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orionsangel86 · 4 years

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Sam & Eileen - A Supernatural Romance.

I am quite clearly over the moon about 15x06 and Sam reunited with and bringing Eileen back from the dead. I was so over the moon in fact, that I burst into tears when Eileen stepped out of the bathtub and took Sam’s hand. That was… wow.

That was the most romantic moment in this show since 13x05 “it’s never too late” (also a return from the dead!)

So I was inspired to write an homage meta post celebrating Sam and Eileen’s romance looking back at everything canon has given us on this epic pairing.

It turns out, despite all my usual grumbling, there is still one het ship out there that I can totally get behind, and no one deserves love more than our dear Sam Winchester.

11x04 - Baby

This is where I believe the story started for Sam.

“You don’t ever want something more?”

(x)

“You know, with a hunter? Somebody who understands the life?”

This question, from Sam to his brother at the start of Season 11, has shaped so much of the subtext in the seasons following. It’s significance to the Winchesters individual development arcs, their hopes, their dreams. It blatantly spelled out for the audience what both these boys desire and what they deserve for each of their endgames.

Not a white picket fence, not the apple pie life, just something. Something that suits them. Something to share with someone else, romantically, who might fit that particular box. Let me be very clear here and stress that Sam certainly wasn’t talking about him and Dean finding that something with each other.

Dean’s journey towards finding that something has been building for even longer than this particular moment in canon, with the other stand out scene being his confession in 10x16 where he talked about having things, people, feelings, that I want to experience differently than before, or maybe even for the first time. Dean’s journey is something we have discussed at length, and as every meta writer in fandom knows all too well, it only leads in one particular direction - towards a certain dreamy blue eyed angel.

Sam’s journey has not been discussed as intensely as Dean’s, but 11x04 did lay groundwork for the writers to build upon. It hasn’t been as smooth or as obvious in the subtext as Dean’s either, with certain writing decisions appearing to come out of left field and confuse the path. But it seems that Dabb has course corrected and brought us back on track.

This episode was the first time in canon in a long time that we heard Sam textually voice his desire for a romantic relationship of some kind. I therefore immediately got excited and locked this moment away in a pocket in my heart to pull out again if ever the show would introduce a character who could fit those requirements for Sam.

The show did not disappoint.

11x11 Into the Mystic

GOD I forgot how full of delicious layers this episode was! It was written by the same writer who wrote 11x04. Robbie Thompson clearly had something in mind for Sam when he first wrote that script, and he gave it to us (and Sam) in this episode.

Eileen is introduced in 11x11 as another Hunter on a quest for vengeance - to avenge her murdered family.

It isn’t a surprise that we basically immediately shipped Eileen with Sam after this episode first aired, because her entire backstory is written to compliment Sam. Within the first 5 minutes of getting to know her, she already fulfills the requirements from Sam’s wistful speech in 11x04. She is a hunter, she is someone who understands the life. But more than that, she is all of the following:

She is on a revenge quest

She has murdered parents

She was raised by a Hunter or rather “trained” to be a Hunter rather than raised (in a scene which implies a similarly strict hunter upbringing to Sam and Dean)

She continued hunting alone after her guardian died

Her grandfather was a Man of Letters, making her a MOL Legacy, just like Sam.

Her mother was a lawyer, so she makes a joke about studying law which prompts further bonding with Sam due to his Stanford law education.

Eileen catches Sam’s eye almost immediately, and it is surprising I didn’t pick up on that on my first watch at the time, but Eileen is literally disguised as the cleaner in order to go unnoticed. Sam had no reason to be suspicious of her, and I think at the time we all assumed that he just wanted to question a potential witness - but even so, there was no need to interrupt Mildred to go speak to her. Could Sam’s distraction have been a bit more than strictly professional? In hindsight I’m gonna go with YES.

Their next meet is cute simply because by this point the audience is misled to think that she is actually the banshee. The ominous music tones, the shots of Eileen watching the Winchesters from a window. We believe that she is the villain, and then when she uses magic to pin Sam and comes at him with a dagger it’s practically a romantic trope used in enemies to lovers fics. A case of mistaken identity (another trope) and Sam and Eileen are able to reveal each of their truths. They bond immediately with both Sam and the audience learning all of the above. the checklist requirements indicating their compatibility is so blatantly obvious its almost too on the nose. But then het romance always seems that way doesn’t it?

The real kicker in this episode that made my heart sing at the time was this:

“Feel free to drop me a line if you ever need anything. Or even if you just wanna hang out”

“you can’t call me though, I mean you could call but I won’t answer.”

(x)

FIRST OF ALL - HOW DARE YOU KILL ME WITH FEELS SAMMY OVER THAT GORGEOUS SMILE

Sam’s line here though was SUCH A LINE. “Or even if you just wanna hang out”

I see you Sam Winchester. Hoping for Netflix and Chill right? I know you have Netflix. You gave Cas your password. :P

This little interaction at the end of this episode was pure flirtation and it was gorgeous to watch (and to rewatch, with hindsight, knowing what happens in 15x06 to totally deepen their relationship. Urgh. I guess I really am a sucker for a good old fashioned Supernatural Love Story!)

The other big takeaway from this episode is that meeting Eileen rejuvenated Sam. He starts the episode unable to sleep, haunted by his Lucifer trauma and feeling so down and broody that Dean steps in constantly to ask if he’s okay and try to engage in talking about feelings (always a bad sign for a Winchester to get to the point where they feel they need to ask the other to talk about feelings!)

But the end of the episode marks a significant change in Sam. He smiles, he opens up to Dean, he textually states that the case helped him. He opens up a keepsake box (that we never knew he had before this episode) and puts the retirement homes leaflet in there - an indication that he actually has hope that he might live to see a happy retirement (a wonderful sign for someone who just 40 minutes ago was acting like a total nihilist.)

The case alone wasn’t some spectacular revelation, so what else could have possibly caused Sam’s change of heart? The answer is obvious. Eileen did. She acted like a beacon of light this episode for Sam, and in a perfect bookend to how the episode opened, Sam curls up in bed, turns off his light, and is able to sleep. It is only Dean who spends the night restless and haunted.

This was the first time that Eileen acted as a “win” for Sam just by meeting him.

Unfortunately, we don’t meet Eileen again until a whole season later in

12x17 - The British Invasion

This episode is a far cry away from 11x11′s layered genius. Messy, overly plot heavy, too many various character stories causing mental whiplash, too much focus on unnecessary side characters, LUCIFER existing in general, an unnecessary sex scene between Mary and Ketch (eww), a bloody death scene, and moments of utter stupidity from the lead characters.

In other words it’s a CLASSIC BUCKLEMING.

Do yourselves a favour and if you ARE planning on re-watching this episode, just skip to the parts with Dean, Sam and Eileen (the Dagon and Kelly stuff is relatively good as well - the rest is utter garbage).

Anyway, pushing aside my hatred for the terrible duo for a moment, I will say that as per usual, what they lack in subtlety and intelligent subtextual layering, they make up for with a sledge hammer to the face in terms of trying to get a point across. So when it comes to Saileen in this episode, well, it might as well be canon already.

Practically every time Sam and Eileen interact in this episode, they are framed as a flirtatious couple in the early tentative stages. The smiles and playful flirting, the smirks when one does something to make the other proud. It is very clear, even if it is still technically subtextual, that both Jared and Shoshannah are playing this like these characters are attracted to one another, and are building on that relationship.

Hell, even Dean teases Sam twice about Eileen in this episode (though once was in a deleted scene that they should have kept instead of the Lucifer crap):

(x)

What we also find out from this opening scene, is that Sam and Eileen have been communicating off screen since 11x11. It is textually confirmed that the two of them have been developing their relationship previously, and we just haven’t seen it. Did Eileen visit the Bunker previously? Because she certainly seemed comfortable there this episode. Have her and Sam cuddled up to watch movies previously? (We know another pairing that textually do this even though we’ve never seen it on screen - Dean and Cas). Dean feels comfortable enough to tease his little brother in that playful typical sibling way, so clearly Eileen at this point has become a more frequent character in Sam’s life. It’s just a shame we as the audience have never seen anything of it until this episode.

This episode might be the first time we have seen her again since her introduction, but it certainly isn’t the first time Sam has seen her since. This is canon.

The rest of this episode continues this theme of displaying with zero subtlety that Sam and Eileen have something more than friendship. One of the easiest ways to truly see the effect of this is just watching Sam in scenes with her compared to Sam at any other time. Like in 11x11, Eileen manages to light Sam up and have him grinning like a puppydog. It’s kind of adorable and also quite shocking when you realise how rare it is to see Sam smile (or any of the characters in this angstfest of a TV show for that matter.)

Just look at the above cheesy smile in the car scene. Look at Sam’s bashful face here when Dean teases him in front of his girl:

(x)

Look at this smug face when Eileen snaps back at the irritating guy:

(x)

Jared hits every mark playing a loved up Sam Winchester.

By the end of this episode, a tragedy strikes and Eileen is scared off. Their relationship here ends on a comforting hug, because meaningful relationships in this show are almost always first signified with comforting hugs following traumatic events, and tentative hand holding.

The way he strokes her hair gently is just SO touching and intimate.

(x)

When all is said and done Eileen leaves, terrified of the British Men of Letters. When Dean asks Sam where she was, he tells him she went back to Ireland, and Sam looks so dejected at that thought. I don’t see how anyone can possibly read his reactions towards Eileen as anything other than romantic affection.

As a bonus point - I will mention that due to Bucklemings sledgehammer approach, it is quite clear that Eileen plays a Cas mirror in this episode. All of her scenes with Sam are paired off against Dean who spends this entire episode trying and failing to get hold of Castiel. In the Winchester’s final scene, Sam greets Dean in the morning and immediately asks his brother about Cas. Sam does this a lot in season 12, because Dean’s concern for Cas is present throughout every episode in which he is absent. Dean admits he is worried, but changes the subject, instead asking Sam about Eileen (note that it is the next morning so Dean assumed she had stayed the night).

Both brothers revert to the other when it comes to their respective partners. Sam leaves it up to Dean to contact and worry about Cas, and Dean does the same with Sam about Eileen. By this being a common pattern throughout pretty much all of Carver/Dabb eras, both brothers subtextually acknowledge that they each have a strong emotional connection with their respective potential romantic partners and therefore any contact or communication about each partner must come from the brother closest.

12x21 - There’s Something About Mary

Another Buckleming episode and the less said about this one the better. I won’t even mention the extremely insulting and inappropriate way to kill off a disabled character (almost as bad as killing off a lesbian by having nazis butcher her) I also won’t comment on the letter that Eileen sent Sam which whilst it did have romantic undertones, was clearly written by a 12 year old girl and did not marry with Eileen’s character at all (Eugenie showing her misogyny again).

The one good thing that came out of this episode (the only good thing) was Jared’s understated grief over Eileen’s death.

(x)

His performance dealing with her death in this episode was beautiful. It was understated, but clearly portrayed as heartbreaking. Unfortunately Sam had to push it down and bottle it up.

Eileen’s death was a huge shocker to us all as it didn’t make any sense at that point to cut short a story that seemed so clearly to be on a specific trajectory. We often talk about how Eileen’s romance with Sam at the time was tied to Dean and Cas, and that their relationship paralleled Dean and Cas’s in the narrative. This is all true, especially the death of Eileen coming as foreshadowing for the death of Castiel at series end. Just looking at that above gif of Sam where he looks at her corpse bears an extreme resemblance to Dean pulling back the sheet and looking down at a dead Castiel in 13x01.

However much I squee and love that these relationships are clear mirrors of each other though, I need to stress how Saileen, how Sam and Eileen’s canon relationship, is so much more than that. They may have mirrored Destiel, but they are also totally different, on a different course, and with a totally different backstory. Eileen doesn’t exist just to give Sam his own version of Cas to run off with. She is not there just to push up a separate ship. Sam and Eileen’s romance stands alone in this story. It may mirror DeanCas at times, but its purpose is not for DeanCas. It’s purpose is for Sam and Eileen.

Right from the start she ticked all of Sam’s boxes, and the clear attraction between them made it obvious. Yet Eileen was not written to just be a love interest either. She is an ally, a capable hunter, who is written deeply, with her own trauma’s and tragic past. Yet she keeps fighting, all whilst owning her disability and making it work for her rather than hold her back. She is hardly a Lisa, or an Amelia, both of whom had zero depth of character and were more or less written to look pretty and concerned as the Winchester boys basically treated them terribly. Eileen stands out as an individual character far beyond her relationship with Sam. She was full of potential which is why her quick death was an absolute travesty.

Eileen should not have been killed off. I believe even the writers are well aware of that, and this is why they brought her back.

Which brings me to:

15x06 - Golden Time

We knew long before this episode aired that Eileen would be back as Dabb revealed her return at SDCC. He made comments at the time ensuring that any characters he brought back would not be fanservice, that they would be characters chosen because the writers felt their stories ended too quickly, and that they had more stories to tell. Something I believe that DabbBerens are doing in particular in this season is righting the wrongs of the past. Eileen’s death was a clear “wrong” and I think its highly likely that DabbBerens’ were aware of this and saw Eileen as a no-brainer to bring back. As I said at the start of this post, Dabb is course correcting, getting his endgame plans back on track, and ensuring that he hits certain markers in order to do that.

Once again, we are at a place in the story where Sam is grieving, and suffering deeply from all of the loss and trauma that he has faced. Being God’s personal puppet, losing his mother, losing his son, and losing someone he was close to in Rowena by his own hand, has left him in a dark place. Sam’s arc in early season 15 plays out very similarly to Dean’s arc in early season 13. A Winchester in desperate need of a win.

Eileen was Sam’s win in this episode.

Given the time that has passed since Eileen’s last episode, and how the narrative has progressed since then, I was worried that Eileen’s return would seem like fan service, and would therefore fall flat (I felt this way with AU!Charlie and never warmed to the character because of it). I was also worried that whatever potential relationship might have been building between her and Sam in seasons 11 and 12 might not have shone through in this episode. But thankfully the writers played it pretty damn perfectly and Eileen’s return wasn’t just a small side plot to an otherwise jam packed episode (like Kevin’s return in 15x02). No, her story was the A plot as Sam devoted himself to finding a way to save her from a terrible fate.

My concerns about their potential romantic relationship not being played as it was in 12x17 were also completely unfounded. From the moment Sam saw Eileen’s ghost whilst on a jog the romance was immediately back and I have no doubt that Jared and Shoshannah are once again fully playing up the connection and romantic attraction between the two.

I am so convinced of the romance being put across here, and I want you to see why I adore this so much (in case you don’t already see it). So here are my biggest and most important takeaways from Eileen and Sam’s scenes in this episode and WHY I feel these stand out as significant elements towards proving the writers intentions for this to be an endgame canon relationship:

1. Aside from the obvious similarities between Sam and Eileen that were written into 11x11 in order to ensure that Eileen was able to stand as Sam’s equal, the one other thing that we have long discussed that Sam needs in a partner is someone who at least somewhat understands the trauma and pain that he has experienced in his life. Sam has predominantly bonded with people via shared trauma. Before her death, Eileen had had her fair share of traumatic experiences growing up in the tough hunter lifestyle, but spending an eternity being tortured in Hell is a different level of trauma entirely.

This episode cleverly once again elevated Eileen to the same level as Sam. They are equals now, both through good and bad experiences. Eileen was dragged to Hell, and only escaped when Chuck released the souls. Given that 1 year on Earth is 100 years in Hell, this means that Eileen was in Hell for 250 years give or take. Her trauma, her pain over this, is something that she can’t talk about just yet, but this significant connection between her and Sam was textualised clearly:

SAM: “I’ve been there too. Hell… long time ago. You try and forget but it gets inside you. Talking helps.”

EILEEN: “I can’t. not yet.”

SAM: “I understand”

And he really does. It is something that we can argue is a shared suffering that can create a (forgive me for this) profound bond between two people. The only other people who can understand just what he has been through were Dean (via years of Hell torture), Cas (via shared Lucifer possession), and Rowena (via shared Lucifer torture). Eileen now makes that very small list.

2. The other big factor that this episode made clear to point out textually was that this is not a Chuck manipulation. This really is Eileen, and her return from death is not part of Chuck’s story:

SAM: “Rowena got it, she didn’t know the details but she knew the game was rigged so this. Magic. This is how she kept control.”

The reason I do not believe that Eileen is part of Chuck’s manipulations is this very pointed line right here about Rowena. Along with many other things in this episode that indicate that it isn’t guided by Chuck, Sam specifically clarifies that Rowena used magic to maintain control over her own universe.

Whilst I fully believe that Rowena will be coming back as Queen of Hell (because whatever happens to Heaven and Hell at the end, they will need balance, and someone to play caretaker and Rowena has just been set up for this role far too perfectly for me not to at least consider the option), this episode so beautifully respects and honours her character, to the point that Rowena, even in her absence, is able to control and play architect to all that happens. Rowena effectively is given Chuck’s role over this particular narrative, but instead of being framed as something villainous, it is portrayed as a precious gift that she has given to her protege Sam.

Rowena rigged the system for herself, as Sam textually explains. Her use of magic, was her way of escaping Chuck’s control, and it is through Rowena that Sam is also given this power. The power to bring back someone he loves - who was most likely taken from him by Chuck’s own dark and poorly written story (yes I do believe that Meredith was throwing shade at Buckleming in the deep subtext - pretty much all the other writers do this all the time if you pay close enough attention :P)

Rowena’s journey from villain, to reluctant ally, to friend and then finally to family, is one of the most beautiful and epic journey’s on the show (rivalled only by Castiel in my opinion). She remains one of my all time favourite characters, and her tribute in this episode, that even after death she could bestow such a precious gift to Sam, is one that I think will remain one of the more touching stories this show has given us. This is yet another reason why I believe that Sam and Eileen are endgame. Because it is a gift from Rowena, and I believe it is a gift that will be honoured by the writers.

3. It’s a small moment, but it is IMPORTANT. Sam confirms that he was teaching himself ASL after he met Eileen. In a moment of adorable flirtation Eileen beams at him and a bashful Sam smiles and bounces on the spot like a giddy schoolboy. This is yet another reveal of moments in the lives of the Winchesters that we just don’t see in 40 minute episodes. That it is canon that Sam spent hours of his life teaching himself ASL so he could more effectively communicate with Eileen is so precious. There is no way to argue how much she meant to him.

But it isn’t just evidence of Sam’s affections, it proves to be a useful tool to the hunt in this episode as well. When Sam is unable to speak due to the witches curse, he is instead able to sign “My brother” to Eileen so that she knows to go and get Dean. It is Sam’s knowledge of sign language, which he learned due to his affection and interest in Eileen, that saves his life in this episode.

One point that I HAVE to mention here is how the writers gave so much thought to their depiction of Eileen as a deaf person, and how wonderful her return is as representation for deaf and hard of hearing people everywhere. In both this episode, and also in her first episode 11x11, her disability was not treated as a set back, but as a tool that enables her to get ahead. The only time the writing displayed an insulting and frankly ableist light was Bucklemings 12x21 which isn’t really surprising. We expect such things from Buckleming. The other writers have proven how much more compassionate and caring they are.

The idea that Sam Winchester could end up falling in love with a beautiful, deaf woman in Eileen is practically unheard of in TV media. When do the protagonists ever end up with anyone less than “TV perfect”? It is groundbreaking that Supernatural in it’s 15 seasons has grown so much and come so far. That it started with the fridging of two women, that it’s cast remained predominantly white men throughout its entire run, that it was blackened by excessive misogyny in its early days, as well as ableism via the treatment of Bobby Singer’s paralysis in season 5.

Supernatural has faced heavy criticism throughout it’s run, but it seems like the writers have listened and are learning. By allowing Sam and Eileen to have a happy endgame, they are doing a wonderful service in truly putting this show on the map for progression and representation - They just need to make sure that they follow through on that other big important thing too…

4. Rebirth and new beginnings. I am reminded of 13x05 and the brilliant Steppenwolf song “It’s Never Too Late To Start Again” as I rewatch the bathroom scene for the hundredth time. If the rest of the episode hasn’t already had you crying out how desperately these two should be together I fully believe it was Meredith’s plan (along with the entire production crew and Shoshannah and Jared), to have us all bawling our eyes out in happy tears that Sam and Eileen get to be together now!! (well, I certainly cried. A lot. and ruined my mascara. and squeaked at such a high pitch only dogs could hear me. The only other time I have had that reaction was in 13x05… oh, and 12x19. It’s RARE okay!)

I think the most significant point here is the touching of hands, which calls back to an earlier painful moment in the episode when ghost Eileen reached out to try to comfort Sam as he despaired about being a cosmic joke, and found she wasn’t even able to touch him.

It is a romantic trope that was most famously used in the film Ghost, where touch was a big part of the on screen relationship. Supernatural displays this same trope rather perfectly here when the big win of the episode takes place, and Eileen emerges from the bathtub alive and whole, and tentatively reaches out to take Sam’s hand again with vastly different results.

(x)

Sam is so hesitant to touch her back, so fearful that this isn’t real, that he isn’t being allowed this. The overwhelming sense of relief and warmth that radiates from him when he finally does take her hand was exactly what made me burst into tears. The moment is so extremely breathtaking, so intimate and touching that your heart just aches for them to have that happy ending. It’s rare that Supernatural gives us moments like this, but when it does give them, when it allows its characters a win, they are immediately memorable and stand out as bright spots in an otherwise dark show. It’s moments like this that make watching these characters suffer so much worth it in the end.

The hug that comes after the touching of hands is just as intimate. This is portrayed as a lifeline. Something for Sam to grasp onto and breath. Something that inspires him to change his outlook, to gather his determination, and to convince his brother to join him and fight for the happy ending that both of these boys so desperately deserve.

(x)

The entire bathroom scene was a testament to how well Supernatural can work romance into its narrative. How these talented creators can easily provide us with a romantic scene to tug on our heart strings. Anyone screaming that romance doesn’t belong in this show I will now point at this scene and tell them exactly how wrong they are. This scene is EXACTLY what this show needed.

For anyone denying the romance here (yeah funny how the bronly’s are so anti Saileen - I wonder why...) I’ll spell it out for them:

This is how you set up a romantic scene in TV Production:

1. Candlelight. Check.

2. Soft focus (dates back to the 1930s when films would use soft focus to portray the dreamy emotional uplift of happy couples in love - see Meet Me In Saint Louis for a very clear example). It is almost always considered a filming technique to portray romance. Check.

3. Chivalry. As if any of us didn’t expect Sam to be a perfect gentleman! But the fact is that the way he turns his back and waits with bated breath to see if the spell had worked is shown as anything other than platonic. He is almost shy, knowing that if and when she emerges from the water she will be naked, but he turns to preserve her dignity. Check.

4. Leading on from that, this is literally a naked woman emerging from a bathtub whilst Sam awkwardly stands in the room. It could have been highly sexualised. They could have used that god awful 70s porno music they like so much in this show. Sam could have made a joke to dispel the tension. If this was a platonic friendship, any of these things would have given it away. The fact that none of this happened, that the scene remained tense and intimate but not overly sexualised only further validates the romantic reading. I mean LOOK AT THIS:

CHECK

5. The music. Music is such an important part in any story. It always plays a vital role in signifying the correct atmosphere, and the correct tone of a scene. We talk about music a lot in relation to Dean and Cas and the sweeping melodic notes that usually compliment any heightened emotional DeanCas scene. The music during THIS scene though? Well it was beautifully romantic in every way. If in doubt, just go back and listen to it with your eyes closed. Play this music track over another random scene of two people sharing a moment, and it will make the scene read as romantic. I guarantee it.

CHECK AND MATE.

Overall, this episode was the most romantic and most intimate Sam and Eileen have ever got yet in canon. It is a clear indication that their relationship is heading in a positive direction. I couldn’t be happier with how the writers are portraying this and am jumping for joy at the thought that Sam might actually get what he desired all those years ago during 11x04 when he tried to bring up the topic to Dean in the Impala.

We know from promo photos, that Eileen is still staying with Sam in 15x07. That she comforts him. With images like this to go on:

I’d say with some confidence that we will get to further watch their relationship grow, and I couldn’t be more excited for it.

I fully expect there to be darker moments coming up, and potentially Eileen will be sent away for a period of time (my money is on Chuck “dusting” her the way he did with Becky in 15x04 because I don’t believe that kills people and I do believe that they can be brought back from wherever he sends them too - plus “dusting” makes me think of Avengers Endgame which I find amusing because the “dusted” all returned at the end. I wouldn’t be surprised if Supernatural played around with that as it so often likes to play with pop culture references). I think that post Mid Season Finale we will be back to a period of utter loss and despair for the Winchester boys, and that therefore those who they feel strongly for (aka Cas and Eileen) will have to be separated from them.

However, the point is that it is always darkest before the dawn. In this story, 15x06 has laid the groundwork for Eileen to be Sam’s romantic endgame. It’s now up to Sam, and Eileen, to make sure they fight to get what they both so desire.

Bring on the finale show.

(If you liked this meta run through of Sam and Eileen’s building relationship, please leave a comment for me. It took forever to complete! Also, please click the links under the gifs and go give the gifmakers some love! The gifsets I have used are all wonderful and deserve your reblogs. (Gifs that don’t have links are my own)).

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andysmetahell · 4 years

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One for All and All for One: The study in complimentary and infinite (wasted) potentials

One for All and All for One: two Quirks whose history we can, in the universe of Boku no Hero Academia, treat almost as the history of society. Their users had left enormous impact on everyone in the series, and through hints we can see their influence stretching long, long back to the first appearance of the Quirks.

Neither Quirk can be considered ‘normal’, though: the ability to take away Quirks at whim and an ability to share Quirks with others (which would inevitably leave you Quirkless) are both complete anathemas to the society that by and large is half-in love with the idea of simply having a Quirk (which deserves a whole breakdown in on itself, but that’s not what I’ll be writing about here!). And yet, One For All users are all heroes, and All for One users are all villains as far as we know (written after the release of manga chapter 280).

How is that even possible? With how objectively similar they are, why aren’t they both heroes, or both villains?

Well, before we take a crack at how Horikoshi coded the Hero society that made this happen, let’s first take a look at just why I’m so surprised the two Quirks aren’t on the same ‘side’. Also, obligatory ‘spoilers ahead’ warning for everyone who’re anime-only watchers, or haven’t gotten past Meta Liberation Army arc in manga.

Purely from the activation/mechanics point of view, All for One and One for All are warped mirror images of each other. All for One functions on the assumption that a) the user knows the other person has a Quirk and b) the Quirk doesn’t have an inherent clause that disallows itself to be taken by force when it comes to taking it. One for All is the only Quirk so far that has shown the resistance to the b), as it is encoded in the very nature of the ‘share-along’ Quirk that forms the true base of One for All that it can only be given away willingly.

Why is this so important? Because All for One doesn’t only take Quirks, it’s also capable of releasing them and giving them to others, whether the recipient is willing or unwilling. In this regard, One for All is startlingly identical: it can be forced upon someone else, as long as the DNA is exchanged and the previous user is willing to give it away. This little fact is often overlooked (likely deliberately) by the existing canon in favor of emphasizing the ‘cannot be taken forcefully away’ which makes sense plot-wise, but not ethics and logic-wise.

But who knows, maybe Horikoshi is holding back on us, and One for All ends up being the ultimate villain of the story.

… yeah, not likely. But the idea is interesting, isn’t it?

Moving onto the way they interact with their users and other Quirks, One for All and All for One are again very, very different, but with a shared approximate visualization of usage behind it. The closest approximation of how they interact with other Quirks would be, in my opinion, be gravity – but two very different applications of gravity.

There are two relevant things you need to know about gravity: it is defined by the masses of an object interacting with another object, and every single object in the universe has its own gravity field. (thank you, Physics nationals I went to once, for forcing me to learn more about gravity!)

All for One is more akin to a star within a stable planetary system: it holds planets, satellites and comets (other Quirks) locked in its orbit, but any change can make all those objects lose their orbits and go wander in the deep space. Its hold is strong, but the fact still remains it can be nullified in order to give away Quirks. It’s also stable – its attraction/hold power doesn’t change with the number of Quirks taken, it simply gives it a bigger array of powers to work with.

One for All on the other hand would be closer to black hole: its gravity is so enormous even light, the fastest object in the universe, cannot escape it, and its mass (and therefore its gravity) grows stronger with every object it swallows. Once it grabs a hold of anything (its user’s other Quirk) it merges it with itself and keeps it for forever, with very little chance of it ever surfacing again as individual Quirk (unless your name is Midoriya Izuku). However, it heavily relies on the energy (other Quirks it merges with) to provide power-ups; hence the ridiculous difference between Izuku’s and Toshinori’s One for All. (also protagonst shenanigans, but we’re not going that far into metatextuality here – that needs its own essay)

So, concept-wise, One for All and All for One are again identical in the idea behind it, but drastically different in application – both still fucking scary, but what can we do here, our main protagonist and antagonist need to have OP armor around themselves.

This leads us to the probably the biggest spoiler I’ll discuss in this essay:

this panel.

In chapter 270 of manga, Shigaraki Tomura is revealed to have been passed All for One, which is a whole mindfuck in on itself that Horikoshi needs to explain stat because I’m going crazy over here with theories (!!!), but moving on. The short and extremely brief summary of what happens afterwards is: Heroes discover where Tomura is while he’s still being transferred All for One, they wreck the Nomus and facility, Shigaraki gets partial All for One and his original Quirk Decay goes absolutely nuts again, Izuku runs off to face him, and at one point point, while using Ragdoll’s Search, Shigakari utters a very strange sentence while seemingly under the influence of All for One (the Quirk):

“You will be mine… little brother.”

Moments later, Shigaraki snaps out of it and comments about Sensei (All for One) no longer being his puppeteer, that he’s making his own choices and not Sensei’s.

Here we get a stunning punch in the plexus about what we already have been hinted at during Izuku’s fight with Shinsou Hitoshi, during Kamino Ward and Joint Training Arcs:

One for All and All for One both retain the echoes of their past owners.

Now, here comes a million dollar question: is this something both the baseline ‘share’ part of One for All and All for One possess (which would further link the two Quirks, and also explain a lot of characterizations in the series so far), or is it an imprint of All for One on ‘stockpile’ part of One for All that ‘share’ part absorbed and made its own? Both possibilities are extremely intriguing and make any future possibility of unification (which was apparently Sensei’s original goal before, judging by that one panel) extremely volatile, and very intriguing if Horikoshi pursues that idea to its end.

Speaking of the man himself, now we arrive at the question that really started the whole essay here: how come it was All for One chosen to be the ultimate evil, and One for All to be ultimate good? As we’ve seen so far, both Quirks are startlingly similar; theoretically, could All for One be a ‘heroic’ Quirk and One for One for All ‘villainous’?

The answer is yes and no.

Yes, because theoretically, switching the two would still make the story work; it’d change the motivations of characters drastically, sure, and turn the story of generations of good trying defeat one evil into one good fending off generations of evil, but it’d work – and no, because that’d fundamentally change the society in which Boku no Hero Academia’s current time frame is, and society is the key underlying factor in this entire story.

Let me explain through the examples of three characters and a faction.

Midoriya Izuku is Quirkless person in a society who is, like I said at the beginning, half-in love with the idea of having Quirks – the fact that you have them makes you seem useful, someone with potential, no matter how objectively useless some Quirks inevitably can be in certain lines of work. By their standards, he’s without potential, and therefore is largely useless out of gate. Had All for One been in public eye and celebrated as Hero, he’d be the pinnacle of useful: there’d be no danger of bad reactions to donated Quirks in his DNA, and he, someone who wishes desperately for a Quirk, could easily be given a Quirk of someone who finds their life unbearable due to it.

Bakugou Katsuki, someone with extremely property-damaging Quirk, would constantly be told that if he doesn’t behave himself, he’d be sent off to All for One to have his Quirk taken away – in essence, he’d be no one special, just another kid with a Quirk. Since All for One is so visible, it’d be all too easy for parents and teachers to threaten their kids into compliance whenever they throw an over-powered tantrum with the removal of a Quirk; it’d also be a good deterrent for any Pro Heroes that existed there to not get too comfy with their jobs, because they could easily be taken out of it if they manage to anger All for One enough, which would deter some people from being Pro Heroes.

Shigaraki Tomura (Shimura Tenko), someone whose Quirk came in during an extremely traumatic event and left him so scarred mentally he was never quite the same again, could easily simply give away his Quirk and have something far less volatile and triggering if he wished so, and also have a chance of potentially one day seeing his Quirk in the hands of someone like Izuku or Melissa, who could use it to its full potential without being constantly triggered by it or being re-traumatized again and again by the society who would rail on him for having such a potentially devastating Quirk.

Meta Liberation Army (which is a poorly disguised Brotherhood of Mutants on Genosha in X-men cartoons, let’s be realistic – the whole thing about the superiority of fight-compatible Quirks was not subtle at all) would be a much smaller and a lot less influential group. The publicity of a Quirk being able to take away other Quirks would make the existence of Deika City clones very, very difficult; it’d take but one hint, one whisper of a fringe group amassing in remote location that wants to eliminate so-called ‘useless Quirks’ for All for One to act – as much of an asshole as he is, he was shown [cite] to like all kinds of Quirks, despite only keeping the ones he felt were the most useful to him.

OK, but what about them being on the same side? You might ask yourself. If they’re so similar, why not make them both on the same side?

One, drama is always more delicious if there are high personal stakes involved, and nothing gets more personal than family drama – that’s just a fact. (Kardashians, anyone?)

Two, this is shonen – openly bad guys being the protagonists isn’t often done (in mainstream at least).

Three: we need some material to make all those ‘Izuku’s related to All for One or One for All first user’ for our satisfaction before Horikoshi josses the whole thing, okay??

(no, this is certainly not a call for you to make more ‘Izuku is related to original two brothers’… but it’s heavily suggested lol)

Thank you for sticking around until the end of this essay! Have a cookie, and enjoy the hell my mind led me to during the binge-read of the last 5 released chapters of manga:

#bnha meta #mha meta #quirk analysis #quirk meta #ofa and afo #shigaraki tomura #all for one #midoriya izuku #one for all #one for all users #I need more bnha meta #crossposted on ao3

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tomakeitbeautifultolive · 5 years

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Hi, first of all I really admire how much effort you put in your posts and answers as well as your insight and eye for details. I really could use your help, all the hate Dany gets lately is so tiring and imho unjust. Now even a friend of mine that always loved her started hating on her and I think she just doesn't understand Dany. Do you have some sort of character analysis on your blog or know where I could find one? Thank you in advance.

Wow, thank you! And anon, I could not agree more. Upsettingly, I’m having the same issue with a friend IRL too, having been told “Dany’s always been a brat”.

Regrettably, I haven’t really done much in the way of Dany metas… I’d say I have better luck picking up steam when I get asks, particularly since it gives me a sense of direction (and the influx of asks is a very new thing). Oh, I did write a little meta on her parallels between ancient Mother Goddess Danu!

While the vitriol for our queen is absolutely uncalled for… I have a theory that the way she is framed is actually intentional.

Jon Snow is probably something of a red herring. At least in the way that it’s presumed this story is really all about him ascending to power and coming into his throne. The prince that was promised. Azor Ahai. Rightful heir. All of it.

(That’s not to say he’s unimportant)

But his female counterpart/mirror, inarguably the most powerful character in the series, isn’t taken very seriously by casual fans, her enemies, the Westerosi, etc (she’s referred to as Daenela by some smallfolk, which oddly sounds a whole lot like the name the antis use to disrespect her character - Danielle).

And despite the fact that she and Jon share such similar story arcs (such as getting swept up into a foreign culture and having to adapt to survive) she is often interpreted as mad or verging on evil, even though Jon has shown the same capacity for ruthlessness. In fact, watch their beheading scenes again - Daenerys is trying to make a statement about law and justice, and Jon? He seems more driven by personal vengeance. But they made Janos look so bad that by the time he was begging for mercy, we were rooting for Jon.

Another difference in how they’re perceived is that Jon gets much more compassion when it comes to his childhood. Unlike Daenerys, he was still surrounded by family and had a stable place to call home. Meanwhile, Daenerys ran from city to city with a verbally and physically abusive older brother, and one of their caretakers, Illyrio, had to vigorously fuck a whore so as not to rape Daenerys, basically. I mean gods, what a brat!

In the books, it’s easier to realize Dany isn’t a villain because you get access to her thoughts and intentions. But the show? All we have is Emilia’s face to try to convey things to the audience. And if they don’t match the words she’s saying, it’s completely lost on them. Now, if you’re someone who ignores her past - then yes, in season 8, it probably looks like she’s power hungry, when in reality - her one security, Jon, is slipping away - so she’s reverting back to the one constant she’s had for years. The quest for the throne.

And excuse my language here, but this bitch is really bringing all of her resources up to the north - for nothing but her love for Jon Snow - and no one cares. She’s about to save them from certain death - hell, not just death - but eternal servitude to this creepy ice demon. And they’re bitching about how much food her armies are going to eat. You know, the ones there to die for their ungrateful asses? Anon, I gotta tell you… it’s really hard for me to even wrap my head around the audience response to Dany - or that somehow, it’s okay for Sam to be upset that his monster of a father was killed, but not Dany.

People who are already predisposed to dislike her can’t see the loneliness and vulnerability there, they can’t see she’s feeling lost, perhaps even regretful. They’re fooled by her queenly mask of indifference. The one that disappears when she is alone:

This is another good example. During the war council scene, Sam blatantly shades Dany by saying this:

“That’s what death is, isn’t it? Forgetting. Being forgotten.”

When the words “being forgotten” are said, Daenerys looks at Jon:

Considering the way Jon is ignoring her, it’s amazing that Dany is still there to fight his war. Just another reason none of them deserve her help. Without Jon she has no reason to be there. While everyone is upset that Dany is going to ‘go mad’ and ‘kill Jon’ - he’s been avoiding even looking at her for who knows how long in GoT time, and yet she stays.

And all the antis can say is that she’s “power hungry”. They so much as hear her say the word ‘throne’ and somehow see madness there, ignoring all subtleties of her emotional state. Yet, if Jon were to do a 180 and declare himself king - everyone would root for him, I’m sure of it. If the throne suddenly became a priority for Jon Snow, people would be popping open wine bottles in celebration. No one would call him entitled. No one would say he’s power hungry. No. I bet he’d ‘deserve it’.

It’s important to remember that not only is Daenerys one of GRRM’s favorite characters, he also identifies with her story:

“I came from greatness - like Dany! And I will take back what is mine with Fire and Blood!”

Further, the man’s a feminist (regardless of how he labels himself, now - more or less afraid to step on anyone’s toes by using the term as a man).

I can’t remember who pointed this out, but it’s hysterical to me, now, because in retrospect, it’s almost like he predicted her antis:

“If even half the stories coming back from Slaver’s Bay are true, this child is a monster. They say that she is bloodthirsty, that those who speak against her are impaled on spikes to die lingering deaths. They say she is a sorceress who feeds her dragons on the flesh of newborn babes, an oathbreaker who mocks the gods, breaks truces, threatens envoys, and turns on those who have served her loyally. They say her lust cannot be sated, that she mates with men, women, eunuchs, even dogs and children, and woe betide the lover who fails to satisfy her. She gives her body to men to take their souls in thrall.”

I think GRRM knew exactly what he was doing. Despite the fact he is a man, he’s lived through much uglier times for women, and he’s been aware of the female struggle for a long time. This is his legacy. A female hero with a storyline more powerful than any man in the series, who finds herself in precarious situations and has to make difficult decisions, sometimes exercising ruthlessness to assert her power and dominance.

She’s complicated, she’s unique, we haven’t quite seen the likes of a fictional woman quite like Daenerys.

She will be analyzed and discussed for decades to come - and there may come a point in the future that Jon Snow and Daenerys Targaryen might be viewed through the same lens. One in which critiques of Jon’s actions might be as harsh as the ones we see of Dany’s now, or that the ones for Dany become as lenient as the ones of Jon, now.

It might be too optimistic of me to think that even D&D know what they’re doing, here - framing Daenerys in a way that is not as easily interpreted by those who are predisposed to misogyny, all in an effort to expose it. And that upon rewatch, the culmination of her hero’s journey becomes clear as day for anyone willing to set aside their preconceived notions and finally see her for what she is.

A hero. A savior. A legend.

“That character, as a whole, is all about transformation and change. I feel like she is the divine feminine spirit. She’s there to change things rapidly. I have no doubt that a thousand years from this point, people will worship Daenerys Targaryen. That’ll be a holy name. This is the Mhysa. This is the woman that came and brought back dragons to the world and saved all the slaves.”—IdeasOfIceAndFire

For your final request. I wish I were more organized, anon, but here are the top blogs that come to mind when it comes to incredible Daenerys positivity. These bloggers post amazing metas and analyses, shut down antis left and right, and just generally spread the true word about our queen:

@rainhadaenerys @mhysaofdragons @oadara @khaleesirin @secretlyatargaryen @iheartdandelions @tatticstudio55 @winelover1989

I do have a small list of metas I’ve managed to gather on short notice:

Daenerys Targaryen: Master Post

Meta on the contention of Dany’s arc in feminist analysis

Dany III in ADWD again transitions to Jon & Tyrion

Why saying that Daenerys is nothing without her dragons is offensive

Daenerys - Books vs Show - Sexism and Bad Writing in the show

Daenerys Targaryen and “Madness”

A Dance with Dragons, or: Daenerys Targaryen Cares about Feeding her People

Daenerys doesn’t need to be a villain to be interesting

Arya Stark and Daenerys Targaryen Parallels

Daenerys as an anti-Cinderella?

I’m also a big fan of YouTube for GoT/ASOIAF content, and the few pro-Dany YouTubers who really seem to “get it” are GrayArea (this video, in particular, is amazing despite the misleading title), Lucifer Means Lightbringer and IdeasofIceandFire.

#answered #daenerys targaryen #daenerys defense squad

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ah-maa-zing · 5 years

Text

Whelp. I knew this was coming, and honestly I wasn’t expecting to feel this emotional when it did, but here I am anyway.

It’s difficult to know what to say. It may sound silly, but Arrow has been a significant part of my life for nearly a decade. It came to me in a time when I desperately needed a distraction from my personal life, and it proved to be that and much, much more. It was the first time I ever involved myself so deeply into fandom. I remember the joy of watching the S2 finale, and the excitement of what S3 would bring, and the amazing embrace of a small but dedicated community when I first joined Tumblr, and by extension, the fandom.

We were the little ship that could. Back then, nobody thought we would make it this far. We didn’t even know if we’d ever see our favourite couple actually become a couple. We thrived on hope and collective dreams, and incredible, jaw-dropping creativity. The fanfics, the art, the gifs, the videos. The relentless optimism, the sheer joy of seeing our favourite characters interact in the most basic of ways (the squeeing whenever Oliver so much as placed. a. hand. on Felicity’s shoulder, my goodness). We were, are, truly blessed. I’ve watched a lot of TV over the years, and can count on one hand the ships and shows that have become cornerstones of my life. Hand on heart, Olicity and Arrow hold a special place above all the rest. I have never felt as much for fictional characters as I’ve felt for Oliver Queen and Felicity Smoak – to see their journey from friends to partners to the loves of each other’s lives to husband and wife and parents to two amazing children – can you actually believe it?!

Who would have thought then we’d come to the end of this journey with our ship not only canon, but married and with children? Certainly not me – none of my ships had ever reached those milestones before. It’s been a rocky, bumpy journey with potholes galore; but all said and done, a satisfying and ultimately fulfilling one. One I would go back and relive in a heartbeat. There are always things that could have been done better, that we wish we could change or erase (isn’t that just life?), but there’s something to be said for being grateful for what we did get. I certainly am – I’m grateful for everything we got, and I’ll always be grateful the show had the courage to change course and give it to us.

So much of my heart is wrapped up inside this show. I’ve had incredible experiences as a result of it: going to my first ever convention with (then) near-strangers with whom all I shared was a love of a TV show, and who have since become wonderful and lifelong friends; the memories of waking up ridiculously early of a morning to watch an anticipated episode; the euphoria when THAT promo for 3x20 dropped; writing fics and reviews and metas and interacting with so many people I’ll never have the opportunity to meet; creating gifs and edits and pouring every inch of creativity and love into this show and this community. The crazy laughter, the frustrations, the sadness, the joy and celebration. So. Much. Love.

All things come to an end, and on a rational level I know it is time. Nothing can last forever, and I appreciate the cast and crew and writers getting an opportunity to go out on their own terms, to tell the tale one last time, to end on a high. But when the time comes, it will still sting. It will still feel like “too soon” and it will still be difficult to let go. But that’s for another day. For now, I intend to enjoy this last ride, no matter what comes. Though let’s be real: if anyone deserves everlasting happiness and peace it’s Oliver Queen, and the people he calls his family. Give him and his wife (this. will. never. get. old. as. long. as. I. live.) and their children (gaaaaaaaaaaaah) and their brother everything they deserve. There will never again be another OTA. And there will never again be another ship like Olicity. They are, in all ways, the OGs.

There’s so much more I want to say, but maybe that’s for another time.

For now, suffice it to say that I love this show, and for all that’s ever happened or that will happen, I will always, always love this show – for everything it has given me, for every experience I’ve had because of it, and for all the memories I will carry with me forever.

#Arrow #Original Team Arrow #John Diggle #Felicity Smoak #Oliver Queen #Olicity #Oliver x Felicity

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lauraramargosian · 4 years

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Self-Image can feel so damn humiliating.

Fat to Skinny: self-Image can feel so damn humiliating.

“A strong, positive self-image is the best possible preparation for success.” – Joyce Brothers

Isn’t it true self-image can feel so damn humiliating? What do you think it feels like to honestly really hate yourself and your body? Thinking you need to go from fat to skinny is my definition of being so mean to yourself…

When you find yourself looking into a mirror and thinking ‘ew, I’m so fat,’ and ‘shit I need to get more make-up, I’m out of foundation and I look pizza dragon face,’ it’s heart-breaking, as well as confusing due to the fact it’s not true.

A positive self-fulfilling prophecy is something we all need!

It isn’t about going from fat to skinny!

Stop worrying about “fat to skinny,” ideas and appreciate yourself.

Though it’s common, many hide their emotions and lather up in make or snakeskin oil in an attempt to nail new styles and trends.

Unfortunately, the truth behind these flawless magazine covers is they are touched up by professional software, such as Adobe’s “Photoshop.”

Yes, the women featured in Vogue, and other magazines alike are very gorgeous in real life, but the industry tends to push it the extra mile by editing their pictures to a T.

Consequently, it’s programmed into our minds that we all need to look a certain way, walk a certain way and talk a certain way.

I fail to agree with most of those magazines and ridiculous expectations but they will always be apart of our world, constantly evolving.

Admittedly, I have looked in the mirror and felt the very same thing, so much that living in my body felt like a prison.

Evidently, a diagnosis of Crohn’s disease at the highest moment in life tore me to the floor. I was the fittest ever, with 16% body fat and at least four abs. And it felt damn good but then life became hazy.

Imagine being your fittest, your happiest and watching your body crumble in front of the mirror due to all the medications you have to take in order to live a half-decent normal life.

Next comes the job where you work with absolutely flawless looking CEOs, publishers, talent, etc.

What would happen when you focus on going from fat to skinny?

Well, I’ll tell you what “could happen,” since we are all different. First, you may obsess with the thought of “how can I go from fat to skinny?”

The happiness leaves, it was fucking humiliating to have stretch marks and not even reached a point in my life where I had a baby.

The way my body was “supposed to be,” left due to Cushing’s syndrome.

People judged my job performance and then I assumed my disease would keep me from getting any decent writing job.

I felt as though I was inspiring others but I hated myself.

My fucking kinkiness sex life went down because I was too embarrassed to take off my shirt.

I had to shave my hair that touched my ass, all that way down to a “Ruby Rose,” cut, which was hard to digest.

Lastly, hating myself set in and I lost track of who I truly was, all because of an expectation, I didn’t change, my body did, right?

Finally, it hit me: I’m being so fucking mean to myself because it doesn’t matter who you are, how much you weigh, or what you do in life, you are and will always looking amazing and you should be proud of your battle scars.

Why worry about going from fat to skinny?

Elevate your self-image, forget about fat to skinny!

Elevate yourself because you deserve it, you deserve to be proud of any “imperfections.”

Further, those imperfections are what make you damn perfect.

Most importantly, you don’t need to beautify yourself to get a good job or find a good man or woman, frankly, you merely have to be proud of who you are as a whole.

Lastly, take the time to love your self-image, your mental toughness and be who you want to become, life is too short to hate on others, including yourself, let the trolls be trolls.

You’ll be making positive emotional changes while they sit and whine about whatever the hell they want for the rest of their life, that sounds miserable.

If you want “it” (whatever IT is) you can have it believe in yourself, and understand your self-image doesn’t define your future jobs, friends, love life, etc.

Just as Demi Lovato, Justin Bieber, Katy Perry, Kesha, and many others we look up to say, love yourself.

Blessed be!

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spiftynifty · 6 years

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Hey there! I’m the same anon that sent that confusion ask to jojo. I saw your reply and Read your post about LGBT in kids shows and how (at the time) it seemed probable for a m|m canon. I wanted to ask what your thoughts are now? I personally think it seems most likely that Keith will end in a het. Relationship (despite it seeming a little rushed and lm and jds saying they wouldn’t) Keith ending with no one when such a strong relationship with shiro was built up just doesn’t seem likely either..

To be honest, I was worried about Kacxa at first too. Many, many other hetero romances have started with less than that and seeing underdeveloped relationships just happen because “he was a boy, she was a girl, can I make it any more obvious” is something we are extremely accustomed to. Heck the show kind of plays right into this with Hunk/Shay.

But Keith is different, he is a far more developed and story-focused character than Hunk is, and thus if he’s to be given a romantic partner then it needs to match that flow and level of development. One of the “rules” that we often get in media is that “romance is a higher level on the relationship chart than friendship”. And at this point, and even after 13 more episodes, there’s just no context this show could offer me where I could honestly believe that Keith could regard Acxa with a similar level of affection to how he regards Shiro, let alone higher. This was the biggest reason I stopped worrying; to be blunt, Kacxa doesn’t make sense on a narrative or character level. Keith aside, Acxa deserves to have a story told that doesn’t involve her following dudes around.

Also, revisiting the show I’m quite convinced that Keith is canonically in love with Shiro, that his feelings for him were intended to be read as so many of us do. There’s a reason so many people in and outside the fandom have written about their relationship with optimism and curiosity about where the show is taking it. It’s there, even for those who have never been looking for it. I know a lot of straight guys who have picked up on it despite never realizing Korrasami was a thing.

But we definitely do a lot of speculating here in the Sheith fandom and I’ve seen some pretty elaborate meta for scenes that didn’t particularly resonate as shippy for me. So stepping back, shipping goggles off, speaking as a viewer and as someone who works in animation, there are really… 3.5 sequences that give me pause, that are so heavily coded and so… interestingly storyboarded and animated that I find it increasingly impossible to believe the showrunners and directors never intended for their relationship to be read romantically. They are:

Because there is something inherently romantic about the slow zoom on their smiles before the slow drift of them towards each other, the castle forgotten

Because this is blatantly highlighting how beautiful Shiro is and Keith staring at him in awe before he closes his eyes for the last time, resigned to their joint fate

Because I have run all the permutations and scenarios in my mind and there is literally no reason for Keith to stop mid lean, with his eye direction shifting lower than Shiro’s eyeline. It would have been faster and way less work to show him just hugging him without the pause.

And then this is the 0.5:

Because while the canon tempers this moment with “you’re my brother”, I am beyond convinced that that line was added because the scene was too romantically coded without it. And if you don’t believe me, check out this edit someone made of what the scene sounds like without the brother line. It’s incredible.

But will we SEE canon Sheith? that’s… a little more complicated.

My post ages ago about LGBT in cartoons was pretty optimistic but where I failed was considering the differences in studios. Some companies are a lot more chill about LGBT content in their shows. But they also aren’t the Big Two: Disney and Dreamworks, whose records of LGBT characters are utterly abysmal. Here are the two they had prior to July 2018: LeFou from live action Beauty and the Beast, and Gobber from HTTYD2 in a blink-and-you’ll-miss-it line that was ad-libbed by the actor and left in. Arguments could also be made for the Sheriffs in Gravity Falls (that had to be Dumbledore’d after the fact by the show creator who alluded to there being a fight over it).

NOT great, especially when you consider Disney is not just Disney: none, NONE of the 19 Marvel movies feature an LGBT character, nor do ANY of the Star Wars movies. It’s utterly inexcusable. Shareholders in these companies make things more complicated because they help dictate the direction a company will take and if a large portion of their major shareholders are say, more conservative, we’re going to notice that there is one area on the diversity checklist that is repeatedly getting passed over. The bigger the company, the more complicated the relationship is with shareholders. That’s why it’s difficult to compare Korra’s achievement, through Nickelodeon, to the potential of an LGBT relationship on Dreamworks. We should absolutely hold them to the same standards regardless of company size but we can’t expect to get an endgame LGBT relationship just because Korra did, or because of the giant 20-gayteen celebration going on for two wlw ships at Cartoon Network.

But we also got THIS on Voltron.

And it’s a start. I think it outlines pretty clearly where the limits are for Dreamworks at this time, especially since many casual viewers seemed to miss the romantic implications of Zethrid/Ezor, and a more alarming number somehow walked away from Adam/Shiro’s fight completely unaware they were a couple. Which honestly, was certainly Dreamworks’ goal. Keep it vague enough to fool the shareholders, but implicative enough to pat themselves on the back for their achievement. Even though it only exists because JDS and LM fought tooth and nail for it. But at the end of the day, we still have Shiro, Shiro our canonically gay rep, and that’s so huge. I don’t think people realize how huge that is, and I wish his coming out party hadn’t been so marred by toxic antis and even non-antis who decided to take a really big moment in cartoon history and make it all about themselves and their own pain over the “more” that they didn’t get.

It’s incredible that we are getting LGBT in cartoons finally, properly. 2018 celebrated three massive historical achievement in kid’s animation: A strong, muscular, leader hero was revealed to be gay and have had a boyfriends, and two wlw couples kissed–one of them got married, onscreen.

This is HUGE. Prior to 2018 the biggest LGBT cartoon moment we had was Korra and Asami four years ago.

It was like for four years everyone fought and fought and fought and 2018 was the breaking point and we got this glorious explosion of LGBT romance as a result. Audience reception to these couples has been immensely supportive, which is something the companies are definitely noting if it’s translating into dollar signs. It’s something that makes me much more optimistic for the future of cartoons in years to come.

But I’m just going to come out and say it: the road to mlm is just a little bit harder. There are a ton of reasons for this but I’d say the biggest two boil down to: classic, gendered homophobia (the white conservative straight dudes with money supporting the studios have an easier time with the idea of two women making out, cuz that’s “hot” than two men, cuz that’s “weird”), and also because it is easier for people to accept that two overly-touchy women are “just good friends” than it is for them to accept that two male characters doing the same thing are. Guys Don’t Get Affectionate With Each Other, after all, because that’s not the Masculine Way. Or something. Tons of people watched the end of Korra and assumed they were just friends. Replace those characters with Shiro and Keith and it raises eyebrows.

So where does that leave Shiro and Keith? It’s really hard to say and at this point it’s anyone’s guess. I truly believe Sheith was intentionally coded as romantic, but getting the green light is another matter entirely. In addition to the DW shareholders, JDS/LM have to deal with the Voltron ones and since that would include conservative-minded folk along with some Japanese shareholders and Japan has complicated rules about LGBT content… it’s a hot mess. Realistically speaking if you were hoping to see Shiro and Keith kiss onscreen, it’s time to come to terms with the fact that there is a 0.0002% likelihood of it happening. I think the best outcome we can expect at this point is that they both end up single, with bonus points if they’re still alive and on the same planet by the series’ end. I firmly believe that this IS something the showrunners are and have fought for and will continue to fight for until the last retakes are done and the show has been approved and shipped off to Netflix for distribution.

My tinhat theory is that there is one, single scene/shot, that is blatantly canon, that JDS/LM and KR animated on the sly, and have at the ready that they are totally prepared to replace another more platonic scene with– should DW give the go ahead. But I doubt that go-ahead will ever come. At the end of the day the shareholders are the rulemakers and unless they’re convinced it’s worth the financial gain, Sheith is forever bound to be the “will they won’t they” friends we have seen for the last 7 seasons. And I don’t think that potential financial gain of the kids’ animation world’s first mlm couple is big enough to convince them. But god do I ever hope I’m wrong.

#sheith #voltron #meta #long post #my current mood: optimistic for something half a notch above ambiguous #0p0

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kylermalloy · 5 years

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My Official Unofficial Ranking of the Top 10 Funniest Supernatural Episodes That Literally One (1) Person Asked For

This post (and subsequent ones, if I ever get around to posting them) is dedicated to the lovely anon who gave me the idea to do this.

Without further ado, from bottom to top:

10. Fan Fiction (10x05)

The 200th episode was just a fun-land of meta goodness. The fangirl side characters were OTT but still relatable, Sam and Dean’s reactions to seeing their stories brought to life and interpreted in such strange ways were accurate but not cruel, and the silly monster Calliope lended itself to the goofy tone of the episode. Overall, this episode was just a nice, positive exploration of what it means to be in fandom—and you get to meet your fictional heroes! If only fandom was always so quirky and uplifting...

9. Hunteri Heroici (8x08)

Here’s one episode from that meh opening half of season 8 that I genuinely enjoyed. It’s just a one-off, with very little ties to any overarching story. It’s just a wacky hour of cartoonish fun. One of the things I most appreciate about it is the unusual nature of the MOTW. Not only was the villain just a greedy human, but the case itself was strange enough that Castiel could come along and not stick out like a sore thumb. It wasn’t a case that an angel could solve and fix immediately, so his presence was justified and well-used and even enjoyable! “WHY DID YOU KILL YOUR HUSBAND?” still cracks me up.

8. Tall Tales (2x15)

This was the first episode that I’d categorize as “off-the-wall” crazy. It’s just wacky! Obviously the Trickster aka Gabriel is an entertaining adversary, and the back-and-forth storytelling by Sam and Dean (can anyone say “unreliable narration”?) is raucous. Not only do we get some truly iconic lines from this episode (TOO PRECIOUS FOR THIS WORLD!) but we also get a humorous insight into how Sam and Dean view each other. Brothers, am I right?

7. Wishful Thinking (4x08)

Ah, the talking teddy bear episode. Do I even need to say more? That’s one of the scenes I use to show people how wacky this show can get. This ep balances out humor with truly heavy plot points—like Dean’s struggle with his guilt. And there’s an especially nice bit about playing God to get what you want.

6. Monster Movie (4x05)

“A good old black-and-white case.” Isn’t that what Dean says at the beginning? Oh, Deanbean. Ben Edlund is one of my favorite writers for the show, because he can give us crazy content that still tugs at your heartstrings. A lonely shapeshifter who enjoys vampire cosplay, old-timey monster movies, and rides a motorbike? Who’s also played by Todd Stashwick? Yes please! It’s almost a shame you can’t do episodes like this more often.

5. Yellow Fever (4x06)

Season 4 really killed it with the funny episodes! It’s like they knew we’d all be crying by midseason, so we had to get all our laughs out right at the beginning. Anyway, this episode is iconic. From Dean’s petrified screams at cats to his realized fear of boyking!Sam and the return of little-girl Lilith, I love every second of this one. And the after-credit bts video!

4. Bad Day at Black Rock (3x03)

Two words: Slap. Stick. (I know that’s one word, don’t care. I’m trying to be funny here.) I think I’m one of those rare Sam fans who actually enjoys when the show makes light of Sam’s pain. Yes, I know he’s suffering throughout this episode. I know he doesn’t deserve any of it. I don’t care. It’s still funny. Also, this episode gives us a fantastic intro to Bela, who honestly deserved more screentime than she ultimately got.

3. Mystery Spot (3x11)

Yes, yes, yes, another episode that makes light of Sam’s pain. This might be the episode where Dean dies a hundred times, but for once the show’s POV was focused on Sam’s suffering. Dean’s ridiculous slapstick deaths, while hilarious, don’t take away from the raw shock of Sam losing his brother no matter what he tries to save him. And the ending is just...so sobering. Another masterful example of how this show could play with so many emotions in just the span of one episode.

2. Changing Channels (5x08)

Trickster episodes are just the best! This one ups the ante with the archangel Gabriel reveal—and a Grey’s Anatomy parody! Sam and Dean reacting to being dropped in all these TV genres is a great (yet still subtle) meta joke about their own place in our idiot boxes. (we hadn’t completely broken the fourth wall just yet—that honor is saved for the top spot)

1. The French Mistake (6x15)

There’s nothing super profound or touching about this episode; it’s just pure meta madness. I can never stop giggling through the entire thing! The silly “real world” they created, so close to ours yet still so SO different, makes some great jokes about show business and celebrity culture and—wait, I take back what I said about there being nothing touching in this episode. Sam and Dean take one look at this alternate universe, this haven from the supernatural armpit that is their lives as hunters, where their doppelgangers are wealthy and carefree—but not brothers—and say no thanks, we’re good. Let’s go home. That hits deep.

#supernatural #spn #rankings #i’m just so starved for new content i have to resort to this #not that i’m complaining—it’s actually really fun!#i really am starved for new content tho #and after next year i’ll...what? starve to death?#sigh #kylerrambles

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snkception · 6 years

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I don’t know what I expected from this chapter, but it seems that I don’t check in for a few weeks and come back to like

Like, excuse me, the new Eldian WHAT? Did Floch literally just talk about a new Eldian empire while his comrades rejoiced around him?

What on earth is happening on Paradis that this is an acceptable statement to make?? The old SC crew seem to be the only ones not joining in the celebrations, so it seems that someone still has their heads screwed on straight, but like. This is what you get from Grisha’s journal? You read the thing, you read about how the Eldia restorationists were consumed by their passion for the cause to the point of sacrificing kids to it, you read about the world who believes the worst of you, and your thought is–great, what we need the most is to get that old empire back?

… Maybe there really is no hope for humanity. Maybe they deserve to perish, all of them, if these are the circles they’re walking in.

Except that’s exactly the way Zeke and Eren seem to be thinking, don’t they? I mean, not quite, but like. After everything that’s happened, these words of Zeke’s seemed to me to ring quite hollow:

I don’t for a moment believe that Zeke dreams of liberating Eldia, new empire or otherwise. Maybe I’m wrong! But I really find it hard to swallow that a man whose life got essentially derailed and ruined by the zeal of Eldian restorationists, a man who betrayed his own parents for it as a child, a man who, not too long ago, gave every appearance of gleefully murdering his fellow Eldians inside the walls gives two damns about Eldians or their future.

No, what I keep thinking back to is the last time we looked through Zeke’s POV and the thoughts he was having then.

And the goal he stated back then was:

And it could be that I’m completely wrong, but it seems to me that what Zeke mostly wants is for all of this to end. He attacks Eldia with abandon; he schemes against Marley; he doesn’t seem to care who burns, as long as someone does. Because they’ve all failed him, one way or another, and he has a year at most left to live, and not much left to live for. Setting the world on fire might seem like a fair price for everything humans have done to each other in Zeke’s experience.

He does, admittedly, seem to care for his brother, insofar as I believed the sincerity of his promise to ‘come back for’ and ‘rescue’ Eren. But I’m not convinced, at this point, that he cares for Eren as a person, as opposed to a mirror of his own convoluted path. Eren, after all, was also raised by Grisha; Eren, he assumes, was also told to fight for Eldia’s freedom, and Eren was given some of the same tools to do so. And Eren’s life, too, was derailed by this; and Eren, too, has come out on the other side battered and disillusioned and too old for how young he was.

After all, this is the last time we saw Eren before encountering his current self:

I know I keep getting hung up on these frames, but they’re so striking! The resignation is so antithetical to everything Eren stood for prior to this–but this is also the Eren who will later take up actual plans to ‘kill them all.’ Not because he wants to, or is fired up to. But because he sees no other way.

So mix that boy with Zeke’s brand of fatalistic nihilism, and you get a hella cocktail made with two parts of Jaeger determination and one part bad decisions. Shaken, stirred and aged a few years. Again, I may be totally, completely wrong! Maybe next chapter will reveal their plan for world peace that doesn’t involve, y’know, annihilating the world, and also explain why the Marley battle was an A+ humanitarian choice to make. Maybe.

It could also be that they’re playing each other, somehow. Maybe all of this is a long con on Eren’s part to bring Zeke to Paradis and use his royal blood without remorse. And maybe Zeke is just biding his time before… something. I’m sure Zeke can think of a lot of somethings. So, like, in the absence of proof, we can talk only of possibilities, and the very picture of the Jaeger brothers making plans side by side is surely one that should make blood run cold in the veins of anyone who knows them. Ruthlessness runs in the family, to say the least.

(What would Grisha do? Cry, probably, but with anger or joy I can’t decide. His boys are definitely changing the world, in one way or another.)

… This is less a meta post, really, and more of a stream of consciousness post powered by the soundtrack of ‘wtf, chapter 105.’ We’ll be back soon with our regularly scheduled programming. Or something.

#new eldian empire my foot #i guess from here i can see really well the way in which the manga originally ended in everyone dying downer-endingly #i'm curious if isayama has found a way out of this #i'll be very glad to see it if so #snk chapter 105 #snk spoilers #zeke jaeger #eren jaeger #i don't know what else to tag because my mind is mostly going 'wtf'

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avicebro · 6 years

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Perseus: In Myth and in Fate

Hello everyone, I’m tired, we’re gonna talk about Perseus.

This is actually going to be a combination fate meta post and Greek Myth post which is you know, amazing, but that’s because Perseus was the reason as to why I got into Fate, and thus I feel like he deserves this. So, buckle up. I think that should explain my biases pretty well.

Probably the Weirdest Way Zeus Fucks a Woman

Like many Greek Myths, the story of Perseus starts with a prophecy.

Perseus’ grandfather, Acrisius, is the king of Argos. Since he likes being King, he goes to the Oracle for his future. The Oracle breaks the news that he’s going to be killed by his daughter’s son. Instead of pulling a King Laius and driving a metal rod through the kid’s feet and then leaving him on a mountain to die (that’s where Oedipus’ name comes from by the by), he decides that the way he’s going to not have a grandson is by making sure his daughter, Danae, can’t get knocked up at all.

He does this by imprisoning Danae in a bronze chamber open to the skies (in some versions it’s a tower, some a hole in the ground with a grate, it’s just gotta be open to the sky). There. No one can get in.

But unfortunately for King Acrisius he forgot about the whole “Zeus” thing so when Zeus sees this lovely woman in a bronze box/tower he’s head over heels in love with her. And again, since he’s one for theatrics, he makes the smart decision to turn into a shower of golden coins and rain down on her.

Danae becomes pregnant because of a golden shower.

Since divine seed (or coins?) must take root, Danae becomes pregnant with Zeus’ child.

Nine months after Perseus is born.

So, since the first box thing didn’t work, King Acrisius decides to put his daughter and her newborn son into another box (or more specifically a wooden chest) and put it out into the sea. Danae prays to her baby daddy so that they survive, and since Hera doesn’t seem to mind Perseus for some weird reason, they safely arrive on their new island of Serifos, where they are taken in by a fisherman.

Polydectes is a Dick

The fisherman’s brother, the King of Serifos, is Polydectes. When Perseus is grown up, Polydectes finds himself falling for Danae. Perseus isn’t very fond of this creep trying to take his mother, and she doesn’t seem to be very fond of him either, so he tells Polydectes to back off. Polydectes doesn’t take this very seriously so once more Perseus tells him to back off, no dating his mom you creep. This makes Polydectes mad. He might also be too afraid to fight Perseus 1v1 so he makes a plan to get rid of him instead.

He hosts a banquet and tells everyone to bring a horse as the gift. Perseus has no horse to give, so he says that his gift is whatever Polydectes asks of him.

(Side note: Polydectes should have just asked him to die. Nice and simple.)

Instead he asks for Perseus to bring back the head of Medusa, the youngest and also mortal Gorgon sister.

(Side note: Youngest = strongest in Greek Myths. Both Zeus and his father Cronos were the youngest children. It makes a little more sense as a story stand point for Zeus [His mom tired of her husband eating her kids at the 6th one] but with the two Kings of the Cosmos being the youngest child cemented this rule of the youngest being the strongest in Greek Myth. This of course has no relation to Hesiod’s hatred of his brother. None at all.)

Medusa has gotten a little bit of a celebrity status as being unkillable, as whomever looks at her turns to stone. This doesn’t seem to bother Perseus very much – he’s gotta make sure Polydectes doesn’t creep more on his mom, and he is the son of Zeus, after all.

The Killing of the Gorgon

Thankfully he’s got another god on his side: Athena. Yeah, I guess turning Medusa into a gorgon for something she had no control over wasn’t enough punishment. Athena wants her dead now.

So, Athena sends Perseus to the Hesperides, the nymphs who tend over Hera’s garden and also hold the fancy weapons he can use to kill Medusa. For those who know anything about Heracles he ends up convincing Atlas to go and fetch some of the golden apples for him from the Hesperides. But Perseus doesn’t know where that is so following Athena’s advice he finds the Graeae sisters.

The Graeae sisters are three old hags who share only one eye. They are also all-seeing.

(Side note: they’re also the sisters of the gorgons! Thanks sisters.)

Perseus grabs the eye and basically holds it for ransom in return for the whereabouts of the Hesperides. Since they can’t really do anything they say fine, sure, okay here’s where it is, can you give us our eye back?

(Side note: for anyone who has seen the Disney Hercules, the Graeae are kind of retrofitted with The Fates. I’m not saying that I necessarily agree with this decision, but I do understand it. It should be noted that in Greek Myth only one of The Fates actually was an old lady, because only one was associated with cutting the thread of life. But three old ladies who act independently of the gods’ will and make dated references are kind of my trash. Disney Hercules despite its shortcomings has become my trash.)

The Hesperides give him a bag, to hold Medusa’s head, Zeus an adamantine sword and Hades’ helm of darkness. Adding to the list of gods that wanted to kill Medusa and or help Perseus grows as Hermes gives him his winged sandals to borrow, and Athena gives him a polished shield. So, the list of gods that are helping Perseus are: Athena, Zeus, maybe Hera, Hermes, and likely Hades doesn’t hate him because Zeus was somehow able to get his brother’s helm for him to use. The only god that probably likes Medusa still is Poseidon. Probably out of pity.

(Side note: Adamantine! For those who have read Hesiod’s Theogony know that Cronos’ cool as fuck sickle is made out of adamantine. Oh, and also the shackles that bound Prometheus to the rock. And in some versions the walls that Alexander the Great builds? It’s an unbreakable metal basically.)

Now armed with a bunch of OP items, he heads out to kill Medusa. With the polished shield he is able to kill her without looking into her eyes. He beheads her, wraps her head up in the bag so he’s fine. From her neck springs her children with Poseidon: one king named Chrysaor and of course, the well-known Pegasus.

(Side note: Pegasus would eventually team up with another son of Poseidon to do their own story.)

Perseus’ New Bae

On the way back to Polydectes, he stops in Aethiopia (Ethiopia). There he finds a very pretty woman tied to a rock.

Like an idiot, the queen of Aethiopia, Cassiopeia, made the claim that her daughter Andromeda was prettier than the Nereids. The Nereids are basically a bunch of sea nymphs who are close with Poseidon. In response, Poseidon sends out a giant sea monster and floods. Now stuck with a sea serpent and way too much water, they go to the Oracle to find a solution. The Oracle says that Poseidon will only be appeased if they sacrifice Andromeda to the sea serpent, Ceto.

Perseus finds Andromeda strapped to the rock as sacrifice and decides that he likes her so he kills Ceto (depending on the version by the sword or by Medusa’s head). Despite being betrothed to another guy, he claims her as his bride. When the guy that she was supposed to marry interrupted the marriage, Perseus uses Medusa’s head to turn him into stone. He does that a lot.

He returns to find that his mom has been running away from Polydectes, because again, he’s a dick. So, Perseus finds him, uses Medusa’s head on him to turn him to stone, and makes his brother king instead. This works out because Danae actually liked this fisherman and so she becomes queen in some variants.

There’s a small myth in which as he was travelling some of Medusa’s blood ends up dropping onto the desert and creating a new species of killer snakes, too.

Fulfilling the Prophecy

About that prophecy.

There are three versions of how Perseus ends up killing his grandfather. The first two include being hit in the head during sports.

The first version has him not returning to Argos but to Larissa, where some games are being held and also it just happens that King Acrisius is visiting said games. Perseus shows up and is testing out his new sport he just invented (which is basically just a fancy form of the game of horseshoe) when Acrisius steps in the way and is killed.

The second has him returning to Argos, but when Acrisius hears that his grandson is returning, he goes into exile. Perseus just happens to be in the place where he was exiled to participate in funeral games. During the discus throw, it ends up hitting Acrisius, and he dies.

The third has Acrisius’ brother, Proetus, exiling his father. When Perseus returns to Argos, he finds out about the exile and as such turns his great-uncle to stone to ascend his grandfather back to the throne. Then when he’s now the King of Argos again, Acrisius accuses him of not actually killing Medusa. So, sighing, Perseus turns him to stone and fulfills the prophecy.

Nevertheless, through manslaughter or through actual murder, killing is still killing, and as such he must be exiled and cannot be the King of Argos. He takes the son of Proetus and King of Tiryns and gives him Argos. In return Perseus becomes King of Tiryns.

(Side note: this is all to prove the ideas of manslaughter and also exile in Ancient Greece. Technically, Perseus should have been exiled and then purified like Oedipus does, maybe even killed. Even more so, the son of Proetus should have killed Perseus. Well.)

He gives Medusa’s head to Athena, and she puts it on her now famous shield, the Aegis. Because cursing, then helping in her murder wasn’t enough. Thanks, Athena.

King of Mycenae

Perseus finds and founds Mycenae. As such, he’s considered to be a historical character. Perseus and Andromeda would end up being strong rulers, fortifying their kingdom and having a whole bunch of kids (7 sons and 2 daughters. I feel for Andromeda).

He actually ends up being killed by the son of Proetus, after a successful and fruitful rule. Perseus, Andromeda, and her mother Cassiopeia would end up in the stars by the gift of Athena.

These kids would end up really spreading out but the descendants to note are: Heracles, Penelope and as such Telemachus, and of course—Pollux and Castor! See I’ll tie everything to my namesake.

What Fate Did

Now we can talk about the things that fate changed. Most of the changes are what happened with Medusa. Not a surprise to anyone, the rape of Medusa has been retrofitted to Athena being jealous of her and that is why she turns her into a Gorgon. She then, in an attempt to protect her sisters, becomes more and more monstrous, until she can no longer return back. When she ends up killing her sisters and Perseus arrives with his items, she accepts her death.

Perseus, when he arrives on the island, is filled with this feeling of unease and uncertainty. He does not feel like a hero and wishes to simply kill Medusa and leave. He has regret when he kills Medusa. He finds no glory or fame in the act as it is really tricking her.

Medusa says that she does hate Perseus, calling him a brat and a successful Shinji and hating the fact that he was the one that killed her.

Perseus is the Rider in Fate/Prototype. He is specifically summoned by Aro Isemi because he wanted a hero who had a happy ending. His master has been kept alive simply to summon a servant and to be tested on. He’s only with his master for a couple of days. Before he dies, he gives him all of his command seals so that he can continue to live without him. When he dies, Perseus gets revenge by killing those who tested on him. He then becomes a master, thrusting himself into the war so that he can bring Aro Isemi back to life. Oh, and he also decides to become a student at Ayaka’s school because he’s bored or something.

Ultimately the OVA is really about Ayaka’s relationship with Arthur, and it acts to set up the love… triangle? Square? I mean there’s like 4 guys after Ayaka…Pentagram? Despite this, he does have two scenes in the script: one where he defeats Caster to save Ayaka when they launch an attack on their school, and one where he faces off with Saber.

Saber accuses him of being a murderer, as he’s being killing civilians, since he needs their mana to stay in this world. He then says he’ll punish his master, but Perseus reveals that he doesn’t have a master to punish. Saber accuses him of having killed his own master. They engage in battle, Rider almost kills Ayaka before pulling away, and then Saber helps her escape.

Nasu in the notes talks about him briefly, saying that he’s someone who gets obsessed with something to the point that it takes over him. He must give the task 110%. He also says that he’s a kind-hearted soul and puts more emphasis on the fact that he’s a hero who had a happy ending.

Let’s Get This out of the Way

When discussing Perseus in fate, the one thing that comes up time and time again is that Perseus is bad because he kills Medusa. This is not something new in fate—I’ve seen it for fans of many characters. Some characters thankfully get more characterization by fans than just “x killed y” (Like Ishtar for example). Others, like Perseus or more commonly Fionn, are mostly characterized by having killed a more popular character.

(Side note: I am in no way saying that what Fionn did to Diarmuid is okay! But again, his relationship and his dynamic with Diarmuid is what makes him interesting in America. I digress.)

By simply characterizing these characters by whoever they killed, and ignoring what they do in their respective series, it is doing a disservice to them. Especially in a series where characters may have to interact with those they killed, or are trying to repent or rebuild an old relationship with them. I am in no way trying to act high and mighty—if you want to see hypocrisy in action just go through my Avicebron tag and you’ll see me hating on him for killing Roche or even just my dislike for Jason because of Medea—but the claim that Perseus should not be in Fate/Grand Order, despite having a design, voice actor and my room lines from other servants, is silly. I want Jason in Fate/Grand Order because I want to see the relationship with him and the rest of the Argonauts outside of Okeanos and some interludes.

Like imagine if Achilles was only discussed for having killed Hector. That would erase everything he’s done in Apocrypha.

(Again, not saying that murdering these people are okay! What happens with Penthesilea is interesting and I like hearing each side’s view on it.)

What makes fate so interesting for me is that these characters who are tied by fate are given a second chance. We get to see old foes pitted against each other brought together by the throne’s cruel game. This is what makes fate grand order especially interesting—characters who murdered or betrayed each other being forced to work together. Do they despise each other and refuse to work together? Are they, like Hector and Achilles, too tired to fight anymore and as such just pull tiny pranks on each other? Do they try to rekindle their old relationship? Is it even possible for things to go back to before the catalytic event? This is what is interesting for me.

We have two compelling characters at the hands of the gods and fate pitted against each other. Medusa, the monster hated by the gods, versus Perseus, the hero who is just being used as a pawn to get rid of her. One is being remembered as a famed hero while the other as a disgusting beast. Through Heaven’s Feel and Hollow Ataraxia, and ultimately through Medusa’s eyes, we get a subversion of this.

“A Successful Shinji”

Oh boy, Shinji Matou. I won’t say that everyone hates him, and there are certainly are some Shinjis in canon that aren’t… that bad. At the same time, I won’t say that he’s a fan favourite by a long shot.

Designs in fate (at least the earlier spin-offs, whether or not this is true for fate/grand order depends on your own opinion) often tie back to other characters in the series. When Okeanos came out people pointed out that Jason’s design is reminiscent of Gilgamesh. By having a character look like another it makes one already have opinions about them. Like how you are to tie Jason with being a self-absorbed leader who probably doesn’t treat women well, by having Perseus’ design be reminiscent of Shinji’s, you are to make your own conclusions.

The main design aspect that’s brought up is the hair. Which I never got but I guess their hair is roughly the same length and is wavy? I guess when he’s in his school outfit he looks like Shinji? I guess? I don’t know maybe I’m blind.

The biggest comparison between the two is Medusa’s line in Hollow Ataraxia, where she sums him up as a “successful Shinji.”

I could go into a discussion about whether or not we should believe this claim, but instead of boring you I want to instead talk about what Medusa, and ultimately Nasu, is trying to say by calling Perseus a successful Shinji. If Perseus is Shinji, then he should be an envious, manipulative abuser who hurts those he has an advantage over. He should be trying to get approval from those he looks up to. He should be feeling as if he needs to prove something and that any bad that happens to him is not because of him, but because of someone else.

However, we don’t really see these aspects in Perseus’ character. Sure, he has this feeling that he has to prove himself, but he is a flawed Greek hero, needing to prove that he is the son of Zeus. But he is also doing this to help his mother. Depending on the version he can kill multiple people, but in some he only kills the person who was terrorizing his mother and the one he was prophesized to kill. Depending on the version, he is simply a man fighting with fate.

In prototype, we see a more complex character. He is compelled by his love for his master that he is willing to become this human killing monster who goes against everything Saber stands for. If he was truly a Shinji, then he would be doing this not for revenge, but for his own gain. He does use his advantages to try and kill Ayaka but can’t find it in himself to do so. He saves her at one point. He does not act like the self-absorbed, envious and prideful brat that Medusa characterizes him to be. Maybe his anger is bratty—but his anger out of revenge is understandable in order to bring his master back. What I’m saying is that if he truly was a Shinji, he would be doing this less for Aro Isemi, and more for himself.

Then here’s the question: why are there two versions of this Perseus? Through two series Nasu is telling us two different things about his character.

My Answer

I have a possible answer. We have an older design for Perseus, from Hollow Ataraxia. I propose that there are two Perseus servants in the canon. Rider Perseus, the flawed and conflicted hero who wrestles with his murders and his fall from grace as a hero as seen in Prototype. The one that fights for revenge on his master’s treatment. Then, a Lancer Perseus, one that exemplifies the modern view of a Greek Hero, with the cocky, Shinji-like personality. The one that Medusa and the world associates with Perseus, and the real Perseus.

Both versions of Perseus are needed in fate. Lancer Perseus acts as the cocky character some people adore, while Rider provides a realistic view. I would personally love for both to appear in Grand Order—but certainly Rider Perseus provides a more complex version of the character. He, along with Heracles, provides a more realistic view of what characterizes “The Greek Hero” and how interpretation has diverted them from their more realistic and fate-driven narratives.

I included his myth to show that he is more than just the killing of Medusa. He has to wrangle with a lot—and even more when he is summoned in Prototype. And I want to see how he and Medusa and her variants (we know from game files that Gorgon hates him) interact. One person’s dislike for him because of their own biases removes the possibility of growth and deeper deconstruction of Medusa.

I’m going to end this by reminding you all about why Perseus goes on his mission in the first place. For his mother. I refuse to believe that if, by chance, Perseus was Shinji’s servant, the two of them would have been best friends. Rather, he would have taken one look at what was happening and be hit with deja-vu.

Anyways Perseus better show up in Lostbelt.

Thank you for reading! Please come talk to me about fate I’m bored and lonely.

If you would like to read the Prototype notes, you can do so here. If you would like to watch Medusa explain her backstory and thus the story of Perseus, you can do so here. Thanks have a nice day.

#pollux discusses greek myth #pollyux writes #if you would like JUSt the fate meta you can go to 'what fate did'#/dabs #fate/prototype #perseus #medusa #fate/hollow ataraxia

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barryslightningrod · 7 years

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One Dance

Based on this headcanon I wrote about Barry’s Bachelor Party.

“We’re doing this, Bear. And that’s the final word.”

“Excuse me: since when does anyone other than the groom that you’re supposedly celebrating have the final word on anything?”

“Since you asked me to be your Best Man, Genius,” Cisco retorts. “If you don’t like it, think twice before putting that much power in my hands, power that only these Vibe hands could harness,” he taunts, wiggling his fingers.

“It’s not too late to change that decision,” Barry retaliates, still surveying Cisco haughtily as he turns towards his future brother-in-law. “Wally?”

“Yeah, I’d rethink that move,” Wally smirks. “Because if you’re under the impression that I’d turn down an opportunity to see you out of your element at your own Bachelor Party, you don’t know me at all, Bro.” He elbows him for added measure. “And do you REALLY deserve to marry my sister if that’s the case?”

“Come on Wally,” Barry pleads. “I can’t even get drunk. You can’t even get drunk!”

“Uh, I can get drunk,” Cisco interjects with a raised hand.

“And I don’t need alcohol to have fun,” Wally brags.

Barry throw his arms up exasperatedly. “I don’t want a Bachelor Party!” he exclaims. “Seriously, any money for a trip or a bar, club-whatever I would rather save or put towards something special Iris might really want for the wedding-“

“Oh, Iris wants this,” Cisco interrupts, winking at Wally who nods back enthusiastically. “Trust me.”

“Trust us,” Wally adds.

Barry’s eyes narrow at the two of them. “What do you mean…Iris wants this?”

“Well, for starters, I know she definitely wants a wild Bachelorette Party of her own-“

“-and she just wants you to have good time too!” Cisco interrupts, flashing his eyes dangerously at Wally, thinking it best not to plant an image of Iris surrounded by burly male strippers in Barry’s mind, at least not while they were soliciting him.

Barry raises his eyebrows. “Are you kidding me? Iris knows that’s not what I’d consider a good time. I’ve never even set foot in a strip club,” he laughs to himself, rubbing his neck bashfully before snapping back into solemnity. “And I don’t plan to!”

“Woah-who said anything about a strip club?” Cisco disputes.

Wally opens his mouth to object before a glare from Cisco makes him reconsider his words carefully.

“Yeah, you’ve been jumping to all these conclusions without even hearing us out, Bear,” he points out, eventually catching on to Cisco’s scheme. “We just want to take you out.”

“Just the guys,” Cisco chimes in quickly.

“Just for fun.”

“To celebrate you.”

“And your last night of freedom,” Wally concludes with a satisfied grin.

The casual remark backfires, inducing the opposite of its intended reaction in Barry.

“Freedom?!” he mouths in offended disbelief. “I’d marry Iris right now if I could!”

“Yeah, yeah, of course you would,” Cisco reassures Barry, gritting his teeth at Wally as yet a third reprimand. “Look Barry,” he starts, bringing an arm around his shoulder, leaning in. “There’s a new pub in Petersburg that everyone’s raving about. We’ll check it out, eat some burgers, drink some beers, then head back to my place and have a Star Trek marathon. Capiche?”

Barry blinks. “How is that any different from what we always do?”

“Capiche?”

“Alright, alright,” Barry sighs. “Sorry,” he chuckles, clearly more at ease now. “I just couldn’t imagine myself at a strip club…”

“What the hell are we doing at a strip club?!”

“Barry, calm down-“ Wally instructs.

“You outlined exactly what our itinerary was and THIS,” he motions vehemently to the large neon sign that claimed Central City’s finest exotic dancing, “was not a part of it!”

“I know,” Cisco admits.

“You know???” Barry sputters. “How dare you? I was so ready for Star Trek.”

“Barry-“

“I even wore the Starfleet boxers!”

“You did?” Cisco asks, interest suddenly piqued. “Do they fit okay? Wasn’t sure if I got you the right size.”

This time, Wally is the one to chastise Cisco.

“Barry, I know we lied to you,” Wally begins. “But I promise you, you are going to love what’s behind those doors.”

Barry looks between the two of them hysterically.

“Do you-know-who I am?” he barely musters.

“Yes, which is why you need to get your ass inside, RIGHT NOW,” Cisco demands, losing patience by the minute.

“You’ll have to make me,” Barry asserts, crossing his arms.

Wally lazily picks Barry up and in a split second, deposits him indoors.

“Hey, you trained me,” Wally justifies himself in the face of Barry's fury once he’s steadily standing. When he realizes his surroundings however, his rage becomes confusion.

“What-where are we?”

“At your first strip club!” Cisco proclaims, having finally caught up to the Speedsters.

“I know that!” Barry snaps. “But why is no one here but us?”

Wally and Cisco exchange sly smiles.

“Well, not no one…”

A bright light overhead abruptly flashes and turns on, shocking Barry into the realization that he's standing on an elevated platform. Further realization reveals that he's in fact situated on the main centered stage.

"What is going on?" Barry accosts Wally and Cisco only to discover they're no longer in the club. Instinctively, out of vigilant habit, he fears a kidnapping by a meta, braces himself for attack-

“Why so serious, Flash?” a sultry voice echoes through the expanse of the room. "Don't want to celebrate your big day?"

Barry whips around and almost collapses.

Iris struts over to him gracefully in dangerous black pumps. Her chest boasts a black studded corset. Her red pants are sleek, and compliment her striking ruby lips and vivid eye makeup. The ensemble is completed with black leather gloves on her toned arms and a choker that highlights her glorious neck. Long curls cascade down her back as she strides in his direction, and the closer she approaches, the dizzier he feels.

No doubt it's because all his blood has rushed southbound at the sight of her. It wouldn't be the first time he's been enchanted with her to the extent that his dick responds before he does.

He's still awestruck when Iris finally reaches him.

“Regretting your Bachelor Party resistance?" she smirks, cocking her head to one side. The strain at his groin grows tighter and Barry notes that Cisco must have not accounted for potential boners when selecting which size underwear to buy for him.

All thoughts of Cisco and his misshaped wedding gifts vanish however when Iris swiftly seizes his shoulders and pushes him into a chair that seemingly appeared from thin air.

“Iris…what are you doing?” he gulps, though he's grinning up at her eagerly, almost foolish with excitement.

Iris plops down onto his lap easily, which does nothing to help his erection. She brings a hand to fiddle with the hair at the back of his neck. The gesture is gentle, soothing, and Barry closes his eyes, leans into her touch-

He quickly learns any tenderness was a false pretense, because without notice, more sudden than even he can process, Iris grinds her hips against his pelvis in one calculated, commanding move.

Barry hisses, before staring at her wordlessly, stunned at the rapid change of direction.

“Maybe a warning before starting?” he asks weakly, tipping his head back to catch his breath.

“What, you mean besides the outfit and the secluded nightclub?” Iris snickers.

An upbeat, provocative tune plays overhead, and Barry can’t even contemplate how, not when Iris is moving over him in harmony with the beat. She adjusts herself to lift and sink onto his crotch again, this time more slowly, and Barry seethes once more, only this time, with a smile and some upward thrusts of his own.

“So who looks better in red leather?” she teases, sliding up and down leisurely. “You or me?”

“You,” he gasps. “Definitely you.”

She laughs, and takes his wrists in her gloved hands, brings his palms to her chest and rubs them across her breasts, to her abdomen and back above. He fondles her under her guiding hands for some time until giddiness actually flushes Barry’s cheeks.

“I thought this was going to take more effort,” Iris snorts when his avid groping becomes avid kissing. “You’re easy to please.”

“You’re easy to love,” Barry mumbles defensively in-between kisses.

She tugs at Barry’s hair to yank his lips from her collar, which he protests.

“If I were an actual stripper, you wouldn’t be able to do that you know,” she jokes.

“But you’re not,” Barry pouts as she turns her body around to sit on his thighs while leaning her back against his torso, enough to feel his chest with every breath he takes, enough to feel that her position directly over where he’s erect has him heaving softly.

“And to think you’d have missed this,” Iris murmurs smugly. She presses her heels into the stage to seesaw herself across his bulge, bends herself so far back that her spine presses his ribs.

“I’m an idiot,” comes Barry’s labored voice near her ear, which has always been an indicator of how near his peak is.

She reaches for his hands again, leading them back to the bust of her corset. While Barry kneads her breasts from under her own palms, they grind together in a steady rhythm with more and more rigor until Barry exhales forcefully and throbs beneath her.

They remain in their seated, parallel tangle, both of them struggling to catch their breath after exerting themselves, Iris swaying with the movement of Barry’s chest. The music is still audible above them, seemingly more hushed though against the sound of their heavy respiration.

Iris links her fingers with Barry’s absentmindedly. “Better than Star Trek?”

“Way better,” Barry pants behind her.

She twists her head to nuzzle his neck as best as she can from her position and he in turn leans down to kiss her forehead.

“I think you owe Wally and Cisco an apology and a thank you,” Iris muses.

“I think you’re right.”

She giggles, fully turning around now so that she can straddle and properly curl up to him, kicking her heels off in the process. They fall to the stage with a slight clatter. Once her bare ankles dangle on either side of him, his arms come up to hold her close.

“So,” she inquires casually, beaming. “The club. Would you come again?”

Barry smirks. “Only if they always promise Central City’s Finest.”

Author’s notes: Yes, Iris’s outfit is inspired by Candice’s Vulkan photoshoot. And if Linda can gift Iris lingerie before her wedding, Cisco can gift Barry themed boxers.

#westallen #westallen fic #barry x iris #the flash fanfiction #westallen fanfiction #my writing #one dance

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myhahnestopinion · 6 years

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THE AARONS 2017 - BEST TV EPISODE

My consumption of serialized TV seems to be inversely correlated to the amount of bing-watching I do. I love the more complex storylines and engaging characters of serialized TV, but I also like having time to reflect on how each episode works as a piece of the whole. That’s why I designed this award to look at the exemplary singular efforts in TV this year. Here are The Aarons for Best TV Episode:

#10. “The Ricklantis Mix-Up” (Rick and Morty, Season 3, Episode 7)

The promise of Rick and Morty taking their absurd antics to the realm of Atlantis was enticing… but it was not meant to be. Instead, the show flipped the script, transporting us into a trio of trope-blasting adventures with some unexpected, but amazing, dark social satire. In a miniscule fraction of the time and budget, Rick and Morty create a high-concept buddy cop examination of systemic racism far more enjoyable and insightful than Netflix’s Bright could ever have hoped to be, along with a surprisingly affecting coming-of-age tale, and a sublime political thriller. A lot of Rick and Morty episodes had a chance at making this list, but “The Ricklantis Mix-Up” ultimately got it for delivering a holy trinity of the show’s brilliant meta-narratives.

#9. “Stupid Piece of Sh*t” (BoJack Horseman, Season 4, Episode 6)

Since its inception, BoJack Horseman has been a blistering portrayal of the depths of depression, but “Stupid Piece of Sh*t” (Netflix’s censorship there) found a way to be even more cutting than usual by finally giving us a glimpse inside BoJack’s head, narrated by Will Arnet’s haunting voice work. Taking advantage of the cartoon format, the episode’s innovative departure from the show’s traditional animation style brought mental illness to life in painfully real fashion, and made it clear that the show’s honest look at these struggles is indeed a story best told through the animated format. Well, that, and because the episode also delivered plenty of wonderful animal puns and sight gags, as always.

#8. “New York, I Love You” (Master of None, Season 2, Episode 6)

Similar to “The Ricklantis Mix-Up,” a large number of Master of None’s second season could have made this list, including its wonderful send-up of Bicycle Thieves and the touching “Thanksgiving” episode, but “New York, I Love You” stood out for its narrative swerve and its triad of empathetic stories. Departing from our regular cast to follow the stories of unique New Yorkers by way of camera pan, the episode showcased Master of None’s knack for finding compelling stories and wise commentary in the simplest of stories. Stories about the characters that make up the character of New York City may be rote material for TV, but Master of None’s unique viewpoints and celebration of diversity, from a Burundian cab driver to a deaf couple, made it one of 2017’s most powerful and important stories to watch.

#7. “Duet” (The Flash, Season 3, Episode 3)

Like Barry Allen with Singin’ in the Rain, I’m a sucker for a good musical, and The Flash’s celebration of the talented cast of Broadway stars and Glee-alumni amassed by it and its crossover show Supergirl was just way too much fun to not include on this list, despite a confusing direction for the episode’s central villain. The stars were all clearly having a grand time getting to put a superhero spin on a classical musical style, and while the show’s covers of existing song were stirring enough, it’s really the two original numbers that made this episode such a delight, including the tender “Running Home to You” from La La Land’s songwriters, and the clever wit of “Superfriends” from Rachel Bloom of Crazy Ex-Girlfriend fame.

#6. “Chicanery” (Better Call Saul, Season 3, Episode 5)

If Better Call Saul indeed ends up lasting as long as its predecessor, than “Chicanery” will sit as the exact middle of the show, and is appropriately a game-changing episode and the height of emotional drama thus far. The entire show has been building towards watching Jimmy McGill and his estranged brother Chuck going head-to-head in the courtroom, and the resulting conflict was one of the most intense watches of the year. The sharp plotting and rich characterization provided the perfect framework for a show-stopping performance by Michael McKean, whose vitriolic courtroom meltdown was absolutely shattering for viewers. Honestly though, the real reason this episode was guaranteed a spot on this list is because, of course, it also marked the return of Huell to the Breaking Bad world.

#5. “The Law of Non-Contradictions” (Fargo, Season 3, Episode 3)

“The Law of Non-Contradictions” was an outlier in the already peculiar early episodes of Fargo’s third season, moving the location of the show outside of frozen Minnesota for the first time, and transplanting Carrie Coon’s Officer Burgle to sunny California. While the pieces all falling into place in its final moments made Fargo my favorite show of the year, “The Law of Non-Contradictions” is one of my favorite episodes precisely because it doesn’t fit into the show’s larger narrative. Burgle’s investigation of her murdered stepfather’s past as a pulp science-fiction novelist ended up irrelevant to the case at hand, but its examination of the role of stories in our lives and the frequent failures of good intentions, themes that are enhanced by a beautiful animated story within its story, made the episode a key piece of the lingering power of Season 3.

#4. “USS Callister” (Black Mirror, Season 4, Episode 1)

While Black Mirror’s terrifying Twilight Zone-like looks at technological trepidation made it into such an addictive show, it’s the episodes that break this mold that become some of my favorite episodes of television ever. “USS Callister” is the most visual effects heavy episode of the show ever, and, given it also runs at a full 80 minutes, could very well be considered a movie, but, like “San Junipero” before it, the true power of the episode comes from its place within the show’s loose anthology structure. The episode certainly gives a haunting look at the dangers of potential technology through its scathing indictment of the toxic masculinity festering in certain sects of fandoms, given form in Jesse Plemons’ perfect parody of William Shatner’s Kirk. However, what makes it one of 2017’s best episodes is its fulfillment of the intentions of its parody subject, Star Trek, with its thrilling adventure of a diverse crew working in harmony to overcome insurmountable odds.

#3. “Hero or Hate Crime” (Always Sunny, Season 12, Episode 6)

It’s Always Sunny in Philadelphia continues to show it deserves to become television’s longest running live-action sitcom, because every year it manages to put out at least a handful of great new episodes. Season 12 had a couple highlights, including a wickedly fun Always Sunny take on The Wiz, but “Hero or Hate Crime” understands that the greatest moments of the show come from just letting the cast bounce off one another. The gang’s debate over whether Frank’s use of a slur to warn Mac of a danger to his life constitutes as a hate crime is a fantastic source for the show’s riotous and outlandish, though never truly offensive, brand of dark humor. It’s all great fun, but it’s the episode’s unexpectedly moving ending, perhaps the first time Always Sunny can be considered an emotional experience, that cements “Hero or Hate Crime” as one of the finest episodes of the long-running series.

#2. “Dance, Dance, Resolution” (The Good Place, Season 2, Episode 3)

In what I like to consider the unofficial spiritual mascot of the Reboot Already Underway podcast, “Dance, Dance, Resolution” was the most madcap episode of a very madcap sitcom, an episode so intent on tearing down its status quo that watching it made one extremely nervous that the show had pulled yet another bait-and-switch and its finale was going to come unexpectedly in only the third episode of the season. Thankfully, the show didn’t end, finding a way to subvert all expectations yet again at the end of this extraordinary, joke-a-millisecond entry directed by Cabin in the Woods’ Drew Goddard. “Dance, Dance, Resolution” suggested that The Good Place truly does have an eternal source of cleverness to draw from for its twisted afterlife, made even clearer by the lengthy list of unused punny restaurant names that episode writer Megan Amram released on Twitter the following day.

AND THE BEST TV EPISODE OF 2017 IS....

#1. “Cryogenics, Lightning, Last Review” (Review, Season 3, Episode 3)

“Dance, Dance, Resolution” may have been such a clever deconstruction of its show’s premise that it seemed like The Good Place’s finale would come in just the season’s third episode, but Review actually did it. Review is perhaps the most underappreciated show of the decade, and, had the viewership justified it, I’m sure it would have never stopped being entertaining to watch Forrest McNeil’s absurd quest to review everything in life, no matter the cost to his health or personal relationships. While it’s sad to see such an ingenious show end, I couldn’t imagine a more perfect note for Review to go out on, an episode that saw the show’s cringe-inducing absurdism and glorious dark comedy in peak form. The tragedy of Forrest McNeil truly deserves a place alongside the great works of the Greek poets and Shakespeare, a downfall that simply must be experienced in its entirety for yourself. So, I’ll say no more than: I give this episode… all the stars.

NEXT UP: THE 2017 AARON FOR BEST TV PERFORMANCE!

#tv #TheAarons #TheAarons2017 #TheAaronsTV #bestof #bestof2017 #reviewcc #BoJack horseman #the good place #master of none #the flash #better call saul #black mirror #uss callister #always sunny #rick and morty

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topfygad · 5 years

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Gorilla Safari in Africa – Rwanda or Uganda?

There is tiny doubting the wildlife pedigree of the tremendous continent of Africa – humankind has been fascinated by it for hundreds of years. Which is why experiencing a single of two spectacular gorilla safaris will be the most memorable experience you could have whilst paying out a go to to these mysterious shores.

The finest locations to see these spectacular creatures in their all-natural habitat is possibly Rwanda or Uganda – but which of these stunningly attractive and culturally rich countries must you decide on? We’ll hear the case for each individual and then you can come to a decision for yourselves – but first, why do a gorilla safari at all?

Gorilla Safari – What’s in it for Me?

You have received to acknowledge that zoos are very awful areas. Indeed, we can bang on about animal conservation and the very good perform they do, but at the stop of the day, they nevertheless have animals in cages and pens, typically in an ecosystem and climate that is alien to them. The very poor creatures usually search so sad, too but all of that improvements when you see them up close in the wild.

Gorilla safari – an moral way to check out our hairier brothers and sisters

There actually is nothing at all on earth like searching into the soulful eyes of 1 of our closest animal kin (we’re as intently relevant to them as horses are to zebras) as they emerge from their jungle home on a misty early morning in Africa. It’s a breathtaking encounter you’ll in no way ignore, highly effective, humbling and bucket-record deserving. Gorilla trekking is a single of the world’s finest adventures.

Rwanda – What to Assume

A person of the safest nations in Africa to visit, Rwanda is famous for its welcoming, welcoming and hospitable individuals. It is identified as the “land of a thousand hills” blessed with sweeping vistas of rolling mountains, spectacular volcanoes, safe and sound, cosmopolitan towns and, of program, 1 of the final retreats of the mountain gorilla. All this, established inside of photograph-postcard scenery up there with the greatest in Africa.

It is come a pretty extended way given that the dim days of the notorious genocide, and the vacationer field is booming with the governing administration earmarking far more cash to the infrastructure. The state throws its doors open wide to readers, and a Rwanda tourist visa charges just $30 and is legitimate for 30 times – loads of time to encounter a unforgettable silverback gorilla safari.

Rwanda Gorilla Safari

You need to have a gorilla permit in both international locations to go to the primates, and unfortunately, the Rwanda Growth Board has just raised the selling price to $1500 for just just one hour with the animals. Although this is substantially more pricey than Uganda, the aforementioned vacationer infrastructure basically will make it much more accessible to readers. Your funds goes to supporting the conservation initiatives in the region.

What are you on the lookout at?!

You will be trekking in the Volcanoes Countrywide Park which is around 114 kilometers from the funds Kigali. It can take a lot less time to reach the 150 gorillas below than it does in Uganda, and the common of accommodation is much top-quality. The terrain is far more open up, much too, easier to navigate – so you have a significantly greater prospect of spotting the silverbacks with bare minimum exertion.

Here, you can also go to the Dian Fossey Basis and its experts, as the famed US primatologist and conservationist carried out all her analysis below. Look at the celebrated movie Gorillas in the Mist for inspiration.

Uganda – What to Count on

A little, risk-free and culturally rich country, Uganda – the “pearl of Africa” in accordance to Winston Churchill – has a welcoming spring-like local climate, and a colourful and vivid tribe orientated populace talking about 40 various languages. It packs in 10 national parks, every dwelling to an abundance of thrilling flora and fauna – together with just about half the world’s population of mountain gorillas.

Uganda is also residence to Lake Victoria – the biggest system of water on the continent

The landscape is amazing, such as the greatest mountain vary in Africa, the supply of the longest river in the world ( which is the Nile – comprehensive with enough rafting options) and younger, outgoing and optimistic locals who love a leaping nightlife. A one-entry vacationer visa will set you back again $50 – a minor far more high priced than Rwanda – but the gorilla permit is significantly much less expensive.

Uganda Gorilla Safari

As outlined, the major benefit Uganda has is the $600 gorilla permit which puts 900 bucks back in your pocket against Rwanda. Nevertheless, the infrastructure is not as sound, in spite of the actuality that there are far more accommodation choices to fit all budgets. Nonetheless Uganda also features about 480 silverbacks, the premier share of the gorilla inhabitants in the earth.

Uganda offers bountiful safari adventures

You will be seeking for them (correction – obtaining them) in Bwindi Impenetrable National Park, so-identified as for the reason that of its dense vegetation, which can be challenging as it rains greatly and frequently. It’s normally trickier and usually takes for a longer time to get to these gentle giants listed here. Consequently, it is a superior idea to acquire a 3 times gorilla safari in Bwindi. There are a great deal of other alternatives as effectively nevertheless, like other excellent safari circuits, and the likelihood to experience a “gorilla habitation” and shell out four several hours with them for the exact cost as one particular hour in Rwanda.

Finally nevertheless, with much more gorillas spread above 17 groups, Uganda has the edge for viewing larger quantities of these peaceful primates.

Summary

Conclusions, choices. It seems that the best element in choosing which nation does the most effective gorilla safari arrives down to dollars. But in shorter, if that is not an concern, you want a more experienced solution and greater accommodation, then Rwanda is your greatest wager. For a additional various expertise of the place as a full and with budget-friendly pricing, pick out Uganda.

What ever you come to a decision – experience awaits

Regardless of what you relaxation on, expending time exploring these stunning, hospitable nations around the world amidst their unforgettable gorilla populations is a will have to for any person traveling to Africa. Both Rwanda and Uganda have arrive a prolonged way in new decades, leaving turbulent pasts guiding, so treat on your own to a visit to either and see what all the fuss is about.

Or, you could go to the Democratic Republic of Congo instead!

Which place would you pick – Rwanda or Uganda?

This put up was at first revealed in September 2019

from Cheapr Travels https://ift.tt/35oHf0b via https://ift.tt/2NIqXKN

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jbuffyangel · 7 years

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Rebuilt: Arrow 5x22 Review (Missing)

"Missing" was amazing! Emotional and action packed with zinging dialogue.

What struck me most was how full circle it was. "Missing" sets up the heroes versus villains battle that will come to fruition in the finale, but it also kicks off the basic question Oliver must ask: What makes a hero? What makes a villain? Those concepts are not always rigid. In fact, the very essence of hero and villain is fluid.

Oh... and did I mention there's an Olicity reunion scene?

Let's dig in...

Olicity and OTA

The Throwing Star killer is in prison and Oliver Queen's approval ratings are in the 70th percentile. (That's how you know it's TV. If there's a politician in my lifetime with that high of an approval rating I'm just assuming it's the apocalypse.) Seeing both personas, Oliver and the Green Arrow, get the credit each deserves and Oliver being treated for the hero HE IS makes me want to run up mountains and sing songs.

The battle is won. Let’s party.

Quentin wishes Oliver a happy birthday because heart strings.

Source: olivergifs

Did y'all notice the size of that gift? Think about where these men began and where they are now. What I love about Oliver and Quentin is how similar they are. Both men are hard shells, but once you crack it it's nothing but ooey gooey center. Oliver has earned Quentin's respect, trust and forgiveness. Quentin sees Oliver as the honorable man he is and put a motherf*****bow on it. IT MAKES ME FEEL THINGS Y'ALL.

Thea and Oliver take a minute to recap her emotional trajectory. They recall the last time Arrow celebrated a birthday - Thea's 18th birthday. Do you remember? It was a lifetime ago. Thea got a new car, did some Vertigo and crashed it. Good times.

But it led to THIS!!!!!

I miss Roy.

Anyways, Oliver talks about how far Thea has come because he reads my mind. Thea laments that she doesn't think she's come quite far enough. Oh... my sweet honey child. Let the pain go!

I am all ready to give Thea a pep talk, but Oliver "I Am 32 And Emotional Evolved" Queen steps up to the plate.

Source: olivergifs

Tear.

Oliver Queen, you have been through some shit but you have seen the light my dear boy. This is hard earned character growth. Now go get your girl.

Thea wants to take Oliver out for his birthday. QUEEN SIBILINGS FOREVER. Oliver has plans. Oh? You don't say?

"Please say not Susan Williams."

Thea summed up Susan William's entire character arc for me in a single sentence. And did I almost see a shudder come from Oliver? Perhaps it's wishful thinking, but he at least gave a good awkward stammer. In fact, no dear sister, dinner is with Felicity Smoak. You know, the human equivalent of a rainbow, forever light of Oliver Queen's life, future mother of his children and your nieces and nephews. That Felicity Smoak.

As for Susan Williams, come Thea girl, pull up a chair because you have MISSED THINGS. Particularly the glorious break up in which Oliver dumps Susan's ass because, once again, he's not sure he can have a relationship and be the Green Arrow. Meanwhile, Felicity asks him over for dinner and homeboy falls over himself sprinting to the loft, but that's just details. I totally believed him about Susan. It was all concern about safety, balance, blah blah. Nothing to do with the urge to chew his arm off post coitus.

I'm sorry. The snark just flows. I can't stop it.

Thea wants to know if it's a date.

Source: amanitacaplan

She was always with us fandom. Thea never lost faith. Check her pocket. I half expected Thea to hand Oliver Moira's ring, slap him on the back and say, "Go get her big fella." Also, somebody needs to fic this scenario.

Oliver plays it casual. Date? Pfft. What date? It's not a date.

Maybe it's a date. Could it be a date? Dear God, let it be a date. Oliver is praying to the higher power like Are You There God? It's me, Margaret.

Thea doesn't believe him. Nobody believes you Oliver. You lack zero chill with Felicity. The heart eyes run deep my friend. Just embrace it. You can't change.

Of course, it's the surprise party which leads to Oliver putting Curtis on his back. This never gets old. A+ comedic reactions from everyone involved.

Source: sharingmyworld

Oliver blows out the candles on his LORD MESA cake.

Source: legendsofcomics

The shout out to this man, who is an genius and absolute gift to this fandom, is so freaking earned. I cheered. @lordmesa-art brings us all a lot of joy with his artistry. He absolutely needs to be Arrow canon. I love when Arrow goes meta. There's a Green Arrow with the #6 the arrows in the target - a celebration for their Season 6 renewal of course. Take that haters! Don't bitch at me about ratings. Seriously. Enough. The explanation for the 6 is Felicity ordered the cake for a six year old. She thought a Green Arrow cake for a grown man would raise alarm bells. That... makes a lot of sense actually. Our girl is so smart.

So why is Arrow celebrating Oliver Queen's birthday now after all these years? It's not simply because there's a lull in the action. This is about how far Oliver Queen has come, especially in these last few episodes. When Oliver came home he wanted to keep everyone he loved at arm's length. He shut down the very essence of who he is, his humanity, because Oliver believed it was required to protect those he loves, save the city and honor his father. In the end, Oliver discovered the exact opposite was required to be the Green Arrow.

He had to open himself up to family

friendship

and love

to become someone else... something else. That's how he took the darkness used it for light.

It hurt. A lot. Oliver has been to hell and back. He's faced the very worst parts of himself and came out the other side.

Oliver has learned to honor truth over lies, team work over control, love over loneliness and forgiveness over self hatred. These past five years, Oliver has learned how to choose home over the island. He's not just surviving. Oliver Queen is living. I cannot think of a better way to celebrate that evolution than his 32nd birthday. Oliver has been reborn.

Source: legendsofcomics

Everyone takes a moment to talk about what they are going to do with their summer vacations. Television shows are set up exactly like school. Where is the lie? Diggle wants to go fishing with JJ. Curtis wants to go to Florence. And Felicity...

Source: felicitys

The subtle look she shoots Oliver is not so subtle.

If you would like to see a man become a rainbow - this is what it looks like.

As for Oliver, he just wants some socks.

Source: bazingagubicorn

Source: felicitys (I love this gif)

What’s to know people? He's gonna stop at Target, grab some socks and condoms, on the way to a night under the stars with Felicity Smoak. He's a simple man. What else does Oliver need when he has his whole world looking back at him?

Picking up on the sexual tension/feels overload Team Arrow makes themselves scarce. Well, except for Curtis. He pulls up a chair and grabs a bowl of popcorn. This on top of his epic shipper spiral post party.

Source:felicityssoliver

Curtis is me on a deeply spiritual level. Ship it hard my brother.

Diggle, Captain of the Olicity ship, actually wants to make this reunion to happen though so he physically removes Curtis.

Source:oliverdant

And we're here.

Source: legendsofcomics

When Arrow began Season 4 they had every intention of breaking Oliver and Felicity up. The moment Oliver lied about William to Felicity in 4x08 we knew that's where we were headed. However, I always believed Olicity would find their way back to one another. Arrow has been slowly and steadily rebuilding what they broke. It has been a long and hard road, but they are here. We are here.

Find My Way Back by Eric Arjes

One step closer

Closer to the light

No matter where we're going

I'll be by your side

And everything we used to know

Crashed into the great unknown

One step closer

We're gonna be alright

I love how simple this moment is. Love feels like an inertia out of our control, but the truth is, it is a choice. For those wondering how Olicity could ever get back together, it always boiled down to this: once Oliver and Felicity faced their issues, dug deep and dig the work, then all that remains is the simple choice to begin again. Love isn't always marked by a lot of fan fair. Most of the time, it's the quiet moments that define you. The moments when you look into the eyes of the person you love and say yes. Yes to trying again, to forgiveness, to rebuilding what was broken... one step at a time.

Source: amanitacaplan

Oliver came to the loft, dressed in a suit, hoping this was that moment but uncertain if it was. Felicity acknowledges the ruse and team's desire to give them alone time because of it. All of Team Arrow just wants them to have all the babies.

I love how bold Oliver is in this moment. My boy gets his flirt on. He wasn't certain what the dinner meant, if it was about alone time for them, so he just... ASKS. It's so freaking fantastic. There was a time when Oliver would have talked around something like this, or choose not to address it or simply let her go. Not this time. Not ever again.

Oliver stumbles at the word date, his nerves getting the best of him, and I believe he didn't want to put too much pressure on Felicity. However, this is a man who isn't afraid. This is open and honest communication. He doesn't hide what he was hoping dinner meant. Oliver is charging through that door Felicity opened in 5x20.

And Felicity, so sweetly and with a gentle little wink, confirms Oliver's hope because it's her hope too. Felicity says yes to trying again, but slowly. There's no rush to the altar here. She wants to be sure they are solid, so they never break up again. That means taking things slow. A walk under the stars, hand in hand, one step at a time, together.

This exquisite, beautiful, warm and loving light lives in Oliver Queen and Felicity always harnesses it. I often say Oliver Queen is the sun the other characters revolve around. With Felicity's answer, Oliver becomes pure sunshine.

And there it is.

The moment David Ramsey promised at HVFF. The moment Marc confirmed we were building towards in July. A simple, quiet, open, honest, forgiving, and most of all loving, yes. This is how you repair what is broken. This is Olicity rebuilt.

I was so happy with 5x20. It was everything I ever wanted from Oliver and Felicity for the past five years. Whatever came after was always just going to be icing on the cake for me. What I love about this moment is how builds off of everything 5x20 established so perfectly. The moment Oliver celebrates his life with his family, he and Felicity decide to start their lives together again. If I'm being honest, it's satisfying AF. This moment is EARNED y'all.

Cause even underneath the waves

I'll be holding on to you

And even if you slip away

I'll be there to fall into the dark

To chase your heart

No distance could ever tear us apart

There's nothing that I wouldn't do

I'll find my way back to you

Felicity senses Oliver isn't quite at ease and questions him about it.

Oliver immediately leaps to the conclusion that she's talking about them (because that's all he can process right now) and jokes about dating his ex-fiancé.

THIS CUPCAKE. He's so scared to put an official label on it, but he wants to so desperately.

No Oliver, you love sick fool. It's not hypothetical. This is real. Embrace the joy my friend. She came back to you.

I expect the fandom to abuse this gif.

Source: gothsmoak

Oliver learning how to relax while being the Green Arrow is still a skill he has to master (*cough*fivemonthtimejump*cough*)

and I love how Felicity encourages him to chillax - bad socks and all.

So let's talk about the tie loosening. I refuse to see that as anything but Felicity beginning to undress Oliver right then and there. Coupled with night under the stars and eye sex,

Source: olicityloyalty

I feel it's pretty clear where Felicity thinks the next step should be.

Alright, it's pretty clear where I think the next step should be.

I'm not going to argue that Oliver doesn't frequently need his bottle uncorked, but he also has great instincts. These instincts kept him alive for the last ten years, they are almost other worldly. They also make him a pain in the ass too, but overall his instinces are helpful. Oliver knows something is up in his gut. It's no different than feeling a rocket a hair trigger before it explodes or someone sneaking up behind him. But he wanted to believe. Oliver wanted to war to be over, to be happy and just live so he let his guard down. He ignored his gut.

The gun scene was as adorable as I hoped it was,

but I wasn't anticipating yet another emotional reconnecting moment between Oliver and Felicity. Dinah and Curtis are gone and Felicity is rightly concerned about the League of Assassins. They be crazy. So, our girl is ready to hunker down and operate comms remotely. Oliver's response signals just how far he's come and how much he's grown.

Source: oliverxfelicity

Felicity stays put. Right next to him. Exactly where he can see her. Didn't you love the part where Oliver reassures bae that Talia Al Ghul and her LOA flunkies can bring it? Oliver will handle business. Felicity doesn't need to be afraid. He won't let anything happen to her.

Confidence is so sexy in a man.

Oliver knows he needs Felicity by his side if he has any chance of stopping Chase. He's not pushing her away. He's not trying to handle everything on his own. Oliver is admitting he needs Felicity's help. He needs HER.

It seems Oliver isn't the only one looking for a little firmer confirmation on status. Felicity wants to know if Oliver's motivations are simply tactical or is there a little more to it? Girl... you are his lobster. Come on now.

Source: oliverxfelicity

Oliver immediately tells Felicity the truth which is OF COURSE it's not just tactical. Oliver ignored his gut and not only is his team in danger, but so is his son.

Source: klarolicityswan

I love how William is just an open, honest and natural subject for Olicity now. Felicity tries to reassure him, but Oliver rightly corrects her out that while her assurances are appreciated there's no way either of them can know for certain if William is safe. And since Chase is crazy pants, Oliver feels it's highly unlikely that he is. (Gotta trust those parental instincts Oliver. They are seldom wrong.) Essentially, Oliver is telling Felicity that by allowing those he loves out of his sight made them vulnerable to Chase. He will not make that mistake with her. HE. WILL. NEVER. LET. HER. GO. AGAIN. Y'all I am emotional.

Except... then Quentin and Thea are taken. What follows is yet ANOTHER emotional scene not only with Oliver and Felicity, but with Diggle. Oliver finally realizes that Chase is taking away his strength, his team, to leverage his freedom. Oliver wants Diggle and Felicity to get out of town, which is meant with strong opposition particularly by Diggle. John will not abandon Oliver, but Oliver doesn't look at it that way. Chase is slowly picking off Team Arrow one by one. Felicity and John are the only two left and they are the foundation of the team. Oliver operates on instinct, but he fears that instinct is what is putting Diggle and Felicity in danger. Oliver depends on John and Felicity. If Chase threatens them, and he will, Oliver's instinct is to pull Diggle and Felicity close. His instinct was to send Thea, Quentin and William away. His instinct was to allow Curtis, Rene and Dinah to operate business as usual. Every choice, every instinct, Oliver has followed Chase has used against him. So, Oliver is mixing it up. He's going to directly opposite of what his heart tells him to do and send John and Felicity away.

Felicity doesn't want to leave. She's worried about Oliver. So, now it's time for Oliver to reassure her. If he's not worried about her, then he can focus on Chase and finding the others. If Felicity leaves then he'll be safer. This argument proves how well Oliver knows Felicity. She won't put her safety above Oliver's, but she will listen to him if she believes this keeps him safe.

Source: tinaday3w

But even then, neither of them wants to let go. They hold hands like they've done many times before,

as circumstance forces them to separate,

their eyes conveying everything they are feeling in the moment-

that be apart is the last thing either of them wants.

Source: gothsmoak

The problem is, Chase wants Oliver to doubt his instincts. He wants him to rethink everything that feels right. As Diggle and Felicity are driving away from the city, Felicity's instincts tell her they were wrong. They've over thought this. They should have never left him alone. SHE should never have left him.

Felicity's right. She's always right. A LOA flunkie shows up with two swords which leads to a hilarious Delicity moment as they recall their encounter with Isobel Rochev.

Source: westallenolicitygifs

Emily Bett Rickards and David Ramsey's comedic timing is always stellar. I need more. All the time more.

Unfortunately, car versus murderous woman doesn't go exactly like it did with Isobel Rochev. Diggle and Felicity's car crashes and then IT EXPLODES. Not gonna lie, I screamed many screams.

DO NOT DO THAT TO ME MARC GUGGENHEIM. THOSE ARE MY CHILDREN. WE DO NOT BLOW UP DIGGLE AND FELICITY'S CAR. THERE ARE RULES ABOUT THAT SORT OF THING.

But they are totes fine, so I could breathe again. I mean... they aren't ever going to kill these two, but I'll never be okay with the threats of it. Unfortunately, Diggle up against several LOA members isn't a fair fight even with those bowling balls for arms. Diggle and Felicty are taken... and Oliver is left to fight Chase and save everyone he loves alone.

Source: legends-of-today

OR IS HE ALONE?

Malcolm Merlyn

My hatred of Malcolm Merlyn runs deep.

Primarily because Malcolm sees himself as the hero and not the villain. This began over love for Malcolm. He was once a good and loving husband and father. Losing Rebecca shattered the man Merlyn was and he forged himself into someone else... something else. Love beget grief. Grief beget revenge. Revenge beget a lust for power. At every turn, Merlyn has operated in his own self interest, but firmly believed they were righteous and for the greater good. Merlyn unleashes evil and believes it is love. That's the level of sociopath we are dealing with here.

Merlyn is the reason Robert Queen died.

He's the reason Oliver ended up on that island.

He killed Tommy.

He used his OWN DAUGHTER

as the weapon to kill Sara Lance.

Merlyn sent Oliver into a death trap into Season 3 to save his own hide.

He put Thea in Ra's Al Ghul's cross hairs, which is how she wound up on a ventilator.

Merlyn served William up to Damien Darhk like cheese and crackers.

He was an active participate in Laurel's death (I'm not really mad about that though, but let's just add it to the list).

All of these crimes have gone unanswered on Arrow. Essentially unpunished. Sorry folks, a hand doesn't cut it for me. Ha! Cut it. Get it?

There's a reckoning coming Malcolm Merlyn and it is long past time.

We haven't seen much of Malcolm Merlyn this season and I think it was a wise choice. The character, in my mind, is the new LL and has run his course. If they are bringing him back then it needs to be for an intended purpose and Arrow made that purpose wildly clear.

Merlyn has been busy this year though - on Legends of Tomorrow as part of the Legion of Doom. He partnered with Damien Darhk and Eobard Thawne to alternate time and change the world to their liking. However, I was always struck by what that meant for Malcolm. Both Damien and Eobard were after power essentially, but not Merlyn. His altered reality meant Rebecca and Tommy were alive and Thea adored him. He's still Merlyn though - he got revenge on Nyssa Al Ghul by making her life a closeted life in Ohio. Malcolm admitted to Sara however what he was searching for: a clean slate. He wanted all his mistakes, the pain and the death that came with them, jus wiped away. He didn't care if it wasn't real. What Malcolm wanted is redemption without the sacrifice.

So, this redemption arc was kicked off but if you weren't watching Legends then you didn't see it. Except, what does redemption really mean for Malcolm Merlyn? Is it really achievable? Yes, I think redemption is possible for all characters, but the desire has to be there. The willingness to make a sacrifice is what counts. That's why Merlyn's arc on Legends ultimately failed. He wasn't willing to do what is necessary to really make amends.

What is necessary isn't erasing all that he's done. It's facing it. It's making a different choice. Essentially, that's the only difference separating a hero from a villain - choices. It's why it's such a fluid concept. A hero can become the villain as easily as the villain can become the hero. While I doubt I will ever be able to call Malcolm Merlyn a hero, I do believe Arrow is setting him up to make a sacrifice. Which is the essence of heroism and what is required for redemption.

Source: zorro-rita

But first we gots to hash out some issues. Oliver and Merlyn go toe to toe over a lot of things, but first up is William. Oliver is still pretty ticked over Merlyn handing his son over to Damien Darhk. Oliver used his angry voice talking about his son. It felt warm suddenly.

Merlyn's concern is Thea. Malcolm never loved Tommy the way he should have. Tommy was never more important than his revenge. He rejected Tommy in every way. However, Merlyn's arc on Legends finally showed a desire to go back and change that, which we never saw before. Merlyn is prepared to do what is necessary to save his daughter. Even if it means helping his enemy.

And Oliver isn't exactly in a position to refuse his help. I know some may have issues with Oliver teaming up with his enemies like Malcolm Merlyn and Slade Wilson, but I love it. It's incredibly full circle. Oliver has spent years building this family. It's pretty fantastic that to save his family he must work with all the villains who've tried to destroy it over the years.

Oliver and Malcolm have it out giving into Chase's demands. Merlyn is flabbergasted that Chase even needed to take Felicity and Diggle. He felt Thea was sufficient motivation. He's prepared to do whatever is necessary to save his child - a concept Oliver should be more familiar with now that he has William. However, Oliver's concerns run deeper than Chase not holding up his end of the bargain (something Merlyn is an expert it). Once again he worries that his personal connections are making him vulnerable. He has to become something else to protect them and he will never be free of it. Oliver will never be free of the darkness.

And here we go again.

This is an old tune from Oliver Queen. I won't harp on him too much. Chase did manage to take everyone he loves, so I'm not entirely shocked Oliver has a brief moment in which he reverts to form.

Source: dailydcheroes

This might be the single greatest line Merlyn has ever spoken and one of the truest things ever said about Oliver Queen. My precious big dumb oak tree.

Merlyn: Human connections are what keep us human. It is sad that it's a sociopath who is gonna have to point this out to you. You can't live on an island Oliver. You've already tried. You are always going to have people in your life, Oliver. They will always need you. For better or worse. Baggage and all. And if you can't accept that then your past is going to stay your anchor.

Round. Of. Applause.

I hate the bastard, but when he's right he's right. It sounds completely out of character for Merlyn, but does make some sense given his arc on Legends. Merlyn pushed away human connection after Rebecca died and he has FINALLY learned the cost for those sins. If Oliver wants to beat Chase, and Merlyn's goal is to beat Chase in order to save Thea, then both of them have to do things differently - but especially Oliver.

He's tried it the other way before. Oliver tried to go it alone. That "something else" never quite measured up into what was needed until he let people back into his heart. Until he allowed his humanity back in. There will never be a time where Oliver doesn't have people he cares about. He cannot shut off. He cannot isolate himself. He will lose. This much is fact. Nor can he allow the darkness to take the driver's seat. Oliver will lose the part of himself that makes him human - everything Diggle, Felicity, Thea and the team love about him. Then he'll be left alone again. It's a cycle. The only way to break it is to become SOMETHING ELSE. Be different. Embrace his humanity. Hold to those connections. That's how he wins.

And really, nobody knows this better than Malcolm Merlyn because doing the direct opposite is how he lost everything that mattered. Malcolm Merlyn is the one who sent Oliver to the island. So it's fitting that he is finally helping Oliver get off it. All it takes is a different choice and the villain can become a hero.

Even Malcolm Merlyn is rebuilding what he broke, which means... Malcolm Merlyn is going to die. I am absolute on this. They've set it up perfectly, what's more, I believe it needs to happen. Thea is still holding on to the fear that she's a monster - just like her father. What greater gift can Merlyn give Thea than by showing her the monster of her life can choose to do the right thing? Merlyn's death pays the price he's always avoided. It also may be the very thing Thea needs to be free from the past and find hope in herself again.

William

William plays an extremely integral role in "Missing" because, as Oliver explains:

Source: olivergifs

Arrow was never about one thing. It was never just about LL, L*uriver , Olicity or OTA. I think no matter which spectrum of fandom we're on, if we only focus one or two segments of the story then it leaves the potential to miss very important pieces that ultimately feed the segments we care about.

Arrow, at its core, is about family. This story began with a father and a son. We are here because of Robert Queen's sins and because of the love and faith he had in his son. For ten years, Oliver has been struggling with his father's legacy, what his dying wish truly meant and the guilt of Robert's death. Oliver shouldered the weight of Robert's sins while being weighed down by his own.

The next step in Oliver's evolution is to no longer just be the son. He must become the father. The point of the legacy theme is to rebuild what was broken so many years ago. Oliver's mission cannot be only focused on Robert Queen anymore. It has to grow beyond the past and look to the future.

William.

Oliver is right. William is the purest part of him. He retains the innocence Oliver lost all those years ago on the boat. More than anything, Oliver wants his son to keep that innocence. He wants him to be safe and untouched by the darkness both Oliver and Robert have battled. But no matter where William is, he will always be Oliver Queen's son. He will always be Robert Queen's grandson. William will always be part of this family and part of this cycle. If Oliver wants to break it, if he wants to save William from paying for his sins (like Oliver paid for his father's sins), then he has to become someone else.... something else.

Source: olivergifs

This scene is heartbreaking. Stephen Amell makes me feel all the feels.

All Oliver wanted was to keep his boy safe. To make sure William never became like him. Chase took that away. So, now William is the one on the boat. He's trapped in a world he doesn't understand and paying for sins that are not his fault.

Robert tried to stop it. He tried to protect Oliver from his sins. He failed. All Robert could offer Oliver in the end was the chance to survive and to do it better.

This is the another chance to do it differently. To do it better. Maybe the most important chance. Oliver can no longer be mired down in the past.

Source: olivergifs

Adrian Chase is the dark mirror to Oliver. He is what Oliver can become if he never lets the past go. Every step since 5x17 has been Oliver letting go of the pain, guilt, shame and anger. Every moment has prepared Oliver for this battle. For this choice.

Oliver has to hold onto the lessons he's learned, what he knows to be right and allow his humanity to make the calls. Oliver needs William as much as he needs Felicity. As much as he needs Diggle and Thea. This is the love that pushes Oliver past the dark into the light. This is the love that makes Oliver fight for the future. Oliver's love for William makes him a better man and a better hero. A man and hero worthy of Felicity Smoak.

Source: sharingmyworld

It's why Oliver is willing to work with Malcolm Merlyn and Slade Wilson. The past no longer matters. All that matters is his future and he's willing to whatever it takes to protect it. Oliver also knows to win, to truly save his son and everyone he loves, he has to do it differently this time.

Source: olivergifs

I think this flashback actually foreshadows Prometheus' demise. Oliver won't kill him, but I don't think Chase will have the stones to face justice. He'll do what Oliver refused to do. Chase will kill himself.

Bl*ck Sir*n and Quentin Lance

Okaaaay she's back. Truthfully? Pretty minimal scenes. She kidnapped Quentin and Thea. The end.

Although, I do enjoy KC as Bl*ck Sir*n. She plays a good villain. And Paul Blackthorne's reaction to seeing "Laurel" was out of this world. Break me into a thousand pieces sir!

There's certainly an effort to add some layers. BS owes Chase and wants to protect Quentin, so... she kidnaps him?

The promise is Chase won't hurt Lance. Had me a nice chuckle when Lance called her stupid. BS gets to express some "she's not all villain" emotion. BS says it's equally hard on her to see Quentin as it is for Quentin to see her. So... this probably means Quentin is dead on Earth 2. Okie dokie.

Are we headed for a redemption arc? Eh. I don't know. Honestly, the reason Arrow says they brought KC back was because they enjoyed her performance as BS. I know the LL fandom wants Arrow to turn Laurel 2.0 back into Laurel 1.0 but the reason Laurel 1.0 died is because the character ran her course. So, there's no need to retread that old ground. Also, Laurel 2.0 is not Laurel 1.0 so can we just accept reality?

The best thing Arrow has going for them with BS is that she is a villain. This plays to Katie's acting strengths and gives Arrow new ground to explore. I truly don't think they are in any rush to evaporate these positives.

Flashbacks

YAO FEI!!!!! Oh Yao Fei how I missed you. I don't even care that you were a manifestation of Oliver's guilt and urged him to commit suicide. I will take some Yao Fei anyway I can get it.

Imaginary torture. Well, that is one way to go Kovar. I'll give the guy credit. He did have Oliver's number. Emotional pain is far more torturous to Oliver than physical pain. This results in a series of flashbacks to remind us all that the past five years were of the suck for Oliver. Yeah, I didn't really forget that.

I like that Kovar gave Oliver a gun to commit suicide. Oliver killing himself is ultimate defeat and that's what Kovar wants. It's also a very nice callback to Oliver's first few days on the island. This isn't the first time he's considered suicide.

But then Oliver hallucinates Laurel. Well look at that. Flashback Ollie actually remembers Laurel!

Better late than never I guess. They have to connect it with the pilot. Oliver has to give a crap about Laurel again, so Arrow took a break from all the Felicity foreshadowing in the flashbacks. It's fine. We all know where their "love story" goes.

Oliver envisioning Laurel as his hope and salvation, begging him to come home when in reality he gets this when he does come home

basically sums up this hot mess of a television relationship for me.

Those were dark days my friends. Glad they are behind us. Huh. Snark is full on. KC being back might be fun after all.

Stray Thoughts

Lyla has a sister. Huh. Cool. Diggle's reassurance to Oliver (aka US) that Dyla is okay is appreciated.

Kovar nailed the Catholic belief on Purgatory. Wave to me from heaven y'all because that's where I'll be for awhile.

Oliver's attractiveness in his attractive brown leather jacket is very important to me.

Only Josh Segarra can look threatening in that color of yellow.

Quentin Lance trying to process how messed up it is that LL has a doppelganger is so me.

Malcolm hand jokes never get old.

"Not yet but soon." Josh Segarra added another level to the Chase creepy factor - this sounded exactly like John Doe from Seven Deadly Sins. I still have nightmares about that movie.

Source: kendrasaunders

I've missed this goddess.

Call back to Legends of Tomorrow! Ra's told Nyssa where to find Sara because Sara told Ra's to tell Nyssa where to find her. Let that little time loop simmer on ya for a minute. Although, I'm confused. I thought in S2 Nyssa found Sara in a market place starving. I need a Sara Lance/Nyssa Al Ghul flashback episode like yesterday.

Source: sharingmyworld

They all arrived by plane. Interesting. Methinks that Chase is planning on eliminating those means on escape. Perhaps, he expects to leave with Oliver after he destroys everything that matters? I also thought it was a little hint to Oliver of where his loved ones were. Things that make you go hmmmm.

"I'll cover you. Really." CLASSIC

I feel like Curtis should never go anywhere without backup. That should be a team rule.

"I thought you would have tagged your pets by now." Malcolm never stops being a supreme dick. It's one of the few things I enjoy about him.

Didn't you love all the preview clips promoting Bl*ck Si*n's return?

Maybe because there were only two scenes they couldn’t release any clips. Hehehe. I jest.

Disclaimer: Any gifs on the blog are not mine. If you would like a gif removed from my reviews, please message me. 5x22 episode gifs credited.

#arrow #olicity #arrow 5x22 #original team arrow #arrow reviews #arrow spoilers #malcolm merlyn #anti black siren #anti laurel lance #anti lauriver #arrow season 5 #season 5 episode review

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bibliophileiz · 5 years

Text

Celebrating the Life of Asa Fox

Yockey knocks it out of the park with this debut -- ‘Asa Fox’ may be in my top five favorite SPN episodes. Directed by John Badham,featuring one of the best musical montages in the recent seasons before the title card and featuring the always perfect Sam Smith as Mary, Kim Rhodes as Jody and Lisa Berry as Billie, it is criminal that this one only has an 8.5 rating on IMDb. (I mean, Billie’s presence alone makes it at least a 9.)

Anyhoo, let’s dive in.

In this opening scene, we meet baby Asa Fox racing through the woods running from a werewolf. And may I just say I am pissed that we didn’t get an AU Resistance Leader Asa Fox in Season 13 (one of my many disappointments from that plot thread.) Mary is the perfect blend of badass hunter and typical mom (cleaning Asa’s face). Also, her braids are super cute.

“Since the last time we saw you, I killed Hitler.” “Thank you?” Dean is a rom com chick, pass it on. Ellen and Asa were bros, it’s cannon. “We’re going to salt and burn the body tomorrow. I can’t believe I just said that like it’s something normal.” God, Dean is distractingly hot this scene.

How did the Winchesters get into Canada? Are you telling me they have fake passports?!?!

The actress playing Asa’s mom does not get the credit she deserves for this episode.(I looked her up, and she is Laurie Paton. She’s also in The X-Files.)

There should be more episodes that feature a shit ton of hunters getting wasted. “Nobody can take out five Wendigos in a night.” I want that episode. THE BANES TWINS! “She was, like, a good witch. Very Enya. It was the ‘90s.” “What did she teach you?” “Mostly how to seduce men.” Max. Buddy. I need you to give Dean a nudge. In other news, I want the Banes twins to be my best friends.

“It’s not like we’re in the live-till-you’re-90, die-in-your-sleep business.” That line has a lot of weight, especially now going into the final season.

Rollerskating ghouls!!! I want that episode too. Sam and Dean walking in just in time to hear that Asa and Jody banged is so awkward.

Jody fangirling over Mary is still the cutest thing that has ever happened. Mary’s short hair this season is the other cutest thing. Also, unrelated, but I love Sam Smith’s voice. My best friend once described my mom’s voice as sounding like a hug, and while I knew what she meant -- because she’s my mom and I’ve always gotten the same feeling hearing her talk (unless she’s mad) that I get when she gives me a hug, but I didn’t think other people would feel that way -- but that’s how Sam Smith’s voice sounds. Like a hug.

Big Sister Jody coming to Dean’s rescue, as usual.

How come Lorraine heard the name “Mary Winchester” and didn’t immediately assume Mary is Mary Winchester’s daughter who just has the same name? Maybe she just assumes all hunters are childless loners. “You’re the reason my son didn’t become an astronaut.” Also the reason he didn’t become a werewolf, Lorraine, keep up. I do think this scene is wonderful, because as Lorraine says, “Hunting was his whole life. He never married, never had kids--” Mary’s hearing the story of her own sons. And the next scene is the same: Sam telling her Asa chose to be a hunter will later parallel him telling her he chose to be a hunter in “The Raid” (another criminally underrated episode. God, I love Season 12.) “Everywhere I go and everything I do, it just feels wrong.” Maaaaaarrrrryyyyy!!!! When Sam says Mary was still hunting in 1980, after Dean was born and “everyone” thought she had quit, Mary gets this guilty look on her face that is not really explored to its full potential. And I just want to say that in a perfect world where Jeffrey Dean Morgan was able to come back for a length of episodes and could have a fully developed arc (and not the delightful but kind of fan servicy one he had in the 300th) that THIS is the plot I would have wanted -- John being resentful of Mary for keeping her hunting life secret from him and, arguably, putting their sons in danger for it.

You guys, this episode is already so good, and we haven’t even really gotten to the Agatha Christie-style murder spree yet. 8.5 my ass.

Also, Jared Padalecki is killing it this episode. I love his scenes with Sam Smith.

Is the blood dripping on Asa’s forehead supposed to parallel the show’s first scene? I mean, I’m sure it is, but I need some meta writer to explain to me why that is.

And here’s where the plot picks up. Also, we need more crossroads demons in our life. (Where’s my Bela Talbot Crossroads demon???)

“Go away.” “You’re not the boss of me.” Billie and Dean is one of my favorite dynamics in the entire show. “You can huff and puff, but that house is on supernatural lockdown.”

Jael kills both a First Nations girl and then later Marlene and her kid to create angst for Asa. Does it count as fridging if it’s in dialogue? Turning off the water is so smart! I love me some smart villains! I love how Jody immediately takes command of the situation -- before Sam, even. I kind of always wanted her to be like Sam’s lieutenant.

“It’s a one-way ticket.” Billie is like me, and wants to watch the Agatha Cristie-style murder spree, which would be totally ruined if everybody could get out of the house.

Did Jael say, “Elvis has left the building”? That motherfucker ....

This is the first time we see Mary grab an angel blade, which means the angel blade Mary carries the entirety of this season is Asa’s.

Kim Rhodes makes a delightfully evil demon, and seems to have had a blast doing so. “I so hoped you’d kill your mom! Wouldn’t that be a riot?”

(also, my brother’s dog is named bucky, so every time a character says bucky’s name i just get really distracted.)

I like the hunters all saying different parts of the exorcism.

“That sucked.” Poor Jody!

You guys, Bucky sucks. Also, hanging the person you actually killed from a tree so that no one would suspect you actually killed him is like ... so opposite of what the demon-dealing-happy Winchetsters would do in this scenario that they can’t even comprehend how to handle it.

I just realized this ep even has an Agatha Christie-style reveal, with the murderer confessing all at the end after being revealed. (And everyone else’s identities/crimes/motivations being revealed FIRST.)

“I was wrong. Asa did have a family. I’ve even got grandchildren.” Wow, it’s almost like hunters can have families too.

“Mom to mom....” Why, oh why did Jody and Mary not hang out more?? (It’s because those fuckers at the CW cancelled Wayward Sisters before it could get filmed.)

Also, this scene between Billie and Mary is so. good. “She’s not alone.” Dean. Buddy. I love you forever. “Then I guess you’re just going to have to wait.” “Winchesters.” This scene is just *kisses fingers like an Italian chef* “So does this mean you’re coming home?” “Well, not yet, see I’m only contracted for like 10 episodes this season ....”

And scene.

I mean. This episode, man. Everything about it is criminally underrated. It’s not very flashy in terms of mytharc plot, but it contains so much rich worldbuilding, such great writing and acting, and a healthy dose of ominous foreshadowing the likes of which only Yockey can pull off.

Yockey knows the perfect characters to mix and match. (And I think the scenes between Lisa Berry and Jensen Ackles this episode became the inspiration for their even better scene in “Advanced Thanatology.”) This is the only episode we ever get that has Mary AND Jody AND Billie, three of the best characters. He also creates delightful original characters (which we’ll see again with Tasha Banes, Lily Sunder, Noah the eyeball-eating monster). I know this is the casting director, and not Yockey, but each of the actors playing those original characters were on point.

I also am a total fan of the Agatha Christie tropes -- to my knowledge, that had never been done with Supernatural before, but this episode was just the perfect combination of the two.

I can’t think of any major problems with this one, or even really minor ones. (I mean, the scene with Sam and Dean talking about Jody’s sex life is pretty awkward....) Keep ‘em coming, Steve Yockey. I will watch everything you ever write forever.

#iz's one-woman steve yockey watch party #supernatural #celebrating the life of asa fox #seriously one of my favorite episodes #possibly my favorite stand-alone episode of the whole series #right up there with 'heaven can't wait'

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2017 CMA Awards hosted by Brad Paisley & Carrie Underwood

CHRIS STAPLETON, BROTHERS OSBORNE NIGHT’S TOP WINNERS AT “THE 51st ANNUAL CMA AWARDS”

NASHVILLE – “The 51st Annual CMA Awards” walked the line between celebration and commemoration Wednesday night as Garth Brooks won Entertainer of the Year for a record-extending sixth time while Chris Stapleton and Brothers Osborne took home two Awards apiece.

An all-star group that included Kelsea Ballerini, Brooks, Kix Brooks, Eric Church, Ronnie Dunn, Faith Hill, Lady Antebellum, Little Big Town, Reba McEntire, Tim McGraw, Thomas Rhett, Darius Rucker, and Keith Urban struck a chord of togetherness through the ABC Television Network broadcast with an emotional collaboration that began with Church singing “Amazing Grace” a cappella in silhouette, then the rest of the group joining in on Rucker’s uplifting hit “Hold My Hand” from his time as the lead singer of Hootie & The Blowfish.

Dierks Bentley, Eddie Montgomery, and Rascal Flatts honor Troy Gentry during one of many emotional moments Wednesday at “The 51st Annual CMA Awards.” Photo Credit: Donn Jones/CMA

Brothers Osborne performs Wednesday during “The 51st Annual CMA Awards” while also claiming two trophies for Video of the Year and Vocal Duo. Photo Credit: Donn Jones/CMA

Carrie Underwood performs “Softly and Tenderly” in remembrance of industry leaders lost throughout the year and victims of the Las Vegas tragedy Wednesday during “The 51st Annual CMA Awards.” Photo Credit: Donn Jones / CMA

Garth Brooks accepts a record-extending trophy, claiming his sixth CMA Award for Entertainer of the Year Wednesday during “The 51st Annual CMA Awards.” Photo Credit: John Russell/CMA

Chris Stapleton performs “Broken Halos” Wednesday during “The 51st Annual CMA Awards” and claimed two wins – one for Album of the Year and also for Male Vocalist. Photo Credit: John Russell/CMA

Brad Paisley and Carrie Underwood celebrate a decade of co-hosting Wednesday during “The 51st Annual CMA Awards.” Photo Credit: Donn Jones/CMA

Co-host Carrie Underwood then summed up the evening’s mission statement in the opening of her 10th year monologue with Brad Paisley: “Las Vegas. Charlottesville. New York. Sutherland Springs. Historic storms in Texas, Puerto Rico and Florida. The list goes on and on. This has been a year marked by tragedy, impacting countless lives, including so many in our Country Music family. So tonight we’re going to do what families do – come together, pray together, cry together and sing together.”

By the end of the night, fans and members of the industry had done a little of all those things, celebrating the best music of the last year while calling for unity in a nation torn asunder by violence and tragedy, to remembering departed heroes such as Glen Campbell, who lost his fight with Alzheimer’s disease, to Troy Gentry, one half of the duo Montgomery Gentry, taken too soon when his helicopter crashed on the way to a gig. The later was honored with a performance by Dierks Bentley, Rascal Flatts, and surprise guest and bandmate Eddie Montgomery.

In a special candlelit moment, Underwood delivered a show-stopping performance of “Softly and Tenderly,” remembering industry leaders lost this past year and closing by honoring the victims of the Las Vegas tragedy.

But the mood was lifted when, in traditional Brad and Carrie form, they brought levity to their 10th year co-hosting with humorous parodies reflecting current events “Way Down Yonder on the Scaramucci” and “Before He Tweets.” Often the subject of Paisley and Underwood’s jokes, this year Hill and McGraw flipped the script by surprising them with Brad and Carrie Barbies.

Brooks thanked his crew and band after winning the top CMA Awards honor for a sixth time. It marked the third time he’s won Entertainer of the Year back-to-back years – 1991-92, 1997-98 and 2016-17.

“It’s been 30 years,” Brooks said. “Never have I felt more like a part of this industry. It’s weird. We don’t belong to a label or anything, but every label guy in the industry is hugging me out there. It feels like family.”

Urban won the night’s first telecast award, taking Single of the Year for “Blue Ain’t Your Color.” Urban co-produced the song with longtime collaborator Dann Huff and it was mixed by Chris Lord-Alge. “Blue Ain’t Your Color” was the fourth single from Urban’s Ripcord album and stayed atop Billboard’s Hot Country Songs chart for 12 weeks.

Though she wasn’t there, former CMA Entertainer of the Year Taylor Swift was a presence at “The 51st Annual CMA Awards,” winning Single of the Year for “Better Man,” given solely to the song’s writer. Performer Little Big Town accepted the trophy for Swift.

“We’re really grateful that Phillip checked his email one night and that song was in there because he doesn’t always check his email,” LBT member Karen Fairchild said of her quartet-mate Phillip Sweet. “She couldn’t be here tonight with us, but Taylor, wherever you are, thank you for this beautiful song and for loving songs and loving Nashville.”

A clearly emotional Jon Pardi took home New Artist of the Year, one of three nominations he scored in 2017. His breakthrough “Dirt on My Boots” from his second album, California Sunrise, also scored Song of the Year and Single of the Year nominations. Pardi’s hands visibly shook as he held his trophy backstage while meeting with reporters and photographers. On display behind him was a painting of the singer created on the spot by artist David Garibaldi.

Chris Stapleton won his second Album of the Year Award for From a Room: Volume 1, an album captured by producer Dave Cobb at historic RCA Studio A on Music Row, the place where so many classic Nashville records were cut. Stapleton won his first Album of the Year Award for his debut Traveller in 2015.

Little Big Town won its sixth straight Vocal Group of the Year Award on a night that included a moving tribute to Campbell with their touching version of his “Wichita Lineman” that featured an appearance by its writer, the incomparable Jimmy Webb.

“The talent we see in this category alone just humbles us so much,” Sweet said. “We love making music, we love seeing your faces … .”

“And tonight should be about harmony,” Fairchild said. “It should be about what we can do together to change things. Kindness is an attractive quality. We actually could change the way things are going. We just have to step out and be together. And I love Country Music because we’re together and we can change everything because of harmony. We take care of each other.”

Lead nominee Miranda Lambert, who sang a moving version of her song “To Learn Her” during the telecast, took her record-extending seventh Female Vocalist of the Year award. She won the award six straight years before yielding to Underwood in 2016. And Stapleton took Male Vocalist of the year for the third straight year.

“Every one of these guys is the reason I’m up here,” Stapleton said of his fellow nominees. “Luke (Bryan) took me out when nobody even heard of me. Eric (Church) took me out when nobody had even heard of me. Thomas (Rhett) wrote songs with me. Dierks (Bentley) wrote songs with me. Every one of these guys deserves this thing.”

Brothers Osborne’s great day started early when Kelsea Ballerini joined “Good Morning America” host Lara Spencer live Wednesday morning from downtown Nashville to announce the first awards of the day. The brothers took home Video of the Year for “It Ain’t My Fault,” directed by Wes Edwards and Ryan Silver, a sly poke at the politics of the moment, before winning Vocal Duo of the Year for the second straight year.

“If you look at the other names on the ballot, we are the luckiest dudes on the planet,” John Osborne said to reporters at the end of the night.

And Campbell and Willie Nelson took Musical Event of the Year for their duet of “Funny How Time Slips Away” during the morning announcement, a win and a song made even more poignant by Campbell’s death earlier this year.

“Thank you, God, for just blessing our family in so many ways and sustaining us through our journey through Alzheimer’s disease,” said Kim Campbell, Glen Campbell’s widow, who accepted the award during the pre-telecast ceremony with children Ashley and Shannon. “Glen would just be so pleased and proud to be a part of this. … Glen, this is for you, and for everyone who’s dealing with dementia.”

Guitarist Mac McAnally won Musician of the Year for a record-tying ninth time, pulling even with Nashville’s most-venerated musician, Chet Atkins. The award was presented by host LOCASH during the pre-telecast portion of the awards.

“I don’t deserve (to be) in his league at all,” McAnally said of Atkins, whom he met as a child. “I’m happy to be in the same phone book. He’s one of my all-time heroes.”

Closing the show was newly-inducted Hall of Fame Member and 16-time CMA Awards winner Alan Jackson performing a rousing rendition of “Don’t Rock The Jukebox,” joined by co-hosts Paisley and Underwood that had the audience on their feet.

ENTERTAINER OF THE YEAR Garth Brooks – WINNER Luke Bryan Eric Church Chris Stapleton Keith Urban

SINGLE OF THE YEAR (Award goes to Artist, Producer(s), and Mix Engineer(s))

“Better Man” – Little Big Town Producer: Jay Joyce Mix Engineers: Jason Hall, Jay Joyce

“Blue Ain’t Your Color” – Keith Urban -WINNER Producers: Dann Huff, Keith Urban Mix Engineer: Chris Lord-Alge

“Body Like A Back Road” – Sam Hunt Producer: Zach Crowell Mix Engineer: Zach Crowell

“Dirt On My Boots” – Jon Pardi Producers: Bart Butler, Jon Pardi Mix Engineer: Ryan Gore

“Tin Man” – Miranda Lambert Producers: Frank Liddell, Eric Masse, Glenn Worf Mix Engineer: Eric Masse

ALBUM OF THE YEAR (Award goes to Artist and Producer(s))

The Breaker – Little Big Town Producer: Jay Joyce

From A Room: Volume 1 – Chris Stapleton – WINNER Producers: Dave Cobb, Chris Stapleton

Heart Break – Lady Antebellum Producer: busbee

The Nashville Sound – Jason Isbell and the 400 Unit Producer: Dave Cobb

The Weight of These Wings – Miranda Lambert Producers: Frank Liddell, Glenn Worf, Eric Masse

SONG OF THE YEAR (Award goes to Songwriter(s))

“Better Man” – WINNER Songwriter: Taylor Swift

“Blue Ain’t Your Color” Songwriters: Clint Lagerberg, Hillary Lindsey, Steven Lee Olsen

“Body Like A Back Road” Songwriters: Zach Crowell, Sam Hunt, Shane McAnally, Josh Osborne

“Dirt On My Boots” Songwriters: Rhett Akins, Jesse Frasure, Ashley Gorley

“Tin Man” Songwriters: Jack Ingram, Miranda Lambert, Jon Randall

FEMALE VOCALIST OF THE YEAR Kelsea Ballerini Miranda Lambert -WINNER Reba McEntire Maren Morris Carrie Underwood

MALE VOCALIST OF THE YEAR Dierks Bentley Eric Church Thomas Rhett Chris Stapleton – WINNER Keith Urban

VOCAL GROUP OF THE YEAR Lady Antebellum Little Big Town – WINNER Old Dominion Rascal Flatts Zac Brown Band

VOCAL DUO OF THE YEAR Brothers Osborne -WINNER Dan + Shay Florida Georgia Line LOCASH Maddie & Tae

MUSICAL EVENT OF THE YEAR (Award goes to each Artist)

“Craving You” – Thomas Rhett featuring Maren Morris “Funny How Time Slips Away” – Glen Campbell with Willie Nelson – WINNER “Kill A Word” – Eric Church featuring Rhiannon Giddens “Setting the World on Fire” – Kenny Chesney with P!nk “Speak to a Girl” – Tim McGraw & Faith Hill

MUSICIAN OF THE YEAR Jerry Douglas (Dobro) Paul Franklin (Steel Guitar) Dann Huff (Guitar) Mac McAnally (Guitar) – WINNER Derek Wells (Guitar)

MUSIC VIDEO OF THE YEAR (Award goes to Artist and Director(s))

“Better Man” – Little Big Town Directors: Becky Fluke and Reid Long

“Blue Ain’t Your Color” – Keith Urban Director: Carter Smith

“Craving You” – Thomas Rhett featuring Maren Morris Director: TK McKamy

“It Ain’t My Fault” – Brothers Osborne – WINNER Directors: Wes Edwards and Ryan Silver

“Vice” – Miranda Lambert Director: Trey Fanjoy

NEW ARTIST OF THE YEAR Lauren Alaina Luke Combs Old Dominion Jon Pardi – WINNER Brett Young

For more information, visit CMAawards.com.

**SUGGESTED TWEET**: .@GarthBrooks wins sixth Entertainer of the Year Award at 51st Annual #CMAawards! <<link>>

About the CMA Awards: The first “CMA Awards Banquet and Show” was held in 1967. The following year, the CMA Awards was broadcast for the first time – making it the longest running, annual music awards program on network television. The Awards have aired on ABC since 2006. ABC will be the network home of the CMA Awards and CMA’s other two television properties, “CMA Music Festival: Country’s Night to Rock” and “CMA Country Christmas,” through 2021. CMA Awards ballots are tabulated by the professional services organization Deloitte & Touche LLP.

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Keep up to date with the latest CMA news by following us on Twitter at twitter.com/CountryMusic and request to join the CMA Press Facebook group at facebook.com/groups/CMApress.

GARTH BROOKS NAMED ENTERTAINER OF THE YEAR FOR SIXTH TIME CHRIS STAPLETON, BROTHERS OSBORNE NIGHT’S TOP WINNERS AT “THE 51st ANNUAL CMA AWARDS” NASHVILLE – “The 51st Annual CMA Awards” walked the line between celebration and commemoration Wednesday night as…

#51st Annual CMA Awards #Brad Paisley #Brothers Osborne #Carrie Underwood #Chris Stapleton #CMA #CMA Awards #GARTH BROOKS #Keith Urban

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