#remember when they cut this scene from the final episode? I’ll never forgive them | Explore Tumblr Posts and Blogs

thinkingisadangerouspastime · 3 years

Note

hi! i really like your posts and recently i came across some anti kataang arguments and i would like to see your opinion on that (if you want to answer because you must be very tired of answering those lol)

“i remember perfectly aang forcing himself into katara. not only once, but a lot of times. in that talk they were having during the play it was one of the moments aang was intrusive”

“i saw people saying that katara was jealous of aang with that kids in kyoshi island, which she obviously was not. she was annoyed at them”

“kataang had no development. it feels like a ship made out of nowhere”

“aang is completely obsessed with the idea of katara being his. proof is that episode were the guru tells him he has to let go of her and he choses to break the connection. it’s like: look what i did for you, you should stay with me. aang learning to let go would have been a evolution for his character”

“making them stay together in the end just because aang is the protagonist and has to stay with the girl is boring and adds nothing to the plot”

“he spend years after a girl that never felt the same for him”

hi anon! im very flattered you like my posts 🥰💛 and you’re not wrong that sometimes it gets a lil tiring addressing anti kataang arguments, but that’s because 90% of them are the same foolish rhetoric dressed up in a different costume, lol. i finally have some free time, so i’ll take a stab at these for you!

“i remember perfectly aang forcing himself into katara. not only once, but a lot of times. in that talk they were having during the play it was one of the moments aang was intrusive”

not gonna lie, this particular “argument” made me crack up laughing because they “remember perfectly… lots of times” but can only name one instance 😂 like i am on the floor, because trying to get away with that in a formal essay would earn them nothing more than a goose egg. you need evidence to support a claim, which this “claim” has none of. i mean,, when does aang force himself onto katara?? when katara initiates every cheek kiss they share?? when they are mutual participants in several shared hugs?? don’t get me started on DOBS - the Now or Never Kiss that falls under literally requires reciprocation from both parties, lol. but regarding the ever-so-infamous EIP episode they bring up:

This post talks specifically about EIP and the play’s portrayal of Aang and Katara (and how it cannot be used to define their relationship). This post explains the true source of Katara’s conflict in turning down Aang (i.e. the war itself and the risks the war presents for both of them) and why the EIP kiss did not “ruin” Kataang’s relationship. This post explains how the EIP kiss was resolved through narrative parallels. This post explains how the EIP kiss is so often blown out of proportion. This post explains how Aang did not “threaten” Katara in EIP (with some excellent commentary in the notes, too).

the fact of the matter is that yes, aang overstepped a boundary with katara there. no one has ever contested that because to do so would be to disregard canon, and here’s the thing about kataang shippers: we love atla canon. it gave us everything we wanted and more. (imo, that’s what anti kataangers don’t understand.) the EIP episode can be interpreted as a “low point” for many reasons, but the primary “takeaway” is that the play performed was imperialist propaganda that preyed on the gaang’s insecurities and demeaned them (much to the pleasure of the Fire Nation audience), which had negative consequences, one of which was aang kissing katara largely out of desperation. no one has ever excused that! thus, what i think isn’t clicking with anti kataangers is that aang and katara’s miscommunication in EIP is not a representation of their relationship being doomed to fail. aang made a mistake and immediately backed off without question or hesitation. katara has time to make her own decision and chooses to forgive him. doesn’t it strip more of katara’s agency away to conclude that katara could never ever ever forgive her best friend for a single mistake that - comparatively - could have been a whole lot worse?

(im just saying.)

“i saw people saying that katara was jealous of aang with that kids in kyoshi island, which she obviously was not. she was annoyed at them”

honestly, i have a question for whoever came up with this jfksjdasks. okay, yes, she was annoyed. that’s a given based on her exasperated eye rolls and sighs. but why was katara annoyed with them, hmm?

here’s my thing about katara’s feelings in this ep: jealousy and annoyance are not inherently the same, it’s true. a person can be annoyed without being jealous (obviously). as such, there are essentially two possible interpretations that have validity, although one in my opinion has greater weight in canon:

1. yes, it is possible to interpret katara’s annoyance that episode as being solely related to their delays on kyoshi island. one can reasonably argue that katara’s romantic feelings for aang were not as strong so early in the series (it’s only episode 4, after all, although lbr - she was Looking at aang’s tattoos in episode 1 lmao), and therefore the primary reason she was annoyed at the fangirls is because they were one of the causes extending their stay on the island when katara felt they needed to leave. it’s a fair interpretation.

2. a different and stronger interpretation, in my opinion, is that katara’s irritation was a product of both annoyance at their extended stay and jealousy of the fangirls’ obsession with aang. because here’s the thing about jealousy: it doesn’t have to be some extreme, exaggerated emotion/reaction! when katara gets jealous of on ji in book 3, she makes a single comment about aang and on ji dancing together. when aang gets jealous of jet in book 2 (because of sokka’s teasing), he, too, makes a single comment (i.e. that it would be a bad idea for katara to kiss jet). i bring these two moments up because they explicitly demonstrate within atla canon that reactions of jealousy do not have to be dramatique and outrageous, à la zuko throwing ruon-jian across the room in book 3, lmao. jealousy can be simple! kept to oneself! as such, katara’s disgruntled manner in that episode - which, might i add, is largely if not only shown in reaction to aang with the fangirls - can certainly be interpreted as a quieter form of jealousy akin to several other moments within canon.

more than that, however, if the writers did not at all want jealousy to be an interpretation on the table… why on earth would they have bothered to mention jealousy as a possibility? here’s the relevant excerpt from the episode transcript:

Koko: [Stomps her foot in annoyance and puts her hands on her hips, while another girl happily waves at Aang; irritated.] What’s taking you so long, Aangy?

Cut back to Aang and Katara; the former enthusiastically waves back at his awaiting fangirls, while the latter raises an eyebrow at the scene.

Katara: [Slightly mocking.] Aangy…

Aang: [Enthusiastically.] Just a second, Koko!

Katara: [Sarcastic.] “Simple monk,” huh? [Annoyed.] I thought you promised me that this Avatar stuff wouldn’t go to your head.

Aang: It didn’t. You know what I think? You just don’t want to come because you’re jealous.

Katara: [Close-up; angrily.] Jealous? [More high pitched voice.] Of what?

Cut to a broader shot. Aang moves back slightly, when an irritated Katara resumes to ferociously stuff the basket with more fruits.

Aang: Jealous that we’re having so much fun without you.

Katara: [Irritated.] That’s ridiculous.

(sidebar, but can i just say that seeing “ferociously stuff” to describe putting fruits away is arguably the funniest thing i’ve ever read sjkdhsjalks)

to me, this excerpt alone all but proves katara’s irritation is a mixture of annoyance at the girls’ (and aang’s) behavior/their delayed departure and jealousy regarding how the fangirls’ fawn over aang. katara clearly demonstrates frustration at aang’s seeming lack of concern for their time crunch and how he’s letting his status get to his head (and remember, y’all: this is very early book 1 aang, he’s barely begun to truly reconcile what it means to be the avatar and the last airbender, which is understandable and a-okay! can’t have growth if he doesn’t start somewhere!). that checks out. but next thing you know, katara’s reaction proceeds to dramatically heighten when aang teases the idea of jealousy to her. again: why include this moment if jealousy was never on the table whatsoever as an interpretation for her feelings of irritation? why make katara’s response intensify so strongly if she’s not jealous even a little bit?

in sum, while i don’t think katara’s aggravation is solely fueled by jealousy, the episode itself points to jealousy as at least a part of it. simple!

“kataang had no development. it feels like a ship made out of nowhere”

this take screams willful ignorance, like did they even watch the whole show?? it’s not worth addressing over and over, ngl.

This post and this post explain how Katara’s feelings for Aang develop throughout the series. This post explains how Aang consistently supported Katara throughout the series. This post demonstrates how Kataang is literally ingrained in every episode.

“aang is completely obsessed with the idea of katara being his. proof is that episode were [sic] the guru tells him he has to let go of her and he choses [sic] to break the connection. it’s like: look what i did for you, you should stay with me. aang learning to let go would have been a evolution for his character”

“completely obsessed” h e l p i weep for the lack of brain cells 😭 it is so hard to just say “kataang isn’t my cup of tea” and go?? seriously?? i thought we were past making stuff up to support shipping agendas. lord help us. real quick:

This post explains how Aang never acted like he was “entitled” to Katara’s affections. This post explains how Katara and Aang do not “idolize” each other. This post and this post talk about Aang’s chakra being blocked and unblocked, and how it had to do with fear, not attachment. This post talks about Aang and the Avatar State, explicitly discussing “The Crossroads of Destiny” and the notion of attachment/letting Katara go.

okay, let’s take this claim one sentence at a time:

“the guru tells him [aang] he has to let go of her [katara] and he choses [sic] to break the connection.”

first of all. FIRST OF ALL. can you imagine the hellfire that would have rained down if aang hadn’t chosen to go rescue katara? here is a piece of the episode transcript:

… Right before he is able to completely open the final chakra and master the Avatar State, however, he hears a shriek from Katara and sees a vision of her in chains. At this, he jumps out of the energy sphere and runs away from the Avatar Spirit. The energy bridge that leads him there slowly vanishes behind him until it catches up and falls from underneath him, causing his image to plummet toward Earth. This cuts his connection to the Avatar State, which forces him back to reality.

Aang: Katara’s in danger! I have to go! [Prepares to exit.]

Pathik: No, Aang! By choosing attachment, you have locked the chakra! If you leave now, you won’t be able to go into the Avatar State at all!

Aang hesitates but leaves anyway, leaving Pathik concerned and disappointed.

aang chose to leave because katara was in danger. if he had chosen to stay,, dear god. the vitriol that would have been thrown around. “aang doesn’t really love katara! he chose not to save her!” “aang is so selfish and greedy! he chose power over love!” it’s literally a catch-22. damned if he does leave, damned if he doesn’t leave. #fandomlogic

anyways, yes, sure, aang chose to leave, which at the time broke the connection. he was indeed in avatar state limbo for a Hot Minute. whoop de do.

“it’s like: look what i did for you, you should stay with me.”

logical fallacy: ad hominem, hasty generalization, ∴ not worth our time 💛

“aang learning to let go would have been a [sic] evolution for his character”

i have amazing news for those who perpetuate this take. aang did let her go! he would not have been able to enter the avatar state in COD if he hadn’t! point blank, it is utterly untrue to pretend aang did not “let go” of his attachment to katara. now, im not going to get into the concept of “attachment” here and what it truly meant for aang to have “let katara go” in the book 2 finale (if it was good, bad, etc. etc.). there is a lot of material to work with there that would require like,, an entire post to dig into, if not more. the fact of the matter is that aang did let katara go, and the proof is that he successfully entered the avatar state before azula killed him. the above claim thus sits in complete contradiction to canon and is a moot point.

“making them stay together in the end just because aang is the protagonist and has to stay with the girl is boring and adds nothing to the plot”

“making them stay together” again, is it so hard for someone to just say “kataang isn’t my thing, im gonna stick to fanon pairings, but y’all have fun” i mean that really, really does not seem so difficult to me! also, “making” is a hilarious word to use just because,, atla is a work of fiction. in that respect, the writers “made” everything happen. you cannot escape their sphere of control.

anyways. that’s just funny to me lmao

but no, aang and katara did not get together in a romantic fashion just because aang was the lead male protagonist and katara was the lead female protagonist. i refer back to these posts from earlier:

aang and katara got together because their relationship had been developed since episode 1, duh. reducing their relationship to “lead guy + lead girl” completely disregards the legwork done and the foundation laid for their romantic partnership. like, all someone has to do is rewatch the show 😂 and i hate to break it to whoever created that take, but to say kataang “adds nothing to the plot” again ignores how their relationship is one of the two most important in the show (the other being aang and zuko’s relationship as narrative foils). it is not a cheap coincidence that kataang embodies multiple complementary themes/motifs of atla: push and pull, yin and yang, air and water, oma and shu, etc. etc. their relationship adds emotional depth! how is that not relevant to the plot! atla is a show where just about every relationship is important in some regard (this post touches upon how aang alone transforms all of his friends - think of the bigger picture, then, and how every other dynamic weaves in a crucial thread to create the beautiful tapestry we call atla!).

my point is that kataang is relevant to the plot the way every relationship in atla is, whether or not someone ships/enjoys them. you cannot have a good show without having intimate relationships (emotionally, i mean). can you imagine if someone said zuko and iroh’s relationship wasn’t relevant to the plot?? there is a reason it is such a powerful moment when iroh and zuko reunite in the finale. similarly, there is a reason yue’s sacrifice and sokka’s consequential (and lasting) grief is so poignant. there is a reason it is so heartbreaking when katara and sokka have to leave behind their father at the beginning of tsr. to tie back to kataang, there is a reason it is so hard to watch katara dismiss aang in that same episode. there is a reason so many people are moved when katara pulls aang out of the avatar state when appa is stolen. there is a reason emotional reactions are incited during atla and it is because these relationships are so important!! i don’t care if someone thinks kataang is “boring” - that’s their opinion, they have a right to it. but to insist their relationship wasn’t relevant to the plot? to the story? when in fact it was a key component from episode 1?

are you kidding me?

“he spend years after a girl that never felt the same for him”

“years” lol doesn’t atla take place over the course of a year at most? pretty sure this person didn’t even watch the show 😂 for a third time, i refer to these posts:

i hope i addressed these (nonsensical) arguments to your satisfaction, anon! a lot of them are the same tried-and-failed anti kataang arguments, smh. not to incite new discourse lmao, but it’d be nice if there was at least some variety 😂 thank you again for your kind words, my friend! 💛

#kataang #aang #katara #aanglove #atla #avatar the last airbender #atla analysis #kataangtag #amy answers #anon #amy analyzes

113 notes · View notes

adamarks · 3 years

Text

I’ve slept so little in the past 2 days bc of these fucking books, so you’ll forgive me that I’m crying and a bit hysterical right now. But here’s my hell-forsaken, honest-to-god review. I put it under a cut bc it’s so long.

After finishing Anyway the Wind Blows, I have realized that I’ve been running on such low low levels of hope in my own life.

During Wayward Son, when I first read it, I had really thought I’d been in a good place with my mental health at the time. I’d done some therapy. I’d escaped my dad. I’d slain the dragon! I’d won the war!! Surely, everything was peachy-keen, fine-as-rain, bye-bye silly depression I don’t need you no more!

But then Covid hit. And then my codependency hit. And codependency, it’s like a humdrum of its own, a black hole on the inside, a pit in myself, losing myself in someone else as its own addiction. It just ate me and ate me and I couldn’t eat and I couldn’t sleep and I was the least important thing on the face of the earth. I’d get angry. Then hate myself for getting angry. Shove my feelings in a stupid box, and that would feed that hole in my gut. You’re not important. No one will ever love you. You’re bad. You’re wrong. You hate them. You hate yourself—

And then I had to leave. I had to run away, like a coward, for myself. I had to choose myself in the worst way. I had to choose myself, because I had to live, and I wanted to live, and I needed that crawling, disgusting, horrible rot in my stomach to leave.

The hole isn’t gone, not yet.

It’s still there. I think I’ll always carry it with me. But it’s smaller now. I can hold it and care for it and calm it down in the ways I’ve learned. It’s manageable, I guess.

But then I read Anyway the Wind Blows...

I read Carry On after I started standing up to my dad.

I read Wayward Son about a year after the worst depressive episode of my life.

I read Anyway the Wind Blows when I’d lost hope for myself.

Don’t get me wrong, I’d never lost hope for this book. I knew it’d be amazing. I knew they’d love each other in such beautiful, stunning ways that I’d bawl like a baby. I knew this book would change me. I knew Rainbow was a fantastic author.

I didn’t know how desolate I was feeling about myself.

I didn’t know love could look like that.

I don’t know love. I never got to see it.

Not that I’d never been loved. That I didn’t have people my whole life that cared. I have a lot of people that mistake love for possession. Who want and wanted to own me. Who wanted me under their thumb.

I have friends, just as broken as me, if not more, where we love each other unconditionally. Where the love is so big and so good, it’s like breathing. It’s like life.

I didn’t know romantic love could scrub you clean.

I read their first sex scene. The first time. (Their first!) Last night, and I cried like a baby. I cried until I felt raw. Until I felt just as clean as them.

I didn’t know love with kisses and tangled sheets and sex could feel clean.

I’d been so preoccupied with the stupid hole inside my chest, the black, twisted thing that grew mold up my spine and fungus in my gut, that I didn’t realize that love— that complete vulnerability, on both ends, in its entirety— could help me clean out the muck.

I thought it would always be horrible and dark and difficult until the day you both died. I’d say I believe in love. In true love, even. But I didn’t really, not deep down. I always expected the worst.

I’m still just waiting and anticipating to be hurt.

I thought love was real, but for people besides myself. For others. Maybe people less fucked up, or something. (Or something or something or something)

I thought love was trying until the trying was hurting you, scorching you, making you hungry, making your stomach roll. Making you want to off yourself.

Love is trying, and every day it getting so slightly easier— or not easier, but slightly less frightening, to try. (It’s never easy. Life never is. It’s hard work. But it’s the fact that you understand. That you know. That you believe— that it’s worth it. That remembering that it’s worth it gets easier the more you try.)

Remembering that love is worth it.

You’re worth it.

I didn’t know love could look like this.

No one ever told me.

No one ever tried.

Maybe I could’ve lived my whole life not knowing. Died not knowing. Forced myself through more suffering, completely blind.

I just didn’t know.

And I didn’t know I’d been waiting for someone to show me.

To hold me and tell me, you’re not too broken. You can do that “love” thing. It’s possible. You’re allowed to try.

I’m allowed to try.

I’m allowed to keep going. To want. To need, to feel, to feel—

I’m allowed. I feel like this book gave me permission.

And I’m a different person than I was yesterday— And you always are, every time you’re brave enough to get up and face the day. But now I’ll always be a person that knows I’m allowed to try.

I don’t have to rot from the inside. I can hold someone and say, let’s try to help each other clean. And we can talk. And we can both try. And maybe it’ll be so good, I won’t want to stop trying, and I won’t run away.

Because I’ve finally been told— I’ve finally been shown…

It’s worth it.

#awtwb spoilers #awtwb #rainbow rowell #carry on #wayward son #awtwb review #simon snow #snowbaz #Baz Pitch #mental health tw #mild barely there suicide tw

124 notes · View notes

animepopheart · 3 years

Text

Wonder Egg Priority, Episode 7: The Scars to Prove It (or, Love for the Moms, the Cutters, and the Drunks)

Wonder Egg Priority (WEP) has felt like the successor to Puella Magi Madoka Magica in many ways throughout its run, but in episode seven, it almost went full Madomagi by driving the stakes to their utmost height—to the death of one of the main characters. But as has been consistent with WEP, what it did instead, after some moments of true worry, is to instead deliver hope in the face of pain, resolve against overwhelming circumstances, and strength in weakness.

The series returns to Rika Kawai’s story in this episode, which starts with her turning 14. And on her 14th birthday, after leaving her hungover mother halfway asleep at the bar she works at and which they call home, Rika opens up to the rest of the girls, explaining that she doesn’t know her father (it could be any of five possibilities, or even more) and her mom won’t reveal any further information about him. As she trashes her mom, Neiru and Momoe are incredulous, which only drives Rika away from them. And though Ai goes to comfort her, Rika is in a terrible state of mind as she enters her next fight.

This was a difficult episode to watch. They’ve all been somewhat hard since the series never shies away from brutal and violent situations impacting young people, but I found myself squirming especially here as Rika’s cutting takes center stage. At one point, she decides to cut herself and it seems certain she will, before her turtle-like partner, Mannen, prevents it from happening.

Challenging, also, is how strained Rika’s relationship is with her mother, who’s life revolves around drink—alcohol both pays the bills and helps her forget how miserable her existence is. And in the midst of all the bad behavior in this episode—the usual Rika talk, her mom’s alcoholism and neglect, and the selfishness all around, one begins to feel deeply sorrowful for the Kawai women. Yes, Rika is often obnoxious, but her family life is in shambles, and she still exhibits goodness, including a curiously gentle relationship with Mannen. And Rika’s mother is a tragic figure, used by men and quite on the road to an early death, it would seem, unable to lift herself out of the gutter as she tries, in her own sloppy way, to protect and reach out to her daughter.

It’s in this hopelessness that Rika turns again to cutting, and then finds herself tempted by something even more dangerous. Her foe this time is a religious leader who led the egg, a follower who continues to believe in him, to commit suicide as a way of “connecting” with the universe (Heaven’s Gate, anyone?). Rika decries the ghoul as a charlatan, but is confronted with her own weakness when the egg shows her own scarred arm to Rika, revealing that she can tell that the latter cuts just like she did. And then she explains that Rika can be released from this pain.

The scars, evidence of what Rika does to cope with her pain, now become the weakness that they truly are, revealing how hopeless she feels, and how powerless she is against the mechanizations of her family life. And defeated, she’s about to allow herself to be killed when a surprising savior comes along—a turtle. Mannen attacks the spiritual leader, to Rika’s surprise as well, until she remembers that he has imprinted on her. Rika is Mannen’s mom, and as he did when he prevented her from cutting, Mannen is again protecting his mother.

The conclusion that Rika reaches is unusual but inspiring. She understands, in this moment, the need to protect one’s mom, finally admitting to herself in a de facto way that maybe her mother is in need of love, too. It’s funny to consider the need that mothers have for love since culturally and socially, they’re always seen as the providers of it. But of course, they need it in return, especially when they falter. My own mother is sick right now, and I think of the support I need to give her and the lack of that I’ve provided through the years.

Warning: Screenshot involving cutting after the jump.

My mother was a good one, however. Rika’s, on the other hand, has struggled with the charge, which reminds me of a story from one of my favorite books, The Ragamuffin Gospel, about another bad parent—a far worse one, in fact, and a real one. I’ll quote part of the passage from chapter seven:

“‘Our daughter Debbie wanted a pair of earth shoes for her Christmas present. On the afternoon of December 24, my husband drove her downtown, gave her sixty dollars, and told her to buy the best pair of shoes in the store. That is exactly what she did. When she climbed back into the pickup truck her father was driving, she kissed him on the cheek and told him he was the best daddy in the whole world. Max was preening himself like a peacock and decided to celebrate on the way home. He stopped at the Cork ‘n’ Bottle–that’s a tavern a few miles from our house and told Debbie he would be right out. It was a clear and extremely cold day, about twelve degrees above zero, so Max left the motor running and locked both doors from the outside so no one could get in. It was a little after three in the afternoon and…’

Silence.

‘Yes?’

The sound of heavy breathing crossed the recreation room. Her voice grew faint. She was crying. ‘My husband met some old Army buddies in the tavern. Swept up in euphoria over the reunion, he lost track of time, purpose, and everything else. He came out of the Cork ‘n’ Bottle at midnight . He was drunk. The motor had stopped running and the car windows were frozen shut. Debbie was badly frostbitten on both ears and on her fingers. When we got her to the hospital, the doctors had to operate. They amputated the thumb and forefinger on her right hand. She will be deaf for the rest of her life.'”

Max—a real person, mind you—was a successful, well-liked man, but his drinking problem led to an unconscionable decision and profound failure as a parent. And yet, this book is about grace, an idea which to humans feels unjust, but which has the power to change hearts and tear down walls, sometimes literally.

Could Max be given grace? Could Rika’s mother? If not directly, she’s done her own physical damage to her daughter in the form of those cutting scars (difficult and perhaps triggering images below). As mentioned earlier, the egg that she’s helping knows her pain and insists that letting go of everything, including life itself, is the way to peace. After all, to a young, suffering girl, what else could these scars mean?

But in the midst of giving up, in the moment that she actually capitulates (and this episode takes you 99% to the edge, both in the cutting scene and in the apparent death scene), Rika experiences something powerful. She experiences grace.

Have you ever been challenged to forgive someone when you don’t want to, when you feel completely in the right? Maybe it’s easy for you, but perhaps it isn’t. The girls surrounding Rika experience differing degrees of this with her sometimes maniacal and often hurtful behavior. Ai forgives easily. Momoe gets fired up and then equally seeks to make peace. And Neiru…well, Neiru holds onto “justice” more than love (setting up what I imagine will be the most powerful transformation in the series of all, in true Homura fashion). But in the moment that Rika is about to give her life, the girls yell out their love for her, even Neiru, and then more profoundly, without any hesitation, Mannen puts his own life on the line to stop the death from occurring. Rika has already given up, but this turtle hasn’t—not for his mother, whom he loves very much.

And experiencing that love from a different angle, Rika is changed just a bit. She begins to see her weakness as a “mother,” failing her turtle-child, and thinks of her own mom who is overwhelmed by hurt and a failure as well. And if just a little—for as the final scenes indicate, it is just a little—the path toward forgiveness begins.

But a little bit of grace is like a little bit of a flood—its power overwhelms, and it defeats the enemy, whether that means bitterness, a physical person (or manifestation of one), or the devil himself.

When Rika returns from the event, having killed the cult leader monster, it’s interesting to note that she isn’t a wholly different person. She’s changing little by little. And her scars remain. In fact, as she admits, she probably will cut herself again. But strangely enough, those scars now represent something different. They show someone trying—failing, yes, sometimes considerably and maybe very often—but trying, and only able to try because love was shown her, and through that, she is now able to show love as well.

You may have such scars in your life, physical or emotional, battered by the world and by people. I hope that you can develop relationships that help you heal as well, and that you’ll also remember that there are other scars which are meaningful to you, but which you cannot see on your person, scars that were borne out of a desire to heal you. Christ took the piercings, on his head, hands, feet, and side, so that while your heart and flesh may be cut, your soul need not be. And through his wounds, you may be healed.

The grace offered through Christ is one that, as he explains about everlasting water at the well to the Samaritan, for now and through eternity. The egg seeks peace forever by dying, but Jesus, unlike the cult leader, died for us so that we may not have to. He took the nails, the cross, and the spear so that we don’t have to inflict pain on ourselves and receive the punishment of our actions against him and others. He is our scar.

That’s grace. That’s the power that it has. And it can reach anyone—even a terrible dad, an alcoholic mom, a tempestuous child, and, and most significantly and personally—you.

If you’re suffering and in pain, maybe self-inflicted, we encourage you to explain such to a parent or trusted adult and ask for help. It’s a difficult first step, but one that will help you begin recovering. And we also advise that you turn to Christ for help—in prayer, community, and scripture. He provides people to us that will aid us in our times of need, as well as himself and the Holy Spirit if we are believers.

Additionally, there’s a scene in this episode where triumphant, Rika concludes that cutting is okay. That’s said in the context of her moving forward bit by bit and forgiving herself for her failures, even the upcoming ones. That’s an important lesson, though we must certainly be careful not to let it be a license to continue cutting with impunity.

Wonder Egg Priority can be streamed through Funimation. Read more of our articles by signing up for our weekly newsletter.

#wonder egg priority #rika kawai #wep #pmmm #Christianity #tw cutting #blog

197 notes · View notes

itsclydebitches · 3 years

Text

RWBY Recaps: Volume 8 “The Final Word”

Well, we made it to the finale, everyone, and if you're reading this it seems you've survived the watching of it too. Barely. To say that some questionable choices were made across these 20 minutes is... an understatement.

But before we delve into the episode, I want you to cast your mind back to November 7th, 2020. A horrible year that heralded a horrible RWBY volume. There, coming off the shaky writing of Volume 7, I posed a number of questions and concerns that the show needed to tackle, with the promise that we would return to these expectations in four months time. Now, here we are! Let's refresh everyone's memory, yeah?

Taken directly from that recap, what RWBY promised us, through various teasers and Q&As, included:

Emphasis on Ruby’s leadership and how Summer’s death has impacted her

Insight into Ren and Nora’s flaws

May Merigold will supposedly have a larger part

More information about The Long Memory (Ozpin’s cane)

Theme of the volume is that you can respect someone but that doesn’t necessarily mean you agree with them

Very short timeline (supposedly just two days)

Yang in particular is very suspicious and distrustful

And you know what? They did all this. In the spirit of being fair and honest to this show, RWBY succeeded in delivering on everything they promised... it was just our foolishness that expected that these ideas would be delivered well. Ruby's leadership took center stage in the form of her hiding for multiple episodes and then others telling her she's still The Best before the plot dropped a solution into her lap... one she could have used at any point prior to this. Summer's death certainly has an impact, though it's an impact born of a crazy reveal that Summer likely isn't dead, but turned into a horrifying grimm monster. Ren and Nora both delve into their flaws, but heaven forbid either grow from that reflection. Ren learns that if he pushes past his primary flaw of keeping his emotions buried and actually expresses his doubts for once, he'll be yelled at and ignored until he admits how wrong he was. The "real" flaw is being a bad friend, with "bad friend" equaling "Not agreeing with Ruby 100%." Meanwhile, Nora considers that maybe she shouldn't rush in recklessly and hit things with her hammer... which is why she rushes in recklessly, hits something with her hammer, gets grievously injured, and is told that this is just who she truly is. No growth there, not unless we count her sudden desire to figure out who she is without Ren... but that exploration hasn't started yet. Too bad she wasn't the teammate separated at the end of the volume!

Meanwhile, May did indeed have a larger role to play, one I quite liked, it's just that this role — like all the others — inevitably circled back to realizing how wonderful Ruby is. May challenges Ruby to make a decision, but instead of being the catalyst for Ruby's growth, May becomes another forgotten side character who does a sudden about-turn regarding her perspective, leaving the group with the contradictory message that Ruby is actually doing her best, she's just a kid, no need to try any harder... everyone who claimed otherwise up until now was mistaken. May is another Cordovin. She's another Qrow. She's another Maria.

Fun fact: we don't even know if Maria is alive right now. That's how little she means to the show!

Actually, wait... anyone remember this nonsense from Volume 7?

I was too lazy to change the date.

Moving on, Ozpin's cane turned out to be a stakes obliterating bomb that came out of nowhere, makes no sense logistically — how do battles store energy that only hurts grimm? — yet nevertheless seems to have killed Hazel? It's a disaster of unanswered questions. Similar to the disaster of our two day timeline when, I'm fairly sure, we've had an unnatural number of sunrises and sunsets. I'll have to take a look back at the volume as a whole now that it's complete to be sure of that though. As for our themes... did we really explore the idea of respecting someone even if you disagree with them? Because Ironwood wasn't shown any respect. Ren wasn't shown respect. I think the closest we got was Oscar calmly validating Yang's worry about getting buddy-buddy with Emerald, but the whole point there was that Yang was wrong. She wasn't wrong, but that's what the text would have you believe. She is indeed "very suspicious and distrustful," but that's hardly unjustified in these circumstances. I'm still boggling at the fact that it took the group three volumes for forgive Ozpin, even while he was actively working to assist them, yet I-helped-destroy-Beacon-and-tried-to-kill-everyone-you-love Emerald is the group's new BFF after she... ran away with Oscar? She didn't save him, she just went along for the ride. At the very least we might have gotten a scene where Penny was like, "Hey, why are you all laughing with the woman who just tried to kill my dad?"

But oh yeah, the story doesn't remember Pietro exists either. His daughter is DEAD and he hasn't been on screen since Episode Five, let alone there when she passes.

I had my own list going in, including such expectations as "Ozpin bb you got done dirty please acknowledge this" and "Queer baiting, queer baiting… you’re on thin ice at this point, RWBY. Just skate on over to the queer snack bar before you fall straight into the lake." Obviously these needs were not met.

So what, given this mess of expectations, did we end up with?

Our finale — for some reason — breaks the one word title trend with "The Final Word." It's an expression that refers to the final word in an argument or a discussion, the idea of winning by making a last, devastating point. It can also refer to making the final decision on something, which is the best way I'm able to apply the title to this episode (outside of any “final” comparisons). Penny's death is certainly all about choice and making some kind of decision... but on the whole, this title doesn't feel like it fits well. Not like "Worthy" or "Creation" or "Risk." The two latter titles had obvious connections to the episode in question through dialogue and plot, while the former was a deliberate callback to Watts' speech. "The Final Word" feels... less obvious in what it’s trying to say.

That's a minor nitpick though. Let's get into the meat of the episode.

We open on the grimm whale still disappearing, which is weird. I get that it's massively bigger than any other grimm we've seen, but they all turned to dust near instantaneously and it's been, what? At least an hour since Oscar blew it up? Likely longer when we factor in their walk back to the manor, the fight with Ironwood, fixing Penny, and this entire evacuation. It certainly makes for a nice visual, but like so many details in RWBY, it raises unnecessary questions along the way.

The important bit though is that amidst the whale carcass a blob of evil is swirling about. Salem, obviously.

She’s not reforming in time to actually do anything though, don't worry.

Instead, we cut to the Ironwood vs. Winter fight and there's at least some dialogue this time. Ironwood yells that he's sacrificed everything to keep Remnant safe. Winter yells back that he actually sacrificed everyone else. Obviously, Ironwood should be called out for things like, you know, his unprompted murders, but instead they have Winter listing stuff that she was never shown to have a problem with before. The embargo? "Squeezed Mantle until it broke?" She, as Ironwood's second hand, understood and supported both the decision to close the border and the need to collect resources for a plan designed to take out Salem. I hate that no only did she turn without an ounce of hesitation or grief, but now they're having her act as if Ironwood forced these decisions on everyone, rather than everyone supporting him through them. We all remember Volume 7 when Ruby pressured him to finish Amity, right? And in trust RWBY fashion, most of these words are meaningless. Mantle "broke"? What does that mean? The class disparity did not come about through Ironwood: that's been in the works for generations. The lack of resources made things harder, yes, but when they were reclaimed by Robyn nothing improved. Watts is the one who turned off the heat and Salem attacked Atlas, leaving Mantle alone. Now, all the citizens have escaped through magical portals. So how is Mantle "broken" exactly? More importantly, why is Winter upset over this vague, nonsensical dilemma when she could be yelling about Ironwood wanting to bomb Mantle?

Again: this woman watched Ironwood shoot the councilman, shrugged, and continued to believe in him up until she realized his bomb threat was real. That was one of the main reasons why I thought the councilman might be alive, with Ironwood only shooting a warning shot past him. Because this is how you react to a good person unexpectedly killing someone else

whereas this is what we got from Winter and Harriet.

Hell, Weiss has more of a reaction to Yang telling Ruby things aren't super great right now.

So either Ironwood didn't do something that bad, thereby justifying these tame reactions (unlikely, given where his character ended up), or we should believe based on the animation that everyone was super chill with him killing an unarmed civilian. Which is then directly contradicted when they're like, "You're going to shoot Marrow? Bomb a city?? How could you do such horrible things??? 😲" Friends, buddies, fictional pals... you already watched him murder a dude.

The point is, there's a lot for Winter to be upset about, but she's not upset about that. There's a lot that Winter herself believed in, but the writing has forgotten that. This entire arc went off the rails a volume ago.

Also, why is Ironwood fighting with that giant gun? This is his final battle, presumably ever, and he's wielding this awkward, sluggish weapon we saw him randomly pick up two episodes ago? Let him use his regular guns! Give us a fantastic battle like he had with Watts! Instead, RWBY's final showdown consists of him using this no-name weapon as a unwieldy club in some of the most boring choreography we've seen to date. It doesn't help that this fight needs to share time with three others. Instead of an epic showdown, we're given glimpses of the battle before continually cutting away from it.

During that first cut we return to the Team RWBY battle where Penny, doing her best to stay out of Cinder's reach, is whisked away on Weiss' wasp.

Too bad she didn't do that for Yang...

Jaune and Nora watch this horror unfold until Jaune says, "Priority one!" and they split. Except... what is priority one exactly? Helping the civilians? I guess, because they don't enter the fight until the very end of it, when everyone else seems to have made it to Vacuo. And you know what, I like that. For once it feels like the group — or at least the B Team — is acting like huntsmen, putting the needs of the people over their own, personal desires. I'm sure Nora wants to help the group after Yang's (presumed) demise and that Jaune would like nothing more than to get his hands on Cinder, but they put those grievances aside to do the work they signed up for. Good job!

My only real gripe is that we don't really see this struggling in the animation, I'm just assuming it's there. In particular, there's a moment when Jaune sends Nora through the portal for reinforcements — not knowing they can't return — and they seem a little too jovial when, by this point, three friends have died.

There's letting your cast be supportive, and then there's having them ignore that three teammates have perished in an abyss. It really doesn't help to sell the idea that Yang, Ruby, and Blake are in any danger here.

But I'm getting ahead of myself.

Penny tells Weiss that since Cinder is really just after the Maiden powers, she can buy the rest of the group time to escape. Weiss, obviously, isn't fond of this idea... and then the both of them are blasted off the wasp by Cinder's fire. Which they deserve, frankly. They're just having this casual conversation about sacrifice while in the middle of a battle. Did they somehow forget that Cinder can fly too?

Note that multiple attacks from Cinder, another blast, and a hard landing on the pathway gives their auras a knock, but doesn't break them. The primary defense for Yang's aura shattering in a single, simple hit was that everyone is exhausted and running on little to no power... yet here the rest of the cast is, tanking multiple hits as we've come to expect. There is no explanation for Yang's defeat except that the writers chose to ignore the rules of their world for a dramatic death scene... even though that drama was erased a week later as half our team falls into the void too.

We'll get to that though. For now, Cinder corrects Penny's belief with "I want it all" and proceeds to try to finish them off, only for Blake to arrive, having made her choice from last episode about who to help. It's a legitimately nice attack, but I happened to pause at the bEST MOMENT

Anyway.

We leave that fight to return to Qrow and Harriet who have, off screen, started an entirely different battle. What I mean is, last we saw Qrow had broken through the windshield of the airship, roughly pinned Harriet, and was taunting her about getting the fight she wanted. Now, suddenly, he's going “You’re making a mistake, Harriet, what happened to Clover—” as if he's been trying to talk her down this whole time. It's jarring, especially when we consider that Qrow had a volume long "kill Ironwood" arc that was dropped because... Robyn reminded him that murder is bad? RWBY feels like a storytelling pinball machine. Characters bounce from one personality to the next, one perspective and another, round and round until you don't know where they'll end up.

Harriet screams for Qrow to just shut up already and honestly? Same. I love Qrow, he's one of my favorites, but I can't deny that he's been done dirty like so many others since Volume 6. I love who Qrow was, not the mess RWBY has created the last few years.

Time to delve back into fic after recapping!

Sadly though, this strange dialogue wasn't the only "wtf" moment. Harriet is still trying to drop the bomb — which is its own mess of confusing motivations — when Vine and Elm show up on Harriet's ship. Elm begs Harriet not to do this "because you’re our friend!”

Am I glad that they finally acknowledged that the Ace Ops have always been friends? Sure, but why did we spend two volumes claiming otherwise? They were friends, a fantastic team, then Harriet announces that's a lie and we get a bunch of "Team RWBY is superior because they're actually friends" messages. Except this entire time we're still watching the Ace Ops be kind and playful with one another. But they're not friends, the story says. Not friends as they fight these battles. Not friends as they grieve for Clover. Definitely not friends as they react in horror at Ironwood nearly shooting Marrow. No, there's nothing there... until Elm claims there is! Then Harriet reacts in shock. I have friends?

Except Elm was labeled the one "just following orders" by Yang. Elm is the one who shook off Vine after the whale exploded. This isn't the story of one character, Harriet, thinking she was alone and then realizing that people do care for her, this is a story that, seemingly at random, had this group being BFFs or acting like they hated each other — and at each point the visuals are contradicted by the story's message. When they act like friends, we're told they're not friends. When they don't act like friends, we're told they really have been this whole time. I mean, do any of them even care that Marrow teamed up with Qrow and Robyn to take them out five minutes ago? All three were going along with Ironwood's scheme until they were physically stopped, but now Elm is convinced this is a bad decision she needs to talk Harriet down from with the power of friendship?

None of these characters are characters, they're just slapped together reactions based on whatever the plot needs. Who is Elm? I've got no clue. Her personality changes every episode.

Also, love that Qrow moves to stop the bomb from dropping and Harriet screams at him to "Get out of the way!" rather than just... attacking him? She even throws her hands out like she's having a temper tantrum. This feels like schoolyard bickering, not a life or death struggle.

Even though, you know, the audience is aware that the people of Mantle have already been evacuated and Qrow's group is aware that Atlas is falling on top of Mantle as they speak, so... why does the bomb matter? It's going to, what? Destroy the city thirty seconds before Atlas does? Oh no, the horror.

Things then, if you can believe it, get even worse. The bomb is still about to drop, so instead of doing anything to stop it — I mean seriously, we know it takes four people to shoulder the bomb's weight, but you're telling me Qrow and a reformed Harriet can't snag it in a pinch? — Qrow sits there, looks at Clover's pin... and the bomb careens towards the side of the airship instead, stopping.

Because I guess Qrow has good luck now? Or always did and somehow never noticed it? Or his semblance evolved?? Again, we don't know, but it's a bad moment any way you slice it, imo. Qrow has always been defined as the guy with a bad luck semblance and, much like Penny's android struggles, the allure was in watching him overcome those challenges, not having the show erase the challenge entirely. Especially when we don't even understand how it was erased. Qrow just... stops drinking, stops caring for Ironwood, stops wanting to kill Ironwood, stops causing bad luck, I guess. RWBY takes major character traits and flips them off like a light switch, leaving the audience with no emotional tether. We didn't watch Qrow overcome his drinking, or realize he can't bear to kill Ironwood, or discover a way to live life with the horrible hand he was dealt, he just blinks one day and those things are gone. Why? No one is sure. Not even the writers, I'd wager, because otherwise they would have written explanations into the text.

Many in the fandom insist that any basic information provided by the story amounts to "hand holding" when in fact there is a massive difference between the sort of unnecessary exposition that bogs down a tale, and having facts enough for the audience in its entirety to be on the same page about what is actually happening. For example, recently someone argued strongly that the "Penny is human" take is incorrect because Penny isn't human, she has an inhuman body made entirely of aura... yet where in the world does this exist in the story? Ambrosius may have been unsure about what Penny would be prior to removing her robotic parts, but that ambiguity is gone once her body forms, the equivalent of worrying about that gun only for a flag with 'BANG' to appear instead of a bullet. Worrying about something doesn't mean that something actually occurred. Penny appears human, expresses human sentiments, and then, this episode, dies as a human. If it walks like a duck and talks like a duck and succumbs to the mortal peril that all ducks face... it's probably a duck. As I said in a recent ask, I implore the fandom to stop writing RWBY's scripts for them. Or rather, do so in some amazing fanfics. Don't do it on critical posts as a means of insisting that your revision is canon.

So Qrow has good luck now, maybe, but this character change doesn't amount to anything because Watts remotely starts the bomb's countdown.

At least he’s entertaining and competent. We had that for a time.

Back to the main battle, Neo is kicking Ruby's ass. Why? Because there's no consistency in power levels in this show. The ancient woman who hasn't fought in decades dances circles around Neo, highlighting how weak she supposedly is, yet now Neo dances circles around our main character. None of us should expect fights to follow the logic of the world, only what drama the plot wants to stir up. Ruby is eventually knocked down from a hard hit — yet her aura's intact! — and is saved at the last second by Weiss tossing Neo into one of the portals.

Far more of a problem than the power leveling is that Ruby gives no indication here that Neo just murdered her sister. Again, that's what the characters are meant to believe, yet Ruby is as stoic as she would be fighting a bunch of White Fang grunts. If you showed this scene to a RWBY fan on its own and asked, "What do you think happened prior to this?" the answer would be, "Uh... nothing? Ruby is just fighting Neo like she did on the airship in Volume 3." Nothing about this scene — from dialogue to animation — sells the idea that Ruby just lost the person most important to her in the world.

When we do finally mention Yang, it's Weiss who goes, “Come on, we have to do this for Yang” and the delivery is... meh. Honestly, I normally don't pay much attention to the voice acting, but I had a problem with most of Weiss' lines this episode. The "Leave her alone!" during this fight and later a "Get back!" as she attacks Cinder both fell really flat for me. Given the devastation and charged emotion that's supposed to be here, we can't give her anything better than generic cries that, again, she’d throw at any grunt? In that later scene the animation absolutely helps sell Weiss' distress, but the dialogue is common and the delivery has no emotional punch, leaving it feeling like Yang is just hanging out in Vacuo and they promised they'd beat the baddies before catching up with her. No one but Blake is acting like Yang died.

In fact, we see more emotion from Ruby when Weiss shoves her back, taking the brunt of Cinder's blast.

Weiss' aura breaks, not that that's a danger or anything. Everyone falls before they're injured, Winter gets the Maiden powers, Ren barely has to fight. Losing aura in this show used to be a moment of peril, where just last volume Winter was bruised, bleeding, and now needs an assistive device because she had to continue a battle with no aura. Now it's a joke. Aura breaks left and right across the volume with no repercussions attached to that.

We see a bit of the Blake and Penny vs. Cinder fight where Cinder blasts Blake off the edge. Penny rushes after her because at least one character remembered that they can fly.

Ruby, meanwhile, remembers that she can fly when it benefits her. After getting hit down onto a lower level and watching Crescent Rose plummet, she taunts Neo into an attack with a move that's actually quite good. I like the confidence with which Ruby riles her up and I like the strategy of darting behind Neo to knock her off the path instead. “Whatever you wanted, I hope it was worth it."

The only thing I don't like is that this speed and ingenuity had to disappear to justify Yang falling.

Cinder breaks Ruby's aura from behind though, sending her over too and grabbing onto Neo's leg. In an obvious moment born of the trope, it looks as if Cinder is reaching to help Neo, only for her to snag the Relic instead. “You should have never threatened me," she tells Neo and to Ruby: "you should have never been born.”

Love that they erased all that cool growth from last episode! And by "love" I mean "hate." As I said last recap, I'm not going to pretend that Cinder's character isn't riddled with problems, but realizing she was stronger by teaming up with Neo and Watts was one of the best things they've ever done for her. It made Cinder dangerous again and showed Watts' speech having a clear impact. It also made her more entertaining, creating a new dynamic among the three villains. Now though, Cinder is just... Cinder. The same boring, stupid Cinder we've had since Volume 4. She betrays Neo and then later betrays Watts.

So Cinder kicks Neo and Ruby both over the edge because why would we want to make her interesting? Neo falls, but Ruby has friends there to catch her! Unlike Yang. Jk. Weiss’ aura is gone and Blake actually tried both times, so major kudos for her. Using momentum supplied by Penny, she snags Ruby and hooks her weapon into one of the pathways... only for Cinder to cut the ribbon. Both plummet and once again Penny has a more believable reaction to all this, just like she did last week

Speaking of reactions, does anyone else find it weird that Cinder finally succeeded in killing Ruby and... doesn’t seem to care?

No? Just me?

At least we get that good animation with Weiss I was talking about before, even if the dialogue is lacking. I love that she snagged Blake's weapon and uses it to try and take out Cinder, shaking the whole time. Those are some great details.

Back to the bomb, Qrow is trying to escape, but Harriet says there isn't enough time to get out of the blast range. "I've killed us all." Vine has the solution though, using his semblance to wrap up the airship, thus containing the blast when it goes off. His final words are to reassure Elm that he can give his life, "if it means saving all of my friends." Just in case you missed the part about the Ace Ops being super close this whole time. Even though they also weren’t. Trying to eat your cake too, RWBY?

Frankly, I didn't feel much of anything during this scene, not when Vine made the sacrifice, nor when Elm and Harriet look on sadly while Robyn pilots them away (that's her contribution this episode).

All I can say is, good on RWBY for not killing one of the three dark skinned characters, or just murdering the Ace Ops as a whole. What the story is going to do with them though, who knows.

Jaune and Nora have that ‘You can do it!’ moment after three of their friends have presumably been killed. I swear, about 80% of Jaune's scenes do not work tonally and oh boy, things only get worse from here.

First though, I like his entrance. He slams into the fight against Cinder and lines up with Penny and Weiss, who is still dual-wielding her and Blake's weapons. That's an epic shot.

It looks as if they stand a decent chance against Cinder — Weiss' lost aura notwithstanding — except then Cinder's arm starts going crazy and she gleefully announces that Salem has returned.

Working on a time limit now, Cinder unleashes a volley of attacks that Penny steps in to protect the other two from. It's here that Cinder grabs hold with her grimm arm.

It's here that Penny dies. Again.

For the third time.

Friends, I am tired. This moment honestly deserves the most epic of rants, but that, in turn, requires energy. Energy? In this economy? Ha! That's hilarious. Taking this seriously though, the problem here can — as usual — be boiled down to a single question: What was the point?

Penny died in a horrible attack that shook the cast and audience both to their core.

That emotional impact was erased through her resurrection.

The resurrection did not create a new emotional impact for our heroes to grapple with.

Penny is given the Maiden powers, solidifying the fact that she's always been a "real girl."

That lesson was erased when the story decided to make her human for unexplained reasons (because no, she never needed to be human to survive the virus).

Penny then dies, passing the power to Winter... who was set to get the power in the first place.

We have, once again, come full circle. You can take Penny out of the story and nothing changes. Does Ruby lose any lessons or emotional growth? No. Does anyone survive who would have otherwise died? No. Does her getting the powers lead to someone unexpected snagging them upon her death? No. Penny's existence was filler. She was put in the story to take up time and, that done, was removed from the story once again. It's a choice that wouldn't be half as horrible if that filler hadn't done so much damage along the way.

First is the obvious: that Penny didn't deserve this. As a character, she didn't deserve to be brought back just to be killed off again, seemingly without narrative purpose, serving only to draw in viewers who RT knew loved the character. Second, keeping her in the story led to her entire arc unraveling. Initially, Penny died as an android in the world's eyes, but those who actually knew her — Ruby and Pietro — mourned the girl she really was. Now we have this horrible message that being a machine isn't real enough, so she has to die as a human being. It's a disservice to her character and, as an allegory for many minorities, downright insulting to the audience. Third, this offensive 'better to die as a human than live as a robot' message is wrapped up in the claim that Penny finally gets to choose something — “Let me choose this one thing. Trust me” — but she already did that when she chose to take the Maiden powers. We already had the better written version of this last volume!

And the fourth issue...well.

Fourth and fifth are the real kickers. Fourth is that Penny's death was an assisted suicide. She explicitly asks Jaune to kill her so she can ensure she's thinking of the right person when she passes (never mind that her thoughts would probably be on Jaune while this is happening) and that's... pretty horrible. Look, I'm no purist. I like a great deal of dark, gritty stories whose plot exists to make us uncomfortable. That's a valuable emotion that fiction can generate. The problem is not that RWBY is tackling a sensitive topic, but that they aren’t tackling it well. Yes, they put in a content warning and (from what I've heard) a suicide helpline as well, but providing the already necessary resources is not the same thing as writing that kind of scene with respect and care. All of the above tells us that, no matter what RT may have intended, that respect and care weren't communicated to the audience. Like Yang, they didn't even bother to keep Penny's death within the rules of their world. Jaune is right there ready to heal her and Penny says no, there's supposedly not time.

Um... since when?

Jaune's aura boost is instantaneous. The second he amplifies aura is the same second the healing starts and their talk could have been spent saving Penny. There was certainly time to save Weiss in Volume 5. To have a character go, 'Nah, it's too late' when the solution is right there is the ultimate cop-out. Suddenly announcing that the solution will no longer work For Reasons is not a legitimate limitation and it's made doubly insulting that RT didn't simply use the limitations already available to them. Jaune has been running low on aura since the whale. He then expended a great deal of aura boosting Penny to keep the virus in check. Every other ally has had their aura broken in this fight so, there. That's your solution. Have Jaune take a few hard hits from Cinder, his aura breaks, and then when Penny is mortally wounded he no longer has a semblance to heal her. It's that easy! Yet instead they had Penny reject help so that she could ask to die. That's what's offensive here.

Finally, reason number five... why is this moment given to Jaune? That's another easy solution: Jaune has gone through the portal and can't get back to heal Penny. There. Done. But logistics aside, this scene should have gone to any other character. Who is Jaune to Penny? Or Penny to Jaune? No one! They don't have a relationship. I get that the writers didn't want any of the girls at her side because then it would be hard to justify Penny not passing the power to them (which I get: making one team member a Maiden changes the show drastically), but you know who should be there instead of Jaune?

Pietro.

Pietro, who built Penny as a weapon and who was never given the chance to apologize for that. Pietro, who told Ruby he could only rebuild her once more, setting up an expectation that he'd sacrifice himself for his daughter (despite the complicated racial issues that would bring up). Pietro, who watched Penny plummet and has no idea what happened to her, let alone that she's been made into a human girl. Pietro should have been at her side, saying goodbye to his child and helping her complete her last wish.

And it would be so very easy to pull off. All it takes is a single line where Penny remembers that her father exists, asking Ruby to ensure a portal opens up in Amity. There's a quick reunion along the pathways before Cinder attacks. We hear a cry of despair as Penny falls and she looks, seeing her father racing towards her, though she thought he'd already made it out. There, you’re done. We open ourselves up to a lot of attacks whenever we say, "Why didn't RWBY just do ____?" because those who vehemently defend the writing like to go, "Oh, you think you could write RWBY better?" and no, I don't. I struggle with long-form storytelling and massive casts. I don't think I could do justice to the sort of show RWBY wants to be, but I do think I'm a decent enough writer to spot when there are major problems like this. The question of "Why doesn't Penny remember that her beloved dad exists?" and "Why, out of that massive cast, is Jaune the one to do this deed?" are both things that a newbie writer can spot, and a sometimes okay writer can figure out how to fix them both simultaneously. A good writer will start thinking about themes — what might it mean for Pietro to kill the creation he made? — and a great writer will find a way to pull that off without having that insulting, discomforting feeling pop up. At this point, our RWBY crew feels less like new writers making mistakes (because they're not new, not at all), but rather just writers who haven't bothered to learn from their mistakes after eight years. That's a lot harder to watch.

Because putting Jaune here doesn't just mess with RWBY's internal rules (not using his semblance) and it's not just useless in terms of Penny's development (she doesn't know him outside of "dude who boosted my aura for an hour"), but it also falls back into a pattern I thought RWBY had finally broken from: making Jaune the story's emotional center. This is not the JAUNE show. It's the RWBY show. Yet here, once again, we have Jaune in the spotlight. Why, after a whole volume of Ruby avoiding making decisions, does Jaune finally make the hard call? Why, after a scene where Penny asked Ruby to kill her, does Jaune do that deed? Why, after a divisive arc where all the grief for Pyrrha went to Jaune, is Jaune now set to shoulder the grief of Penny? At least Jaune had a relationship with Pyrrha, even if Nora and Ren did too. Yet with Penny he seems to be there solely because the writers can't bear to keep him out of that center spot for long. All of Team JNOR make it through to Vacuo... except Jaune. Jaune falls into the abyss too because, if the show goes this route, we apparently can’t have a volume just about Team RWBY, the main characters. The main characters are separated from the rest of the team and it's Jaune, not Oscar and Ozpin with a connection to the lore, not Nora or Ren whose development now hinges on them learning who they are without the other, it's Jaune who follows the title characters into a new dimension.

The issue is not whether Jaune deserves to grieve over the truly traumatic thing he just did now that he’s done it. He obviously does. The issue is the writers setting up a scenario where Jaune is situated to do that emotional work in the first place.

I like Jaune as a character. I don't like how the writing uses him as a character. RWBY is built on the idea that these four girls are the heroes of this tale, not the expected blond, blue-eyed, sword wielding guy we’ve seen in so many other stories. So why does that guy get the most important scene of the finale? Yes, Jaune had much less screen time this volume than he did in the past, that’s a good thing given the number of important characters RWBY has to balance, but that hasn't erased the problem of him being given significant moments that should be going to title characters. Does Ruby’s team rescue Oscar and take on Salem? No, Jaune's team does. Does Ruby's team save Penny? No, Jaune's semblance keeps her grounded and then holds the virus off. Not everything is a problem — we've also got good choices like having Ruby defeat the Hound and Ruby's team take on Cinder for the majority of the fight — but that doesn't erase that Penny’s death wasn’t something Jaune should have been a part of. Not unless he was going to heal her. Doing better than they have in the past doesn't mean that RT isn't still slipping when it comes to giving him undeserved focus.

They took one of the most controversial characters, controversial because of how much emotional focus he's gotten in the past, and had him help a fan favorite commit suicide while he cried about it, showing more emotion for a near stranger than our title character showed for her sister. This is a character who, up until two or three episodes ago, had no connection to the victim and still has no reason to thematically be the one committing this act. That is why the fandom goes, “The crew loves Jaune and does everything they can to put him in the center of the action.” Ruby, as main character and Penny’s first friend, is the obvious choice here. Pietro, as Penny's father, would be a good choice too. Hell, Nora is a better option given their moment in the Schnee manor this volume. Or Winter given their moments in Volume 7! Have her escape Ironwood, find Penny, receive the powers, and then finish him off. Literally anyone would be better than Jaune, not because Jaune is a bad character, but because Jaune has no emotional stakes here and putting him in a position where he could heal Penny but doesn’t is massively stupid. No one should be surprised that a lot of the fandom is upset about this. It was one hell of a reach to give him this moment and, since Jaune's problem has always been getting too much screen time and emotional nuance compared to our main cast, it's no wonder this act brought up a lot of bad memories. RT fell back into an old pattern after two volumes of improvement and they did so at the worst possible time.

The tl;dr is that Penny's third death is a writing travesty, just like her second. I shouldn't be surprised, given that this is the same volume that tortured a kid and the only thing they did with it was have him blindly trust his torturer... yet I find myself surprised nonetheless. Because Penny had such potential as an android Maiden and, as much as I personally hated it, potential as a former android learning to be human too. But why explore any of that when you can kill her off instead? Again.

As a final, far smaller note about this scene, we have the continuing problem of what purpose Cinder's arm is serving. If everyone recalls, its threat comes primarily from the fact that she can "siphon off" power from other Maidens.

She did it to Penny during the Amity battle and now she does it again, a great deal of green energy absorbed into Cinder. So what's left to give to Winter? Why doesn't Cinder become noticeably stronger with each successful theft? Like so much else in RWBY, we're told it exists without actually seeing the impact of that. Winter isn't a weaker Maiden for having lost power and Cinder isn't a stronger Maiden for having snagged it. It's just.. there, hanging out and looking vaguely menacing, I guess.

Outside of this unnatural not-transfer, we get to see how the power normally passes as Penny meets with Winter in some in-between place. It's a soft, heartfelt scene... with the exception that Winter says, “You were always the real Maiden at heart. I was just the machine. Just following orders."

I don't know how any viewer can doubt that RT now believes machinery = evil. Penny's machine body is magicked away so she can be a real-real girl. Yang announces that the arm she worked hard to make a part of herself is just "extra." The man with half a metal body is made this volume's villain and losing his second arm is, by the authors' own admission, a symbol of his lost humanity. Mercury with two metal legs remains a bad guy while Emerald and Hazel are hastily redeemed. Tyrian with his cybernetic tail is the most devoted crazy of the bunch. Maria, blind and in need of assistive lenses, is so forgotten by the story she was left in the tundra nine episode ago and won't be mentioned again until next volume (if then). Pietro, the guy in the wheelchair, is forgotten too, despite it being his daughter who dies on screen.

Now Winter, also bearing an assistive device, says that she's the real "machine" here and tells Penny, now human, that she was always the "real Maiden." I don't know what happened to make RT do a 180 lately, but the disability rep is no longer what it was.

Penny reassures Winter that she'll always be a part of her and then passes on, for good this time.

The rest of the episode feels lackluster, if I'm being honest. Images of Cinder beating Weiss are intercut with Ironwood beating Winter, getting her to a point where her aura breaks.

But then the powers appear and, as we'd expect, she easily turns the tide.

Gorgeous animation there.

But RT once again rewrites earlier scenes by having Ironwood claim that the "destiny" he chose for Winter has finally arrived — isn't that Cinder's MO? — and Winter shoots back that he chose nothing, this was a "gift." Except, it was never about destiny or orders? This was why Weiss' anger in Volume 7 was ridiculous. She acted like Ironwood forced Winter to accept the powers and Winter told her point blank she chose this. Ironwood didn't decide anything, he offered and Winter chose... kind of like how Penny is choosing now. I hate how nearly all of Ironwood's character has been ignored or, during times like this, outright lied about to make him seem super duper evil. He tried to bomb a city! You don't need to make him seem evil anymore, that job is done! Like their sudden change regarding disability, RT now seems to be allergic to nuance. Heaven forbid Ironwood be allowed to have valid points like he did in Volume 3. No, if you've got an antagonist every single thing they've ever said must be twisted into a display of their evilness.

Unless you're Hazel, who Oscar trusts for #reasons. Unless you're Emerald, who the group immediately embraces. Unless you're Cinder, who gets to cry on a rooftop and secures the trust of her allies long enough to betray them again.

But Ironwood? Nah, screw that guy.

Salt aside, the fight is pretty boring. Winter literally just throws up a wall of ice and Ironwood's blast rebounds, taking him out.

Winter flies through the portal and we return to Jaune. His sword is broken by Cinder, so weapons should be quite the problem in Volume 9.

There's a bit of sword vs. sword Maiden battling — this episode really pulled heavily from both Volume 3 and 5's finales — before Cinder gets smart again and attacks Weiss, currently trying to escape with Jaune. Weiss goes right off the edge and Winter isn't able to reach her in time. That's the entirety of Team RWBY, lost to the magical void.

Kudos to Winter's VA and the writing here though. This feels like an appropriate reaction to losing a sister. Screaming, sobbing, falling to her knees and beating the floor... Ruby, take notes.

A roar sounds through all the portals though, the sort of roar a pissed off witch might give. Jaune convinces Winter they need to leave Cinder behind, but before they can escape Cinder... makes a new wish?

Look, it works on all the major fronts. Cinder has the staff, check. We've basically established that Ambrosius can make an unlimited number of things per era, check. We know the previous thing disappears when a new wish is made, check. My only question is the timing. In all honesty, I'll have to re-watch the scene to be sure, but at the time it felt like the portals began disappearing almost the second Cinder left. Did she really have time to summon Ambrosius, deal with his explanatory nonsense, and get him to make a new wish without any fiddly concerns? Sure, fire is just fire, but it still felt like way too much happening too fast off screen.

Either way, the portals are gone and Winter makes it through in time, but Jaune does not. He falls through the void along with Team RWBY. And Neo.

Neo is the only addition I'm looking forward to here.

We get a few shots of our other characters as Winter arrives, saving the day by taking her grief out on the grimm. So glad something came of Ren breaking his aura again! Maybe they'll be more fighting at the beginning of Volume 9? If we see any of this group outside of 9's finale. My worst fear right now is that we'll spend an entire season away from the main action — remember how I said it would be stupid for Team RWBY to go on a side adventure while Salem is attacking the world? — and when they return there will have been some major time skip. Salem has destroyed most of Remnant, only pockets of survivors remain, it's all dark and dystopian... and oh look, every bit of character development happened off screen. How did Nora discover who she is without Ren? She did it while Team RWBY was gone. That merge we've been teasing for five years? That happened while you were gone too and, btw, Ozpin has ceased to exist. So sad, right? Not that anyone will actually mourn. Just take comfort in the fact that his last line was an "Oh no" about Ambrosius and his last major scene was apologizing for how the group treated him. Emerald's redemption? Off screen. Winter's grief? Off screen. Any and every one of these challenging beats to tackle can be waved away with, "We went through that arc while you were lost in the magical realm. Just get to know our new, improved selves now!"

Please, oh writing gods, don't let that happen.

Though I do worry because my last prediction came true.

But we all knew we’d end up here. My current theory? The portal should still be open at the vault. Winter will fight Ironwood, escape through it, and it will close right before he escapes too. He’ll fall with Atlas and everyone will act as if it’s some beautiful, poetic justice for him to perish with the city.

Ironwood didn't make a break for the portal — too busy being unconscious — but we got everything else. Winter left him, he falls with Atlas, and this is some poetic justice, I guess. Really, it's just an undignified death. I'd hoped for a sympathetic kill, something that showed the characters still cared about him even if they knew Ironwood had to be stopped. Baring that, I'd hoped for an epic battle that took him out with style. Instead, no one even bothers to kill him. Ironwood is now beneath the entire cast, not even worth finishing off. Winter casually tosses his blast back at him and leaves. Cinder throws out a "that's checkmate" and leaves. I don't think Salem even looks at him. Ironwood (presumably) dies with no one and nothing, just a casualty of the city Team RWBY made fall. And I say "presumably" because the audience isn't even given the satisfaction of being sure he's passed on. Like Hazel, Ironwood's death is this weird, ambiguous moment that, based on the other character reactions, isn’t meant to be ambiguous. Is he dead? Most likely. Is it possible, based on what we've seen, that he'll pop up two volumes later like

Yes and, memes aside, that sucks. I don't want to be wondering for the next couple years if Ironwood survived and if they'll bring him back just to drag his character through the mud again. Move on.

But no, we don't even get that.

I've spoken at great deal about Ironwood both in these recaps and on my blog more generally. Last week, I said I'd covered it all and there was no need to rehash it all again. I stand by that, so let me just conclude this travesty with a final note: if your bad guy's final moment is using the last of his strength to point a gun at the actual villain of this story, and you don't realize the problem of how this image contrasts everything else the story has insisted about his character? … I just don't know what to do with that.

Oh, actually, final-final note: Ironwood’s semblance is officially a Schrodinger's semblance. It is both canonical and noncanonical simultaneously. Wooo.

Cinder tells Salem she used her wish to "add more flames to the first of Atlas" and we cut to Watts, trapped in a roaring fire, unsuccessfully trying to break his way out. Wow, I hate that too! Next to Tyrian, Watts was our last remaining, entertaining villain. He carried a lot of the last two volumes and, I had hoped, was going to add some bright spots to the coming volumes as well. Apparently not.

Just another waste.

In addition to this casual, second murder of her ally, Cinder successfully convinces Salem that Neo killed Ruby and Ruby used the Lamp's last question, but she's back in her good graces since she snagged the Relics anyway. “You’ve done well, Cinder. Our work here is done" and they leave, blasting off like a less cool Team Rocket as Atlas plummets into Mantle.

Let's spend a second to tally things up then, shall we? What happens if Ruby, instead of throwing a moral fit, says, "You're right and we never should have lied to you, or betrayed you. But we want to help now. You get the Relics and the Maiden to safety in Atlas, if you can, we'll defend the people of Mantle"?

Well, they can still tell the world about Salem and call for help, much more easily now since Ironwood would likely just give them the code rather than them needing to spend an episode stealing it.

The Staff at least may not have ended up in Salem's hands and the group could have actually focused on getting the Lamp back (also solved if they'd been smart and just put it in the vault to begin with).

Mantle would still have been safe because Salem was never interested in Mantle to begin with.

Atlas wouldn't have fallen.

Ironwood wouldn't have died.

Penny wouldn't have died.

Even Vine wouldn't have died!

Our heroes unambiguously made the situation worse. Rather than banding together with their allies to fight the real enemy, Salem, they pushed until they made enemies of Ironwood and the Ace Ops both. Then they asked for help — which a pinch of logic said would never arrive — and twiddled their thumbs waiting for it. When it was clear none would come they...did nothing. They sat around, upset that the people were in danger, but not willing to do anything about it. It's only when one of their own, Penny, is threatened that they kick into high gear, hitting on a solution that they could have posed to Ironwood from the very start if no one liked the fly away plan. Yet instead of taking a few minutes to brainstorm other ideas — doing anything other than denouncing Ironwood to the rest of the group and attacking the Ace Ops — they spent two days sitting around, fixing minor messes they’d helped to create, then rushed through the portal plan, messing up the wish and stranding an entire kingdom in a sandstorm, with only Winter now to protect them from grimm.

Fantastically done, team.

The villains won, yes, but not because the villains were smart and compelling. Watts' hack on Penny and the heat petered out to nothing and Salem... well, she sat around for the whole volume, expending energy only to torture Oscar and try to (unsuccessfully) stop some escapees. Neo and, miraculously, Cinder did the most damage, but only in the final hour, with this "damage" being that our characters fall into a void that we now know looks remarkably like a paradise! Everything bad that happened was a result of our heroes being stupid and stubborn. That's a compelling story to tell... but RT isn't trying to tell it. Our heroes caused so much damage, yet that damage goes unacknowledged — or worse, ignored into silence like with Ren — and everything else is waved away with the magic wand the series claims isn't there. The cold doesn't kill anyone. Oscar has no problems walking off the torture. Nora hops back out of bed. Ruby one-shots the Hound. The civilians lost to the void must have survived too. The entire kingdom successfully makes it to Vacuo... unless you count the massive army we never saw making use of the portals, but who cares about them, right?

The villains won, there was indeed something resembling consequences, but none of it was emotionally satisfying. Not even when the series tries so hard to insist that emotion is there.

Qrow watches Atlas fall, mouthing Ruby and Yang's names, but it's too little, too late. Where was this care for his nieces when he was obsessed with killing Ironwood? When did they care about him? Was it when Ruby shrugged at his arrest, when neither cared that he was missing, or when they were designing an escape plan that didn't include putting a portal where Qrow could reach? RWBY markets itself around the found family-ness of its cast, but they're done a poor job in recent volumes (not others) of convincing me that most of these characters care for one another. We went from Ruby denouncing all adults, to Ruby pulling an Ozpin with Ironwood, to Ruby watching blandly as her sister falls to her presumed death. This is my hero? This is the simple soul we're supposed to rally behind? Ruby doesn't feel like a character who cares about other people anymore and, given that she leads the charge, neither do most of her friends. Or, when that emotion appears, it's jarring and undeserved. Jaune cries over Penny's death? That's tonally and characteristically backwards.

This volume was the culmination of so many mistakes over the past two years. No, Covid couldn't have made things any easier for the crew — the fact that they got a volume out at all is amazing — but the pandemic isn't to blame for the problems in the story. These seeds have existed since Volume 5, with some (like Jaune) going back even farther. I don't think we're ever going to get that flawed, but emotionally fulfilling RWBY back. The show has dug too deep and unless it somehow manages to create a clean slate — those time travel ideas get more and more alluring! — there's nothing they can do but keep on digging. At this point, I can only hope that the series does wrap up within the next two volumes, rather than dragging RWBY to a Supernatural-esque length.

Our final shot of the episode proper feels fitting for what this volume has been. Atlas and Mantle flood rather than exploding, something that makes a certain amount of sense, sure, but definitely wasn't what I was expecting. And after all these shocking images — Penny dying, the grimm attacking, our main characters disappearing in a puff of gold dust — we end it all with bits of random debris. It's strange and underwhelming. Out of everything you could have done with the options you had, you choose to do this?

Of course, RWBY always has an after-credits scene (RIP Raven's, still amounting to nothing). Here, the sounds of water return to show us a beach. Crescent Rose imbedded in the sand, mirroring its classic pose in the snow.

There's a tree. It's a very different kind of tree from what we saw in Volume 6, but the height and shape is nevertheless reminiscent of Light's domain.

A tree of life, anyone? After all, the group has fallen into a dimension created by a Relic, the gift of Light himself. It certainly seems as if RWBY is heading towards another encounter with the Gods, though what that will look like and how narratively satisfying it will be remains to be seen.

As for our bingo board, RWBY certainly pulled its weight! Only three squares got gold stars: Watts and Jacques didn't manage another team up because both are dead, Oscar didn't apologize for getting shot because he was too busy being tortured, and Qrow didn't drink likely because he didn't have access to any alcohol across the whole volume. Can't say that's a stellar result. The final image is something to behold though lol.

What a mess.

And on that less than exciting note... we’re done. This has been the volume of desertion, with a large number of fans telling me that they will no longer watch RWBY, but baring something entirely unexpected in my future, I'll be back next volume, for whatever that's worth. It never ceases to amaze me that even one person would give these nonsense recaps the time of day, so in all seriousness: thank you for reading. You rock.

Now go forth and fill the hiatus with great RWBY content!

✌️

#suicide tw #rwby #rwby spoilers #rwby volume 8 #mymetas #rwby recaps #rwby the final word

119 notes · View notes

twentiethcenturymoviesandtv · 3 years

Text

Episode Spotlight: M*A*S*H, Season 1, Episode 17: Sometimes You Hear the Bullet

Frank Burns throws his back out and applies for a Purple Heart. Meanwhile, Hawkeye Pierce meets, and later operates on, an old friend and struggles with the decision of whether or not to send an underaged soldier home.

More than halfway through season 1, M*A*S*H wasn’t exactly killing in the ratings. The show wasn’t quite sure of itself yet, with tons of recurring characters that would end up dropped and other characters not yet added to the main cast. Airing at eight o’clock on Sunday nights, M*A*S*H was, at this stage in the game, a relatively normal sitcom, albeit one with a bit sharper sense of humor.

That all changed with Sometimes You Hear the Bullet.

I’ll show you what I mean.

The episode starts humorously enough: Major Frank Burns throws his back out during a rendezvous with Major Houlihan. He is placed into traction, where he applies for a Purple Heart for his ‘injury’. Meanwhile, Hawkeye is visited by an old friend and kindred irreverent spirit: Corporal Tommy Gillis, a journalist who signed up for the front lines as he writes his book: You Never Hear the Bullet, a book meant to be written from a soldier’s point of view, instead of a reporter’s.

A helicopter full of wounded arrive at the unit, and Gillis returns to his post.

Among the wounded is a young man with a burst appendix, a Private Wendell Petersen, who is very anxious to get back to the front lines. Hawkeye tells him that he has to rest for a few days before returning to his unit. This doesn’t stop Wendell from attempting to steal an army jeep to try to get back, afraid that he was going to be sent home.

After talking with him, Hawkeye figures out the truth: Wendell Petersen is actually Walter Peterson, and he’s not even sixteen years old.

It turns out that Walter posed as his brother, Wendell, and entered the war to impress his girlfriend back home by returning with a medal. He begs Hawkeye to keep his secret, and, after returning him to his bed, Hawkeye agrees.

Shortly, more wounded arrive, and among them is Tommy Gillis. Hawkeye operates on him, but even his best is not enough, and he dies on the operating table after telling Hawkeye that he did hear the bullet. Hawkeye tries to revive him, but Colonel Henry Blake orders him to move on to save another life.

Afterwards, Hawkeye breaks down crying.

“Henry, I know why I’m crying now. Tommy was my friend, and I watched him die, and I’m crying. I’ve watched guys die almost every day. Why didn’t I ever cry for them?”

“Because you’re a doctor.”

Hawkeye asks what that means, and Henry answers with one of the greatest lines in the show’s history.

“I don’t know. If I had the answer, I’d be at the Mayo Clinic. Does this place look like the Mayo Clinic? Look, all I know is what they taught me at command school. There are certain rules about a war. And rule number one is young men die. And rule number two is, doctors can’t change rule number one.”

Right then and there, Hawkeye decides to change rule number one in some small way, and calls the MPs on Private Wendell, really Walter, outing the fact that he’s underage. Walter, outraged, tells Hawkeye that he’ll never forgive Hawkeye for the rest of his life.

Hawkeye replies: “Let’s hope it’s a long and healthy hate.”

In one final scene (one that’s usually cut from syndication), Henry Blake begins to present Frank with his Purple Heart, only to find it replaced with a purple earring, while outside, Hawkeye pins the Purple Heart on Walter to make up for turning him in, sending him home, but home a hero.

The end.

Sometimes You Hear the Bullet is considered one of M*A*S*H’s best episodes for a reason. This is an early episode, one that is regarded as a tone and trend setter for the rest of the series in terms of both storyline balance (one or two serious plotlines, one humorous), and content itself, one of the first episodes to sit down and truly explore the characters within this tragic situation. At this moment, M*A*S*H ceased being a comedy show and became a dramedy, with one of the most memorable moments and exchanges in the show’s long history.

While this episode may seem like a standard half-hour of television, at the time, especially for this show, it was something different. It was no longer a slapstick grittier Hogan’s Heroesque irreverent comedy about soldiers, it was a show about a group of people stuck in the middle of a war, with death all around them. And no matter how good Hawkeye, or any of the doctors, are at their jobs, they’ll never be able to save everyone.

It’s sobering, but it’s a truth that the show had, for the first time, truly explored, and it’s that initial exploration, that glimmer of what this show was going to become, that puts this episode under so much recognition: Sometimes You Hear the Bullet was the warning sign, the first moment that the writers got a handle on the show that would become a classic.

Of course, it has it’s problems.

Not tonal ones, at least, not exactly. Throughout its entire run, M*A*S*H often had two or three plots going, one serious, one humorous. This is a smart strategy: balance out the dark with the light, giving each episode a more even feeling instead of being too much one or the other. Although the show would get darker and more serious as time went on, the writers never abandoned this plan, allowing M*A*S*H to remain a consistent dramedy throughout the show’s run, keeping the audience laughing and crying at the same time.

In the case of Sometimes You Hear the Bullet, the ‘funny’ subplot is obvious: Frank Burns and his Purple Heart. The other two storylines are the serious ones: Hawkeye’s friend, as well as the underaged soldier. However, in most cases, as in this one, these plotlines inevitably intersect, and it’s here that this particular episode might cause a few problems.

I mentioned that the final scene in the episode is typically cut from syndication: the sequence where Frank’s purple heart is stolen and given to the underaged soldier, instead. While this scene may not, at first, seem inherently out of place within the context of the rest of the episode, swinging from comedy to drama within a minute, there are those who believe that this scene unintentionally undermines the rest of the episode, or the main thrust established a few moments earlier.

And those people aren’t exactly wrong.

I certainly agree that the episode would have been stronger had it ended with the soldier’s final interaction with Hawkeye been proclaiming his hatred, only for Hawkeye to soberly respond that he hopes it’s a long and healthy hate. Changing that to this new ending, where Hawkeye sends him home with a medal, seems almost out of character for Hawkeye, taking away some of the sincerity and severity of the message just a moment earlier. The idea that this soldier could bring himself to forgive Hawkeye so soon, before realizing what exactly he’d been saved from, seems a little disingenuous after the weight previously given to this subplot.

In later episodes, it’s possible, even probable that this episode wouldn’t have ended tied in such a neat bow. But that’s one of the things that’s so interesting about this episode.

Sometimes You Hear the Bullet isn’t the first episode of ‘true’ M*A*S*H as it would be remembered in the future, but it is the first episode where M*A*S*H comes into its own themes, looking hard at war, and the toll it takes not only on the soldiers, but on the surgeons, as well. Before this, for the most part, ‘characters’, friends of the cast, did not die on the operating table. Not when Hawkeye could save him.

But I’m going to quote Hawkeye from another season 1 M*A*S*H episode, Yankee Doodle Doctor, as I think that it sums up this the point of this episode pretty well:

“Three hours ago, this man was in a battle. Two hours ago, we operated on him. He’s got a 50-50 chance. We win some, we lose some. That’s what it’s all about. No promises. No guaranteed survival. No saints in surgical garb. Our willingness, our experience, our technique are not enough. Guns, and bombs, and anti-personnel mines have more power to take life than we have to preserve it. Not a very happy ending for a movie. But then, no war is a movie.”

That right there is the point of Sometimes You Hear the Bullet, to the point where the doomed Tommy Gillis even references the film tropes of a young, fresh-faced kid hearing the bullet that kills him. This is the message that Hawkeye must grapple with: he cannot save everyone.

No matter how much he knows, how good he is, he can never save everyone. No guaranteed survival.

It’s sobering, but it’s the truth. And it’s what makes this episode so memorable.

M*A*S*H at this point was still mostly a comedy, a series full of jokes and the occasional serious moment, and it would continue to be so for another few years. But it was this episode, episode seventeen of the first season, that signaled to audiences that this show could be more than that. It could make you laugh, sure, but it could make you cry, and it wasn’t that surprising: this was war.

In short: by itself, is Sometimes You Hear the Bullet one of the greatest episodes of television, or even M*A*S*H, ever written? Maybe. Maybe not. But what it is, without much doubt, is the first sign of maturity in a show that had a lot of growing up to do.

Whether the shift was instantaneous or not, the fact is, Sometimes You Hear the Bullet was a game changer in the show’s history, the first break in format that truly showed audiences what they could expect in the years ahead.

On top of that? It’s just a good episode.

The plot balance is decent, without too much mood-whiplash that could so easily occur in a war dramedy. The characters, decently familiar to audiences by now, all work off of each other just as well as ever, funny, interesting, and heartfelt in turn. It’s an example of early M*A*S*H at it’s best, overshadowing many first season episodes with a level of depth previously mostly unexplored, delivering on every scene and remaining mostly genuine. It’s an engaging episode, full of memorable moments that are thoughtful and earnest, making this episode a standout, a moment in television history, and an unmissable installment for avid watchers of M*A*SH, and television fans in general.

Don’t forget that the comment box is always open for anything from suggestions and discussion ideas to questions and conversations! Thank you guys so much for reading, and I hope to see you guys in the next article.

28 notes · View notes

kittyprincessofcats · 3 years

Text

She-Ra S5 E08 - Shot in the Dark

There might be spoilers for the rest of the season in this post!

I absolutely LOVE this episode, and at first, I couldn’t really put my finger on why I liked it that much. And then Noelle tweeted this:

And yeah, that’s what it boils down to. This is the first *happy* Catra episode since... basically since “Once Upon a Time in the Waste” - and back then, the happiness didn’t last long.

(I also just think that story of AJ being so worried about Catra and Noelle reassuring her with every script is so adorable. I love to see how much they all care about these characters.)

Now let’s get into the episode!

- “Why does space hate me so much?” Yeah Glimmer, as I’ve said before, your powers don’t work in space because otherwise things would be way too easy and this show would be over way too quickly.

- “So, your plan is to, what? Ram through an armada of ships?” “No! ...Maybe!” 😂 I love Adora.

- The way Catra’s hands are shaking when she tells Adora they’re going to get caught... oh, baby 😢. And how Adora suddenly looks so worried... gosh, these two.

- Catra and Adora playfully arguing over whether or not Catra ‘defeated’ them in the past is so cute. I love this kind of ‘former enemies’ bickering and it’s why I was so glad they didn’t wait until the very end of the show to redeem Catra.

Bow: “Adora, Catra’s right.”

[Everyone’s eyes go wide.]

Bow: ... “That felt weird to say.”

😂 Brilliant. Absolutely brilliant. Bring on all the ‘former enemies’ bickering, please!

- So, is this just because Wrong Hordak’s “brains were scrambled”, as Bow put it, or do all the clones randomly blurt out that Horde Prime has a weakness whenever they hear someone ask about it? I’m going to assume it’s the former. Also, the way he keeps blurting out more and then denying that Krytis exists is super funny.

- I like how they set Krytis up before with Catra having visions of it back in Taking Control - still pretty convenient that just hearing the name lets her make the connection, but I’ll take it. (Is it meant to be some lingering effect of being connected to the hivemind that she’s having visions of it again now, or is it just her remembering what she saw before?)

- I love the detail that Darla’s information on Krytis is locked and they need administrator clearance to access it. Shows again that the First Ones aren’t that different from Horde Prime - they were also ashamed of their failure to conquer Krytis and tried to hide the information on it.

- “In- In- In- Incorrect. It is located nowhere, because it does not exist, because Lord Prime destroyed it.” I honestly think this line should be a meme. When you want to hide something from someone (but you know it does exist), just quote that exact line (kind of like “There is no war in Ba Sing Se”). I once said it to my sisters when they asked about certain fanfics I wrote as a teenager. (“Nope, they are located nowhere, because they do not exist, because Lord Prime destroyed them.”)

- Changes in the opening: Micah, Spinnerella, Scorpia and Mermista are now standing mind-controlled around the Heart of Etheria in the villains’ shot. They’re also all missing from the final heroes’ card. In that final shot, Perfuma and Sea-Hawk both look sad now, and Netossa looks angry.

- Catra touching her neck when she sees the spire on Krytis... 😢. I’m here for the angst, but I also just need Catra to get lots of love and comfort after everything she’s been through.

- Can we talk about how absolutely ADORABLE her space suit is, though? Bow is absolutely right to coo over those ears. And when she tries to take it off with her foot? And Adora laughs about it? And Catra smiles when she sees her laugh? ❤️❤️❤️

- Wrong Hordak still denying that Krytis exists while currently being on Krytis is absolutely hilarious to me. It reminds me of flat-earthers or anti-vaxxers, or people who try to deny Covid exists (while others are currently dying from Covid) - not that any of those are funny, of course. I just mean that wrong Hordak nicely demonstrates how ridiculous they can sound.

- Catra calling out the Best Friend Squad on how dumb their plan is and then reacting with “Honestly, what did I expect?” is absolutely iconic. They really were missing her as the team’s braincell all along.

- Bow and Glimmer teasing Catra about her “first mission”, Catra grumbling that she’s going to kill Adora’s friends, Adora responding with a really calm “Please don’t” - everything about this is perfect. 🤣

- Also, small detail, but I love how Catra has a hard time walking in her spacesuit because she’s not used to wearing shoes.

- The remaining rebels looking around the destroyed camp is really sad. Frosta immediately trapping Castaspella in ice and checking her neck is great, though. That’s what they should have been doing all along. Why didn’t they also check Shadow Weaver’s neck, though? I know she’s intimidating and all, but there was no way of knowing if she’s chipped.

- “How did the rebellion lose so many of our finest members and yet we’re still stuck with you?” Castaspella’s asking the real questions! I like how literally no one in the rebellion likes Shadow Weaver. (Though honestly, I’m also glad she’s not chipped. Imagine how hard fighting a chipped Shadow Weaver would have been.)

- “But if you try anything, I won’t hesitate to strike you down.” Castaspella said ‘I won’t hesitate, b*tch!’

- Every single part of Wrong Hordak’s existential crisis (and Entrapta’s handling of it) is absolutely hilarious. I’m not going to quote all of it here, but pretty much every line of it is comedy gold. My favourite moment is probably “It seems Wrong Hordak has begun to question the meaning of life” (and everyone’s annoyed expressions at his crying) 😂😂. (On a more serious note, though: As much as it’s played for laughs, Wrong Hordak turning his entire worldview around in such a short amount of time is also pretty epic.)

- Catra just cutting through that door - damn, she’s strong! And I love Adora’s blush! (Yeah, the door was probably just an illusion, but my point still stands. She’s at least strong enough that it doesn’t seem completely weird that she'd be able to just cut through a door like that.)

- “You have an arrow that turns into a magnifying glass? I can’t believe we were losing to you guys.” 🤣🤣 Catra realizing the people she was fighting are actually idiots will never not be funny.

- It goes hand in hand with Bow realizing Catra is actually a cute kitty with an adorable sneeze. Good stuff. And the way her tail gets fluffy when she insists she’s not cute? D’awww. (Bow saying “The angrier you get, the cuter you are” reminded me of that scene in Steven Universe where Peridot loses her limb-enhances at the beginning of her redemption arc and Steven calls her cute and “an angry little slice of pie”.)

- Castaspella’s cape getting stuck in tree branches and the like is pretty funny, ngl. This is why Edna Mode said “No capes”.

- Shadow Weaver saying that her gifts are “far subtler” than mind-control is very fitting. Her thing is manipulation, after all. She doesn’t need to control people’s minds when she can just manipulate them and raise them in a way that’ll make them do what she wants. It’s scarier than mind-control in a way because it’s far more realistic. Mind-control doesn’t exist in real life, but manipulative parents (or just manipulative people) who will mess someone up emotionally? Very realistic.

- I like that you can tell that something’s off about Entrapta’s voice this time if you pay attention to it.

- “Seriously? How have you guys stayed alive this long?” Yup, the people you were fighting are idiots and you’re the braincell of the team now, Catra.

- I love the creepy music when Entrapta tells them it’s the first time they’ve talked since the last floor.

- Also, I love how Catra’s first instinct is to just launch herself at Melog, even though you could tell she was terrified just a moment earlier.

- I really like the moment where Glimmer realizes there’s magic on Krytis, especially since she doesn’t have her other powers right now.

- Melog bonds with Catra because they have the same sneeze ❤️❤️

- “Are you... are you petting the thing that’s been trying to kill us?” I love this whole moment 😹. I also love how Adora is so protective of Catra and immediately yells “Get away from her!” when Melog seems to get angry.

Catra: “I’m sorry. I got angry. It’s something I’m working on.”

Adora [with sparkling eyes]: “Aww, you are?”

Catra: “Yes! Now can you please...” [deep breath] “Yes. I am.”

I love everything about this. Catra genuinely working on her anger issues, Adora being so touched about it (remember back in Taking Control where she wished that Catra would ‘at least try’?), Catra having to hold back her anger because she realized Melog responds to emotions - perfect. ❤️😂👍

- Catra is so sweet when she calms Melog down. And the moment where they form their bond is really nice.

- So, can Catra understand Melog because of their bond, or because they’re both cats? I’m assuming it’s because of their bond?

- Melog’s backstory is really sad. But Adora offering to take them to Etheria is a really sweet scene.

- I like the parallel between the Best Friend Squad realizing that magic is Horde Prime’s weakness (and that the only planet he ever failed to conquer had wild magic) and Shadow Weaver telling Castaspella that the First Ones weakened Etheria’s magic and they have to set it free.

- “Stop me if I try to take the power for myself.” I’m not sure how I feel about that line. I like how SPOP has very much written Shadow Weaver as ambiguous so far. She’s not a good or nice person by any means, but is she at least on the side of the good guys and really trying to help now or is she still only after her own selfish goals? I very much did not want Shadow Weaver to get any sort of redemption or forgiveness, and I’ve always interpreted her as still being power-hungry. So, I have mixed feelings about this line. I like that it canonically acknowledges that Shadow Weaver is still tempted by power and might actually try to take the magic for herself, but asking Castaspella to stop her if she tries makes her look more selfless and like she’s taking precautions against it. (But then again, could Castaspella even stop her if she tried? I’m pretty sure Shadow Weaver is the stronger one of the two. So, you could still read this as Shadow Weaver being a master manipulator and only saying this so Castaspella will feel more inclined to trust her and go along with her plan - while knowing full-well that she could easily defeat Castaspella if it ever actually came down to it.)

Glimmer: “So, just to make sure I get it - We’re going to go running through a Horde blockade while relying on the magic of a creature we just met?”

Catra: “That about sums it up, yes.”

You know what this means - Catra’s a part of the Squad now!

- “Punch it, Darla!” I still love that the ship’s name is Darla. Also, all of their expressions when they fly through the blockade should be a “draw the squad” meme.

- Catra holding Adora’s hand and getting embarassed about it ❤️❤️ (while Adora is dumb and doesn’t even notice).

- I did not expect us to get a Glitra cheek kiss this season, but I’m not complaining! Also, Catra complaining while Glimmer and Bow are hugging her is such a cat thing; I love it.

- “We made it. We’re home.” Correct me if I’m wrong, but I think this is actually the first episode this season that ends on a happy / hopeful note and not on some kind of cliffhanger. And I really like that. This is where the “space arc” of season 5 offically comes to and end and I’m glad it has its own little happy ending. (And as much as I like the final episodes of the season, the space arc is still probably my favourite half of it.)

I love this episode, mainly because of what it means for Catra. She’s finally happy, she saved the day, she’s bonding with Bow and Glimmer and constantly flirting with Adora, and she has an amazing therapy cat now! I loved all the bickering between her and the others and how she’s starting to open up to them. Also, Wrong Hordak was absolutely hilarious in this episode and I commend Entrapta for having the patience to deal with his existential crisis. This was a really nice way to wrap the space arc up and bring the Squad back to Etheria.

[Previous episode] [Next episode]

#spop #spop s5 #spop s5 spoilers #Shot in the Dark #Catradora #Catra #Melog #Adora #Glimmer #Bow #Entrapta #Wrong Hordak #Noelle Stevenson #AJ Michalka #She-Ra and the princesses of power #Castaspella #Shadow Weaver #long post

130 notes · View notes

bular · 3 years

Text

Welcome to Live Commentary

I had no one to talk to while watching the movie and I hate being alone with my thoughts so I wrote everything down in my notes app. It's not coherent! Enjoy!

Aw yeah 1.5 seconds of Bular that is all I needed! Might as well stop now I've seen my boy I'm satisfied.

Why is there a nearly 4 minute recap as if I haven't watched the show at least 50 times. I should be the one giving the recap.

The beginning felt a bit forced to me but maybe that's just me? Like they just tried to squeeze too many things into a small timeframe without any buildup, it just didn't really work. Congrats on the engagement! This is my OTP so I'm very happy! But it came out of nowhere.

Nari in Douxies body is so wrong and I love it and hate it at the same time (positive)

Eli is BIG. I knew he was gonna be tall but I was not prepared for that chiseled face. Or the fact that he stepped off the ship without glasses? I wear glasses and I would not choose to step off a spaceship blind.

OkAY who had mpreg on their bingo card?

AAARRRGGHH actually said a full sentence 🥺 there is no heterosexual explanation for this scene and I'm here for it

Arcadia being the center of the universe really does make a lot of sense. I hate how much sense it makes. Despise it.

Strickler in a Christmas sweater is something i didn't know I needed. Jim's jacket too but that's just adorable, Jim's adorable. Oh sweet baby you're about to get fucked over so bad.

Love seeing Barbara actively participating in battle too. Good for her! Power family!!

Where are the kids tho? Is NotEnrique babysitting? Either that or they hired the girl from the Incredibles movie.

Nomura is so talented I love seeing her fighting on the good side. I can't explain it but I love digitigrade legs they're just so pretty?? Aesthetically pleasing??? Fuck yeah, legg! I could watch Nomura run around and be badass all day.

WAIT NO OH SHIT HOW DARE YOU FUCK

STRICKLER DON'T YOU FUCKING DARE NOT YOU TOO THAT'S TOO FUCKING RUDE DON'T DO THIS TO ME

THERE'S NO WAY HE'S DEAD RIGHT WE SAW NO BODY

Barbara does not deserve this I refuse to accept it. He's fine he'll be back they wouldn't kill two Changelings at once. Also Nomura is with Draal now I take no criticism.

So my favorite characters were Bular, Draal, Gunmar and Angor. And before this movie I always half-joked that everyone I love dies, how I still like Strickler and Nomura but apart from them all of my faves were killed in the very order of favoritism. AND NOW LOOK AT THIS. THIS IS WHAT HAPPENS WHEN I LOVE A CHARACTER. MY LOVE IS TOXIC.

OKAY I LOVE GUN RO- WAIT NO I DON'T LOVE HIM FUCK ABORT ABORT

It's great tho omg

I didn't realize it was Gun Robot when I saw it in the trailer this is amazing

Okay but imagine you're chilling in your trollmarket minding your own business when some misfit group of strangers waltzes in, steals your favorite shiny and celebrates your death before running off

"I AM GUN ROBOT" IS THE HORN LMAOOO

Nana better show up at some point to reunite with her boytoy, I'll cancel this entire franchise otherwise

Something bad is going to happen to Toby isn't it. He's getting too much screentime

Jim's hand got DEEP FRIED

ARCHIE NO

We can play Scrabble okay if they don't free them (which they must) I want an after credits scene of them playing scrabble

Douxie and Nari's bond 🥺🥺🥺

Nari pls just say what you fuckin mean the world is ending

Oh god is she going to remember killing Nomura oh nooo

Claire don't make the portal you will die again. Your hair gon be white all over

EVERYONE AVOIDING THE SCHOOL JUST RIGHT THERE LMAO RIP

I love how Darci is just with the school bus. Civilian girlfriend. But also love how the world is ending and Coach is like "fuck that I'm gonna teach these kids"

Does he know his son is pregnant

"Going back to the city where it's safe" buddy have you been to that city

Whatever happens, Nari has the coolest looking titan. Giant four legged gremlin. I'd adopt him.

WAIT SHE CAN FEEL THE PAIN?

Me: oh i love that titan

The titan 5 seconds later:

Did Nari just fucking die what the FUCK

Oh of COURSE the pages are stuck together RIGHT THERE

Seriously tho how do you not notice an entire nougat nummy in a book

Wait so Arcadia has another heartstone? Or OH SO IT'S ALIVE. OKAY GREAT. GUNMAR COULDN'T EVEN DO THAT RIGHT HUH

Love how the Heartstone has been dormant/dead for months and apparently heard Blinky say it's alive and decided to wake up RIGHT THEN

Finally they're evacuating the city. This is like, the third apocalypse there. About time.

Okay so you can't pull Excalibur from the rock, but you CAN carve out the stone. Couldn't you just carve it off the sword as close as possible and like. Use that? Just swing the whole damn rock around?

God i can NOT get over Steve's pants. I mean I read a spoiler he was gonna be pregnant but I thought it was a prank or shitpost. I did not see this coming and I am never going to be over it. I love how he and Aja just roll with it and nobody else even cares. They've seen weirder stuff. So he's pregnant now. Whatever.

Jim's hand is bandaged and his ribs still hurt. I love that they're actually consistent with his injuries. I mean sucks for him but hell yeah for hero that doesn't always win!

Okayyy here comes the heartstone. Why not!

IS HE IN LABOR

So if you kiss an Akiridion 7 times you will have 3-5 babies in a few hours. How are they not overpopulated?? Also Aja couldn't have WARNED STEVE BEFOREHAND?

Eli is so supportive omfg

So uh where are the babies gonna come out of? I'm not into mpreg how does this usually work

OH STEVE THANKS FOR ASKING MY QUESTION

Oh good thing he happens to have 8 friends still alive. Otherwise this would've never worked. Nomura had to die otherwise there would've been 10 of them.

Why is everyone bowing to Jim? Did they rehearse this?

Stuart if you hadn't taken a bathroom break you would've thrown off the math and doomed the world. That was a poop of fate my man

Ahhh the signature quote. Where did Douxie and the Akiridions learn it? Did they rehearse this too? It's really cliché but I do like it tbh

If Strickler were dead we'd see more Barbara right?

WOOO BLINKY DRIVING

Ah Jim just used she/her for Bellroc! Finally we're learning some pronouns. I've been wondering this whole time.

MY VIRGIN EYES. WHAT IS GOING O N

How are they not dying with all this lava?

She really just yeeted Varvatos

Did Claire just tell AAARRRGGHH to jump off the titan and he did it without question

I want to say I like Stuart and want him to have more screentime, but I won't say it because I don't want him to die

Jim's poor ribs

Toby can drive yoooo

Tobyyy you're scaring meeeee

So did they really need the different stone or was the amulet just waiting for Jim to choose death over giving up

I saw the armor before but it looks VERY COOL

Also I didn't mention this before but I love that they cut Merlin's name from the incantation. Good for them.

Toby you lost your helmet noooo

For real tho I'm terrified for Toby rn. I saw a comment somewhere earlier that just said "Toby no" with no context and I am AFRAID

So do Bellroc's eyes work after all? I thought she was blinded back in Wizards in the past.

DID SHE JUST FUCKING STAB MY BOY

TOBY YOU SHOULD NOT BE THERE GET OUT THE TRUCK

Bellroc maybe screaming "i'm powerless" in front of your enemy isn't the best idea

She sploosh

DID JIM SURVIVE THAT FALL AND ALSO IS THE TACO TRUCK OKAY

How is he lifting Claire like that buddy you have bruised ribs and just got stabbed

ELI HI CAN WE SEE THE KIDS

SEVEN KIDS! AND ELI JR I LOVE IT

This show really loves to give people more than the recommended amount of babies with no warning huh

She immediately knows which one is Eli Jr 🥺 okay listen I'm not the biggest fan of comic relief sideplot surprise babies, but I have to admit they're cute. Cute couple. Throuple. Eli is in on this. He even has a Junior.

I TOLD YOU WHERE'S THE DAMN TACO TRUCK NANA WILL NEVER FORGIVE YOU AND NEITHER WILL I

Oh yea he better fuckin be alive I will commit murder

HE BETTER FUCKIN BE ALIVE BITCH

FUCK YOU

THAT'S A WHOLE ASS CHILD HE ISN'T ALLOWED TO DIE IT'S ILLEGAL

JIM IS GONNA LOOK DOWN AT THE GREEN GLOWING BITCH AAARRRGGHH CONVENIENTLY THREW THERE AND SEE HIM ALIVE OR SOMETHING

YEAH USE THE SWORD TO UNDEAD HIM! THAT'S HOW YOU USE SWORDS!

Unbecoming Part 2

So is Jim just gonna Groundhog Day it until everyone is fine? There's only 13 minutes left we're gonna need a bigger movie

Also I screamed so much about everyone's death and now everyone reading this after they already saw the whole thing is gonna shame me for clowning huh

The scene where Blinky is giving his goodbye speech, there are no babies and Steve has a round belly? Did he reabsorb them?? I mean I know Jim is about to un-birth them but he hasn't started yet

JUST HOW FAR BACK IS HE PLANNING TO GO

WAIT HOLD UP EXCUSE ME WHAT

Oh they did NOT just do that. I though he was just gonna go back to like, the start of the movie maybe. Not all the way

Imagine being in your early twenties with as much trauma as this kid has and having to pretend you're 16 again

Somewhere Unkar is complaining because "oh sure NOW it's a good idea"

I know Jim is wondering where Toby is because he was there before. But before, he made an entire meatloaf AND did his homework before leaving the house, so honey maybe wait a minute

For a second I thought Toby wasn't gonna be there and Jim would return to the right time. But there he is!

Alright so they're in school now, did they take the canal and just didn't mention the amulet on screen or did they pass it as if the Unbecoming episode hadn't been that traumatizing? Jim you know what happens when you ignore it

Jim maybe you're being too obvious here lmao

Soooo. Anyway. These whole past years I've rewatched this show over and over and over again are cancelled now?

OKAY AT LEAST WE SAW NANA FOR A SPLIT SECOND THAT'S IRONIC TIMING

So we get the quote again. And Trollhunter Tobias is nice. Cool. Cool AU I mean, but I don't know. I don't knowwww. I've been way too invested in everything to just accept that it never happened?? So uh. Hm. How about this.

Strickler survived because fuck you, and Toby also survived and just has scars now. Maybe a wheelchair but he's fine, also he can use the Warhammer for super speed and make it awesome once he's used to it. Archie and Charlie get freed once they rebuild the bridge (and they were playing scrabble to pass the time). Nomura is still dead because she died on screen and I can't really deny that but she's with Draal so it's okay. Everyone is traumatized but they'll be fine. NotEnrique is still babysitting 500 babies and Steve is about to bring 7 more.

In summary, I reject Groundhog Day ending but everything else was great, as long as it actually happened. It was a good movie. But you can't just cancel years of passion. Having the prospect of a million "canon AUs" sounds great for writing but at the same time nooo you can't do that he didn't have to go back THAT far HHHHH

I liked the movie. It was a great watch and a satisfying end to a franchise, but I gotta say I do not fancy the ending of it so I will from now on be in denial. I honestly feel kind of betrayed that this show was my whole life for so long, I learned every smallest fact, and they basically deleted it from existence. I know what they were going for, I think, but no thank you I will be going with my own opinion. Still gonna rewatch it a few dozen times though ✌🏻

And that concludes my live commentary that was supposed to be a small handful of notes. Feel free to shame me for my opinions. See ya!

#rott spoilers #trollhunters #tales of arcadia #this got a LOT longer than expected #i'd be surprised if anyone actually read the whole thing but oh well #i just. have a LOT of opinions #i started out so optimistic too #mpreg mention #can't believe i have to use that tag on a post about canon

25 notes · View notes

sanstropfremir · 3 years

Text

episode 9 baby!!! dear lord that was a lot!!

frankly, i'm still in shock that i full on manifested an opera stage, AND it was a rock opera stage at that! plus i got a jazz stage AND a taemin stage??? if they’re pulling out all my favourites now then what on earth are they gonna do in the finale??? this was a very overwhelming crop of stages, i thought i was going to be prepared, but oh no i was not prepared. i'm just going to get right into it because this one is gonna be long and i have many words. i'll discuss in airing order first, and then put my personal rankings for this round at the end.

btob

costume

changsub, you absolute king. spectacular. stunning. incredible. zoot suit riot playing in my brain on repeat. will i finally get the zoot suit revival of my fucking dreams instead of this current drab ill-fitting suit trend? for those who are wondering why in the fuck changsub is dressed like that and what on earth i’m talking about, the specific cut of suit that he’s wearing is called a zoot suit, which were popular in mexican, black and italian american communities in the 30s and 40s, until they were outlawed by the united states war production board as a fabric rationing method as part of the war effort in 1942. there was a huge amount of mob violence surrrounding the wearing of them (there were actual zoot suit riots) as they were direct counter culture fashion to the predominant drab trends of white americans at the time. i'm actually very impressed they got a proper (modernized) cut of zoot suit instead of just putting him in an oversized one; there are actually specific structural differences. the pegged trouser legs, large should pads, and knee length single breasted jacket are key features, and they were often in much more flashy fabrics than a pinstripe, but they get points for effort. i wish they had put all of them in zoot suits but he’s playing the ‘lead’ actor so i will begrudgingly forgive them.

eunkwang those are the stupidest sleeve garters ive ever seen i love them never take them off. they’re like someone decided to repurpose a suspender in the worst way. excellent. i do love that they’ve got three of them in oxford saddle shoes, another great touch.

love the three piece and the fedora* on peniel. it's also in a relatively close period cut; waistcoasts (vests) were generally cut much higher in the neck pre-war, we only start seeing the neckline slide down in the 60s (i think? i don’t remember when exactly). also love to see a proper sleeve and jacket length, it's good practice to have at least a finger’s width of sleeve cuff visible ahead of the jacket sleeve when hanging at rest. also looks like there’s french cuffs on everyone, which is also great.

minhyuk in his slutty lowneck shirt....thank you. in addition to the zoot suit revival i would also like a revival of those ultra low necklines on mens’ shirts from like 2010-2011. i don’t think those are the same boots from the backdoor stage but those are some beautifully cut boots. i also loved the little details of his crewmember look, especially the chunky watch and the string bracelets; those are super realistic, i know so many crew with them and i had several for many years. and who doesn’t love a visible button fly?

none of any of the other costumes are period in any way shape or form but i’m forgiving it because there’s several layers of meta in this stage, and they explicitly based it on la la land, even though we don’t respect la la land in this house. do i wish they had gone more strictly period with at least the jazz club ‘actors’ a little more? absolutely, but i'm not mad about it.

set

again we’ve got a good delineation of the two different ‘stages,’ there’s the club itself in the smaller stage and the soundstage set in the larger space. you can pretty clearly see all the ‘pieces’ of the set on the soundstage, especially the obvious set painting techniques on false prosc frame and the window facade from that first little scene. also the you can see the castors (wheels) on all the setpieces too, which is another nice little versimilitudinous** (triple word score!) touch, as old hollywood movies were made still using theatre stagecraft techniques.

i love how the visual shorthand for ‘this is a set wink wonk’ is just...leaving a ladder on stage. i see it all the time and it's so funny. it doesn’t always make sense because as soon as there’s actors on set the ladders are the first thing cleared because actors cannot be trusted, but yes there are always ladders, so. also psa ladder safety is no joke, please be careful on ladders.

nice streamline of the mnet deco into the club. i’m consistently surprised at how well the designers have been able to mask it or use it to their advantage, because in the normal kingdom stage lighting it is SO obvious and stylistic that it always sticks out.

i'm going to ignore the fact that they implied changsub and miyeon were drinking wine out of martini glasses.

lighting

no complaints, it does its job. everything is visible and super clear. love that the ‘scene’ changes are made through the lighting, it's a really simple and effective device to change atmosphere. purple/blue/amber are the most flattering colours on human skin and that’s why you see it so commonly in stage lighting. also blue/lavendar is the best way to show nighttime/moonlight.

really nice and subtle projection work, especially with the billboard bit and the blue moon sign in the club. despite being obviously meta/’world breaking’ it’s actually very seamless and fits well into the flow of the stage.

sound

i love love love the big band feel in the intro, combined with the piano lead. very duke ellington, as all things should be.

no complaints. i love big band. i love eunkwang’s voice. i have nothing else to say.

staging

i LOVE this movie within a movie within a performance meta nonsense! it's such a fun concept and it is exactly what i wanted ikon’s first round stage to be! i also love to see btob consistently coming up with concepts that are inventive and fun and allow them to showcase their technical performance skills without the aerobics the younger groups are putting themselves through. it provides a really lovely variety and it just goes to show that you can make impressive, dramatic stages without having to be serious or ‘dark.’

i do wish they had leaned into the band director/lead singer with eunkwang a bit more; this could have been a really excellent place for a tap number a la the nicholas brothers or an homage to cab calloway. i know i know this was meant to be la la land themed but la la land is a cheap and whitewashed version of jazz and look me right in the eyes and tell me this isn’t the greatest tap routine of all time. i know i’ve typed this out somewhere before but la la land is just a conglomeration of old hollywood tropes and so stylistically cheap that this would have such a better visual core if they had actually looked back at the real old hollywood musicals like stormy weather. even singing in the rain and an american in paris have such phenomenal visuals and are really beautiful examples of the scope you can pull off with a limited technical capacity and sticking to these old techniques.

now that i'm thinking about it, oh my GOD i would DIE for a lindy hop routine in kpop PLEASE. i know it would never happen because kpop doesn’t like partner dancing and not a single kpop boy has the chops but oh you think fourth gen has too many acrobatics?

this got off track but i think you see my point.

---

ateez

costume

these are really sharply cut suits. and the detail work on the beading??? so beautiful. i'm disappointed that they gave me a rock opera stage without the true ridiculousness of rock opera costuming, because they could have pushed this a lot farther if they really wanted. a tragic lack of gay little outfits, seonghwa’s lace choker is just not enough! two favourite suits: hongjoong’s and yunho’s.

that being said i do actually really like these. this stage is actually very modern opera with a kpop twist and i'm a little surprised by that? i continue to be impressed by the ateez team who are clearly doing their research.

i'm absolutely not going back through their stages to check all the choreography but i wonder if you can track all the ‘wound’ placements to places they’ve been ‘hit.’ i wouldn’t put it past them to have put that thought in but also i’m not expecting that much either.

who is this white grim reaper bdsm executioner chain arm man. where did he come from. i have no idea and i love it.

why is honjoong blindfolded. it was such a fast beat, if youre gonna blindfold someone give it a little longer and some more obvious narrative weight!

seonghwa does that quickchange, runs across that massive stage to the smaller set, and gets into places in like 45 seconds. it's not the hardest quickchange in the world but still, under a minute is fast for any quickchange, especially when there’s travel time involved. i think the fastest, most complex quickchange i ever did was in university which was a 50s cocktail dress into a flannel and culottes with a shoe, hair, and jewelry change in 35 seconds. and that took three dressers. quickchanges are always impressive. the added bonus of this review being later is that i can specifically reference that you can see him book it the fuck off stage in the full cam!

cute moment with the backup dancers dressed in costumes from the previous stages. i'm assuming this is a time travel reference? i'll get more into my thoughts on this in the staging section. regardless, love to see that iconic seonghwa moment again.

set

this is such a restricted space! they really pared down their dancing space with those staircases and ....arms? honestly i have NO clue what these are supposed to be. the only thing i can maybe think of is flying buttresses??? but why?? i mean, i'm 90% sure theyre just there for drama and i agree but i do still have questions.

there’s a lot of moving parts in this set? the buttresses, and the upstage centre staircase. i don’t think the staircase is totally automated because i spotted some dancers securing it in place, but it’s still a moving part. i do really like that we get that expanding upwards energy, because it's really tough to get functional level movement in this kind of a performance, mostly because of its length and because it moves so quickly. so seeing the downward vertical movement and then the upward movement was actually a really nice visual contrast that made use of how tall those fucking ceilings are, and the fact that they had less horizontal space. in sort of similar way to sf9’s jealousy stage, using long, narrow vertical lines really makes it feel like a castle space. the interiors of castles, especially the really old ones, are a lot smaller than you think they would be.

i’ve actually seen that type of small house/tent/thing several times in various types of performances before, but i think this is the first time i’ve seen it used as a time travel device (other than in the say my name mv). aesthetically it's a bit incongruent but i dont really mind because i'm used to watching rock operas that look a lot weirder than this.

lighting

there is so much happening. i have NO clue what the projections are doing. i dont hate it though, so that’s a plus? there’s a clear-ish colour arc even if it does get a bit funky in the middle, which is why the projections dont feel as insanely distracting as some of the other stages we’ve seen.

the climax is a perfect example of how to light a busy stage with primarily red but still maintain clarity on the performers. a little bit of red goes a long way; the spark stage from last week would have looked so much better if they had done what the ateez designers did here.

sound

i know it's only ode to joy, but answer already gets my motor running and then i get so gassed by the guitars and then by the time those vocals come in i'm inconsolable. i don’t know why i wasn’t expecting a rock opera stage but i'm so glad i got that surprise because i genuinely love rock operas so much. it's two of the most dramatic genres in music, what more could you possibly want?

staging

the choreo for answer is so goofy that I'm kinda glad this was mostly terrible mnet boom shots. i love it, but you can't deny that it's goofy. i spotted a couple of moves from their other choreos as well?

choreographing dance fights is just as difficult as choreographing real fights and i think they did a fairly good job here. i think it was a solid mix of dance and conflict that erred on the side of dramatic rather than accurate and i prefer that over trying to be ‘realistic.’ i’ve only ever seen one truly realistic fight scene on stage and that was for a deeply naturalist play (boring and a waste of the medium), but the best fight scene i’ve ever seen was in the prague national ballet’s adaptation of kafka’s the trial where three ballet dancers beat the absolute snot out of the main character with the most beautiful leg extensions. that whole show was probably one of the best pieces of dance i’ve ever seen, holy fuck it was so good.

despite how insane the music and the visuals were going, i actually really liked how sedate this was, on the part of ateez’s performance. there was a really sophisticated and resigned energy from them that is very different from what we’ve previously seen and i think that was a pretty admirable risk to take. reaching the top and then throwing away the crown? especially in a competition where every other stage has involved stealing crowns or royalty and there’s a group competing that got here through that very concept? that shows a real maturity, peace of mind, and foresight that i did not at all expect from a bunch of 22 year olds.

here we come to a very interesting comparison. both ateez and tbz are very heavily leaning on previously established group lore. we all know my thoughts on why it isn’t working for tbz, but here’s why i think it is working for ateez: it's because it doesn’t matter to the audience’s understanding of the stage. i had absolutely no fucking clue what was going on the first time i watched this, but that didn’t stop me from enjoying the music and all the weird shit they were doing. i totally believed that they understood what was going on. there’s a loose enough established conflict right at the beginning that draws us in, and really it doesn’t matter who they're fighting because they win in the end. the key here is that they’re so earnest. they believe 100% in every move they make on that stage. there’s no winks to camera, there’s not a drop of irony. they really deeply care about the ridiculousness of it all and that’s what makes it work. i sure as fuck dont know what’s going on, but i can see that they do, and i trust that. this is what i meant when i talked about convincing the audience you belong on stage in my stage presence post. i’ve never once believed that juyeon was anything other than an idol. he’s talented and very beautiful and he may occasionally stand on that stage like he owns it but it's always as juyeon. as an idol. but when hongjoong flaps around in that gigantic fur coat i 100% believe he’s a pirate captain. I believe he’s a punk rebel leader. i believe him a resigned king. there’s always a level of irony you have to fight as a performer because we all start from a place of disbelief. acting is not just lying to the audience, it's lying to yourself too. and if you succeed in convincing yourself? well, you’re already halfway to convincing us.

i checked it out because i wanted to see if they did the blindfold how i expected them to and was genuinely surprised by hongjoong’s fancam. the boy is EMOTING even when he knew the camera wasn’t on him; that’s a real dedication to craft.

ok i'm finished talking about this stage, this is over two pages in my document, there’s so many things i have not covered here but that’s fine, i'm quite sure any further thoughts will end up out there at some point.

---

sf9

costume

let’s get it out of the way......crop top. crop top? crop top. crop top.

ok, besides the crop top, i think i might actually like the backup dancer outfits more...? i find mannequin adjacent looks really fascinating and i thought there was a lot more they could have done here in connecting the two thematically. i actually think a change of costume on the boys would have been very interesting, especially because there was a lot of inference and direct reference to changes of colour.

ALL the backup dancers are wearing the same wig and i LOVE that.

special mention zuho’s.....jacket? the right idea but it absolutely should have been one of those extreme french cut bodysuits, you COWARDS. don’t come at me with this ‘male version of venus’ if you don’t have your whole torso out! come on!

set

not sure if this is meant to be a department store, a factory, or a white cube gallery. honestly you could make the case that they’re all the same place anyways. more on this later.

i loved the movator and wish they had used it more! that sequence was so good and they could have done some more interesting repetition sequences to further highlight the ‘sameness’/the breaking of that sameness.

i feel like the set could have been used more as a whole? i would have loved to see some mannequin interactions with those boxes, because all they did was dump colour everywhere.

....why did they feel the need to include the rain bit? i know it's likely because it's in the mv and at the 2018 dream concert taemin does perform move in the rain, but with the standing still and the box walls with the words it just looks like a department store ad. which i...dont think is what they were intending?

lighting

nothing really to say here. it has a similar feel to the mayfly rap stage, which is fine because the lighting for that was good. i could tell what was going on all the time and that’s the most important part. notable standouts are the lips sequence, that's fun use of pop iconography and very effective, and the scanning lasers at the beginning.

the repeating sequence in the edm dance break is actually done pretty simply, it's just what happens when you point a camera that’s livestreaming to a monitor directly at that monitor. it's a very cool effect and it was neat to see it used intentionally, especially with the handheld leds.

actually i also really liked the lightbox tables, those were cool.

sound

the remix was fine for the most part, it was about what i expected it to sound like. i did however greatly dislike that unnecessary edm break in the middle. what was the point of that? it didn’t add anything to the overall sound or arc of the stage because it was SO out of place. there was no connective tissue around it.

oh i was also not a fan of the effect on zuho’s mic. no one else had a discernible vocal effect so it felt a little out of place. also for some reason his cadence and tone right at the end made me think of some of the voices that bo burnam uses for his vocal masque sketches/songs, especially repeat stuff, weirdly? took me right the fuck out of it. i listened to it again after i slept and i’m still getting it, so maybe i’m just going insane so best ignore this part.

staging

loved the mannequin tree, not a clue why it was there.

do actually think this is a successful cover because it does what i was hoping it would, which is take move completely out of the taemin context and put it into an entirely new one. however, i’m really struggling to figure out what exactly that new context is? and what theyre trying to say with it?

obviously they went for a ‘show your own colours/individuality’ vibe, like i said in the set section, where exactly is this supposed to be? from the start i get factory/mechanized environment, which is fine and grand because mannequins and making repetitive motions and products and all that, makes sense. but then there’s stacked shelving type units happening and curtains and that combined with the mannequins give me pretty big department store vibes, which is also fine, because that’s still a comment on commercialization and the mass production of product. but then we get to the movator and the repetitive movements of the dancers say pretty clearly factory, but the lighting and projections are very pop art referential, plus combining that with the white set, just makes me think of an art gallery. so now is this a comment on the commercialization and commidification of contemporary art? are they making a statement about being ‘real’ artists among the others who have lost the critical understanding of why pop art was even a thing in the first place? and then the rain bit at the end literally looks like a department store ad, so are they then making another statement that they still are that packaged product? maybe the episode has more clarity in it but i’m genuinely a bit baffled by what the underlying statement is here.

i suspect it is not as deep as i'm making it, but i did say that i was likely to be hyper critical of this stage AND i am a grad student, so here we are.

---

tbz

costume

ok of all the ‘fourth gen’ style costumes we’ve seen, i actually like these ones more than most. i'm not entirely clear on the theme but i'm assuming it's meant to be post apocalyptic, and i'll take that.

backup dancers in black!!! we’re beyond this!!!

this will be a running theme with this stage, but i’m disappointed these don’t have more depth.

set

compared to every other stage, the set here seems especially plain. there’s so little set dec that it's disappointing. i do like the movement of the pieces themselves combined with the blocking; that first slide underneath the arches was slick and i would have liked to have seen more of that.

yea ok the big snake was cool and also a fairly complex build, but the transitions around it were a bit awkward for my tastes. especially the turn around, why did they even show that at all? you have control over what the audience sees, you can totally not show scenic transitions. skz were super smart about hiding theirs in last week’s episode.

also if you have a bigass puppet like that, i wanna see some more movement from it! it doesn’t have to be complex, we literally just saw a kraken balloon arm wave around aimlessly, but at least there was movement! that snake had a long ass body, why didn’t they at least take a pseudo dragon dance movement with it, that would have been such fun to watch with the iridescent scales. there was a lot of opportunity here!

lighting

i don’t hate it but also.... not a lot to say about it on the whole.

there were two really smart ideas here, the first being the front projection section, which i was SO glad to see! i explained in a previous review, but the projections in kingdom are not actually projections per se, because they’re actually massive led screens. there are two common types of projections in performance, rear projection and front projection. rear projection is when the projector is behind the screen, and front projection is ‘normal’ projection. rear projection can produce a crisper image because you have full control of the light values, because the projector is in a separate room from the performance space. but the downsides are that the projector has to be in a separate room from the performance space. so if you’re short on real estate, it's not ideal. front projection is much more common, because the tech is a lot cheaper and easier to access, especially now, and it requires less real estate because you can ceiling mount about the audience (you can move a projector wherever, this is just the most common spot in commercial theatres). but! in order to get an actually crisp image, you have to be really careful with your light bounce. it’s exactly the same principle as how you kinda can't see a projected screen when you have all the lights turned on, but when you turn them off it's a lot clearer. front projection works best in pitch dark, so when you use it in a theatre you gotta be smart about it. i use front projection a lot in my personal art practice as a singular light source, and that’s what tbz did here in that traveling/snake intro sequence. it’s a really fun technique that they used as a good gimmick because it’s not something we’ve seen before, and you get some great shadow effects because the projector is throwing light directionally at the performers (they have it set up close to the floor, it’s probably on a wheeled cart of some kind). however i did not like the snake intro. a bit too cheesy and out of place, especially because the asset quality didn’t match the rest of landscapes that we have been seeing.

the second smart idea, which is partially also a set and blocking thing but whatever, was that final image of the eclipse within the circle architecture with all the members standing in front of it. it was a great shot and a great ending pose, but it felt like a concept photo. like someone had that image as the idea that they then built the stage around, instead of a narrative first and then imagery after.

sound

this remix had SO much promise! those first two minutes were SO GOOD. i love that dirty discordant strings bit, it's gross and right up my alley. but it really fell off in the back half and i'm sad about that.

staging

i'm sorry tbz but.....what did you actually do differently than exo here? with the exception of the continual game of thrones references? nothing here felt transcendentally different from the original monster. and especially coming RIGHT after sf9’s move, which did go beyond its original context. this feels more like an awards show stage cover than a stage at the level of the others we’ve seen just this episode.

again like with the skz stage, there’s no conflict here. no tension. yes they do a great job covering the dance but it just isn’t enough! this is obviously personal preference and i'm sure lots of people liked the fact that it was uncomplicated, but even just a hint of narrative tension could have pushed this into more engaging territory. and if they didn’t want to do that, i would have loved to see them make up for that with extra visual spectacle. this is the no limits round! ikon is putting a full jungle on stage and these are grey cubes!

i think this is a perfect example of what i talked about at the end of my tbz section in my episode four review; this is a good performance, there are good elements at play and good ideas at their genesis, but the core of the issue is that nothing about this is transformative. all of the ideas here are just exaggerations of the original song. fuck, the snake was even IN the mv! and they didn’t even include the best part which is the lip chains! ive said before and i'll say it again; being a good artist has two steps, the first is understanding the material and its context, and the second is elevating the material from that context and synthesizing something new. tbz are really good at the first step, but terrible at the second.

---

ranking

btob - the cleanest and the most fun of the round. everything i wanted.

sf9 - fun and a good cover, despite being conceptually baffling.

ateez - very extra dramatic nonsense with an unexpected dose of sincerity. and it’s rock opera, of course i love it.

skz - fun, with some good thematic devices but generally lacking in arc. also australian accents, that’s an automatic ding.

tbz - honestly the first two minutes of the remix and the costume are holding this above 6th. it just wasn’t fully formed.

ikon - aesthetically this is a great set design and although i do love the opening and closing moments, everything else scrapes me the wrong way. super personal preference here, i’m not expecting anyone else to agree with me.

i feel like my rankings were probably pretty easy to guess if you’ve been around reading the reviews for long enough. i do have very specific tastes after all. i know sf9 ranked first in the episode but i have no idea what the other slots are. i’ll find out when i watch the episode in a couple of days, but i think yea a first for sf9 is fair. i do think its mostly because it’s a taemin song and you have to do something horrendous in order to fuck up a taemin song, but there is a lot of thought and work that went into that stage.

ok i'm done now, sorry this was later than usual, but i was busier and there were four stages that i had to review. also technical difficulties because tumblr is a garbage platform and nothing works properly. comments/questions/opinions always welcome, i know i didn't expand on a couple of points that i could have so hopefully y'all have some thoughts too!

* the type of hat that ~society~ has told you is a fedora is actually a trilby. what peniel is wearing is a real fedora, i felt the need to correct this unjust hat malignment.

** meaning ‘the appearance of being true or real.’ you do sometimes hear it used by normal people, but it’s more commonly used as a descriptor in film and theatre. it’s also one of the five rules of neoclassical theatre, which are: versimilitude, purity of form, five act structure, decorum, and purpose. the most prominent playwrights from that era are moliere and racine if youre interested in what those look like in an actual text.

#kingdom #kingdom review #btob #ateez #stray kids #the boyz #sf9 #tumblr is so broken it would NOT let me save this as a draft #does my constant hyperlinking make you angry tumblr? too bad im gonna keep doing it #i played in a jazz band in school for seven years #which is another indicator as to why i am like this #one of the first songs i remember learning was zoot suit riot #i have very strong memories of yelling RIOT during performances #i will however forever question the logic of our band teacher making us learn a song written by 'the cherry poppin daddies'#christ on a bicycle this is TEN pages #and it took a full eight hours last night and then i did like two hours of editing after i woke up #maybe i should go back to bed #ah i forgot to tag ikon again lmao #ikon #kpop analysis #text #if there are any spelling errrors do not tell me im tired of reading this #im pretty sure this is my longest review so far i decided to hate myself and did a wordcount #its 5.2K you're welcome you better get a snack for this one #i hope this is an interesting read for people ive lost all objectivity at this point #pls enjoy my semi-comprehensible word vomit!

25 notes · View notes

woolieshubris · 3 years

Text

OK SO IM GOING TO WRITE SOME BACKSTORY THEN CLICK THE CUT TO SEE THE ORIGINAL ARTICLE WITH NO EDITING.

OK SO BASICALLY. At this point in the series, (season 1 had been out and season 2 kept getting hints dropped) every main love square ship had gotten their "scene", except for marichat. Marichat, argueably, was the (and still is) most popular ship on the show. Suddenly a still frame (or concept art?) was released of marinette and chat sitting on her balcony together looking out at the stars. This was quickly dubbed the "balcony scene" and many many many ficwriters quickly made fics of the scene, people made art for it, and people were overall, generally super f/cking hyped for it. Then, glaciator dropped, and reviews were... mixed to say the least. So here, presented in its full, unedited glory, was my hot 2016 take.

enjoy.

Yes. I will be talking about THIS episode. The episode so anticipated by shippers everywhere. The episode that was supposed to finally give marichat shippers a chance, and we ended up with this.

I hate this episode, for many many reasons, but do not worry. The balcony scene isn't one of them.

Here is my summary, (which is very long, so if you would rather just rewatch the episode feel free to do so)

The episode starts out, with chat asking lady out. Nothing out of the ordinary. She says no, but chat takes it as a maybe. (Which is already really stupid, but I'll let it slide)

After they wrap up the escapade, Mari goes to Andre the sweetheart ice cream man, and becomes disappointed when Adrian says he can't go. (Which is not his fault, so I'm letting this slide as well)

Mari feels like a third wheel and declines Andres ice cream because she's heartbroken? (You can get ice cream any day? And it wasn't Adrian's choice either, she should know this by now?)

Andres feelings are hurt.

Cut to chat, who is waiting for ladybug, and lady isn't showing.

Cut to hawkmoth who akumatizes Andre, and then cut to mari, who feels bad about the who ordeal.

Chat blows out candles angstily (even though lady clearly said no, AND thought he was joking) and decides that lady doesn't love him.

Mari is sad about Adrian and goes out to her balcony, balcony scene happens and chat brings Mari to his date he had planned.

Mari is surprised that chat hadn't been joking this entire time (ehh it makes enough sense) and now she feels double as bad.

Andre attacks.

Chat leaps into action and ladybug comes right after. Chat is angsty, and ladybug doesn't show any kind of remorse (what?)

She says sorry, but with no meaning. (maybe bad voice acting, so I'll let this one slide as well) chat is still mad. They soon make the discovery that he doesn't hurt couples, so lady asks if they could pretend to be a couple and chat says no. (Which makes sense) then lady like 1 minute later asks the same thing and chat says yes. (What why would he say yes? ) And they pretend to be a couple but it doesn't do anything to help them?

It helps them escape but they could have done that without pretending to be a couple? Anyways, they save the day and then lady comes to go see chats surprise. He offers her a rose, and lady says she only wants to be friends.

(Chat should have still been mad at her, since she never even said sorry properly, I mean I know I would have,) and chat smiles and says that's fine, then he blasts off.

We follow chat to his room and he's smiling in his bed. Plagg tells him it's ok to be heartbroken, and that a little cheese can help, but Adrian says he isn't heartbroken, and that he's glad she sees him as a friend.

Oof that summary was longer than expected, but it was hopefully shorter than the episode.

Ok, so now that we are all refreshed, I will now list m problems with the episode, in order to make it easier to fix.

First problem, Marinette is heartbroken over the ice cream.

We can easily fix this by making it a special day, like maybe it's a blue moon that night, and Mari wanted to see it with Adrien. It could be the same for Chat with Ladybug, they wanted to see the blue moon together. He takes the, "maybe, I have plans" as a, "sure I'll make it a plan" because he really really wants it to happen, maybe even have plagg mention it, say something along the lines of, "She said she had plans," and Adrien says, "She said maybe!" (I know they already say this, but it isn't portrayed very well in my opinion.

Problem two, Ladybug never says sorry, and chat doesn't care.

Honestly, throughout the entire episode, I was waiting for ladybug to give chat a hug and just say sorry properly. Throughout most of the episode, chat looks on the brink of tears, and lady acts like she can't see it, and chat forgives her almost instantly. It would have been much more interesting to see a chat begrudgingly doing as he's told, just to save Paris, and go home.

Problem 3, Chat isn't heartbroken.

As stated in the show, we don't ever see the sensitive side of chat noir, and the show seems to want to avoid the subject. Chat got friendzoned. He says he's happy to be lady's friend, but he always was, from the start. All of this buildup, only for it to be knocked down in a single episode. Adrien should have been devistated, but then again, this is one of those "reset" type of shows, where everything must resolve before the credits roll, and it becomes very obvious with the awkward transition. You can tell that they were planning to have him heartbroken in bed, mad at ladybug, but someone said, "kids don't want meaningful character exploration, they want happy endings!"

Ok, so now I write my script doctored version of this episode. Warning, it's pretty long.

Ladybug and chat are talking it up as they help the people get off the bus.

"So, you heard about the blue moon tonight chat noir?" Lady asks.

"Yeah, when there is a full moon twice in a month? It's very rare!" Chat says, explaining to all the kids what a blue moon is. "Well, m'lady, can you visit me tonight? You know, to see it together?" Lady shakes her head.

"I have plans," lady thinks it over for a bit however, "but maybe I can come." Chat looks at the time on his baton, and realizes he has to go back home, his piano practice is almost over.

"Gotta go, see you later ladybug!" He says, as he runs off. Lady goes home and realizes that's she's almost late to go meet her friends. She runs out the door and we cut to Adrien, who is texting Nino.

"Sorry nino, father said I can't come" he's talking as he's texting. Plagg flies by and says, "you didn't even ask your dad, how do you know he'd say no?"

Adrien responds, "I have plans with ladybug remember?"

Plagg rolls his eyes. "She said that she had plans."

Adrien looks at plagg and says, "she said maybe."

We cut away from Adrien and we now see a heartbroken Mari.

"It's the blue moon, the most magical night of all, and we were going to eat Andre's ice cream, the most magical ice cream in Paris!" Mari sighs sadly as she sits down on a bench. Nino shows her the text and says, "It's never adrien's fault, so don't blaim him for not being able to show."

"I know, I know." Mari stands up and they all start looking for the ice cream cart.

Cut to chat, who's has just finished setting up the date.

"I really hope she comes." Chat says this with certainty, showing his trust in ladybug. Without having to OUTRIGHT SAY IT. (cough cough episode 12 cough cough)

Cut back to mari, who is exhausted from the chase to find the cart, and salty about Adrien. She sees alya and nino holding hands as they get their ice cream, and looks at the ground while she sits on the bench, not wanting to see it. "We can never be like them" She says, salty. Andre notices this and gives her the ice cream.

"Perfect, just like your love!" Andre says, with a smile. Mari's twisted salty head decides that she doesn't love him, because she and adrien will never be like alya and nino, so when Andre is passing the icecream to Mari, she doesn't grab it, and it falls to the ground.

"I don't love anyone." Mari says, as she stares at the fallen ice cream. Under her breath Mari says, "because no body loves me." Mari looks up at Andre who looks very sad. She realizes what happened and runs to her house. Cut to chat, who is doing the candle thing he did before because that was a really good and powerful scene and I don't want to change it. Start balcony scene, and everything is the same up until the "reveal" of the surprise to ladybug. This time, she hugs him, and you see chats eyes tearing up as she friendzones him. He lets go of the hug prematurely, and smiles, putting the rose in lady's hair. He goes back home and no more cuts to chat or Adrien so we can let the viewers draw their own conclusions. Everything is the same up until when Adrien gets the ice cream. This time, Adrien looks a little happy/sad when Andre prepares him the ladybug ice cream. Happy because he knows he still loves ladybug, but also sad because he knows she will never love him in the same way.

I'm sorry for making you read that entire thing. If you made it through, please, tell me below, which version you like more, and I really want to see your criticism of both. I'd love to have a conversation about it.

#wooliechats #long post

6 notes · View notes

thatgirlinskullz · 3 years

Text

RANDOM ***SPOILER*** THOUGHTS ON THE MANDALORIAN S02E05

there were so many things i loved about this episode..

the not-so-subtle Japanese references? The whole garden, the clothes, Ahsoka’s clothes (especially from the concept art), the entire duel, some of the shots were so reminiscent of Samurai duels from old movies...

Ahsoka as a whole?! given that we’re talking live action, aka makeup and costumes, I believe they did the best they could with Ahsoka’s appearance. Yes, the lekku/montrals were a bit short compared to her adult appearance in Rebels, BUT consider that a real human actually had to wear that headpiece and move about, do stunts, etc. they had to cut some corners, and make it more user-friendly so to speak, so i think that’s completely forgivable. what i would have improved is Ahsoka’s stance, and the way she holds her sabers. tho that could have changed over the years since we last saw her, even Obi-Wan’s stance changed a bit over the years. so it’s fine. i just loved seeing her. and her new outfit was FIRE!!! it could possibly be my new fav Ahsoka outfit. and there are some tough ones to beat!

Morai appearing for a brief second?! or at least i think it was her, i would like to believe it was her. it was an owl-looking creature just over Ahsoka, so it has to be Morai, right?!

the not-so-subtle nods to Clone Wars and Rebels?! the mention of Thrawn was a straight up throw-back. the mention of other Jedi could mean Ezra, or anyone else, maybe Cal? Luke? someone else we don’t yet know is out there? the mention of “the best of the Jedi falling to the dark side”? Aka Anakin?! the mention of Yoda by name?! the main guard in the village wearing a Clone Wars era armor EXACTLY like Anakin’s general armor?!! I mean COME ON!!! that was pure perfection. It looked incredible in live action, and i would give everything to see Hayden Christensen in that armor!!

the music?! it just gets better every fkin time!!! Ludwig Göransson is quickly becoming my new fav composer!

baby yoda finally has a name?! aka Grogu?! OMG i love it. and we finally know that he is actually a he, and some more background info about him. yay. BUT who rescued him?! who trained him?! how come Ahsoka never saw him before?! i have so many questions, but i am so happy to have them.

there’s so much more that i can’t even remember right now because i am still an emotional mess.

i’ll probably add to this later on when the thoughts come to me..

i just loved this episode so much!!

i can’t wait to see what else they have for us!!

oh yeah, and THANK YOU DAVE FILONI!!!

Edit 1: I JUST REMEMBERED THE FKIN LOTHCAT!!! i squealed when i saw it!! i fkin love lothcats!!!

Edit 2: people are pointing out in their posts that if Ahsoka is looking for Thrawn, that could mean she’s also STILL looking for Ezra?! meaning she and Sabine never found them after the ending scene of Rebels?! could Thrawn have Ezra?! I just figured she and Sabine found Ezra, then went their separate ways, but she’s looking for Thrawn to take him down for good.. i didn’t even think of her never having found Ezra since Rebels... i just... this is too much.. i want to see Thrawn, but i also want Ezra to be safe... uughh.

#star wars #sw #the mandalorian #spoilers #spoiler #spoiler alert #ahsoka tano #grogu #baby yoda #thrawn #star wars rebels #star wars clone wars #anakin #ezra bridger #yoda #din djarin #i am so fkin excited #thank you dave filoni

49 notes · View notes

softsalome · 3 years

Text

Dinner.

Repost from my old account, @/softperfuma.

2$ USD = 1.64€ = 5 UNY (United Republic of Nations Yuan)

The first time Mako didn’t show up for dinner should’ve been the red flag that finally caught Wu’s eye. They’d known each other for a few years, but in the past few months they had a silent agreement that brought them closer: some obscure foreign drama that they both loved and had no one else to talk to about. So every Friday night, like clockwork, Mako would pull up to the gates of Wu’s apartment complex with takeout in the passenger seat and the gate code quickly scribbled on his palm. Until it had gone on for so long, that he didn’t need to write it down anymore.

But despite all the Fridays Mako spent in Wu’s house, all the hours of dissecting the episode and picking up noodles that had spilled on the floor, something was stirring between the lines of their friendship. Something that Wu had been afraid to acknowledge, ignoring the growing wound in the hopes that it wouldn’t get worse, wouldn’t hurt him in the end.

But for him, hope wasn’t enough.

So there he was, sitting alone in his living room with his fingers tightly wrapped around his phone, trying to remember the last time his apartment felt so empty. He kept locking and unlocking the little block in his hand, hoping that the screen would eventually light up with a reply to the text he sent hours ago.

‘hey do you still wanna watch the show w me tonight?’

‘mako are u ok? u haven’t been answering me lately’

‘if u wanna talk im here ok?’

All read. All unanswered.

Wu finally abandoned his hopes and opened an app to order dinner. He decided that if he was going to be miserable, he should at least be full. Within the hour, he was pulling apart chopsticks and picking at chow mein, wondering why he was dumb enough to fall for a straight guy.

He’d been only flipping through his movie list for a few minutes before the doorbell rang again. Rising with groan and a scowl, he made his way to the door, dragging his feet the whole way. He unlocked his phone as he opened the door, hoping the lack of eye contact with the delivery boy would make him feel a little less on edge.

“Look man, I know 75Y isn’t the best tip, but I really don’t have any more cash on me right now-”

“Wu?”

One word. His own name, at that. But it was enough to make Wu feel like the air had been knocked out of his lungs. It only took a moment for him to meet those amber eyes with his own before he silently wished he was facing a grumpy delivery boy instead. He choked out a response, trying his damndest to hide his discomfort behind whatever bravado he had left.

“Mako! There you are! I was- I’m- I’m glad you were able to make it tonight!”

Mako slowly shrunk at his laughter, the plastic bag in his hands rustling as he moved.

“And-and you brought food! That’s so great because I was so hungry I was just about to hunt the turtleducks in the pond out front-”

“You don’t have to lie to make me feel better, Wu,” Mako sighed, running his hands through his hair. “I could smell the chow mein from the elevator.”

Wu swallowed hard at being caught, as if any more lies he might’ve told were trapped and sent back down his throat. He looked at his phone again, thinking the moment might pass sooner if he was looking at the clock. Then Mako spoke, the tips of his shoes sneaking into Wu’s line of sight.

“Can I- can I come in? Is that okay?”

Wu’s head snapped up as he swung his front door backwards, stumbling into the doorknob as he made space for Mako to walk in.

“Of course, of course! I can’t just leave one of my best bros stranded in the hallway, can I?”

Mako quickly passed the threshold of the door, stepping out of his shoes before walking deeper into the apartment. “I wouldn’t be surprised if you did.” Wu gasped at that, hand to his chest as he exaggerated his response.

“Mako! How could you think I’d do such a thing! What little faith ye have!” To further spoil the moment with his antics, Wu spun his way to the couch, sinking into it as he raised the back of his hand to his forehead.

“To think so lowly of me… I don’t think my heart can bear the pain!” Eyes closed, he couldn’t see the small smile on Mako’s face, but he wound up hearing it. A small laugh left his lips as he made his way to the living room, the glass table fogging as he set his food atop it.

“Would you mind bearing the pain a little less horizontally? I kind of wanna sit on the couch.” Wu laughed as a first answer, his hand still on his forehead. “Well you’ve bailed so many times, maybe you should sit on the floor.”

The silence quickly filled the room, and Wu sat up fast as he realized what he’d done. “Mako, I didn’t mean-”

“No, it’s okay. I deserve it.”

“No you don’t!” Wu shot back, challenging him with his eyes. Wu moved away from him then, making space on the couch for him as he continued to hold his gaze, daring him to let another drop of self-deprecation slip. Mako slowly sat beside him, his eyes moving towards the television. It took a moment before either of them spoke again.

“I’m really sorry I bailed, man… twice. I’m sorry I bailed twice. I should’ve told you I couldn’t come, that wasn’t okay.” Wu clapped him on the back, pulling his hand back fast as if he’d been shocked.

“That’s okay buddy! I half forgive you.” Mako bit back a smile, turning to look at Wu. For a moment, Wu pretended as if Mako was looking at him the way he always wanted him to look at him. But only for a moment. His eyes shimmered, molten in the lamplight. “Half?”

“Duh! I half forgive you now and then I’ll forgive you the other half once we watch the latest episode!” He punctuated his flawless logic by digging through Mako’s takeout bag, grabbing one of the small containers he saw peeking at him earlier. “Is this-”

“Sticky rice. With mango. And I’m really sorry, again.”

“Dude, seriously, it’s fine. Do you…. do you want to talk about it?”

Mako swallowed the bite of pad thai on his tongue, passing the remote to Wu without looking at him. “I don’t think I want to. Sorry.”

Wu bit off a piece of mango before answering, hoping the juice wouldn’t stain his shirt. “That’s okay! We can definitely not talk about it, I am so cool with that. We can just watch the show and not talk about it at all.”

Mako cleared his throat after he swallowed another bite. “I might be a little lost, just to let you know. I haven’t watched the last two episodes-” Wu cut him off, quickly flipping through the shows to look for the one they shared.

“Oh yeah, neither have I.”

“What?”

Wu glanced over his shoulder, confused at his reply. “What do you mean, ‘What’? I wasn’t gonna watch it without you.” He laughed as he looked back at the TV screen, finally find what he was looking for. “You ready for me to play it or do you need to get something else?” Wu could feel Mako’s weight shift beside him, and he turned to see Mako settling deep into the cushion.

“No. I’m fine.”

Wu quickly turned to the TV and hit play, hoping Mako couldn’t see how his eyes widened, how he almost opened his mouth to answer. Because yes, yes he was.

They agreed to watch the past episodes back to back before discussing it and moving on to the latest one., and Wu was more than grateful for the time to process both the show and the boundless energy thrumming just beneath his skin.

It was annoying and frustrating and scary how good Mako smelt, how good he looked, and how even though he completely ignored him and didn’t show up for two weeks, Wu couldn’t even fathom being angry with him. At this point, he was only mad on principle. But in truth? He just wished that they would gravitate towards each other like they did three weeks ago, when their legs were touching, and then their arms, and then Wu woke up on Mako’s shoulder, jostled awake by Mako’s strained voice telling him that he needed to go home.

But as much as Wu wished for it, the reality was more along the lines of pausing to look for blankets, spilling sticky rice on his shirt, and rewinding scenes because he was too busy thinking about how he had a crush on someone who would never return his feelings. He hoped he could tuck it all within the folds of his persona: bright Wu, happy Wu, the dramatic and dopey and forgetful ex-prince that couldn’t be bothered to suck on a spoon that wasn’t sterling silver. But he was a fool to think that Mako wouldn’t be able to see right through him.

“Wu, you doing alright? You seem a little distracted.”

Wu sat up straighter, tugging the blankets closer to him as if they’d protect him. “No, I’m fine! Great actually. Just a lot on my mind, that’s all. But not like, in a bad way. Just a lot.”

“Do you- do you want me to go-”

“No!” Wu cut him off, driving the point home by grabbing his shoulder and looking him dead in the eye. “It’s fine, you’re fine, we can talk about it and then watch the last episode.”

Mako’s eyes widened, and Wu drew back, worried that he did something wrong, said something wrong. Mako kept looking at him, as if he was waiting for Wu to say something. So he did.

“That camera angle from the first episode was so crazy right? It looked like someone was watching him through the window, but the realtor said the house has been empty for years-” “Um. Wu?”

And then came the worry. It wrapped its vines around Wu’s heart and tightened, hard enough to make him feel like the beating would be dragged down into his stomach. Mako’s tone, his lack of eye contact, the fiddling with his hands. Something was wrong. The kind of wrong that Wu knew would leave him crying into his pillow for days.

“Uh… yeah? What’s up Mako, my good man?”

Mako’s hands clasped together tightly as he stared at them, as if they held answers he desperately needed. “I don’t think…I don’t think I want to be friends with you.”

And that was all it took. Just a few moments, a short pause, before Wu burst into tears. Mako leapt to his side, holding him close as he tried to talk him down.

“Wait no, I didn’t mean it like that, Wu, please!” But Wu was too far gone to hear him, crying so hard he couldn’t see through his tears.

“Is it because I’m gay?!” he wailed as his tears began to stain Mako’s shirt. Mako pulled his head away from him, trying to meet his eyes and failing miserably.

“No, that’s not it at all! Wu please-”

“Is it because I’m an earthbender?”

“Wu, I’m literally mixed, please-”

“I just don’t-I just don’t understand, I’m sorry-”

“Wu, please just listen!”

Wu was finally reduced to quiet whimpers and sniffles, his tears still obscuring his vision. He wanted to wipe his tears away but that meant moving from Mako’s arms, and as painful as it felt, he wanted to relish what he thought would be his last time there. A few seconds passed like that, in silence, as Wu looked through blurry tears and felt Mako’s labored breathing. It came to an end as Mako moved him out of his arms, bringing his hands to Wu’s face as his thumbs wiped away his tears.

“I said that wrong, I- I didn’t mean it like that.” Wu started to tear up again, and Mako was worried that his fingers wouldn’t be able to keep up.

“Then what- what did you even mean? Mako, why would you even say that?”

Wu tried to look at Mako until he realized how close they were. He started to pull away until Mako’s hands flexed and warmed against his cheeks, keeping his face in place as he mumbled something under his breath. Wu leaned a little closer, his vision finally clearing as he searched Mako’s face.

“What did you say? I didn’t hear you…”

Mako took in a deep breath before meeting Wu’s eyes.

“I wanna be with you, not your friend. I wanna be….I wanna be…” Mako trailed off, his eyes falling to Wu’s lips. “Can I-”

“Please,” Wu whispered, nodding as he leaned in to meet Mako halfway.

It took Wu a moment to realize that the salt he tasted between kisses were his own tears, streaming down his cheeks as he leaned deeper into Mako’s arms and silently begged to meet his lips again. After what felt like forever, Wu finally pulled away, sucking on Mako’s lip one last time on his way out. When Mako moaned, Wu giggled in response, giving a peck on the cheek before speaking again.

“Does this mean we can watch the last episode?”

Mako’s laugh rang through the apartment, so loud that it bounced off the walls and begged Wu’s to join in. His head fell back and tears gathered at the corners of his eyes before he managed to catch his breath and nestle close to Wu once again.

“Sure we can. But… is it okay if I kiss you again?”

Wu’s mouth fell into a lazy smile as he looked back at the TV. They’d barely started the end credits.

“Why are you so eager for more kisses?” He was so sure of himself, so confident in his retort. And it all came crashing down once he felt Mako’s lips graze the shell of his ear, whispering soft as if what he was saying was a secret.

“I can’t help it. You taste like mangoes.” Wu whipped his head to look at Mako, their noses grazing at the sudden motion. They sat there, breaths mingling, hearts beating, until Mako said the words he was holding onto.

“I’m really sorry I made you cry, Wu.”

“I forgive you. One and a half times… and I’m sorry for thinking you were straight.”

Mako grinned, lacing his fingers through Wu’s as he met his forehead with his own. “It’s alright. It happens. But… one and a half?”

“Why of course,” Wu jokingly huffed, grabbing the fallen blanket and laying it over the both of their legs. “I forgave you for making me cry but I also promised you one half forgiveness from earlier. It’s just the proper math.” Mako shook his head as he gazed at Wu, who realized that the look on his face was the exact one that he had wanted all along.

“Of course. Proper math.”

Gazing at each other, watching Mako’s eyes flicker to Wu’s lips ever so often, the ex-prince got around to asking the question that had burrowed its way through his head from the moment their lips met.

“Mako, what do you want from this? From me?” Mako leaned closer, Wu’s voice too soft for him to catch sitting deep in the couch cushion. He grasped Wu’s hand a little more firmly, rubbing his thumb across his knuckles as he spoke.

“I want to date you. Be your boyfriend. I like kissing you… is that what you want? Do you… wanna try that?” Wu brought Mako’s hand up to his lips, kissing his knuckles before answering.

“Yeah. I wanna try that.”

Mako smiled so hard and Wu felt like he could run to the moon and back if it meant he could always bring such joy into Mako’s life. He smiled back, but it fell fast as Mako leaned forward to grab the remote.

“Mako, what are you doing?” The firebender looked back at him, confusion marring his face as he slowly leaned back into the couch once more.

“I’m playing the last episode. Don’t you wanna watch it?”

Wu looked down at their hands. Still joined, still warm. He kept looking at them, as if they left his sight, if he looked away for just a moment, they might disappear.

“I do, I just,” he looked up at Mako through his lashes then, “I just thought you wanted to taste some more mango.”

The sound of the remote hitting the floor filled Wu’s lungs with laughter, but before he could begin to tease Mako, the mans’ lips were already on his own, kissing hard and biting soft and warming him in ways only a firebender could.

#wuko #legend of korra #msww

9 notes · View notes

tbhwhocaresanymore · 3 years

Text

Nancy Drew S2 Premieres Today

Please find under the cut my various hopes and dreams for the characters

Bess

I have so many hopes for Bess going forward. My main two are ones you will have heard before.

One, I want Victoria to take Bess under her wing. I loved their interactions in ep 5 while George was possessed. George accepts spn stuff these days, and as such is more understanding of her mom’s struggles with alcoholism. But I think she will always have a certain degree of resentment towards Victoria for failing to be the mother George and her sisters needed. Bess on the other hand has none of that baggage, and so if Victoria is going to be passing down her teachings to anyone I think it would be Bess. I want to see them spending more time together, sort of like an internship, and maybe Bess can advocate to George about her mom, and help them become closer.

Two, I have a very specific storyline I want to unfold with Lisbeth. We know the Marvin family in addition to being super rich is super shady, and Granny Marvin wants Bess to spy on Lisbeth to help the family out. I know Bess is torn between her family and her girlfriend because she has wanted to be a part of the Marvin family for so long, but I don’t think she would actually betray Lisbeth like that. So I want to see a storyline where we as the audience think Bess is betraying Lisbeth, and spying on her and stuff like that, (similar to Ow*n and Nancy’s fake fight in ep 11) and then right as we expect consequences WHAM. It turns out Bess was really spying on her family the whole time for some super illegal murder-y thing that happened, and Granny Marvin or someone else gets arrested. She texts Lisbeth along the lines of “everything went great, see you in an hour!” Only when she gets there Lisbeth is DEAD. And then Amaya helps her through the grief and they bond and fall in love aaaaaaaaah

Three, I’m interested in her London family. They want nothing to do with her anymore, I’m assuming because she insisted on getting to know her mom’s side of the family, but is there more to the story? I would like to find out.

Four, I want her together with Amaya their chemistry is on FIRE sorry not sorry

George and Nick

Since they are dating I’m doing them at the same time, but I have hopes for them separately and together. Starting with George:

One, I want George to start manifesting psychic powers like her mom. I have said it before and I’ll say it again. We got a glimpse of the sorts of things Victoria deals with everyday in the seance episode (ep 7) but George will never truly understand what her mother goes through until she experiences it for herself. Yes she now deals with ghosts and hauntings on a regular basis, but George can turn it off. She can step away and make out with Nick, and manage the Claw, and parent her sisters. Victoria can’t turn it off, and yes that has led to some character/parental failings on Victoria’s part but I still want her and George to have a loving relationship. Imagine George starts seeing visions and spirits and things she can’t turn off or walk away from, and finally understands how and why her mom is overwhelmed. And then imagine Victoria becoming incensed and heartbroken, because her abilities have made a mess of her life and she in no way shape or form wants it for her daughter. She immediately teaches George all the control she can, how to shut it off or block them out, and together she and George find new (sober) ways of dealing.

Two, I want to meet the Fan dads. George has two sisters, Ted and Jessie, and the three of them all have different dads. I would be fine with meeting any of them. And it would make an interesting storyline if it turns out one of the dads had no idea he had a daughter? I’m not married to any particular storyline, but there’s a lot of potential there and I want to see what the writers do with it. Onto Nick:

One, as is the case with everyone else, I want to know more about his family. They are all just chilling in Florida, and to our knowledge have never tried to meet up with their son who is now out of prison for a while now which is odd. I know from the episode description in 2x2 that his mom is going to come up for a visit, and I cannot wait to see how it plays out. He mentioned being the black sheep of the family (ep 11 I think) and the writers can’t just drop a line like that and not delve into it, come on.

Two. I know this is super random but I want him to get some sort of stable living situation. He has like 5 million bucks worth of bearer bonds he can’t just sleep on George’s couch for the rest of the show. Plus Harbor Day is over which means the hotels and stuff have opened up. I want him to have a home, is that so wrong of me? A space he can make his own and fill with classical novels and have sex with Nancy?

It’s not as specific as my Bess wish but I know how I want George and Nick’s relationship to go.

I want them to fall apart slowly against their wishes. I mentioned this in one of my earlier reviews. There is so much potential for angst here you guys. I want them to try and stay together because they do like each other, and are attracted to each other, and care about each other, but it’s just not enough. I want Nick to have situations where he consistently goes to Nancy over George for her help and neither of them really understand why. I want George to be desperate to hold onto him because she’s never really been with a guy like Nick before where she doesn’t have to hide and she likes that feeling. But despite their best efforts, it’s just not enough and they both realize it’s just not meant to be, and sadly let each other go.

Also I want Bess and George to be cousins no I will never shut up about it

Ace

Honestly Ace as a character is perfection. The writers could do anything with him and I would support it. Go crazy guys.

Although if he ended up with George I wouldn’t be opposed...

Ryan Hudson

Just two wants, and I probably won’t get either of them, but here it is.

One, we never saw how Ryan and George got together, and I’m hoping they can find a way to make it slightly less blegh. Like maybe their first run in was as a waitress/customer at the Claw, and she knew he was married but made out with him anyway, and then he pursued her after finding out she was in high school because he was already attracted to her. I despise Aria x Ezra and didn’t watch past season 2 of PLL but maybe they could do it like that, where he didn’t actually know she was 17 at first.

Two, now that they have officially established the George/Ryan thing was fucked up and in no way George’s fault and that it messed her up big time, I want Ryan to make amends. I want him to apologize to George, and have him understand that yes he wronged her, and took advantage of her, and he shouldn’t have done it. They’ll never be on great terms, but considering he is Nancy’s father hopefully they can at least get to a place where they are civil with each other, and he is always willing to help her out when she needs it.

Nancy Drew

NANCY. My girl. My babe. My daughter. Lucy’s daughter. Whatever shall we do with you.

One, no surprise here, I want Nancy to get back on good terms with Carson. I heard in an interview, I don’t remember where nor do I have the link, that Carson is going to be practicing law again this season and Nancy is going to be doing some sleuthing for him in regards to some cases. Nancy is a rational human being, and I am confident given enough time she will understand that her father was really doing what he thought was best, and trying to do right by Lucy and fulfill her dying wishes, and she’ll be able to forgive him.

Two, I want her and Ryan to get to an amicable relationship. Nancy has so many (justified) negative feelings towards Ryan, what with his whole being a rich sleaze who had an affair with a 17yo, but really as the first season went on Ryan became more and more of a sympathetic character. Now I’m not delusional, I know he’s not going to morph into an ideal father figure overnight. But I want him to work to be a part of Nancy’s life, and I want Nancy to let him. I want her to understand that yes Ryan has fucked up a lot of times, but he is capable of growth and redemption. And slowly but surely, despite her best efforts, he weasels his slightly smarmy little way into her heart. If we’re getting specific maybe Nancy can be abducted (again) and Carson and Ryan have to team up to rescue her.

Three, Nancy forgive Kate. She’s dead and she loved you and she was your mother whether or not she gave birth to you. Come on, you can do it.

Four. *deep inhale* Listen. I understand I am firmly in the minority here in a fandom filled with Nancy/Ace shippers, but I want Nick and Nancy to happen. As George and Nick slowly fall apart, I want Nancy to resist being there for Nick, to tell him he should really be going to George with these problems, and maybe they have a moment where Nancy falls off a step and Nick catches her and they’re super close for a second before JUMPING apart and immediately avoid each other for a while. I want Nancy to have feelings and fight them because she and George are on good terms and she knows Nick is good for George, and doesn’t want to do anything to jeopardize that friendship or their relationship.

Five, apparently Nancy is getting a new love interest 2 days after Ow*n’s death and I may have hated him but she was fairly into him and as such I am not here for it. Go away new love interest. We don’t want you here.

Dead Lucy

I don’t care in what capacity she is present but listen I NEED my dead traumatized daughter in this show okay? Dead Lucy is my hands down favorite character and I love and support her and if she moves on or finds peace or whatever after sticking around for 20 years just because I will RIOT. But specific wants, just a couple.

One, I have a scene in my head. It is a very specific scene. Nancy is on the bluffs and she turns around, and Lucy is there. Not screaming, not haunting, just there. Nancy is afraid to move, afraid to blink, afraid to breathe. But slowly, she walks up to Lucy. Lucy is standing there, bedraggled and dead, staring at her daughter who grew up to be so beautiful. Nancy is right in front of her. Lucy slowly lifts a hand to touch her cheek and Nancy gasps a little because she can’t quite feel it, not really, but almost. She whispers ‘hi mom’ and closes her eyes, there’s a wind, and Lucy is gone.

Two, I want a Lucy vs Aglaeca showdown. I have no idea what they have planned for the Aglaeca origin story, and it’s fairly likely she will have been victimized by the Marvin family somehow, but right now she is going after Nancy and Lucy is not going to stand for it. Aglaeca shows up to try and take their souls and then Lucy goes all Molly Weasley on her ass and does that deathly scream thing and TACKLES the Aglaeca, and then screams her off just like “NOT MY DAUGHTER YOU BITCH.” and buys the Drew Crew time to do whatever Aglaeca banishing ritual they need to do. That would be nifty.

That’s it

Wow this post turned out to be a lot longer than I expected but there you have it. Hit me up in the notes or in my asks, lmk what you guys want to see for season 2. Oh but please bare in mind, I do live in CA and so see this show three hours after anyone living on the East Coast, and will be actively avoiding spoilers.

Can’t wait until tonight when 2x1, The Search for the Midnight Wraith airs. Stay tuned for my review xo

#Nancy Drew cw #Nancy Drew #Bess Marvin #George Fan #Ned Nickerson #Ned Nick Nickerson #Ace #Carson Drew #Ryan Hudson #Dead Lucy #Lucy Sable #Bess x Amaya #Nick x Nancy #Drewson #Nancy Drew s2 #today is the day

16 notes · View notes

alyblacklist · 4 years

Text

Ressler & Liz and the “light”

There’s been a lot of discussion/debate both here and on Twitter about JB’s recent end-of-season interview where he discussed that final Ressler/Liz scene of “Brothers” and said:

The original break of the story, [Ressler] did call Red and – and that’s what the original move – that’s what the move is, you know, and with where we were going in mind, it felt like maybe we need to – you know, it needs to be her that he calls and that’s actually my favorite scene in the whole episode. I thought she was fantastic and – and, um, their sort of relationship this season has been very unusual and – and as she’s sort of drifting away and - or closer to, you know, whatever is this sort of organic, you know, DNA part of her, he’s this like light that is – represents good and the Boy Scout and all the stuff and, and um, I think that’s why he’s sort of become more interesting to her, uh, more special in a way, because of the contrast, you know, that juxtaposition. I think it’s interesting, their relationship’s interesting.

Below are my thoughts on Jon’s reference to Ressler as a source of “light” for Liz and why I was happy to hear him say it and felt it was consistent both with the evolution of those characters and their relationship over the seasons. I welcome constructive discussion (and criticism), but it’s no secret that I am a Ressler fan, and a Keenler shipper, so if you absolutely hate one or both of those things, you probably won’t like this post (also fair warning - it’s a long post).

The show continually draws on the classic literary themes of light and dark, in which “light” typically represents good, positivity, happiness, hope etc. while “dark” typically represents bad, negativity, sadness, despair, etc. Each of the main characters have struggled internally with balancing the light and dark over the seasons but for purposes of this post, I am focusing on Liz and Ressler.

In Mako Tanida (1x16) when Ressler was hell-bent on revenge for Audrey’s death, Red warned him:

“Agent Ressler. Once you cross over, there are things in the darkness that can keep your heart from ever feeling the light again.”

In the back half of Season 5, when Liz was basically in the same situation that Ressler was in back in S1, Red similarly cautioned her in Ruin (5x09):

Red: I want you to promise me something. Liz: What? Red: That you’ll grieve. Liz: Of course I’ll grieve. What is this that you think I’m doing? Red: I think you’re running away from your problems when you should be facing them. I’m sure it feels like you’re staring into an abyss, but until you mourn, you won’t be able to cross it. Liz: What’s so great about crossing it? What’s on the other side? Peace? Tranquility? Red: Some. Liz: I prefer revenge. Red: That’s what I’m afraid of. Liz: Really? ‘Cause imagining what I’m gonna do to Tom’s killers is the only thing that gets me out of bed in the morning. Red: Don’t just go off and hide in the dark. Wherever you go, look for some light.

Red knows this struggle all too well, because he has already gone down that path. He’s already landed in the darkness, as he explained so eloquently to Liz in Luther Braxton (2x09):

Red: It may be hard for you to imagine, but I once had a relatively normal life– bills to pay, playdates, family, some friends, people to care about. Lost all that. Liz: Lost how? Red: In Mexico, there are these fish that have colonized the freshwater caves along Sierra del Abra.They were lost. They found themselves living in complete darkness. But they didn’t die. Instead, they thrived. They adapted. They lost their pigmentation, their sight, eventually even their eyes. With survival, they became hideous. I’ve rarely thought about what I once was. But I wonder if a ray of light were to make it into the cave, would I be able to see it? Or feel it? Would I gravitate to its warmth? And if I did, would I become less hideous?

These themes of light and dark also intersect with the themes of forgiveness, salvation and redemption. As Red explains to Liz in Tom Connolly (2x22):

I’m a sin eater. I absorb the misdeeds of others, darkening my soul to keep theirs pure.

And in The Kilgannon Corporation (5x07), Red explains to Liz how Dembe tries to save Red’s soul from the darkness:

Red: You ever wonder why Dembe stays with me? Why anyone so decent would spend his days at the side of someone so indecent? Liz: You saved him. He owes you his life. He protects you because you protected him. Red: No, Elizabeth. Dembe didn’t stay with me because he saw me as his savior. He stayed with me because he saw me for the man I really was – a man surrounded by darkness. No friends who could be trusted, no faith that loyalty or love could ever truly exist. I was– Well, I was younger then. Angrier. Dembe connected his life with mine to show me, that day and every day, that the world is not what I fear it to be. He is the light in the darkness. Living proof that there is another way, that life can be good, that people can be kind, that a man like me might one day dream of becoming a man like him. He pledged his life, offered it up as evidence that I was wrong about this world. Dembe guards my life because he’s determined to save my soul.

At the end of Ruin, Liz returns from Alaska and admits to Red that she’s still in a dark place:

Liz: I tried. I really did. I didn’t go looking for trouble. But it found me. And I’m glad it did. Red: What happened? Liz: I killed some men. Doesn’t matter that they were bad. That it was them or me. What matters is that I did it and I was good at it. And I didn’t lose any sleep over it. Red: You will. One of these nights you will. It’s just a matter of when. Liz: Maybe. Later. After I’ve crossed the abyss. But from the side I’m on now, all that matters is that I’m healed and – I’m back. And I’m coming for Tom’s killers. Like I said, I couldn’t keep my promise. Can you forgive me? Red: Yes. Will you be able to forgive yourself?

And in the next episode, The Informant, as Ressler is struggling with how to handle Prescott, Red also discusses forgiveness:

Forgiveness doesn’t mean accepting what you’ve done, Donald. It means understanding that the line dividing good and evil cuts through the hearts of all of us.

This is important for Ressler, who has struggled to accept that mixture of each, both in himself and in others. But by the end of the episode, Ressler is ready to choose the light, to do the right thing, to try to pull himself out of the darkness he’s been living in:

Red: You were preoccupied. Ressler: I was crazed. And convinced I should kill the man who shot her. Do you remember what you told me to do? Red: I told you to go home. You didn’t. Ressler: You said that once you cross over, there are things in the darkness that can keep your heart from ever feeling the light again. I didn’t go home, but I never crossed over. I never thanked you for that. Red: Nor should you. Your circumspection afforded me the opportunity to take care of Audrey’s killer myself. It was a win-win. Ressler: I didn’t want Prescott’s real name so that I could kill him. I wanted it so I could arrest him. Red: He goes to prison, so will you. Ressler: I know, but I’m in the darkness, and doing the right thing is the only way I’ll ever feel the light again.

Against Ressler’s wishes, Red acts as sin eater again (as does Cooper in accepting Ressler’s confession but refusing to pass it through the proper channels). Because in Red’s view:

Sins should be buried like the dead. Not that they may be forgotten, but that we may remember them and find our way forward nonetheless.

In Season 7, in Brothers (7x17), we learn that Ressler has an even larger skeleton in his closet. Once again, he is concerned about doing the “right thing,” because he can’t live with the secret hanging over him any longer. This is his way forward, back into the light.

Ressler: Well, say you agree with me about how we should handle this. I mean, we arrest those bastards who took the car – for theft, for extortion, for all the other poison they pump into the city. And then after that – my brother and I come clean about what we’ve done. Liz: I don’t know that I do agree. After the story you told me, after what you’ve been through – both of you– Ressler: No, we have to do the right thing. It’s important. Liz: Of course, yes, I will help you. I just want to make sure you’re prepared to face the consequences when the FBI gets their hands on that vehicle and that body. Because if we go in and arrest those people, eventually, the FBI’s gonna open up that trunk. Ressler: And find Tommy Markin. I know. Liz: Are you really okay with dealing with the consequences of that? Ressler: I’ve been running from this my whole life. I need it to be done. We both need it to be done.

This time, Liz acts as his sin-eater and makes the body disappear. So how does this all fit together in terms of Ressler and Liz and their relationship?

Liz has always seen Ressler as a good person, as someone on the side of light rather than dark. Even when he was hunting her as a fugitive in Season 3, she still defended him in Eli Matchett (3x03) after Red questioned why she reached out to Ressler for help:

Red: Ressler is a law-enforcement robot. The FBI winds him up– Liz: That’s not true. He’s a person. He’s a good person. Red: Look at me. You need to let that go, Lizzy. I have survived for a very long time now, and I assure you, I didn’t do it by relying on the goodness in people.

At the same time, she’s questioning whether she herself is still a good person.

Liz: I shot a cop. Red: Yes, you did. Liz: And killed the Attorney General of the United States. Red: Yes. And when you did that you crossed a threshold, leaving your world, entering mine. Bad things are gonna find you now, Lizzy. This life has a mind and a momentum of its own. That’s a reality you need to accept. Bad things happen to good people. Liz: Am I a good person? I’m not so sure anymore.

By the time we get to Season 7, and Brothers, Ressler is the one calling Liz the better person as he prepares to turn himself in:

You know, Keen– I didn’t like you when we first met. I was wrong. You’re a good agent. You’re the kind of agent that – people join the FBI to try to become. But you’re also a good person. Much better person than I am. So, whatever happens out there today, the Task Force is gonna be in good hands with you.

But she doesn’t let him - as she explains later, for herself, not for him, because she needs the peace and stability that he provides in her life, she needs that “tiny island of calm,” amidst the dark forces that surround her.

Liz: Have you looked at my life? I’m a widow and a single mom. A marionette – with a high-functioning sociopath pulling my strings. My grandfather tried to murder my mother, and my mother is a legendarily lethal Russian spy – who moved in next door without even telling me who she was. I mean it. Have you looked at my life? I mean, really taken a close look. Because it’s like I’m in the middle of a monsoon that’s constantly threatening to drown me in bad news. And somewhere in the middle of that FEMA disaster of a life– Somewhere is just – a tiny island of calm. And if that weren’t there, I would be swept out to sea. Ressler: No, that’s never gonna happen– Liz: It would if you weren’t here. Ressler: But I am. And it won’t. Come here. It’s never gonna happen. Not on my watch.

Ressler has consistently represented peace and calm and stability to Liz amidst the chaos. It’s there from the very beginning when she clings to him after the Stewmaker ordeal at the end of 1x04, it’s there again when they hug in Mato 4x02 after he shows up at the Summer Palace, it’s there in Dr. Bodgan Krilov (4x19) when she envisions a peaceful future for Ressler watching the sunset from his lake house while Hitchin goes to jail:

Liz: I didn’t do it for you. I did it for him. Hitchin: Fair enough, but you did it, and for that, I’m grateful. Liz: Donald Ressler represents what’s best about this country. He’s loyal and honest, and he believes that no one – no one – is above the law. And I believe that one day, you’ll be the one being dragged off in handcuffs. And he’ll be walking into his lake house to watch the sunset.

It’s there in Season 5, the first episode that they share a meaningful scene together after Ruin, and The Informant, when Ressler is talking about “silver linings,” in the Capricorn Killer (5x16) as he wraps his arm around her.

So for me, Jon calling Ressler a "light that is – represents good and the Boy Scout and all the stuff” is completely consistent with all of that has come before between these two characters and isn’t something Jon just made up out of whole cloth. More importantly, the fact that he characterizes Ressler as “more interesting” to Liz now because of the contrast, and the juxtaposition between her darkness and his “light” is also encouraging to me insofar as I don’t want to see the show end violently - I want to see it end with Red and Liz at peace and with Liz achieving the calm, normal life she’s always wanted (and which Red has promised her for seasons now she will have in the end). So the fact that she’s still interested in light and peace and calm, despite her step further into the darkness at the end of 7.19, is an encouraging sign to me that Liz is not entirely lost.

Back in Season 3, in a midseason interview with The Blacklist Exposed between episodes 3x08 and 3x09, Jon said that Liz “is definitely on a dark path...and I think she will continue to be,” and that “it’s a battle for her soul, it’s a battle for can she survive going through this process.”

There’s a conversation between Ressler and Cooper in the comics (The Arsonist, #6) that illustrates that Ressler’s concern back then wasn’t just preventing Liz from being physically killed, or “beating” Red, but more a fear of losing her to Red’s world - that the darkness would overtake her.

Ressler: I want to bring her in while she’s still...her. Every second she’s out there Reddington’s turning her into someone else. Cooper: That may be, but it’s your job to catch her Donald. It’s not your job to save her.

Four seasons later, I think it’s still a battle for Liz’s soul, but an internal battle that has never really gone away. The battle is not Reddington turning her into someone else, but rather own struggle against her dark impulses, her own struggle to fight for some light, some peace, some calm in her life amidst the chaos. And for that, I think she needs someone to help pull her back from the brink before she takes that step too far, someone to remind her that there is another way.

I hope going forward into next season, that will be Ressler, who will draw on his own experience battling his own demons and help prevent Liz from slipping into the abyss. Does that mean that Keenler will end up a romantic couple in the end? Not necessarily (though personally I hope so). But I take Jon’s comments as a positive sign that Ressler will be a positive force in her life as she steps into yet another battle.

Wine for all those who made it this far!

#the blacklist #donald ressler #elizabeth keen #keenler #jon bokenkamp #theories #long post #really long post #I resisted gifs and images to try to keep it shorter

111 notes · View notes