#this teaser already has the same amount of fighting that the whole first season did!

[captainstrekkinlog]

Star Trek: Picard - 1x01 “Remembrance” In-Depth Analysis

Let me start this off by saying, I think this is the strongest series premiere of any of the live-action Star Trek shows to date. 

There is a confidence in this episode that none of the other shows had. It’s no secret that every single Trek show has sometimes struggled in finding its footing in the beginning, it’s not easy to make these shows after all. But it seems that from the onset Star Trek: Picard was a show that knew what it wanted to be and what it needed to be. What struck me the most watching this episode is how very deliberate each action is taken. This story was crafted with meaning and intention, they knew what they wanted to convey and they’re going to take their time walking down the path they set. 

If the rest of this season are at the level of this premiere, then this might just become one of the best first seasons of any Trek show.

Now with that out of the way, let’s get to breaking down the episode in all its delicious details. This will be a long one as I break down scene by scene.

SPOILERS AHEAD

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So we begin with a dream sequence as Blue Skies (sung by Bing Crosby, grandfather of Tasha Yar’s actress Denise Crosby) plays. A wonderful shot of the Enterprise D with Picard and Data playing poker. Picard looks to be in civilian attire, while Data is seemingly in his Nemesis era uniform. The way this scene is set up immediately feels dream-like, especially with the song, which we heard Data last singing it at Riker and Troi’s wedding.

There is a feeling of melancholy in the scene, almost as if Picard’s own consciousness knows this is not real but he wants to keep pretending that it is. As he even says, he doesn’t want the game to end. He much rather wanting to cling onto the past than be awake in a present-day that he isn’t enjoying. As he even says later, it’s the waking up that he’s beginning to resent, and as we find out later on in the story, this dream world is probably a happier place for him than what life is like for him in the years since Data died. 

Here in Picard’s dream, he gets to keep holding onto the past - more time with Data, more time playing the poker game that he never got to enjoy until the end, more time for all the things he was in many ways, robbed of doing.

One funny note, Picard offers Data milk, but we did see in one of the TNG episodes where Data comments that he hates milk.

Data is also holding 5 Queen of Hearts, which Picard frowns at. I’m not sure exactly yet what this may represent, it is possible that this could be a foreshadowing to something else down the line. As I said before, the writers and director were very deliberate with every single detail, so I would imagine this Queen of Hearts thing to have a meaning, we just may not know it yet.

This scene ends with the Mars attack that we saw in the Children of Mars Short Trek and leads to Picard awaking rather violently from his dream. Now if this is how all his dreams end, I can definitely see why he wouldn’t want to wake up because that’s rather horrifying.

Now one thing I have to mention, simply because it’s being made such a big fuss over, the whole thing with how Ten Forward isn’t in the right location. First of all, it’s a dream. Dreams never make sense. I dreamed once that my house had wings and was full of plants and my bathroom was outside. Dreams are weird because they are suppose to be. Secondly, this sort of fuss over technicalities, and rather pointless ones at that, are what I would like to call “missing the forest for the trees”, because what is mattering in this scene isn’t the location of Ten Forward, but rather the scene of Picard and Data and what this means for Picard’s state of mind. THAT is the story, THAT is the substance. The location of a place in a dream sequence really is not what should be the take away of the scene, nor should it somehow ruin a scene. Honestly, people need to realize that the STORY is what is important, any small technical things are not the point. We don’t watch Star Trek because we want to point out all the inconsistent and illogical and wrong continuity details. We watch Star Trek because of the stories and the characters. If I was to let every single of those technical details bother me so much that it ruined the story, I would never be able to watch any Star Trek because quite frankly, there’s a whole lot of it in Star Trek, and acting like that one detail is what ruins a perfectly written and acted scene that sets up Picard’s state of mind for his character development is quite frankly very disingenuous. 

Now, moving onto the rest of our story. We have Picard waking up to Number One running to him. I imagine Number One is in many ways a service dog, especially given how he was immediately there noticing Picard’s disturbance. The most interesting part of this scene with Picard waking up and looking out into the vineyard where people are working is that he keeps saying to Number One “it’s alright”, but really, he’s not saying it to the dog, I think he’s trying to convince himself that everything is alright, even though he knows it isn’t, and we know he certainly doesn’t feel it.

Then we move locations to Greater Boston, where in the night time skyline, we notice some glowing light ads with the Federation News Network symbol, some Ferengi Alliance and ad products, a London Kings banner, and it looks like Kasidy Yates is still somewhere in the galaxy with a booming interstellar freights business. Good for her!

We finally meet Dahj with her boyfriend who is a Xahean, a nice link to our beloved Queen Po, whom we met in Discovery. I am now curious who is the ruler on Xahea at this time, after all, we don’t really know how Xaheans age. But it looks like Xahea is a part of the Federation, which also makes me curious if Po did eventually reveal her innovation for recrystalizing dilithium crystals. Oh and the eagle eyed folks at Trekcore noted from Dahj’s call logs later that her boyfriend’s name looks to be “Caler”.

So they’re having a great time, Dahj reveals she got into the Daystrom Institute and that she’s a fellow in Artificial Intelligence and Quantum Consciousness, which is an interesting field for her to go into given how she reacts later on to Picard calling them “soulless murder machines”, which seems to reveal her bias. Which also makes me wonder why she wanted to study something that would only be theoretical and she already had judgement against.

Oh and we also see in Dahj’s apartment is the flower, Orchidaceae Dahj Oncidium, that her father made.

This nice moment with the couple gets ruined, as usual, by Romulans. Always out there spoiling people’s fun. They immediately kill Dahj’s boyfriend and capture her. They put some devices on her head, likely to scan her and commenting on the fact that she’s not been activated yet. Somewhat hilariously, one of them gets admonished for speaking in their native alien language and to speak English. I guess it’s still called English? Or is it Federation Standard? Or is it both? 

They ask her “where’s the rest of you” and where she’s from. She says Seattle. I guess if you’re from Seattle these days, you should check if you’re either an Android or a Klingon spy. 

And just as she put a bag over her head and try to knock her out, she finally “activates” and kills them all. This was a very well choreographed fight scene where we got to see a good amount of the action. Now I’ve heard some people out there complaining about shaky cam, but that’s not what we have here. The camera didn’t shake, and it only does a minor tilt in one scene. Otherwise, this is one of the calmest camera movements in a fight scene. In fact, the directing for this whole episode is very steady and calm. Honestly, it’s a bad faith take to say this show is just all action crazy shaky cam, because it’s not true. In both of the fight scenes we get, there is considerable restraint on the camera work to make sure that we as the audience can still see what is going on and know what’s happening in the scenes at all times. The rest of the show is all steady cam work. I know that people often like to label “New Trek” to be all action and weird camera angles and “not real Star Trek”, but Picard’s camera work is much more in tune with TNG’s steady cam work than it is to anything else. Other than the two big fight scenes with Dahj, every scene is very steady.

So as Dahj is leaning over her boyfriend and mourning him (note that he is bleeding the same orange color that Po did in the Runaway Short Trek), and then she gets a vision of Picard. The interesting thing about this vision is that it looks to be the same shot from one of the very early teasers. I am curious why she keeps seeing this specific scene and if there is any meaning to it.

Now there is one issue I’ve seen pointed out that the first character to be killed on Picard is a character played by a black man. And this is a very valid thing to be concerned about considering the treatment of characters of color, particularly TV’s issues with black men that both Agents of SHIELD and The Walking Dead had gotten flack for before (the rotating door of black characters), and certainly horror movie tropes have been criticized extensively. So I definitely understand if someone saw this and was worried about this sort of thing becoming an issue. I can’t speak for how black people may feel about this, as I am not black and I do not know all the nuances of this problem, but I wanted to bring to attention what director Hanelle Culpepper commented on in a twitter conversation with someone who had brought up this very concern.

I think this is the thing that could sometimes feel like a double-edged sword. In our current entertainment and media, we are still not there in terms of fair and equal representation, and thus when female characters, characters of color, or LGBTQ+, and other minority group characters die or are treated badly in a story, we pick up on it. But I think with the Star Trek shows, both Discovery and Picard, they are trying to show vast array of characters and treating characters from various minority groups in a normalized way. They can be heroes, they can be villains, they can live and they can die. This kind of normalization in treatment of characters is what we hope for, but I just think the rest of TV have not caught up yet, so when characters of color in this case, do die, we notice.

But hopefully, as Hanelle Culpepper states, we will see more characters of color show up. And as we do know, we will be having more characters of color in lead roles joining us soon.

Now, onto this opening credit sequence. There is a lot of unravel here and I could probably talk for hours about what this opening makes me feel. Let’s first talk about the music. Jeff Russo deserves an award. Seriously. He does. If you guys have not seen the Ready Room aftershow where Jeff Russo talks about the choices made for this theme, you really need to. Because you see the care and attention to detail that he brings into even just choosing what instruments to add to the music and what chords used to call back to the past. The flute at the beginning alluding to Picard’s time in The Inner Light, representing his past. And then the cello and the occasional chords of the TNG theme, just slowed down and slightly in a different tone, all building up to what feels like a triumphant rebirth. The flute sneaks back in showing the past and present coming together for Picard. The use of the cello and strings is just perfect. It really gives a melodic and somber feel to it. And as a violin player myself, any time I hear the strings, it’s like coming home. I’ll be very excited to get back on my violin at some point and play this.

The imagery of the opening credit sequence also tells a story. We see a piece of the sky breaks off like glass, it floats down to the vines in the vineyard, then to the quantum archive, which forms into a borg cube, and the broken piece falls through the cube and forms into fractals, and the pieces float around seemingly becoming like a neuro-pathways which becomes like the iris of an eye, and then it becomes a borg eye maybe, and then the planet Romulus, and finally the cracks form back into Picard’s face. It’s all very beautiful imagery and clearly very deliberate as no doubt all these elements will somehow come into the story that we are seeing. 

And also interesting to note that only Patrick Stewart, Allison Pill, Isa Briones, Harry Treadaway from the main cast are credited, with Brent Spiner as “special guest star”, which means that I guess actors will only appear in the credits if they actually appear in the episode, much like how Discovery season 2 did the same with Shazad Latif and Wilson Cruz, and how Game of Thrones used to do this with their cast members too. So this should make it easy for us to notice which characters will appear in an episode or not.

Now back to the Chateau in France, Picard is walking through the vineyard with Number One and joking with him in French. I’m pretty sure this scene existed to poke fun at the people always saying why is Picard so British if he’s French. So LOL, now he speaks French finally!

We get to meet Laris and Zhaban, two Romulans who seem to live with Picard and basically be his attendants. Some people may not know, but Laris and Zhaban both appear in the Picard Countdown Comics, the three issue comic series shows us their relationship to Picard. Long story short, they are former Tal Shiar agents who broke the rules falling in love and wanted to leave because they wanted to help people instead. They feel indebted to Picard for helping them and sees him as their rescuer/savior. I also thought it was funny that Laris jokes about Number One being “our little assassin”, given what she and Zhaban used to do for a living with the Tal Shiar. 

It is also interesting to note that Laris doesn’t have ridges on her forehead but we do see a slight bit of ridges on Zhaban, making this the first time we see both types of Romulans on screen together. Usually, it’s either one or the other. But it’s nice to see finally some variety even within one species.

Zhaban comments that Laris heard Picard talking in his sleep, Laris notes that he’s not sleeping and wonders if it’s bad dreams, which leads Picard to comment that his dreams are lovely but it’s the waking up that he’s beginning to resent, connecting back to the moment at the beginning of the episode with Data where he says he doesn’t want the game to end. His dreams are happier than his present.

So it seems that Picard has to get ready for an interview, and as he enters, Zhaban says that Number One still won’t take breakfast from him with Picard joking “old dogs”, to which Zhaban replies “which one?” 

The relationship between Laris, Zhaban, and Picard is very well established even in these early scenes. There is an unspoken bond, camaraderie, and care. Even if Picard says sometimes Zhaban treats him as if he was “a benign old codger”. They act like a family, a family that’s found each other since Picard no longer has his old Enterprise crew family anymore. Also Picard is drinking decaf Earl Grey tea.

Now as all three of them are talking though, the news report plays on in the background. I couldn’t make out all the words because of the dialogue on top of it, but it looks like something about disturbances continue across the Alpha and Beta Quadrant due to the commemoration of the destruction of Romulus, so there seems to be some unrest still even to this day about what’s happened. And there is also something about a new Romulan capital, and maybe some three state council or something like it that declared it an interplanetary day of mourning for all citizens. I thought this interesting because we do not really know yet what the state of the rest of the galaxy is feeling about all of this, or how Romulan politics may have changed since then, so this news report is giving a tiny glimpse of the status of the galaxy. It’s good background world building, which is always a good thing, and sometimes Star Trek tends to falter at doing things like this beyond just details about Starfleet and its ships. It’s nice to get a look at the civilian part of life, which is the majority of the galaxy after all.

As the first of the visiting news crew arrives, Laris reminds Picard to not forget to wash his hands, and that ten years and she still has to remind him. She also jokingly calls him “your highness”, which I think it’s a funny nod to both the Romulan culture and also her being aware of herself being a “butler/housekeeper” for Picard as if this was a royalty sort of thing. The ten years mention though seems to point to Laris and Zhaban having stayed with Picard from at least 2389 to current day 2399.

Among the news crew doing set ups is a Tellarite, the first we see on screen in the 24th century outside of just archival footage. There is also a Trill among them as well. It also looks like there is some screen projection thing that does make up touch-ups? Oh man I would love to use one of those instead of having to put on real make-up. I really hate make-up, well, I should clarify that my skin hates make-up, SO MUCH. Someone please invent these screen projection make up things! I need it!

Picard is all dressed up and insisting that he’s not nervous, and asks Zhaban if he went over the terms with the news people and Zhaban says “three times, sir” that they wouldn’t inquire about his separation from Starfleet. Laris says that she thinks sometime he’s forgotten who he is and what he did but they haven’t, and Zhaban reminds him to “be the captain they remember.” These two clearly care about Picard a lot, genuinely. And it’s a really lovely moment as they send him off to this interview. 

It’s kinda of fun to see the intro to his interview is showing off a bunch of TNG promo photos and episode screencaps. I always find this funny because I’m like, wait, there were no cameras there in those moments, how did they get those pictures! 

So we learn in this scene that Picard has never agreed to an interview before until now, and that he’s been writing books on various historical analysis, and that he’s very passionate about working on raising awareness of the lingering impacts of the supernova. It’s clear from the beginning of this scene that the interviewer is looking for something else, that all this stuff they agreed to talk about is not what she actually wants to hear, she very deliberately steers the conversation to things about the Mars attack and why Picard left Starfleet.

Through her, we also start to see the view point of perhaps people who aren’t a part of Starfleet, the civilian side of the galaxy, which she noted that many felt there were better uses for their resources than aiding the Federation’s oldest enemy. And I have no doubt that there were people who did think that. This plays to exactly the sort of sentiment we saw in ENT, when after the Xindi attack, humanity shrank back and started to be xenophobic towards all alien life, not just Xindi. Terra Prime and that whole “Earth First” mentality are all playing again with what we see from this interviewer and her implications. She deliberately pokes at Picard calling for the massive relocation of Romulans. She points to Romulans as an enemy, and she points to the mass number of 900 million Romulan citizens they had to relocate, and how 10,000 warp-capable ferries had to be constructed for the rescue fleet. All of this is clearly a roundabout way of saying that it was a waste of resources, that those resources shouldn’t have been used, and the implication that if they hadn’t build the rescue fleet, then maybe Mars wouldn’t have been targeted and thousands of people wouldn’t have died.

Now, I’ve seen many bad faith takes saying “oh they are making the Federation behave like Nazis!!” or “they are making the Federation into xenophobic racists!!!!” but all of that is disingenuous and ignores what the story actually says. Picard was able to persuade the Federation to help the Romulans, and we know clearly that Spock was also working on the matter to help. The Federation intended to help but only stopped after the rescue fleet was destroyed and thousands upon thousands of people died. There is a HUGE DIFFERENCE between outright refusing to aid and stopping aid after you’re attacked and your rescue fleet got destroyed. There is a HUGE DIFFERENCE between maliciously deciding you don’t want to help someone and just watch them drown, and trying to help but you got injured and you are tired and you gave up.

Of course we all want the Federation to keep going and never give up. Of course we want the Federation to always stand up to its ideals of hope and justice. But giving up when you’re hurt is not the same as outright xenophobia, and it certainly doesn’t make you a Nazi. We KNOW from previous Trek shows AND films that the Federation isn’t perfect, that sometimes the Federation makes mistakes, and even has a hard time letting go of grudges and prejudices. I’ve said it many times before, utopias are pretty to look like but they don’t just magically grow out of a vacuum, a perfect world needs work. The moment you become complacent and you don’t put in the effort, a utopia can easily fail. Hell, in this very moment, we are seeing exactly how democracy CAN fail if we don’t work hard to maintain it. And I get it, some people are mad about political allegories, some people are mad that the perfect utopia of escapism isn’t happening. But Star Trek has always held up a mirror to our own world, it has always pointed out our own failings and how we can be better. And THIS is no different. The Federation gave up and shrunk from its duties, yes. They gave into grief, pain, and fear. But it does not mean they are evil. It is telling us that very same thing. We are not evil if we give into fear, but we can also be better, and do better. The world isn’t just magically built, democracy didn’t just happen one day out of the blue, we worked at it, even if it’s sometimes one step forward and two steps back. 

Anyways, as we go on with this interview, there’s the bit where the interviewer says it’s only “Romulan lives” at stake and Picard counters her with “No. Lives.” Picard’s very powerful statement that we are all lives, doesn’t matter Romulan or not, is something that is necessary to say not just in the context of the plot, but also in the context of our current society. Right now in this very world we live in, people of color, people from minority groups, are all being dehumanized and otherized, and a populace is basically being fed propaganda hating on people not like them, dismissing people not like them, and somehow forgetting that we are all living breathing beings. So what if our skin pigmentation are different? So what if we speak different languages or have different cultures or beliefs or love different people? We are all still breathing, still living. And this continued otherization has only caused more harm to not only the groups being oppressed, but also to all of us as a species. And yes, I know some people don’t want to hear it, they don’t want “leftist politics” in their Star Trek, but this message has been the same message that Star Trek has been sending out for over half a century. You understood it as kids, you took all that in, so where along the way in your growth did you forget that message?

As Picard stated, lives were at stake and the Federation and Starfleet understood that, they had all those ships out there in the shipyards because they had every intention to help. And if not for the attack on Mars, it would have happened. If 92,143 lives weren’t lost, and 10,000 warp capable ferries weren’t gone, they would have been ready to help. Instead the galaxy mourned, and Starfleet and the Federation withdrew because they too were licking their wounds. 

The interviewer compared this logistical feat to the Pyramids, which Picard calls vanity. He points out Dunkirk, the rescue of 400,000 troops on the beaches done through calling in civilian boats. And it’s a more than apt comparison. 

We learn that the planetary defense shields were dropped, and Mars’ defense net was hacked, all of this indicates that I think something more than just the synths themselves were involved. Picard says they still don’t know why the synths went rogue. So I think that the synths were nothing more than someone’s means to an end. Either someone in the Federation wanted a reason for the Federation to pull back from helping Romulus, or Romulans from the Tal Shiar wanted to prevent the Federation from helping because they didn’t want to be indebted to Starfleet and the Federation. Whatever it is, it’s covert, and the synths were just the scapegoats for the attack. 

And as if the 9/11 analogy isn’t more complete, we know the Mars attack was the reason that synthetic life-forms are now banned. And just to give it some sort of scale that we can understand, it is said that 2,977 victims died from 9/11, the attack on Mars had casualties at least 30 times that of 9/11. Not to mention the shipyard and all the vessels. It would have shaken the Federation, and especially those on Earth, to their core. The fact that the interviewer points out that Mars is still on fire to this day is another thing to note of the effect that is still lingering, much like how 9/11 still is a collective trauma for those who lived through it, even to this day.

Now we see the interview becoming more and more heated, in many ways, the interviewer bringing up Data and asking if Picard lost faith in him, to which Picard says “never”. And we also know that Picard thinks that banning synthetic life-forms was a mistake. The interviewer finally gets to what she clearly wants to ask, why he left Starfleet and what was it that he lost faith in. And Picard answers that he left because “it was no longer Starfleet”, he angrily states that Starfleet had slunk from its duties, and that the decision to call off the rescue was not just dishonorable because they had sworn to help, but also downright criminal, and he wasn’t going to be a spectator about it. 

Now, there is something interesting in this moment that I don’t see mentioned much, and it’s that you see Zhaban and Laris watching the interview, and they hold hands. This is clearly something that hurts them too. You can see the emotions on their faces. And while this interview is focused on Picard, we should not forget that this matters to them too. This was Laris and Zhaban’s home that was destroyed, probably people they knew too that died, their families and friends. They are watching an interview that is not just disparaging their race but also discounting the meaning of their lives. And this moment will speak to anyone who has been part of any oppressed groups seeing themselves dehumanized by their lives being an “other”. Picard is standing up not just for Romulans or synthetics, but he is also standing up directly for the two of them, two refugees who have lost everything except each other. It’s a small moment, but it really meant a lot to me watching it, because I understood those feelings. And it made me connect to Laris and Zhaban so much more as characters.

Picard at this point is ready to tear into the interviewer, stating that she has no idea what Dunkirk is, because she’s a stranger to history and stranger to war. And how it isn’t easy for those who died and those who were left behind. Now this moment is very powerful, and clearly the meaning of this scene is meant to be also calling us as viewers to realize how much of our own history that we are a stranger to, and how forgetting that history is the reason we get into the sort of messes that we have today. And I am sure that the writers and director didn’t intend for this to be viewed as anything other than Picard giving all of us a lesson. However, as is with the case of the Xahean boyfriend who died, it is noticeable that it is a white man lecturing a black woman about history. Of course, in universe this isn’t an issue, and as with the issue from before, this is no doubt them wanting to cast actors of color in as many roles as possible, and this is a big scene to have with Picard so of course they cast a brilliant actress for it. But nonetheless it is something noticed, and I think if people make a criticism of that, I would understand, even if I understand also that this is clearly not the intention of the writers or the director.

By the way, the interviewer’s name is credited as Richter, which is a german word meaning “judge”, though I was reminded of the richter scale for earthquakes, and giving she looked to be causing her own little earthquakes during this interview, and being a judge in many ways, both meanings are appropriate.

Finally, Picard walks away from the interview, and this interview is going down, we see Dahj walking in the rain, seeing Picard on the screens nearby doing the interview and recognizing him. 

There is also a sign in that scene that says “behold the future, preview next year’s padd tech today” so I guess even in the future, we still get new tech updates like those Apple iPhone conferences and whatnot.

We get a “commercial break” and we’re back at the Chateau. Picard is sitting with Number One quoting "there is no legacy as rich as honesty” from Shakespeare's All’s Well That Ends Well. Number One barks at Dahj approaching, runs over, but seems okay with her. Picard wants to know what she’s doing here and Dahj says she saw his interview and wants to know if he knows her. He does a “what????” expression that kind of made me chuckle because I can just see the question marks in his head. He’s just so confused.

Now there is an interesting thing to note here, Dahj immediately comments “you’re not sure, how do I know that?”, as if she is reading his mind somehow. So could this mean she has some sort of mind reading abilities too? Or is it just that she can read people really well?

Dahj describes all the things that’s happened, saying that her abilities came to her like “lightning seeking the ground” and she’s clearly very upset. Picard, who has every reason to turn away someone who could be rather alarming, instead takes her hands and tries to calm her down. I’ll expand on this later in another scene, but the kindness that he immediately has towards Dahj’s situation is just such a good thing. Compassion is something so lacking right now in the world, and having him being kind to her and not push her away even though he doesn’t know her, is so important. And when Dahj says “everything inside of me says that I’m safe with you”, we the audience certainly believes that.

We cut to Laris healing up Dahj’s cut, and Zhaban puts a blanket on her. Again, showing how kind these two people are, and the caring and kindness that surrounds Picard. No wonder Dahj feels safe. Picard gives her Earl Grey tea and says it “never fails”. The whole scene that follows is just a really sweet and lovely scene of two people connecting. Picard never treating her as if she isn’t to be believed. She asks him if he’s been a stranger to himself, and he answers “many, many times”, which we have seen throughout TNG. If anyone knows how Dahj is feeling, it is Picard. And I love that he connects with her, never dismissing her feelings.

Picard also comments on Dahj’s necklace, saying it was unusual. Dahj said that her father gave it to her. Now some have wondered why it would be an unusual necklace as it doesn’t look unusual, but I don’t know, I guess it looked kinda strange to me. Or maybe Picard recognized the symbol from somewhere and thought it was strange. Dahj says she doesn’t just know Picard because he’s famous, but she knows him from something older and deeper, and Picard says she may be right, clearly feeling like maybe he does know her from somewhere. He again reiterates that he believes her, joking that if she were dangerous, Number One would let him know.

Laris takes Dahj to her room, and she thanks Picard before she goes, clearly very grateful for someone believing in her. Dahj does leave the necklace behind on the table, which Picard looks at.

Next day, he opens up the window and nobody is working. I realized at this point immediately it must be another dream sequence and sure enough Data is in the fields painting. Both him and Picard are in their TNG era uniforms, and Data asks if Picard wants to finish the painting which has no face and is a hooded figure standing overlooking an ocean. Picard says he doesn’t know how, but Data says that’s not true. The moment Picard takes the brush, he’s awoken by the clock, and he immediately turns around to look at the painting behind him hanging up on the wall, which is almost exactly the painting from the dream, only the head is turned away. Obviously his dreams are a way for him to work out things he’s busy thinking about when he’s awake. God if only my dreams work out life’s problems for me. It would be so useful!

Laris comes in to say that Dahj is gone. Now this scene is logistically a little bit oddly placed. I don’t know when Picard wakes up from his dream, but it doesn’t look like 5am. And Laris comes in rather calmly to tell Picard that Dahj is gone, so did Laris just get up at 5am, saw Dahj gone, and went about her day until Picard woke up? Now Picard could have woken up just minutes before too. They just didn’t exactly make it explicitly clear. She did note that Dahj’s door was open, Number One was on her bed but she was gone, and they checked the feeds and she’s not on the property.

Picard, who now has an idea of what to look for, says he has to go but for them to contact him if Dahj returns.

We then change locations to Starfleet Archives, which uses the same museum symbol that the Star Trek Tour folks have. So that’s a nice little touch, nodding to the fans. It’s really sweet. Star Trek Tour is canon now! :D

Now at this moment when we see Picard approaching the archives, the Jerry Goldsmith theme from the Motion Picture plays a little in the background. Again, a beautiful addition from Jeff Russo knowing exactly where to add in the music to make everything feel perfect.

Picard is with a program called Index, who seems to keep an eye on the quantum archive. Picard wants to be sure that his archive is locked in stasis and no one has access, Index makes a joke about selling tickets with Picard noting the humor and saying “don’t give up your day job”. I love funny snarky holograms. 

We then see Picard going into his archive and this is certainly a room full of easter eggs, so I’ll just note the items I saw and double checked with Memory Alpha to make sure I had the correct names:

USS Stargazer model

USS Enterprise D and E models

Captain’s yacht from Enterprise E model

Kurlan naiskos – ceramic figurine statue made by Kurlan civilization – gift from former mentor Richard Galen?

TNG era Bat’leth and D’k tahg

Captain Picard Day banner

Picard’s edition of The Globe Illustrated Shakespeare: The Complete Works, usually seen in his ready room/quarters – book is opened to first two pages of Act III of All’s Well That Ends Well – quote from earlier

It was noted from the Ready Room aftershow with Hanelle Culpepper and Michael Chabon (the showrunner), that the Captain Picard Day banner is an interesting way to tell the story of Picard’s change. He used to not like that day at all, and now he keeps that memento as if to remind himself that he maybe should have had more of those moments, showing a bit of his regret.

We get some updated LCARS, which the Picard production crew did give a shoutout to Mike Okuda on twitter. It’s always great to see these original designs get a little update with the times. It’s got more muted colors, which I quite like. And also, the object that covers the painting and retracts back is similar to the mechanical hood device that they used in the Ask Not Short Trek that Pike wore.

Index notes that this painting, which we see has Dahj’s face, is item 227.67, painted by Data in 2369, one of a set of two, gifted to Picard on the Enterprise, and the other is hanging on the wall at the Chateau. And the title of the painting is called Daughter. This confirming that Dahj somehow is Data’s daughter, which makes sense given her resemblance to Lal.

Picard asks Index to be sure that no one has been in the archive, not even for servicing. This means that no one else could have known Dahj’s face unless they were someone who actually knew Data or somehow had access to Data.

Back in France, Dahj seems to be hiding in an alleyway. She contacts her mom who tells her to get somewhere safe. Dahj notes that she did tried but she couldn’t stay because she didn’t want to put anyone else in danger. Her mom says she has to go back to Picard, Dahj frowns because her mom couldn’t have known. We see the image of the Mom glitching somehow? At this moment we don’t know if she’s a hologram or a memory or maybe a person who is being used or coerced? Her mom insists for her to find Picard and that he can and will help her. I can’t be sure if the mom is good or not, but her insisting that she goes to Picard does seem like she wants Dahj to be safe. So maybe the mom is also Dahj’s own defense mechanism? A program that makes sure she stays on course and doesn’t stray? The mom tells Dahj to close her eyes and focus, as if giving her directions on what to do. Next we see that the transmission has terminated and Dahj pulls up new information to find Picard’s location.

We also note that in her call list of favorites, there’s Soji’s name too, which connects to the later scene we see.

Back at the Starfleet Archives again, Picard sees Dahj and is clearly relieved that she’s okay. Dahj points out that she knew how to track him here, “I know stuff now, I can hear conversations a block away.” She then tries to insist that she did research and that she must have schizophrenia or something. Picard says she doesn’t have that and tries to assure her that she isn’t a freak, and instead that she may be very special. He starts telling her about Data, and you can hear the emotions in his voice about what Data meant. Dahj doesn’t know why Picard is telling her that and Picard gently tries to let Dahj know that she may be like Data and that the attack may have acted like a positronic alarm bell. But Dahj doesn’t react well to that, comparing synthetics to the ones who attacked Mars, even at one point calling synths “soulless murder machines”. We can see from Dahj’s comments that resent and fear still exists in the Federation towards android/synthetic life-forms, which from what we know, the attack was only about 10 years ago, so it would still be rather fresh on everyone’s minds.

Picard tells Dahj that Data painted her over 30 years ago, she still tries to resist, stating that she’s from Seattle and that her dad was a xenobotanist who spliced two genuses and named the offspring after her. Dahj clearly feels like she’s losing her sense of self if she is not real, but Picard tells her that her beautiful memories are hers and that no one can touch it or take it away. Picard’s insistent kindness and compassion are just SO VERY IMPORTANT. It is not always in entertainment media that we get these unabashedly kind characters, especially with male characters. And sometimes I think Star Trek is the only kind of show where truly kind and loving male characters are allowed to thrive because that’s the world we expect it to be. But even so, having characters like Picard, an older white male in a place of authority, still being so kind and caring and willing to help people instead of judging them, is important. Because this allows younger generations watching this to have someone good to be their role model, to teach and instill in them that kindness is what you need to have more of in this world. I am especially thankful that new Trek has been able to bring forth these kinds of kind characters, and especially white male characters. We see it with Picard, and we saw it with Christopher Pike in Discovery season 2. Both of these characters’ kindness is what allows others to not only feel safe, but allow people a place to grow and learn, and to have people standing in their corner even when they feel alone. That sense of safety and love, like having a safety blanket over you, is so essential to characters that are eschewing the toxic masculinity that is often very prevalent in entertainment media these days. In many ways, Star Trek, through Picard and Pike, are pointedly stating that men, especially white men, being kind and understanding, is not something to be belittled or dismissed, but rather important things because kindness is its own super power, and it’s with that kindness and love that they can stand up to institutions’ whose ideals have gone astray. Picard standing up to Starfleet is really no different than the scene of Pike calling out Starfleet’s use of drones and stating that “giving up our values in the name of security is to lose the battle in advance.” 

Principled and kind lead white male characters are what we need more of these days. 

Picard insists to Dahj that she was “lovingly and deliberately created” and that “You are dear to me in ways that you can’t understand, I will never leave you.” And adding that they will go to Okinawa to the Daystrom Institute and get this all figured out. He brightens up when Dahj mentions her having been accepted into the institute, happy for her even if Dahj is no longer happy anymore after all that’s happened. Picard reminds her “You are the daughter of a man who was all meaning, all courage, be like him”

This whole thing of him talking about Data to Dahj is just really emotional, you can see how much he wants to protect her, and how he genuinely means it that he will not leave her. And you can sense the guilt that still clings to him about Data dying for him.

Of course, nice moment again gets interrupted by Romulan assassins, because Romulans just love to ruin your nice moments. Dahj notices someone coming after them and runs with Picard, who can’t really keep up with her. They get to the roof and the assassins start shooting. Dahj tells Picard to stay down and gets on with some serious ass kicking. Again, as I said earlier, this whole fight scene is just so well done. The action is steady that you know exactly what is happening at all time and what she is doing and who she is fighting. You’re not lost, it’s not shaky and blurry. 

One of the assassins gets his helmet taken off and as he falls down the stairs, Picard notices that they are Romulan. Another assassin gets knocked over a railing but seems to beam away. Dahj is about to shoot another one when this assassin bites down on a capsule and spews out some kind of liquid acid which gets on the gun and on Dahj’s face and her clothing. She and Picard exchanged a horrified look, she screams and Picard tries to reach for her as the energy gun blows up and Picard is knocked back and blacks out.

Now this moment was certainly a surprise. Through all the marketing, they kept talking about Dahj being the mysterious girl, they never mentioned someone else, so we just always thought it was one character. And I remember looking at the trailers and thinking, did Dahj get out of the cube and run to Picard and then gets taken back to the cube somehow and Picard has to go get her again? But it looks like they were just hiding the surprise of the twins in plain sight and we just didn’t have the information to realize it until now. Dahj’s death is certainly very tragic. Though I don’t know you could call it fridging a female character given that she was always meant to be a catalyst role so they could get to saving her sister? I’m not sure, simply because the story is set up in this way and I’m not sure it would work as well if they told it another way simply just to avoid character death. But perhaps someone would disagree.

But we get back to the Chateau where Picard wakes up after having numerous flashes of previous scenes that’s happened. We see Laris and Zhaban worriedly leaning over him as he’s laid up on the couch. He’s got a bad knock but other than that he’s okay. Picard reveals that Dahj is dead and Zhaban and Laris are surprised because the police didn’t mention her. They only said that Picard was alone when they found him on the roof. There was no one else on the security but him running. Zhaban suggests Dahj could have had a cloaking device and that’s why she wasn’t seen on their property feed either, and Picard thinks it may have activated automatically. So this explains why Dahj couldn’t be seen. But this doesn’t necessarily explain why even the Romulan assassins weren’t seen either or why the police said he was found alone. Which means that between the time the police found him, someone, possibly Romulans, could have wiped all the traces of what happened, and maybe even administered some healing stuff on Picard. OR as some have suggested, it could be that the Federation police could be involved in it, maybe it is some massive cover up. Maybe the Federation is infiltrated somehow by Romulan agents. This certainly wouldn’t be unusual tactics for the Tal Shiar, and we know even back in Discovery, the Klingons made one of them look like a human just so he could be a sleeper agent. So there’s no reason to not think that Romulans couldn’t do the same. 

Picard tells Zhaban and Laris that Dahj was a synthetic and that the assassins were Romulans, which surprises both of them, given that they are Romulans, can’t be easy to hear their people are up to something shady. Of course Laris and Zhaban wants him to rest and that he’s done a lot for everyone. But Picard delivers a really powerful and brilliant line that really explains a lot of things.

He says: “Sitting here, after all these years, nursing my offended dignity, writing books of history people prefer to forget, I never asked anything of myself at all. I haven’t been living, I’ve been waiting to die.”

If you look back to the interview when the interviewer asks him why he left Starfleet, that he left in protest, and how angry he got. I think Picard left Starfleet to try to force their hand to help, essentially doing a last desperate bid of if you want me then you better go help these people. And Starfleet basically called his bluff and let him go. That is the “offended dignity” that he’s been nursing. That he tried to do something, using his reputation and importance, and Starfleet basically said, yeah okay, you can go then. I think, more than just Starfleet and the Federation deciding to withdraw, he felt a personal betrayal. The organization that he had given everything to didn’t even bother to fight for its ideals or fight to hold onto him, they gave up on their ideals and they gave up on him, so therefore, he lost faith in them as well. And all this time he’s been wallowing in anger, guilt, and essentially being the spectator that he said he didn’t want to be. He’s been wallowing in self pity, and in that moment, he’s realized that’s not what he wants to do, he’s not going to just slink away from his duties like Starfleet did, he’s now going to do something about it.

We then go to a new location, finally the Daystrom Institute on screen for the first time, in Okinawa. There is this little orbital station in the sky, it looked like one of those stations from The Girl Who Made The Stars Short Trek that young Michael and her dad were on.

Picard meets up with Dr. Agnes Jurati, and asks if it’s possible to make a sentient android out of flesh and blood, she laughs. I find her to be very adorable, a quirky scientist type but not entirely socially awkward, so it’s not the full on nerd girl trope. Once she realizes that he’s serious, she tells him that “even before the ban, a flesh and blood android was in our sights, but a sentient one, not for a thousand years”. She also notes that a sentient synthetic inside and out was the grand slam they were hoping for.

She leads Picard into the Federation’s Division of Advanced Synthetic Research – now a ghost town - because the Androids that attacked Mars came from this very lab - so now they can only operate theoretically – study, publish, run simulations, but they can’t make anything because it would be a violation of galactic treaty.

Jurati shows the drawer containing B-4 to Picard, says he was an inferior copy of Data, but noting that Data tried to download the contents of his neural net into B-4 before his death, almost all of it was lost. Note that she said ALMOST all of it. Which means that they did have some pieces of Data to create things from him. She also brings up Bruce Maddox, whom we saw in the TNG episode “The Measure of a Man”, and despite him trying to get Data to be declared property, we know that he and Data did keep in contact afterwards. Jurati says that Maddox recruited her out of Starfleet, and apparently they came close to create other synths like Data before Data died, and then when they got shut down, it crushed Maddox and he disappeared after the ban.

Now, I suspect that someone may have taken Maddox, and maybe used him to somehow get the synths to go rogue and attack Mars. Maybe even got him to somehow bring down the defense nets. And maybe Maddox could have even created Dahj and her sister Soji for whoever is controlling him as well? Agnes does say that if they had Data’s neural net, then making a flesh and blood body is relative simple, but Picard says Data’s neurons died with him, and thus Jurati says that’s why she kept telling Picard it wasn’t possible to create any other synths. Picard then shows Jurati the necklace from Dahj, and Jurati recognizes that the symbol is for fractal neuronic cloning, an idea of Maddox’s where the theory was that Data’s entire code, even his memories, could be reconstituted from a single positronic neuron. 

So given that Jurati said they almost lost all of Data, I assume Maddox took that bit of Data they still had from B-4 and somehow got his theory to work to make Dahj and her sister, modeled from Data’s painting. 

Picard learns that the cloning would be created in pairs, twins, realizing that there is another one. And showing us who were surprised at Dahj’s death that the rest of the season must be with the sister instead.

I’m still not entirely sure if Jurati knows something more about what’s going or not. I also don’t know if maybe she helped Maddox create the twins? It’s possible but maybe she is also just a good person and I’m being way too suspicious. But who knows. Anything is possible. TV is making it hard for me to trust people.

Then we get this beautiful transition shot from Dahj’s necklace symbol to a similar shaped rings of light in space as a new looking Romulan warbird flies through space and reaches the Romulan Reclamation Site.

We get the first shot of Narek walking through some smoke with purpose as the Romulan theme from TOS episode “Balance of Terror” plays on in the background like the Imperial March every time with Darth Vader. I LOVE this newly updated rendition. Honestly, someone please give Jeff Russo some awards because his music in this episode is just SO SPOT ON!

Narek is clearly the president of the Romulan division of the Emo Spock Fashion Fan Club? I’m just waiting for him to actually be Spock’s secret son with some Romulan, I mean, we know Spock was on Romulus for a time. And Narek sound close to Sarek. (I’m secretly hoping for this because it would just be hilarious to me!)

He meets with Doctor Soji Asha, Dahj’s twin. I noted that Dahj sounds like an Indian name perhaps? And Soji is a Japanese name. Which seem to be appropriate given that actress Isa Briones is also Asian, being part Filipino, and having spoken about Asian representation in entertainment. 

Narek comments on her necklace, which Soji says her father made it, one for her and one for her sister. There was some confusion as to if only Soji knew about her having a sister, but as the earlier call list from Dahj shows, she knew about Soji too. They clearly just held it back from showing it for this reveal. Narek says he had a brother and they were really close but that he lost him last year very unexpectedly. I have a feeling we will get to see what went on with that, or maybe we even know who his brother may be? I originally thought it was Elnor, but I don’t think it works with what we know about both characters, as Elnor was said to have been raised by female warrior monks? So the “last year” comment wouldn’t work for timeline purposes. So the brother is likely someone else who died in 2398, again I don’t know this may be a character we know from any other of the older Trek shows.

He’s clearly trying to flirt with her and get close to her. He also notes that she spends her day fixing “broken people”, so is she fixing Borg survivors or androids or maybe both? We do see in the this season promo of her with Hugh somehow, and other people who look like they got implants, so are the Romulans kidnapping Borg survivors and trying to use them to make androids or something?

Anyways, Narek seem to succeed in ingratiating himself to Soji, looking like they’ll be spending some time together. And the camera then pulls back to reveal the site is in a Borg cube. Meanwhile, that beautiful Romulan theme comes back and plays til the end of the episode.

There’s a “this season on” promo that I’ll probably talk about maybe in a separate post. But YAY we have reached the end of this LONG analysis. If you’ve managed to get through all of it. I commend you and thank you for reading my ramblings.

This episode was a really solid start, setting up great characters and mystery, and reminding us why we love Jean-Luc Picard.

I can’t wait to see where the story will take us next and meet the rest of the cast!!!!!!!!

[cobra-kai-never-dies]

Okay, fuck it. I’m too catawampus to do anything but think about ‘Cobra Kai’ right now, so I guess I don’t care that the premiere is like six hours away because here is some final pre-watch babbling, anyway:

Returning cast- I still don’t care about seeing Mike Barnes or Ali or really anyone from TKK2. I’m down to see OG Cobras or Julie, if that Wikipedia listing is accurate. I wouldn’t mind seeing a toned-down Terry Silver, but his actor hasn’t been onscreen in over a decade.

Echoes from the past- I wondered for a long time how much paralleling season 2 could do with TKK2 when they are staying put in the Valley, but I’m convinced that will see some elements- although some will undoubtedly be twisted in that way I think might become strongly associated with CK. What put me onto this was the second teaser, where they bring back the drum & the scrolls & even a flashback from the second movie. And that made me look back on the first teaser. The context & severity & purpose is quite different, but what we have- again- is the Cobra Kai sensei berating & physically punishing his top students in the wake of the All Valley. We also know that we will be getting ice breaking (probably in front of a crowd), which is obviously associated with the second movie. So what further parallels might we see? Daniel’s line about “destruction & disrespect” when he storms into CK makes me think his dojo might be vandalized. I think I saw where someone had the same idea? It’s a reasonable one, IMO.

The soap opera romances- I’m assuming that there will be something going on between Samantha & Robby. He was obviously interested from the first time he saw her, & she wasn’t immune. She’ll also like that her dad already approves of him. If they do that whole song reprisal thing again, I think they’ll get ‘The Glory of Love’ in much the same way that Miguel & Sam got ‘Young Hearts’. I’m less certain of a thing between Miguel & Tory. I can see Miguel trying to make a go of it to get over Sam, but I’m not sure he’s a guy who will easily move on from a first love even when he wants to. It did look like Tory might be into him though, so his torch-carrying for Sam will be a problem for her if so. I truly sort of hate that Johnny is on something resembling a date with Carmen in that one clip, but it’s not because I don’t want Johnny to date Carmen. Hell, I want Johnny to marry Carmen. It’s just too soon. He’s still a mess, & he needs to get his shit together first. I think Hawk & Moon will break up, pushing Hawk closer yet to the edge. I’m sad about it. Daniel & Amanda may wind up struggling a bit with the shift in his focus, but NBD.

Johnny- He’s gonna struggle big time with Kreese being there, & that might eventually lead to two divided CK factions. It is my most fervent hope that he will- someday- get a chance to make Cobra Kai what he truly wants it to be. But before he can even begin to get there, he needs to face his demons.

Daniel- He’s gonna work on starting his dojo & hopefully eventually realize that he needs to chill with the competition angle because it’s undermining the whole concept of Miyagi-Do karate. I think that will happen- eventually. And he may waver. But I think that Daniel still knows in his heart that Johnny isn’t Kreese.

Kreese- He’s a freaking snake & will try to take over CK, even while we get a more nuanced portray of his philopsopy & motivations.

Miguel- He needs to find a balance between the sweet boy he was & the badass he is now. He needs to avoid letting Tory be a bad influence on him if they do get involved. He needs to be told about Robby. I think his connection with Johnny could lead to him questioning the whole Kreese situation. It’s obvious that Johnny isn’t comfortable with it, & Miguel will hopefully see that.

Robby- He needs to find a driving motivation that isn’t getting back at his dad. He’s on the right path, but he needs to make peace with that relationship one way or another.

Samantha- The appearance of a rival indicates that this will be a big season for Sam. Hopefully she matures. Samantha’s great flaw is that she lacks the courage of her convictions, so she winds up unintentionally hurting people when she should have their backs. I think that’s very believable, given her raising. She takes it easy because she’s always had it easy, but owning & growing out of that weakness will need to be a vital component of her character development if she’s going to be anything resembling a heroine.

Aisha- I guess she’s leading the class in jab punches. She may be taking the back burner this season because Yasmine has been defeated & the dojo war has to put a damper on her friendship with Samantha. Hopefully she’ll have something substantial to do next season.

Hawk- His path looks pretty dark right now. I’m gonna put the food court fight in episode 5 because I’m absolutely convinced that it’s basically going to serve as the flip-side to Miguel’s 1.5 cafeteria fight. Miguel won that fight & brought in droves of new recruits for CK. We can see in the trailers that Hawk & his buddies lose this fight in another public eating area. And given that CK is apparently raking in students & money, beating a highly-visible representative of that dojo- c’mon, who can miss Hawk’s hair?- has to be a boon for Miyagi-Do. He’s fighting with Demetri, but I also think there might be a issue with Miguel brewing. In the trailer, Hawk kicks Miguel into a tree. The Cobras are obviously doing a training exercise at that point, but... I remember something I once read about a highly competitive gym that trained Olympic athletes. One of the trainers there compared the athletes to scorpions in a can that would fight until only one was left. As I’ve said before, Miguel doesn’t seem to resent sharing Johnny’s time with other kids. But what if Hawk is stewing on his losses- the mall fight & possibly Moon? What if Kreese is like that Olympic trainer & pits the kids against each other in a struggle for supremacy? I can see that happening. And Miguel won’t be Kreese’s little dude so long as he’s Johnny’s little dude. But Hawk is obviously a different story.

Demetri- I still don’t love that Demetri is studying karate, but I’m also having a hard time imagining him becoming very good at it. Really, though- does everyone who studies karate have to become a black belt? Miyagi-Do does seem like a better fit for his personality. I’m assuming that he’s fighting with Hawk because he won’t accept who his old friend is now, which speaks to one of Demetri’s genuine strengths- the kid knows his own damn mind & isn’t easily convinced of much. I do wonder how his friendship with Miguel fares.

Tory- First off, I don’t see her being Ali’s kid. I’ve seen too many glamour shots of Peyton to not recognize how they’ve deliberately roughened up her edges for this role, & that probably wouldn’t be necessary if she were playing a surgeon’s daughter. I’m hoping she’s not just some kind of psychopath because I find that to be a boring-ass motivation, but I’m also just not sure how much context you can give to using a spiked bracelet as a weapon during a school fight. Did they tip their hand too soon with her? IDK. But if she isn’t a psycho, then what that tells me is this girl feels like she has nothing to lose in that moment. She is new to the Valley, and troubled. Where does she come from? I’ve been reading “wrong side of the tracks” since that first image of her. So, she goes to CK & learns of a rival dojo. This rival dojo has one girl, just like it’s meant to be. Samantha, like Tory, is a pretty girl who can fight- but then she has so much more going for her: her two adoring parents, her big beautiful house, the white BMW she was gifted the day she turned 16. And she has a cute boy- the All Valley champion & the runner-up, no less!- wrapped around each of her pink-nailed pinky fingers. Sam has known stability & privilege & comfort her entire life. And for a girl like Tory, that resentment could burn. It would probably amount to nothing, if not for the dojo war. But what could prompt such an attack on Samantha? I looked to TKK2 for a possible clue & found one. Might Tory be disowned- AKA kicked out of CK? Is she Chozen to Sam’s Daniel?

A fight to the death- And if so, maybe that fight is also flipped. I think that we all know something major will have to go down to make a team-up happen. Somebody may have to be hurt, & I think Samantha makes the most sense. She is Daniel’s daughter, possibly Robby’s girlfriend, & Miguel‘s ex. She isn’t really anyone in particular to Johnny, but he may need the least convincing. So say Samantha loses her fight with her Chozen & is seriously hurt. This idea bears an unfortunate resemblance to fridging, but I don’t think it counts because Sam is an active character in her own right & is fighting her own battle when this potentially happens. Random note- Peyton stated in an interview that her CK stunts included a huge fall, which I took to mean from a height. But she gave no context, so IDK. And actually, I’m not even sure Sam has to *lose* the fight so long as it’s sufficiently shocking to the others. Either way, I feel like whatever happens with Tory in the aftermath will provide a mechanism by which the other Cobras- particularly Hawk- may be saved.

[sol1056]

three anons: what the hell was all that in S7

Picking out the three that are most to the point for this answer, but I’ve got another dozen or so that overlap. Not sure I’ll have time/energy to answer the rest individually, so hopefully this meta will be sufficient. 

I mean it could be that they had different execs back then who were better at their jobs and kept Shiro around. No one disliked black paladin Shiro, even the DotU fans were ok with it, and the writing in s1-2 was mostly very good. Changing all that was a bad idea. I would have left on the spot if Shiro died or was benched, like now, I'm only around for closure. Maybe they were different execs with this decision & the EPs leaped at the chance. Well, we know who's also gonna be in trouble if that's the case.

With your theory on how storyboards were reused and characters shuffled around for cost cutting, might this not also partly explain the Adam flashback scene and how it was staged? I mean, they were originally supposed to be roommates and the scene was meant to appear in season 2 but got cut. What if they just reused the storyboard (or even animation, if it was already mostly done) the way it was and then just changed the dialogue? This could explain the lack of intimacy in the staging, too. Ezor and Zethrids interactions were more openly intimate maybe not (just) because they‘re villains who die immediately after, but because the decision to make them an item came before storyboarding was done, so the staging is more suggestive. I mean, if you think Shiro was mostly pasted in in the first half of s7, that might make sense.

If cost was the issue and they already had the black paladin Shiro version written, and got the greenlight to change it to Keith then things don't add up. Because they changed it once more! Which could have been avoided if they stuck to the Shiro one. And it goes without saying it would be better written to follow canon instead of the mess we got, like, I cant imagine this NOT discussed. So if it wouldn't be cost effective to change it again for Keith and it would be badly written, why did it happen?

Behind the cut: the most likely chronology of revisions, the clues in S7 as to its original form, and what this means for S8 and the Black Paladin position. 

This is everything I’ve been able to figure out between interviews, podcasts, tweets, plus researching the industry and a few reality-checks with friends more familiar. As always, any mistakes are my own. 

version 0: "five teenagers"

This would’ve been the first pitch after getting the green light, and probably only a loose synopsis, with just the pilot given a rough storyboard. A post-apocalyptic Earth conquered by the Galra, who are seeking Blue. The execs rejected JDS' mechanism for the discovery of Blue, in favor of simply having Keith ‘sense’ Blue. The execs also rejected the idea that Shiro would die only a few episodes in. This summary seems to be the basis of the "five teenagers" part of the teaser.

version A: "shiro kicks the bucket"

Timelines would've dictated moving onto an outline pretty quickly, detailed down to the episode level, including bits of dialogue, motifs, turning points or emotional beats. In this revision, Shiro dies/leaves at the end of S2 and does not return. This is the “originally we wanted him to kick the bucket” version, which the execs rejected.

version B: "shiro goes away for awhile"

If I'm interpreting the hints correctly, the "does Shiro die or not" question got tossed back and forth all the way into S1/S2 pre-production. Rather than rearrange everything, the easiest fix would've been to leave most of the story intact and write only a new ending where Shiro returns. The execs reject this rewrite, saying Shiro can’t be gone that long. This is the “we tried to just have him gone for awhile, but the execs said he had to come back sooner” version.

version C: "enter the clone"

Again, easiest fix is to insert Shiro/Kuron, remove Keith, and reverse that just before Shiro's return in version B. This impacts only the middle seasons (S3-S6); the clone compromise satisfies the execs. Kuron's characterization makes a lot more sense if it’s Keith, in visuals (ie Kuron leaning against the wall in Keith fashion), dialogue (fighting with Lance), and action (leaving without consulting the team). It's also why no one mentions Keith's absence. Because in the original version A, Keith was standing right there.

version D: "wtf is going on", aka Season 7

When JDS mentions having a full season written with Shiro as Black Paladin, it didn't make sense how they'd have a script and not use it. With @ptw30's visual detective work, I think I may've figured it out.

Technical notes: first scripts are all written for a season, then voices are recorded, and then the combined script+recording is used to storyboard. Production seasons are 26-episodes, independent of actual broadcast seasons; VA may be recording scenes across two 13-episode seasons completely out of order, since the recording schedule's going to be based on who's available, not chronology of the file numbers. The biggest staff changes are usually in April ('staffing season') when new shows get the greenlight and start sharking around to catch writers, designers, directors, etc.

In March of this year, S5 was released. At least some of the storyboarders were released in time for staffing season; in April, Hedrick moves to a new project. With S7/S8 being unchanged since version B, I suspect Hedrick delivered the scripts for S7 and S8 by winter of last year, at latest. Even that would be tight, since that's expecting animation to deliver 26 episodes in an 8-month timeframe. [edit: probably delivered much earlier, given the studio leaks show images we can recognize from S7/S8, so some amount of these seasons were in production by then.]

In June, S6 dropped, and a week later, Hamilton was announced as the new story editor via the Lets Voltron podcast. With the lead time required in production, there doesn't seem to be any reason to even need a story editor, at this point. All the pre-production work should be done.

In August, S7 dropped. Hedrick's editor credit is only for the first half of the season; Hamilton gets it for the second half. That means the last six episodes were written after Hedrick's departure. (May Chan's S2 script was reused in part, and she gains a belated co-writing script credit for that. Hedrick should've received the same; it's standard.)

Let's recap a few things we know (and a few we can intuit) about S7:

The season was already written with Shiro returning as Black Paladin, possibly also recorded and storyboarded. 

S6 reversed the S4-S5 trend, lending strength to exec arguments that Shiro is necessary in the story.

After S6 dropped, the EPs said the wolf's name was a spoiler. See this post from @pwt30; tl;dr is that perhaps the EPs intended the wolf to be Shiro's spirit. 

Despite Shiro's return, he's absent for the majority of the first half; when he is present, he barely speaks a half-dozen words, and none are plot-relevant. See @ptw30's post for more details. 

There's a glaring incontinuity when Allura says the paladin armor protected the team, yet Shiro is frozen with the other non-paladins despite wearing armor. 

Keith never offers for Shiro to pilot, nor mentions it, nor even seems to consider it an issue.

Not everything dovetails since I don't have the full picture, but here's my theory: S7 was originally outlined with Shiro's spirit in the wolf, rather than Black. I have no idea when/how JDS would've thought up the CA:WS parallels for his sole writing credit, but Shiro's "I died" and Lotor's psychotic breakdown are squeezed into S6E6, which was written by Josh Hamilton, Hedrick's later replacement. The only other Shiro-in-Black point is a few minutes at the end of S6's final episode. Shifting from Shiro-in-wolf to Shiro-in-Black really only affects one episode, with a bit of editing for another.

Anyway, S6 ends version C, and we segue to version B. For the first half of S7, the clone's body may have been in stasis while the team traveled through its various non-adventures. The episode we now know as S7E1 may have been the mid-point, with about six episodes of Shiro being unconcious. After watching the numbers drop from S3 to S6, the execs may've rejected another six episodes of where-is-Shiro and insisted he come back ASAP.

S7 only has two episodes that must be in order; the rest are pretty rearrangeable. All they had to do was insert Shiro into the background and record a few lines. (Several lines are pure voice-over, which also saves cost/time by not needing to animate moving mouth.) But the moved episode is only his memory/awakening, and the logical next episode would be Shiro's reconnection, and the rest of the season would roll from there. Without moving the entire second half of the season to the start, moving only his awakening episode would mean Shiro does nothing for 5-6 episodes and then abruptly reconnects.  

In a recent interview, JDS said at first the execs weren't enthused until JDS talked up the new mecha they'd give Shiro to captain. Honestly, there's no way JDS got to be EP without giving a really good pitch, but there may've been another element to his argument: nostalgia. The EPs seem certain everyone suffers from their same nostalgia dementia, which if you do, then you probably have been waiting for any glimpse of that og!Keith. If Shiro returns at the start of S7, then Keith's time in Black has been limited to a few disastrous episodes in S3, and a single big battle in S6. The beginning of S7 is the only time we'd ever see the Voltron84 formation working as a unified team, and returning Shiro too soon would defeat the whole purpose of showing how the team has grown in his absence.

The solution seems to have been to remove Shiro's reconnection completely, and keep Keith in Black. That would mean re-recording Shiro's lines from the midpoint onward, and editing in Keith over Shiro. The savings would be that only half the seaon would have to be reworked, not all. The loose end of the space wolf --- an artifact of version B --- was left in place.  

What I'm not sure of is whether the following are significant enough changes to warrant removing Hedrick's name and replacing it with Hamilton's. It could be, if supervising the revision process is enough to override the previous credits. I have no idea about that part of the industry, and it's the kind of edge case you're just not going to find a lot of blog posts about, so if you know, tell me. Otherwise, your guess is as good as mine.

Anyway, this would've meant Shiro was switched in for Allura, Allura was put back in a lion, and Keith was switched in for Shiro. This would explain why Shiro speaks as the leader of Voltron despite no longer being a paladin, and the uneasy sensations a lot of people got about the characterizations. It was most striking in the last three episodes: Shiro felt like Allura v2, while Keith felt like Shiro v2. And that further, the Altean-Earthian ship just 'lighting up' for Shiro --- and becoming that oversized white mecha --- may've meant as Allura's fourth (fifth?) deus ex machina.

I'd be willing to bet that mid-battle, Allura repeated her stunt from the end of S2, heading out to destroy Sendak's crystal by herself. She wouldn't need Sam to hack her brain, and then we'd also have a call back to when she got knocked down by the crystal-ball thing on Naxzela. If she was the one meant to go toe-to-toe with Sendak, that would explain the bizarre neutrality of Sendak's words --- he says nothing personal to Shiro, at all --- and the even more bizarre silence on Shiro's part. Allura's words wouldn't fit Shiro, so he's silent.

And lastly, it'd mean that the one leaping out of Black to cut down Sendak wouldn't have been Keith. It would've been Shiro.

Where would the story go from here?

If I look at the events of S7, the first half is terribly disjointed, really. If Shiro was supposed to wake at the midpoint, an episode (or two) is missing. One for him to reconnect with Black, and a second that would provide some minor conflict to settle him back into position. Those two episodes were likely replaced with the unexpected and frankly over-told two-parter of the Earth flashbacks.

Two problems with that, one technical, one structural.

First, the flashback two-parter has a lot of moving parts. Brand-new designs, characters, and backdrops. It's far too elaborate to be done in an ultra-compressed timeframe, not without several heart attacks and therapy bills on the part of the animation staff. (Plus, the US-based storyboarding team is already downsized, so fewer hands to do the work.)

Second, it doesn't make a lot of structural sense, especially against the big revelations in S6 of an existing Altean colony. Within the story, there's no reason to halt everything and travel across the universe to take however long to build a new castle, when the Altean colony question is far more pressing. Returning to earth also violates the structure, because it's really just a standard milieu: start on earth, head out to have adventures, and return home at the end.

But here, they're returning home and then possibly leaving again. That's just... a rather peculiar and imbalanced way to do it. It doesn't help that doing so means literally telling Romelle her people are just gonna have to rot, the paladins are certain they need the castle more. Why would you take one of the more compelling storylines you've come up with, only to background it again, and wreck the traditional bookending milieu structure at the same time? Especially if that means coming up with major set-pieces and brand-new designs in the space of several months, after a chunk of your core staff are already onto other things.

I think those two flashback episodes -- and the rewritten finale episodes --- may've been cribbed from S8. In other words, the second half of S7 was the original end of S8. That would mean repurposing already-created storyboards and animation artifacts, so there's a huge time savings there (not counting the need to re-record voices and edit the visuals to match the changed-around parts). 

[note: if there’s anywhere you want to frontload introductions for the spin-off, it’d be in the final season, not the penultimate season. Here it feels like a big honking distraction, rather than an organic segue into the next iteration.]

That change necessitated that utterly bizarro mecha that appeared out of nowhere with the most ridiculously impeccable timing. There needed to be a reason to pull the team back out to space to deal with Haggar and/or the alt-Alteans and/or Lotor or whomever else it turns out to be.

So... where we go from here depends on when S8 gets released, because that’ll tell us how much they did (or did not) edit the episodes. Another clue will be whose name gets listed as head editor for an episode; if we see Hedrick’s name reappear at the top, we’ll know we’re dealing with episodes that are enough unrevised to qualify as being Hedrick-edited, that it’s a version B episode. 

My expectation? They’ll move Shiro’s reconnection to the first part of S8, and add an episode or edit pieces of another, to blend it into what would’ve been the first half of S8 (probably with filler to mask the gap). Then add an episode to segue into the version B finale of S7, where we’d end with the original VLD lineup. With the time needed for animation, that’d be the easiest (if potentially awkward) way to repurpose as much as possible of existing artifacts. 

If we don’t get S8 in the next 1-2 months, though, all bets are off, and there’s a much greater possibility that the entire final season is being redone from scratch. I’d expect Keith to stay in Black, in that case, but I’m always willing to be pleasantly surprised.  

edited to add: see this followup for another detail that supports the reversed-seasons theory

[sieben9]

“the final battle” impressions

{Quick request to anyone reading: I’m watching OUaT for the first time, and I want to avoid spoilers. So, if you want to discuss something spoilery, I’d be grateful if you could start a new post for that. Thank you!}

Ah Once, what am I going to do with you?

I mean, this episode was definitely an Experience™, that much is certain. Just… ::sighs::

Look, if I try to sum it up, I think the best I can do is “this was twenty minutes of a really good finale stuck inside a rushed ninety-minute wtf-fest. Also, those twenty minutes belong to a totally different season.

this is the sort of thing you’ve got to foreshadow at least a LITTLE

The acting was pretty damn good, though.

(Fair warning: don’t open this on mobile, there’s a ridiculous amount of pictures under the cut)

OK. So. Couple of things that I really liked up front, so I can gripe in peace later on. (And readers can skip whatever part they wish ; )

First, and I realise this is a weird thing to enjoy, but I loved how utterly despicable I found Fiona in this one. She may have hung around like a bad smell for most of the season without really doing much, but she sure stepped up her game for the occasion.

Seriously, if Rumple hadn’t killed her, I would have found a way. “Our son”, indeed.

Though, please, have some pity on the poor guy. At this point, he has killed both his parents, and one of them twice. That can’t be good for anyone.

oh look the wall robots are still there

And speaking of Rumple… dang, that was a good scene in the mines. What I loved most about it was that this was literally all him. Nobody would ever know what he did in there if he didn’t tell them, except for himself, and he still made the right choice. Despite being offered everything he ever wanted, despite being under the influence of his curse just as much as ever…

before you ask, yes, my mind did go Places

…and more literally than it’s usually shown. Well done, pal. I should probably be more excited about this, but despite the tense buildup, I feel like the scene kind of fizzled as a whole. Maybe because he already made the exact same choice earlier, and was just confirming that he really meant it, too. Still, it was a good moment, and I was very proud of this walking human disaster by the time it was done.

Some more on the topic of Rumple: congratulations on his acting skills. Rumple’s, not Robert Carlyle’s, specifically. Because there’s no way in hell I could have seen these photos…

…and kept a straight face. Honestly, I’m half convinced that they were a test by Fiona to see if he was awake after all.

Oh, and the book!

The book made it across! And you know why? Because Belle and her son have True Love, even if Gideon cannot remember that, because Fiona is The Worst. And Rumple worked so hard to make Gideon remember; it was heartbreaking to see. I mean, he had to do that for… what? Five hours? And he still couldn’t stand the thought that Gideon might believe his mother didn’t love him. It was a good scene, OK?

On a sillier note (but still unambiguously positive): Emma’s wardrobe came back for the finale!

I don’t know, it’s just nice to see.

Other things I loved a lot:

Any and all interactions between Regina and her now-settled other half. Just. Pure joy, even in the midst of the wtf-ery. And with the obvious standout-moment when the Queen goes and sacrifices herself to give the others that tiny bit of time they need to get back to their world and help Henry (and Emma, but I think we all know who the priority was in this case)

Just… damn. I’m still worried about this woman’s self-destructive streak in general, but this was a good moment. (It also helps that she got better. ‘cause that could have been really depressing otherwise.)

Oh, and since we’re speaking of Regina (or the Reginas, plural), I absolutely adored the speech she gave Emma. Just… I mean, I expect the hope speeches from Snow (and that one was pretty good, too), but this? I mean… wow. Please compare and contrast with season 1. Except you don’t have to, because Regina already did that, and it was beautiful.

Then we have an actual mirrored TLK (see below for a botched version…) in this very good moment:

Like, yes, I love bookends, and this was a great one. Calling back to the “holy crap why didn’t I see this coming” kiss in s1 worked surprisingly well, considering how little interaction Emma and Henry had this season, but there’s enough material in the show in general to make me buy into this. Like I said: sucker for bookends.

In general, I feel like this episode was at its strongest whenever re-focused on the family relationships between the characters.

And to close it out, the ending montage.

Just... it’s like Snow said. They get to live their happy endings now. Snowing finally have the time to be a proper family (and David got a dog!). Regina is accepted and loved by her people (and the Queen gets to have a completely “new adventure”, as Robin so aptly put it.) Snow can do what she loves and doesn’t have to fight all the time anymore. And Emma finally has a place in the world; one where she can settle and be comfortable and doesn’t have to be alone anymore... and I’ll just leave it at that. It’s a good ending.

And no, I haven’t forgotten it--obvious special mention to this bit here:

Yup. Killed me dead. And I died happy, thank you very much. They’ve been through so much bullshit, and now they can be together, and raise their son in peace, and won’t be really worried when he doesn’t stop growing, either.

I also want to give a special shoutout to the five six people who immediately made sure that I knew that 1) the kiss wasn’t scripted and 2) we, as a fandom, are extremely lucky to have Robert and Emilie. (For those who haven’t seen the interview in question, it’s here, and here)

The finishing dinner was nice, too, even if I’m not sure what the whole Last Supper imagery was supposed to do.

Listen, I’ve been going “just let them be happy!” for way too long to complain much when they finally are. Also, I could write an essay on the range of emotions Rumple goes through when he comes through that door and people are actually happy to see him and his family. Or about that look that passes between him and Regina, because I caught that and it made me cry! I don’t think either of them ever imagined they would really be this happy again when they first met and they’ve been through so much crap and just... guh. I like this. It’s a good closing shot.

And now, the rest.

Because frankly, this wasn’t a great finale. It wasn’t even that good of an episode. It was everything wrong with the 4B finale, only more of that.

For example: What was the deal with making Emma lose her belief? Since when was her belief required for the magical realms to exist? The only person who’s ever had even something approaching that function was Henry. She didn’t need to believe in magic to keep it alive, she needed it to break the curse.

And this was never set up as the Black Fairy’s plan. Not even a little. This came so out of left field, it wasn’t even in the same stadium! And it’s so frustrating, because this wasn’t a bad plot, as such, but there was no build-up, no real payoff, nothing. Or, let me put it differently: this was a perfectly fine plot resolution, it just had no business being attached to this season.

Everything felt rushed, there were about five dozen plot points, none of them with any time to breathe and somehow, we still got that terminally boring climb up the bean stalk.Sorry, David, you know I love you, but what was the point of that sidetrack? Nothing happened. There was no try-and-fail cycle (because there wasn’t time for one) and honestly, if you needed a handwave for how they got back from the magical realms, maybe you could have gone with a less time intensive one?

And that moment where Snow kisses David back to life? Yeah, unearned, again. And dear show: the cut-in from the first episode worked for the split-heart curse, because you were subverting it. But here? It just didn’t do anything. This wasn’t a parallel. David wasn’t cursed, he was crushed by a beanstalk.

And speaking of things that don’t make sense…

For the love of fuck. Her ankle? Really? This is such a cliché that even the slasher genre doesn’t do it anymore. And it’s a dumb cliché, too. It’s rooted sexism and it makes it look like you didn’t have any other ideas. I get it, you don’t want Belle with Rumple at that final point so she doesn’t influence his decision. Here’s a thought, then: let her stay behind for a good reason! Or, hell, if you don’t want to write a scene for her (the writers sure seem to be allergic to giving Belle any screentime), let there be a fork in the road! They don’t have the time to check each one, let Belle go one way and Rumple another. It’s still a lazy plot excuse, but at least it’s not the stupidest cliché in the book.

And one more thing…

::sigh:: I have such mixed feelings about this?

Because on the one hand: Gideon had a life that nobody would want. He was kidnapped, imprisoned, kept in the dark and abused for all of his twenty-eight years, and even if he got free, he would never get that time back. Nobody would ever choose that for themselves.

At the same time… Gideon died. The person I got to know over the last half-season is no more. He’s gone. And he never had any say in the matter. Hell, he didn’t even get to say goodbye. It’ just such a messed-up way to get a wonderful thing.

(Also, while I’m on that topic… yes, I did notice that Rumple didn’t recognise his very tiny son at first, and I realise that it’s because he’s never seen him before. It prompted a particularly long “oh noo…”, too.)

And finally…

… that cliffhanger/teaser, though, huh?

I have so many questions. Why was Henry in that monster forest? Why is he now in an apartment and doesn’t remember his daughter? When did he get a daughter? (Also, who with? Enquiring minds would like to know.)

So. I know, like, three things about s7, and one of them is the cast list. Please try not to spoil anything else, because that’s already way more than I wanted to know going in. Seriously, I’m a reasonably grown adult. I can deal with a couple of surprises.

[ketzwrites]

Rewatch 104: Raising Hell

We’re out of the introduction section of season one. By now, the audience (and Clary) should be used to the Shadow World being a thing and have some notion of how the mechanics work. All the basic background has been explained, so now we dive into the plot.

Also, Magnus Bane.

Teaser

Once again, Clary’s worry and love for Simon are used in benefit of exploring male characters and not her. This time, it’s Jace who overhears Clary talking to her best friend and feels jealous. Then, it’s Simon who is bitter over being soft rejected again. Can’t we focus on Clary when talking about her feelings?

Anyway, Simon doesn’t trust Jace, but Clary does. After all, Jace saved their lives. He also put Clary at the mercy of a creepy vampire without her consent or knowledge. But, hey, if Simon can think Camille is hot after she sexually assaulted him, Clary can have the hots for Jace. Equal opportunity.

Clary wants to exchange the Mortal Cup for her mother. She says this after days of everyone she met telling her that Valentine cannot, in any way, shape, or form, put his hands on the Mortal Cup or everyone will suffer. Why am I supposed to root for her? I’m actively rooting against Clary getting the Cup. Very against it if her goal is to give it to Valentine.

That said, Clary and Simon brainstorming works well. Smart kids are smart.

Also, Simon’s hallucinations are creepy by the right amount.

Act One

These little Clace moments are funny to watch. I like that it’s the girl walking into the semi-naked guy and not the other way around.

Oh, yes. Magnus Bane is very powerful. He’s also the High Warlock. Why didn’t you go straight to him again? Also, Jace, being a bitch about Clary’s best friend won’t make her warm up to you, no matter how jealous of Simon you are.

I have some questions: does Jace know that Clary wants to exchange the Mortal Cup for her mother? Does he care? Would he let her do it? Is he using her quest to save her mother to get to the Cup?

“Considering I’m the guy with the weapons, I pretty much get to say what I want.” Jace really has the most atrocious lines.

Too bad nobody asks Simon what freaked him out so much. He was fine just minutes before and now he’s acting like that out of fear. If only someone – okay, he’d only respond to Clary – if Clary had asked him why the sudden attitude change, he might have explained about the hallucination and Jace could’ve explained it’s a side-effect of the blood he drunk.

Magnus is over 300yo (I’m tagging all references on Magnus’ age). He also gets his own introduction – for the benefit of the audience, of course, because nothing justifies the Lightwoods knowing nothing about the High Warlock of Brooklyn.

Just like with the vamps, the show takes this opportunity to talk about warlocks in general: they take payment for services rendered, they are immortal, they- that’s it. All one needs to know. We will get a hint at Warlock Marks in Act Three, though.

Funny how Alec is the only one that ignores Magnus’ bad reputation and treats Magnus as a person, not an irresponsible slut. Izzy thinks Magnus would care more about a party than his people’s safety, Jace is quick to make remarks about Magnus’ love life for Clary’s amusement, and Hodge outright calls Magnus a greedy hedonist. Alec, however, doesn’t think Magnus would go to a party with Valentine out there. He is right: Magnus goes to meet with Clary, someone he cares about.

I’m still not over how ridiculous it is that Valentine’s base is in Chernobyl.  Or how bad these two Seelies are at scouting. They just stood in the middle of the room. I know they are invisible, but come on!

Act Two

Valentine is a blood supremacist. I wanted to make it clear because maybe this on the nose dialogue wasn’t on the nose enough.

Some tension between Luke and Alaric and a reminder that Luke is under surveillance from the mundane police. Cool? I guess we’re dropping the mystery on whether Luke is a good or bad guy then.

This “girls getting dressed” scene is making me wonder: if Jocelyn burned down Clary’s bedroom, where did Clary get the clothes she’s been wearing in the last couple of episodes? Well, at least there is less slut-shaming Izzy’s clothes: Clary actually compliments them.

Again, I don’t understand why Jace acts like Clary will inevitably find a way out of the Institute if he tries to keep her inside. But, alas, Clary gets her first dagger!

Magnus feeds his reputation by acting carelessly but underneath it, he’s not kidding. Too bad he sends Elias out of the protection of the lair; that will lead to the attack on the warlocks when Elias is intercepted and rats them out.

Izzy is finally acting like a real person. No alluring tone, no flimsy little giggles. Just a normal tone of voice and her real personality. Good. Also good is the complicity between Izzy and Alec: how Alec can vent to her and how Izzy cares about him.

Maureen is the cutest. Too bad Simon will break her heart, but at least she gets to live a normal life far away from the Shadow World. Which is the opposite of Simon’s own fate.

Act Three

Clary and Izzy’s friendship is still the gayest. It’s so good to see Clary making an uncomplicated friendship with someone that has her best interest in mind. This is different than her relationship with Jace, which is colored with their attraction to one another, and her antagonist relationship with Alec.

I know it’s easy to dislike Clary for treating Magnus rudely in their first meeting but, as far as she knows, he’s a hedonist asshole who took money in exchange for wiping out her memories. Not exactly someone you’d hug hello. That said, she needs Magnus’ help, so treating him like the dirt she found in her shoes isn’t exactly going to rally him to her side.

Magnus is 100% done with Jace and they’ve been in each other’s presence for ten seconds. That’s the whole relationship in a nutshell at least until half of season 2a.

This Clary/Magnus exchange should’ve been about Clary being the Hero™ and trying to convince Magnus to face Valentine instead of running away from him. She’s supposed to be inspiring Magnus to fight. But it doesn’t work: Magnus and Clary are not in similar positions. He has people under his responsibility, she does not. He has something to lose, she already lost it all.

The Lightwoods are shown as competent fighters again. Well, Alec is. He finishes off the Circle Member with one arrow. Magnus is impressed and aroused.

Another fall out between Alec and Jace. Did venting earlier made Alec stop holding his tongue? Also, once again Clary gives zero fucks about anything that doesn’t concern her. I’ve watched the episode four times now and I still hope Alec will tell Clary “The world doesn’t revolve around you and what you want.” But, instead, he keeps going along with the rogue mission.

Some action! Clary saves the warlock girl. This is going to be important because that’s the reason why Magnus agrees to help Clary later. The bar is really that low.

The Circle Member that Magnus has taken Elias’ Warlock Mark in his collection: that is the same practice that Raphael will tell Izzy about in 213.

This episode is the first time we see Alec smile: first a shy smile with Izzy and now a full grin with Magnus. Alec also shows some vulnerability by stammering and looking confused. Magnus likes it.

Act Four

The use of the little Zoe to show Magnus’ soft side is great because it contrasts with everything we’ve heard about him. His honest worry for her clashes against the depiction we got in Act One. However, it gets overboard when Magnus is highly impressed by Clary saving Zoe. Izzy and Jace were there too. Why does Magnus say Clary is “not like the others” when he has no such praise for them?

This undeserving praise escalates even further when Magnus extends it to Jocelyn: the same woman that founded the Circle and only left it once it hurt the man she was in love with, the same woman that had Clary’s memories stolen, and the same woman that continues to act selfishly her whole life.

I’m having a great time watching Simon this season. It’s good to remember why I used to like him. Once the panic has passed, he tries to get help with the person he trusts: Clary. He’s doing what he can.

Magnus’ attempts at flirting with Alec are hilarious – and Izzy agrees. But don’t look away or you’ll lose Magnus proving once again that he is nothing like his reputation says. He immediately gives Izzy the necklace he risked his life for. Greedy, hm?

Act Five

Magnus using his praise to Clary to make sure Alec knows he’s into guys is priceless.

I’m sorry, Clary not knowing where in a pentagram she should stand is just stupid. There are five of them. The creepy whispers in the background are cool, though.

Curious that the order of the memory-giving goes from Izzy to Clary to Alec, skipping Jace. I wonder who Magnus’ memory would be about. Catarina? Ragnor? Raphael? I think Jace’s would be about Alec but the show might have gone with “nothing” because lol Jace only learns what love is with Clary like that’s not worrisome at all. 

While the scene plays as Alec’s crush on Jace being revealed and Alec understandably reacting badly to being outed, the way it was done is confusing. Clary’s memory is about her mother, Izzy’s is about her brother. The audience has no reason to believe Alec’s memory isn’t about his brother and Parabatai, but it is actually about the guy he likes. Even Jace’s reaction can be read as surprise that someone loves him: we know by now Jace doesn’t believe in love and sees himself as a stray the Lightwoods took in. We need Alec’s reaction to go back and re-read the scene as what it was intended to be. That’s not great writing.

Another thing that doesn’t work is Clary’s twirl and stab. If it is that easy to kill the Memory Demon, either Alec or Izzy should’ve gone for it instead of pathetically grabbing Jace’s arms. Hell, Jace’s arms were free. He could’ve stabbed the Demon himself. In the next act, Jace is going to praise Clary for this as if it was a hard move. It was not and overestimating Clary’s actions makes her unlikable.

But at least this scene has Clary sacrificing her self-interest (her memories) for someone else’s well-being (Jace’s). Personally, I think this would be more interesting if Alec had been the one taken by the demon. We know Clary will save her Love Interest but will she save the guy antagonizing her in every step?

Act Six

A nonny once said Magnus outed Alec by saying that there was nothing to be ashamed of in front of everyone. They are literally in a different room from everybody else when this conversation happens.

Clary constantly wearing makeup is pissing me off. She’s supposed to be getting ready for bed. Why does she have gloss on?

How does the shredded portal work again? Clary can see where Valentine is and he knows it? He can talk to her through it, in fact. So, he could use to see Jocelyn’s house, correct? After all, it was there all along.

[hypeathon]

RWBY - Volume 6, Chapter 4 Production Analysis

Vol 6, Ch 1 Production Analysis

Vol 6, Ch 2 Production Analysis

Vol 6, Ch 3 Production Analysis

Last chapter dropped what is essentially the hydrogen bomb of backstory episodes with the overwhelming amount of blood, sweat and tears from every department in the CRWBY to back it up. Considering that it was only the third of this 14-episode volume, it should come as no surprise that the next episode to follow would be much smaller in scale in terms of production values.

That being said, some fans have still expressed some disappointment that chapter 4 would only be a mere 13-in-a-half minutes. Whether this is considered obvious or not, animation as a professional medium with multiple stages involves quite a bit of scheduling and management, especially for a serialized series. What I’m about to say had already been touched on in the last production analysis, but to reiterate, chapter 3 was one of the most difficult episodes to make thus far, through the script and every other department according to Miles Luna and Kerry Shawcross. It was the longest episode to date (excluding ending credits), meaning that there were likely more cuts in storyboards than the average one. Roughly 30 different character models were created which had to be rigged and animated, over a dozen environment models were built, all to present the passage of time for this one episode. This is not even counting the quantity of visual effects utilized, including 2-D effects from Myke Chapman which were new to RWBY.

Having one episode with that amount of time and skill poured in would naturally follow a more conservative episode in some regard. This can be seen all the time in anime TV series depending on their production scheduling. Bleach’s 166th episode was considered a spectacle in its animation through the destructive fight between the characters Ichigo and Grimmjow only for episode 167 to follow with a cool down. Any episode of Naruto, Naruto Shippuden and Boruto that featured extraordinary animation and storyboards throughout like are almost always going to have an episode following with a more standard, run-of-the-mill staff. Even My Hero Academia, despite having various memorably-presented moments such as episode 11 of season 3 will follow with whole episodes lacking in action before picking things back up at a much later one. While this practice may not necessarily be ideal to anime fans, this is how productions of long-running anime are usually kept from falling apart which is especially important in an industry where the amount of anime projects being green-lit increase each year.

Though unlike most anime that are bound to a weekly, 30-minute run-time, RWBY at Rooster Teeth Animation has a bit of a weird advantage as web series by sometimes (though not always) using minute-length to help manage how ambitious or conservative an episode can be. Though narrative beats always play a big factor, this chapter of volume 6 is a classic example of needing to take a breather though its length being roughly half of chapter 3. Pretty much everyone fans know take up screen time this episode, meaning there aren’t new models aside from probably Tyrian with a modified tail. In terms of set pieces, only two new environments were fully designed, one being the trail to Brunswick Farms while the other was the hanging bay outside of Salem’s palace.

One fascinating bit of observation was comparing certain footage this episode to the volume 6 trailer. With one clip so far having not been shown as of the time this analysis will first be posted, every other teaser footage had been in the episodes proper. However, the moments in chapter 4 are the most different. In the moment with Emerald and Tyrian, the setting itself and the lighting changed whereas in the snow trail scene, certain characters are not previously seen carrying their luggage in the trailer. And then there’s Salem delivering the same line with lip-syncing being precise but the camera shots are very different. It’s possible that by the time the trailer needed to be made to show to be publicly available on October 16th, they were not one-hundred percent done with the episode and needed to adjust things in post. which would make sense considering the overwhelming scale of chapter 3′s production. That or they were done and simply omitted moments such as the Grimm arms binding Hazel to avoid teasing too much. Either theory is likely honestly and the latter wouldn’t be the first time Rooster Teeth has done this with RWBY trailers if one were to think back to the second and third volumes. 

Moving on, let’s touch on a bit of something that admittedly has not been highlighted that much in the past couple of posts: the animation. When checking the ending credits, you won’t see the usual names that have been prominent up until now. Whether this is due to them working on later episodes or juggling between working on Gray Haddock’s mecha show, Gen:Lock at around the time this chapter was in production, animators like Asha Bishi, John Yang, Matt Drury or Will Sherburne are not credited here. This is not to raise a concern or to scare fans so much as it is to provide an opportunity for newer names that may not have had a chance to show a bit of what they can do. Luckily, Kaitlin Petras is one such name, who confirmed to have done animations for some of the antagonists, including Tyrian. Combined with animation director, Joel Mann returning to do motion capture for the lovable psychopath who had not done so since chapter 11 of volume 4, fans get to see some delightful character acting. If it hasn’t been clear in previous scenes that Tyrian is the kind of character that tries to earn brownie points from Salem at other’s expenses, his moments here should cement that. The way his eyes and mouth read that he hates to see his leader displeased but loves to watch others get in trouble just emphasizes his rather childish nature. It’s too soon to fully say which sequences in particular were done by Kaitlin, but considering every second of Tyrian was pleasing to watch, her name is worth bearing in mind.

That being said, other characters were given great character acting according how they also channeled fear. Emerald has been put in a difficult state without having Cinder immediately besides her, providing an opportunity for her to feel frightened through her body language and the way the pupils in her eyes shift. There’s even a shot where she feels submissive through the way she slouches but subtly clenches her fist after she and Salem briefly face each other. Hazel was also another character to display fear but channeled it through the need to be stoic, humble and even protective. Even when pinned down, his facial expressions suggest he’s reluctantly willing to accept being punished. And then there’s Salem herself who subdues her anger and channels it into discipline by the way her teeth stay clenched. Though more of a secondary highlight, the animation on the protagonists’ scenes were also done well with Qrow and Ozpin/Oscar in particular expressing vulnerability, bitter anger, shame and helplessness.

Moving on, the storyboards and camera layout were once again a good highlight in both the protagonist and antagonists’ scenes. Although there’s no confirmation and no clear way to tell who did what, the various choices of composition are still noteworthy. In scenes with the antagonists, there were some great establishing and wide angle shots to help fully present the spacial aspect of Salem’s palace and the area surrounding it. The scene also helped to highlight how much Salem’s authority and wrath puts everyone in an inferior and frightened position, despite her not even being on screen in certain shots. This includes Hazel, who is often framed as small in one shot or being towered by her in another. Staying on the subject of Salem’s palace for a second, it’s nice to see how despite being in the Maya and 3DS max animation softwares for a third volume now, it’s fascinating how the meeting room alone has gone through multiple tweaks through the lighting and compositing. Switching gears back to storyboards with the protagonists this time, shots of Ozpin and Oscar are the highlight, with the former being isolated and towered by those opposing him and the latter feeling isolated due to a responsibility placed on him without a choice. Ruby of course is the only one to attempt to comfort Oscar by walking past the one tree that figuratively separates them.

As much praise as there has been given, the last bit to talk about with this episode is unfortunately critical and relates to a debate that has stood out among fans since this episode first premiered. For the record, I’m not the kind of viewer whose ability to enjoy a story is determined by how likable or unlikable characters come off. Moments where characters are in an unusually negative state are welcoming in my eyes so as long as the narrative beats warrant it. Presentation can either add to making bitter sides between characters more understandable and sympathetic or it can hinder all of that. It all ultimately depends on execution. This brings me to the way the main cast responded to Ozpin in the beginning of the episode. When taking not just the events of chapters 1 & 2 of this volume into account, but also select episodes in volume 5, it’s not impossible to see the train of thought behind the collective cast. Everyone at varied points expressed doubt and frustration with Ozpin’s roundabout way of having others involved in his agenda. Yang getting annoyed over promises broken in front of her would naturally lash out the most, with Weiss sharing similar sentiments in a more subdued manner. Blake would be upset but also much more quiet. Ruby firmly asks about the task ahead as her way of keeping her chin up and Oscar is deeply anxious and depressed.

On some level, the reactions in this episode make sense. But the reactions seem to result exclusively in the period in the sentence last episode, being that Salem can’t be killed (or that Ozpin can’t be killed or whatever potential loophole there could be, but this is not the place to debate about that) and not how Ozpin was burdened with the task he was given. The responses could have benefited from being slightly more varied when taking that to account while still expressing anger and anxiety, depending on the character. Speaking of which, Qrow was probably the biggest issue with the execution of the reactions. Never-minding for a moment that a grown man punched a 14 year-old in a manner that kept reminding me of the way Junior got clocked in the Yellow trailer, the behavior itself felt too abrupt. Up until this point, the audience was mostly oblivious to how Qrow was taking all of this in. There was one brief moment where Qrow saw Ozma for the first time in the last chapter and Qrow shaking his head in disbelief in the chapter before that. But otherwise, his anger and resentment, while very sensible in regards to his overall character story as he expressed through dialogue, lacked the proper set-up and leans a bit too heavily as being shocking.

An extra bit of the scene indirectly presenting Qrow’s psyche before and maybe even after he punches Ozpin can go a long way. If say, as he walks towards Ozpin, cuts to still arts in the form of memories of Qrow and Ozpin’s interactions such as a small tease of how they met and what was the turning point that made Qrow be so dedicated can help better sell his anger. This is the kind of thing seen in anime adaptations of popular, long-running Shonen manga and as much as the idea of cutting to flashback clips are subject to ridicule and criticism, there is a valid rhyme and reason for why those techniques are applied in visual direction. It’s also important to time tension or a particular character being emotionally charged through some sort of build-up in a scene. An example that can help illustrate my point would be a scene in One Piece:

  What may seem like a straight-forward argument seen out-of-context is actually considered a fan-favorite moment in the One Piece anime. A big reason for this has to do with the contextual set-up between the straw hat captain, Luffy and injured marksman, Usopp. The latter fought tooth and nail to get the earned money stolen from him to fix the ship he and his crew ridden on until now, only to fail to do so, hence why he’s injured. Meanwhile, at a slightly earlier point, Luffy is told by the shipwrights he consulted with that their ship won’t last another voyage. Luffy initially refused to accept that, but then reluctantly comes to terms with the reality. However, Usopp doesn’t realize that Luffy reacted as strongly as he did and instead sees Luffy casually talking about getting new ships through a catalog and then acts sternly as a captain about getting a new ship. This only comes off as insensitive to Usopp after the trouble he went through to get the stolen money back. All of this results in the scene seen in the above video. And yet even with all of this set-up, the scene doesn’t start immediately with things getting physical. Usopp and Luffy’s argument escalates before it reaches that point and it’s made clear through the choice of music, lighting, and framing. While a one-sided punch is not exactly the same as an argument, the sense of anger built between Qrow and Usopp’s characters are similar enough to draw comparison to and it’s how both characters’ negative emotions are fueled and lashed out through execution. Whether or not this was something considered or doable during the production of this episode is unclear and honestly a whole other can of worms that can be speculated on at another time.

That marks the end of chapter 4′s production analysis which did admittedly bring things down somewhat with the bit of criticism at the end. But that shouldn’t take away from an otherwise well executed transitional episode. When looking at things that way, the events here did what they needed to do and the presentation and production mostly helped to present that to the best of their abilities. As for what is in store next episode, the relatively small credits among the animation team make hint at bigger things to come somewhere down the line. We’ll just have to wait and see.