#wow I'd love this in the series actually?? | Explore Tumblr posts and blogs

yourfavoritehouseplant · 1 year ago

Text

I watched James Somerton's final video, and all I got was this 6 page document

As soon as I learned his final unreleased video was on Revolutionary Girl Utena, I knew I had to hate watch it. I didn't know that I'd spend the following 4 hours making a comprehensive doc on everything I hated about it. But here we are.

The TLDR (is this too long to be a TLDR?)

The intro section, as well as Part 2, are directly plagiarized from wikipedia. The rest is unclear.

He makes a “haha this show is so weird right guys” joke 10 different times

He reads Anthy as so emotionally stunted she literally has to be taught how to think for herself, and believes that being the rose bride makes her feel good

He says that his reading is ‘vastly different” from the rest of the community, before boldly stating that this is because he sees it as a “deeply allegorical and symbolic story”

He sees the sexual abuse as “not to be taken literally”

Insists that the show be separated into parts that are strictly literal and strictly allegorical for the entirety of parts 3 and 4, before making the contradictory move of analyzing characters as allegories during part 5

The only characters that get dedicated sections are Akio and Dios, who he doesn’t believe are the same person.

He says Dios gets his powers by “deflowering women”

He calls Akio, known child predator, a chaotic bisexual

Uses 14 year old SA survivor Anthy’s passive personality to make a joke about her being a bottom

His final point is that Utena was the real prince all along

There are no citations

Anyway, full version for people who hate themselves under the cut. With time codes, because I cite my sources.

Part 1: Intro

This entire section is almost exclusively quoted from the Wikipedia article for Revolutionary Girl Utena. Words have been changed, but the order at which certain topics come up is not. Highlights include:

0:56 In his introduction of Be-Papas, lists the founding members in literally the exact same order as Wikipedia.

1:40-2:00 His list of Be-Papas previous works is lifted entirely from wikipedia, only with the words changed. This leads to a strange moment at 1:52 where he claims Be-papas ‘lent their talents to’ Neon Genesis Evangelion, a show which started production at least a year before Be-papas was founded. On the wikipedia article for Utena, this is instead referring to the previous work of Shinya Hasegawa and Yōji Enokido

4:23 he uses a quote by Yūichirō Oguro describing the production as a “tug of war”. He seems to have lifted this in its entirety from Wikipedia, as he does not cite the actual source it is from (the box set companion book, btw)

As for James Somerton originals, at 0:44 he claims that out of all magical girl series,”none to my knowledge have been more discussed and dissected than the 1997 series Revolutionary Girl Utena” He will go back on this at 5:05, where he states that “Sailor Moon takes the lion’s share of discussion” in regard to influential magical girl anime

Part 2: Part 1

(At least I know I’m not funny, unlike James Somerton)

Speaking of which. Here is every single time he makes a “wow this show is sooooo weird you guys” joke: 6:00, 8:50, 10:40, 10:58, 13:46, 17:07, 24:16, 30:34, 41:19, 48:01

Here’s every time the punchline to the joke is the existence of Nanami, a character who he otherwise completely disregards: 10:56, 12:05, 16:22, 42:40

6:16 Claims that the “Apocalypse saga” and “Akio Ohtori saga’ are two names for the same several episodes, depending on the release. This is untrue. Instead, different releases either only have the Apocalypse saga, or split the episodes into an Akio Ohtori saga and then the Apocalypse saga.

7:58 Claims Utena intervening on Anthy’s behalf begins the first duel. While this happens in the movie, Touga intervenes in the scene he uses clips from (like literally right after the shot he uses in the video). Utena only gets drawn into the duels when Wakaba’s love note to Saionji is posted. Youtuber Noralities’ Utena video also gets this wrong, which makes me wonder if this was copied.

9:09 Claims Akio’s “End of the World” moniker is actually more closely translated to “Apocalypse”. In reality, the translation moves away from a more apocalyptic reading, with 世界の果て (Sekai no hate) apparently translating closer to “the furthest reach of a known world” or “edge of the world”. (Love the implications of this translation, but I digress)

9:10 As can be assumed from the previous point, this means I can’t find any sources that point to them not using the title “apocalypse” for religious reasons

10:10 Uses Anthy’s extreme passivity under her Rose bride persona to make a top/bottom joke. I’m gonna repeat this in case you’re just skimming. He uses a trait that likely stems from years of abuse, (possibly exaggerated by the persona Anthy uses to manipulate people), and uses it to call her a bottom.

He also just doesn’t seem to understand how the whole point of Utena constantly telling Anthy that she's just a normal girl who should make more friends is framed as Utena imposing her will on Anthy, just as much as the previous Engaged have done.

11:54 Apologies in advance for my most “um, actually!” point yet, but technically his statement that Anthy stops being host to the Sword of Dios is wrong. Akio literally pulls a sword out of her chest in the final duel. It's a more evil-looking sword of Dios, granted.

13:02 !!! CANTARELLA SCENE ALERT !!! He interprets it as them fighting over Akio?? Which like. I will allow people to have their own interpretations of vague and symbolic scenes. I will. I swear. This is not technically incorrect. It just makes me want to eat my own intestines.

14:44 Bad Anthy take #1: He states Anthy “is emotionally stunted to the point where she needs people to make decisions for her because she does not know how to think for herself” This ignores several moments of Anthy clearly making her own choices throughout the show, including the suicide attempt Somerton mentions about a minute prior. This also strips Anthy of what little agency she has throughout the story, usually exerted through messing with Utena or Nanami. (The fact that she repeatedly makes choices that contribute to her own abuse is, in my opinion, one of the most interesting parts of her character, and it's a shame that Summerton’s ‘reading’ of the story completely disregards that)

Additionally, he once again reads Utena ‘urging Anthy to think for herself” in the first arc as an unambiguously good move, and not as something critiqued in the show.

14:52 Summerton reads the Swords of hatred as symbolizing men’s hatred specifically. Again, I’m trying not to completely disregard differing interpretations to a show like Utena, but this feels very simplistic, especially considering the harm we see aimed towards Anthy by other women

16:42 Here he claims that his reading of the story seems to be “vastly different” from the bulk of Utena discourse. What is this reading? That the show shouldn’t be read literally. Or, in his words, “[we can interpret] Revolutionary Girl Utena as a deeply allegorical and symbolic story about the struggles of coming of age amidst widespread institutional corruption in a high school and which describes a passive culture of inaction in regard to brazen instances of domestic exploitation in which there is not only a question about the caporeality of the events transpiring but also which events can be taken for granted and which events are meant to signify abstract sociological institutions.” The idea that he believes this is in any way a new reading of the material honestly baffles me.

Part 3: Part 2

17:48 through 18:50 differently quotes the Wikipedia article for postmodernism. He even makes a joke at 17:55 about Wikipedia. Please kill me.

The first three themes he lists at 19:11 are just the three main themes listed on the Revolutionary Girl Utena Wikipedia page. What was that about a “vastly different” reading, James?

You’re gonna have to take my word for it, but this section is so short because it's just him talking about the various ways the story can’t be taken literally. He does, ironically, call this a hot take.

Part 4: Part 3

Here’s where the reading falls apart folks

At 23:15, he states that some things in Utena are allegorically coded, while others are to be taken literally. This is true. However, he seems to take this to mean that some parts of the show are Strictly Literal, while others are Strictly Allegorical for things going on in the Literal World.

This is apparently why he prefers the Anime to the Movie, where there basically is no separation between the Literal and Allegorical

This take is bizarre to me for several reasons, but here is my favorite. At several points, he mentions how Revolutionary Girl Utena is a work of Magical Realism. Magical Realism is literally defined by its blending of the “literal” and “allegorical”, the mix of fantastical elements in a mundane, realistic setting. This idea of the impossibility of a blurred line, that Utena must either have lore where the magic is all real and means nothing, or dedicated allegory segments quarantined from the rest of the story, is contrary to the very idea of Magical Realism.

I can’t help but wonder if Somerton took his mentions of Magical realism from a previous work, due to how little it is consistent with his final argument. Either way, this section suggests a great lack of creativity in his analysis, a shame for such a creative work.

24:36: Shiori slander, for those who care

After this he gets really worked up about people assuming symbolism in everything, even when the author ‘doesn’t make it clear something is symbolic’. He shuts down a reading of a shot in the Lord of the Rings. Miley Cyrus is there? Very The Curtains Were Blue of him.

28:22 Claims that Wakaba is the key to telling where the Strictly Literal segments end and the Strictly Allegorical segments begin. He states that, under this lens, deeply personal moments of character suffering such as all of the sexual abuse and Anthy’s suicide attempt (which he literally cites) should be read as symbolic and be “approached with uncertainty rather than confusion”. (28:24-29:13)

This also somewhat falls apart when you consider Wakaba is the jeep in the movie's car chase

And then he rants about people not liking his Attack on Titan video for a bit. Since its potential symbolism also doesn't follow hard enough rules to be symbolism. Once again, the separation of “fact vs allegory” I haven’t watched AOT, so that's all I’ll say.

Part 5: Part 4

Thank god this part is short. Much like Dios’ on-screen presence.

32:55 Makes the extremely bold claim that Dios is not Akio. As in, never even became Akio. because Dios is Strictly Allegorical.

Just to be a pedant, this is pretty explicitly disproven in the show

Confusingly, both earlier and later he will address these two as the same character.

33:04 he also explains the root of Akio’s name in a tone that suggests this is supplemental information and not like. Literally something he explains out loud in the show?

Part 6: Part 5

This section is nearly entirely about Akio Ohtori. I would like to note that him and Dios are the only characters with dedicated segments.

38:30 The part where he states that Dios gets his powers from deflowering women.

38:46 Claims, once again, that Akio’s abuse of Anthy “may not be literal”.

38:59 “the instance of exploitation here is used because assault has deep roots as indicating that akio's gender is the source of his imbalance” THE ASSAULT IS ABOUT AKIO NOW???

39:45 Bad Anthy take #2: “Anthy’s conformity to the Rose bride is based around the fact that she feels good being subservient because this is the only thing in her life that has ever brought her any kind of positive reward”. This is a direct quote. Anyway, I can’t think of any instances in the show where Anthy’s subservience gives her a positive reward, except maybe when she’s intentionally using it to manipulate others. As for her feeling good being the rose bride. She tries to commit suicide. Dude.

Side tangent, but isn’t this exactly what Akio says during the final 2 episodes? That Anthy enjoys being a witch? Is the main villain, who consistently says things during that very episode that are blatantly false, our source of information for this take? I guess so, since this is the dedicated Akio section.

At 40:20 he decides to introduce the concept of Anthy, Akio, and Utena as stand-ins for wider concepts, which is antithetical to his approach in analysis beforehand

Part 7: Part 6

42:40 he finally acknowledges that he’s been spending too much time talking about Akio, and literally no time on characters like Nanami

46:10 states that Utena’s exclusive motivation “is to protect Anthy from the predatorial intentions of the other dualists”, which disregards the fact, which she states herself, that she was largely participating in the duels and protecting Anthy to feel like a prince

48:04 The part where he says that Akio has ‘chaotic Bi vibes’ in regards to him sleeping with Touga, who is 17 and implied to be a long-term victim

Part 8: Part 7

54:01: His concluding point is that Utena was the real prince all along.

In true Somerton fashion, the video then ends over a scrolling wall of patrons, with not a single citation in sight.

#the autism won again you guys #revolutionary girl utena #james somerton #shoujo kakumei utena #utena #anthy #hbomberguy

2K notes · View notes

puppet-limbo · 2 months ago

Text

Right???

Can you imagine how different of a game Pikmin 4 could've been if we actually got to dive into all the implications and mysterious aspects of it all??

If we got a peek at a bit of a darker game if rescuing people wasn't just "Ah! Here's another sleeping person! Unharmed and safe! These Leaflings are just sleeping now, don't worry about it! We have spare helmets for later and we dont have to worry about what the person went through before becoming a Leafling because they don't remember! No rush here! Everyone is very chill about being stuck on this planet"

On one hand, leaving things ambiguous and open ended can make for a lot of fun fan theories, speculation, and various interpretations that can be so fun! But on the other hand, I wanna know!! 😭 I wanna know what the deal is and what's really happening!

Maybe Pikmin 5 will give us answers...

Like, if each castaway can have different hair colour depending on what order you saved them in and other things are determined by what order you complete them in, what if by not saving someone in time, there's actual consequences? Or not curing a Leafling in time means similar things to what Io experiences like having biological changes to yourself and lasting effects??

I know that'd make for a stressful experience but it's fun to think of the "What ifs" 😅😂 especially when it comes to the Leaflings! Give me Bernard with root patterns in his skin or a tail or Olimar with a scar pattern on his head due to being connected to the Leafling part of him for so long (I think it was at least a month or so he was stuck on PNF-404, maybe not a Leafling that long but still!), or cool coloured parts on people's bodies where sure the leaves are gone but the bright colours remained!

Like you're telling me glow sap fixes everything perfectly no matter how long someone has been a Leafling??? I do not believe it 😤

I'm also curious about the Sage Leaf! I get the feeling that even if the others had tried to cure him, nothing would've happened. I just get the feeling he's been there for many years (despite the fact his space suit does look like every other castaway's. Would've been cool if it looked different if he indeed has been stuck on this world for years or so 👀 like an older model of previous space suits. Maybe even back when space exploration was new to the star folk!)

I'm also stumped on the nods and mentions to Pikmin 2 and other Pikmin games 🤔 I've heard theories that maybe Pikmin 1 & 4 are now merged, and that Pikmin 2 & 3 happen in an alternate timeline?? Something to think about for sure

Guess we'll see what they do with the next game and what direction this series will be taken in! Cuz you can just feel that there's all kinds of mysterious things going on with PNF-404 itself, the Pikmin, why everything is the way it is such as perfectly in tact houses and food items, etc. Etc.

As for Olimar saying Pikmin 2 was a dream, I think that log was made before he became a Leafling 🤔 but then again I'm not 100% solid on the timeline of events. So I'm unsure if his memory would be affected before he's transformed. But it is odd that he even knows Louie in this game to behin with! As I believe he only met him for the first time in Pikmin 2, but I've only played 4 and just started 3 so I could be wrong 😅

Either way it's still odd to poke at the other games when we the audience are unclear what's actually happening or will happen canonically; what is your aim, Nintendo? 👁👁

And yeah! Io is such a fun character and I love seeing her story and such whenever you post about her! ^.^

Seeing you and others in the Pikmin fandom post about their pikmin personas/OCs has helped me build up some courage to maybe post about my own one day! It could be fun!

At the very least I have some self indulgent yet fun AU ideas for the Rescue Corps XD plus I'm determined to theorize about the planet and how it all works!

Poor Collin 😅😂 "Excuse me?! Easy?!?! Darling that was the worst thing I've ever gone through!"

@puppet-limbo

I....... SCREENSHOTTED THIS SOOOO FAST!!! saved it... and now its in my computer (and my heart) forever....

INHALLLESSSS

BECAUSE RIGHT!!!

It's so mysterious because...the game really doesn't delve into more of these implications than just to say, oh!! They're rescued now! It has me... pondering... like, only if Pikmin 4 increased the demand, the urgency, such as timing... as they had it in Pikmin 1. By chance, there could've been a heightened sense of... oh no, this characters gonna die... how would this change the trajectory of the game, the story line... and all, by posing intrigue!!!

What will the "death" of this character reveal to me? Will this force me to the beginning of the game depending on its significance? Does this make me care more about my mission?

MAYBE... That'd make it convoluted -

and hopefully not as superfluous as that planetary list, but i didn't say anything

being that there's quite a handful of castaways to rescue... but... not all of them are leaflings. If there was just a little more push... a different motivation, such as to say, "Come on, recruit!!! Lives are counting on you!"

BECAUSE!!! You're in the Rescue Corps! It's no longer solely in Olimar's perspective! So, perhaps a...setback... to the mystery of leaflings was the application of the "collecting" role/formula of gameplay, (i.e, the sparklium, ship parts, and pokos)....so... with a little less "collecting" and a little more story-telling and focus on castaways, it would've allowed more room for an expansion of leaflings! With this, they could've confirmed whether it was, as you said, parasitic or DNA integration - or, at the very least, come closer to a definitive answer rather than just... ope... everything's okay now because of glow sap!

I'm so stumped too, that, in one of Olimar's logs, he reflects of the circumstances of Pikmin 2 to be a "bad dream"...

But!! Could this just be his memory loss? A side effect of being a leafling for as long as he was? BAH! A girl can dream, it just seems Pikmin 4 tossed the concepts of Pikmin 2 not to mention the obliteration of Pikmin 3 for some reason seeing that they changed the whole purpose to why Louie is on PNF-404 to begin with... or... unless... Louie forgot too...............

but that's just a theory..........

ALSO!!! AWWW thank you so so so much! I'm so flattered that you feel that way about Io and her story!! ;w; CUS SDLJHSFKJ OH GOSH, I'm confident Collin would.... do his little sad face.... like...

"Io..."

and Io's like, "It's too easy!" ... to be fair, her time as a leafling is most likely a HUGE blur! So... he's like...

"Easy?!" LKJSDFLKJSFD

#Pikmin #Pikmin 4 #Limbo Speaks #louie pikmin #the president pikmin #tag later #I love being able to chat about Pikmin!!#such a wonderful and fun series!#plus mysterious and intriguing! I love how ominous things are in it!#oh my gosh that planet list 😅😂 I knew there was a lot but oof!#Io being like 'man! look at this handful of planets that actually matter! wow!' 😂#I've played Pikmin 4 so many times (I have almost 200 hours in it I think?? though a lot of that was spent leaving the Switch asleep-#-overnight but still I have played it a lot ^_^;;;)#and I just started Pikmin 3 a few days ago!#so its fun to look at these games to try to figure out the lore and such!#also I hope it's ok but I'd love to draw Io sometime! shes so dang cute and I'd overall love to draw a bunch of peoples OCs in the new year!#if I do it'll be posted on my art blog: Limboneto #hopefully I've responded to everything but sorry if I missed stuff!#I started writing all this after breakfast but then got suoer sleepy and my brain couldn't words anymore XD #so hopefully it all made sense!#Additional Tags:#Other's OCs #Leaflings

16 notes · View notes

bettsfic · 11 months ago

Note

Betts. how do I stop feeling jealous of everyone and everything and just focus on myself? I'm tired of being comprised of nothing but envy.

story time:

so i was recently at Millay, which is one of the top artist residencies in the country. they have an acceptance rate of something like 3%. when i was shown my room, there was a packet of all the residents' artist bios. i sat down and read through all of them. most of them were like half a page in length, single-spaced, listing out accomplishments i could never dream of. one artist had won a guggenheim. one author had published 12 books. another author published her first book at 19 years old. these were people who were extremely well accomplished and respected in their fields.

and we all became very good friends!

and then there was me. my bio was 3 sentences listing out a couple short publications and awards and other residencies i'd done. and my honest to god first thought was, "wow, the jurors must have really liked my writing to have accepted me among all these great artists."

and my second thought was, "that's the healthiest thing i have ever thought."

i had no jealousy of their accomplishments. even though my career hadn't even begun compared to theirs, i didn't attend dinner that night with any impostor syndrome. and that confirmed for me that i had grown out of whatever place i used to be in as a person, where i was basically a raw wound wrapped in barbed wire. everything hurt me and i hurt everything in return.

jealous feelings come from an intense need of external approval, but as i've mentioned in other asks, approval and validation is a well that gets filled over time. at our introductory dinner that night, i didn't talk about my work in the hope of convincing everyone i deserved to be there, which was what i would've done a few years before. instead we all ended up talking about a TV show. the most highbrow place i've ever been in my life, and we're getting wine drunk and discussing at length a cheesy discovery channel reality series. the guggenheim winner: loves box turtles. the guy who's published 12 books: his favorite movie is Spirited Away. the girl who published a book at 19: reads One Direction fanfic. the well-lauded poet: old school tumblrina.

actually, 4 out of 7 of us read fanfic and we had some great conversations about it. sometime i'll tell you about introducing the co-director of the residency to AO3.

when you think of the most accomplished and successful writer you've ever read, remember that they are, at the very core of their being, a nerd. and if you were to eat dinner with them, you would, with enough polite inquisitiveness, be able to unlock the goofy side of them that binges Property Brothers.

so that was the big change for me, i think. i started asking a lot of questions. i stopped talking and i started listening. it seems counterintuitive that admitting to not knowing stuff shows confidence, but it does. pretending you know stuff is what looks insecure. i think for me, i put so much of myself in my work, i wanted my work to be lauded so i could feel accomplished, and feeling accomplishment would let me believe i deserved to exist. but over time, i've reframed that mentality. my work is a thing that exists beyond me and is private to those who read it. it comes from me, but it is not me. what i am is just the person i am, and my life is a series of moments i choose for myself, and i am allowed to exist.

even sending this ask shows that you've begun filling your well. it takes someone who's already come a long way to realize jealousy isn't the status quo and is a feeling to be overcome. and you can overcome it. you can reach a place where you have enough success that other people's success has nothing to do with you, and you're free to just be happy for them. and when you read work that's better than yours you feel joy at learning something new.

so put your work into the world and let it be rejected. you'll rack up a couple wins or close calls, and those will give you energy to be rejected some more. and eventually you'll be rejected so much that rejection doesn't feel like anything, and you will have won enough to realize your work has a place in the world, and that place is no bigger or smaller than anyone else's. your work is allowed to exist simply as it is, and you are allowed to exist simply as you are.

#writing advice #feelings #jealousy

415 notes · View notes

starkjoy · 7 months ago

Text

Freddie Fox On Gwayne

I just listened to Freddie Fox's latest interview on the Pilot TV Podcast—it's full of great insight into Gwayne's character, including a potential hint at where he's headed. I highly recommend listening yourself, especially because Freddie is so lovely, but I've included my favorite bits below (including him calling Fabien "Fabs" and "Fabby").

On Gwayne and Alicent in Episode 6

"I loved that conversation he has with Alicent. In fact, it was a scene we ended up reshooting...I was glad to have another shot at it, actually, because I wanted to give it a couple more extra beats in there that I think really show what their relationship was, which is one that's been very distant. But one that is quite loving, even if only in sort of theory, rather than practice...I did a lot of backstory on him and I feel he was very much raised by his mother who he lost very young. He's sort of been an abandoned child. And so consequently, reaching out—as well as he knows how—to his sister in that scene I thought was very touching."

On Fabien, and Gwayne and Criston

"[Fabien] is amazing fun...Fabs and I get to spend a lot of our time together, and I really, I can't put it more frankly by saying I felt like I'd known him for 20 years after having met him for 24 hours. And that's really lucky, because we do have to spend a lot of time together.

And you do need to feel, over time, that these people—who are really on opposite ends politically in the court do end up, sort of, skirting each other, and then finding common ground. So it was lovely to feel like we could do that quite easily because we had a good friendship straight away."

More under the cut:

On Gwayne's Relationship With Otto

"I'm such a fan of Rhys Ifans' work generally anyway, but he has such poise and command as a performer...I watched him quite carefully thinking, is there a way I can take some of his body language into my own and see if I could, you know, sort of trace the familial kind of thing between us through body language.

That being said, it sort of then dawned on me really that we'd not really spent much time together as father and son. He's always been preoccupied with the work at Court, being this sort of Rasputin, really, character, and I'd been brought up by my mother in a completely different place."

Hints for a Gwayne Finale Arc...

"There's a mercurial element to him which is quite smart, and rational, whilst also sometimes being loaded with preconceptions as well. He really humanizes over the course of the series. I won't spoil what happens in the final episode, but it made me really endeared to him as a person going, look, you know, he's someone who perhaps was raised with a bit of a silver spoon in his mouth and was a little quick to judge initially, but as time goes on and the battle completely breaks him down, he becomes a very human, kind person."

...And potentially a return for Season 3?

"I will watch Season 2 in anticipation of prepping Season 3, but I'm not watching any of it as it comes out. It's sort of on principle, I suppose, not wanting to get too caught up in it when I'm doing other work. But I couldn't resist watching that episode [Rooks Rest, I think] and I text Fabby afterwards, and just said 'Wow, we were part of the whole thing there, that was really cool.'"

#gwayne hightower #alicent hightower #criston cole #house of the dragon #freddie fox #fabien frankel #olivia cooke #rhys ifans #criston x gwayne #gwaynston #hotd

231 notes · View notes

oh-no-its-bird · 5 months ago

Text

Look all I'm saying is that if I were going to make a minecraft movie.

Well, first off I'd put down the first person to even reccomend we do it in cgi. Not just because it looks objectively terrible and half of the magic and nostalgia factor of minecraft is in its texture but holy shit budget much??? You are literally looking at a situation where the cheaper option is also objectively the better option. What the fuck are you doing

But I mean, after that.

Second off, all my writers must watch popular smps and minecraft roleplays/let's plays to understand the "magic" of the game. That's how we're studying for this, not the game books or whatever. Those guys are clearly doing smthn right, and as the executive/writer who knows very little about mineraft that I am in this hypothetical scenario, I need to do my best to make money. And that means learning what people like about the game and community.

Maybe even bring on some popular (non controversial please god) smp writers for consulting. They literally make minecraft movies as their fucking job, they are the expert u need to consult

Story wise, you NEED to choose if you wanna play this straight or silly. I'm so sick of movies trying to be all emotional and "ohh this world is so beautiful,, if u could only understand,, woaa" with their epic sound track and dramatic lighting, but then the dialogue being ripped out of a stupid marvel knockoff trying too hard to be witty

Anyways. Give me a generic "kid has a hard life and uses [thing] to escape it but then their parent trashes [thing] to teach them a "lesson"" movie.

The thing is minecraft and this kid is totally in love with letsplays and smps and has a server with their online friends (get a sponsorship from discord for that good good film sponsorship money, have them play while in call)

The mom or dad or maybe both trash the kids computer for some reason (bad grades maybe or one of those shitty "you need to talk to us more!!! That computer is killing ur brain!!! You don't love us as much as you should and it's that damn games fault!!!" But like it's actually just a kid being a normal fucking kid and having normal fucking kid hobbies things and the parents are dicks)

They delete the minecraft world rip

Them boom, kid somehow gets stuck in the game

Switch to NON CGI FILMING IN MINECRAFT. If you really need to add your stupid shitty fucking cgi then at least make it look like an ACTUAL MINECRAFT ANIMATION holy shit

It'll save us so much money too

So main plot is this kid, being trapped in minecraft, actually falling through different minecraft servers.

We can have different cameos from popular smps and youtubers, get some old youtubers and gameplay in here too. Get fucking dantdm and the diamond minecarts og series with the lab thing, it'll make the old fans lose their fucking MINDS.

The youtubers themselves don't even have to show up, just shove the kid into settings that are clear references to smps and letsplays. Have them wander through Aphmau's OG minecraft diaries sets or Sundee's lucky block series

The best part is that as backdrops, you don't even have to fully commit to "you'll only get this/find this interesting if you know these guys" bc if your writing is good enough you can still make people care by just. Introducing it correctly. Don't present it as "Aphmau's old minecraft diaries series world" go "oh wow look st this cool village,, woah I wonder who built this ,," And have them interact with NPCs organically

Meanwhile the parents go into the game after the kid to bring them back and we do this whole world hopping adventure where the parents learn that,, minecraft can be fun? Actually?

They find the kid and the kid is like "nooo I'm having too much fun the real world SUCKS!!!" but then we do that "it's cool to have fun and indulge but you still need to be present in the real world and do real people things too in order to have that fun responsibly" where somehow the kid realizes that moderation is good for u.

Maybe they almost die in game fr fr? Every world they enter has its difficulty upped a little bit till they enter *gasp* a hardcore world (oh no)

So like the kid learns that you can't just lock yourself in the room and wish the world goes away while you play minecraft for 12 hours straight, and the parents learn that minecraft is cool and fun and can be a good outlet and outlets are important for adults and children alike. And also that they totally pulled a dick move and they need to try to understand their kid instead of just demanding the kid understands them

Somewhere along the way, the kid ends up in their friends server and the friends help to pull them out of the game w the parents

We end the movie with the kid making an effort to be more present with the parents, and the parents also making an effort to interact with the kid in ways that they know the kid will enjoy and respond well to— shown a family dinner scene where the kid very eagerly eats their food while talking about school, then they all go to play minecraft together

The end <3

Oh right and if you seriously want Jack Black there so fucking bad then make him either the dad or like. School computer teacher who helps the kid use Minecraft EU to learn science (shows off that some schools use minecraft for education purposes) who also helps the kids friends pull them and the parents out of the game

Overall, lots of themes not just about how the game is cool and can let you do cool shit, but also about how the community is cool, and how it's provided so many kids and adults outlets to express themselves and have fun together

That's how you do a game movie

Anyways yeah, minecraft movie looks shit. Hire me instead next time

#minecraft movie #holy fuck it looks so shit #the generic “epic” trailer music.#the even more generic stereotypical hollywood blockbuster script formula.#I took psychic damage #birds rambles #birds fic talk #kinda? does this count? whatever im telling a story Ill count it #minecraft #smp #writing #writers on tumblr #mc #film

152 notes · View notes

ericshoney · 6 months ago

Text

Secret Sister ~ Chapter One

Summary: Nick, Matt and Chris find out they aren't actually triplets, but in fact, quadruplets.

Warnings: possible swearing, nicknames, crying, reunion, random names for adopted parents, talks of adoption, mentions of sickness, money troubles, slight angst with fluff ending.

a/n: you guys asked for a series, here it comes!

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

When Nick, Matt and Chris went home for some family time in Boston, they didn't expect to be hit with news like this. The trio knew something was going on, because they were picked up by Justin, that usually only happened near Christmas, so knowing their older brother was home as well, made them confused.

When the brothers got home, they were greeted by their parents and told they needed to talk.

"Is something going on?" Nick asked, breaking the ice.

"We've been keeping something from you guys for a while and now you've turned twenty-one, we've decided it was best to come clean." Jimmy started.

"Nick, Matt and Chris, you aren't actually triplets. Your quadruplets." MaryLou said.

"What?" Matt called.

"Wait, there's another one!" Chris shouted, making his parents laugh slightly.

"You guys have a sister." Their dad admitted.

"Woah." Justin muttered.

"Why are we only finding out now?" Nick asked.

"When I was pregnant with you, I thought I was just having you guys. It wasn't until further into the pregnancy I found out I was having quads. It was an amazing experience and I was very excited. But money was a trouble and we didn't know if we could afford looking after five kids at once. So when you were all born, we made the very hard decision to put your sister up for adoption. She went to a very kind family who we kept in contact with and they told her the truth too." Their mother answered.

"She wants to meet us all. She'll be here in the morning." Jimmy added.

"Wow, that's a lot to take on board." Matt said.

"We understand and we're sorry we kept it from you. Honestly if I could turn back time, I'd never put her up for adoption." Their mother said sadly.

"You had to do what was best, What's her name?" Chris asked.

"Y/n. She kept the Sturniolo too." She answered.

The four brothers nodded and decided to go rest in their rooms, all taking in the new information, knowing the next morning they'd met their sister.

~~~

At ten o'clock the next morning, there was a knock at the door. MaryLou went to open it and when she saw a girl with bright blue eyes and long brown hair, she instantly knew.

"Hi." You called softly.

"Hi honey. Come in." Your birth mother replied.

You stepped into the house and instantly felt warm. You looked around and smiled at the cozy home.

"I want to start off by saying sorry, I feel horrible about giving you up." MaryLou said.

"I'm not upset. Jacky and Luke told me everything and I fully understand. It's not everyday you suddenly have quads." You said, making her smile.

"You look just like your brothers." She then said, hugging you tightly.

You smiled and felt tears in your eyes. You loved your adopted parents you really did, but this was the woman who gave birth to you. It was even more special.

"Come, your dad and brothers through here." She said, taking your hand.

You followed your mum into the living room, where you saw who you assumed was your dad and brothers. Three of which looked very similar to you.

"Fuck you look just like Matt!" One shouted.

"That's Jimmy, your dad. That's Justin, your older brother and those are you quad brothers. Nick, Matt and Chris." Your mum introduced.

You gave a wave and realised it was Chris who made the comment. Each came over and gave you a warm hug, making you feel even more at home.

"I hope you can forgive us, sweetheart." You dad said, wrapping his arms around you.

"I was never angry or upset in the first place. It was something I understood and knew one day I'd get to meet you all. Honestly wasn't expecting the mirror images though." You replied, making him laugh.

"What were you told by your....um....careers?" Matt asked.

"My adopted parents, Jacky and Luke. They told me that I was adopted when I was ten. Said my birth name is Y/n Sturniolo and they didn't feel it was right to take that away from me, so I never took their last name. They said my birth parents were close to them and still in touch to this day. I kept every birthday card you sent me." You answered, looking at your parents, who both smiled wide.

"They also said I had brothers, but never that I was a quad." You continued.

They nodded and asked you more questions about yourself, wanting to know more about you. Chris then perked up and asked a very important question.

"Am I older than her?" He asked excitedly.

"Yes honey, two minutes older." Your mum answered.

Chris cheered, making you all laugh as he hugged you tightly, something that shocked you a bit.

"Finally a little sister!" He shouted.

"By two minutes, bud." You responded.

"Still." He responded, sticking his tongue out.

"Are we sure?" Matt called, making you laugh.

"Yes honey." MaryLou assured.

You smiled and continued talking with your birth family, feeling happy about being reunited and welcomed into their arms.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Tags:

@lgbtq-girl @mattsfavbigtitties @onelesslonelygirlbieber6 @riowritesitall @sturniolo-fann

271 notes · View notes

jointherebellion215 · 11 months ago

Text

Worth

John "Bucky" Egan x female!reader

Summary: You're swept off your feet by one Major John C. Egan, and you love every second of it. Sequel to Birdie.

Word Count: 3.0k

Tags: female!reader, mechanic!reader, women™, period typical sexism & misogyny, fun date night, dude w/ a small dick gets rightfully called out, mostly just fun date stuff, tons of fluff

A/N: Hello all! Thank you so much for the kind words on Birdie. I really appreciate everyone's comments, they warm my heart right up. I almost didn't write this, but the thought of having these two smooch it up was too good to pass up. I also completely headcanon that Bucky has the biggest sweet tooth, oops. As always, I'd be most gracious if you were to leave a like, comment, and/or reblog :)

Read the OC Version of this story on AO3!

Disclaimer: I own nothing. This story and any recognizably named characters are based solely on dramatic portrayals of the characters from the series, not the real individuals they represent. All the respect to the actual service people who fought and died in the Second World War. Also, please don't copy, repost, or translate my writing without explicit prior permission. Don't even think about it, AI!

A knock at the door brings butterflies to your stomach.

“Oh, he’s here!” Irene shouts, which is immediately met with your shushing, as well as Teresa’s.

You nervously pat your hair and check over your outfit for the evening. You’re spending your second day’s leave on a date with Bucky Egan. He had approached you last night at the pub, asking if you wanted to grab dinner. Alone.

You, of course, said yes.

Teresa and Irene go to answer the door while you gather your purse, stuffing it with your essentials. Your friends greet him at the same time, sounding like twins.

“Good evening, Major!”

You hear his deep voice reply, only a small bit of surprise leaking into his voice.

“Good evening, ladies. Is Birdie around? We have dinner plans.”

“I’m here! Hi.” You step around the wall that hides you from the front door, taking a look at the man you’d been crushing on for months. He stands tall and confident in his neatly pressed uniform, hat covering most of his dark curls. His mouth gapes, giving you a once over and attempting to speak up.

“I- You-…Uh, wow. Y-you look…” But any sweet words he attempts to say are interrupted by Irene, who comes in hot with a manic smile.

“Did you know that my daddy taught me how to shoot when I was just a little girl? I’m real good at it. They call me Oakley, back home, cause of how great a marksman I am. Y’know, like Annie Oakley?” She stepped forward, puffing up her chest and giving a frightening grin to Major Egan. You and Teresa exchanged confused looks, not knowing quite where she was going with this.

“I’m not allowed a sidearm or a rifle over here, but I’m sure I could easily borrow one from any of the fellas on base should you break my best friend’s hea—”

“OKAY! We don’t wanna be late, all the tables might be taken soon. Gotta go. Love you. Bye!” You quickly shove past the blonde, stepping over the threshold. You take Bucky’s hand and practically drag his tall form down the hallway, away from your best friend’s attempt at a shovel talk.

You faintly hear Teresa’s well wishes to you amid the aggressively whispered conversation she has with Irene. The last words you hear before the elevator door closes in front of you are a heavily accented protest from Irene.

“What? I was just trying to..!”

The pair of you stand in the elevator in silence. A slight rocking indicates the starting motion of it, which snaps you back to reality. Looking down, you realize that you’re still holding hands with Bucky. You quickly separate your hand from his, heat rising to your cheeks.

“Your friends seem nice.”

Your head snaps to glance at Bucky, who is already looking at you. A sincere smile graces his face, not a hint of mocking in his eyes.

“I’m glad you have them looking out for you.”

You feel your face start to cool down, making you comfortable enough to respond.

“They drive me nuts sometimes. But they’re the best friends I could ever ask for.” You mean every word.

You see John nod, so you turn back to look to the elevator doors in front of you. An awkward pause.

“You look beautiful.”

Another pause. “What?”

“It’s what I meant to say earlier. That you look beautiful. Because you do.”

Heat quickly returns to your cheeks, spreading throughout your whole upper body. You give a bashful smile, peeking up at him through your lashes. You gaze into his eyes for a moment.

“Thank you, Johnny. You look quite handsome yourself.” The Major adjusts his hat, covering just the tips of his ears. He returns your gaze with an uncharacteristically nervous grin. The floor gives a slight rattle, elevator door and gate opening to reveal the lobby.

John straightens up, holding out his arm for you to take. You tentatively weave your hand within the crook of his elbow. He gently presses his arm in, bringing your body closer to his.

You meet your other hand in its position and let Bucky lead you out of the hotel and into the evening air.

✨

“That was so delicious! I never knew that a roast could be so tender…”

The pair of you were walking arm-in-arm down a cobblestone street, just having finished dinner. It was a wonderful time. Bucky had been the perfect gentleman, but made his interest in you clear without being sleezy.

He was entirely focused on you the whole time. He asked questions and was genuinely invested in your answers. Conversation came to the two of you like a duck to water. After a shared glass of wine, his hand had slowly inched towards yours. Soon he had cradled it in his, like you were a precious commodity, until your meals arrived. You could hardly keep your eyes off of each other long enough to even promptly acknowledge the wait staff, which you were sure annoyed some and amused others.

Safe to say, John Egan was doing his best to sweep you off your feet.

You hadn’t discussed any other plans for after dinner, but the walk you’re on now is nice enough to give you reason to stick close together.

Bucky nods along, “And that fruit tart? Incredible.”

You laugh, leaning into your date, “I knew that would be your favorite part. You’ve got a bit of a sweet tooth, don’t you?”

Bucky holds his hands up with a mischievous smirk on his face, “Hey, I plead the fifth.”

“I’ll admit, I’ve never seen someone so adamant on having some coffee with his sugar.” You continue to tease him. He nudges you playfully, giving a smooth grin in return.

“Hey, we’re in a war! If you see something sweet,” Bucky surprises you by picking you up and twirling you around, getting a full belly laugh from you as he sets you back on the ground.

“You gotta snatch it up and enjoy it while you can.”

You have a feeling that he wasn’t just talking about food.

By that point, you’re leaning against his front, hands on both of his shoulders. The moment has shifted into something else. Something different. His eyes roam your face, eventually stopping on your lips. Just as he starts to lean in, the moment is shattered by the sound of instruments starting up nearby. Bucky flinches, cursing the ill-timed disruption.

Oblivious to his turmoil, you gasp in delight and look around for the source of the music.

“Do you hear that? I think there’s a band playing!”

You spot a few people walk into what looks like a club. It barely a stone’s throw from where you’re both currently standing.

Bucky quickly recovers, “Should we grab a drink? Have a dance or two?”

You beam at him, and his heart stutters in his chest once more. After you give a nod, you place your hand in his arm and let him lead you into the club.

The two of you step into the establishment, and the energy is almost electric. There are mills of people walking about, drinking, talking, laughing. There’s a great score more on the dance floor, hopping and jiving along to the band you now knew you’d heard earlier. There weren’t a lot of uniforms present, but the ones that were were RAF.

Bucky guides you to the bar, hand on your back until you're both sat on a pair of stools. Your drinks are quickly ordered and served, so your night continues. You both allow yourselves to talk shop for a moment, so your conversation turns towards what you were working on before your leave. As you get to discussing the more intricate parts of your project, you hear a scoff from behind you.

John quickly looks over your shoulder, spotting the culprit.

“Excuse me, is there a problem here?”

You turn around to find a uniformed man taking a sip of his whiskey, RAF logo plastered on the lapel. He mockingly shakes his head, placing the glass down on the bar.

“No, no problem at all.”

Bucky, ever the confrontationist, persists. “It seems like there’s a problem here.”

You gesture towards the man, silently indicating that he was welcome to speak his mind.

“It’s not enough that you Yanks come over to our country, destroy our pubs and disrespect our women with your recklessness. But you can’t even keep your own women in check! She should be at home, away from the war, for God’s sake. Taking care of the house and the children. You know, doing feminine duties.”

You had heard all of this before, so it was no skin off your back to hear it again. You roll your eyes and decided to just ignore him. Then the man started to laugh, as if he was in on a private joke.

“I mean, a female mechanic? Between that and your daytime missions, it’s no wonder you’re all dropping like flies.”

You let out an exhale, letting the air stream out through your nose. In your periphery, you see Bucky start to stand— to, no doubt, escalate the situation. You stop him with a hand on his chest. He sits back down, looking between you and the man who had just insulted you. You set your glass down, hopping off the stool and giving a slow clap.

“I’m so glad to know that some people still live in the Stone Age, where apparently all a woman is good for is cooking and giving birth! Thank you so much for showing us exactly what a lack of education and individual thought looks like! See where we are—over in modern times— women can do whatever the hell they want. That includes fixing your planes and jeeps, operating your radios, driving your trucks, and even training your allies to use machine artillery!”

The RAF soldier realizes what he’s gotten himself into but is backed into a corner of the bar as you pace forward with each scathing word that leaves your mouth.

“Never mind all the bullshit you just spouted about what a woman is fit to do. I think that women can decide for ourselves exactly what we can and cannot do. As for my countrymen, I’m proud to serve alongside them. They go up every day willing to sacrifice themselves so that the rest of us don’t have to. They’re gonna be remembered for their bravery and grit. They’re not cowardly enough to hem and haw and stick up their noses at the thought of a woman doing something other than popping out a kid and ironing their pleats.”

The music has dulled down, but you don’t have the complete attention of the club. That gives you the courage to say your final piece.

“Never you mind. I'm confident that the men I serve with, including the man I have with me tonight, aren’t anything like you. Thank God for that! They're not so…” You take an exaggerated glance towards the man’s crotch, scrunching up your nose. “…small-minded.”

Leaving the gaping man behind, you turn to Bucky and ask if he wants to go get some air. He picks his jaw up off the floor quick enough to nod and lead you back outside into the street.

Hey, hanging around Irene pays off sometimes.

As you step out into the night air, you close your eyes and take a deep breath. You feel John step up behind you, voice carefully asking,

“Hey, are you okay? Birdie?”

You continue to stand with your eyes closed. You just needed a moment.

“I’ve come too far to let anyone’s opinion of me, or my career choices, effect me.”

You open your eyes and look over your shoulder at your date. He gives an understanding nod, stepping closer to you. He places his hands on your arms, rubbing up and down in a soothing motion. You lean back into him, closing your eyes once more, letting him comfort you for the time being.

“Sorry if I ruined the night.”

You can feel a rumble from Bucky’s chest as he chuckles. “Oh, this night’s far from ruined. In fact, that was probably the best thing I’ve ever seen.”

One of your eyes pops open. You crane your neck to peek at him, “Even better than the time you told me about Curt knocking out an RAF officer in one punch?”

“Yep.”

“Winning that bet to get your bicycle?”

“Oh, for sure.”

“Better than your fruit tart from dinner?”

His smile widens, “Okay, let’s not get crazy here. Maybe it was top ten.”

“Top ten?!” You playfully gasp, turning around to face him again. You rest your hands on your hips, “What’s a girl gotta do to rank above a fruit tart around here?”

“Well…” You scoff and shove Bucky at the cheeky smirk he gives you. You’re quickly distracted by the sound of the band inside starting up again. This time with a familiar tune.

“Oh, your song’s on, Johnny!”

Bucky tosses his hat to the side, steps back and gives a very unserious bow. He then sneers with a hyper-nasal impression of the RAF officer you’d just affronted.

“My lady.”

You roll your eyes and give a joking curtsy in return, taking his offered hand. He pulls you into a proper stance for a waltz, which is a complete offset to the jive song that reaches your ears. You both jokingly hop along in the awkward squared formation for a moment, giggling to yourselves.

He gently pushes on your hip while outstretching his hand, so you take the cue and twirl until you’re both standing at each other’s fingertips. A quick grasp of your hand and a pull twirls you right back into his arms, bumping into his chest. The moment made you burst into laughter, leaning into your dance partner until the song ends.

The next song is a much slower tune, giving Bucky the chance to pull you in close. You hum along to the band playing, sidling up to the Major’s chest. He places a hand in yours and loops the other around your waist. Your free arm gently drapes under his and over his shoulder, encouraging a lean into his firm body. You both give a slow sway, leading each other back and forth in the quiet echoes of the street. Closer than before.

“You know, I’ve been plucking up the courage to ask you to dinner for a while now.”

You lay your head on the knuckles of your hand that rest on his shoulder, responding lowly.

“Really?”

You continue to sway.

“Yeah.”

You’re curious, so you ask, “What made you finally do it?”

He thinks on the answer for a moment, almost chewing on his thoughts. John is not the kind of person to typically contemplate over an answer, so you gift him all the time in the world to respond. You recognize how important that is to him.

“I… I think that it was a lot of little things.” He pulls you in closer. “Your smile, your eyes, the way you talk about the things you love. Birdie, you are so personable with everyone you come into contact with and it’s so magnetic.”

The flow of compliments shocks you, not expecting this barrage of details to come from the man in front of you. But you dance on anyways.

“But I really think what did me in was yesterday, at the pub. When you looked at me during your song.”

You remember. You know exactly what he was talking about. Whatever he must have felt, you know that you felt it too.

He continues to speak in an intimate tone as you sway along in the street.

“I felt my entire life click into place. It was like everything suddenly made sense. I didn’t have to wonder about what my life was going to be like in five, ten, fifteen years. Because I knew.”

He pulls back to look you in the eye, and the amount of vulnerability in his eyes floors you.

“I’ll be honest, it scared the shit outta me. It terrified me.”

You understand what he meant. This is all new to him, as it is to you. You pull his forehead to touch yours, noses gently brushing one another, as you offer your best words of comfort in that moment.

“Sometimes, you have to do what scares you the most to find out what’s worth doing.”

He cups your face, letting his lips ghost against yours. He made his intentions clear, but it was up to you to decide how you move forward.

So, you close your eyes and take the leap.

Your lips press into his, hands stroking the arms that were framing your face. He immediately responds in kind, lips moving in tandem with yours. You melt into him at the reciprocated motion. His arms soon move to your waist, pulling you impossibly close. Your arms reach around his neck, hands resting at the nape of his neck. As he deepens the kiss, you run your hands up, down, and through the dark curls on the back of his head, earning a groan from your partner.

A burst of warmth sparks from within your very being, traveling further and further through your body until you’re consumed by flames. Half of your mind is scrambling to make sense of reality, and the other half is completely consumed by passion.

After a moment, you reluctantly separate from one another, panting to catch your breath. It’s as if the world stopped spinning when you connected, and then started up again when you parted.

Giving a nervous look to the man you just kissed, you’re elated when he gives you an ear-to-ear grin. He grasps one of your hands in his, intertwining your fingers. His other hand comes up to cup your face again, thumb gently stroking your cheekbone.

You stay silent for the time being, letting the moment marinate. He brings up your joined hands to kiss the back of your palm. Your heart jumps with joy at the sight.

Bucky gives an exhale before breaking the silence.

“You are most definitely worth it.”

312 notes · View notes

set-wingedwarrior · 8 months ago

Text

My most important sapphic ships post before Pride Month ends

What the title says, studying kept (and still keeps me) busy so we gotta go fast lol

Bumbleby (RWBY)

to the surprise of absolutely no one, they get first place (despite me not going in a particular order) because of reasons. They're perfect. Soulmates. Slowburn of all time. Yin and Yang. Eyes the color of each other's souls. Truest OTP to ever OTP in my book. ∞/10

Konosetsu (Negima!)

I already talked about them in their own post, this scene changed my life leading to my self-discovery and it still lives rent-free in my mind.

Kyosaya (Madoka Magica)

I'd also add MadoHomu but I'm trying to keep it to just one for each fandom. That said, they still make me mentally unwell. I love them, and I did for a long time now. I can't wait for the next movie to come out and suffer.

Ruby and Sapphire (Steven Universe)

These bitches had the first cartoon gay wedding and kiss DO I NEED TO SAY MORE???

Korrsami (Avatar)

Still down the queer cartoons making history path, these two made me insane back in the day because I still didn't understand I was queer and lots of sapphic couple were starting to appear in media, and I remember jokingly say how "lesbian ships were hauting me". All I can say now is "Thank you" lol. Anyway, they were incredibly important and all the people criticizing how little queerness there's in the show will never understand just how massive this scene was.

Catradora (She-Ra and the Princesses of Power)

Friends to Enemies to back to Friends to Lovers. Iconic. I still want a movie with their adventures bringing magic back to the universe.

Hollstein (Carmilla)

My third beloved blonde with a cat gf ship. I miss this web-series every day. Also, Natasha Negovanlis played an immense role in my gay awakening.

Ellie and Riley (The Last of Us: Left Behind)

Ellie and Dina are adorable and I love them, BUT I just will never get over these two. That dlc fucked me up. (also, they're in the same category with Korrasami as "gay ships that hauted me before I realized I was queer" lol)

Lumity (The Owl House)

I remember starting this show feeling it as the successor of Steven Universe, at least to me. We could say that at level of mistreatment from its parent company, it defenitely surpassed it, but at least I'm glad I was right and we got Luz and Amity becoming canon. I love these two and not a day passes without me yelling at Disney for what it did to them.

Bubbline (Adventure Time)

I actually watched Adventure Time fully only recently, but I always loved them even when I watched the show randomly when it appeared in tv back in the day. Getting to see the progression properly just made me love them even more.

Yasammy (Jurassic World: Camp Cretaceous/Chaos Theory)

Incredibly recent addition, but I am so glad that I checked out Camp Cretaceous and got into it. It's a nice show and these two are a really cute couple, their confession and especially Yaz's internal turmoil were just so on point. I was really happy to see them go still strong in Chaos Theory, and I can't wait for next season.

Pricefield (Life is Strange)

These two caused me pain in the best possible way. I felt literal heartbreak at the Bay Ending, and I was just as emotional at the Bae one (Bae > Bay Forever) I hope the new game will respect their relationship OR ELSE.

Wow, this is quite the list. I do have an amazing taste, if I do say so myself, ahah!

Well, I guess this is it for now, glad I could make it before Pride Month was over! Knowing myself I might have actually forgotten some though, so keep an eye out for possible updates (what makes me even think that you'd care? lol).

That would be all, be gay and do crimes! Bye!

195 notes · View notes

maxwell-grant · 3 months ago

Text

The Penguin: Episode 8 "Great or Little Thing" Series Finale Breakdown

So first and foremost I need to give a shout-out to everyone who's been following this with me and helped me week after week process and articulate this show, this brilliant Penguin Braintrust without which I would be incredibly lost on how to even begin breaking this thing down this way: @davidmann95, @wil4x, @book--wyrm and my friend Lucas who is not on Tumblr.

And so we're here at last, in the end of the show. This took forever. I need a goddamn break. This isn't enough and will never be enough but it'll have to do. So let's get to the episode that has had the world joining hands in the unanimous urge to see the absolute shit kicked out of Oswald, and has made the character at last earn this:

(Episode 1) (Episode 2) (Episode 3) (Episode 4) (Episode 5) (Episode 6) (Episode 7)

So who would have guessed that cartoon dirtbag Rex Calabrese was still gonna turn out to be less of a cartoon dirtbag than Oz the moment we stop seeing him through Oz's eyes. Still a terrible person by every metric, but terrible in the same way a lot of Sopranos characters are terrible: this is, at the end of the day, a job, and you can talk to them, you can sit at a table to get down to business with them, and you probably know people in your life like them, and maybe you can even count of them to get real and even help you when the chips are down, even if it doesn't mitigate everything else that they are or do. At the very end, he was neither the benevolent god-king that Oz saw him as, nor was he the absurd dirtbag gangster we had him pegged as - there was never anything exceptional about Rex Calabrese, he's just a real criminal. Maybe the realest in the show.

I said in the last post that Francis burned with hate at everyone in the world except the person who most ruined her life and haha WOW was I wrong, because it turns she's known the entire goddamn time, and quite possibly no one has ever hated him more than Francis.

Most people in the show who hate Oz do so because he's a destructive bastard who craps on their lives directly, or because he's a lying sneaky fuck who does nothing while their lives are ruined, and Francis has had to deal with both longer than anyone else. I can't possibly count every single way this wildly recontextualizes every single interaction, every moment, everything that Francis has shown us and done since the first episode, because I'd have to recap EVERY scene and line of dialogue she has and we still have so much else to get through.

Why was Francis was so effectively able to withhold affection and hold his feet to the fire and give him that bottomless pit of yearning in his stomach that's driven him to move mountains in pursuit of it? Because Francis wouldn't have loved him even if he gave her the entire world at age 12. She never had any affection or love left for him. Oz was always chasing nothing.

And all along it was Rex who shaped the entire course of Oswald's life, as well as prefiguring his dynamic with Victor, with a single conversation. Oswald spend his childhood wanting for Rex Calabrese to notice and like him and be his friend, and he has no idea how much Rex actually affected his life.

That fateful night at Monroe's was never the feel-good story about his Ma summoning the willpower to live by dancing away the grief, and it was never even just the night of the eternal promise that Oz thinks back to, it was a fucking trap to kill Oz. Nothing he has in his life is real, nothing he says is true, he has never not lived in complete total delusion.

The sheer disgust in Deirdre O'Connell's face at the "I do too". How much of her personality we completely understand was born from this absolute resentment she's nursed for decades towards Oz.

And this rotten little turd comes at her with a perfect speech that hits her every insecurity and bitterness and spite and situation and convinces her to give him another chance. The nature versus nurture thing again - Oswald was shaped by hardship, by decades of hard work and neglect, by the total absence of his mother's love while in turn being forced to live in stunted childhood dedicating himself to always taking care of her, and maybe what we're seeing here is heavily distorted by Francis's POV - or maybe he was always a little monster, because this guy talking to her is The Penguin, the same guy doing the same things in the same way, either way it doesn't matter. Again, born fucking ready.

So now we see our three major supporting characters - Sofia, Victor and Francis - all of them have shown that they had a chance to walk away from Oz, to not let him ruin their lives further. All of them could have left Oswald behind, and all of them should have left Oswald behind, but they had to come back and justify the choice to do so, they had to get satisfaction, it couldn't have been for nothing. Victor had his car and a girlfriend in a bus waiting for him, Sofia had a jet to take her to Italy, and Francis had Rex Calabrese ready and waiting to put him down without a word. All of them had a chance to get out of the show and never look back, but like Oz, they had to rectify and overcorrect for an insult.

Sofia can't walk away from Gotham without punishing Oz for turning her in, for killing Alberto and further lying to her, she can't accept that this man, this embodiment of Carmine's legacy and hold over her, is still out there unpunished getting away with what he's done. Victor can't walk away from Gotham knowing that his parents did everything right and still died for nothing, that every hurtful thing Oz said was right, he can't let "They don't give out awards for dying in the projects" be the last word in his and their lives. And Francis can't walk away from Oz, who killed her two sons and keeps lying about it, who ruined her life and now keeps promising he will take care of her and acting like everything will be fine, she can't let this pass even if she can't kill him either, and so she'll make him give her the world and die trying.

The tragedy of what happened is what hurt/broke them - the added insult of what Oz said or did is what they just can't live with. It can't be for nothing.

Goddamnit it, it was really just too telegraphed for it to not happen the way it did.

I fucking knew it the moment the episode started and we got the grungy boss orchestral take on the funny Penguin chords that we were in for some calamitous shit.

We see at first that, in spite of seemingly failing, Vic has graduated to the point he can give his own speeches, gain his own allies, run his own cons - he's not just Oz's proxy, but will manage to convince the others to become such as well, and he's coming at this from a place of complete sincere belief in everything that Oz says, all of the man of the people rhetoric he will so thoroughly pervert and then sell to the people actually responsible for everything he told Victor he was fighting against.

Zeke walks up to him nearly crying about how Sofia blew it all up and Vic instantly asks back where's Oz - not because he doesn't care about Crown Point, but he's already processed it and has already learned with Oz how to just barrel forward regardless, now it's time to get to work. Victor who so readily throws himself into rescuing Oz again and again. Victor who's lost everything - he doesn't have his family, he doesn't have Graciela, he doesn't have the other mobs backing him up, and right now he doesn't even have Crown Point anymore, all he has is Oz.

The man in red who reads the Law Gave him three weeks of life, Three little weeks in which to heal His soul of his soul's strife, And cleanse from every blot of blood The hand that held the knife - The Ballad of Reading Gaol

Sofia dressed in two thematically appropriate outfits - the red scarf echoing both the first outfit we see her in, back to covering her neck but in control of her own collar, and the outfit we see her the farthest back in time with at the start of Episode 4, and with her final crimson fur coat outfit accompanying her final greatest triumph and ultimate defeat in the show. Not only that, but in this episode she also gets to perform characteristically appropriate stylized torture - holding a family intervention and therapy session with mafioso torture tactics to try and wrench the truth out of her victimizer, enacting calculated sadistic yet righteous justice via psychological breakdown, and ultimately allowing the woman he victimized and wronged to take her killshot at him.

See, it's not just that Sofia Gigante is a Batman Villain, or that she's well passed the threshold of supervillain. Cristin Milioti doesn't play Sofia like she's a new character, which she basically is, and she isn't just playing a tortured gangster lady protagonist dipping into camp villain territory, which she also is - she plays Sofia Gigante like she's been a Batman Rogues headliner for decades now stepping into the spotlight once again, like she's the dark modern revamp of someone Adam West would have thought and she's just always been around showing up in stuff along with The Penguin, like she's only not fighting or teaming up with Two-Face in this because he's not here yet. It is crucially important that Sofia passes every standard of Batman Villain imaginable with flying colors, in part because it helps to reinforce that The Penguin is a monster all his own.

Even here, with as much power as she's ever possibly held over him, reduced him to a whimpering begging mess to be killed off in a second, she is so shocked at the sheer brazen selfishness and delusion and level of bullshit on display, that even now he won't break character and think about his actions and admit to what he's done not even to save his own mother from mutilation, that she just loses the script entirely. Her entire show of power collapses and she physically recoils from sheer disgust at just how low Oswald is, at just how much he lacks the ability to even suffer for what he's done. Realizing that there is simply not enough of a soul in this filthy beast to even torture, and that however much she hates Oswald for ruining her life, someone had a prior claim all along.

Eve - Sofia - Francis in the end united in, however much they may dislike each other, however different their circumstances may be, there is nothing they could possibly do to each other that would be worse than what Oswald has done to all of them, joined in silent agreement that their rage ultimately belongs in a bullet fired at Oz's head and that they deserve their kill shot at this man.

"I had enough to give, Oswald".

This really is gonna be the high point of Francis's life from this point on.

Aw man, I liked Sofia's scruffy dirtbag detective, I wanted him to stick around as one of the reocurring characters like the movie cops

Oh Victor, sweet kind Victor, you couldn't possibly ask for anything worse in the entire world.

Oz feebly already beginning to lie and spin his new version of the events, that Sofia stabbed him and fucked up with Ma, and here comes Victor with the reversal of their dynamic, seeing this guy who's been brought low by the oppressive force looming over his life that he must defeat (because all that Victor knows about Sofia at this point is that she used to be Oz's boss and is now out to kill them, that she is scary as hell, and regardless of whether or not she was the Hangman, she just bombed his fucking neighborhood) and reaching out to him with a speech about solidarity and dignity and self-worth and picking yourself up by your fucking bootstraps to save the day. And Oz responds by coaching him on how to be a better bullshitter. Because to Oz, he knows the playbook by heart, but Victor meant it all.

Victor rebuilds Oz from basically nothing by providing him with the validation that he so desperately always craved and never got, saying all the things he always wanted to hear, poised so they can finish this together, poised to give him not only the army he asked for, but a full-blown revolution, and he never once asks for anything in return. Just, goddamnit this isn't hurting any less.

"She, sh-she'll never look at me again, all right?....unless I get this done. Got a promise to keep." Maybe the one and only time his mask ever fully cracks. For a second. He rebuilds it right back up and gets to work, but it cracked. He knows what he's doing, up until the moment he doesn't. It's that simple.

A lot of what drives Oz is acceptance, and a lot of what drives him is his desire to be accepted in worlds that have been declared, by how they run themselves and by the people that inhabit these worlds, as worlds that he was never going to be included in. And one of those worlds is the hierarchy and the hoi polloi of the political realm and the power within the political realm because he understands that all politics are corrupt essentially, and the damage that he could do then in being part of a political infrastructure of Gotham interests him. I thought it would be nice if, in that time jump, he had been invited to maybe a gala or two, you know what I mean? It'd be awkward. He'd be slurping out of the fucking teacup, there'd be stains on the table, he wouldn't really fit in, but he’d fucking love being there. - Colin Farrell

Mirroring the scene in Episode 01 where he adjusts himself next to the car, scuffing himself up to look like the sleazy funnyman the Falcones keep around for kicks, now he's dressing up as much as he can and asking Victor for input, because he truly values what the kid thinks and, goddamnit.

"C'mahn, I don't bite", pfft yeah, not in this movie universe anyway. And to the same guy you did the nose-gushing-blood bit to, even.

Minutes inside of City Hall and he already parks his ass right on Bella Real's seat - not as any kind of intentional slight against her, it's just naturally where he goes to, even before the scene ends and we see his new plans start to come to fruition.

Guy who takes offense at Viti calling Sofia a psycho and then goes up to Councilman Hady talking about the unhinged loony bin broad who went "full psycho" that he's handing to him on a platter, pointedly calling her Falcone.

At first I thought it was funny that Sal Maroni was getting blamed here for Bliss and the underground lab, but then I remembered that he was actually the one who introduced Drops to Gotham and the whole epidemic that became, so if anything it is an extremely easy part of the story to sell, even without his body being down there and all.

"You're gonna have some trouble, Oz" - pointedly smiling and calling him Oz instead of Oswald as he had up to this point, because by that point he's already a crony and already willing to work with this guy handing him all these miracles.

"You wanna be welcome? You gotta look, clean" Yes Father Pal, I Shall Become A Capitalist Caricature

You can see in the walk around, in his look at Bella Real and the mayor's office high up above and the steps, how little Ozzie's gears turn once again and rebuild his life after losing the streets and everything that happened with Ma - This is the next nest, this is the next throne, this is next schmuck I gotta cozy up to, this is the next boss looking down on me that I gotta destroy, there's the reward waiting for me if I do. This is the one that matters, I did everything in the shit and now I'm gonna get me sum goddamn respeck, Feh Ma of course.

And before all of this we see Sofia's next move, showing the ways in which she is good at this, the ways in which she truly is something outside of the worldview of what these gangsters are used to, and why she is going to lose. "Because I can". She is good at commanding a room and promising rewards beyond the wildest dreams of these street crimelords because she can offer everything they want and lose nothing she cares about for it, she will hand them everything and dip because she can, and she is going to lose because she can lose. Because she still thinks there is an end in sight for her, she thinks she will get to walk away from this universe and go meet a happy ending at a cafe in Florence.

It's not just that Sofia was born into privilege and never really lived in Gotham and could just hop onto a plane out of here anytime, it's also that she has room in her life for introspection, self-awareness, consideration towards others, and all those things that come easier when you're "born full", and not when you're the starving hustler for whom leaving the city was never an option even if he had all the money in the world, the hungry animal who wants this, wants everything, harder than anyone has ever wanted anything. The guy who has no room for anything else in his brain other than a perpetual bullshit generator set to a 24/7 chorus of "I GOTTA WIIIIIIN"

Another element to her that I really love is, she's good at this. She knows she's good at this, she was supposed to take over the family. She may not know the ins and outs of the game as it currently stands, but she is good at this. Some of it is, I think that's the only world she knows, and some of it is there's something in there, that's always been there, and she believes it is rightfully hers. There's an element of, "I need to have made it worth it for something", and if that means power, then okay. - Cristin Milioti

There’s a level for both of them that they enjoy each other’s suffering, and that sort of leads to Sofia’s downfall. If she didn’t need to see Oz suffer she might have been free. And she really gets in her own way in that regard and largely because Oz is this crutch that she just cannot let go of. - Lauren LeFranc

And here we get to the end of season 1 of HBO's The Sofia Show, the bittersweet in hindsight but extremely cathartic torching of the set as a last hard-earned spiritual victory by our hard-done-by lady protagonist. All of her family is dead, the city is out for her blood, she gathered all the remaining criminals for One Last Job with everything on the line, and she is having a very fun time with her montage destroying her home and family name beyond recovery. She is going to finish her character arc, get to finally kill her former comedy sidekick turned mortal nemesis, and hop on a plane to The White Lotus resort straight away into greener (if only marginally less fucked up) genre territory away from this ugly nightmare city. Alas, this is not The Sofia Show, and it's time for her theme suite to catch up to her once again and tell us of how very badly this is all going to go for her.

And she can't even be that shocked, when the high of burning it all down goes away, when she sees that old Ozzie Cobb wriggled his way out of this jam regardless and is now coming at her with a speech, she can't even react to it. Deep down she knows how the rest of the night is going to go. She may not have expected Arkham outright, but she was braced for a loathsome fate.

It rules so much they give him a big fat fight the power speech with a bloody revolution montage, and we can only sit there aghast with Sofia at the sheer audacity of him to act like this, like a man of the people, thinking he truly has the right to be talking like this and to her of all people.

And now we see how Oz won the gang war, and the next domino to fall on the downfall of Gotham City, and the first effect of his own rise to power: like The Riddler, he has toppled the order of things and he has turned people into extensions of himself, Victor being the first and the one who gave him this revolution, of all the little mini Penguins out there devouring the social structure of Gotham crime forever. You kill the boss, you become the boss now. Everyone can bleed and everyone can be killed and everyone must be killed in the quest to the top, no handrails or codes, they wouldn't invite him and so he crashed. After he unified the criminal underdogs, Victor rallied the underdogs beneath the underdogs, and now the streets are a jungle where there will never be an end to the wars over who gets to be atop the food chain, because they are all fighting to see who gets to be the next Penguin.

For decades people have written Oswald Cobblepot as a creep and a sleaze and an incel who hurts/kills women for rejecting him, or who is chronically insecure about them and I can very confidently say nobody ever did anything half as horrible and half as truthful and half as meaningful as LeFranc did here. We see the other reason why it was so imperative to her that Oswald not be a misogynist, and it has nothing to do with just making him more likeable or sympathetic or honorable. We get in this episode the pay off to the thoughtline: okay, he's actually a gangster who respects women, he does not act like every other prestige drama gangster who ever lived, we are going to center women in this show and he will treat them with respect - now let's watch how he HORRIBLY screws them over in the name of this respectful gentleman persona he lives by, let's watch how he betrays them in the ways that matter most, how he even makes them wish they were dead without personally ever lifting a finger to harm them, let's do some grown-up feminist commentary in Batman for a change and highlight the ways in which men profit from belittling and oppressing and destroying women even when they're pointedly not misogynistic and even self-professed genuine allies to them.

And so it is that the only Falcone mobster who isn't misogynistic towards Sofia is the one who screws her the most horribly. He will murder every man he comes across, he will murder every man he could have been and every man who is even marginally better than him in any way, he will push all of his brothers out of the nest and not tolerate any other big shot in town bigger than him and not even the only man, the only person, in town who loves him will be spared. But he is a gentleman, so he leaves the women alive (well, except for Nadia Maroni, but she was a rival big shot and worse, his boss for a day or two, so she obviously had to go eventually).

I thought about his greatest fear, and it made a lot of sense to me that his greatest fear would be that love is transactional. That if he does not achieve a level of power and give Francis certain types of things that he’s promised her she might not love him. And that informs every relationship he has on the show It was always important to me, and this was always part of my initial pitch, that if Oz was to achieve a level of power—and that is something that was not up for discussion, that was my job that I was tasked with for the season—that he has to lose something emotionally. It can’t come without a cost. - Lauren LeFranc

"the crooked politics that have allowed wealthy elites like Sofia Falcone to wreak havoc". Oz has weaponized the status quo against her so throughly that she is going away under the exact same image that she did it the first time, as a privileged serial killer and Falcone. She doesn't even get to have her new name anymore, and the rest of Gotham does not see her as the new and strange and horrific new threat that she embodied in Oz's life - she is going away as just another upper-class monster like her dad.

The triumph that Oswald has fought his entire life for, the Big One that he's scraped and fought and hoped his entire life would happen and he'd get to show his Ma at the end, the thing that he's going to throw a party for at this moment, is just a politician on tv saying things that Oswald claims he told him to say.

All of our 3 major supporting characters will thus reach the high point of their lives, on the moment before it is ripped away and they are destroyed forever. Francis gets to finally spit all of her hatred back to Oz and take her revenge on him, and her babies appear before her alive and unharmed. Sofia gets to burn down her father and his legacy once and for all, and is on her way to kill her nemesis and finally be free of it all. Victor succeeds in helping Oz win, they have revolutionized the gangs and defeated the big bad Falcone and he's done right by his new family what he couldn't do with his old one.

And of course, Oswald finally wins - he is the last man standing, he's defeated his greatest enemy, he is the big shot of Gotham and his victory is, so he claims, right there on the tv for his Ma to see, he can finally get what he's always wanted now - and then he doesn't, and then his soul crumbles, before he finishes the job by murdering his heart.

Oz didn’t need to do that, like it wasn’t actually necessary. In that moment, Victor did not betray him. He did nothing wrong. In fact, the thing that he did “wrong” in Oz’s eyes is that he loves him and that he cares about him and Oz actually cares about Victor. I think by the end Oz sees that as a really big problem because he loves his mother so deeply and Sofia took advantage of that love, and then it became sort of a weakness in his eyes. Victor saw him at his most vulnerable and for Oz to achieve the power that he thinks he needs, he can’t have that level of humanity. He can’t have that heart with him anymore. So he stifles his own heart. He kills it. - Lauren LeFranc

When he said to Vic in the sewer, “They'll tell stories about us one day, kid,” he meant it. At that stage, he actually saw that he could rise and Vic could come with him. It's only when the vulnerability and the shock of his mother being taken from him, and the place of vulnerability and danger that puts him in, that he realizes there's no more love, there's no more affection, there's no one else I'm going to have in my life that can lead me to such vulnerability as my mother has led me to or as this kid could potentially lead me to. - Colin Farrell

He's not relishing being horrible. When he realizes, "Oh God, Victor makes me vulnerable. I can't have that shit anymore." The way that Lauren wrote it, and the way Colin played, there's such sadness under the horror. You're like, oh my God, how fucked up do you have to be that the one person who you feel you have any connection with now, you have to snuff out because it makes you weak. What happened to you? - Matt Reeves

"You think she forgives me?" Once again, the mask cracks. Only around Victor. Only because of Victor. And he can't have that again.

And thus we get to the final parallel between our 3 side characters - that in the end, all they did was serve Oz's own rise to power, and hand him the world in exchange for their lives. All they were to him were additional steps in the ladder that began with his brothers. Francis gave him his life, his drive, his motivation and eternal justification, the insatiable pit in his gut driving him to do this forever. Sofia got him his promotion to Falcone lackey, and then she got him another promotion by handing him the tools with which he could become an underground boss and rally them, and then she got him another promotion by handing him the keys to his political career on a silver platter. And Victor saved his life, more than once. He helped him, provided the justification he has craved for a lifetime, rebuilt him, gave him his revolution, gave him the streets, and showed him the last thing he needed to kill to make it to the top.

Wow man let me tell my good friend, The Family Butcherer, who butchers every family he gets his hands on whether a crime family or a literal one, how much I think of him as family.

"They don't give out awards for dying in the projects"

Just like with Squid, Vic's emotional intelligence dooms him. He sees this man whom is like family to him brought to his lowest point, crushed beyond measure, in what he assumes was just a phenomenally terrible stroke of fate and not something he had any blame whatsoever for, and reaches out to pat him in the back, emotionally reassure him that it wasn't all for nothing, that his family would surely be proud of him, and that there's things to look forward to.

Vic threw away his chance to walk away into the sunset with Graciela and he just had to come back to save Oz (AND Sofia, the one who'd bomb his neighborhood) from the Maronis, the least of all possible evils in his life and his city and who never even noticed him. Victor only narrowly missed out in 2 situations that Oz would have absolutely left him to die in, so there just had to be a third where he'd die in the absolute worst way possible. Not with Sofia's gunshot to the head, not bombed to rubble along with his neighborhood, no, Mr. Carmine 2 had to make it as painful and intimate as possible.

Vic the only Number Two in town who couldn't kill his boss and in fact never even considered doing so, and so he dies - there is just no room for him anymore, not in Oz's life, nor in the new Gotham that the two built together.

LEFRANC: "You see Oz become this next level monster, I remember the take too. Jennifer and I look at each other, Colin transforms his face in this really remarkable way, that I don't think any of us fully anticipated could be achieved in that way." - The Penguin Podcast Episode 8

I knew that the general sentiment was that, by the end, they kind of wanted to, in a way, kill the Oz that we met in the film. I felt that there was a sense of creative responsibility that leaned towards, “We cannot have this man as a likable character,” which is hard I think they wanted that in the earth by the end of the eight hours. They wanted that RIP. That's gone. I hated that scene. I really did. I was fucking so pissed off. It felt in performing it as — guess what? — you would like it to feel in viewing it. It felt gross, it felt cruel, it felt absolutely insane, and it felt like Oz was reaching a point of no return. - Colin Farrell

So the day after I watched this episode, my friend Lucas messaged me in the afternoon sending me audio messages, "Son of a bitch! Son of a bitch! He stole his identity, he didn't even die with his fucking name! They'll never find him! Fuck, goddamnit!" "ELE MORREU COMO INDIGENTE, PORRA" and, yeah. Yeah. That gets to the heart of it.

If Vic was just a guy taking his money, if Vic was purely transactional, if he was just another Link, he'd have made it. Oz wouldn't have given a shit about him, Oz would have died on the sidewalk when the Maronis hit at minimum. All this piece of shit wants is love, and when he gets it, when it's finally non-transactional, from the ONLY person in the entire show who loved him, he has to kill it, he doesn't know how to deal with it, he has to smother his heart.

He has to become Carmine Falcone 2, strangling the poor and vulnerable of Gotham while pinning all of his crimes on Sofia.

Vic just wanted his family back, man. He just wanted a family again, to at least show his family that they didn't die for nothing. The thing that Oz spits in his face as he dies. It wasn't for nothin.

This show has so many dozen little variations of Penguin getting his heart broken and retaliating cruelly, but this one hurts the most partially because it has no basis whatsoever on any pre-existing insult or cruelty, there was nothing that warranted this, and you still get why Oz felt that he had to do it. The lowest, weakest moment of his life, and he can never permit anything like it ever again.

Victor was his heart, and The Penguin remembered that his heart only exists to be broken.

Victor punctures the illusion, and he cannot have that. Everything about The Penguin hinges on that singular fact of his life: he cannot and will not break character. He cannot break character, otherwise he dies, otherwise Gotham City will eat him alive, otherwise he has done it all for nothing. That is the ultimate threat Sofia posed to him, and why his ultimate victory comes only from creating a perfect delusion and spinning everything that happened in service of it. Because all those things said at Monroe's? They weren't true - his Ma, y'know, it was just her disease acting up, that psycho did something to her, she wasn't thinkin straight, and it was really Sofia that stabbed him and did all that fucked up shit, and his Ma is really happy that she got the penthouse in the end and that he didn't put her down, look, she's crying tears of joy even, I gotta keep doing everything for her.

Everything and everyone in his life, he can spin in service of the delusion, they can all play dress-up with him forever, except Victor. Victor may not have the slightest clue as to what Oz actually did, but he's seen too much, he knows he has vulnerabilities, he knows the thing that Oz needs to bury far, far more than all the horrible things he's done. Killing Victor is maybe the one thing that he absolutely cannot in the slightest spin a decent delusion out of, that he did it for him or did it for noble reasons or anything other than out of disgusting self-serving weakness.

But who's Victor? Some kid who died in the projects and didn't even have a name? Someone with nobody left to mourn him, not even a street to get back to, nothing but a guy who's already forgot him?

That Victor Aguilar? Never heard of him

“I will never think my mother doesn't love me. She was having a bad day when she stuck that bottle in me. She was under a lot of pressure. She nearly lost her finger. She stuck a bottle in my belly. It was a bad day. She didn't get a good night's sleep the night before.” It's that kind of thing. He'll make up fucking whatever. He's already lying when he goes, and he's stitching up his belly, and Vic says, “What happened?” And he says, “Sofia, she stuck me with a bottle.” He's already beginning to bury the truth. - Colin Farrell

He needed your love, and then you didn't give it to him, and you didn't obey, and you didn't do those things that he needed, and then you mentally aren't there for him in the way that he needs, but he's got to physically keep you around because he's too weak to not do that. He can't give you the gift that he promised you in Episode Six, he's too weak of a man to do that. And so he needs to hold onto you, but under his terms. - Lauren LeFranc

There's a thing that happened on that last day that made my blood run cold, which was I felt Oz not love me anymore. I felt his coldness, and I think that Francis felt it too, and she always had so much of his attention and so much of his love. I don't even think she realized how much she had until he withdrew it. And when he withdrew it, it was utter and… slightly terrified. I was just lying in that bed, I just felt the love leave the room. It's a real thing, and it's gone, yeah, and I think Francis feels it, too. - Deirdre O'Connell

He's this man who is clawing his way to the top, and I knew he wanted power, but what what does that mean for him? That's where I started to conceive of like, he wants his mother's love, and he wants people's affection. He wants to be revered. That was like the main thrust for me of what defines power for Oz, and then by the end you realize that, when he doesn't get those things, he doesn't get his mother's acceptance, he still gets it. He makes sure he gets it. - Lauren LeFranc

So bowled over and miserable I was that I didn't even notice until later that he was wearing a version of the classic Bronze Age/Triumphant get-up.

If the pattern of his life is unjustifiably cruel retribution for slights and insults, perceived or not, by the end Francis had done it to him as well. That she never loved him and in fact always hated him more than anything and anyone else is the biggest insult of all, and so he punishes her the most cruelly, knowingly or not.

"You are who you are, and you couldn't change if you tried."

He will never stop telling Rex Calabrese stories, he will never stop bringing up his brothers and mom as a sympathy ploy, and even if he will never truly love her again, he will never stop ruining the world in her name, he will never stop, he will never stop, he will never stop.

You had to sit through 8 hours chipping away at all of his fun and charm and wacko comedy antics and motivations and all the scruples and principles that he turns out to have less and less of, until he butchers them all in the very end along with the heart of the show. Penguin burning through all of his lovable quirks and charm, everything that we loved about him in the movie, until he comes through as a black-hearted bastard of unlimited malice who will never stop growing and getting worse and putting more lives in danger. Not only as much of a lowlife backstabber as we initially assumed him to be in the movie, but far worse than what we could have imagined.

I said as much that the first episode marks the transition from The Batman to The Penguin with the titlecard, and this brings it back around. The show dies with Victor, we get Sofia's post-credits Nick Fury Tease with Selina's letter and with Selina's theme playing and a final grace note of hope for Sofia, and thus the only character in the show to end with anything resembling positive, and then we get the first scene of The Batman Part 2. showing us the horrible thing in this world that Batman will have to defeat for us.

RIP Bella Real, we all know this asshole is gonna become mayor, and he's not waiting for the next election.

Credit to @book--wyrm for pointing out one more horrible fucking thing, that at the final dance, his hands are covered in scratches, much like the hands of Carmine Falcone when he comforted Sofia.

“One of the very early things that Lauren pitched was that ending with Eve where she looks like Francis,” said Reeves. “He can’t get what he needed from his mother because she’s no longer in that state because of the dark events and what he’s done, so he recreates it in this other way with Eve, and it’s very disturbing,” said Reeves. “That was something we thought was a great idea and was so emblematic of this guy’s internal state. It’s like, even as he now seems to have gotten that first major step toward being the kingpin, you know that some part of him will never be filled. - Matt Reeves

When I read that, I was like, “Oh my god, we're going full Bates Motel here.” But again, it speaks to what has become a pathological inability to accept the world that he has played such a heavy hand in creating. As far as he's concerned, he's just doing what he needs to do to live the life of a good son. And look, his mother can't talk anymore, so he needs a surrogate. I mean, it would be kept out of the sexual realm — it wasn't about that. It was about the intimacy and the tenderness and the pride that Oz always so deeply needed to feel his mother had for him, and pride in him, that he never really got from her. The one time when he finally can say to her, can go to her bedside and say, “It's done. Everything you said that I was capable of, everything you said that I should aspire to, it's done. I am now the boss. I took it from everyone else.” And he gets nothing back. His mother's already gone. That's just too horrific for him, so he needs a surrogate. He would say to Eve, “Look, I'm grieving. I'm finding it hard to deal with the fact that my mother's alive, but she's not here. She's gone, but she's fully present at the same time, physically, but she's nowhere there. She doesn't recognize me. I don't recognize the woman she's become. Do me a favor. We used to dance together and talk at the end of the night. Would you put on her dress and just let me pretend?” But it was twisted. It was twisted, but I dug it. He needs it from his mom so much. And again, his imagination is so potent that he just cast her as that figure, that most prominent and most powerful figurehead in his life, which has always been his mother. She's got to stay alive. He's got to hear that he did well from her. He's got to hear that she's proud. Look, by the end, he's bananas, as they say in the film. Good cop, batshit cop. At the end, he's batshit. - Colin Farrell

Remember when this show had fun Dolly Parton end credits, remember when this almost looked like it was gonna be fun and light-hearted compared to the movie and The Riddler: Year One

So turns out all along they actually had something real twisted planned with the name Karlo, and the Clayface concept that evokes. Asking his prostitute girlfriend to shapeshift into his crying comatose mom in the room upstairs so he can finally get the dance with her atop the world that he craved his entire life and have her tell him how proud she is that he ruined everything forever.

It is not a good ending, but it is his happy ending. He achieved everything he wanted in the smallest possible amount and at the highest cost imaginable, and thus he burns more than ever to take more and more in the name of a satisfaction he will never, ever have. He ended his arch-nemesis, and he didn't have to kill her, that's not what a gentleman does. He got the streets, and he's poised to take political power, and there is nobody left to care about, nobody except the only person who's ever mattered. He can still keep taking care of Ma as a justification for all the shit he will do now and forever, but he doesn't actually have to take care of her anymore, he doesn't even have to love her or grovel her for validation anymore: He has a Ma who will tell him everything he wants to hear, forever.

Of course, he may not have his three dance partners anymore - his Ma is in a vegetative state, Sofia has been locked away once again, and that kid, what was his name again, ain't around. But then, he will simply move on to new ones: He didn't actually lose his first dance partner, his Ma is fine, look at her telling him how proud she is of him and everything he's done and how unstoppable he is now. And he has a new partner in City Hall who is all too eager to play along to everything he says and does, who will receive and spit back his rhetoric just as Vic did to the streets of Gotham. And if he's defeated his nemesis and dance partner, well, not for long. There's a new one waiting for him. He never wins without losing. He will never again live without his next dance partner there to hound and foil him at every turn. There will always be something in the way.

It was exciting to me, the idea that we’re going to meet Oz as a mobster, and to play him as just a man. There’s nothing fantastical about him. There’s so many people like Oz in our world who hold a lot of power, who also connect with people because they speak, on some level, the truth. They can be charming and engaging, but also really terrifying and calculated, and not necessarily doing what they say that they will do or caring for people in the way that they say that they will. It felt so timely and so important to really engage with a guy like Oz and not turn away from him, but actually turn towards him so we can start to unpack, in our own society, what makes a man like Oz so appealing, and what makes him equally appalling. - Lauren LeFranc

I think Oz has always been someone who believes that everything he’s saying in the moment is true, and he creates worlds and illusions for himself to merit his actions. He does it sometimes very briefly in impulsive moments, and then sometimes more methodically, and in the end the fact that he didn’t get from his mother what he’s always desired isn’t good enough for him. So he has to create this strange fantasy live in this delusion of his own making, and pay Eve to dress as his mother and force her to tell him he she’s proud of him. So mentally, emotionally, Oz is embracing his own delusion. I think, for the audience, I hope they more deeply understand him psychologically and realize that there is a deeply broken man inside. He is violent and problematic and and very emotional. And that’s really the man that will carry into the next film. - Lauren LeFranc

And it has to end in a total reversal of the movie ending - The Batman ends with showing there is a light in the darkness, that this tortured broken man can fix his mistakes and lead us into something better. The Penguin ends by grabbing your face and desperately yelling at you SOMEBODY FUCKING SAVE US, HE WILL ONLY GET WORSE. The Batman ends with telling us Batman can save us all, and The Penguin ends with telling us Penguin will kill every last one of us in real life if he hasn't already, if nobody stops him.

And so I'll leave these last partings words to the Penguin Braintrust as we close off this series - see you all in therapy and in theaters when The Batman: Part 2 drives us all completely insane once more.

@wil4x

I don't think this Penguin is someone Batman can tolerate, I don't think Bruce can ever save Gotham's soul with a force of corruption as big as Penguin taking root in the seats of power. No amount of informant work can justify letting a monster like Penguin stay "King of Gotham". I think there's an argument to be made that Oz is a bigger threat to Batman's overall long-term mission than guys like Joker or Riddler. Those are huge immediate threats, but Penguin does a lot more long-term damage to the very soul of Gotham and its people. As long as The Penguin is on top, there's no hope, Gotham will never not be the most corrupt and nightmarish place on earth with him in charge

@book--wyrm

He will truly climb anything no loss so great it can't be flipped into an asseet A nuke Francis armed out of pain and grief and desperation and despair And poor vic Only wanting to do good And instead he saves gotham’s own typhoid mary of misery

@davidmann95

so the thing is Oz kills hope for Gotham forever in this

he's replacing the mayor who stands for hope at the end of The Batman with a corrupt comics rando built on a lie so he can install himself as the power behind the power forever Batman can't be alluded to in the slightest until the very end because it can't be until there's no lingering 'aw, I don't want my boy to get Batman'ed' it can't be until we understand truly and completely why this man proves the necessity of someone out there to stop him

The other stabs at this with Oswald, from what I’ve seen, are trying to make him low-down and dirty and vile enough to be a ‘proper’ Batman villain. But this already made him low-down and dirty and vile. And made us love him for it. This isn’t about ‘fixing him’, this is about taking him all the way to the top He’d accept no less

This is about making him operatically nightmarish enough to be a guy Batman is going to fight forever

Lucas

VENGEANCE, GET OUT RIGHT FUCKING NOW.

#dc comics #the penguin #the penguin hbo #hbo max #max #oswald cobb #oswald cobblepot #sofia falcone #sofia gigante #victor aguilar #francis cobb #colin farrell #cristin milioti #rhenzy feliz #deirdre o'connell #matt reeves #lauren lefranc

91 notes · View notes