#there better be another plot twist regarding the last two cases

[teegeewrites]

Monster

Monster

Synopsis: Bowser is up to his old tricks again! Bowser has once again captured Princess Peach and whisked her off to his lair. Mario sets off on what he assumes will be a typical rescue mission. However, upon reaching Bowser’s castle, he soon discovers that this adventure is anything but typical. In a shocking twist, Bowser pulls a stunt so outrageous that it forces Mario to contemplate whether it’s time to finally put an end to the Koopa King’s reign.

This was a rather interesting story to write. It’s a far cry from my other stories, which emphasize lighthearted friendships and romance. This one is more serious and focuses on drama and moral dilemmas.

The idea for this story was so rooted in my head that the only way for it to bloom was to write it out. The basic plot is Mario sets out to rescue Peach from Bowser’s clutches again. However, upon reaching Bowser’s castle, he learns that not only is Bowser holding Peach hostage, but he has also imprisoned Luigi. Things are already bad enough for Mario; however, Bowser has a surprise for him that makes everything worse. He forces Mario to choose between Luigi and Peach regarding whose life he wishes to save, while the one he doesn’t is certain to meet a fiery demise courtesy of the lava pits beneath them. Mario is overwhelmed because they are the two most important people in his life and doesn’t want to lose either of them. Both Peach and Luigi willing to sacrifice themselves in order to spare the other doesn’t help matters either. Nonetheless, both survived the harrowing ordeal relatively unharmed. Mario, however, becomes enraged to the point where he asks Luigi to escort Peach back to the Mushroom Kingdom while he hunts the Koopa King down with the intent of making him pay for his nefarious stunt.

One of the things I did to drive home the gravity of the situation was to place Peach in actual danger. One headcanon I have, and one that may be true in the original material, is that Bowser does not physically harm Peach while she is his prisoner. The worst he’ll do is grab her too tightly when abducting her. This is something Mario also considers while deciding who to save. Here, he chose to save Luigi since Peach has a better chance of surviving the fall due to her float ability. In this case, however, Peach nearly plummets into the lava pit after falling from her cage and her ability not lasting long enough to guide her to safety. Fortunately, Mario caught her before she fell in and was able to pull to her safety with some help from Luigi. The fact that Bowser wasn’t bluffing regarding Peach’s life being at risk was the thing that really set him off.

Another theme I wanted to focus on was the aforementioned moral dilemma. After a long, hard fight, Mario is in a position to finish Bowser once and for all. However, Peach and Luigi return to Bowser’s castle and, though it took some strong persuasion – mostly from Peach, prevented Mario from doing so. Mario realized that he was acting out of anger and that although Bowser has shown himself to be a monster on both the outside and inside, taking Bowser’s life in his state of mind may have turned him into one as well. It makes for a great discussion; in fact, I had a great one with a guest who left a comment talking about this very thing. In the end, not everything is black and white; some things are a shade of gray.

Overall, I can say that I’m proud of this one. However, unless there’s a scenario that I can think of that motivates me to do so, I most likely won’t write any more stories like this. It was hard putting my favorite characters in situations like these, but it was necessary to do so for this story.

[matan4il]

Hi! I've just read your meta (and loved it♥️) and I wanted to ask you your thoughts about it being filmed as an actual series finale

I know some people have been saying (about buck's and Eddie's resolutions) that they feel rushed because they had to wrapped it quickly in case it was the end, but if it were that way, why didn't they just not introduce the plot about Eddie being lonely? Because I feel like, for a series finale, it would have work way way better if they'd show us Eddie being happy and excited about life in general, not tied to some random girl (specially after season 5) And for Buck, is obvious that him picking his own damn couch would have been a more satisfying conclusion to his arc

And I mean, I don't think the writers are stupid, they know what they're doing tying buck's couch to some random love interest. So I don't think (personally) that they approached this ep as a series finale. My guess is that they knew there was a pretty good chance they were gonna get picked up, so they left some threads open on purpose. There were better ways to do that, sure. But I truly cannot conceive the writers thinking 6x18 works as a series finale (what they did in 5x18 works so much better, imo)

And I know Oliver said they didn't know about the move until two hours before the article dropped, but the rumors (and therefore the negotiations) started way earlier, so TPTB could still have been pretty positive they were gonna move to abc, no?

Anyway I just wanted to ask your thoughts about it being conceived as a series finale or no, and about the theories about rewriting and reshooting stuff that have been going around, if you have seen them

I'm sorry about the long rambling!!! But you always have great takes so I wanted to hear your thoughts on this

Thank you so much!!! Have a great day ♥️♥️

Hi Nonnie! First, thank you so much for reading and liking my 618 meta, and for letting me know you did!

Second, I detailed here the three scenarios I see as possible for how the drama around 911 being canceled/moved might have affected the end of s6. I'll tell you honestly, if I were in charge and I thought my show is being canceled, I would wanna go out with a big. Pull no punches back in the show finale, and leave people with a taste of what made the show great. Maybe even try to give a twist that would help the show go down in TV history. Whichever scenario actually took place, that's NOT what they did with this finale. It was lukewarm at best. It had good parts, but even those IMO suffered from how rushed everything felt.

I agree with you wholeheartedly regarding Eddie and Buck's resolutions. For both of them, they deserved something deeper and more meaningful than "resolving" everything by shoving them into yet another random hetero r/s with an underdeveloped LI.

I agree, while I believe Oliver that they didn't know until 2 hours before the finale aired, there is no way they didn't know BTS that there were talks about possibly moving 911 to ABC. The showrunners? For sure knew before the finale aired that this was at the very least a possibility, though when did they find out about the possible move, I have no idea.

I guess that's a part of why I feel clueless regarding which of the 3 scenarios is the one that actually happened: IDK what the timeline BTS was, and the finale itself on the one hand felt very much as if it tried hard to tie everything up neatly, on the other hand, it wasn't going for the epicness that I think a show finale deserves. So I could see it being a poorly conceived show finale, a well conceived (originally) but poorly executed show finale, or a poorly conceived last moment change from a show finale into a season finale to leave some things only seemingly resolved, but actually meant to be re-opened and addressed in the next season... I guess because in whichever scenario I look at, something wasn't done right, I find it hard to tell in which direction exactly did they fuck up. Does that makes sense?

Thank YOU again for the incredibly lovely and kind words! I hope I managed to somehow help. Have a great day! As always, here's my ask tag. xoxox

[avenging-gemini]

Are….are you serious right now??? This is what the finale is working towards???

[constellaj]

Can you please talk more about your very cool valerie and cujo concept ? Because honestly that's such a big brain take. I almost always see danny having cujo as a companion but never valerie. Is she going to ride cujo into battles instead of using the hoverboard ?

OKAY SO

in the reboot valerie has actually been fighting ghosts for a WHILE now. actually the audience finds out at the same time danny finds out-- when hes miles high in the sky going after a ghost and this RANDO comes outta nowhere. hold on i have some super rough sketches i did the other day for these bits

the "red huntress" is, according to her, Amity Parks *ONLY* ghost-busting superhero, and amity doesn't need another one;

at school of course danny is complaining about this rando getting on his case (he has no idea who she is) and hes rambling and yelling like "who does she think she IS??? i'm the SUPERHERO AROUND HERE" and sam just blankfacedly goes "dude, shes been superheroing for longer than you." tucker/sam pull up an article on valerie and her stunts from a while ago (altho shes of course just a "mysterious figure" and is more often than not cited as a cryptid, because at this point in the story ghosts are still largely a superstition in amity park) (to elaborate a little, my amity park isnt haunted primarily because of the fenton portal, but it just happens to be a ghost hotspot; val has been fending off ghosts for a couple years now)

at the same time theres also parallels between val/danny regarding the superheroing thing, eg val's dad would think its a waste of her time or too dangerous, etc. the above panel isnt like a final concept but i think it would be rly neat/funny if val also had a friend or two who was the sam/tucker to her secret identity (cant have it be paulina or dash tho bc reasons)

val brings cujo with her everywhere and he just sits in her backpack and he looks. real dumb. and causes so many problems.

danny is never gonna figure out her secret identity btw and she’ll never figure out his i just like it more that way (well except for the big plot twist/finale-ish episode but thats besides the point)

ANYWAY backstory ive rambled long enough as is dancing around the point UHHHHHHHHHHHH

cujo is valerie’s dog. also a halfa

(old art, no longer final)

val has had cujo since before he was a ghost he is just a very excitable lil pubby and she loves him very much

BASICALLY wulf (who is more of a typical wolf/dog and way more malicious) opened up a portal directly ON cujo a couple years ago as an attack

(last one is old art)

but because of how danny phantom rules are, this turned cujo into a halfa instead of outright killing him. this whole Incident(TM) of course gave val an anti-ghost vendetta in 0 seconds flat and now shes got it out for every ghost in amity, wulf especially. after getting over the terror that is your puppy now being able to shapeshift into a MASSIVE GLOWING GREEN DOG, she learned how to train cujo to use his ghostly abilities to their advantage so they can protect amity park better! in ‘normal form’ cujo still looks like a completely average dog (and has more difficulty flying etc without specific commands) so its not really suspicious

valerie hand-made everything else she uses to fight ghosts, including the costume and whatever weapons she has (I still haven’t decided on a signature weapon)-- no hoverboard at all (yet. seasons progress), instead, yes, she rides Cujo into battle! with a few whistles/commands she can have him fly, turn intangible, etc, helping them stay in pursuit of anything that dares attack amity park

i really wanted to keep cujo tied with valerie bc it felt weird to me that he was only used in getting val her powers and then just. didnt come up again (i know the afterlife “moving on” bit was implied but. youd think val would at least adopt a dog later or something). and i also really wanted to cut out vlad giving val her stuff and instead give her her own agency- she is a black belt, after all. so this is the final concept, and man am i pleased w it :)

she still hates danny and they end up being like absolute rivals and she doesnt trust a ghost as far as she can throw it but it becomes more of a bickering-over-how-to-save-the-day one than her directly trying to kill him (until he fucks up, majorly, and even then danny also gets on HER nerves intentionally because, hello, he’s the GHOST EXPERT here). and of course of course the ending of the red huntress DEBUT episode is 100% them having to set aside their differences and work together to defeat Wulf and his owner

[immaturityofthomasastruc]

Heyyo seen more Healin Good Precure? Also gotten around too watching the Mahoutsukai precure film?

Well, I just finished Episode 30 a few days ago and just learned about Daruizen’s “Mini-Me”, but, yeah, I think this series is already a lot better than Mahoutsukai and maybe even Star Twinkle.

There are some really strong filler episodes here like Episode 17 (Chiyu helps out a little at her family’s inn for a few days and helps an American girl adjust to moving to Japan), Episode 25 (A timid little girl mistakes Pegitan for a toy and accidentally kidnaps him while Pegitan struggles to tell her what he really is), and Episode 29 (Nodoka starts running more and risks overdoing it, so her friends have to help her find a healthy schedule and diet). I still love how both the Cures and their partners get their own focus episodes, and it makes the Healing Animals feel like actual characters instead of just transformation devices like what they did with Mofurun.

The main focus of this quarter is the introduction of a new character created by the prayers of Queen Teatine (Latte’s mother who I didn’t mention in my last post) to protect her daughter, said prayers manifesting into Asumi/Cure Earth. She was born from the Earth itself, is named after how the Japanese pronounce the English word “Earth”, and her name is Cure Earth, so obviously, that means she has wind powers.

Unfortunately, the Earth was under a little pressure to save Latte from being killed by Batetemoda, so they kind of had to skip over some key details when creating her, because outside of combat skills and a desire to protect Latte, Asumi is, for lack of a better word, kind of an airhead. She doesn’t really get a lot of social cues, is obsessed with caring for Latte (and even then, screws up at that occasionally), and would probably get killed if not for Nodoka, Chiyu, and Hinata helping her. I’m not even exaggerating that last bit. In one episode Asumi almost gets hit by a car because she didn’t know what a stoplight was, and another where she had to be told to take off the wrapper when eating a snack. You know, seeing how six Cures aren’t even from Earth or lack social awareness, you’d think they’d set up some kind of class to teach newbies this kind of stuff.

Obviously, Asumi’s main character arc is learning about becoming her own person and how to put Latte’s needs over what she thinks is right for her, which I like. I felt like Haa-chan’s character got bogged down with the whole Emerald and Mother Rapapa thing, so I like how they’re focusing more on Asumi individually instead of having the villains chase after her like a plot device.

I like how Latte gets a little more focus here, though her desire to join the battle is kind of muddled by the fact that she just helps Asumi transform and doesn’t really do anything else, not even the finisher like Mofurun does. There was this one episode where all four Cures transformed and then immediately placed Latte in a safe place to hide while they fought the Byogen.

Unfortunately, Batetemoda bites the dust far too early and ends up being Cure Earth’s first kill, which is a real shame, as it’s clear the writers were planning something with him wanting to take command of the Byogens, but possibly had to cut it due to COVID.

Admittedly, his final episode did introduce a way for the Byogens to power up their minions by injecting them with crystals created from their fallen brethren, causing them to evolve much faster, kind of like supernatural blood doping. It’s interesting, though I think the whole race by the general to get more “Mega Parts” could have been focused on more.

There were two other humanoid Byogens introduced, Nebusoku and Kedary, who both get killed in the same episodes they are created. Hell, Kedary at least impacted the plot while Nebusoku just got treated like a MOTW. Again, not sure if this was because of COVID, but I wouldn’t be surprised if that was the case.

Of course, there’s the actual plot twist regarding Daruizen being responsible for making Nodoka sick all those years, and it’s a real gut punch. Daruizen just takes the first chance to taunt Nodoka with the information, and I just love how he isn’t that impacted by it. He just sees this as something that makes Nodoka more interesting to him. Nodoka even vows to take her conflict with him more personally in the same episode it’s revealed in.

Which I pretty much interpreted as her thinking “Mr. Daruizen... I should KICK YOUR FUCKING ASS!”

But yeah, this was overall a very solid second third, and I’m really looking forward to seeing how things are resolved, especially with Nodoka and Daruizen.

[viacursecasting]

A Blooming Mistake.

{ Read on AO3 }

Summary: Sonic is hiding his hybrid roses, meant for someone special, but Shadow's determined to uncover the truth...

In a way rivals know best.

~

Radiant light of the full moon streaked through the leafy embraces of forest branches, illuminating freckles upon the well-trodden path for the cobalt quilled hero. His buckled cherry shoes crunched upon dried foliage as he ambled toward his destination. Normally he would’ve utilized his renowned speed, but he was wary of disturbing any critters peacefully slumbering in their nests. Even so, as he heard the pitter-patter of startled animals, he cupped the corner of his lip with a gloved hand, whispering apologies into the darkness.

As he clutched a shovel in one hand and a basket of rose stems in the other, he continued onward through mossy trees and flowering bushes until he reached a clearing, grassy and kempt, overlooking the vast sea, which stretched across the horizon to kiss the distant mountains. The serenade of gentle waves lapping against the cliffside soothed his upright ears. A spring breeze combed through his quills. He inhaled deeply, the aromatic scent filling his nostrils, the air so briny he could practically taste its salt upon his tongue. Moonlight reflected divinely across the waves, a sparkle rivaled only by his toothy grin. No matter how many times he trekked here, it always felt like the first.

Refreshed from admiring the landscape, he then glanced at the bundle of stems in hand. This species was a unique hybrid, one that bloomed crimson petals with ebony splatters. The hedgehog recalled the laborious hours he poured into growing these for weeks on end—planting monochrome roses adjacently, watering them each day, breeding the resulting hybrids into super hybrids, not to mention the painstaking chore of pulling out weeds and debris by burying his knees in the dirt. If the buds successfully bloomed, he would take it as a sign to pursue his crush. Was all this effort going to be worth it?

More importantly, could he handle the answer?

As he set the woven basket down he simply… stared. At nothing in particular. Why he couldn’t bring himself to start the final stage of planting the crossbred stems, he didn’t know. He groaned, rubbing his temples as if just now realizing what a ridiculous idea this was.

What are you doing here?

He thought his inner voice was berating him until his ears perked at the unmistakable sound of a familiar, confident gait.

“I said, what are you doing here?”

He swore his heart raced faster than his feet ever have as he peered into the forest, searching for the source of the low voice. Then, as if materializing from the shadows, a jet black lifeform stepped into view, his rosy highlights complementing his fiery gaze.

“Shadow?” The royal blue hedgehog blinked repeatedly to make sure his emerald eyes weren’t playing tricks on him from lack of sleep.

Once he realized this was no illusion, Sonic discreetly held the shovel behind his quills, subtly adjusting his footing to hide the basket at his heels. But there was no fooling his dark counterpart, who analyzed his body language suspiciously.

Shadow crossed his arms. His cool and collected tone sent chills down Sonic’s spine. “Don’t toy with me, hedgehog. What are you hiding?”

“Nothing!” Sonic blurted. “What are you hiding?”

The agent rolled his carmine eyes at the feeble attempt to deflect the question. As he took several steps closer he glanced toward his rocket skates, feeling the ground get considerably flatter, devoid of twigs and stones. He observed, “This clearing appears to have been tended to.”

Sonic laughed nervously. “Nature at its finest, I guess.��

“Is that so?” Shadow humored him. The closer he got to his parallel, the softer the earth felt with every step. “I suppose nature also watered this specific plot despite having no rain all week?”

Sonic glimpsed skyward, feigning a motion as if he felt a raindrop despite the unassuming clouds. “It could start pouring any minute. We should head back—”

He stifled a breath as Shadow, nose to nose with Sonic, scrutinized him as if he could find the answer in his irises, green as a hill zone. Suddenly he reached around Sonic’s waist, fingers brushing against the underside of his back spikes.

Sonic’s muzzle reddened intensely. “Wait, what are you—?”

Shadow seized the digging tool from his rival’s grip. “Look what we have here.” He chided with a smirk, “Shame on you, hedgehog. Wrecking the beauty of nature so you can play buried treasure.”

“This isn’t a game!” Sonic cried. “Now give that back!”

Shadow kept his foe at bay with an extended arm against his chest. As Sonic clawed the air in an attempt to retrieve the shovel just out of reach, the agent spotted the basket of greenery at Sonic’s contrasting sneakers. Shadow halted, curiosity getting the better of him as his counterpart finally yanked the tool from his grasp.

But that was the least of Shadow’s worries.

Before he could get a closer look inside the rattan basket, a glowing streak of cyan made it disappear and then reappear a few feet away in Sonic’s grip.

Shadow glared at the speedster, at first with annoyance. Why would he hide a few measly plants? Then it dawned on him. Slowly his expression turned into one of horror, staring wide-eyed at the so-called hero.

But Sonic paid no mind as he refused to make eye contact, red with embarrassment. He could practically feel that scarlet gaze burning his azure fur. “Please, Shadow. Just go home.”

“Sonic.”

Shadow said it with such bleeding concern that his sapphire twin regarded him. Aghast, the ebony hedgehog paled as if he’d seen a ghost, troubling Sonic. “Stop looking at me like that, Shads. You’re scaring me.”

Shadow ignored the request. “Is that what I think it is?”

Sonic tightened his clammy grip on the wicker handle. “What do you think it is?”

Shadow’s hesitation was brief, as if his hypothesis would somehow become true if he voiced his suspicions. “Performance-enhancing drugs.”

Sonic laughed at the notion. He had never touched a drug let alone taken one. He wasn’t even sure he knew what one looked like. “Don’t be ridiculous—”

“That’s why you’ve been so secretive,” Shadow mulled distantly, rubbing his fingers under his chin as if he solved the case. “Either you plan on outperforming me, or you’ve been taking these to get on my level.”

Sonic’s expression twisted into one of confusion. “What? No! You’ve got it all wrong!”

Shadow remained skeptical, requiring proof. His eyes bore into his foe like daggers stained crimson. “Then hand it over,” he demanded, the golden power inhibitor on his wrist gleaming menacingly around his outstretched hand.

Sonic’s heart seized at the thought. His fingers clenched the woven handle so tightly he nearly bled. He swallowed before replying, “I can’t.”

Neither of them wavered. Not even the void’s icy breeze could make them flinch. Was that the wind or Sonic’s internal cry for help?

Then Shadow sighed, tightening his gloves as if foreseeing this outcome. “I had hoped it wouldn’t come to this.”

In a flash he leapt forward, trailing an amber aura in his wake. Sonic’s mind deconstructed the act in slow motion, perceiving Shadow’s feet leave the ground, his limbs curl into a ball, his attack home in on Sonic’s beating organ.

Sonic dropped his possessions, steeling himself to block the spindash with crossed arms, the force so powerful his heels dug trenches in the dirt. He grunted with the effort of holding Shadow off as the high-pitched rev of the spinball deafened his ears. It was like preventing a screeching tire from burning rubber on his vitals.

Seeing as this was getting him nowhere, Shadow performed a backflip, landing gracefully on his feet. “Hmph. I’m just warming up.”

Sonic chuckled, stretching his legs like a marathon runner in a show of confidence. “Sure thing, faker,” he emphasized, knowing this would warrant some aggression.

Shadow couldn’t help but clench his fist with ire, drawing his arm back before zooming forward with a punch.

The blue blur easily sidestepped to dodge but Shadow expected this, extending another blow at the last second, hitting his opponent square in the jaw.

Sonic reeled back, more out of shock than pain, rubbing the soreness away. Regardless, he found himself smiling. It wasn’t often he brawled someone who matched his abilities. After crushing laughable badniks for days on end, he’d be lying if he said he wasn’t itching for some excitement. “Lucky shot.”

“Calculated shot,” the agent corrected. “Are you as slow in the brain as you are with your feet?”

Sonic gasped dramatically, tossing the back of his hand to his forehead. “Alas! You have discovered my fatal flaw!” He bowed humbly. “Teach me, O Wise One.”

Just as Sonic was about to straighten, his opposer kneed him in the abdomen. He doubled over with a groan, sinking to his knees.

“Lesson one,” Shadow advised, “never let your guard down.”

In his kneeling position, Sonic took the opportunity to grab Shadow’s ankle and yank him to the dirt, knocking the wind out of him as he landed on his back. Shadow coughed, attempting to regain control of his lungs as Sonic loomed over him, boasting, “Lesson two, surpass the master.”

Shadow sprung to his feet. Meanwhile Sonic revved up into a concussive ball, billowing dust, and charged forward to knock over his contender like a bowling pin. But Shadow performed a handless frontflip like a gold-medal gymnast, easily dodging it.

“Chaos Spear!”

Upon hearing Shadow’s battle cry, Sonic serpentined throughout the clearing to avoid numerous bolts of energy the agent’s palms emitted. But no matter how quickly Shadow fired, Sonic managed to evade every shot by a hair.

At one point the blue blur skidded to a halt, and suddenly a glowing spear jutted out of a tree right before his face.

Sonic let out a nervous chuckle, grateful to still have a nose. “Someone’s getting antsy.”

He ducked in the nick of time to avoid a jet-boosted roundhouse kick to the head. Sonic then swept his leg to trip his assailant, but to no avail as Shadow leapt high into the air, backlit by the witnessing moon, before clasping his hands together to pummel Sonic into the ground.

CRUUUSH!

The hero narrowly somersaulted clear, shaking dirt from his quills. When he looked up to see the crater Shadow formed with his fists, his stomach churned. “Whoa, Shads, take it easy!”

Tired of this dance, the lifeform was tempted to execute a Chaos Blast right then and there, but instead he sneered, “Not until I get what I want.”

He dashed forward. His parallel instinctively did the same. However, a vine caught Sonic’s toe, hurtling him straight into Shadow. The hedgehogs were a mass of flailing punches and kicks, their limbs a blur as their tangled bodies rolled in the grass like a prickly tumbleweed.

Their careening stopped dead in its tracks as Shadow straddled Sonic, their panting faces inches apart, their arms wrestling for dominance with Shadow’s fists against Sonic’s palms.

Through grunts, Sonic tried to reason with him. “Okay, Shadow… hff… This was fun at first… hff… but now—” He cried out as his wrists bent at a dangerous angle.

“It was never a game, Sonic.” Using gravity to his advantage, Shadow pushed harder.

Pain shot through Sonic’s arms. “Shadow, stop!” he pleaded, his biceps nearly giving out. “It’s not what you think!”

Shadow snarled, his fangs gleaming like dual blades. “Don’t lie to me!”

Sonic’s muscles screamed. He didn’t remember his counterpart being this strong, didn’t understand where such passion was coming from. “Why are you so worked up?”

“I won’t let you destroy yourself!”

Shadow’s guttural cry echoed throughout the crisp air, followed by a chorus of flapping from retreating crows. Swallowing a lump in his throat, he almost wished Sonic would run away, too, as he shut his eyes tight to suppress his hot tears.

Witnessing such raw emotion made Sonic yield, letting Shadow pin his wrists to the dirt beside his spiky head. Though Sonic took shallow breaths, his peach torso still brushed against his rival’s ivory chest fur, soft and full, making his back spines prickle. “If it matters so much to you,” Sonic relented, “then you can take what’s in the basket.”

No sense of victory hailed Shadow as he sulked from revealing a shred of vulnerability. Instead a numbness washed over him like a waterfall. He crawled off the sapphire hedgehog, taking a few steps to retrieve what he thought was a performance-enhancing substance. But what he found was much more tame.

Perplexed, Shadow inspected a leafy stalk carefully. “These look like rose stems.”

As Sonic stood to brush grass off his quills, he could feel his face grow warm, resorting to sarcasm as a defense mechanism. “That’s because they are rose stems, genius.” He almost laughed. This was G.U.N.’s best agent?

It still didn’t add up. “Why were you hiding these from me?” When Sonic failed to answer, Shadow read his flustered face instead. “Are they intended for Amy?” Sonic shook his head. “Blaze?” Another shake. “Knuckles? You are aware he’s in love with a rock—”

“It’s you!” Sonic blurted, immediately slapping his palm over his mouth. He had to say something—he felt as if he were going to explode any second. But the regret was instant. He wanted to be cremated right then and there and have his ashes flung over the cliff into the depths of the sea below, dissolving into nothingness.

Shadow was taken aback but quickly composed himself, clearing his throat. “I see. Yellow roses?” he surmised, knowing that this flower hue symbolized a strong bond among friends.

“No,” Sonic replied, downcast. There was no point in lying anymore. “They’re a hybrid. Black for eternity and red for luh—! …Ove.”

That last word caught in his throat, so foreign on his tongue. Unconsciously he rambled, desperate for some sense of control again. “I thought that maybe once these bloomed, I’d have the courage to… ask you out.”

Shadow had difficulty masking his bewilderment. He opened his mouth as if to say something but failed to express a coherent thought, unable to recall the last time someone rendered him speechless.

Sonic rubbed the back of his neck, elaborating, “I know it’s stupid. Even though you get on my nerves, you also… get me, you know?” He reminisced over the moments they were forced to team up against a greater evil, racing side by side, occasionally stealing sidelong glances at each other.

Then images of the Finalhazard flashed in his mind, followed by the harrowing sight of Shadow plummeting to his supposed death. “When I thought I would never see you again, it made me realize I had taken you for granted.”

I should just stop talking, Sonic told himself. But his lips betrayed him. “Since then, I just couldn’t stop thinking about you.”

What are you doing? “I mean, look at your speed. Your strength. Everything about you screams danger.”

Shut. Up. “But instead of running away from you, why is my heart telling me—”

Shut up shut up shut up!

He growled, yelling over his thoughts, “—to run with you!?”

Sonic was practically on the verge of a cardiac arrest. His breath was short, his ears were numb. He felt as if an anchor pulled him by the pit of his chest to claim him as part of the earth’s core. He expected a witty comeback. A kick to the stomach. Anything! But what he got was worse. Shadow stared at Sonic as intently as a sniper through the lens of his scope. As pervasive as a bullet, what really killed Sonic was the silence.

Sonic shook his head to clear his mind. It was all so ridiculous, devoting so much time and effort and emotion to someone who couldn’t care less. “But it doesn’t matter.” He hastily gathered his belongings and began to head homeward. “Clearly you don’t feel the same way so let’s just move on and pretend none of this ever happened—”

“Wait.”

Sonic froze, feeling Shadow’s grip around the crook of his elbow. His heartbeat pounded so incessantly he thought his eardrums would burst. “Yeah?”

The crimson-eyed hedgehog averted his gaze, though Sonic thought he spotted a faint rosy tint across his tan muzzle. “It appears as though your sentiments mirror mine.”

Cogs slowly turned in Sonic’s mind, trying to process the confession. But then he laughed in denial. “Come on, Shads. You’re not serious.”

Shadow squeezed Sonic’s arm in affirmation, finally locking his ruby irises with his counterpart’s emeralds.

Fixated, Sonic read no hesitation, no amusement in that scorching gaze, straight as a gun barrel. That’s when he knew Shadow was indeed telling the truth.

It finally clicked. Then Sonic turned bright red, realizing just how close Shadow was standing, feeling his warm breath on his lips.

Shadow stroked Sonic’s cheek with the back of a curled finger, a touch that was extra gentle in case he miscalculated his own strength, before resting it under Sonic’s chin to slightly crane his neck. The agent found his blush quite endearing, and being its trigger was icing on the cake. They were in such close proximity that Shadow could breathe in his admirer’s scent, sweet as freshly cut grass. Shadow’s blood pumped so madly he thought Sonic could hear it. He briefly wondered if he would ever get used to the hero’s presence. Perhaps he would find out at a later date.

If so, it would be a date to die for.

With slowly lidding eyes, Shadow leaned in, parting his lips just as their muzzles were a quill’s breadth apart—

“Shadow, come in!” urged an electronic voice.

The hedgehogs jumped out of their trances. Shadow cursed under his breath, realizing the command came from his wrist communicator. He pressed a button as he spoke into it. “Yes, Rouge?”

“You’re supposed to report every hour so we know you’re safe while patrolling,” his bat coworker scolded.

Shadow grimaced. “I can take care of myself.”

“It’s just a precaution,” Rouge stated. “In any case, that cheery attitude of yours lets me know you’re fine. Bye~!” The call ended with a beep.

A forlorn sigh escaped Shadow’s lips, the moment officially tainted.

But with his ever-present smile, Sonic brushed off any disappointment he may have had. “You should get back to work.”

Shadow glared at the blue hedgehog, feigning annoyance. “This area is well within my jurisdiction, and I haven’t finished inspecting it,” he claimed, watching Sonic’s grin grow wider, so contagious he wore a hint of a smile himself. He then graciously took the shovel from Sonic’s grasp, walking toward the primed plot. “Come. I hate leaving a job unfinished.”

[youwontlikethisblog]

A lil rant

After watching this episode a fourth time and certain scenes a lot and thinking about it a lot I wanted to explain further than I did in the last post.

I focused a lot on explaining the consensual aspect of their first time and explaining the motivation behind Armando's actions as well as Betty's, but didn't elaborate much more, for one like I said I'm an insomniac and was out of it lol, try writing a post for nearly twelve hours and tell me you wouldn't either. I do see that I should probably draft a lot of my "analysis" when I write them because I am not all there so I don't explain things as well so I'll start doing that so the post are a lot more consistent and clear as opposed to me starting with one point and never finishing it. Anyway now that this disclaimer is out of the way here are my thoughts on said episodes as a writer.

Many times when writing we have to revisit our work as we are writing it. This allows us to pick up on certain plot holes and mistakes as well as even figure out some plot twist in the future. Often times when you know your characters and the moral and ending of your story, the story ends up writing itself and forming it's own path. I've mentioned in past posts that the first draft is to write with tears and blood and the when that's over you clean up your crime scene.

Now, all writers are imperfect and we make mistakes, duh, so there's inconsistent things in this show, like the dog, Camila, Beatriz Valencia, etc.. etc.. however when it comes to the main character's personality there really isn't much of a flaw, in fact they are very realistic and consistent, the actors did a phenomenal job bringing said characters to life, one of my all time favorite details of the characters in this show is how they all have ticks. Guti Guti does that thing with his lips, Patricia flips her hair, Betty worries her lips a lot and when she is explaining certain things she often has this really adorable thing where she rocks on her feet and speaks very certain of what she's saying. Armando has so many ticks that it's hard to keep up with them. Point is they all have so many realistic behaviors that it's hard not to notice them and even harder to disregard them as not part of the story when they are. They are a huge part of being able to credit or discredit the motives and actions that move these characters.

For that exact reason Betty's character in the past few episodes was so heavily important to understand where she was coming from. It wasn't just that she was drinking that got her all riled up and excited that night. It wasn't just that she missed him days without him made her longing and desire increase ten fold. There is always a cause and effect.

What caused Betty to behave this way? How did that effect her relationship? What caused Armando to react that way? How did that effect their relationship? Most importantly, how did this affect them both?

There's a clear understanding of who Armando is and what his secret desire and motive is to make Betty fall in love with him. Though his pride and ego are so huge he can't see past it to dissect and understand his feelings aside from the prejudice he has against women who are not the status quota, in the mildest of all of that there lays one true objective: Betty's heart. We mustn't forget that Armando IS worried about Eco Moda and most certainly that he never wants to admit that he was wrong.

However much like a future dream demonstrates it, Eco Moda is just a farce for his feelings towards Betty. Though outwardly he is motivated by the desperate desire to be validated and loved by his parents, to be better than Daniel, and not admit that he was wrong, inwardly what really pushes him and makes him go after Betty is his desire for her.

How does this start off? He blurs the line at work, where things no longer are just professional coming from him. He makes certain achievements of Betty's in her profession and even morale his own, as if they were a team facing the challenges together. He inserts himself into Betty's life and he inserts Betty into his personal life a lot. With his affairs, his feelings regarding the company and his worries. He trust her as his confidant, as his best friend. He trust her with his feelings more than he does with his actual best friend and his fiancé and this all starts days before the plan is even a plan to him.

The cause of this? Betty's faithfulness and unconditionality.

The effect? He feels like he is special to Betty, as he said himself he had been so special with her(If you haven't yet I suggest that you read the posts Nicolas Mora, Un Amigo, Betty, My Betty! Parts 1-3).

As their relationship progressed his feelings continued to grow to the point that this night, not after he slept with her but before he did, he fell in love. It was when Betty was being vulnerable and apologizing to him for having been overbearing that he fell in love.

However Betty had already been in love with him, way before. She knew him in and out. She knew the good and the bad. She accepted him as is and all she wanted to do was give him her affection and love and that's what she's done, it's all she's done and this feeds a cycle of desire and motivation for Armando where her love motivates him to change, it inspires him to be a better version of himself to make Betty happy because seeing her happy makes him happy, it challenges him to change his own prejudice of society and people. She is a safe haven and she achieves that, how wasn't he supposed to fall in love with her this night when she does exactly that?

Betty's cause to behave like this was her conversation with Aura Maria days before where she questioned if Armando felt more for her than just admiration. She questioned if he too desired her. The effect of that conversation was her testing to see if Armando did in fact feel the same way, that he was on the same page.

It is also so satisfying to see the parallels! Oh how wonderful they are!

The extreme contrast between Betty and Marcela are so visible, so vivid, so in your face that you cannot say that Marcela is a victim of Betty's.

I won't defend Betty's actions for involving herself with a man that was in a contract with another woman(I say contract because it was not an engagement. What Marcela and Armando had was a contract, he did her the favor of marrying her and she owned him.) I understand that she is insecure but she was always shown to have morals and ethics above all, where did those go? Out the window that's where. However I still love her so imma be a supportive mother to Betty and call her out but lend her my two shoulders to cry on, okay?

Moving on.

Betty did not and I will repeat this BETTY DID NOT MANIPULATE OR FORCE ARMANDO TO SLEEP WITH HER.

We get two contrast of the exact same scenario for that exact reason people.

Betty and Marcela literally ask the exact same questions to Armando: Am I making you uncomfortable? Am I bothering you? Do you not want to be with me?(Marcela asked Do you want me to leave?)

However they ask it with different intentions and motivation.

Marcela never pays attention to Armando's body language. Instead she focuses solely on herself, her feelings, and what she wants, this is not a person who is insecure, this is not a person who has no self-worth. This is a person who has a huge ego. MARCELA IS SELF-CENTERED AND SELFISH TO THE CORE. For this exact reason she refuses to let go of Armando because she believes that she deserves him not as a human being but as a trophy to satisfy herself that she tamed a man who sluts it out left and right.

This night we get to see that.

While Betty asked him these questions to make sure he was on the same page as her, that he too desired her just as she desired him; Marcela asked these questions to trap him. She wanted to be like "Aha! You do have a lover! Now I'm going to make your life a living hell because I was right!"

No sis, calm your tits, you need a therapist.

While Betty was legit asking for it, for Armando to consent, Marcela was asking for him to satisfy her. There is a huge, and I mean huge difference between asking for consent and wanting to be satisfied.

Ironically my current WIP pushed me down a rabbit hole on information that explains the dynamics of a survivor and a romantic relationship and how to be a supportive S.O and a lot of the articles I read mentioned the importance of intimacy.

What is intimacy? It is forming a friendship with your S.O and establishing honesty and respect. It comes above the physical aspect of the relationship because it makes you feel safe when things are leading to something physical.

Marcela and Armando don't have that. Armando has even told Marcela that he doesn't want her to have his intimacy. When I first saw that scene I was like "Take a look at this an*s! Why is she with him?" and then I saw why... Marcela be blabbering his business to everyone. She tells everyone that Armando is unfaithful(I mean in that aspect he do be deserving that) but it goes so much deeper than that. The reason he cheats on her is because he is trying to escape, have control, and feel validated and then that feeds her possessiveness over him, which then feeds his desire to cheat(@el-moscorrofio-y-el-mercachifle already made a meme about that lol). She never does anything to gain his trust, instead she demands it and when she doesn't get it she has this "Aha! It's because you're a cheating whore and I'll destroy the woman but stay with you because you belong to me you puny little man! But I will also ruin you if you leave me!" Their relationship sucks. It's honestly just a moral enemies to sex trope. That's it. Like there's nothing there.

Which is not the case for Betty and Armando.

They in fact do have intimacy. They talk about their feelings, they face trials together, as a team, they push one another and inspire one another. They were friends(a lil more than friends doe) long before. In the scene where they are talking in the hotel room Betty tells him she understand him, that she understands that he doesn't feel that sort of attraction towards her and just because she loves him he isn't obligated to sleep with her.

I want to repeat this in cause people are still confused or saying Betty forced Armando to sleep with her: She said :YOU ARE NOT UNDER THE OBLIGATION TO HAVE RELATIONS WITH ME JUST BECAUSE I WANT TO.

What does that sound like to you?

Imma wait for crickets.

When Armando then tries to engage into relations she pulls away and tells him that he doesn't have to.

She is literally placing his needs, his feelings, before her own, however Armando has just barely fallen in love and he wants to. He wants to sleep with her. He wants to engage in fornication and sinful actions with Betty.

He gets frustrated when Betty tells him that he doesn't have to and we know it's because he hates it when people, especially Betty, invalidate his feelings or efforts. The fact that Betty now was telling him no upset him because he did want to sleep with her, however he did not pressure her either. He explained why he did want to sleep with her and when she consented and he too consented they sinned.

However later that night we get almost the exact same scenario but with a different tone.

Marcela, after they argued, sits by his bed where he is laying down and goes to take off his tie and tells him that she desires him. Armando was laying still he told her he was tired, wanted to wash up and go to sleep before she did this. He did not look nor welcome her actions, which is different from when Betty told him that she wanted to make him feel better. In that scene Armando asked her how she was going to do that and when she said with her kisses, they both leaned in to kiss. This time Armando just lays there, like all the other times before but he looks at her with a cold stare.

When he jumped back from Betty when they were making out, Betty asked him what was wrong and he expressed himself.

However this time when Marcela asks him her tone is different. This time she's angry at him as she yells at him to deny that he has a lover now.

Marcela wasn't looking to be with her man, she was looking for her man to be with her. She wanted him to prove to her that he hadn't been sluting it out(like how was he supposed to prove that when she been knew that he still went and slept with her after he slept with whomever? Like she knew he did that and she still consented? WHAT? which y'know feeds the notion that she just wanted her socks rocked) but it contradicts what she says the next day to Patsy Pats at the office. Marcela just wanted him to satisfy her. She wasn't looking for it to be team work, she was looking for it to be about her.

This is why that night was so important. These little scenes, movements, play on words and parrales are there to show us two different relationships; a healthy one and a toxic one.

Marcela didn't respect Armando's no, she just had no other option because this time he wasn't just laying there letting her do what she wanted, this time her emotional manipulation didn't work, this time her seggsual manipulation doesn't work so unless she was gonna r-word him than she had no other choice but to be pissed about it.

Betty did respect Armando's no. She tried to explain herself and apologize to him. She even double checked with him when he told her he did want to. Betty was willing to not have relations with Armando if he didn't want to, for the sake of their relationship and what they have, she would not jeopardize their relationship just to get her socks rocked nor would she make him feel guilty for it.

It wasn't a happy little accident that we get these parrales in one episode.

Understanding the cause and effect helps us determine this.

Understanding the character's inner desires and dilemas helps us understand this.

So no, once again, Betty did not force Armando to sleep with her. Everything before, during, and after that scene shows us and tells us this.

We get both a cause and effect with the added bonus of show, not tell.

This novela reads like a book, so there isn't much of a speculation when we are being shown to compare both of these relationships when they are saying the same things, in the same scenario but with different tone and reaction from the character of interest in both scenarios.

The purpose of this novela was to break social norms of how certain women and men are presented in the media and to question why that is. It isn't simply a love story, if it was I wouldn't be able to watch it as stuff like that makes me want to puke, again this is all a funny ironic joke that someone is playing on me.

[EDIT:

Another key things to take into account(I mentioned it in the Forgive Me post) is that even Mario's tactic to manipulate Armando had nothing to do with Eco Moda or his ego. It had everything to do with Betty's feelings and Armando's desire to make her happy. That same day Mario took notice of Armando's behavior towards Betty at the office and the guilt he felt over forgetting her B-day. Mario played with Armando's feelings and he pushed his buttons to see just how much it mattered to Armando.

When Armando said at the bar that he couldn't go through with it, Mario told him he was convinced, a sincere reaction of his, and he didn't have to do it anymore. However when Armando said he couldn't do that to Betty because she was really looking forward to it, Armando was smiling when he was talking about her enthusiasm to spend time with him, and Mario took notice of that.

So again, Armando did want to sleep with Betty, he just didn't want to do it under deceit or manipulation. He didn't want to be Betty's "First" under those conditions and Betty didn't force him.

My rant is over.

[EDIT: On the Forgive Me post I went back and did two corrections, they are in bold so if y'all want to read them, that would be awesome :)]

[kellyvela]

Has GRRM ever said in any interview or on his blog that he hates Sansa's complete storyline after 4th season? I dont really follow all of his fan/media interactions but from what I can recall he has spoken abt how LF in books wont give sansa to ramsay or how noone had issue when Jeyne was given the Ramsay storyline in books etc. Asking this question to you bcs you rightly point out how ppl misunderstood his interviews/posts ( sansans/targ stans etc) & I cant recall him ever saying he 'hates' sansa's story in the later seasons of the show ( not s5 in particular but even s6 to s8).

Capclave 2013:

A change that has repercussions for season 4 is Marillion’s tongue removal from the first season. Martin said that the change was made (from an anonymous singer being the victim of a de-tonguing) because they wanted Joffrey to maim someone the audience would recognize. He believes this is an issue because of the part the singer plays in Sansa’s storyline, how he affects her interactions with others in the book, and he doesn’t believe another character will be fulfilling that role on Game of Thrones.

—GRRM talks season 4 & beyond - Winter is Coming - October 13, 2013

2014 Fan Reports about Capclave 2013 (*):

In a convention panel this year, George said on the record that he had no idea what they were doing with Sansa or where they’re taking her storyline, which now makes sense perhaps. He was not pleased when he was talking about it, so who knows what’s going to happen with her! Knowing GRRM, that could mean they’re going off the canon reservation, and/or that they’re going to be making a lot of shit up

I have notes I’ll be responding to (thanks!) but enough people commented about Sansa that I thought I’d share that tidbit, since it happened back in September iirc (was the same panel where he criticized the exclusion of Tyrell brothers)

—starkalypse - June 3, 2014

GRRM’s comments at capclave about Sansa (which I was in the third row for, for those asking about legitimacy) were among others during the panel that had a general theme of dissatisfaction with show changes. He was not in good spirits for that con and didn’t really have anything positive to say regarding the show. So take it with a grain of salt; there are deviations away from the books in the episodes he gets writers credit for, so maybe they’re doing something stupid or they really don’t have a gameplan!

—starkalypse - June 4, 2014

(*) These reports were posted in June 2014, during the airing of Game of Thrones Season 4, about Capclave 2013 that happened in October 2013.

Just after the rape episode:

How many children did Scarlett O’Hara have? Three, in the novel. One, in the movie. None, in real life: she was a fictional character, she never existed. The show is the show, the books are the books; two different tellings of the same story.

There have been differences between the novels and the television show since the first episode of season one. And for just as long, I have been talking about the butterfly effect. Small changes lead to larger changes lead to huge changes. HBO is more than forty hours into the impossible and demanding task of adapting my lengthy (extremely) and complex (exceedingly) novels, with their layers of plots and subplots, their twists and contradictions and unreliable narrators, viewpoint shifts and ambiguities, and a cast of characters in the hundreds.

There has seldom been any TV series as faithful to its source material, by and large (if you doubt that, talk to the Harry Dresden fans, or readers of the Sookie Stackhouse novels, or the fans of the original WALKING DEAD comic books)… but the longer the show goes on, the bigger the butterflies become. And now we have reached the point where the beat of butterfly wings is stirring up storms, like the one presently engulfing my email.

Prose and television have different strengths, different weaknesses, different requirements.

David and Dan and Bryan and HBO are trying to make the best television series that they can.

And over here I am trying to write the best novels that I can.

And yes, more and more, they differ. Two roads diverging in the dark of the woods, I suppose… but all of us are still intending that at the end we will arrive at the same place.

In the meantime, we hope that the readers and viewers both enjoy the journey. Or journeys, as the case may be. Sometimes butterflies grow into dragons.

—The Show, the Books - Not A Blog - May 18, 2015

Report about the last Game of Thrones Script that GRRM wrote:

No Wedding for Sansa and Ramsay: Without question, one of the most controversial changes the show made in trying to streamline the books was by slotting Sansa into the role of Ramsay’s wife and rape victim in Season 5. In the books, Ramsay marries and assaults Sansa’s best childhood friend, Jeyne Poole—who is being forced to impersonate Arya—instead. (You can actually see Jeyne briefly sitting next to Sansa in the show’s pilot.)

At the time Martin wrote this script, though, substituting Sansa for Jeyne was not yet the plan. Martin has Roose Bolton tell his bastard son: “We have a much better match in mind for you. A match to help House Bolton hold the north. Arya Stark.” It should be noted, however, that in Martin’s script, Sansa isn’t free from menace either. At his own wedding-day breakfast, Joffrey still threatens to rape the older Stark sister—once he’s “gotten Margaery with child.”)

—Game of Thrones: The Secrets of George R.R. Martin’s Final Script - Vanity Fair - December 7, 2018

A month before the Game of Throne S8 Finale:

Sansa’s story, in particular, has really deviated from the books. Ramsay Bolton — that marriage obviously was with a different character. When they start deviating like that, did you initially have any emotional reaction, even though you worked in Hollywood for many years yourself?

GRRM: Well, yeah — of course you have an emotional reaction. I mean, would I prefer they do it exactly the way I did it? Sure. But I’ve been on the other side of it, too. I’ve adapted work by other people, and I didn’t do it exactly the way they did it, so ….

Some of the deviation, of course, is because I’ve been so slow with these books. I really should’ve finished this thing four years ago — and if I had, maybe it would be telling a different story here. It’s two variations of the same story, or a similar story, and you get that whenever anything is adapted. The analogy I’ve often used is, to ask how many children did Scarlett O’Hara have? Do you know the answer to that?

I know it’s different in the book and the movie …

GRRM: Three children in the book, one by each husband. She had one child in the movie. And in real life, of course, Scarlett O’Hara had no children, because she never existed. Margaret Mitchell made her up. The book is there. You can pick it up and read Mitchell’s version of it, or you can see the movie and see David Selznick’s version of it. I think they’re both true to the spirit of the work, and hopefully that’s also true of Game of Thrones on one hand, and A Song of Ice and Fire on the other hand.

—George R.R. Martin on the Stark Sisters and Ending ‘Game of Thrones’ - RollingStone - April 22, 2019

James Hibberd’s Book:

GEORGE R. R. MARTIN: Jeyne Poole was included in the pilot—she’s shown giggling next to Sansa—but she’s never seen or referred to again. I actually wrote Jeyne into “The Pointy End,” my first script, when Arya killed the stableboy. I had some stuff with Jeyne running to Sansa being all hysterical and dialogue in the council chamber with Littlefinger saying, “Give her to me, I’ll make sure she doesn’t cause any trouble.” That was dropped.

DAVID BENIOFF: Sansa is a character we care about almost more than any other. We really wanted Sansa to play a major part in that season. If we were going to stay absolutely faithful to the book, it was going to be very hard to do that. There was a subplot we loved from the books, but it was a character not involved in the show.

GEORGE R. R. MARTIN: I was trying to set up Jeyne for her future role as the false Arya. The real Arya has escaped and is presumed dead. But this girl has been in Littlefinger’s control for years, and he’s been training her. She knows Winterfell, has the proper northern accent, and can pose as Arya. Who the hell knows what a little girl you met two years ago looks like? When you’re a lord visiting Winterfell, are you going to pay attention to the little kids running around? So she can pull off the impersonation. Not having Jeyne, they used Sansa for that. Is that better or worse? You can make your decision there. Oddly, I never got pushback for that in the book because nobody cared about Jeyne Poole that much. They care about Sansa.

—Fire Cannot Kill a Dragon: Game of Thrones and the Official Untold Story of the Epic Series by James Hibberd - October 6, 2020

GEORGE R. R. MARTIN: My Littlefinger would have never turned Sansa over to Ramsay. Never. He’s obsessed with her. Half the time he thinks she’s the daughter he never had—that he wishes he had, if he’d married Catelyn. And half the time he thinks she is Catelyn, and he wants her for himself. He’s not going to give her to somebody who would do bad things to her. That’s going to be very different in the books.

—Fire Cannot Kill a Dragon: Game of Thrones and the Official Untold Story of the Epic Series by James Hibberd - October 6, 2020

I hope it helps you.

Thanks for your message.

[marvelmusing]

Making Time

Mobius M Mobius x Reader

Part 5

Series Masterlist • My Masterlist

“There's nothing, sir.” The analyst says, looking up from the computer to inform you and Mobius.

“Have you used the magnified nexus threshold?” You ask him. Mobius nods in agreement.

“That one should be setting off alarms if somebody steps on the wrong leaf.”

“Wherever they are, I'm not sure anything survives.” The analyst argues.

“Yeah. Don't underestimate them. You see anything down at Roxxcart? They're gone. Leaping across time, plotting their next massacre.” You glance over at Mobius. He seemed a little shaken by whatever Renslayer told him after her meeting with the Time-Keepers. B-15 stops beside Mobius,

“Any news on C-20?” She asks. Mobius doesn’t look at her as he answers,

“No.”

“We need to find them.” She insists, her gaze fixed on the timeline in front of you.

“We will.” Suddenly an analyst perks up.

“We've got something. Temporal lock.” Everyone watches the timeline as a branch extends from the main line, faster than you’ve ever seen before.

“Okay, that's not someone stepping on the wrong leaf.” Mobius comments.

“You ever seen a branch like that?” You ask the two of them. B-15 shakes her head faintly.

“No.”

You spend the morning gathering paperwork for Mobius. You organise all the mission reports regarding the Loki Case and before long Mobius arrives to collect them.

“Thanks [Y/N].” He scoops the files up from your desk. You smile up at him.

“No problem. How’s it going with Loki?” He sighs, leaning against your desk beside you.

“I don’t know. He seems quite defensive, so I’ve left him in a Time Cell.” You nod.

“What’s he said?” He laughs softly.

“He said the TVA’s lying to me. Obviously some kind of lie he’s trying to spin.” You nod again, lost in thought. “You alright?” You glance back at him.

“Yeah, of course.” He pushes himself away from your desk, adjusting his grip on the files.

“I’d better get this to Renslayer.”

“If you need anything, I’ll be here.” He nods,

“I’ll see you later.”

“See you.”

It isn’t long before Mobius is back. He’s striding through the cubicles, heading straight for your desk.

“Come with me.” Is all he says. Which is all it takes for you to stand up and follow him. You’re both quiet as you make your way to the archives. Mobius finds a deserted corner, and tucks the two of you away behind a row of shelves.

“What’s going on?” You whisper, as you watch him pull a TemPad out of his pocket.

“I’m not sure yet.” You watch the screen as he scans through the most recent files.

“That’s not your-“

“It’s Ravonna’s.” You look up at him sharply. He looks a mix of anxious and excited, like he goes when he’s close to a breakthrough on a case. You look back at the screen when something starts playing. It’s a video of C-20. The hunter that was enchanted by the variant.

“You're not hearing me. I was there. This was real, what I saw. This is a place that I've been. This wasn't the TVA. This was a memory. I lived down there. I went to that bar. I had friends. I had a whole life on the Sacred Timeline.”

“Calm down.” You hear Renslayer say to her.

“Calm down? I'm a Variant. So are you. So is every single person in this place.”

“I'm ending this.” The video ends, the face of Renslayer paused as she stops the recording. You look back at Mobius.

“Ravonna said C-20 was dead. That the variant had scrambled her mind.” He tells you.

“She seemed pretty upset. But not scrambled.” You say. He nods,

“I think Loki was right.”

“What do we do now?”

“I don’t know. But I know where to start. I’ll go get Loki, you get Sylvie.”

“Sylvie?”

“The other Loki variant, that’s her name.” You nod. The two of you make your way out of the archives. You spilt up, Mobius going to Loki, you going to find Sylvie. You approach the time theatre where Sylvie is being kept, before asking the hunters on guard to let you in for an interrogation. The hunter closest to you offers his baton, which you accept with a smile. As the doors open, you see a woman sat on one of the chairs in the centre of the room. Her hair is slightly damp, and her legs are propped up on the desk in front of her. She glances at you as you enter the room. Once the door is closed you say to her,

“I’m a friend of Loki’s. I’m going to get you out of here.” She looks up at you in surprise, though before she can respond the door opens. You spin around to see Renslayer stepping into the room. She takes one look at Sylvie before saying,

“Who else was in here with her?”

“Sorry, ma'am, B-15 insisted.” One of the hunters responds.

“Put out an alert for Hunter B-15. She too has been compromised by the Variant.”

“She too? Who else has been compromised?” You ask her, feigning innocence and praying that Mobius is safe. She gives you an unwavering look.

“Agent Mobius. He unfortunately became very unstable, and was consequently pruned.” The baton in your grasp trembles.

“Pruned?” You repeat quietly. Not Mobius. Please, no. The hunters move forward to seize Sylvie and you use that to your advantage. You slam your baton into the back of his head, before swinging at the other one beside you. Once they’re on the floor, you twist the baton, the end glowing as you lunge at Renslayer. But she’s too quick. She dodges. Grabbing your baton, and using your momentum to push you against the wall. Holding the baton in both hands, she pushes it against your throat. You squirm and struggle against her. One of the hunters forces a time collar around your neck, then you’re reversed to back where you were a minute ago. The hunter hands the time twister to Renslayer who takes it with a smirk. Hot tears of frustration and grief flood down your face. You attempt another lunge at her,

“You little bit-“ You’re reversed backwards in an instant. A small sob wracks you as you stare at her. “He trusted you!” She turns back to the hunters.

“Let’s take them both to the Time-Keepers.” The hunters grasp ahold of you and Sylvie, and March you down the corridors, towards the elevator leading to the Time-Keepers. You hold your head high, despite the tears staining your cheeks. As you reach the elevator the hunters stop. You hear Sylvie whisper an,

“Are you okay?” To which he nods faintly. You glance over at Loki. He returns your gaze.

“[Y/N], I’m so sorry.” He whispers, looking as heartbroken as you felt. You swallow hard,

“It’s not your fault Loki.” You tell him.

“I’ve got them from here.” Renslayer tells the hunters, who then let go of you and leave. The four of you step into the elevator. After a small conversation between Sylvie and Renslayer, which makes you hate her even more, the elevator doors open and you step out to meet the Time-Keepers.

“Gracious Time-Keepers, as promised, the Variants.”

“After all your struggle, at last, you've arrived before us. What do you have to say for yourselves before you meet your end, Variants?” The Lizard in the middle says, looking down at the three of you. Loki speaks first.

“Is that the only reason you brought us here? To kill us? I've lost track of the number of times I've been killed, so go ahead. Do your worst.”

“You and your bravado are no threat to us, Variant.” Sylvie shakes her head.

“Oh, no, I don't think you believe that. I think...” As she steps forward Renslayer reverses her back, but she continues, “I think you're scared.”

“No, Variant. You're nothing but a cosmic disappointment. Delete them.”

“No, I'm not done with you yet.” There’s a buzz, then your time collar drops to the ground. You look at door to see B-15 with Sylvie’s sword in hand.

“For all time. Always.” She says, throwing the sword to Sylvie which she catches.

“Protect the Time-Keepers!” Renslayer orders. Then the fighting breaks out. You manage to fight off a few of the Time-Keepers guards, though Sylvie and Loki do most of the work. You watch as Sylvie throws her sword at the Time-Keepers, swiping the head of one of them. With a crackle of electricity, the head bounces along the steps to land in front of Loki.

“Fake. Mindless androids. It never stops.” Sylvie throws the head down angrily.

“Then who created the TVA?” Loki asks.

“I thought this was it.” The two of them appear to be having some kind of moment, so you look away. Only to be grabbed by a guard who’s regained consciousness. As you push him away you notice Renslayer advancing towards Loki. You cry out his name in warning but it’s too late. Loki disappears in a fizzle of sparks. Sylvie charges at Renslayer, seizing her baton and pushing her against the steps. You stand at Sylvie’s side with your baton raised.

“Do it.” Renslayer goads.

“No.” You say.

“You’re going to tell us everything.”

Tagslist: @n0obmaster69 @mackycat11 @wibblywobblyjeremybearimy @boriqs @aloisia @fandom-lover-4 @lam-ila @momos-peaches @gracey07 @morganwilliams @greeneyedblondie44

If you’d like to be tagged just ask!!

[radramblog]

Eldritch Moon my beloved

I think most Magic players are going to have a favourite set. Often that’s going to be one they started playing with, or one that really got them into the game, or one that had a limited or standard format they really enjoyed. A lot of people won’t, and that’s okay, they’re allowed, it’s hard to pick favourites sometimes.

But for me, it’s Eldritch Moon, aka the last time we went to Innistrad, and things got a bit more tentacular.

Eldritch Moon had a lot working against it from the get-go.

The Shadows block immediately followed the Battle for Zendikar block, one which a lot of people Didn’t Like. Whether it be for some of the more questionable art direction, for the relatively weak cards and boring parasitic mechanics, and for arguably some of the lamest story the game has had to date. More relevantly, though, it was a pair of sets where a fan-favourite plane was essentially dominated by squid monsters and lost a lot of its unique identity in the process- gone was the fun D&D-esque adventure world, replaced by stark wastelands and a war story with like one good story article. It’s the Tazri one.

And then the next set was Shadows over Innistrad. Another return to a fan-favourite plane, with a huge mystery being built up as to why everything was going to shit again. Why Avacyn and her angels were turning on humanity, why there are all these funky stones everywhere, what exactly Nahiri was doing fucking around on the plane of someone she apparently doesn’t like very much.

There were cryptic hints in the set itself. Its title is a reference to the Lovecraft story, Shadows over Innsmouth, with a fair few cards alluding to the story itself. A few cards did have subtle tentacles in the art, as well as subtle warping of flesh and world. The most damning clue came in the form of a puzzle regarding different flavour texts for the card Tamiyo’s Journal, which gave a particular phrase- “Remember this: they came as three”- flavour text from a Battle for Zendikar card referring to the three Eldrazi Titans, only two of which had been dealt with in that story.

Despite this, people still denied that this was the plot-to-be. There were still rumours that it was somehow Marit Lage again after all this time, or that the threat was a new one, or that it was somehow the Gitrog Monster’s fault. Personally, I wanted to believe this, and desperately didn’t want the next set to be Eldrazi-themed- I’d gotten pretty sick of them from BfZ and OGW and was very much enjoying all the new Werewolves and Madness cards and Delirium mechanic. This was at the point where I was drafting at FNM weekly, and the fun differential between the two blocks was stark.

But of course, the mystery was revealed. It was old god Emrakul the whoooole time! Quelle fucking surprise. And yet it ended up being significantly better than the previous block, for a number of reasons.

Firstly, the story is just kind of better. We get to see distinctly through the cards and the plot how the influence of Emrakul has affected the regular citizens of Innistrad, and how all its various factions- the Church, the vampire manors, the packs of werewolves, et cetera- were all twisted in her visage. We get to see the desperate fight against them, with all these gothic horrors warring against eldritch horrors, and against themselves. And we get both Jace doing some surreal journey-to-the-centre-of-the-mind shit while Liliana gets to be the hero and Tamiyo gives us an ending that raises more questions than it answers.

Also, Sorin gets stuck in a rock. Fuck that guy, Nahiri was always cooler, and fuck War of the Spark for apparently just having them make up off screen.

Secondly, the cards. Flavourwise, the three Eldrazi Titans’ corrupting influence manifests differently for each- Ulamog consumes and drains the world, Kozilek corrupts the mind and wreaks havoc on space, and Emrakul? As we see, Emrakul twists flesh into new and horrifying shapes, that the set’s cards display in loving and disgusting detail. While Ulamog and Kozilek’s drones were clearly a part of themselves, the Eldrazi of Innistrad all used to be something much more reasonable before Emrakul made it to the plane.

There are three types of Eldrazi in this set. Firstly- the transform mechanic from Innistrads previous has been played with to suit the needs of the flavour. With the exception of Ulrich, every single double-faced card represents a creature from the world, be it Human or Werewolf or otherwise, that is touched by Emrakul and makes a permanent transformation into something else. There’re masses of limbs, shapes echoing Emrakul herself, and flesh in configurations that Should Not Be. The shift on every card is stark, and in every case, you have to actively put in effort to push them over the edge- and off a cliff which they cannot come back from. This is especially true with the Meld mechanic, with the cards fusing into this giant monstrosity that literally dwarfs every other card on the table.

The next type of EMN-drazi is the Emerge creatures. The mechanic was extremely fun, almost all the cards were eminently playable in at least one format (mostly just limited), and the art is spooky. The flavour of some guy on your table getting fucking chestbursted and having fucking Elder Deep-Fiend pop out is incredible, and each is a great way of showing how the regular fauna of the plane (and flora, like, I think Lashweed Lurker is a plant or something) are mutating in response to the creature’s presence.

Finally, there’s the cards that make 3/2 Eldrazi Horror tokens. There’s less of these and they’re less intense, but by and large they’re a representation of the regular people being affected by the whole thing. Just about every card that makes one of these involves a creature dying in some way (Desperate Sentry, Otherworldly Outburst) or being spawned by an existing mass of flesh (Hanweir, Howling Chorus), and it gives this sense that everybody is affected by this effect.

Of course, that was also a thing in Battle for Zendikar block. The whole thing was Eldrazi, Eldrazi, Eldrazi, with even vanilla 4/3 worms having something to say about fighting them. They key difference of Eldritch Moon is that the flavour of the world is still preserved outside of this Eldrazi presence.

What I’m saying is- the gothic horror of Innistrad is still present despite the eldritch horror of the set’s antagonist. There’s still a corrupt and violent church (albeit with a few more tentacles now), there are still cults and Frankenstein zombies and vampires and werewolves. Innistrad’s tone is compatible enough with the Eldrazi’s that the combination enhances the two rather than diminishes them.

The final thing I want to say is just- the set’s really fun. It has a bunch of my favourite classic limited cards- Thermo-Alchemist, Ulvenwald Captive, and Boon of Emrakul- along with multi-format all-stars like Grim Flayer and Collective Brutality. It has big potential get-there moments with the Meld cards and some of the flip Eldrazi, and splashy interesting cards like Emrakul herself and Harmless Offering. The set drips with flavour that enhances the gameplay, with very little wasted space.

It’s a set I only really have two complaints about. Firstly- lol Ulrich isn’t good and wasn’t what basically any werewolf fan was after. And two- it suffers from an eternal issue that Magic only recently solved, in that it’s a Small Set with a pile of mechanics that it cannot possibly fully explore in its 200 or so cards. The biggest victim of this is Meld, as they could only fit 3 pairs in under the restraints of the set size. And that’s a real shame, considering that it’s a mechanic that we’re probably never seeing again, especially considering the recent Midnight Hunt. I really think there was a missed opportunity to not have a few leftover Eldrazi in that set- whatever happened to the Dronepack? Or the corrupted vampire houses? I suppose, though, that “I want more!” can be the best complaint a creator can get.

Eldritch Moon had big shoes to fill. However, in my eyes, it didn’t just fill those shoes. It filled them and kept filling them until its distended toes burst out the front and sides of the shoes and just kept growing, and bending in really weird ways, and I think I’ve lost the plot of this metaphor. It’s my favourite Magic set, and I don’t see that changing for a while.

[sunflowerdigs]

So, I did a little sarcastic-y review from the salt mines for RNM 3x09. Warnings for excessive sodium content, Maribel mourning, a desire to recycle cardboard, and, of course, Malex opinions. Without further ado:

- Every time Michael smiles I forget for like 5 whole seconds how much I hate that Malex keeps me shackled to this show. Too cute that he brought Alex lunch (and probably hoped he could sneak a glimpse of him) and they're going on their first date (omg omg omg).❤❤❤❤❤

- Kyle should yell at people more. Starting with his garbage friends who left him in a barn without proper triage or jello cups while he was in a coma (why didn't they just keep him at DS if he's having appointments there anyway? Nevermind... ). Alas, he's starting his understandable rage tour with Uncle Edgelord, who, naturally, makes a dramatic statement and tries to leave. I am so glad Kyle called him on that.

- Delmanes would be cute if Greg didn't have the personality of cardboard. They've created a character who is actually only here to remind us of how special and amazing Maria is. Turns out that's not super interesting. And it's so painfully obvious that it's a pair-your-spares situation. I really wish they'd just give her Kyle, he has the patience of a saint. Anyway, Isobel's pigtails are cute af (rip my Isobel/Maria/Kyle heart - I would have taken Isobel interrupting Delmanes and Heather's post with pigtails today as signs if not for genetics).

- Anatsa and Isobel's development seems to have taken place completely off-screen, like everything else gay on this show, so I'm guessing it's gonna stick. Honestly...I guess this is controversial but Isobel and Maria have really good chemistry and a history. I know their bond is supposed to read "sibling" but it doesn't for me. And rather than waste time watching them flirt with these one-note (ah, Greg chimes in right on time with a convenient line any rando could have delivered) LIs, I'd much rather see them get closer. The whole related thing has thrown a wrench into it for me. That said, it's nice to watch a woman be encouraged to go after another woman. 🎉

- Alex the sci-fi/fantasy nerd figuring out immediately that the hallucination is his own subconscious is 100% legit. Much like Kyle not letting his uncle pull a classic tall-dark-and-broody exit, I appreciate Alex's 4th-wall break moment.

- Not Max and Liz proving that discussions about s2 drama can occur on Roswell New Mexico?! What? Must be a straight thing. Lucky them.

- Isobel is actually acting a lot like Sherlock Holmes when he's on a case, from the wardrobe to the focus, and it's hot. Also, totally believable that Isobel would be able to pull up that pod from under the ice because we know she's been training even if it didn't happen onscreen. Because she told us. Just a suggestion.

- I love the idea of Jim Valenti as a double-agent, but I don't see how Eduardo thought he could keep Kyle safe by never knowing him. It feels like there's a lot more here Eduardo isn't saying.

- It wasn't a sister-fight that Maria and Isobel had, but whatever (no one got physically shoved or brought up a horrifying memory from 100000 years ago to shove in someone's face in public - doesn't count).

- Also, why would you waste a glass by throwing it into the fireplace? Wouldn't it just explode back in your face? Man, the show is trying so hard with Maria and Greg, I want to give them some kind of romance-novel award for effort (but not success).

- Not Liz and Max showing us that it's possible to move forward by discussing your past mistakes like adults instead of pretending they didn't happen!? What? Must be a straight thing. Lucky them.

- Draw a line on the bottle? No way, Valenti, he obviously wants you to chuck that whole thing straight into the fire in a fit of passion to prove that his words had an emotional impact.

- Also, Kyle wins the prize for this episode for that speech to Uncle Edgelord. Everyone go home. When do I get a Kyle and Alex spin-off where they travel the world, defying sci-fi tropes and seducing beautiful men and women?

- Not Liz and Max talking loudly about aliens while breaking and entering! This one is actually very believable, I take it back.

- It was idiotic of Liz to trust Heath. And Echo keep having this same fight because MAX IS RIGHT BUT THE SHOW WON'T LET HIM BE. Which is so obnoxious. I would forgive Liz for almost any sin (like, idk, getting a better romantic storyline because she's straight) because she's gorgeous and smart and tough and I wanna go live with her and her mad scientist energy on a deserted island somewhere. But she's being real dumb rn.

- I love the t-shirt and if Vlambase doesn't sell one I will. But he couldn't have held up a radio and blasted some Barry White? I feel like that would have cleared everyone but Alex put of the building real fast. Also, what is time on Roswell NM? Was Alex just setting the alarm every so often for kicks? Does Eduardo really not check in on staff who are working with dangerous technology for days on end? Also, why is this entire plot happening over a single goddamn episode instead of two or more so that we can really feel Alex wasting away under the machine's influence? The reason this twist is at all surprising is also the entire plot's undoing - Alex's demeanor wasn't exactly one of a man obsessed (or an addict, tbh) in his last scene.

- Anyway, back to Rizzoli and Isles. I definitely am always super excited to hear the details of my sister's sex life. All the time. That is totally a sister thing except where it's really not. Do any of these writers actually have a sister? I feel like they must because the Michael/Max/Isobel sibling chemistry is always bang on but Maribel is just...flirty lady city. Oh, and look, the beard just showed up with coffee to cockblock - it really is R&I!

- Back to Alex's plot line, which, much like Isobel's coffee, is Express To-Go. He's become haggard and worn in the time it's taken Michael's mom to find a cute sweater in the void. Seriously, we wasted like 3 whole episodes where Alex was presumably sitting in DS twiddling his thumbs and now he's being worn down by the machine in a single episode? Why didn't this plot start back in episode 3 or 4? Like...look, I don't come on here to be an asshole. But I just really hope they're taking note of what worked this season and what didn't because HOLY PACING FIASCO BATMAN. Just because you're giving us Malex doesn't mean everything else can just be hot garbage (not the acting, Taylor's doing his best to sell this). Also, when did Alex put his leg back on? I have so many questions but they aren't the good kind, so Michael better ride in soon and save this mess.

- Regarding what Nora is saying, it's fine, it makes sense but the zero build up makes it completely ineffective. Alex is afraid he doesn't love enough - it would have been nice to see that over several episodes instead of just being told in a burst of sudden exposition but, you know. Nice straight things we can't have, I guess.

- If Michael and Alex want their relationship to "purr" they could, idk, talk through their past misunderstandings like people in relationships do. Or the show could keep throwing exposition bombs at them, idek.

- Are those empty toilet paper rolls inside the machine? I knew the CW was budget but come on...

- And we finally get the Heath connection and it's to our brand new trope-y character, Wise Old Black Man Dallas. It's surprising but only because the 4th alien didn't exist before this episode. So, good job.

Overall, not the worst episode of RNM ever. I only wondered why I watch this show maybe 3 times this episode. And Michael's enthusiasm for Alex was adorable.

[strangertheory]

We can't know what we don't know.

The value of skepticism in fandom discourse

I worry that the Stranger Things fandom often allows the development of fan-canons and false absolutes in between seasons that might be destructive to certain fans' long-term enjoyment and appreciation of the series.

We can't know what we don't know.

And if we forget this and begin to construct expectations for what might happen next in the story that are too deeply rooted in our hearts: we are setting ourselves up for disappointment and this is not the fault of the Duffer Brothers or the writing team. This is our fault as individuals and as a community.

Stranger Things has three completed seasons, a fourth season currently in production, and an intended fifth and final season.

We are only a little beyond the halfway point in this larger story.

The halfway point.

A lot can happen in the span of two final seasons.

The writing team probably intends to maintain thematic and narrative intentions across all five seasons. The Duffer Brothers have spoken of having an ending in mind for the story for a long time. (”We’ve known the ending for a while.” - Matt Duffer) But we, the fans, cannot truly know what those plans are until the credits roll on the final episode of the final season.

And yet there is a stubborn certainty that many fans engage in between seasons and that I worry has been growing and spreading worse than usual during season 4′s production delays.

In spite of having only just surpassed the middle point of a story arc that’s being told over the span of five seasons, many fans declare that they "definitely know" that certain relationships between characters won't change. That certain characters will "definitely" survive. That certain rumored future story arcs (based on audition tapes, fan speculation, interviews with the cast) will "definitely happen." That certain characters are "definitely straight" or that certain characters are “definitely gay.”

I believe that there is value in seeking to understand and predict events in a story. Appreciating the way that skilled storytellers use foreshadowing, symbolism, narrative parallels, metaphor, lighting and camera angles, music, and other creative tools when putting together a show like Stranger Things is thrilling. I love debating the relevance of certain details to an author’s larger intentions and long-term vision for their story and characters. I believe that skilled writers should plant clues throughout the earlier moments in a narrative so that plot twists are surprising and yet also also have us slapping our knees declaring “Oh, look! All the signs were there from the beginning! Well played.” Some writers start off without a particular end-goal in mind and allow the characters to lead them there as they develop, however we know that this is not entirely the case for the Duffer Brothers and that they have an ending in mind that they have been building towards.

Authors can also make poor writing decisions that contradict the internal logic and implications of their own universe. Writers and creative teams are not infallible. Productions have constraints and behind-the-scenes pressures, challenges, and limitations that might sometimes result in a less cohesive narrative. I don't believe that's the case with Stranger Things but this can and does happen.

But I always keep in mind that this story is not mine. I am fully capable of being incorrect in my analysis and predictions regarding what might happen next.

My theories and predictions (that Mike has romantic feelings for Will, and that Stranger Things is perhaps intended to be about a dissociated system and internal worlds etc.) are not shared by the majority of the fan community. 

I question the logic of my thoughts constantly because I am prompted to do so any time I share my unusual theories and ideas with other fans. Because my ideas are strange and less popular I am well aware of my need to provide evidence and logic when offering them to other fans for consideration.

If your ideas regarding what is happening in Stranger Things are shared by the majority of fans: how often do you question your expectations?

Do you think that you question them often enough? Are you allowing yourself to become complacent and to assume that because a large majority of your fandom community agrees with your interpretation of certain plot-points and characters that you absolutely must be correct in your understanding of Stranger Things?

I have seen how emotionally attached many fans are to their own preferred understanding of the story. Many fans greet alternative understandings that conflict with their own ideas with a lot of hostility and protest.

I want to warn all fans against closing their imaginations off to the story taking a different route than what they’ve carved into their hearts.

Fans that like less popular ships or that indulge in the discussion of fringe hypotheticals and unique theories are second-guessing and questioning themselves every day and I think for that reason we are better prepared for disappointment than fans that have allowed themselves to believe in characters, ships, and plot-points being “definite” or “canon” or “endgame” simply because the majority of other fans share (and reinforce) those same assumptions.

I worry when I see large fan-made accounts on Twitter, Facebook, Instagram, and Tumblr that post a constant stream of content that reinforces very specific fan-canons that are not yet absolute and yet are still favored and embraced as inevitabilities.

Do fans truly believe that nothing might surprise them in the last half of the story? Do fans believe that we know everything about these characters, their relationships with one another, and this sci fi universe by this point in the show? Does this attitude seem reasonable?

The constant consumption of our favorite fan-cams, fanart, and fan-canons creates echo chambers reinforcing our current assumptions about characters, character relationships, and presumed future plotlines. Just because a fan-run Stranger Things account with over a million followers posts about a specific ship constantly and this is what you are seeing on your phone every morning it doesn’t mean that this account knows what is going to happen in the story any more than you do. We need to be wary of allowing ourselves to lose our objectivity and our awareness that this story is in the hands of the Duffer Brothers and the Stranger Things writing team and that nothing that fans expect (or, god forbid, rudely demand) is guaranteed. The twisted idea that creators are in any way obligated to pander to their current fanbase is absurd to me when you consider that this is their creation, and additionally when you consider that the series will exist for future fans long after the majority of current fans abandon it. 

I want the entire Stranger Things fandom to enjoy the journey, to enjoy uncertainty, and to look forward to finding out what happens next. I don’t want fans setting themselves up for disappointment by stubbornly insisting that their interpretation of what is happening in the story is absolutely correct when the story is not over yet.

If the Stranger Things fan community can allow itself to be open to being wrong I think we will all enjoy the story a lot more and continue enjoying the story no matter what. The creators behind Stranger Things are very talented and I believe they are telling a very well-crafted story. I only hope that the fandom will appreciate it and that we haven’t stubbornly built walls around our own desires that will prevent us from enjoying an excellent story if it contradicts our expectations in the next few seasons.

I know that if I look forward to the thrill of discovering something new about my favorite characters in future seasons that I will rarely be disappointed.

I hope we all continue opening new curiosity doors and try to avoid setting our hearts on specific expectations.

[eclecticanalyst]

Studying “A Study in Emerald”

At my grandmother’s house, stacked together with other books underneath a side table in her office, was a thick leatherbound volume with golden engraved lettering. SIR ARTHUR CONAN DOYLE, it said, in large letters on the cover. And in smaller print: The Celebrated Cases of Sherlock Holmes.

I was eight or nine years old, and as soon as I opened the volume I was hooked. I brought it along as I rode with my grandmother doing errands. I asked her if I could have the book, and with her permission took it home with me. I hadn’t finished it by the time summer camp rolled around, so I tucked it into a suitcase and read bits of it at the end of activity-filled days before going to bed. I hardly even glanced at any other books until I had turned the last page.

Since I have re-read the stories so many times over the years, the solutions to the mysteries are no longer a surprise to me. I had read them for the mysteries, the first time. But now I read them for other reasons—the relationship between Holmes and Watson, the atmosphere of horror and dread that ACD does so well, the breadcrumbs of character arcs in the main and recurring characters, and the way the characters seem both dated and modern, sometimes in the same sentence.

All that is to say, I love Sherlock Holmes. And several months ago I found that Neil Gaiman had written a Sherlock Holmes story. I’ve read a few Gaiman works and was curious to see how he treated some of my favorite fictional characters, so I downloaded it. And read it. And loved it. And in this analysis, I will convey my enthusiasm by explaining just how amazing this story is.

NOTE: this will be a multi-part analysis, with one post for each part of “A Study in Emerald.” (Parts 2 and 3 will be covered in one post.) There will also be some follow-up posts with additional thoughts at the end.

You should 100% read the story before continuing because A) it’s awesome and B) there is a twist that I will be getting into pretty quickly that is much better if you experience it for yourself first.

Part 1: The New Friend

The beauty of this story is that knowing the Sherlock Holmes canon works both for and against the reader. If you’ve read the canon, you will recognize the references to certain characters or details or plot points—but at the same time, those moments of recognition can lead you to draw conclusions that Gaiman fully expects you to make but are in fact inaccurate.

Right off the bat, the title of “A Study in Emerald” is just one word away from the title of the very first Sherlock Holmes story. This, along with the first page or so of the narrative, primes us to approach the tale as a straightforward Sherlock Holmes pastiche, like the countless others that have been written: “Sherlock Holmes in space!” “Sherlock Holmes as a kid!” “Sherlock Holmes in the far future!”, where everything is basically the same, just with a natural transformation of entities to match the “hook” of the pastiche—so instead of smoking, kid Holmes sucks on lollipops or the like. The “hook” of this particular pastiche first manifests with the narrator’s war wounds being the result, not of bullets and fevers as in the canon, but of underwater creatures that suck the vitality out of one’s limbs.

“Okay,” we as readers familiar with Sherlock Holmes say to ourselves. “So Holmes and Watson, but in a world of the supernatural. Got it. Nice twist, Gaiman. I’m ready to see what you do with this.”

As I said, Gaiman uses your Sherlock Holmes knowledge against you in constructing this tale. The narrator has a shoulder wound as a result of his wartime experiences, just as Watson does in A Study in Scarlet—the circumstances of his injury are changed to be more fantastical, of course, but we accept that because we have acclimated ourselves to what we think is the whole of this seemingly straightforward premise (Sherlock Holmes, but with Lovecraftian elements). After all, we have the two men meeting in the university laboratory, both interested in sharing rooms, and we get the iconic line, “You have been in Afghanistan, I perceive.” We get the familiar prospective-roommates-share-vices exchange. It’s not the same as the original, but we don’t read Holmes pastiches for the exact same lines we could get by rereading the original stories. Besides, the exchange hits enough check marks for what we already know about Holmes (since we’re familiar with canon) that instead of the change setting off alarm bells, we’re busy patting ourselves on the back for recognizing references and approvingly nodding in response to Gaiman’s demonstrated knowledge of the stories. After all, Holmes did shoot bullets into the wall once. And he is private and easily bored, and selfish as well at times. These are revelations about Holmes’s character that are shared in later stories, after A Study in Scarlet, but they match the whole of his character that we know since we have the entirety of the canon under our belts, so it’s quite clear to us that this man the narrator meets is indeed Sherlock Holmes.

By condensing the characteristics of Holmes that were originally revealed over the course of several publications into one dialogue exchange, the plot is able to move speedily along while reinforcing our initial understanding of this man’s identity. However, presenting these characteristics in this manner also leads to some contradictions with canon, which means that things are just a little bit off. Holmes is established in later stories as having irregular habits, but in A Study in Scarlet, the specific story that this dialogue exchange is echoing, it’s Watson who “get[s] up at all sorts of ungodly hours.” Here the one who admits to “keep[ing] irregular hours” is the non-soldier, when in A Study in Scarlet Holmes is actually quite regular in his schedule (he doesn’t really maintain that behavior beyond that first story, but still). On a more complex level—and I might be reading too much into this particular point but it is striking to me as someone who has spent several years with roommates—there is the detail that the detective in “Emerald” informs the narrator right off the bat that he will need to use the sitting room to see clients. In A Study in Scarlet, Holmes does not inform Watson of this fact in the initial cross-examination. It’s only after they move in together and Watson starts getting (politely) kicked out of the sitting room on a semi-regular basis that Watson even learns Holmes is a person who has a visiting clientele. This is a rather major thing for a prospective roommate to know. Failing to mention this to Watson while still detailing his smoking habits and propensity for chemical experiments is a rather egregious omission on Holmes’s part, as anyone who has had to get used to a new roommate will tell you. So we have two instances where the information about the detective matches our overall conception of Holmes, but it is presented in a way that goes directly in opposition to how it was originally presented in canon—where what we are reading is both right and wrong at the same time.

Let’s continue on in the story. Our “heroes” move into the same old apartment on Baker Street, which further solidifies the straightforward Holmes in a Lovecraftian world explanation we as readers have formulated for the story. We go through the same “narrator wonders what his mysterious roommate does for a living” steps that we remember from A Study in Scarlet, albeit, again, condensed. And the mystery plot begins as the two roommates eat breakfast, just as in that very first story.

Keen readers might take note of the fact that it is Inspector Gregson, not Inspector Lestrade, who brings the mystery in A Study in Scarlet to Holmes’s attention. Considering that Lestrade made more appearances in the canon and became Holmes’s default police contact, Lestrade’s presence here can simply be chalked up to Gaiman paying homage to the whole of the canon, not just the first story. Alternatively, this is yet another instance of things being ever so slightly wrong when compared to the events we are all familiar with.

You’ll notice that, having successfully (because on first read you are likely not reading as critically as I am now with this analysis) lulled us into a false sense of security regarding the premise of this story and the identities of its characters, Gaiman starts to drop more references to other specific stories besides A Study in Scarlet, as well as more direct hints (which require much less complex analyzing than I have done in previous paragraphs) as to who our narrator and his detective friend truly are.

The first* direct hint is so subtle that I don’t think I even picked up on it the first time I read the story. It’s when Lestrade suggests he talk to the detective privately. The content of the exchange is, once again, familiar to a Sherlock Holmes reader—how many times have we seen Holmes assure a client that Watson can be confided in just as well as himself (see: “A Case of Identity”), or refuse to let Watson excuse himself as a case begins to unfold (see: “A Scandal in Bohemia”)? The hint lies in the description of the narrator’s friend when he dismisses Lestrade’s suggestion: “his head moved on his shoulders as it did when he was enjoying a private joke.”  Gaiman can’t show his hand too early, so this hint is extremely oblique. The key is the phrasing: “his head moved on his shoulders” is a rather odd and roundabout description, which could much more easily be rendered as “he shook his head” or something to that effect. But in using this wording, Gaiman ever-so-lightly echoes the description of a certain someone a couple pages into “The Final Problem”:

His shoulders are rounded from much study, and his face protrudes forward, and is for ever slowly oscillating from side to side in a curiously reptilian fashion.

We have some more general Easter egg references to the canon—the detective’s slight dissatisfaction when someone (Lestrade in this case) remarks on the simplicity of his reasoning after it is explained, and the Study in Scarlet-specific “only one in the world” consulting detective explanation. And then we have this terrific bit. Our narrator asks the detective if he really wants him to come along. The detective’s response is as follows:

“I have a feeling that we were meant to be together. That we have fought the good fight, side by side, in the past or in the future...from the moment I clapped eyes on you, I knew I trusted you as well as I do myself.”

It’s terrific because it’s a summation of how Holmes and Watson are viewed by their fans. They belong together. Victorian London, World War II, 21st century New York, 22nd century London, as mice, as dogs, we’ve seen them in countless adaptations, and despite the change in locale or era or gender or species or countless other circumstances, they are always inseparable, always a force unto themselves, incomplete without the other. Of course this is Holmes and Watson. How could these words apply to anyone else?

The detective’s speech here appeals to our Holmes devotee sensibilities much more than canon Holmes’s response to Watson asking much the same question in A Study in Scarlet:

“You wish me to come?”

“Yes, if you have nothing better to do.”

Which is a rather unexceptional start to a partnership for the ages. The way “Emerald” tugs at the heartstrings, however, is dangerous—it pulls us further down into acceptance of the twisted world and characters that surround us.

*I will come back to this in a later post!

[oncejaw-a]

(panel excessive over-analysis n°2: memory and absence // Marcel, Porco, Reiner, Zeke) - writing characters that have been dead before the start of the canon action often means that you don’t have much to work with in terms of characterisation, and that you often find yourself trying to retro-engineer who they may have been by looking at the way other characters talk about or remember them. I’m keeping that for a different post - this one is about the other fun part of looking way too much at a dead character: the presence they retain through their absence. And boy oh boy, is little Marcel everywhere wherever the Warriors, old generation and new, are concerned, especially, of course, for Porco and Reiner. 

tldr 1: Marcel doesn’t purposely witholds his memories from Porco, but it is the result of a lingering, posthumous instinct that got carried on through Ymir and Porco. tldr 2: Reiner is a true champ and Marcel would like to send him a thank you card. tldr 3: I’m pretty sure Zeke knew about Marcel’s plans.

Porco inheriting the Jaw titan should have brought him closure. It should have reunited him with his brother, given him access to his memories, answered some of the questions he may have had regarding his brother’s death. This should, in theory, have been possible, because a titan shifter inherits their predecessor’s memories, and this holds true especially if two titan inheritors are related by blood, as explained by Gabi and Reiner.

I’m sure the Galliard situation is unique in that Marcel did not pass the Jaw titan on to Porco directly: there was another inheritor between them, so the Marleyan research probably was not as reliable or guaranteed in their situation. Still, it would have been reasonable for Porco to expect to see at least part of his brother’s memories. But, plot twist! He doesn’t. Whatever that realisation did to poor Porco once he inherited the Jaw, I shall leave to all the wonderful Porco muns out there, but still. Ouch. Is it a case of the science not holding up in this specific scenario, or is there something else holding back Marcel’s memories? Who knows. More on that in a sec.

That leaves Porco in the dark. He has an idea, a preconception of what happened to his brother, but he hasn’t been able to see for himself and fill in those final blanks. The only person who knows exactly what happened that day, naturally, is good ol’ Reiner... who looks rather frazzled for a hot second here, at the thought that maybe Porco saw his brother’s memories.

This is where I venture a bit more into headcanon territory, but since we have no definitive answer to that question, this is just my personal interpretation! But, I don’t think Porco cannot access Marcel’s memories because of Ymir, and I don’t think Marcel is voluntarily witholding them from the Paths. I think what may be happening is that Marcel’s wish/instinct to protect his brother survived, in some unconscious form, through the Jaw titan, and through Ymir and Porco alike. Including protecting him from one last truth, that he knew would be incredibly hurtful - much more, in his 13-yo mind, than leaving Porco hanging with a gazillion questions and a skewed perception of Reiner, and himself.

Speaking of Reiner, he stands on the opposite side of the spectrum. He knows what really happened the day Marcel died, he knows what Marcel did, and he knows Marcel never spoke a word of it until that day on Paradis. In the aforementioned panel, he seems surprised, and kind of expectant, when he thinks for a second that Porco saw Marcel’s memories. But when Porco says he hasn’t, and asks Reiner “were you trying to imitate Marcel?”, Reiner’s reaction is... absolutely priceless in my opinion.

I very lowkey want to think that Reiner, a little puzzled one second before, also comes to the conclusion (or has a long time ago already) that whatever is holding Marcel’s memories back, may be the result of Marcel’s lingering protective instincts towards his brother. It would be really easy for Reiner to snap back at Porco and tell him everything, and put the blame back on Marcel, but who better than Reiner Braun to understand where Marcel is coming from, and to have the heart to protect Marcel’s legacy? Porco maybe have inherited the Jaw titan, but Reiner really became the living holder of Marcel’s memory, half because he is the one who suffers the consequences of Marcel’s choices, half because he, through Gabi, finds himself in a very similar situation. Also probably because he is a top bloke as a general rule.

This went on a bit of a tangent, but it was a necessary one, since Reiner is now pretty much the sole protector of Marcel’s secret, and pretty much acknowledges that he too, is now walking in Marcel’s footsteps, by trying to get Falco to surpass Gabi so that she doesn’t inherit the Armored. Whether or not he would have had the idea to do that without Marcel’s example is up to y’all Reiner muns out there, you know him better than I do!

Of course, Porco and Reiner discussing Marcel and his death make him very present between them, but his ghost is all the more palpable when we are presented with the Gabi/Reiner and Falco/Colt duality. Colt finds himself in the exact same predicament as Marcel once did, outwardly expressing the same concerns Marcel once had. Marcel died at the age of 13, nine years prior to this discussion, nobody mentions him by name, but Reiner is here, Porco is here... and in comes Zeke, casually dropping what could have been the biggest bomb in the Galliard brothers’ lives:

Once we know about Marcel’s backstory and the significance of that scene, Marcel really becomes the only missing participant in this conversation, until Zeke lowkey brings him in without even mentioning his name. The conversation is not about him, but his presence still lingers by sheer virtue of thematic resonance. Porco’s reaction is just enough to confirm that he made this connection too. Though I’m pretty sure I can hear Marcel screaming “SHUT THE FUCK UP ZEKE” from the paths right here and there. 

TLdr: Marcel may be long gone, but man is his memory still vividly and painfully alive because of the one secret he took to his grave, and that Reiner (and possibly Zeke) faithfully keeps. 

[ljones41]

"THE DARK KNIGHT RISES" (2012) Review

"THE DARK KNIGHT RISES" (2012) Review Seven years after it had begun, Christopher Nolan's three-movie saga about the D.C. Comics character, Batman, finally came to an end. The saga that began with 2005's "BATMAN BEGINS", ended with 2012's "THE DARK KNIGHT RISES".

The trilogy’s third film, set seven years after 2008's "THE DARK KNIGHT", began with the aerial kidnapping of a nuclear scientist by an escaped terrorist named Bane. The scene shifted to Gotham City, where a fund-raiser was being held at Wayne Manor. The only person missing was millionaire Bruce Wayne, who had given up his vigilante activities as Batman after claiming he had murdered former District Attorney Harvey Dent. During the fundraiser, Bruce caught a maid breaking into his private safe. She turned out to be a resourceful cat burglar named Selina Kyle. Aside from a necklace that once belonged to Bruce's late mother, Selina did not steal any other object from the safe. Curious over Selina's actions, Bruce resumed his Batman alter ego and tracked down Selina. He discovered that she had been hired by a rival corporate CEO named John Daggett to lift and steal his fingerprints. Bruce also learned that Daggett had hired the terrorist Bane to attack Gotham's stock exchange and bankrupt Wayne Enterprises. And along with Police Commissioner James Gordon and Wayne Enterprises executive Lucius Fox, Bruce also discovered that Bane was a former member of the League of Shadows and planned to continue Henri Ducard's (aka Ra's al Ghul) goal of Gotham City's destruction. Bruce asked fellow millionaire Miranda Tate to take control of Wayne Enterprises to ensure that Daggett and Bane will not gain control of their clean energy project, a device designed to harness fusion power. Re-reading the above made me realize that Christopher and Jonathan Nolan had created a very complicated plot. For me, the plot became even more complicated two-thirds into the movie. "THE DARK KNIGHT RISES" obviously exists under the shadow of its two predecessors - "BATMAN BEGINS" and "THE DARK KNIGHT". I would say that this especially seemed to be the case for the 2005 movie. Batman and James Gordon's decision to lie about the circumstances behind Harvey Dent's death in the second movie had a minor impact upon this third movie. But Bruce's relationship and later conflict with Ra's al Ghul seemed to be the driving force behind his conflict with Bane in this third film. I had heard rumors that Christopher Nolan was initially reluctant to make a third BATMAN movie. Personally, I found that rumor a bit hard to believe, considering how "THE DARK KNIGHT" ended with Batman accepting the blame for Harvey Dent's crimes and death. But there were certain aspects of the script he wrote with his brother Jonathan that made me wonder if he had truly been reluctant. There were certain aspects of "THE DARK KNIGHT RISES" that I found troubling. It seemed a pity that the second movie ended with Batman and Jim Gordon's decision to lie about the circumstances behind Dent's death. I found their decision annoying back in 2008 and I still do. The impact behind their lie proved to be hollow. It merely kept Batman off Gotham City's streets and led Mayor Anthony Garcia and the city to pass a strong anti-criminal law that proved to be hollow following Bane's arrival in Gotham City. I also found Bane's mid-air kidnapping of a nuclear scientist and escape from a U.S. marshal (portrayed by Aidan Gillen) rather somewhat idiotic. I understood that Bane needed that scientist to weaponize the Wayne Enterprise device.  But I never understood why that U.S. marshal failed to take the trouble to identify the hooded prisoner (Bane) before boarding the plane.  In the end, the movie's opening sequence struck struck me as unnecessarily showy. Was this the Nolan brothers' way of conveying Bane's role as a badass to the audience? If so, I was too busy trying to comprehend the villain's dialogue to care. I understood why Batman had not been seen in Gotham for so long. But what was the reason behind Bruce Wayne's disappearance from the public eye?  His physical state was not really that severe.  Rachel Dawes' death? Rachel's death did not stop him from going after the Joker and Harvey Dent in the last movie's half hour. Was it an injured leg? How did he injured it? And why did Gotham's citizens failed to put two-and-two together, when both Bruce and Batman finally appeared in the public eye a day or two apart after many years? The only person who managed to discover Bruce's alter ego - namely Officer John Blake - did so through a contrived reason. For me, the movie's real misstep proved to be Bane's three-month control over Gotham City. As a former member of Henri Ducard's League of Shadows, he planned to achieve his former leader's goal of destroying Gotham City. And he planned to use Wayne Enterprise's energy device to achieve this. One - why not simply build or snatch his own nuclear device? Why go through so much trouble to get his hands on the energy device? Why did Wayne Enterprises create a device that not only saved energy, but could be used as a bomb, as well? And why did it take three months before the device could become an effective bomb? The Nolans' script could have frustrated Bane's attempts to acquire the bomb during that three-month period . . . or anything to spare the audiences of that second-rate version of the French Resistance. The latter scenario seemed so riddled with bad writing that it would take another article to discuss it. And what was the point of the presence of Juno Temple's character Jen? What was she there for, other than being Selina's useless and cloying girlfriend? And Wayne Enterprises executive Lucius Fox was last seen declaring his intentions to leave the corporation for good, following Batman's misuse of cell phones in "THE DARK KNIGHT". In this movie, he is back, working for Wayne Enterprises. What made him change his mind? But not all was lost. I found Bruce's introduction to Selina Kyle very entertaining and sexy. Even better, the incident served as Batman's re-introduction to Gotham City and allowed him to discover Bane's plans regarding Wayne Enterprises and the energy device. One of the more interesting consequences of "THE DARK KNIGHT" proved to be Rachel Dawes' last letter to Bruce. Its revelation by Alfred Pennyworth after seven years led to an emotional quarrel between the millionaire and the manservant and their estrangement. At first, I had balked at the idea of Bane carrying out Ra's al Ghul's original goal to destroy Gotham. After all, why would he continue the plans of the very person who had him kicked out of the League of Shadows? But a surprising plot twist made Bane's plan plausible . . . even when I continue to have problems with his three-month occupation of Gotham. Many critics had lamented the lack of Heath Ledger's Joker in the movie. As much as I had appreciated and enjoyed Ledger's performance in the 2008 movie, I did not need or wanted him in "THE DARK KNIGHT RISES". Tom Hardy's performance as the terrorist Bane was good enough for me. Mind you, I found it difficult to understand some of his dialogue. And when I did, he sounded like the late Sean Connery. But I cannot deny that Bane made one scary villain, thanks to Hardy's performance and intimidating presence. Before I saw the movie, I never understood the need for Marion Cotillard's presence in the film. I thought her character, Miranda Tate, would merely be a bland love interest for Bruce. Not only did Cotillard ended up providing a subtle and intelligent performance from the actress, her Miranda Tate proved to be important to the story as the co-investor in the energy device and for the plot twist in the end. "THE DARK KNIGHT RISES" provided some solid performances from other members of the cast. Matthew Modine shined as the ambitious and arrogant Assistant Police Commissioner Peter Foley, who proved to be capable of character development. Another solid performance came from Brett Cullen, who portrayed a lustful congressman that had the bad luck to cross paths with Selina Kyle. Both Michael Caine and Morgan Freeman continued their excellent performances as Bruce Wayne's "heart" and "mind", manservant Alfred Pennyworth and Wayne Enterprises executive Lucius Fox. In the end, the movie was fortunate to benefit from four outstanding performances. One came from Gary Oldman's excellent portrayal of the now weary, yet determined police commissioner, James Gordon. His guilt over the Harvey Dent lie and discovery of Batman's true identity provided Oldman with some of his best moments in the trilogy. Another came from Joseph Gordon-Levitt, who was superb as Gotham City beat cop John Blake. The actor did a wonderful job of balancing Officer Blake's intelligence, passion for justice and disgust toward the bureaucracy. When I learned that Anne Hathaway would end up being the fifth actress to portray Selina Kyle aka Catwoman, I must admit that I had my doubts. Then I remembered that Hathaway was an Oscar nominee, who has also done action before. Watching her sexy, yet complicated performance as the complex cat burglar removed all of my doubts. She was superb and her sizzling screen chemistry with star Christian Bale made me wish Selina had been Bruce's love interest throughout the movie. Speaking of Bruce Wayne, Bale returned to portray the Caped Crusader for the third and final time. I must admit that I found his performance more subtle and complex than his performances in the previous two movies. Bale did an excellent job in re-creating a slightly aging Bruce Wayne/Batman, who found himself faced with a more formidable opponent. I was a little disappointed to see that "THE DARK KNIGHT RISES" lacked the Chicago exteriors of the 2008 movie. In the end, Gotham City resembled a collection of American and British cities. But I cannot deny that I found Wally Pfister's photography very eye catching. And Hans Zimmer's entertaining score brought back memories of his earlier work in both the 2005 and 2008 movies. I have a good deal of complaints about "THE DARK KNIGHT RISES". It is probably my least favorite entry in Christopher Nolan's Batman trilogy. For me, the movie's main problem centered around the script written by Nolan and his brother Jonathan. But despite its flaws, the movie still managed to be both entertaining and intriguing. It also has an excellent cast led by the always superb Christian Bale. It was not perfect, but "THE DARK KNIGHT RISES" did entertain me.

[rachelbethhines]

Tangled Salt Marathon - Max and Eugene in Peril on the High Seas

So we have another obligatory animal focused episode. This one fairs much better than Max’s Enemy and King Pascal; but it’s still ultimately useless filler. 

Summary: Rapunzel and the group are finally leaving Tirapai Island when the cargo ferry arrives, but Eugene and Maximus get into an argument, resulting in them falling overboard. They manage to save themselves on a passing ship, but discover it to be a prison ship where all the criminals, including the Stabbington Brothers, Lady Caine and Axel have escaped and taken control. Eugene and Maximus attempt to escape, but discover the villains' plot to ambush the cargo ferry and set out to stop them. Meanwhile, Rapunzel and the group discover Eugene and Maximus are missing and set out to rescue them.

There’s No Ticking Clock In Season Two and That’s to the Series’s Detriment 

So we’re finally leaving the island and this bit of dialogue tells us that they were on said island for at least six weeks. Which matters not in the slightest in the grand scheme of things; which is the problem. 

In addition to there being no outside threat forcing Rapunzel on this journey, there’s also nothing that’s forcing her to hurry up. So we’re doubly lacking in tension. There are no stakes in season two so things feel over long, and arcs that have the heroes stay in one place for more than two episodes at time stop the momentum of the series dead; leading to tedium for the viewers. 

We Didn’t Need King Pascal Just to Set Up the Firefly

The firefly is one of the few elements in the show that has proper set up and resolve. It’s established as the threat in one episode and then used as the solution in this episode. However both episodes are utterly useless in the over all arc so, while clever, it’s a wasted idea. It’s also unneeded since this intro exposition re-explains what the firefly is and what it’s deal is in case people missed out on King Pascal anyways. 

The Reason Why this Max Focus Episode Works, but Not Max’s Enemy, is Because It’s a Double Act

The problem with the mandated animal themed episodes every season is that Max and Pascal aren’t strong enough characters to work by themselves. They’re sidekicks; they’re designed to play off other characters. The writers seemed to clue in on this by making this episode and Max’s episode in season three, team up episodes. So now today’s episode becomes a Eugene focused episode too. Which in turn allows for their character dynamic to be fleshed out more. 

We needed more interesting combinations of the mains in episodes like this one in order for the group to feel like a group. We also desperately needed to do something similar for Pascal instead of just rehashing the same plot for him over and over again. 

This Plot Point Makes No Sense

When I first saw this episode, I thought it was foreshadowing later developments for season three, seeing how it’s one of the few episodes in season two that connects back to season one. However, once you know the events of season three, this episode no longer makes logical sense within the greater narrative. 

For you see, Andrew and Varian have teamed up to take over Corona at the beginning of season three. Yet that begs the question of why didn’t Frederic ship them away on the prison barge as well. Varian you might could excuse being missing here given his age, but Andrew? There’s no reason to keep Andrew around; none that is given on screen anyways. 

Also this mutiny couldn’t have taken place after the Saporian take over either. For starters all the guards retreated from Corona entirely when it became evident that the Saporians were in charge. That’s a stated plot point in Rapunzel’s Return to explain why Cap is missing. There wouldn’t have been a need for a mutiny if Andrew just let all the criminals go and there’d be no reason why Andrew would send them away using his own guards. The Saporians are small in numbers and that would be a waste of manpower. 

Also, because the Saporians are outnumbered, it doesn’t make sense to send away potential allies. Lady Caine has more logical motivation to join Andrew in his take over than Varian does. She just wants revenge on Frederic and riches. She cares nothing about ruling a kingdom and holds no qualms about hurting others; so she’d be the perfect partner for Andrew’s plans. Add in the fact that she has a whole gang/small army of criminals under her command, and she could have brought along some much needed manpower. 

Lady Caine is Wasted!!!

Speaking of Lady Caine, this is her final appearance in the show. Introduced in the pilot as an important character, yet given only three episodes and shoved out of the picture before the final season. And they didn’t even bother to bring up her original motivations or goals in any of her return appearances. 

Chris mentioned in interviews about how he wanted to ‘defy audience perception’ and so pulled a bunch of bait and switches in the writing; but this isn’t that. This is just straight up lazy writing. There’s nothing clever about introducing a character as being important and then not using them. It’s a frustrating waste of time and a waste of a concept; not a surprising ‘gotcha’ for the audience. 

Proper set up and resolve exists in storytelling in order to get your audience invested in what is happening and then give them a satisfying pay out for their continued involvement. Modern television writers have gotten so caught up in ‘shocking’ twists that they forgot the importance of giving satisfying endings to their audience. Because if the audience isn’t satisfied they will walk away. Hooks alone are not enough to keep them around as evidenced by the series ratings drop. 

Also, Why is Weasel Here?

I once suggested that this episode would make more sense if Max’s Enemy came before One Angry Princess in season one. Implying that Caine and the gang were sent away before Andrew’s arrest. This idea flies out the window with Anthony the Weasel here. He was last seen running away at the end of The Return of Quaid. How the hell did he wind up here? 

He had to have been arrested, put on trial, and then shipped away with the other criminals in between TRoQ and PotHS. Which just raises a whole bunch of other questions.   

How much time has passed between then and now?

What did Weasel do to get caught in Corona?

Why did it take so long to ship Caine and her gang out when it was just a matter of days for Attila to be banished? 

Why wasn’t she put on that same barge Attila was going to be put on?

If there was enough time to ship Attila and the Weasel out then there was plenty of time to ship Andrew and Varian, so why are they still in Corona?

Why is there even a prison barge to begin with? Are they just that stripped for room and man power in Corona’s dungeons?

Where does the prison barge actually go to? Does Corona own a prison island or do they have a deal with another kingdom? What is the world building behind this plot point? 

Also where the heck did Dwayne go? 

You Need Villains 

In the end it doesn’t matter. This is just a lame excuse to get rid of all of the season one villians besides the Stabbingtons. Which only stick around because they’re movie originals and need to reappear and be redeemed before the wedding short; otherwise they’d be gone too. 

Which is the dumbest idea ever! Season two and even the first half of season three is devoid of any main antagonists so why are we getting rid of anyone who could potentially fulfill that role? Who’s stupid idea was this? What were they smoking? This goes against basic writing 101. There’s no story if there’s no conflict! 

Eugene Has a Point

Like there are reasons why law enforcement aren’t on call 24/7 and there are also reasons why different territories have different jurisdictions. Not complying to that undermines law and order, not upholds it.

If a police officer from the US could arrest people while on vacation in Spain, it’d be a political nightmare. Even extrication of wanted criminals who seek refuge in other countries requires permission and cooperation from those countries governments or you’d be violating international law; which potentially could be seen as an act of war. 

Also you would still send in people who are actually on duty. Right now there are protests in my country regarding the lack of accountability police officers have. Plenty of cops break the law both on and off duty because they know they can get away with because of the nepotism within the force.  Max pulling out a guide book that essentially gives Corona’s guards permission to ‘enact justice as they see fit’ while even off duty is clear case of an abuse of power, and futhers the narrative that Corona is a dictatorship/police state that persecutes it’s most vulnerable citizens. 

The fact that the narrative then rewards this line of thought by placing Max in the right on this is just another check off in the long list of promoting authoritarian beliefs that this series teaches. People with power are held to different standards then those without. That’s just a fact of life. Having Eugene or Max acknowledge that this does break the law but is still right thing to do would be far better message and give the characters more complexity. 

Who gets to decide what is ‘bad’ here? What is this ‘something’ they are meant to do? This rule is a gateway for corruption because it’s not clearly defined and relies too heavily on the idea that guards are naturally ‘honorable’ and good and not, you know, people. 

There’s a saying in law school. Nothing is simple and fair. If it’s simple then it’s not fair; and if it's fair then its not simple. 

Laws are complex because life is complex, people are complex, and not everything applies the same way because situations are different. That’s why we have courts. And yes, sometimes there’s too much discrepancy in sentences, leading to some people being harshly over punished while others get away with little more than a slap on the hand; but having things the other way around would still cause such discrepancy as not everyone’s experiences are equal to begin with. 

And before you say I’m reading too much into a kids show, this is a conflict that the episode itself has decided to introduce. If you wanted a simple message about doing the right thing than ‘the law’ should not have been brought up at all. Because laws are not simple, they are not universal, and they are not infallible. If the writers thought this idea too complex for their audience then they shouldn’t have introduced the idea. 

It's better to not bring up deeper subject matter at all than to introduce it and then not address it properly.  

Oh, and We Get Confirmation that Corona Speaks English, for Some Reason... 

This was also hinted at this in the supplement book, My First Year As A Princess; which was suppose to replica of Rapunzel’s Diary in the show, though it’s sverealy been paired down from the original concept. 

Anyways, it’s pretty much canon that everyone is indeed speaking English on screen, even though there’s no logical reason for this. Chalk it up to yet more lazy world building. 

Corona is never hinted to being a replacement for England itself. The few hints we get to it’s placement on the world map suggests it’s on the main continent of Europe and is a peninsula. Other real world languages like, French, Italian, and German are confirmed to exist, with Italy at least being a real location in this world. 

Also we spend this whole season traveling to other kingdoms. So why would everyone speak English? This is before British and American imperialism, and before the internet, so English wouldn’t be a default secondary language for the many countries that it is today. So how does this work? 

Once again, if traveling the world is a big plot point of your story then you need to determinate where and how your main protagonist fits into that world. If they’re a princess of a kingdom then we need to know where that kingdom is in relation to the surrounding places we visit or discuss.  

Axel is Still Useless

Max didn’t need a rival. This character adds nothing to the over all story and is one villain/character too many in an already overstuffed series. I don’t mind the idea of pairing down some of the minions and other background characters. I just take issue with getting rid of all of the villains. Particularly interesting ones that could have done more, like Weasel or Lady Caine. 

The Very Existence of Lady Caine Undermines Both Rapunzel’s and Cassandra’s Arcs

So the series wants to present this idea that Rapunzel is compassionate and is all about giving second chances, yet Caine, one of the most sympathetic villains in the show next to Varian, is given zero chance at all. The show is too busy trying to make Rapunzel look ‘bad ass’ by easily taking down an seemingly equal badass female villain, that doesn’t stop to think about the implications of this conflict. 

The series fails because the only people Rapunzel redeems are people that she needs something from. She needs Styalan to gain the Eye of Pincosta. She needs Varian to help defeat the Saporians and ease her bruised ego. She needs Cassandra because she’s her best friend and it hurts her personally for them to no longer be friends. None of the redemptions in the show are actually about the characters who are redeeming themselves, it’s about their effect on Rapunzel’s personal life. 

But placing Rapunzel’s personal feelings above what other characters actually need is the opposite of compassion. It’s selfishness. It doesn’t make Rapunzel the focus of the story it just makes her look like an ass. 

Moreover Lady Caine’s arc is directly tied to Corona’s corrupt legal system. Rapunzel can’t be this purveyor of change if she and the show never acknowledges why the system must change to begin with. 

Last off, Cassandra’s arc is then diminished by the existence of more sympathetic villains like Caine and Varian. They have more reason to do the things they do, and their actions connect back to their goals. Cass doing worst things for less reason, and then getting away with less punishment than them, is a slap in the face to the viewers. It turns her from a likeable character to an unbearable twat, and makes her later redemption a product of nepotism rather than act of agency on her part. 

Everyone is ill served by writing Caine out and not giving her a conclusion to her personal conflict. Rapunzel, Cassandra, Frederic, and Lady Caine herself are all denied a chance to grow as characters and that’s infuriating to watch. 

Also Yes, This Episode was a Big Missed Opportunity to Add Urgency to the Plot

As previously mentioned, season two needed an ongoing external conflict. Anyone of the villains on the ship could have been the main antagonist of the second half of the season. Just have the person in question escape in the confusion, or overthrow the new crew of the ship a second time. Then have them show up later looking for a fight. 

My money is on Lady Caine, but the Stabbingtons or Weasel could have done just a well. Caine wants revenge on Rapunzel. The Stabbingtons are after Eugene. Weasel wants power and riches, so capturing the princess and holding her for ransom could have been a goal. Then have them learn about this hidden power then voila you gotta a set up for a race to the end of the quest.  

You also could just picked an underling at random and then elevated them to main villain by giving them a good goal and a backstory. 

Also finally, Andrew and/or Varian, we’re options that they could have added in here. Varian more so than anybody else as he already has reason to go after the moonstone because his father. 

Heck, you still could have added Varian and not made him the villain if you didn’t want to. This could have been the start of his redemption arc instead, and one of the previously mentioned villains,a Brotherhood member, or one of Zhan Tiri’s Disciples could have still served as the main antagonist. 

In short, most of the problems with Tangled’s story are really easy fixes and the writers had multiple options at their disposal that they didn’t take. Which is just further evidence to last minute rewrites and Chris and Ben’s missamangment. 

Conclusion    

I enjoy this episode because it’s one of the few to tie back into season one, but it’s is a missed opportunity and it is a shame that it went nowhere.