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fan-goddess · 4 months

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MY ANALYSIS OF THE SCENE BELOW

Gif and photo credit goes to @barbieaemond

A/N: First of all! I want to say these are personal opinions and ideas I have come up with and discussed further on! None of the things I will say are confirmed! I am merely speculating and debating theories! The start is less on topic but it gets more focused the more I talk.

I didn’t want to bother users by directly tagging but there users are there and in some cases links to their posts are added in bold. I also bolded certain quotes.

Okay, first of all I want to discuss the words they had playing when they showed this scene before we look into the scene itself. When listening to the voiceover I couldn't tell who it was who was saying the quote, but after putting on the captions I found its Larys Strong which is interesting given his character is pretty much the master of whispers. He's the man who knows everything on everyone the man behind the curtains as shown in season 1 when he manipulated Alicent to make her believe she was responsible for Harrenhals fire and therefore make her guilty enough for her to feel the need to keep Larys in kingslanding where hes at his most powerful. Why go back to Harrenhal and trust his birdies to bring him the information while he sits back when he can do the dirty work himself? That is a key aspect of his character which is why it makes the quote so noteworthy.

The quote itself though is this: The enemy without may be fought with swords. The enemy within is more insidious. Even the use of camera shots which are placed while he's saying that have meaning, as when he says the enemy without its showing Rhaenyra who has lost her daughter, her son, her crown and her throne. And when he says may be fought with swords Aegon shows to be possibly mourning the loss of Jaehaerys, and it's known that after finding out about blood and cheese Aegon went on a rampage killing all ratcatchers in the city. This is showing the shots they’re showing in this line have meaning, meaning we need to take into consideration the scenes/words they show next.

The shot saying The enemy within shows Daemon walking down in a dimly torch lit tunnel somewhere underground with no real indication of where he is. Perhaps they'll play around with blood and cheese by having Daemon come with them to show them the tunnels needed to get to Helaenas chambers, but that would not make sense as it's been highly discussed how Dyana (A maid shown in season 1 who had been a victim of Aegon) would be a part of season 2 for a few episodes, so its much more likely she'll be the one guiding blood and cheese to Helaenas chambers. Though I must say I feel Dyana will most likely be punished and killed for this as she has affectively been part of a plot to kill the innocent son of Helaena. I suspect her guilt will show, and maybe Alicent or maybe even Aegon himself can see that she knows something and questions her, leading to Dyanas confession and death.

Though the scene with Aemond as Larys says is more insidious, that is what caught my eye and no doubt brought you here. We can still that the whole line as part of the reasoning for the use of that scene, as I have discussed with @/anjelicawrites and we have thought of the possibility on this being Aemond crumbling down from his usual, "Tis I the younger brother who studies history and philosophy, it is I who trains with the sword, who rides the largest dragon in the world. It is I who should be-" This is a new side of Aemond. A version of him which we beleive is him finally directly suffering for his actions in the war, AKA killing Luke and indirectly causing the death of Jaehaerys. He looks as though he is becoming something that even he said he would never become as he even says to Criston, as Anjelica mentioned to me, that the two of them were people with morals. It's honestly quite an interesting take as by having the usually stoic Aemond break down in front of this woman, the identity of whom I will talk further on later, shows even he is not safe and that no one is truly immune to the grief of war and that sacrifices must be made by all.

Now we do not know the setting in where the photo takes place but if this truly is a brothel then maybe Aemond went back to the place which truly psychologically hurt him in order to enact punishment on himself, as what punishment can really be done after what Aemond has had to go through. Torture is not an option especially since he's already had to suffer through the major damages of loosing an eye which has already permanently damaged not only Aemonds vision but his whole nervous system. There is a post where a lovely individual goes through the medical side of Aemonds injury which I shall link here for those who would like to take a further look. Going to the brothels as well could be a sign of him becoming what he hates most of all. Aegon. Aegon has always been Aemonds biggest jealousy as he has everything Aemond wants. Aegon has the title of first born son, two eyes, a valyrian wife, heirs, even an actual inheritance and yet he throws it all alway and very easily wanted to when Aegon tried to convince Aemond to allow him to board that boat to wherever he was planning to run off too (Probably Lys when you think about all the people there who have silver hair and the violet eyes.) To see Aemond slowly develop into Aegon would be almost strangely poetic to see as he becomes the epitome of what he hates and wanted most, especially when its just the worst side of Aegon he becomes and not the good parts.

Now onto the context of the scene! The way Aemond is laid on the women suggests intimacy, as he has his hair put down naturally, has his sapphire eye on pure display, and most noticeably of all is naked as the day he was born. He also has his back to the person, which to him especially given his lack of vision on his left side, means he trusts them enough to be vulnerable. People are heavily implying that Aemond is in a brothel, but when you think about how Aemond reacted to the brothel owner in the first season, who it turned out to be the woman who SA'd 10 year old him, I do not believe he would go back there willingly with that much sense of vulnerability around those sort of people. But when you think about the idea of him going back there to punish himself for his misdeeds then it cannot be ruled out as a possibility. Though someone mentioned it didn't seem right how Aemond was the one in the nude while the woman he is laying his head on is still fully dressed, which is certainly odd especially when you remember that when we got a first glimpse of the whores they pretty much walked around the room stark naked with very little clothing. Perhaps Aemond walked in with her naked and demanded she dress in clothing that was either laying about or even brought her clothes for her to wear (possibly Helaenas or even his mothers) we will not know until we watch the scene on screen.

When discussing the position Aemond is in with the woman too like I said earlier defenitely gives an idea on intimacy, possibly bordering on motherly. We know that when Aemond returns from storms end and tells his family of what he had done, 'Queen alicent went pale when she heard what he had done, crying "mother have mercy on us all." nor was ser otto pleased. "you only lost one eye" he is reported to have said. "how could you be so blind?" In the books it is said that since Aemond did kill Luke with intention to kill, he was expecting to revieve pretty much a heroes welcome. But since they changed that and make Lukes death accidently Aemond will no doubt go back to kingslanding feeling grief and regret, with maybe some happiness that he finally in his own way got revenge back for Luke taking his eye. Going back to the almost motherly seeming position he is in, I suggested that perhaps Aemond went to the brothel for a sort of motherly comfort for what he has done as Alicent almost certainly will not be giving it to him for what he has done. Perhaps he went there to get comfort from women but not in a sexual way but in an emotional way so he can feel less at fault for what he has done, even when the physical reminder haunts him daily.

Some people have suggested this to be Alicent who he is with, and whilst that makes sense given the intimacy of the position he's in it does not make much sense to me as why would he be naked with his mother. That to me is more of an Aegon move than an Aemond move. Though it was also brought up how she possibly came into his chambers at night whilst he sleeps nudes which very well could be a possibility so I've decided not to rule out that idea.

Another possible idea on who the woman is is the brothel lady from season 1 who I talked about earlier as being the one who SA’d Aemond when he was 10 years old. When looking at how other people have viewed the picture and came across a user named @/scaly-freaks who gave great insight on this topic which I shall leave a link for here. Firstly they mention how of course CSA is a sensitive topic, I want to mention that first. Though what they further talked about what how in some cases a victim can subconsciously find traits of their abusers in romantic partners (which thinking about it may be why he went for Alys given that she was a much older woman similarly to the brothel worker) or they can return to their abuser even at an older age. I won’t discuss these two points further as consideration for those who may feel triggered with this topic and so I will just say to click on the link for the post and read the rest there. Like I said about Alicent, I will not rule out this brothel woman as a possibility especially as it’s supposedly been confirm that she has filmed some nude scenes for season two. We do not know if she will be the woman in the scene, especially since in the picture the woman is seen wearing clothing, she may have filmed some general brothel scenes involving Aegon. I read another user @/lovelykhaleesiii theory about who the woman was and she said it was the brothel women and that it was her, as possibly Aegon may have taken him to the brothel to celebrate Luke’s death as we’re apparently getting scenes of Aegon at the whore house. This would make a lot of sense given the evidence shown and makes it a lot more believable as to why Aemond is in a brothel in the first place as like I had mentioned earlier it’s a more Aegon thing to do not really an Aemond act. Also a user named @/magnificentdelusionr has spoken out about how apparently the woman Aemond is with and the brothel lady share the same scar, so my belief in this being the woman has increased I’ll tell you that now. Though like I said, I will not rule her out as a possibility. The evidence for the brothel is bellow. I think this may be the most likely theory honestly given all the evidence that has been shown for her to be the one Aemond is with.

Now, this third possibility for who the woman is technically unknown as we do not know who she is. The actress from the scenes shown appears to be a dancer and the theory as it shows in the photo shown bellow is that she may have been sent by Mysaria as a distraction for Aemond. But looking at the scenes (pictures of which are shown in the twitter post down bellow) I don’t believe the scene in the top right is of Aemond and her, purely from the fact Aemond does not wear rings and the fact it looks very similar to Daemons ring. Furthermore the woman looks as though to be a younger Aemma purely from her face shape so that is why I’ve decided to rule out this theory. I will admit that it’s a high possibility that Aemond would be seduced by a dragonseed, as in my mind Aemond wants tradition of his culture. If he could’ve he would’ve married Helaena, as those are the ways of his people and the culture he cares for. He also, as was shown in the scene where Driftmarks inheritance was called into question, is seen to have a great admiration for Daemon who has married two women of Valyrian blood and has fathered technically 6 children (two of which did not survive past the womb). Aemond in my mind if the war never happened would’ve 100% been a sort of student under Daemons wing so in my mind it is not hard to imagine Aemond as wanting to mimic Daemon in his own way, that way being bedding a Valyrian woman. Yet even so when looking at the dragonseed people believe to be the woman Aemond was with I believe she plays a different part of season 2, my belief is that her role of season 2 is to be one of the dragonseeds team black or team green hunt down to try and recruit, as it was said team black went around Westeros finding anyone of dragon blood and offering them a chance of a dragon. So I do not think she is who Aemond is with.

Now the final idea on who the woman is is Alys Rivers. I have seen people freaking out over the idea of Alys changing her looks to seduce Daemon, and that is who we see in the scene shown at the top left of the twitter post screenshotted above. But that is not Alys style as there is honestly less of a chance she could get shit done with Daemon. What there is though is a chance she could use Aemond given he was younger, more naive and ultimately more emotional and needing an outlet she is happy to become to ensure her freedom. Though in context with the scene, when discussing the idea about Alys with @/anjelicawrites, she brought up the idea about Alys possibly visiting Aemond in a dream. This lead me to think about her doing this which would ultimately force Aemond to come to Harrenhal and fulfil his ‘duty’ of coming to Alys and giving her a son of pale hair. I spoke to her saying how I like the idea of Alys visiting Aemond in his dreams, as this would further the witch allegations. With the context of the scene though I believe she could put this image of a finally calm Aemond who is finally at peace with himself in his mind and make him crave that part of himself. This would ultimately force him to come to Harrenhal in the future. One thing I do want to bring up is this connection that was brought to my attention by user @/boundlessfantasy. They made the connection about Alys possibility being the woman holding Aemond in a dream since Ewan said in the interview with TGC where they discussed three scenes from season 1, that the process of killing Luke haunts his dreams possibly hinting at a dream aspect of the season. This may end up being just a sarcastic comment, but if this actually a hidden Easter egg then I must applaud Ewan for being so sneaky. There is a screenshot of the interview down bellow with the line also a link to the interview here.

We cannot see the woman’s face therefore we cannot be sure on this woman’s identity, but out of these four main theories on the woman’s identity I think this is most strongest in my opinion. Though us could very well be some random women we’ve never seen in the series before so I very much am not exoecting my theories or anyone else’s to be particularly right. I accept them all (pretty much) but am expecting pretty much for the unexpected.

Some other theories though I would like to take into consideration is the idea it’s Helaena in the picture. I do like that idea as it brings further this idea of Helaemond, a ship I do enjoy personally, especially as they hinted at the idea that Aemond was the father of Helaenas children. The clothing the woman is wearing by the looks of it does seem to be a similar shade of blue that Helaena is usually seen wearing, and there are seem similarities in the hands (this idea was brought to my attention by @/lady-phasma who has talked on this idea on their account) Though I do suggest you click on the photos bellow to see them much more up close as then it’ll be a clearer image. Helaena and Aemond have been shown to be close together so it’s no surprise if he’d want to break down and show weakness with her. It’s a very intimate position as his back is to her showing he in his own way trusts the woman, making it believable this woman could be Helaena. I haven’t made this a main theory as there are some more compelling evidence for the other cases but still I will say this theory is quite strong especially when looking at other theories like the idea the woman is Alicent.

And the final theory on who the person is which I would like to take into consideration is that the person Aemond is with is Aegon. Now I’m sorry to have to break it to the Aegmond shippers but I do believe out of all these 6 theories I’ve talked about this one is least likely. For one it’s clearly a woman who Aemond is with, given the way the body is shaped, even when we cannot see her breasts. I will admit I have seen people though speculating it’s Aegon which is why I’ve decided to mention it and discuss it. One user named @/cyeco13 has done some incredible art of what it would look like if Aegon was the person Aemond was with and I shall link it here for those who wish to go see it (I do recommend it!)

Okay, out of the six Ive decided to rank those that I believe are most believable to be the woman!

1) The brothel madam

2) Helaena + Alys (as I’m tied with these theories not gonna lie)

3) Alicent

4) The unnamed dancing dragonseed woman in the trailer

5) Aegon

This is all I really can say on the matter as there are constant new theories daily and sad to say I cannot directly talk about them all. Still send me your favourite theories I am interested in hearing and if people would like debating them with me.

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ask-whitepearl-and-steven · 8 months

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Would you mind sharing your planning process of the comic? I'm starting to brainstorm a fiction idea and right now the ideas are very messy and I wanted to know if you could show how you plan what happens on a season and on an episode, maybe with an example of a season episode you already published, so I can learn how to organize myself?

I really, REALLY appreciate you coming to ask me for help with this. It's awesome to hear that you respect my writing enough to seek me out as an authority on such things, or at least enough to ask for advice.

But I'm gonna be real with you - what you're asking for is not a quick slapdash reply that I can whip up in my free time. What you're asking for is an hour long video essay (with examples) on the level of an educational creative writing online course.

And I--I don't know if I have it in me to do that right now. Not with everything else I'm trying to do. (Sorry.)

BUT.

What I can give you instead is a basic rundown, and maybe some recommendations for where to this stuff.

To be absolutely brief: For me, the best way to visualize how I plan would be to make a flowchart.

Keep in mind that....... I don't ever actually.......MAKE. A flowchart.

Mostly, I am just using this as a visual representation of how my ideas flow from and to each other in a coherent way. The reality is that this skill is something you have to develop until it becomes second nature.

As an example, let's take the episode(s) where I introduced Seaglass.

This little arc was planned in season 3, but really started to come into play in Season 4.

To make it happen, I started with the obvious main idea: SEAGLASS.

I then broke it down into multiple smaller ideas:

If you notice, the main plot of this doesn't even start when the Seaglass exposition does. Steven makes Seaglass back in season 3, but doesn't know about it. But these ideas are still important to acknowledge as being a part of the main plot.

I then fill in MORE space between these larger ideas.

This whole set of steps is just a logical progression of me playing 'how do we get there'. I make up plot points and say 'what happens to get from A to B?'

And keep in mind - this may seem kinda obvious. That's because... it should be! But that's how the planning happens.

Realistically, it's just a bunch of asking myself questions. The same exact questions I refuse to answer in asks.

"What happens next? What would happen if....?" "Why doesn't Steven know about ....?"

"How would Steven find Seaglass if he doesn't know she exists?"

Well she's small and green, kinda like Peridot. So he goes looking for Peridot and mistakes Seaglass for her.

BAM! You've got yourself a plot point. That's a plan, baybee!

And then just kinda rinse and repeat.

And eventually, you want to make sure that you have some sort of connection back to the main plot point. In this case, it's the realization that Steven CREATED LIFE.

Again, I want to stress - I don't actually........plan.... by writing this down.

I do this process in my head. Often, multiple times per chapter, writing and editing to make it make more and more sense. The important part is about asking yourself questions. The same questions your readers should be asking.

"Why is this character doing this?" "Why is this event happening NOW?" "How will A find out when they realize what B has done?" "What is the BEST time for B to find out...? What is the WORST time?"

All of this takes imagination. It isn't about organization. It's moreso about learning to tetris plot events into their most snug spaces. It's about thinking of events as a staircase, which eventually leads to a larger staircase of plot arcs.

And as a final note, I will say that someday, when I'm less busy, I may make a video about plot. But it will take more time and effort, and for now, please just watch videos by other creators! I'm sure they're just as good at it as I am.

youtube

#chekhov answers #plot

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kineticpenguin · 6 months

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So I finished the Fallout series

And that was a mistake.

You know how like, 2 episodes in I said "the only character anyone involved in this show seems to actually give a shit about is the Walton Goggins ghoul"? Yeah, that stays consistent for the whole duration. You know how people use "NPC" as an insult? Lucy is worse: she's a BethSoft Fallout PC. She just steps on out of that vault with generic do-gooder personality, and basically everything brought to that character is entirely from the person playing her, certainly not the goddamn writers. Let me be absolutely clear: this is not Ella Purnell's fault, she is acting her ass off. It's just the writers gave her such trash to work with and the only button they have on their keyboard is "well that just happened!"

It's almost as bad for Maximus the Hapless Brotherhood Dipshit (Aaron Moten) but not quite. The writers thought maybe they'd do a fakeout to make you question whether or not he's a good guy or not, and absolutely did not commit. Another character where the actor had to do their best with nothing.

So obviously Lucy and Maximus fall in love and... here's the thing. She's smitten from the moment he first shows up in power armor, calls him a "knight," even though she's supposedly up to speed on prewar history and knows T-60 armor when she sees it. Why she just got obsessed with this idea that this guy is a Knight and not a remnant of the US Army remains to be seen, but I'm pretty sure it's because Todd Howard hears "knight in shining armor" and gets a big fat chub and dreams of being carried off into the sunset.

I can't even say Walton Goggins steals the show as the ghoul Cooper Howard, because most of this show is actually really all about him. He is the actual protagonist.

Overall assessment, though? God, where is the copypasta about Fallout 3... ah, yes. It makes about that much sense. They retconned the NCR into a fragment and then finished it off out of what I can only assume is 14 years of pure spite from Todd Howard. Why? Because they want you to know that it seems that Vault-Tec is bad. Uh, very bad.

Vault-Tec's bad, huh?

HEY FRANK THIS GUY'S OVER HERE WATCHIN' AN AMAZON SHOW OVER HERE THAT SAYS THAT VAULT-TEC... IS BAD!

It's a show with nothing for everyone. It holds its cards close to the chest so non-fans won't understand what's going on, and shits all over existing canon which fans won't like.

And also it just sucks. The plot doesn't make any sense and the fight choreography occasionally achieves "acceptable" at best. Battlefields populate and depopulate and repopulate without explanation. There is no flow to the combat. There is a moment in the finale where banner-bearers with the BoS flag and the NCR flag just rush at each other. BECAUSE TROOPS ATTACKING BY HELICOPTER AND PEOPLE DEFENDING THEMSELVES FROM THEM, BOTH SIDES USING MACHINE GUNS, ARE SO WORRIED ABOUT BATTLE STANDARDS LIKE IT'S 1844

Fuck this show.

#fallout #amazon fallout

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midnightstar16 · 2 months

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I am done with this show.

I came into season 2 with hope and excitement. Season 1 ended so shockingly, and I was curious how it would play out in the next season with all these complex characters. Would Rhaenyra finally become the book Rhaenyra who fought her brother and kin for the throne? Would Aegon finally embrace his role as king? Would Aemond work with his brother to plot and defeat the blacks?

It is safe to say I was disappointed. As the show progressed, I felt my enthusiasm falter and destroy. From the top of my head, I can only remember episodes 2 and 7 living up to their expectations. Why is this? If they couldn't make a book-accurate show, they should never have thought to make one in the first place.

They've omitted characters (nettles) and ruined others. Somehow sheepstealer is in the vale?

The above picture is from Martin's blog posted this month. It is obvious that the writers think that they can do whatever they want.

Rhaenyra who was supposed to be ready for war, is suddenly against war again. Alicent, who wanted her son on the throne and hated Rhaenyra, is suddenly yearning for her. Daemon is in his "haunting of Harrenhal" era. Criston Cole, who was named Kingmaker is such a useless shit in the show. He sits around, has s*x with alicent and then sulks.

I will not say that they butchered everyone. Aemond and Aegon's writing was done nicely. Leaving the rook's rest part. That didn't make sense in many ways.

This show has just become men bad, women good. It is obvious. Aemond, Aegon, Cole, Daemon, heck- even Jace; they're all portrayed as insecure, abusive and bad.

It was jace who came up with the idea to get Targaryen bastards to claim Dragons but they made him insecure and gave his plot to Mysaria. Oh and talking about Mysaria... She was talking about her abusive father and how he r*****d her and Rhaenyra became horny and kissed her? That scene was actually suggested by Emma Darcy, Rhaenyra's actor and it shows. But the fact that the writers actually allowed it shows their naivety.

Criston was a GOATed character in the book, he was a father figure to Aegon and Aemond but he acts and looks younger than them.

Daemon is in his haunted movies era. After laena showing up in s2, I predicted we'd get Viserys all rotten up and we did.

The set is amazing, the dragons are amazing, the characters are supposed to be amazing and so is the writing, but it is not. Season 8's cinematography, music, set, everything was groundbreaking but its writing was bad. This is exactly the same.

From what I've seen so far, episodes 2 and 7 were amazing, I can't lie, episodes 1, 3 and 4 were on the average side. For episode 4, many might criticise me because it was rook's rest, but this was a huge battle that shook the ground. It was downplayed to what? 10-15 minutes? As for episodes 5 and 6, I don't even remember what happened in them, because there was nothing to remember.

Episode 7 was good indeed. I thought they finally redeemed themselves. Until episode 8 leaked. Indeed. Last time, about 2-3 episodes leaked and this time was no different. The finale leaked.

While I will not talk about it until Monday, I will say this: I, who watched season 8 twice, who is a huge a song of ice and fire fan, will most probably not watch this show from now onward.

#hotd #house of the dragon #house of dragons #team green #house targeryen #asoiaf #hotd show #hotd season 2 #hotd spoilers #hotd s2 #house of the dragon spoilers #hotd criticism #game of thrones #a song of ice and fire

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ilanarose7 · 4 months

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Bells Hells Episode 95 Morning After Thoughts

SPOILERS BELOW!!! (This has become a weekly thing for me to help digest the episodes and I'm probably gonna keep doing it. really helps with my episode memory as well)

New favorite Campaign 3 episode unlocked!!!! The title of this episode has been released on Beacon (I won't spoil that), but I will personally be referring to it as "Shopping and Shipping" in my own head. It just had the perfect amount of everything and felt so incredibly cathartic (then stressful in the best way) after everything that's happened in recent episodes.

Let's break it down:

The Essek v Astrid verbal showdown!!! Essek appears to hold all the grudges that Caleb doesn't (or at least didn't really at the end of M9). When Astrid dropped the "Ludinus has an itch in the back of his neck" lore I was thinking back to when they first learned more about the harness and someone (I think it was either Marisha or Laura) wrote in their notes "We cut off Ludinus's head!!!" that was later read aloud. After that convo, that action seems like a decent play. That or maybe the Cadeuces-style Dispell Magic to the back of the neck. (side note: of course Fearne bought the Vasselheim version of the Kama Sutra 😂)

NEW CLOTHES FOR EVERYONE!!! We know there's new Dorian art waiting to be released since he rejoined the party, but everyone is getting an Aeor-ready makeover! It makes perfect sense, but I was still thrown off by the level of outfit upgrades and am so excited for the art!

Pumat is BACK! Well, his Simulacrum are at least. I don't care, just hearing that voice made me so happy. And also Dorian giving all his money to Orym so he can buy the armor? So what if I was squealing?

Downtime at the Cabaret ❤️ The Imodna kiss as Laudna went back upstairs. The Callowmoore flirting leads to Ashton, for the first time in a LONG time, successfully pick-pocketing Fearne. Dorian and Chetney banter back in full swing. Fearne leaving the EXU group hug to give Dorym a moment together. going back slightly but Iva Deshin made Bells Hells clock that YES, YOU ALL DO GIVE OFF POLYAMOROUS VIBES! So many character moments that have been needed in such a plot-heavy story

Ashton shows their head off to Essek! I have been waiting for this for sooooo long!!! Allura had given some answers, but talking more about how Dunamancy and the Assembly's manipulation of Dunamis has played a role in everything going on. While the cast know this info out of character, its good that they finally can do so in character as well

Laudna, Delilah, and the Sword-Shaped Elephant in the Room. Well, damn. First off, the acting in this last hour or so was AMAZING!! Also incredibly demonstrative of the level of trust at the table. Now to talk about the moment itself. The line between Laudna and Delilah has been getting blurrier and last night I don't think Marisha even knew fully where Laudna ended and Delilah began. The cast and many insightful Critters have been comparing Laudna to an addict and last night is an incredible example. The way Laudna handled it was wrong, this could have been a conversation rather than an initial attack. But was Laudna or Delilah the one making those choices? Or being manipulated into them? In the moment, the calm approach the group tried to take was the right one, but honestly, Laudna needs a harsher talking-to like what Chetney did with Ashton post-shard incident. Taliesin on 4SD said that's what saved Ashton from leaving the group. It might be something that, other than Imogen's love, may be enough of a wake-up call to help her break away from her Delilah-induced magic addiction

TLDR: The whole episode was full of amazing moments that were cathartic, informative, tense, and heartwarming. THE PERFECT BELLS HELLS EPISODE! again, that's just my opinion. I'd love to hear what everyone else thought too!

#critical role #cr spoilers #bells hells #laudna #ashton greymoore #fearne calloway #orym of the air ashari #dorian storm #chetney pock o'pea #imogen temult #new favorite bells hells episode unlocked #c3e95 #so much fun drama and love in one episode

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miraculouslbcnreactions · 3 months

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Hey there

What do you think of the show pulling a Philip J Fry on Alix as per Thomas’s Twitter? And how season 5 began with “thanks for saving our lives, now get the fuck out of reality”? Personally, I would have made the duo a trio and try to get all hands on deck

I thought it was super weird and didn't really understand the in-universe logic for why Alix needed to run away. I do get the meta logic, but we'll get to that in a bit. For now, let's focus on how the show tried to justify it. This is the dialogue when Alix gets her mission:

Ladybug: Once we have retrieved the Miraculous of time, you won't return it to me. You'll have to continue wearing it in order to protect it, until Monarch is defeated. Alix: Keep it? That means... Ladybug: (crestfallen) You won’t be able to return to this time right away.

Alix keeping the miraculous makes sense, but her not being able to return to her own time doesn't. What are they worried about that doesn't apply to Ladybug and Chat Noir, too? It's not like Alix's identity was outed at any point. The miraculous would have been perfectly safe in her pocket, so that's a terrible reason to send a 15-year-old girl wandering through time with no support system.

This oddness is not helped by Future Alix's presence in both this episode and Chat Blanc. It shows us that Future Alix can mess with the past for some reason, meaning that there's no reason for her past self to go on a solo mission. If things get too bad, then Future Alix can just come back to the past and fix it.

It would have made way more sense if future Alix wasn't a thing and if the rabbit was the one miraculous Monarch didn't get, leading Ladybug to give the rabbit to Alix for safe keeping. Alix would then offer to go back to the past and change things, but Ladybug would refuse and say, "You can't change your own past! But you can protect our future. Now that Monarch is so close to reaching his goal, I need my hero of last resort to make sure he doesn't win." Then Alix could either go off to monitor the time stream or Fluff could say that it was time to start Alix's training so she knew when a situation was dire enough that it was time to interfere, thereby implying that Alix might help, but wouldn't in most cases.

Of course, those fixes fall flat since Monarch does win, but I guess that's fine since neither version of Alix stopped it? Why the wish was fine, but Chat Blanc wasn't is beyond me.

This is the problem with introducing a time traveler to your show and not giving them clear rules that prevent them from helping. It fills the story with plot holes, which is the meta reason why Alix was shipped off. The writers quickly realized that the villain really couldn't have time travel powers, so they got the miraculous back to Ladybug and then removed it from play because they had no idea how to handle time travel given how badly they've mismanaged it so far.

Almost everything that happens in Evolution is there for a similar reason. Nothing about its plot makes sense and it seems obvious to me that the events of this episode are just a sloppily attempt to fix time-travel plot holes and to make season five's plot work even though it goes against established characterization.

For example, this episode sees Gabriel give up saving Emilie because he's too tempted by the idea of beating Ladybug. This makes no sense because Gabriel has never put defeating Ladybug above saving those he loves. He's actually given up potential victories when the cost to his loved ones was too high. It's not like the writers forgot about this trait either because they bring it back to "redeem" him in the final. If he hated Ladybug more than he loved Emilie, then the season couldn't end with him listening to Ladybug and changing his wish, so him choosing fighting Ladybug over saving Emilie at the start of the season makes no sense since his character supposedly gets worse as the season goes on.

This one-off sloppy change to his character was only there so that the writers could give Nathalie an excuse to no longer support Gabriel, which is really dumb because Nathalie doesn't see Gabriel pick Ladybug over Emilie. Given that Ladybug always wins no matter how clever Gabriel's plans are, it's straight up insane for Nathalie to assume that this time was any different. Just look at this dialogue, she has no idea what happened in the burrow! She just randomly assumes the worst after three seasons of blindly following him to the point where she is actively dying because of her blind faith in Gabriel:

Nathalie: (on-call) Gabriel, did it work? Gabriel: No, Ladybug tricked me! She stole the Time Miraculous from me! (Nathalie coughs from her sickness.) You have to help me! Come up with a new plan! Ladybug can’t get away with this! Nathalie: (on-call) You had the Time Miraculous. You could’ve chosen to save Emilie! You could’ve chosen to save me! (coughs) But instead, you chose your obsession with Ladybug and Cat Noir. You're insane, Gabriel! Gabriel: (stuttering and panicking) I-It’s not my fault! It was Ladybug!!

I'd like to take a moment to remind you that one of the times Gabriel gave up winning for the sake of a loved one was when he chose Nathalie over defeating Ladybug! Why is Nathalie so certain that he acted differently here???

Circling back to your terrific trio idea, while I do like the idea of there being a larger team (but not a team of 18), Alix is the last character I'd chose for that team. It's nothing against her character. I like Alix! The problem is that her power set is broken. If she was there, then we'd be asking why she doesn't just undo the events of the season four finale or use her powers to track down Monarch's identity because canon has failed to explain why those aren't options.

To be perfectly honest, I don't think that the time traveler we see should be one of the modern kids. It just introduces too many plot holes. I think Bunnyx should be someone from the past who is watching their own future and interfering based on very clear rules that leave them almost no room to help. I think it's fine if Alix is the holder who will follow this random person from the past, but we should never see future Alix and current Alix should never mess with current affairs. Which basically means that I'd never use the rabbit for an episode focused on Ladybug and Chat Noir. I'd use it for "filler" episodes that are just about Alix learning to use her powers, which is a pretty huge deviation from the show.

#adventuremaker21 #ml season 5 salt #ml writing critical #ml writing salt #Alix pearing into other timelines as part of her training would actually be a great way to justify what if episodes #And avoid the magic reset buttons they keep using

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that-ari-blogger · 2 months

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Connection (Reaching Out)

In the wind up into a series’ final arc, episodes tend to feel janky. As if they are trying to pad out the series or are unsure whether the arc has started or not. As a rule, these tend to be below average in so far as quality goes.

The Owl House, however, exists by subverting expectations, so these episodes are some of its best. Reaching Out, for example, uses the plot limbo to tell a focused story that is by far my favourite episode of the series, as well as being one of my favourite stories ever put to screen.

This episode deals with family first and foremost, specifically through the lenses of grief and legacy. It’s about memory and tradition, as well as connection and love.

Let me explain.

SPOILERS AHEAD (The Owl House)

The Owl House has a very specific style of story that it likes to tell.

This is different from genre, and part of why I dislike that concept. It’s simultaneously more broad and more specific. The series plays around in fantasy and horror, it takes inspiration from classical epic fantasy as well as shonen anime, it’s a satire of itself.

But that’s just the breakdown of genre, The Owl House’s style of story is centred around quests and humour. Episodes give you a problem that can be tangibly fixed, and either find a solution or work towards it, Understanding Willow gives you a magical accident and a spell to fix said magical accident. It’s self-contained and questy. "Go do x." "Find y." "Bring back the golden hoop of hoopiness." Etc.

This episode does things differently, in the sense that I challenge you to find a tangible solution to the problem of grief and physical distance. Even in The Owl House, dead people stay dead, and there is no foreseeable way to get home within the next day. You can’t fix that; you just have to find a new way of doing things.

It will not have escaped your notice that the episode’s opening scene is the shortest in the series, and that is because it doesn’t need to be longer.

A cold open needs to do one thing and one thing only. It needs to establish the plot of the upcoming episode. It’s a tidy way of getting across the core conflict to come, and let the audience know what they are in for.

This is the issue I have with Batman Beyond, but it’s a minour issue and not the point, so I’ll leave that for a future post.

Reaching Out opens with an event reminder. The scene has no words in it, but it is sold entirely by the acting. The animation conveys the emotions going through Luz’s mind perfectly, and it’s unclear. Guilt, fear, sadness, its ambiguous to allow for a sense of mystery, but you do know that she doesn't feel good about whatever this may be.

Then she presses “Ignore”, and the scene ends.

That’s the entirety of the cold open, any more would feel cluttered, and yet you know exactly what kind of story you are in for. This will be an episode about Luz’s relationship with her mother and will provide detail into how Luz handles her own issues.

That jacket is a gift in this context from Eda. It may be Luz's technically, but this scene sets up Eda giving it to her to help her. Now Luz has a gift from a maternal figure, its a proxy that she will cling to over the course of the episode.

When the episode actually begins, Luz procrastinates on doing the thing she probably needs to do by making a list of everything else in the world that she would rather be doing. So, we get the defining conflict of the episode spelled out more specifically. She’s avoiding something. You could have got that from the opening, but now we get a little insight into why.

“Every year, me and Mom have this little ritual we do. It's nothing big. I just miss her. That's all.”

This episode has a slow burn to it, revealing more and more of the details of this ritual over time. It’s framed as a discovery, which works with the idea of the audience slowly discovering things about Luz.

I want to dwell a little more on the animation of this episode for a moment. I promise I’ll try to talk about other stuff as well, but this episode is just gorgeous to look at.

Luz doesn’t stop moving until the confession. She’s frantic, but in a really smooth way that I find rather interesting. In just the above shot, she flows from one thought to the next, from one action to another.

This creates a feeling of momentum that diminishes over the course of the scene. It’s dynamic, like the series as a whole, but it's slowing down to something slower paced signifies the episode’s decision to focus in on something small.

“What you need is a healthy distraction from your problems.” “I have a problem, and it could distract us all day!”

That’s a very specific word choice to happen twice in twenty seconds, it's almost as if the there’s a theme going on here, and there is. Luz is seeking that distraction from her issue.

Which brings me to the subject of said issue, the grief ritual.

According to a Psychology Today article titled “The Power of Rituals to Heal Grief”:

“Rituals are an important way for people to find meaning when they lose a loved one. Everyone is familiar with rituals. Perhaps you’ve performed them during holidays, in church, or even before ballgames. You may have performed rituals to acknowledge important life changes—graduations, retirements, and even funerals... The power of rituals lies in their symbolism. Consider the ritual of graduation. Walking across a stage and shaking someone’s hand is no big deal as an act in itself. We walk all over the place and shake people’s hands all the time. But this act takes on special meaning when it’s performed at graduation, symbolizing an important transition.”

A grief ritual is crystalised emotion, allowing you to act upon it and let the pain out in a healthy way. In Luz’s case, the picking of flowers brought about a connection between her and her mother. The two grieved together, and now their physical difference means that Luz doesn’t have anyone who understands her pain exactly to share the moment with.

Enter Amity, and I want to cover that scene last, because I believe it to be the series’ magnum opus, and it needs some more build up.

Please remember that this guy helped with the experimentation on the Basilisks. He wasn't just complicit; he was an active participant. Remember that when talking about Warden Wrath.

Amity is going through what I hesitate to call a generic The Owl House plot, but it's definitely something more in the series’ general wheelhouse. She has identified two problems, those being a rift between her and her father, and the decision that was made for her about joining the emperor’s coven; and she has decided upon a solution, win the Bonesborough Brawl.

This is achievable and presents room for hijinks. Its self-contained. But it’s also an example of how well The Owl House handles theme exploration.

Each episode of the of this series has an idea that it wants to explore, and every plot point within it delves into something about that theme. In this case, it’s connection and drifting apart. Amity is drifting away from her father, Luz can’t get to her mother, and the two of them are being driven away from each other by Luz’s increasingly desperate attempts to distract herself.

You would think that grief is a secondary theme here, but it’s not. Connection is a facet of grief as an overarching idea. That’s why this is about grief rituals rather than just the feeling of loss.

The article I mentioned earlier has a passage that goes into this concept in more detail, but from a slightly different perspective.

“For Donald, this ritual was meaningful because it shared his great love of nature with his dad. For his father, it was meaningful, because it kept a piece of his son alive and well. Eventually, Donald passed away. To this day, however, his father visits the preserve four times a year, once for every season. There, he speaks to his son, takes a few pictures, and doesn’t show them to anyone.”

It's about connection to the deceased, with the person gone by. It’s a way of communing with the only thing left of that person, their legacy.

Which reframes Alador a bit here doesn’t it. He’s set up as a mirror to Manny, and yet he’s still alive. Except, is he?

In a physical sense, yes. But the person whom Amity wants to connect with is long gone at this point. Young Alador and Old Alador are very different people, specifically in terms of agency. Young Alador acted, Old Alador reacts.

So, Amity tries her own ritual to connect with the Alador that once was. Alador gets to see this and is forced to think for a moment. Suddenly, his world has been rocked just far enough for him to start listening.

The conversation is all well and good. But for my money, the look of abject pride on Alador's face here sells the connection more than anything. This is someone who, for the first time, has looked at what his daughter is rather than what he wants her to be, and he is proud of what he sees.

“What? You don’t want to join the Emperor’s Coven anymore? But that’s always been your dream.” “No, that’s always been Mom’s dream. And you went along with it. I bet you didn’t even know I was dating Luz!” “Edalyn’s kid?” “See, you don’t talk to us anymore! You’re too busy making these monsters for the Emperor, and Mom’s been too busy trying to dye my hair green.”

Turns out, when you stop listening to your kids for a while, you miss things. Your assumptions might be wrong. Your understanding of who they are might be way off the mark.

That’s what Alador realises here, that the thing he’s been trying to connect with his daughter over was never truly there. So, he takes a different approach.

“I like your new hair colour. Its abomination coloured.” “Finaly someone gets it. Can you tell Mom that?” “I’ll talk to her.”

The hair dying has been a symbol of agency for Amity over the course of the series. It was green as she sought her mother’s approval, then that faded and she was given the choice of what to do, and she chose the pink. It’s an expression of her own wants and desires, and she wants to be like her father.

Alador’s new approach isn’t to bond with his daughter over expectations, its to take an interest in something she does, and find common ground there.

I like the act of reaching for a hug and getting subverted. The relationship has mostly collapsed, and they’re now rebuilding it almost from scratch.

“It’s a start.”

Connection, relationships, love, loss. We have some key themes, let’s get into that tree scene.

I’m not going to give you the entire scene here, watch the episode. Writing out the words doesn’t have nearly the same impact as the stellar voice acting.

Instead, I want to highlight how this episode achieves its nuance, and that is through the grief rituals that I have kept mentioning. Any story can talk about how loss makes someone feel, but this doesn’t mention that at all. Instead, it highlights how the physical separation interrupts with the process.

Luz’s grief centres around sharing that emotion with her mother, she expresses it through the practiced motion of picking flowers with someone else who can share her pain.

“I don’t know what rituals you have in the Human Realm, but, I’ll help you pick some flowers, and we can do something here!”

Amity doesn’t know what Luz is going through, but she can empathise. She can see her girlfriend is going through something and help her out. She can take the place in the ritual and allow Luz to grieve.

Love isn’t about the good times, it’s about everything. Love is about joy and heartbreak and triumph and loss. Its about sharing emotions together, lifting each other to new heights, and supporting each other in the lowest moments.

The episode doesn’t give us a fix to its issue. Luz is still separated from her mother, but it gives us a substitute, and that leans in to a theme I haven’t really mentioned yet at all in my coverage of the series, distance.

Yes, the obvious of Luz being away from home and wanting to get back has been a core part of the plot, but the series hasn’t really engaged with what that means up until now.

Sometimes distance separates people, whether it be through forced movement, or just the twists and turns of life. And sometimes that comes in the way of rituals like this. Do you bottle up the emotions until you get back? No. You find a new way of doing thing, you adapt, you change. You find the light.

Light, do not faulter.

Final Thoughts

This episode also establishes lore for how the Wild Witches work, specifically through that idea of connection again. The Wild Witches are a group of people who accept and protect each other, you don’t have to be skilled at anything to be a Wild Witch, you don’t have to meet any criteria. Which is good, because Edric is awful at potion magic. But that’s not the point, the point is that he has an interest in going outside the box, the point is the effort not the execution.

Considering how the Emperor made wild magic illegal, the Bad Girl Coven takes on a ton of queer/pride coding. They support each other because nobody else will. Anyone who slips through the cracks has a home in the Bad Girl Coven. Just like pride, where there isn't a bar at a parade that says: "you must be this gay to enter", it's about accepting everyone for who they are.

Next up is Them's The Breaks, Kid, so stick around if that interests you.

Previous - Next

#rants #literary analysis #literature analysis #what's so special about...?#character analysis #the owl house #toh #the owl house luz #the owl house lumity #the owl house amity blight #the owl house reaching out #toh reaching out #grief rituals #toh manny #the owl house manny #manny noceda #Light do not faulter

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laerien · 28 days

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While I'm not necessarily ecstatic about The Acolyte being cancelled as far as the future of Star Wars television goes, rewatching the first season of Rings of Power solidified my thoughts about why I think the former needed a bit more work.

The premises are pretty similar: a story based in a time we haven't seen yet in a world that has extensive lore but lots of grey area. Rings of Power and The Acolyte both capitalized on this to take liberties and add several new aspects; whether to genuinely add to the story or to fit into a studio's motive is anyone's guess. Both had fantastical aspects, established orders who refused to believe evil was returning, love vs duty debates, and an exploration of morality.

As a Tolkien fan, I was left feeling indifferent about RoP when it first aired. There were several things I thought would be established in canon that were suddenly changed, yet there were new additions and stories that I could still trace to very evident Tolkien motifs. While not perfect, the new characters, relationships, and storylines all sat clearly on a timeline that would undoubtedly lead to the Middle-earth we knew from the existing media. The dark was gone, it's returning, and we're going to figure out who, how, and why.

As a Star Wars fan, I thought I was very open to The Acolyte coming in and creating some new stories on the timeline. I have to give them some credit, as the majority of the characters were new to avoid blatant fanservice. However, with so much room to work with, I suppose I expected a clearer establishment of the story. A lot of time was spent with so many new characters and world building, and for what? We know Star Wars for being a battle for a better galaxy, just like the LotR franchise is a battle for a better Middle-earth. Without the war, but with knowing the Sith didn't canonically reappear until the prequel era, what was the intention of the season? The Jedi Order exists, the Sith are hinting at a return, but we're not going to figure out anything by the end of the season besides small hints that the Jedi Order is already corrupt, both Mae and Osha would give up everything we learned about them in their backstories in a single moment for something they've been fighting against the whole season, and Darth Plageius is hiding in the shadows even though there's a rule of two and Qimir's motive of having an acolyte to fulfill the rule of two is supposed to still make sense? Everything else that happened in the season is inconsequential to a larger picture, and I think that's why I struggled to understand it, despite genuinely liking several aspects of it.

I recently rewatched Rings of Power, so it's fresh and, while not without flaws, it was an excellent juxtaposition to The Acolyte. By the end of the season, RoP gave us an immensely satisfying answer to the Sauron plot point given in the first episode. It began each storyline, played adequately in each one, and wrapped up each one, all while leaving plenty of mystery in a way I found exciting. The Acolyte had appeared to have all the characters revolving around one story: the Jedi stopping a mysterious dark force from murdering more Jedi. The audience was left out of the loop on so many important things, that, by the time they were revealed, we already had more questions lined up. For all the work they did in making characters with fleshed out backstories, none of it seemed to matter when they made a choice that seemed irrelevant to it all.

I think I'm mostly annoyed that the Acolyte was cancelled because I hoped they could redeem themselves in a second season. Although, I think that annoyance is about equal to watching the finale and realizing the few mysteries solved were either full of holes or just confusing. If anyone can clearly explain to me if I'm missing something huge about the Acolyte's plot and character choices, I am very open to it. It's always exciting to see something new in the fandom, and it's always discouraging to feel like you side more with the never-happy fan trolls.

In any case, let's hope the second season of Rings of Power survives these never-happy fan trolls. I'm catching a screening tonight, but would also love to hear if people think I'm missing something terrible with this show.

#the acolyte #the rings of power #just my thoughts dont come at me #unless its construction friendly conversation #rings of power #star wars fandom #star wars #star wars the acolyte #my thoughts #star wars acolyte #amazon rings of power #tolkien #rings of power s2 #rings of power season 2 #LOTR #lord of the rings #lord of the rings fandom

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khruschevshoe · 10 months

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Jim and Oluwande got the worst end of the deal. I'd even say they regressed as both characters and partners and anything they had built up in s1 was almost completely stripped away from them. The way they're portrayed together and apart in s2 is not only unlike the characters we saw in s1, but their rich storyline was reduced to extreme side characters used only as plot devices in a way they absolutely did not have to be used. I LOVED them in s1, and I was so disappointed by what s2 did to them and their potential growth, which I think applies to pretty much everything in s2, not only them.

Mind if I piggyback of this ask to go into all my critiques of the handling of Jim/Olu in Season 2? Thanks!

OFMD Critique: Tealoranges, Dropped Storylines, and Wasted Potential

God, the issues I have with the writing of Season 2 extend in so many directions. Jim's character, I felt, was well-handled for at least the first two episodes but then slowly starts skewing wrong as early as episode 3 (I am still chewing glass over the way their reunion scene with Oluwande was written- or, rather, NOT written). Episode 4 was good, but everything after that? Someone said that Jim in the back half of the season feels more like Vico than Jim, and though I do love and appreciate Vico, it's completely true. Jim doesn't feel like the same character we've come to know, whether from Season 1 or even what is set up in early season 2.

And yet, I STILL feel like they're written better than Olu, if you can believe it? So, I haven't talked about this much, but I feel like Olu is done dirty from almost the moment he is introduced in Season 2. At least Jim (through editing alone, but hey, we'll give the show the smallest benefit of the doubt) gets an acknowledgement that they miss Olu during that flashback sequences while they talk to Archie- Olu doesn't even get that. I read about a deleted scene that would have had Pete and Olu desperate to reunite with Lucius and Jim in episode 1 and I feel like that was DESPERATELY needed to make the Season 1 finale -> Season 2 jump make any sort of sense. I like Zheng, but for the love of God, her romance with Olu (which I had my own issues with for the disservice it does both their characters) is not worth destroying the tealoranges build up from Season 1. Just cut something from the first episode or one of the Zheng/Olu scenes from the second episode to make it make sense.

Then, moving onto later in the season- I've posted about how Olu and Jim deserved the grand, epic reunion otherwise 1x10 and everything set up with them in Season 1 doesn't make sense. Could the writers of the show have possibly redistributed some of the glorious cinematography from Ed and Stede over to Jim and Olu? All I need is one shot of their reunion (a proper, emotional one, not played for laughs or friendship or whatever) framed by the sun to parallel Ed and Stede's being framed by the moon and I would have been happy on that front.

And then later in the season...I was down for the poly elements if they could have been executed better. Fanfics have shown that the Archie plot could have been executed well. But the fact that Zheng is straight up NOT MENTIONED until 2x7 by Olu? And then Jim says that he's been pining for her the whole time? I'm sorry, but it doesn't compute. Show, don't tell. There's a reason why I'm down for Jim/Archie/Olu (if executed well), but can't see Zheng/Olu at all.

But of course, 2x7 comes along and we get the "family who fucked" line. And the implication that Olu could have ever left the Revenge without Jim, when in Season 1 he became a wreck because Jim left for A FEW DAYS, much less was FORCEFULLY SEPARATED from him for MONTHS. Then in the finale, at the lupete wedding, they were separated out, him with Zheng and them with Archie, and, well, at that point...I was tired. I'm not gonna lie. Because this wasn't questionable or problematic writing, it just fundamentally DIDN'T MAKE SENSE.

And this is just on a romantic relationship POV. I hated seeing Olu lose his leadership arc from Season 1 and his loyalty to Jim and his nuanced emotional level-headedness/sense of logic. Season 1 really felt like it was slowly building up the idea that the ideal Captain was neither Stede nor Blackbeard but someone a bit more rational, a bit more grounded, a bit more communicative with his crew- someone like Olu. And he gets shoved into the back in Season 2 and reduced to the guy who can't sort scrolls or know that the BOATS ON A MAP MATTER. He gets no influence on plot or major decisions when he was often the voice of reason in Season 1 (we all remember Lucius being a romantic voice of reason in Season 1, but rarely remember that Olu was a major supporting deciding factor in a number of decisions made on the Revenge).

And as for Jim, I wanted more exploration or even just acknowledgement of their trauma post episode-4. I wanted an actual organic continuation of their character arc post-vengeance quest and post-Blackbeard, not just them getting defined by "funny knife thrower with a girlfriend and an ex-boyfriend who they want to get with his crush." They were so much more than that, and it killed me to see the two people who were basically main character 3 and 4 in Season 1 get shoved aside for unneeded subplots about Ricky and Zheng or Gentlebeard's three separate breakups when Jim and Olu's plotline had so much more potential than any of that. They weren't just star-crossed lovers- they were a slow burn ship built of absolutely interesting, complicated, and well-developed characters who brought out the best in each other with a DEVASTATING midpoint to their arc and it honestly would have made a better season not just for them as characters, but for the show overall if someone had just realized that the parallels between a couple that fights and claws to stay together no matter what (tealoranges) and a main ship that was still figuring itself out (Gentlebeard) would have SLAPPED.

(I am now picturing a version of this season where instead of the Izzy fakeout death/Gentlebeard reunion in the beginning of the first episode, we get an Olu/Jim reunion in episode 3 to parallel whatever reunion the writers wanted to slap together for Stede/Ed. I would have actively cried over the Olu/Jim reunion and it would have drastically improved the season.)

#oluwande boodhari #jim jimenez #tealoranges #my asks #ofmd critical #ofmd season 2 #meta #analysis #jim x oluwande #jim x archie x oluwande #rant #just in case #garlicule rides again

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phopollo · 2 months

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I would absolutely love to hear more of your thoughts about a Starlight Express cartoon

And also your designs are so cool. I love how you drew Rusty especially 😁

SHAKING SO HARD

THANK YOU SO MUCH FOR ASKING, AND I REALLY LIKE HOW MY RUSTY CAME OUT TOO

HOO OKAY, S o (I'm so sorry, I'm about to get RAMBLY and this is probably going to be a long post, I'll try to do something so it's not all just a chunk of text but I'm on mobile, there's only so much I can do)

There's roughly 2 main ways a StEx cartoon could be tackled

We follow the general plot of the musical (there's races going on to determine who the fastest train in the world is)

We completely toss the plot of the musical out

Before I jump too far into things, I'll put it out there that I am thinking of this not like they are toy trains being played with by a child, things are just happening, this is their own little world and trains are just people for whatever reason

Now let me explain myself on that second one real quick, because there's a couple different ways you could go about that too

It could be like an "post musical events" kind of thing-- or-- it could pull a bit of a cuphead show, take these characters and one piece of the plot and make something new (I'd say probably Rusty wanting to race would make the most sense)

I feel like both could be really fun and playful honestly, and they'd both have their pros and cons (pre established relationships vs having to get through introductions, having certain interactions set in stone vs being able to give them a new little twist or have something new happen/affect it, etc etc)

But then, of course, there's also the option that it would roughly follow the plot of the musical

I feel like easily, if we didn't change any of the plot and we kept roughly the same timeline of everything happening in a day or two, Starlight Express could make a modern day 8-12 episode season

However, because the modern day 8-12 episode season system SUCKS, and I feel like there's so much more that could be explored;

I think Stex as a cartoon could also do really well if it were a cartoon that started a little more episodically but became more serialized, leading to the world championship of the musical being like more of a season finale kind of thing

Honestly, I haven't really decided which one I'd want to go with-- I'm very drawn to there being a plot, which sways me towards the idea of following what we already have plot wise in some way-- but the opportunity to explore and have more character, maybe even something more slice of life, that would come with it being post race or more cuphead show-like is also really endearing to me

Because I haven't decided what's going on with that though, I haven't really been able to come up with actual solid ideas for any of the options too far in one direction, because I keep coming up with them and then going "Oh but what if it's not that kind"

Other than some fun little world building-- I was actually working on a post for one of my little world building ideas when I got this ask haha

Here's some of the visuals for it, as an apology for such a big long wordy post akdnskd

#starlight express #stex #stex london 2024 #stex london revival #pearl stex #stex pearl #pearl the observation car #stex tassita #tassita stex #tassita the quiet car #dinah stex #stex dinah #dinah the dining car #stex slick oil #slick oil stex #slick oil the oil tanker

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barcodeboyz · 4 months

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My top 10 favorite South Park episodes, no one asked but here we go

10. With Apologies to Jesse Jackson

This is a controversial episode to put here because of how offensive it is, and truthfully, I didn't care too much for the A plot. But the B-plot makes up for it. Watching Cartman and a Midget fight to Get Down with the Sickness is so hilariously absurd.

9. You're Getting Old/Ass Burgers

This is the second/third episode I remember watching before I got into the show. I included them both in one spot because Ass Burgers is a continuation of You're Getting Old, but each have their own separate charm. I definitely shed a tear when Stan moved out to Fleetwood Mac's Landslide and split my sides laughing as Kyle yelled at Cartman for sticking the burgers up his ass. I also heavily relate to Stan's meltdown in class in Ass Burgers, because that's real emotion. An amazing storyline overall.

8. Make Love, Not Warcraft

I mentioned that the previous two episodes were some of my first episodes, but not THE first episode. That title goes to this episode. When I was born, my brother was 15, and as I grew up, I often watched him play World of Warcraft. So this episode is very nostalgic to me, not just because him and I watched it but because as someone who plays WOW nowadays (very inconsistently), it's so nostalgic to see how much has changed.

7. The Losing Edge

This is just a classic episode. The boys don't want to participate in baseball and try to get out of it by losing, but the other teams have the same idea. I think we all know who the real star of the episode is: Randy. I thought this was America!

6. Trapped in the Closet

Subtlety is completely ignored in this episode. As Stan is praised as the reincarnation of L. Ron Hubbard, his comments about Tom Cruise send him literally into the closet. I think my favorite bit in the episode is R. Kelly's Trapped in the Closet verses, specifically when he pulls out a gun in Stan's room and everyone in the hallway runs away.

5. Major Boobage

This episode is... beautiful. The animation is impressive, and the story is hilarious as well. Kenny and Gerald cheesing and then getting into a fight, Cartman reliving the Holocaust with the cats, and the funny ass press conference given just solidify this episode as legendary.

4. Le Petit Tourette

This episode introduced my favorite one-off character, Thomas. But even more than that, it gave us a great story and a chance for us to see Cartman's plan blow up in his face. While it ultimately never came to fruition due to Kyle's actions, it's satisfying to know that he definitely revealed a deep secret or two in exchange for almost slandering minority groups on national TV.

3. Follow That Egg

I have vague memories of watching this episode as a kid, but I don't consider it as one of my firsts because I could only really recall them running through the crowd trying to save their grade. But it's a fantastic episode. Ms. Garrison's attempts to stop gay marriage from being legalized, to Stan's comical bitterness towards Kyle and Wendy, it all comes together and compliments each other well.

2. D-Yikes!

I didn't expect to get so personal on a South Park top 10 list, but it's the honest truth. South Park became a major comfort for me after my assault. And this was the first episode I watched that made me burst out laughing since the attack; Ms. Garrison screaming "scissor me timbers!" has got to be one of the funniest lines in the show's history. And overall, it's just a fun episode to watch.

1. Guitar Queero

This is an underrated masterpiece of an episode that more people should watch. The plot of the episode feels so fluid, and everything about it makes sense to me. The rise to stardom, falling to drugs (well, video games about drugs), losing it all and returning to give it one final shot just encompasses what South Park can really do when given the right tools. Maybe I'm biased because Season 11 is my favorite season, but something about this episode just really scratches my brain.

Anyways, that's my list! Thanks all for reading.

#south park #south park kyle #south park stan #south park cartman #south park kenny #kyle broflovski #stan marsh #eric cartman #kenny mccormick

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timeagainreviews · 10 months

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Bombastically Subtle: The Giggle

In my review for “The Power of the Doctor,” I talked about the power of lowering expectations. It’s good to approach Doctor Who with an open mind as it leaves room for being pleasantly surprised. One major truth for the Doctor Who fandom is how often we play ourselves with our expectations. We get it in our heads how something is supposed to be and we get mad that it isn’t that thing. That being said, there is a rational standard to be expected. Before “Journey to the Centre of the TARDIS,” aired, I had a small list of things I wanted to see in the TARDIS. Things which if included, would mean they didn’t waste the opportunity. I wanted to see a big gothic library. Check! I wanted to see the swimming pool. Check! I wanted to see a room that looked like the outdoors. Check! I wanted to see an M.C. Escher room like from “Castrovalva.” Well, three out of four ain’t bad. Speaking of three out of four, remember “The Celestial Toymaker”?

Of the 97 missing episodes of Doctor Who, three are from the four-part story “The Celestial Toymaker.” It would be four out of four, but the last episode “The Final Test,” was eventually returned to BBC in 1984 but wasn’t made available to the public until 1991. For years, all fans had left of this story was the Target novelisation and their imaginations. You could argue that “The Celestial Toymaker,” is a story which has benefitted from going missing. It enjoys a sort of mythic status no effects budget from 1966 could ever live up to. So when it was revealed that the Toymaker would be returning to Doctor Who in “The Giggle,” I saw it as an opportunity for them to finally give us the episode that has existed in our collective imagination for decades.

It makes sense that it took 57 years to return the Toymaker to the screen. It’s easier to write “The Doctor sees himself in puppet form,” than it is to film. Words may be the cheapest way to put big images in our heads, but we’ve got Disney money now. Doctor Who can finally afford to give the Toymaker the visuals he deserves. And the episode delivers on those visuals. It’s as mindbending and dazzling as you would expect for a trickster from the Island of Misfit Toys. Not only are the visuals impressive, but they’re also creative. That last bit is something people often forget. Style is everything. The Toymaker’s old-timey shop is beautiful and this design aesthetic carries over to visuals he produces. He feels appropriately out of time and timeless. I wanted to say this upfront because, honestly, there is so much more going on than stellar visuals.

One complaint I’ve seen consistently about the 60th Anniversary Specials is that they often seem like pale imitations of what came before. Just last week I compared “Wild Blue Yonder,” unfavourably to “Midnight,” but I had to concede to the fact that these specials are a bit of an homage to all of Doctor Who. Of course, there are similarities, it’s a celebration of 60 years of Doctor Who. That would be like complaining that they put a Santa robot in a Christmas episode. “The Star Beast,” harkens to alien invasion stories and evil dictators. “Wild Blue Yonder,” is like our “Midnight,” “The Edge of Destruction,” and “Heaven Sent,” type stories with a healthy dose of body horror. And “The Giggle,” is a bit more like “The Ultimate Foe,” “The Mind Robber,” or even “The Sound of Drums.” If these episodes are, as Russell T Davies said, the finale to the 2005 series, they’re a fitting send-off.

Much like “Wild Blue Yonder,” I found the introduction to “The Giggle,” to be the weakest section of the episode. Something about both scenes in both episodes had unnatural dialogue and poor pacing. It feels almost as though the episodes are both trying their best to get going as fast as possible. It makes sense when you consider that a major plot point is that the Doctor doesn’t take time to rest. Also, there is a lot of information to be imparted within three episodes. Regardless, I got a little nervous by Neil Patrick Harris’ over-the-top German accent bouncing off of Charlie de Melo’s confused face. But when Banerjee says to the Toymaker that his accent was slipping, I relaxed a bit. It’s like when Dorothy Vallens tears her bad wig off in “Blue Velvet.” You think “Oh thank god, they realise it’s unrealistic.”

I love the inclusion of John Logie Baird into the story. Not only is he from Scotland (my newfound home), but an oft-overlooked person in history. Using the inventor of television to celebrate one of Britain’s oldest TV shows feels appropriate. RTD said in an interview that he started reading up on Baird while working on his miniseries “Nolly.” Initially, the only villain of the story was going to be the puppet, Stooky Bill, but Davies realised that might look a bit naff so he considered who might be the puppet master and the Toymaker was a natural fit. I love hearing how writers form stories from seemingly disparate elements. Had RTD never written “Nolly,” we would have probably not seen the Toymaker, which would have been a different 60th anniversary altogether.

Thanks to things like “Doctor Who Unleashed,” and the commentaries, we’ve been given some intriguing insights into Davies’ creative process. Initially, he worried that the Toymaker was too ancient a character for modern fans to care about, but that never stopped Steven Moffat from introducing a new generation of fans to the Great Intelligence. He also took time to discuss the Toymaker’s racist roots. While I’ve never once thought of the Toymaker as yellowface, I can see how their use of the word “celestial,” and his Chinese silks might send the wrong message in this day and age. It’s funny then that that is also the reason he decided to give the Toymaker various accents, as a call back to his problematic nature. He is a villain after all. But is it really racist to make fun of Germans? I prefer my friend Taryn’s explanation that the Toymaker changes his voice often because the Doctor originally beat him by impersonating his voice.

With London at each other’s throats, it’s easy to see why UNIT would be relieved to see the Doctor. I half-expected Kate Stewart to slap the Doctor, but instead, she greets him with a hug. In the words of the Doctor- “This is new!” Now it’s been said before, so I’ll just agree that yes UNIT HQ looks like Avengers tower. We’ve already established that RTD is taking a page out of the Marvel playbook, no need to belabour the point. Back at UNIT, the Doctor is reintroduced to some familiar faces. We see Kate Stewart, Shirley Bingham, but most excitingly, Mel Bush. That’s right, I said “excitingly,” and “Mel Bush,” in the same sentence. I once met Bonnie Langford at a convention and I feel like she could tell I was lying when I said “I liked you in Doctor Who,” because in all honesty, I didn’t. But after rewatching “Paradise Towers,” and admiring Mel’s individuality in the face of the mocking Kangs, I thought “Maybe Hughie Lewis was right, it is hip to be square.” Furthermore, I knew RTD would do her right.

Something I’ve really enjoyed about the RTD2 era is how he has somewhat elevated the role of companion. Too often in the show's history have the companions been forced into the role of audience surrogate, fit only to ask the Doctor what’s happening and to get captured. Both Mel and Donna are rocking shit at their computer consoles. Finally, a writer who remembered Mel is a computer wiz, go figure! And of course, the best temp in Chiswick is leading the attack. But beyond being useful, he’s allowing the companions to have actual depth of emotion. Mel’s life doesn’t feel like a sad sack existence that landed her in a support group. She had a fun life with Glitz. Furthermore, it was a life she chose. There’s no baggage between her and the Doctor, just delight.

The Doctor learns that it’s not just Londoners losing their minds, but the whole world. Even our beloved Trinity Wells has fallen prone to the vitriol on her Fox News-esque talk show. The source of this anger is an arpeggiated laugh over the image of the first-ever televised face- Stooky Bill. This of course is the aspect that reminded me most of the “Utopia/The Sound of Drums/Last of the Time Lords” three-parter. Like the rhythmic heartbeats of a Time Lord, this signal has laid dormant on every television, computer, tablet, and phone screen for years. This is, of course, Russell T Davies’ comment on the current state of discourse on the internet these days. And in another way, it’s his comment on the state of the Doctor Who fandom lately. He seems well aware of the divisions in the fandom and it’s nice to see that aside from the sexists, racists, and transphobes, he’s interested in bringing the rest of us together, but I digress.

In what may be one of the most effective scenes in the whole episode, Kate Stewart removes her Zeedex, a device invented by the mysterious Vlinx to inhibit the effects of the giggle signal. After removing it, we watch in horror as our beloved Kate Stewart devolves into a paranoid ableist bigot who hates gingers. Jemma Redgrave gives a chilling and vulnerable performance that was hard to watch. I found myself choked up seeing her in this state, and watching her profusely apologise to Shirley afterwards was heartbreaking. That said, I loved Shirley’s reaction. It’s nice that RTD in his desire to portray marginalised people hasn’t forgotten that we’re not all helpless. Shirley understood the situation and she’s strong enough to take it. Even more, I loved it when the Doctor snapped at her with a bit of sass. It’s good to see Davies treating this new diverse cast as flawed and vulnerable people. He’s not ticking boxes, these are real characters.

The Doctor begins to get an inkling as to who they are dealing with. The words “puppetmaster,” and “toying with,” begin entering his vocabulary. The hairs on the back of his neck stand on end as something deep inside him is screaming “Toymaker!” Having correlated the mass outbreak of violence with the launch of a South Korean satellite, Kate gets permission from the Doctor to take out the satellite with a Galvanic beam. I loved how it was the Doctor’s job as President of the World to give the command. He must have hated that. Eagle-eyed viewers will remember galvanic radiation as the poisonous light from the planet Midnight. Once again RTD calls back to one of his best stories. Meanwhile, Donna hits Kate up for a job at UNIT netting her six figures a year and five weeks of holiday. Go Donna! While all of this is happening, Shirley has traced the original Stooky Bill broadcast back to SoHo in 1925. The Doctor and Donna pile into the TARDIS to follow this lead which takes them to the Toymaker’s shopfront.

What I love most about including the Toymaker is that it has introduced magic into Doctor Who. The ‘70s gave us many occult storylines, but even then most of them could be explained with science. Seldom does Doctor Who give us a storyline where the Doctor is unable to explain what happened. We got the Beast in “The Impossible Planet/The Satan Pit,” and the haunted house from “The Chimes of Midnight,” but for the most part, magic has never been real in Doctor Who. Not even the Carrionites used actual magic in their word-based witchcraft. Perhaps RTD’s time working on “Wizards vs Aliens,” rubbed off on him. Either way, it’s an interesting way to breathe new life into Doctor Who. The Doctor hasn’t really ever dealt with actual magic and I am curious how it will affect him moving forward. Superman is one of the most powerful beings in DC comics, but along with Kryptonite, one of his greatest weaknesses is magic. Magic plays by its own rules.

As a being governed by magic, the Toymaker is bound to a set of rules. The Toymaker takes pride in his rules, so much so that when Donna implies he’ll cheat the Doctor, he looks genuinely offended. There is clear animosity between the Doctor and the Toymaker that is palpable throughout the story. The Doctor even antagonises the Toymaker by implying he is a slave to his rules of play. The Toymaker isn’t just interested in revenge, he wants to humiliate the Doctor in front of the person who loves him the most- Donna. He attempts to weaken her faith in the Doctor by illustrating the Doctor’s past failures to save his companions while highlighting the ways the Doctor justifies his failures. The one thing the Toymaker didn’t consider is that Donna knows this about the Doctor already. He can’t break her faith in a man she regularly puts in his place. This woman once called the Doctor “a thin line of alien nothing.” Do your worst, Toymaker, because Donna has already said it and more.

The real secret behind this episode’s success is in its subtlety, which is hard to imagine in a story where a man turns bullets into flowers while singing to the Spice Girls. Despite all of the big colourful chaos, the most effective moves are quiet. I mentioned in my review for “The Star Beast,” that Davies was more successful in his moments of subtlety than his big declarations, and here is no different. The Doctor and Toymaker play a simple card game. The Doctor loses this game but wins on the technicality that they are now even. There’s no way the Toymaker can allow for a tie, a winner must be decided. You can’t beat the Toymaker with bullets or Osterhagen Keys, but rather by playing his games. Underneath all of the expensive CGI and set design, it ultimately comes down to a game of wits. This is classic Doctor Who, “The Brain of Morbius” stuff.

That art of subtlety had seemed all but gone with the Chibnall era. I grew tired of the Doctor constantly knowing everything and never being out of her depth. It’s good to see the Doctor still has to solve things. It’s why I’ve enjoyed seeing Tennant skulking around being a detective. It’s why people always harp on about “show don’t tell.” It’s better to see how the Doctor slowly pieces things together than for the Doctor to tell us upfront. Knowing everything is not what makes the Doctor clever. Knowing nothing, having no plan, and discovering the path is far more gratifying to see. Ultimately it comes down to Davies having a better understanding of the Doctor as a character. The Doctor is flawed, vain, aloof, and prone to getting frazzled. Its his ability to soldier on that makes him special. The Doctor’s strength isn’t in knowing everything, it’s in knowing his limitations. You can’t learn if you have everything figured out.

While we’re on the subject of subtle changes and Chibnall, it might be worth it to discuss how this story addresses “The Timeless Children,” because I’ve seen zero people talking about it. When the Toymaker flashes the gold tooth in his disturbingly toothy grin, he tells us a little more than the Master’s fate. In a blink-and-you-miss-it line, he implies that he turned the Doctor’s timeline into a jigsaw puzzle. It’s such a subtle moment that it’s not surprising that most people missed it. But think for a moment- what recently turned the Doctor’s life into a convoluted mess? The Timeless Child storyline, of course. I love this line because it does two things. First, it allows the people who enjoyed “The Timeless Children,” to continue on in their enjoyment. Secondly, it allows those of us who disliked it to compartmentalise the storyline into something that finally made sense as a plan devised by a villain. If you ever wondered why the Timeless Child storyline was necessary, you now have a canon explanation- it wasn’t.

Unable to foresee the Doctor’s clever escape clause or Donna’s ability to bash a doll against a wall (love love loved that by the way), the Toymaker decides to change the playing field from his Toyshop to UNIT HQ. Neil Patrick Harris seems to be having the time of his life terrorising UNIT to the tune of “Spice Up Your Life.” At first you think “Oh how funny,” and then you see Mel take a tumble and you think “Woah man, that’s an elderly woman there!” As he gleefully turns two soldiers into a pile of colourful plastic balls, the act is no longer cute. The Toymaker is a horrifying monster with no conscience. Our lives are playthings in his hands and he must be stopped.

This scene illustrates beautifully the exciting possibilities of a magical Whoniverse. The Brigadier once famously quipped “You know, just once I'd like to meet an alien menace that wasn't immune to bullets.” Turning bullets into flowers certainly fits the bill, but it begs an even deeper question- how do you fight an enemy that is immune to science? Kate Stewart took great pride in reforming UNIT to be more science-based, but magic doesn’t care about facts. Magic rewrites reality. The Doctor tries to comfort Shirley by explaining that the Toymaker can change atomic matter with his mind, but admits that even that is a poor explanation. Both the Doctor and UNIT are in new territory. It really ups the danger and makes you wonder how the Doctor will adapt. I said in my review of “The Star Beast,” that the sonic screwdriver was like a magic wand and perhaps it may need to become one! Sorry, War Doctor, it’s no longer a scientific instrument.

Exasperated by the Doctor’s trickery, the Toymaker shocks by shooting the Doctor with the Galvanic beam, stating that he wants to play the final game with the next Doctor. This jumpstarts a new regeneration, but as we all know, it’s not your usual regeneration. But before we get into that, I would like to discuss the moments leading up to that infamous moment because some interesting stuff happens. Having Donna and Mel join the Doctor’s side was exciting because we’re so used to the Doctor regenerating in a blast of energy powerful enough to destroy TARDIS consoles and Dalek ships. It’s easy to forget that the Doctor used to regenerate surrounded by his friends. So there the Doctor stands, surrounded by what the Eleventh Doctor would refer to as “the ultimate ginge.” I think we all sort of expected to hear the Doctor say something like “I don’t want to go,” or “I’m ready to go,” and I applaud RTD for avoiding both in favour of a far more appropriate “Allons y!”

Now, if you’re a terminally online Doctor Who fan like myself, you’d probably read the leak about bi-generation and were therefore not surprised. I kind of regret it because it turned out to be true. I am so used to “leaks,” and “fan theories,” being wrong that I expected the same here. However, part of me is somewhat glad I read the leak as it gave me time to think about the concept. I had seen people immediately hate the idea, so I think a part of me decided to be fair. After all, if you read just the synopsis of any story, divorced of all context and tone, you might also say “That sounds terrible.” In context to the rest of this episode, and what came after, bi-geneation was an absolute joy to behold.

Usually when we get a regeneration, we get maybe 20 seconds to enjoy the new Doctor and then have to wait a few months to see more. But here we not only get to meet Ncuti Gatwa’s Fifteenth Doctor, we get to see him in a mult-Doctor episode with David Tennant! What a treat. Immediately I took to Ncuti as he tells the Fourteenth Doctor to push and then admits he doesn’t know that it will work. This is all new to him as well. I said above that I like when the Doctor is slightly out of his depth, and this is no exception. I will say it’s very lucky for both of them that one of them got the pants and the other got the trousers. Can you imagine that scene playing out with one of them having a Winnie the Pooh thing going on? However, they did miss a chance to call back to the Twelfth Doctor by not giving the Doctor question mark underpants. Oh well.

After watching this episode I asked Taryn what she thought about the Fifteenth Doctor and she told me that she felt it was too early to tell. I then pointed out that while we don’t fully know his personality yet, there was no point during which he didn’t feel like the Doctor. Ncuti takes to the role like a fish in water. He is the Doctor and I cannot wait to learn more about his personality. But first, we have a Toymaker to banish. Now I’ve seen people complain that a game of catch was a disappointing climax to the story, but I disagree. Both of the games the Doctor plays against the Toymaker are simple. Which card face is higher? Can you catch the ball without dropping? It’s nice to have a simple solution against a backdrop of heavy special effects. There are some comical moments such as when Fifteen throws the ball as if he’s trying to win against Fourteen. Also just seeing Ncuti run around in his pants was very funny. Ultimately it is the Toymaker who drops the ball. The Fourteenth Doctor takes his prize in the form of banishing him from our universe forever, but not before the Toymaker warns of his minions spilling into our reality. I was reminded of the “Babylon 5” spin-off “Crusade,” where the Shadows of B5 had been defeated, but their minions continued to plague the galaxy. Or if you’re a Tolkien nerd, it’s like when Sauron continued the work of Morgoth. It’s very exciting stuff.

They continue to set things up for future episodes. They call back to the salt thing from “Wild Blue Yonder,” when Kate orders her men to encase the Toymaker’s box in salt. They also give us a hint of future Master appearances when a mysterious hand with cherry red nail polish retrieves the Toymaker’s tooth. Is it just me or was that lady floating? Because I can’t tell where she would have been standing. But most exciting of all would be the implications of bi-generation and the Fifteenth Doctor’s prize of splitting the TARDIS. According to Davies, he sees this as something that happens across every regeneration. Now every Doctor goes on to have further adventures with their own TARDIS. I’ll be honest, I like this idea less, but that’s mostly just because it’s a bit messy. But why I like it is that it makes a case for its existence. Doctor Who has always been slightly metafictional. Do you need to replace an actor? Well, now the Doctor’s body can change. But this has also introduced a problem into the show which is that if an actor gets too old to play their Doctor, you have to come up with some weird excuse as to why they now look old and bald. But not anymore! While the concept of time streams would have been a cleaner and more wibbly wobbly way to approach this issue, I’m fine with this explanation. It serves a purpose and fixes one of the show’s oldest conundrums.

One aspect the fandom still seems a bit murky on is whether or not the Fourteenth Doctor will still go on to become the Fifteenth Doctor. I’ve seen some people wonder if the Fourteenth Doctor might go on to become the Currator. But I like to think it’s more like a Clara thing where he’ll eventually return to his original point of death to bi-generate into Ncuti Gatwa. One reason I think this is because the Fifteenth Doctor feels at peace with himself. I like to imagine this is due to living a life with the Noble-Temple-Mott family. Something inside the Doctor heals and he’s eventually ready to get back out there and travel like the good ol’ days. Truthfully though, neither scenario would really bother me. With Donna now working at UNIT and Fourteen sticking around I expect we’ll see them again, but at this point, I’m ready to watch Ncuti dazzle us for a bit.

The epilogue with Donna’s family was such a nice and necessary scene. While Ncuti had since become the new Doctor, he wasn’t yet the current Doctor. We still needed to say goodbye to the Fourteenth Doctor. A good and proper goodbye. Earlier in the episode, Donna mentions to the Doctor that he never seems to rest, but here he seems at peace. It’s funny how it took 15 years to explore how the Tenth Doctor could have been “so much more,” but here it is. The real reason he came back was to retire, to have a family, to find peace. It’s as though every regeneration still swimming around in the Doctor’s mind is finally able to relax. We do however get a hint that it’s not all sunny days and lemonade. If you read Rose Noble’s Magic Card, it mentions she is ready for adventures in her own right. Seeing as she is known to have the occasional trip to Mars with Uncle Doctor, I suspect we’ll see her in the TARDIS sometime if not Big Finish.

Back in his own fully accessible TARDIS, the Fifteenth Doctor is finally the current Doctor. He runs around his TARDIS consoles flipping switches and having the time of his life, ready to get out there and show the universe what he can do. And what a joy it is to see, is it not? I had been very nervous about this episode because I was worried about where Doctor Who would end up in the end. So much had changed during the Chibnall era and not all of it was for the better. The future of the show felt very shaky and uncertain. Ultimately I was hoping the show could once again find some sort of equilibrium and I feel it has. Doctor Who feels like it’s finally at a point where it can comfortably move forward. I can’t think of anything better to say now than “Allons y!”

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