Still in Georgia; they got lots of tax credits for filming in Georgia, I will never be able to see this place as anywhere but Georgia.

Sam taking the shield breaks my heart, but in a good way. Nice set up for Falcon and Winter Soldier, I see what you did there, Disney.

The movie did an okay job of reminding people that Peggy existed by having Steve gaze longingly at her portrait in the locket and by staring at her through the window when he was at Camp Lehigh in the 1970s. Still, I don't blame fans for forgetting about her, given that she hasn't been a major character since The First Avenger, and died in Civil War. Both Bucky/Steve and Steve/Nat interactions are fresher in audience's minds - even Steve/Agent 13, although I guess that was just a side plot that didn't go anywhere.

Steve staying on through time the long way would make a LOT more sense if the time travel in this film worked like other time travel movies, but it's not, so it's just kind of weird. Literally, if it weren't for this ONE THING, I think the writers could have gotten away with "parallel universes" instead of time travel--especially since there's a 2014!version of Gamora around! How did Thanos do the snap the first time if his 2014!self jumped forward to 2019 and got killed there "before" he did the snap? It makes NO SENSE unless you assume the Quantum Realm takes you to identical-but-parallel universes instead of the past of the original universe.

(Yes, I KNOW Bruce says time travel doesn't work like you think it does--but I'm not sure it works the way this MOVIE thinks it does, either. Like I said, parallel universes all the way, except for the Steve 'n' Peggy bit.)

Also, I know Peggy gets married, but we never learn her husband’s name/see his face as far as I know, so it’s entirely possible Steve DID create a stable time loop by traveling back to the 1940s after his ship went down in the ice, and married Peggy and stayed out of the historical record to avoid Breaking Time any further.

So, while I can't say Steve's decision to go back for that dance wasn't foreshadowed enough, or is inconsistent with one version of his character arc, it pains me from a shipping perspective. I like Steve/Peggy, but I really love Steve/Nat, and there's no reason Steve couldn't have gone back in time and gotten together with Nat in the same way it's implied he got together with Peggy. The fact that he doesn't mention her name just makes it easier for my shipper heart to believe. (Because if he says Nat, Sam's going to make fun of him.)

Also: Steve meets Red Skull on Vormir. Please. I know there are fics about this, but still. I know the movie is three hours long, but this seems like a terrible omission, even so. Just saying. Maybe a special extra bonus scene??

AND WHY CAN'T STEVE BRING NAT BACK IF HE RETURNS THE SOUL STONE?? Over and over again, they say "A soul for a soul"-- so if Steve returns the Soul Stone he should get a soul back, am I right, am I right? COULD YOU FUCKING BE CONSISTENT, WRITERS?

(Can you tell I'm bitter? No? No? Let me shout some more then.)

I’m also not sure how the super-soldier serum works with aging, but I’m willing to buy that it doesn’t make Steve immune to normal aging - or at least gave him a lifespan twice that of most people, unless you want to chalk the first fifty years or so up to the ice or whatever. But that’s a minor world-building quibble at best.

Okay, so that was Avengers: Endgame. Glad I didn't see this in theaters -- I would have gotten too angry and too long for me to watch in one sitting without having to get up to pee. I think I would describe it as "adequate" --covered all the major beats, followed the standard scriptwriter format, some fun character moments. Very Obviously Written By Men based on its portrayal of family life and treatment of female characters, and the time travel makes no sense if you look closely at it.

But let's face it, it made bajillions of dollars, so as far as Disney's concerned, it was a home run.

So would I watch more Marvel films? The answer is, yes, maybe, but I feel so "meh" about the MCU now that Nat is dead. I'll make decisions on a case by case basis about what movies I watch on DVD after their release, but I'm not getting my hopes up I'll feel excited. There's always fic and fandom; I just don't know if canon has anything to say that interests me anymore. (Kinda how I feel about new Star Wars to be honest.)

#mcu #Avengers #avengers: endgame #Movie Reviews #WHY DISNEY WHY #natasha romanoff deserved better

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