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dmsden · 2 years

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A D&D Round-Up

Hullo, Gentle Readers. Lots of fun and interesting stuff coming for D&D. I’m excited for a lot of the news, so I thought it would be fun to just do a round-up of new products, forthcoming news, and other tidbits.

Critical Role: Call of the Netherdeep

As of my writing this, the latest D&D adventure came out just a few days ago. Critical Role: Call of the Netherdeep is an adventure set in Exandria, the world of Critical Role. I haven’t had time to peruse it thoroughly yet, but there are two things that have really jumped out at me.

First, there is a group of rival adventurers in the game. I think this is a really interesting and unique situation; I know I’ve done it in my home campaigns, but I don’t recall if a published adventure for any edition of the game has created a specific set of rival adventurers for the PCs. I won’t spoil anything about them, other to say that they’re on the cover (seen above).

Second, as the left side of the cover suggests, a chunk of this adventure is set underwater. The Netherdeep is a dark oceanic abyss where bad things are happening, and your group of adventurers are getting involved with it. Again, I can’t think of an adventure off the top of my head that specifically contains an extended underwater portion. Definitely curious to read more about that.

The Legend of Vox Machina

Let’s keep the Exandria train going. I’m sure most folks involved with D&D are already aware of this, but, just in case...

A couple of years ago, the folks behind Critical Role did a Kickstarter to raise money for an animated special based on their first campaign. It was a runaway success, leading them to instead plan an entire 12-episode animated series. To make it more amazing, Amazon Prime picked it up, and a second season was ordered before the first season had even aired.

Well, it was a lot of waiting, but the entire first season is now streaming on Amazon Prime. In my personal opinion, it’s fantastic. Not only did they do a phenomenal job of translating the episodes to the screen, but it’s well-written, funny, and genuinely exciting. If you’re a Critical Role fan, you’re going to love seeing beloved NPCs and classic moments up on screen (I squealed at the triceratops rampage). If you’re a D&D fan, but you’ve never watched or listened to Critical Role, I suspect you’ll enjoy this. It was so much fun watching spells we’ve played in our game for years manifesting, or recognizing class features, and the like. If you don’t play D&D...I’m not sure why you’re reading my blog...but I think you’ll enjoy it anyway. It’s a funny, action-packed story with a lot of great characters. If you actively dislike Critical Role, I don’t know that this will change your mind, but maybe take a look and see.

Venture and Dungeon

This isn’t technically D&D news, but, if you’re like me, you love other games, too. This is actually two games in one book. Venture, by Riley Rethal, is a D&D type game of adventure, monsters, journeys, dungeons, and all the rest. You travel around, meet interesting characters, go on quests, and everything you would expect from a D&D adventure. Dungeon, by Jay Dragon, is a bit more meta. In it, you play both a group of adventurers and the high school kids playing those adventures. In the tabletop world, your characters have literal spells and abilities, and they fight monsters and so on. In the real world, your abilities are more metaphorical, and you deal with the challenges and problems that high school kids have to deal with.

Both of these games are made with the Belonging Outside Belonging/No Dice, No Masters systems. I discovered these for myself back in 2020 through Jay Dragon’s game Sleepaway, which I obsessed over, and then their game Wanderhome, which I’m still obsessing over. All of these games feature no dice and no GM. They are cooperative storytelling where everyone works together to create and play NPCs and settings. I enjoy cooperative storytelling a lot. Even back at the beginning of my current D&D game, 11 years ago, I would ask the players to describe things about their environment rather than filling in all the blanks myself. These games embrace that to the fullest possible extent, giving you lists and tables to spark your imagination, much like 5e does so well. I am excited to fully read through and perhaps play both!

The Dungeons & Dragons Tarot Deck

I’m actually sort of shocked this isn’t something that already exists, but it’s coming in May. All I really know about it is the official blurb for it. “ This officially licensed tarot deck pays homage to the lore of Dungeons & Dragons by pairing characters and encounters with the Major and Minor Arcana of tarot. The characters of the Major Arcana align to the Rider-Waite Tarot while the suits of the Minor Arcana are mapped to abilities within the game of D&D. Beautifully illustrated with exclusive art, the deck also includes a booklet that introduces players to tarot, explains the meanings of the cards, and includes prompts to add dynamic twists to your gameplay, making this the ultimate collectible for dungeon masters, players, and fans of RPGs.”

Hopefully I’ll know more later.

Chris Pine on the D&D Movie

We don’t know much about the D&D movie due to release in March of 2023. Mostly, we know that it’s set in the Forgotten Realms, and it has a pretty interesting cast, including Chris Pine, Michelle Rodriguez, Regé-Jean Page, Sophia Lillis, Justice Smith, and Hugh Grant.

Recently Chris Pine had an interview with Collider, and they asked a bit about the tone of the film. I’d heard it described before as “Guardians of the Galaxy set in the Forgotten Realms”, and Pine’s comments seem to bear that out.

“Oh man. Well, what I will say is we had a hell of a fun time making it...There was a lot of laughs. The way that I’ve been describing it, it’s like Game of Thrones mixed with a little Princess Bride, just a smidge of Holy Grail. It’s somewhere in that ballpark. It’s a lot of fun, it’s got a lot of thrills, it’s poppy, it’s eighties heartfelt, there’s a bit of Goonies in there. My character, he’s the ultimate party planner. I think it’s going to be really good. I mean, who f***ing knows, but I think we got a good shot and John and John are killer guys. They know comedy and they know heart and we had a great cast and we had a good time making it. And that’s all you can ask for.”

If the cast had a good time making it, that feels good to me. Sometimes people complain about what an awful time they had making a movie, and that sometimes translates to a slog on the screen. I have hopes and fears, as I’ve previously written about, but this description makes me chuckle. I guess we’ll find out next year!

Heroes of Krynn

WotC teased a possible Dragonlance return with an Unearthed Arcana article. This article, Heroes of Krynn, can be found at https://dnd.wizards.com/articles/unearthed-arcana/heroes-krynn In it, you’ll find 5e rules for Kender, Lunar Sorcerers, Mages of High Sorcery, and Knights of Solamnia. While there hasn’t been any official announcement about a Dragonlance 5e book, WotC has historically used the Unearthed Arcana articles to playtest material for books that could be coming out very shortly. When they released their Heroes of the Feywild article, it was followed pretty closely with the announcement of The Wild Beyond the Witchlight, an adventure set in the Feywild, which included two of those races. This same article included the Owlfolk, which came shortly thereafter as part of the Strixhaven book (I don’t follow Magic the Gathering, or I might’ve predicted we’d see that book based on the Owlfolk) and Hobgoblins of the Feywild, which I am led to believe are in Monsters of the Multiverse.

And that’s it for now.

That’s a lot! I’ll try to do these round-ups when a lot of news hits at once. Until next time, keep your friends close, and your healing potions closer.

#D&D #d&d #dnd #DnD stuff #Dungeons and Dragons #dungeons & dragons #dungeon master #dungeonmaster #Dungeons & Dragons monsters

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where-theres-smoak-2 · 3 years

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Here’s the transcript of an interview LB did a couple of weeks ago. Be prepared to be annoyed at her not knowing wtf she’s taking about but pretending she does especially in the Darkling and the decision to make Alina half Shu sections:

https://www.penfaulkner.org/wp-content/uploads/2021/10/Literature-on-Screen-Shadow-and-Bone-Transcript.pdf

So there were a few bits in this interview that I want to talk about. I am going to shock you here and say there were actually parts of this interview where I agree with what LB says and gave me the tiniest bit of hope. But before you get too worried its the parts where she is talking about season 2 and her involvement in the show and writing process. Here is what she said when asked what her involvement in season 2 is:

With season two, I've been able to be a little bit more involved in casting, costumes, production design, meeting with directors.

Then I think I am going to step back. I'm not going to be as involved in reading the scripts. I think at this point, we are going to be diverging quite a bit more, and it's all I can say. I really cannot say more than that. I'm about to be descended upon by Netflix assassins. For me, there has to be a moment of saying, “This doesn't belong to me anymore.” The books are mine, they will always be on the shelves, and this has its own life now.

She also said something similar a little later in the interview when talking about changes between the books and the show and how she got negative reactions to saying the show was like an expensive fanfiction:

Which to me is like, "Why are you so mad about fanfiction? It's amazing, first of all. Second, all adaptation is fan fiction. That's what it is. All adaptation is fan fiction." To me, this is the way adaptation should work, where you keep the core and you keep the heart, but you're allowed to play. Otherwise, you cannot ask, I think, a group of smart writers, talented directors, amazing actors to simply transcribe. I don't think that's exciting for anyone.

That funny thing about that second statement about tv adaptions basically being fanfiction is I said it myself in a post a while back. It does seem like LB is more open to changes from her book and it also looks like she is not going to be as involved with the writing process for season 2, we also have heard in other interviews that they are going to be diverting away from the books in the next season, whether that is a good or bad thing is yet to be seen but I do think it is a good thing that LB is taking a step back from the show, as she herself said the books are hers and they will always be there so the show should be the show and it should be allowed to have a life of its own. I've said before but I prefer it with tv adaptions if they don't follow the books because to me that's more exciting than if I know exactly what is coming next, I like to be surprised.

Something else I learned from this interview is this:

Eric Heisserer, he is our showrunner on Shadow and Bone season one and in season two he'll be co-show running with Daegan Fryklind who is one of the wonderful writers from season one.

So from a google search I found out that Daegan was the writer for episode 6 and episode 8. Again whether its a good or bad thing that she'll now be co-running the show with Eric I don't know but it is still an interesting bit of information and I'll take any info I can get on season 2.

However whilst I was feeling optimistic about everything LB was saying about season 2 and was actually kind of impressed at how she seemed to have let go a bit and was happier with the idea of changes from the books than she seemed in the past, but she then said this:

Petra: Following on from that, actually, somebody is asking, and I know you've said that the story is going to diverge from the books in future seasons, do you – Let's assume this is a spoiler too but I'm going to ask it anyways, and you can tell me to get lost. Do you want the shows and the books to end in the same place, the same way?

Leigh: Yes I do. [laughs] Yes, I do. Look, I wrote the books the way I wrote them for a reason, and that – I haven't seen any sense that that is going to change at all, but there are certain things that I know if we get to move forward will change because we'll want to see these characters continue in their adventures. Also because there's a finality to some things that happen in the books that then is sort of undone in later books, I'm really being abstruse here, but I guess my point is there are certain things that are essential to me that stay the same and certain things that I don't care. You learn which things and, fortunately, I've been on the same page with the writers from moment one.

Just no, please no, no, no. This I just don't understand ok. LB and the showrunners/writers must be aware of how unpopular the ending of her books were right? I mean I've seen an interview where LB herself says that she was aware that the ending was controversial amongst fans and that many of them were angry at the ending. You could put up a good argument that it was the thing people hated the most about her original trilogy, the ending. So why on earth would she or the showrunners want to keep that ending? Like any part of it? I mean she says there are some things she doesn't care if they are changed and others she thinks are essential they keep and unfortunately I feel like it most likely Alina losing her powers that she wants to keep and that for me was the worst part of the ending. To be honest it kind of makes me really wary about continuing with the show because I don't want to get invested in the show just to be really let down by the ending. Also if that many book readers didn't like the ending what do they think is going to happen when the tv viewers see that ending, its likely going to be game of thrones 2.0.

As you predicted some of the things she said about the darkling and Alina being half Shu did annoy me. I feel like with Alina being half shu she just sort of glossed over the question which the interviewer brought up the critique that she had wished that they had explored Alina's Shu heritage outside of just the racism she faces and dive deeper into that which LB just basically said they will be exploring more about what it means for Alina to be Shu and Ravkan in season 2. I will say I do hope that they do cover more of the other cultures particularly the Shu culture as we got to know a little about the fjerdan culture through Matthias but we know very little about the Shu culture.

As for the darkling I am not going to go too much into it because its not really anything new I'm just resigned to the fact that LB and I are always going to have different opinions on his character and not to sound too harsh but I don't really care what her opinion or views are anymore. One thing I will point out though is this little tidbit:

Leigh: Look, there's never been a problem creating sympathy for the Darkling. This is a very beloved character, sometimes to my great frustration.

I mean this is nothing us darklinas didn't already know but the next time an anti says that LB never had a problem with people liking the darkling/darklina show them this interview where she openly admits that she found it frustrating. I do kind of feel for her I guess it must be frustrating to write a villain that you meant for everyone to hate only for them to become the most loved/popular character in your series.

#darklina #the darkling #answered #anti leigh bardugo

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spacejellyfish3 · 3 years

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Well. It’s time for some rampant WandaVision theorizing!

Okay, first things first, Billy and Tommy are most definitely and for sure appearing in this show. No question in that regard.

Evidence for this theory:

The incessant alluding to Wanda and Vision having kids; in episode 1 when Ms. Hart asks them why they don’t have children yet (which might seem innocuous on its own but becomes majorly suspicious in conjunction with the other evidence).

And in episode 2 with the incredibly cultlike mantra of “For The Children” which is 1) repeated heavily all throughout the episode, 2) odd because there don’t seem to be any children in Westview (yet), and 3) stated by Wanda and Vision directly before Wanda finds herself visibly pregnant.

This is also supported by the trailers where we see the twins as babies in both the 70s and 80s, and I’m betting that we’ll be seeing them as toddlers/pre-adolescents in the 90s, pre-teens in the 2000s, and most definitely as teenagers in the 2010s.

It’s going to be Billy and Tommy, not Vin and Viv, because while Tom King’s The Vision is a clear influence on WandaVision, only Viv has any importance out of the twin synthezoids, as opposed to the relatively bigger impact of the Young Avengers in the comics.

And more importantly, Phase 4 is very much setting up the Young Avengers in the MCU; Hailee Steinfeld’s Kate Bishop debuting in the Hawkeye show, the recasting of Kathryn Newton as Cassie Lang, America Chavez appearing in Doctor Strange and the Multiverse of Madness as played by Xochitl Gomez, and here with Wiccan and Speed in WandaVision. The only YA members who haven’t been announced are Kid Loki (of which I’ve read rumors that he’ll be seen possibly in the Loki show, alongside the main Loki and Lady Loki), Eli Bradley/Patriot (who could theoretically appear in The Falcon and The Winter Soldier since it does deal heavily with the mantle of Captain America), and, of course, Hulkling (and I very firmly believe that Teddy will appear in the recently announced Secret Invasion show).

Onto the subject of Westview as a whole and what’s going on in the show:

Westview is not a pocket dimension, alternate universe, or a figment of Wanda’s mind. It’s a real place that’s inhabited by real people, it’s only being warped drastically so as to fit into the tight, romanticized narrative of Wanda and Vision’s suburban television idyllia.

The town of Westview is in fact an incredibly elaborate and gigantic lotus-eater machine, transforming everything within and anything coming in from the outside into pure sitcom perfection.

That last tidbit can be seen in episode 2’s cold open, with Wanda and Vision and the beds. The noise outside the window might not just come from rustling tree branches, but might come from Monica’s entrance into the Westview bubble.

The colorized toy helicopter is quite possibly a real S.W.O.R.D helicopter, used by Monica to get into Westview, that’s been miniaturized and transformed by the bubble in order to fit into the the rigidly structured confines of this false television reality (it has the S.W.O.R.D logo on it, and it would make a lot of sense that Monica flew it in considering Captain Marvel established her dreams of becoming a pilot).

The sitcom transmogrification happens to anyone who enters the bubble, reshaping people into sitcom fitting archetypes and giving some of them a form of amnesia; Monica’s alias of “Geraldine” could be just as much the sitcom reality superimposing itself onto her as it could be her simply giving a fake name to throw off suspicion.

Monica’s intricately period accurate 60s clothing and hair, working backstage for the very community important talent show (FOR THE CHILDREN), and being part of the planning committee for it but not once being regarded as suspicious or an outsider (which is especially noteworthy since the HHIC—head housewife in charge—Dottie is markedly distrustful and antagonistic towards the other known outsider, newly moved-in housewife Wanda Maximoff).

The reality warping of Westview (and Wanda herself, though the level of her awareness of that fact is still up in the air...) always ends in the titular couple’s favor: the dinner party in episode 1 is rife with failure and disaster but once the fake reality reasserts itself (after it’s questioned by Mr. Hart) Vision is on the path to a promotion and they’re congratulated for doing a great job (unlike the guy who got fired despite his wife preparing a five course meal and providing a string quartet for entertainment), or how in episode 2 the equally disastrous magic show wins the two an inaugural award for comedy.

While the shifting through different sitcom decades has roots in WandaVision being an ode to the history of the sitcom on television and possibly as Emmy-bait on Disney’s part, it has thematic relevance in that each transition into another era is predicated on spackling over the cracks in the simulation. See the beekeeper being rewound into possible oblivion by Wanda’s “No” and the couple back into newly pregnant bliss, quickly followed by the emergence of color and the dawn of a new decade of sitcom.

It also parallels how real life comedy tv shows have evolved in order to match the constantly evolving tastes of the audience, switching out the multi camera style and laugh tracks for the more intimate single camera style and more relatable, realistic comedy and characters. With that, it can be inferred that as Wanda and Vision move forward through the decades, the cracks in reality will get bigger, more visible, and much, much harder to ignore.

That’s the end but I might make a part two of this.

#wandavision spoilers #wandavision #rampant theorizing time

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himbobeefcakephd · 3 years

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okay so, opinion time!

weirdly, something that's putting me off about the new part of Lupin is that they're putting these lines next to the characters' mouths and it's aging them... and like, normally I wouldn't have a problem with doing that to a character, but in the case of Lupin III specifically, it feels like that design decision is emblematic of how they're trying to apply long-term overarching continuity, to a set of characters that thrive on being timeless, and having episodic stories that you can watch in mismatched order, without any of them really giving clues that would solidify a strict timeline of events across multiple parts.

like, obviously it matters a little bit what order you watch the show in... different parts have different tone/style/quality/theme/might as well be an AU for just how OOC it'd be to apply this treatment of their character to the continuity of other parts... and you don't want your introduction to Lupin III to give you a poor impression of what the series is capable of. but I feel like the more modern parts are struggling to distinguish themselves from one another stylistically, and they introduce a touch too much realism, which I actually don't appreciate. I don't like that I need so much context to watch this newest installment... and I don't like the color palette! it feels so drab, especially next to the super colorful, visually interesting OP and EDs that bookend each episode. it makes Lupin look really gaudy in his teal jacket when everybody else is dressed in brown, gray, and beige... the world should be meeting Lupin where he is in terms of wacky bullshit, this is fiction, we can have bonkers behavior across the board! and they could still make it a story with more mature themes... just let it be interesting to my eyeballs at the same time.

sorry for whining about this in your inbox, I just don't have anyone else to express this to, you don't have to post it if you don't want to.

I haven’t seen the newest Part 6 episodes so I can’t make any kind of judgement of them yet, and I just started Part 5 so I’m really behind in the more “modern” Lupin offerings haha. Part 4 had some fun episodes and the animation was very nice but I really didn't like some of the character dialogue bcs it painted the crew's relationships to be mmmm distant?? or detached or something??? and Lupin was weirdly adamant about not being into men which seemed pretty out of character to be so hung up on about that he mentioned it several times. I dunno there were just a lot of parts where I was like This tidbit did not spark joy so I let those bits slide out of my brain like I did not see it at all haha

But YEAH I dislike the idea of introducing continuity into the Lupinverse bcs that's never been what it's been about and it seems a weird decision to apply that after 50 years of driving by their seat of the pants in terms of episodic shenanigans??? I thrive in "everything is made up and the points don't matter" type environments for fan art story telling so I really enjoy the idea that Lupin is timeless and can be picked up and plunked down at any point and it's still a fun ride. Hmmmmmmmmm a drab color palette is kinda disappointing to hear, pops is acceptable in his sensible brown trenchcoat but otherwise that's uhhhhhh an interesting choice on the part of the show runners ( ﾟｰﾟ)

But I admit that I'm partial to the cartoony excess of the Part 1 and 2 series tbh, so I would love to see a newer series that leans more into that feral Lupin energy from decades ago and take a step back from heavy "mature" storylines but that's just me lol

(link to the full clip of this scene below)

#lupin the third #asks #anon

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amandajoyce118 · 4 years

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Agents Of SHIELD Series Finale Easter Eggs And References

This is it. The last two hours. What is it they say? It’s all been leading to this? Yeah.

As always, and for the last time, if you haven’t yet watched the episodes, you should stop reading now. This list of Easter eggs assumes you’ve already seen the episodes.

Spoilers.

Also, I’m going to say, since I’m writing about two episodes at once here, and I’m assuming everybody reading this has actually watched the earlier episodes of the show, I’m probably not going to explain every single callback to earlier storylines. When series end, they tend to do even more than usual, and I think most people will pick up on the majority of them. So, they might not all be here.

Now, let’s go.

S7E12 “The End Is At Hand”

Malick wants to set Kora free

I’ve pretty much said this since Kora met Malick, but yeah, their dynamic is so, so, so much Ward and Kara. It’s creepy. But I think Kora recognizes it more so than Kara did.

The Fitz stance

I love that Deke recognizes that Fitz has a certain stance when he tries to jog Jemma’s memory. Does he know that they stand the same way sometimes? Probably.

The blue and purple of it all

Okay, so maybe this is just my tv, but the stuff in space is very much in Daisy’s color palette. Purple has always been her color, and a lot of the stuff in space the last two years has had either a lot of red or blue. When Daisy heads into the chronocom ship, there’s a lot toward the blue end of the colors, showing that this is still Daisy’s story.

Garrett being left to die

I know they call this out in the show, but I do like Garrett being left to die by the bad guys too and realizing he can switch sides, just like in the original timeline.

The shock stick

Admittedly, I don’t remember what this is called, but this a very Whedony throwback. It was first used in the second episode of the series by Grant Ward in Peru. It’s based on a weapon used in the series Firefly. I don’t think it’s been used on the show in quite a while.

Jemma wants a suit

Is Jemma the only member of the team who hasn’t had a formal tactical suit/super hero costume. I think so. She’s had the standard SHIELD ones like everyone else, but not the suits like Daisy, Bobbi, and May have worn. Even Elena doesn’t wear the standard one. Of course she wants one.

Jemma’s rambling

While DIANA is melted away in her brain (which, uh, seems like it would not be good for your brain, just saying), Simmons starts to ramble a whole lot. She references a lot of past events in the show, but also, she kind of sounds like dialogue in Alice In Wonderland, which just seems fitting for a woman who keeps ending up in strange places she doesn’t want to be in by strange travel devices.

The 084 Meet Up

I love that we get slightly familiar faces without them being named. I mean, Victoria Hand is obvious, but not sure who the rest are. I also love that we get pay off for what Enoch and Koenig bonded over when he was left behind way back when. The two of them (and the rest of the Koenigs) distributing 084s throughout time to loyal agents for this moment is genius.

And yes, both episode titles are said out loud in both episodes.

S7E13 “What We’re Fighting For”

Quantum Realm

Yes, that’s the same realm they use in Avengers: Endgame to gather the infinity stones and move between timelines. Fitz is using some Ant-Man tech.

1983 NY

I just want you all to know that there was a major blackout in New York in 1983 in Manhattan…. On August 11, as reported in the New York Times on August 12. The same day this episode aired. I did not know this random bit of information. I googled it.

Back to the season 6 finale

When we get the first tidbit of FitzSimmons backstory for Jemma’s refrain of “we had time,” we get to see Fitz, Simmons, and Enoch go back to the events of the season six finale as they intercept Piper and Flint. Not only that, but the people Jemma brings with her to the temple to save everyone are the actual team. That is some paradox level science fiction right there. Very comic booky. (Edited to say: I can’t believe none of y’all corrected me because I had season five here when this just happened in season six! I literally woke up in the middle of the night remembering that I wrote it wrong. Hahahaha)

The stars in their skies

I love that this episode really laid it on that Jemma’s first love was astronomy. We get the scoliosis story again, but we get to see how Jemma has worked her love of the stars into her life. Her favorite star system as a child is where she starts her family, what she names her daughter after, and she even repeatedly utters the phrase “stars in your skies” as a nod to love. Nice.

A situation in Moscow

Look, all I’m saying is that last time SHIELD was in Russia, Bobbi and Hunter were disavowed by the agency. And Mack is now there with a helicarrier? Hmm.

The anniversary meeting

This is very reminiscent of how Natasha leads her meetings from afar in Avengers: Endgame, though probably enhanced by whatever alien tech Fitz and Simmons have put together here. It’s perfect that Daisy, Sousa, and Kora are in space while Mack and Elena are still part of SHIELD and May is teaching at the Coulson Academy. I really thought Mack would retire, but he just can’t let go, huh? Fitz and Simmons are really the only ones to truly retire. Though Coulson has more time.

Piper’s wish

She gets an LMD/Chronocom version of Davis. I just - that’s adorable. She wants her best friend back. And yes, he’s tech. They didn’t go back and save him. Fitz and Simmons built him because he mentions being programmed to be stupid.

Code 136

The code Coulson puts into his briefcase to get the keys to his new Lola? Yeah, that’s how many episodes there are of the show.

Edited to add: And one I missed, courtesy of VFX guru Mark Kolpack:

And that’s it. The end of the SHIELD we all know. I hope some of these actors will come back to play these characters once in a while for Marvel all over again because I think, despite it ending at a solid point, we’re all going to miss this show a lot.

#agents of shield #aos season 7 #aos finale #aos spoilers #aos easter eggs

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gunterfan1992 · 4 years

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Episode Review: ‘Obsidian’ (Distant Lands, Ep. 2)

Airdate: November 19, 2020

Story by: Jack Pendarvis, and Kate Tsang, Adam Muto, & Hanna K. Nyström

Storyboarded by: Hanna K Nyström, Anna Syvertsson, Iggy Craig, Mickey Quinn, Maya Petersen, James Campbell, & Ashlyn Anstee

Directed by: Miki Brewster (supervising), Sandra Lee (art)

Of all the many colorful characters in Adventure Time perhaps none has a more elaborate backstory than Marceline the Vampire Queen. In many ways, Marceline really was the writers’ gold goose, engendering complex story after complex story. By the time the series ended, the vampire’s life had in more ways than one been woven into the very fabric of the show’s mythology.

But because I am a Marceline fanboy—whose zeal for her majesty is rivaled perhaps only by Glassboy himself—I always felt like the show could have done even more with her backstory; I mean, when the series finale aired, there were still plenty of questions that had yet to be answered (What happened to her mom? What is Simon going to do now that he’s “cured”? How did Marcy and Bubblegum meet? Were they romantically involved before the events of the main series? How did it all go south?). Nevertheless, when "Island Song” played for the last time at the end of “Come Along with Me,” I forced myself to push aside this minor, fannish grievance and applaud the show for writing such an excellent character. I didn’t need for every last detail of her life to be explicitly shown on screen. I was happy.

But then, about a year ago, news dropped that one of the Distant Lands specials would really delve into the history of Marceline and Bubblegum’s relationship. In an instant, I tossed my stoic “I-am-satisified-with-what-I-received” mentality right out the window. We were going to get another Marceline episode, and it was going to dive back into her elaborate backstory!?! I could barely contain my excitement as I waited for the episode to drop.

Well, was my excitement worth it? Or was “Obsidian” a big ol’ let down—a tragic victim to grandiose expectations that were never meant to be fulfilled?

I’m quite happy to say that not only was “Obsidian” a remarkable special in its own right, but it is arguably one of the strongest episodes of Adventure Time, period.

The plot of this episode is fairly standard, as far as Adventure Time episodes go: Glassboy (a new character voiced by Michaela Dietz, the voice of Amethyst from Steven Universe) accidentally sets a giant fire monster named Molto Larvo loose on the Glass Kingdom, and Marceline and Bubblegum—who we learn have been living their best cottagecore life together in Marcy’s cavehouse—are forced to save the day. But the series’ writers take this otherwise quotidian adventure idea—a story which, at least on paper, could have easily fit in during any of the show’s many seasons—and employ it as something of a Trojan Horse, using it as a pretense to delve into both Marcy’s traumatic childhood and her and Bubblegum’s romantic history. And, boy, is it a ride!

With regard to the former story thread, the audience learns that sometime after the Mushroom Bomb detonated, Marceline and her mother, Elise (voiced this time not by Rebecca Sugar, but by actress Erica Luttrell, who played Sapphire in Steven Universe), roamed the wastelands in search of shelter; after Marceline’s mother came down with some sort of sickness, she sent Marceline to be on her own. Elise was hoping that this would spare Marcy the trauma of seeing her mother die before her very eyes, but due to some communication issues, Marceline never learned what became of her mother. As such, Marceline began blaming herself for “leaving” her mom to die in the wreckage of the world. This plot thread is perhaps one of the bleakest that Adventure Time has ever explored, and the show does it masterfully, balancing the darkness (e.g., Marceline’s mother coughing up blood) with bright spots of comedy (e.g., the "wazzup” dog) that never feel distasteful.

Likewise, when it comes to the story thread about Marcy and Bubblegum’s romantic history, the special does not hold back. We get to see “Bubbline” at its best and its worst. I have a feeling that the word “fan service” is going to be used by a lot of folks when talking about this episode. As the AV Club writer William Hughes notes, this word is usually hurled around like a pejorative, but it aptly describes the appeal of “Obsidian”. After all, this episode really is “fan service at its finest”—not only does it give the ravenous shippers the story tidbits that they have so long to see (e.g., the moment Marcy gave Bubblegum her rock shirt, Bubbline’s epic break-up), but—and this is very important—it does so in a way that is fundamentally meaningful. “Obsidian” does not feel self-indulgent, unnecessary, or pandering. On the contrary, it is overflowing with deep emotion that allows us to better understand how Bubblegum and Marceline really feel about one another. Sure, over the centuries that the two gals have bummed around Ooo, they have bickered and fought, but deep down, their love is passionate. In many ways, it is like the titular obsidian, which means that nothing short of an enchanted diamond pickax is strong enough to break Bubbline apart for good.

(It’s also quite nice that after seasons and seasons of tip-toeing around the question of Marceline and Bubblegum’s sexuality, “Obsidian” can explicitly focus on their life together, showing the two characters cuddling, kissing, and dancing. In terms of LGBTQ+ representation, it’s a huge leap forward, and I’m so happy that Adventure Time has had a part to play in normalizing queer relationships!)

Marceline episodes almost always featured a catchy diddy, but "Obsidian” really cranks things up to 11 by featuring a whole bevy of catchy songs, several of which are perhaps among the show’s strongest. The first right banger, “It’s Funny,” is the song that plays over the special’s credits. With a grunge-meets-riot grrrl feels, this track really sets the tone for the episode, signaling to the audience that we’re in for, as Lumpy Space Princess once put it, some “drama bombs.” The next standout is “Woke Up,” a brutally honest diss track that Marceline used both to contain Molto Larvo and break up with Princess Bubblegum centuries prior to the start of this episode. This song was written by pop rocker Zuzu, and it—as the kids say—slaps. Layers of fuzzed-out guitar and digitally processed vocals are used expertly to sell Marceline’s emotions and convey how, on the surface, she’s delighted to no longer be under Bubblegum’s romantic spell... even if her heart may not be so sure.

But arguably, the musical jewel of the entire special is “Monster,” a somber ballad that Marceline sings to Bubblegum when they find themselves trapped in the collapsing furnace and are facing what they believe is certain death. Written by indie pop artist Half Shy, this song is, in many ways, something of the inverse of “Woke Up”: soft, happy, and filled to the brim with a sort of love that few are lucky to receive and even fewer can honestly express. Not only does “Monster” finally cement Marceline’s real, visceral love for Bubblegum in song form (remember: almost every prior Bubbline song was either indirect or delivered by an angsty, heartbroken Marceline), but it also “tames” Molto Larvo, allowing him to metamorphose into a strange but harmless cat-butterfly critter. Just like “Come Along with Me,” “Obsidian” proves that the power of love and music will save us in the end—if not physically, then at least emotionally.

Regarding the production-side of things, there’s a lot of praise to doll out. First off, the look and style of “Obsidian” is gorgeous. While “BMO” opted to experiment somewhat with the classic Adventure Time art style, trading cel shading for an almost watercolor feel, “Obsidian” echoes the aesthetic of the original series. That said, there’s an undeniable animation bump—likely courtesy of that sweet, sweet HBO money—that lets Ooo and its denizens shine in all their glory. You can tell that Adam Muto, art director Sandra Lee, supervising director Miki Brewster, and all the members of the production staff really went above and beyond the call of duty. The episode's soundtrack, composed by Amanda Jones, as deserves a shout-out. Jones did an excellent job mixing the chiptune style of the original series with a bass-heavy rock sound that highlights Marceline’s starring role. Bravo!

As another production aside, I should point out that CN/HBO’s decision to make these specials each 44 minutes was the right call. The 11 minute format of the original series often left something to be desired when it came to plot development, as many an important episode was forced to end somewhat prematurely due to time constraints; conversely, the 8-episode miniseries format that the show experimented with during its latter days sometimes felt like too much time (Stakes, Islands, and Elements all had whole episodes that felt like nothing more than the show treading water). The length of “Obsidian”, however, was just right, giving us plenty of time to take in what was happening without ever feeling like it was dragging.

A final aspect of this episode that is worth mention is its many call-backs to previous episodes and characters. “BMO” was mostly a self-contained story that, due to its nature as a prequel in space, really couldn’t reference the Land of Ooo without feeling forced. “Obsidian,” however, throws in everything and the kitchen sink (Adventure Time superfan and all-around cool person Jagm has collected most of them here for those of you who want to see everything laid out nicely). Stand-outs for me include Choose Goose (someone who we really haven’t seen since season five) smuggling sketchy products into the Candy Kingdom, post-Ice King Simon trying his hand at open mic nights, Bronwyn as an adventurous hero, and Finn the (Adult!) Human complete with beard and scars! Of note, Jake does not appear in this episode, except as a tattoo on Finn’s chest. Many in the fandom are now speculating that the events of “Obsidian” take place after our beloved shapeshifting dog’s death. Oh say it ain’t so! Perhaps we’ll learn more in “Together Again.”

Mushroom War Evidence: Unlike “BMO,” which directly referenced the Mushroom War and its fallout (both literally and figuratively), this episode returned to the show’s roots by featuring gobs of explicit hints in throw-away lines or elaborate background pieces. Honestly, there is far too many to list here in a pithy paragraph, but some major references include: the reveal that the Glass Kingdom, like the Fire Kingdom, was created by ‘magic’ blaze from the heavens (almost certainly a nuke); the fact that Marceline and her mother wandered for a time in the debris-filled wastelands following the apocalypse; and the reveal that Marceline spent at least part of her childhood holed up in a bomb shelter surrounded by the bones of myriad dead humans. Honestly, while references to the Mushroom War have always been sad footnotes to an otherwise cheery show; in this episode, however, the references are very graphic, illustrating the sorrow and horror of mutagenic war.

Final Grade: As I said earlier, I’m a Marcy fanboy, so I’m horrible biased, but I don’t care. This episode rocked. Q.E.D.

#adventure time #atimers #adventure time distant lands #distant lands #atdl #obsidian #marceline the vampire queen #marceline #bubblegum #princess bubblegum #bubbline #adam muto #hanna k #hanna k. nyström #jack pendarvis

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jess-rewatches-prodigalson · 3 years

Text

Head Case (S2, E6)

My time-stamped thoughts for this episode. As always I reference Malcolm’s mental health. A lot. So if that’s going to be a trigger for you, don’t keep reading.

SPOILERS AHEAD:

0:03 - This clip of Malcolm in the car is from the pilot episode. I was so betrayed by this clip. Full disclosure - I’ve always had a thing for Malcolm’s jacket from the pilot episode. I just love it and I think Tom Payne looks cute in it. BUT - I was betrayed because Malcolm isn’t wearing my favourite jacket in the next scene (I was disappointed but not surprised). Rant about wardrobe over.

0:20 - This is weird to me. In the clip right before this, when Malcolm was coming to Claremont (wearing the awesome jacket) - Malcolm is clearly in emotional distress. He’s not in a good mood. BUT right here, when Malcolm is chatting with Mr. David he seems like he’s in a good mood. Not one of his manic good moods - just a regular good one.

0:32 - Anyone else notice how visibly uncomfortable Jessica AND Malcolm are? This whole Ainsley situation is literally going to destroy them both. :(

0:34 - sooooo Mr. David knows by now right? He has to? ALSO when the European FBI guy shows up in a few episodes this is going to be bad for Malcolm and Jessica right? The FBI guy will probs talk to Mr. David who will be like - oh yeah, they’ve had more ‘family meetings’ in the past 6 months than in the past 20 years.

1:22 - Sooooo this whole family honestly thinks Ainsley’s going to become a serial killer. From the tidbits of her childhood that we’ve seen, the way she treated Malcolm in Q&A, and generally how she acts when she wants to get a story - I’m not surprised. Read my thoughts on older episodes (1x7, 1x20, 2x5), I’ve always thought Ainsley was a sociopath or psychopath. The girl doesn’t show a lot of moral backbone or sympathy for anyone.

1:33 - Wait. Does this montage of Malcolm’s erratic behaviour mean that Malcolm killed someone as a kid? And doesn’t know it? Or is this just a reference to the whole ‘girl in the box’ trauma arc from last season?

1:44 - “I wish I didn’t know that you were a killer.” Anyone else get major flashbacks to the movie Santa Clause 3: The Escape Clause? “I wish I had never become Santa at all” then we get an AU for 40 mins? Just me? Cool - excuse my bad taste in Christmas movies.

1:50 - hahaha Martin is so bitter.

2:25 - You know, as much as I love to hate Martin - he has a point. Malcolm loved his Dad (still does whether he wants to admit it or not) in 98′ - why is Malcolm chill with Ainsley killing but not Martin? Is it because with Martin, he found a poor girl tortured in a box but with Ainsley he saw her kill a man that was threatening their family? Or was it because Martin tried to kill Malcolm but Ainsley hasn’t (yet?) **honestly - that would be such an interesting episode - if Ainsley tries to kill Malcolm**

2:33 - THANK YOU. Someone finally thanks Malcolm for trying to protect Ainsley (and in extension Jessica) from the emotional trauma he’s been dealing with since the age of 10. EVEN THOUGH PROTECTING THEM IS MAKING HIS MENTAL STATE WORSE. Seriously - Malcolm is going to snap soon I honestly won’t be surprised if we get some suicidal ideation from him this season (especially if things don’t improve). Look at those big sad puppy dog eyes when Jess thanks him.

2:38 - hahahaha that side-eyed glare directed at Martin.

2:53 - I know Jessica had good intentions here - she’s trying to protect both of her children but honestly, this whole interaction was probably super upsetting for Malcolm. Think about it - BOTH of his parents haven’t tried to have a serious discussion with him at the same time since he was at 10 years old or younger. This interaction is probably bringing up some memories for Malcolm and making him grieve for the childhood he lost all over again.

3:06 - “You’re gross.” followed by a very regal wave at Mr. David. YES. Queen Jessica. <3

3:25 - Malcolm startling JT is pretty freaking cute. Look at how JT’s expression immediately changes from startled to concerned. I don’t blame him. Malcolm gives off major manic energy in this scene. The visit with the parents did not leave him in a good place. Also - Malcolm straight up admitted that he’s had a ‘rough morning’ this boy almost never tells the truth when he’s struggling. He’s fine. He’s always fine.

3:30 - “Rough month.” IS THIS IT? IS THIS ALL I’M GOING TO GET? JT had a baby THREE EPISODES AGO. ‘rough month’ is a reference to the fact that he’s a new dad and he’s struggling with lack of sleep, leaving Tally alone with the baby while he’s a work, being a good husband, adjusting to dad life, ect. RIGHT?!? We’ve literally had no mention of the baby since 2x3 and I’m losing my mind. I just want someone to say, “Hey JT, how’s the baby?” that’s it. I want 5 seconds of dialogue. Just an acknowledgment that the child exists.

3:54 - “Sooo bring me up to speed.” OMG. That smile is both extremely manic and completely adorable. Seriously - why is no one on the team more concerned about Malcolm during this episode? AND WHERE THE EFF IS EDRISA IN THIS SCENE?!? We’ve been robbed.

4:21 - “What? I liked math class.” OMG. JT is a closet math nerd. You can’t take this headcanon away from me.

4:24 - hahahaha look at Malcolm absorbing the new information about JT. He’s like.....yes. I will keep that information for later. Very good. Will pry further.

5:04 - I love Dani. She’s perfect. She can see that Malcolm just checked out into his own horror of a memory. So she gently teases him to bring him back to reality. <3 This is true friendship. <3

6:00 - Was I the only one who thought it was weird that Gil asked Malcolm to help with the canvasing? Like - doesn’t Malcolm always help? Isn’t that part of what he does to build his profile?

6:12 - “KGB agent” Yes. Malcolm is still annoyed that Ainsley was so competitive about a literal murder last episode. I promise you. Ainsley’s probably still annoyed too.

6:26 - This is why Malcolm is considering telling Ainsley the truth. He’s already losing her. May as well rip off the band-aid. She might not react as badly finding out from him as she would finding out by herself.

6:51 - “That is my vagina.” hahahahaha OMG. As a woman I must say: HOW?!?! As someone who adores JT: hahahahahahahaha OMG.

7:23 - “You’re getting a lot of mileage out of that tidbit”. lol. JT gently teasing Malcolm is one of my favourite things. Hands down. Especially since they’ve reached a point in their friendship where Malcolm doesn’t seem scared or offended when JT makes fun of him. They’re acting like brothers and I LOVE IT. <3

7:25 - “That’s the tip of the iceberg my man.” I have no idea why I am so amused by someone calling Malcolm “my man” but I am.

7:36 - “The Bowery Ripper” hahaha the look that JT and Dani exchange when Malcolm starts nerding out.

8:00 - Wendell is kind of creepy. But like a weird, non-threatening creepy?

8:22 - OMG. JT let the vagina sculpture go. hahaha Look at how grossed out Dani is hahahaha she’s like, “Ugh. Men are gross.”

8:30 - This is why I love JT. He knows that that elevator is sketchy as hell. Plus it’s some (less than subtle) foreshadowing for what’s to come in this episode.

8:41 - How did Dani find out he was at Claremont?! Does Mr. David call Gil every time Malcolm visits?!? ......this is my new headcanon. You will have to pry it from my cold dead hands.

9:00 - This is a really cute moment between Dani and Malcolm. Regardless of whether or not you ship Brightwell - it’s really sweet to see Malcolm interacting so honestly with someone. He’s telling Dani the truth about something and she’s not making him feel bad about how messed up his family is or how weird his situation is. She just listens and teases him to make him smile. That is a good friend. IDC how you feel about Brightwell - right now - this is a GOOD FRIEND moment and Malcolm deserves more of them.

9:10 - Annnnnnndddd this is why Brightwell shouldn’t happen (right now). Dani is still hurt that Malcolm doesn’t trust her enough to tell her everything. She still doesn’t completely trust him after what happened last season. A romantic relationship without 100% trust will fail. End of story. They’re great friends but right now they can’t be in a romantic relationship. It’ll end poorly. (Damn, I hope Brightwell is endgame though).

9:38 - hahaha Greta Swan is a perfect comedic relief for the Dani/Malcolm tension we just witnessed. This girl is a little nuts and a lot funny.

10:00 - “Dad’s lived here his whole life” - wow. The writers really left us some big bread crumbs. We go from the scene where someone mentions a serial killer who killed someone (who was abducted from this hotel) in 1963. THEN we find a strange, gossipy woman and her grumpy father who has lived there his whole life. Coincidence? Nah.

10:17 - SERIOUSLY?!? The Whitly home is ENORMOUS. WHY IS JESSICA LETTING AINSLEY WORK IN THE MURDER BASEMENT?!?!?! We literally just found out that Jessica has a SOLARIUM somewhere in this house.

10:40 - “The guy definitely seems like he kills people.” Oh the irony here.

10:55 - “Are you upset with me?” This is soft and I love it. Malcolm is being vulnerable with his little sister and it warms my heart.

11:07 - “Insomnia sucks.” “Who knew?” Again. Irony.

11:18 - “Anything you want to talk about?” This is precious. Malcolm loves Ainsley SO FREAKING MUCH. He has major Dad/Big brother/concerned school counsellor energy here and I’m here for it.

11:38 - Malcolm’s soooo going to replay this conversation in his head about a million times. He’s going to blame himself for Ainsley’s murder victim of this episode. He’s going to play the “what-if” game. What if - he told her the truth here? Would she still have killed someone tonight?

11:52 - Look at Ainsley’s face here. She seems sort of confused and comforted? Like maybe the fractions of memories that she’s admitting to having are making her believe that she killed Endicott and it scares her. Malcolm telling her otherwise is probably comforting on some level. It’s helping her convince herself that she’s done nothing wrong.

12:25 - According to IMDB - this isn’t the episode LDP directed SO WHY IS THERE SO LITTLE GIL CONTENT IN THIS EPISODE?!?!?!

12:27 - What the hell is the puddle on the floor btw? Is it paint? Tar? Blood? I thought construction hadn’t started on the hotel yet?

14:14 - Malcolm. You. Are. A. Moron. Why go towards the creepy elevator that opened by itself? Why did you think that was a good idea?

14:29 - The Bowery Ripper is pretty strong for an old guy. I mean, Malcolm isn’t that big and he was caught off guard but still.

14:38 - I wanted this scene to be reality SO SO BADLY. I don’t even care about the Brightwell interaction in this scene. Malcolm is on a hospital bed. With an ice pack. I could’ve watched 45 minutes of “Malcolm in the hospital” content. The fact that this boy didn’t spend longer than a 30 second scene in the hospital is a CRIME. Why does Fedak hate giving us the whump aftercare?!? WHY?!?! Doesn’t he know like half the fandom LIVES FOR IT?!?

14:40 - You know how I knew this was the start of Malcolm’s AU dream? 2 reasons: 1) Dani has her hand on the ice pack on Malcolm’s head, even though he totally doesn’t need her help to hold the ice pack to his head. 2) GIL ISN”T HERE. .....although this episode did us dirty with the lack of Gil content (I miss Papa!Gil so much)

14:46 - There’s something about dream JT. I can’t quite put my finger on it. Real and dream JT are almost identical. But dream JT seems to be more open with Malcolm? IDK - he’s more relaxed around Malcolm? I can’t quite describe it. Did anyone else notice that there was just something a little bit different about dream JT? Not even in a bad way. Just different.

15:15 - “Noooo she said it could’ve been worse. Not the same.” hahaha YES DANI. Good looking out. Call out this boy for neglecting his health.

15:24 - This whole scene where Dani and Malcolm do a joint interrogation was awesome. They were talking pretty fast which I found a little distracting but JT said it best, “They were on FIRE”. One thing I REALLY liked about the scene was the dynamic between Dani and Malcolm. Neither one of them was really taking a lead in the interrogation. They were equal partners and I think that says a lot about Malcolm’s romantic desires. He doesn’t want to dominate anyone. He doesn’t want to be taken advantage of. He just wants someone he can trust and respect. Someone who will trust and respect him. He wants a partner. An equal partner. I think that’s a really healthy desire for anyone in search of a relationship.

16:12 - an affair? Did we know that Lyle and/or Katrina were married?!? If they weren’t married it would just be a relationship. Not an affair.

17:01 - Is this honestly the first time Dani has called Malcolm by his first name? In 26 episodes? It must be right? Because I swear I was so shocked my heart skipped a beat (also my Brightwell heart melted but that’s a whole different thing).

17:06 - .....so in Malcolm’s dream does he still work for Major Crimes? Is JT running the department? I need some more details here.

17:12 - Soft!JT <3 <3 <3 How cute is it that in Malcolm’s AU dream, JT (and Dani) don’t actually change (in terms of personality). Their roles in his life just intensify. Dani becomes his significant other and JT becomes a much closer friend/brother. It’s precious. <3 <3 <3

17:52 - Something about the fact that Jessica isn’t drinking liquor in the AU is hilarious and depressing to me. It’s funny because, well, it just tickles me. It’s depressing because Malcolm understands that Jessica drinks to dull the pain. In this AU, she isn’t in pain. She’s happy. Therefore, she doesn’t need alcohol. I don’t know about you but the fact that Malcolm’s subconscious wanted his mom to be happy so badly that she became (more or less) sober - is heartbreaking and heartwarming all at the same time.

18:11 - “No one in this family is scared of a little blood right?” The irony here is THICK.

19:23 - The fact that Ainsley is a doctor just like Martin in Malcolm’s AU is terrifying and hilarious. This whole “I watched Ainsley kill a man” thing is really destabilizing Malcolm’s questionable mental health.

19:27 - “Please Ainsley is the talented one. I’m a distance second.” ....does this mean that Endicott isn’t the first person Ainsley has killed? Does this mean subconsciously Malcolm somehow thinks that Ainsley is a better serial killer than Martin?

19:56 - “No phones at dinner okay?” Something about the way Martin is looking at Malcolm at this moment and Martin’s tone of voice made me think - “Shit. Martin’s still a serial killer in Malcolm’s AU.” Especially since they Ainsley literally just announced to the room that he’s getting a from Claremont.

20:06 - Yep. That’s a nightmare. From the back, Claremont!Gil probably looked like Martin circa mid-2010s for Malcolm.

20:09 - Look idc who you ship on this show. But I will fight you if you don’t think that Malcolm being comforted after a nightmare by someone he loves is the sweetest thing ever. Look at how Dani gently rubs his arm and back. Ugh. This is the kind of safety Malcolm DESERVES.

20:43 - Dani lying on Malcolm’s chest. <3 It just makes me so happy. Not even necessarily because it’s Dani (although I do ship Brightwell as end game) but because Malcolm’s subconscious is showing us his ideal relationship and we don’t see anything wild or questionable - we just see G-rated cuddling. And damn if that doesn’t say a lot about how much Malcolm just wants to be loved.

20:53 - .......Can we have a full episode’s worth of footage where Malcolm is unconscious on the floor? I know I’m a basket case but it would make my whump heart so happy.....even happier if that footage was immediately followed by 40 mins of hospital care/comfort footage.

20:59 - I know that time has sort of slowed down for the purpose of plot in this episode but ngl - every time we saw the elevator approaching passed out Malcolm all I could think was “this is the slowest elevator in the world.”

21:26 - Malcolm is so so relaxed and comfortable in this scene. I want him to be this happy forever.

22:07 - “You deserve all of it.” Malcolm subconsciously just wants permission to be happy. He doesn’t think he deserves to be happy (especially after Endicott). That little revelation broke my heart. Also the Brightwell kiss was adorable. Dani takes control because, Malcolm wants to feel wanted and this is how his subconscious is manifesting that desire. I will argue that Malcolm doesn’t necessarily want a relationship where his partner takes charge or dominates him. He made coffee of both of them. They’re living in his apartment. They’re having calm, mature, adult conversations. They are both equal partners in his dream relationship.

22:45 - Dani isn’t scared of Malcolm when his hand starts shaking. She isn’t judging him. She’s just concerned. <3

22:47 - “Existential ennui”? Soooo much french in this episode. Damn. “Jamais vu”, “Quelle suprise”. Now “ennui”.

23:35 - “I don’t fit your profile.” ....am I expected to believe that Malcolm didn’t realize this was a dream until this moment? Dani calling him “Malcolm Whitly” in the last scene wasn’t a red flag? Or the fact that Ainsley is a doctor. Or that Martin isn’t in Claremont? Or that Jessica isn’t drinking booze by the bucket? I mean, I know he has a head injury but these are big red flags.

24:15 - Sooooo is Wendell dead irl? Because this is technically a dream.

25:02 - “I thought we were looking for an inexperienced psychopath. A first time killer.”......this is him projecting about Ainsley right? Am I overthinking this? And now he says, “I was wrong”. Is that supposed to suggest that Malcolm thinks Ainsley has killed someone before Endicott?

25:07 - “The blows are confident. They were having fun.”.....couldn’t the same be said about how Ainsley stabbed Endicott? They were definitely confident stabs (plus a confident throat slitting).

25:14 - “We’re looking for a serial killer.” Istg the writers are hinting that Ainsley is a serial killer (or will become one soon).

25:27 - Mr. David appears in the AU but Edrisa doesn’t. We were ROBBED.

26:07 - I’m not the only one who thinks that beard makes Gil look like a werewolf right?

26:33 - Claremont!Gil is creepy. LDP’s performance here is really really good. Also - I hate it. Because serial killer Gil is just not my Gil and it upsets me to see Gil chained to a wall.

26:56 - Sooooo in the AU “The Surgeon” is still at large right? ....you’d think Malcolm would be trying to solve that case with Dani and JT. You know, an active prolific serial killer in New York?

27:34 - The way that Martin, Gil, and Malcolm interact in this scene is really interesting to me. In a lot of ways, this isn’t an AU. Think about it.

In the dream: Gil is frantically trying to convince Malcolm that Martin is a serial killer. In a way, Gil is trying to protect Malcolm from Martin.

In reality: Gil just shoots Malcolm disapproving looks when he mentions seeing Martin. Gil desperately tries to protect Malcolm from Martin.

In the dream: Martin is trying to convince Malcolm that Gil is a monster. He’s trying to convince Malcolm that he’s a Good father. That he would never hurt Malcolm. That he loves Malcolm.

In reality - Martin is the same.

The only main difference between AU!Martin, AU!Gil, and their real counterparts is their temperaments. AU!Martin has Gil’s calm, comforting, and rational temperament while AU!Gil has Martin’s angry, manic, and controlling temperament.

What is the same between the AU characters and their real counterparts?

Martin is still a manipulative killer.

Gil still shoots Malcolm looks of concern (27:45).

Gil and Martin still hate each other.

28:30 - Even dream Martin tries to gaslight Malcolm.

28:56 - “You can always count on Dad.” ....is this how Malcolm really feels about Martin subconsciously? It kind of makes sense? Who did Malcolm turn to when Ainsley did the unthinkable? Not Gil or Jessica. Malcolm said it in 1x12 - (I’m paraphrasing) “The child in me thought he cared. Loved me even.” I think there’s still a part of Malcolm that believes that. Or at least a part of Malcolm that desperately wants to believe that.

29:17 - “I’ve never been to a crime scene before.” That’s because you create the crime scene, Martin. In all versions of reality.

29:20 - annnnnnd AU Martin shares regular Martin’s weird fascination with Dani.

31:00 - JT being buddy-buddy with Martin is hands down the most horrifying part of the AU.

31:10 - “I think he’s having a psychotic break.” ......I want this to be foreshadowing so so so badly. I think it would be so interesting to see how the team, Jessica, Ainsley, and even Martin deal with Malcolm just having a total breakdown. Maybe not a full psychotic break. Maybe a nervous breakdown? Or he succumbs to his suicidal ideation? Probably a little too dark for network TV though.

31:34 - “I’m very protective of her and her boots.” Does Malcolm see himself as the Bowery Ripper, trying to protect Ainsley as opposed to his daughter? Or is the Bowery Ripper supposed to be a metaphor for Martin protecting Ainsley? Is Malcolm going to take the fall for Ainsley and all her murders?!?

32:45 - “Why did you kill again? After all these years.” istg this is hinting that Ainsley killed someone as a kid and Martin knows about it.

33:00 - “I can’t let my daughter know what I was.” .....is the Bowery Ripper supposed to be Ainsley? Is Ainsley killing people to try and protect Malcolm? Ugh. I’m totally overthinking this.

33:02 - Even in his dream, Malcolm can’t bring himself to kill his father. Wether that is by cutting off contact with Martin irl or letting the Bowery Ripper kill him in the AU.

33:07 - Actually though - why doesn’t Malcolm carry a gun IRL? We know he’s trained to use one. We saw him use one in the pilot on a case for the FBI. Is there some sort of NYPD rule about consultants carrying weapons? Is it a rule that Gil has imposed on Malcolm? Is it a rule that Malcolm has imposed on himself? A mixture? I want to know.

33:38 - OMG. Is Malcolm going to try and kill Ainsley?!?! What a twist that would be. AU Malcolm just killed a killer. He doesn’t seem to feel bad about it and he agrees with Martin that “everything is okay now”.

33:55 - This hug deeply moved me. Malcolm is fully aware that this hug isn’t real but he looks so content to be hugged by his father. Malcolm is finally getting a proper hug. <3 It honestly makes me wonder what Malcolm would do IRL for his father’s approval though. He’s clearly sooo desperate for Martin to love him. Who knows what Martin will be able to convince Malcolm to do in this season? Malcolm’s not all that mentally stable right now and he’s really vulnerable emotionally. I’m worried.

34:26 - “Not that it’s a competition.” ....yep. Ainsley wants to be better than Malcolm even in Malcolm’s own subconscious.

35:00 - Heart. Breaking. Watching Ainsley, Martin, and Jessica tell Malcolm how good they think Dani is for him breaks my heart. Look at how happy Malcolm looks. Look at how desperately Malcolm wants this to be real. Ugh. My heart is shattered.

35:20 - “You’re the best, big brother.” Even Malcolm’s subconsious knows that he’s an excellent big brother. Seriously, I love my younger brother but I don’t think I could ever cover up a murder for him. Never mind dispose of the body. Maybe I would? IDK the situation has never come up (thankfully).

35:25 - .....aaannnnnndd we’re back to the Girl in the Box.

35:58 - “Why would you ever want to leave?” “Because it’s all a lie.” Isn’t Malcolm living a lie IRL too? He’s pretending that Ainsley is a law-abiding citizen. He’s pretending that he isn’t an accomplice in a murder. He’s living in constant fear because of his secrets. They’re going to destroy him. This is why I think a suicide attempt is a possibility for this season. This trauma is a lot bigger (in some ways) than last season’s. Plus - Malcolm has a lot of pre-existing trauma. This could be the metaphoric straw that breaks the camel’s back.

36:45 - “Even in my wildest dream. I’m still a detective. I need to seek the truth. No matter how painful.” That’s it. That’s Malcolm’s character in a nutshell. “Traumatized boy who intentionally puts himself through more trauma for the sake of seeking the truth.”

37:01 - “You’re right. I need to work on that.”.......if Malcolm tells Gil and/or the team about Ainsley next episode I will lose my mind.

37:15 - TOM PAYNE. YOU ABSOLUTE TREASURE. THIS IS SUCH A GREAT PERFORMANCE. THOSE UNSHED TEARS. THAT DESPERATE ANGER. THAT HOPELESSNESS AND DESPAIR. <3 <3 <3 <3

38:21 - Look, I’m a mechanical engineering student (not an expert) but if that was a wooden stick like I think it is - that would’ve NEVER stopped an elevator (at least, not long enough for Malcolm to escape). But I’ll overlook it for whump. Because Malcolm has a head wound and I’m loving it.

38:33 - I’ve rewatched this clip of Malcolm with a bloody face meeting JT and Dani about 50 times (wish I was exaggerating that number). There is something so gorgeous about this scene. I mean - the fact that Malcolm is clearly in physical and emotional pain is enough to make my whump heart sing but it’s more than that. Listen to the genuine concern in JT’s voice when he says, “You okay?”. Look at Dani’s concerned face. Listen to how soft and desperate Malcolm’s voice is when he says, “When was the last time I talked to you?” Look at how concerned and confused JT and Dani are when Malcolm says, “I know who the killer is.” They’re not scared of Malcolm. They’re scared for Malcolm. Malcolm just showed up covered in blood, he can’t walk straight, he’s clearly confused, and now he’s claiming that he’s solved the case. They’re worried about him and they have every right to be. Listen to how broken Malcolm sounds when he says, “Long story.” <3 <3 <3 I’m in love with this scene.

39:19 - “Are you sure about this?” “I have no idea.” This. Is. Important. JT and Dani have every reason to believe that this old man isn’t a killer but Malcolm’s head injury is making him confused. BUT they choose to trust Malcolm (or at the very least, humour him). They trust him enough to take a risk on him and I think that’s beautiful. I think that’s exactly what Malcolm needed after his nightmare of an AU dream. He needed to know that they care about him IRL. I hope he notices their behaviour despite the head injury.

39:35 - Malcolm puts the skull down with his ungloved hand. I’m blaming the head injury.

39:55 - Look this was a really moving scene. The parallel of Malcolm arresting a serial killer in front of the serial killer’s child and Martin being arrested in front of Malcolm is haunting. HOWEVER, when that old man stood up from the wheelchair my stupid brain went “THAT ASSHOLE NEVER EVEN NEEDED THE WHEELCHAIR?!?”.....even though he literally wasn’t in a wheelchair in Malcolm’s dream.

40:40 - WE WERE ROBBED. I want to see the scene where Malcolm explains his dream to the team. I want to see GIL. WHERE THE EFF IS GIL IN THIS EPISODE?!?! FURTHERMORE - I WANT THE IRL VERSION OF “MALCOLM GOES TO THE HOSPITAL FOR A HEAD INJURY” SCENE. WTF FEDAK. GIVE ME THE AFTERCARE.

40:47 - “That man will be buried in a turtleneck.” hahahahahaha OMG. Iconic.

41:27 - “Goodnight Malcolm.” <3 <3 <3 She called him Malcolm IRL. Excuse me while I go and stoke my slow burn Brightwell fire.

41:36 - “Goodnight.” This is the face of a man who just accepted the fact that he will never be happy. Malcolm honestly doesn’t think he deserves to be in a relationship. Especially with someone as beautiful, kind, and talented as Dani.

41:40 - THAT HAT. Was this really in Season 1?!?! I don’t remember it? But holy hell - I want to see Malcolm wear it. Like now. It’s going to make me laugh. I can feel it.

41:53 - Immediately you can hear that something is wrong in Ainsley’s voice. She sounds distracted, dissociated, and scared.

42:14 - Give. Tom. Payne. An. Emmy. Listen to his voice breaking here. He’s so close to tears and it’s genuinely beautiful. Such an astounding performance.

42:51 - I honestly think Ainsley is shaking her head because she realizes that she made a mistake. She came to Malcolm because she thought he killed Endicott. She thought that he’d be able to understand. That he’d be able to help her because he had committed the same crime she just committed. She was wrong. He can help her - but legally, he really shouldn’t.

43:08 - Look. A new scene for Malcolm’s night terrors.

43:15 - Yep. This is going to drive Malcolm into a mental breakdown. This is bad.

43:20 - There’s a part of me that wants Malcolm to tattle on Ainsley. Just so he doesn’t have to keep the secret any longer. The secret is killing him. Telling won’t make the situation any better though. Gil and the team will react horribly and it’ll make Malcolm feel like garbage. Plus I can only imagine how the press would scrutinize the Whitly’s again. It won’t be good any way you slice it.

I have a love/hate relationship with this episode. On one hand - it’s the cannon AU episode that every fanfiction lover dreams of. It’s also a really compelling episode complete with some excellent acting and great insight into Malcolm’s psyche. HOWEVER: 1) not enough Gil, 2) WHERE IS MY WHUMP AFTERCARE?, and 3) I wanted to see Malcolm at the base of that elevator for longer. The whump wasn’t prolonged enough for my sick soul.

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lizacstuff · 3 years

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Anon asks: SCK Fragman 38 speculation

(Asks under the cut)

Anonymous said: Do you think they're getting married this next episode? idk if the tattoos were confirmation

I think it’s possible? But I also think it’s entirely possible that they get the tattoos as a symbol of their love and a promise of sorts that they are through messing around, but they’re not actually married yet. Frankly, they already gave us all the wedding hoopla with these two, I’m absolutely fine with an elopement or quick courthouse style wedding, or just a couple of witnesses in a garden. Whatever they want! Let’s just get her done.

Also... I know I said it before, but I’m just in love with the idea of these tattoos. Such a great solution to their ring issue.

Anonymous said: Thoughts on all these twitter theories from the “sick” line in the fragman?

- it’s about piril and engins kid bc basak and anil filmed in the hospital, and piril was hit by a car in 36 and in 37 she had that moment where she clutched her abdomen and had to sit down

- it’s a flashback serkan has to when his brother alp was sick

- serkan is sick and it’s a way to reveal Kemal as his bio dad (blood or organ donation)

- serkan is sick and it’s a way to reveal eda is pregnant when they draw blood from her to donate

That fragman could be hinting at so many things, and it very well could have been misleading. So lets take each theory in turn.

“it’s about piril and engins kid bc basak and anil filmed in the hospital, and piril was hit by a car in 36 and in 37 she had that moment where she clutched her abdomen and had to sit down”

Very possible. Engin thinking something had happened to Piril two eps ago did feel like foreshadowing, almost preparing the audience for something. It would be so heartbreaking if she loses the baby, and seems too dark for this show, but it is something that happens to millions of women, so we’ll see.

Also can you imagine after the way Piril stuck by Selin, if Piril lost her baby, and she then witnesses Selin using her baby as a pawn to get revenge on Serkan and Eda? I’d like to see Piril and Engin’s reaction to that. Though again I think that’s pretty dark, especially for the side couple.

- it’s a flashback serkan has to when his brother alp was sick

I think this is a very good guess. Serkan probably will see a doctor after he passed out, and if it is another panic attack brought on by the stress of losing Eda, I could see a doctor telling him if he wants to move past the panic attacks, he needs to get at the root of his abandonment issues, which all lead back to his brother’s death. That could be why he’s getting out a box of his things and reading that letter. So I could very well see a flashback happening to Alp’s diagnosis.

- serkan is sick and it’s a way to reveal Kemal as his bio dad (blood or organ donation)

I’m honestly fully onboard with Kemal as Serkan’s bio dad. I hear a lot of people poopooing the idea because of opportunity, but I think they told us when it could have happened. In their first meeting, (unless my subs were bad) Aydan mentioned that Kemal had returned once to apologize for standing her up when they were young and going to run away together. I assume that was the window. Kemal showed up years later (after Alp was born) to apologize.. they had a fling and there’s the opportunity for Serkan to be his son.

Though, to me, if they’re doing something with Serkan’s health it’s got to be related to the plane crash. The chest clutching since he’s been back is concerning, plus wasn’t his hand shaking at one point? So I don’t see him having some serious underlying issue that’s unrelated. This guy does not shy away from going to the doctor and was just in the hospital for probably over a month recovering, so you’d think if there was anything wrong before, we’d know it. Unless the plane crash acerbated something that’s genetic? And/or requires a match like bone marrow or kidney. I suppose they could give Serkan some rare blood type and that would be something applicable to most any ailment. We shall see.

- serkan is sick and it’s a way to reveal eda is pregnant when they draw blood from her to donate

This one I think is the least likely. It’s been very fuzzy how much time has passed, but at the minimum 3 months since they were supposed to get married and were having sex, so if Eda were pregnant I think she would have noticed the signs by now.

Anonymous said: Liza, I know they won’t kill Serkan, but could you reassure me that they won’t? I’ve followed you since Once and you were always good at reassuring.

Ha! I remember making lists of all the reasons they would never kill Hook.

THEY WON’T KILL SERKAN.

And I’m even more certain of this than I ever was of them not killing Hook, and I was damn certain then.

There is literally not ONE reason for this show to exist without Eda and Serkan. Not one. This is their love story, and really, storyline wise, the show should have ended awhile ago, and the only reason they keep it going is to keep Hande and Kerem on screen together, making their magic. Seriously, that’s the only reason.

You see how Serkan dying would be counter to that, right? And if the show were about to end, trust me, there is nothing in it for anyone to have a tragic ending. This started as a romantic comedy, and will end as one, with a happily ever after. And if you’re still nervous, trust this, the production company is still hopeful to sell it into even more foreign markets, especially English language ones, a surprise tragic, twist ending that gets vilified on social media (and trust me this fandom is huge, vocal and capable) would really hurt those chances.

So even if we’re headed into a bad diagnosis for Serkan, he will be fine in the end, it will just be something for him and Eda to fight through. I promise.

Anonymous said: thoughts on that wonderfully beautiful fragman? i was watching with hearts in my eyes and then read the translations.. poor serkan!! if it really isn't misleading i definitely think it's some consequence of the plane crash. but, we are secure in what kind of show this is and the full knowledge that it's not a drama and no one is gonna actually die, i'm excited for the potential this storyline is gonna give us!! (esp with the return of the old writers)

I can’t wait to see that rain scene, and the after-the-rain scene and their motorcycle ride. The fragman was very beautiful, but it also felt very poignant and a little melancholy.

It’s interesting with the announcement that the second writing team was back, there were tidbits from several legit entertainment-type reporters yesterday that the show was going back to it’s roots being funny and entertaining. So a terrible diagnosis for one of the current characters, especially the romantic leading man, doesn’t really fit with that.

It the writers hadn’t changed I’d be more concerned, not about a character dying, just about the show leaning into some big sort of health-related melodrama. But I think whatever might be happening will be in service to the plot. As far as Serkan having a health-scare related to the crash, as I said above it’s very plausible. I mean what are the chances that a man survives a plane crash, is fished out of the sea, spends weeks in a hospital, gets amnesia and is perfectly fine 3-4 months later with no other repercussion? Doesn’t seem possible!

Anonymous said: Liza, the second set of writers is really coming back! We might actually get comeuppance for Selin!

YESS!!!!! Please. I had completely lost hope with the last set of writers who seemed hellbent on normalizing her behavior. Look I’d be fine with a 3 minute conversation where Serkan tells her that he knows she’s a manipulative liar and the baby is not his, that he wants her out of their lives for good, and that if she ever comes near Eda ever again he will personally destroy her.

Is that so much to ask?

Though I’d like her to be humiliated in front of the rest of the team. Just so everyone knows what kind of psycho she is and no one in Edser’s orbit is tempted to give her another chance ever again.

It will be interesting to see how this plays out. With the news that Sarp Can (Deniz) is COVID positive, he obviously won’t be back on set anytime soon. They could probably get some VO from him if necessary, for a phone convo, but I’m gonna guess he’s done on screen.

It’s time to write both characters out!

As for the 22-23, 25-30 writers coming back, that is the best news I’ve had in ages. They weren’t perfect, but the things they did well, they did really, really well. Their comedy, romantic scenes, heartfelt dialogue, accurate characterizations and penchant for sizzling scenes that “break the Turkish family structure” will all be most welcome. I’m really excited for the first time in ages.

Anonymous said: Very interesting that the fragman did not address the Selin baby drama at all. It focused solely on Edser which was a welcome change while at the same time has me a bit nervous for the angst & drama no doubt headed our way. But if Eda & Serkan are together for good now to face the challenges coming then I cannot wait to watch. The last episode was so well done but Eda & Serkan were both near their breaking points for different reasons & you just felt awful for both of them. Really glad that the engagement did not happen and the show focused on the fallout from Serkan’s amnesia. And even had the side characters addressing how difficult things have been for Eda and that she might need some time before picking things back up with Serkan! Looking forward to the resolution of the baby story/exit of Selin and seeing Eda & Serkan heal together.

I hope that the fact that nothing Selin-related was addressed in the fragman means that we finally have people in charge who understand that we are so damned fatigued of Selin that featuring her an active deterrent for viewers. Also I haven’t seen any evidence that Bige has been on set for 38. That doesn’t mean she hasn’t, it’s still possible, but it is encouraging that the ep will be light on Selin.

As far as the drama and angst, I think there’s more headed our way, however I’m hopeful it will be the good kind and not the kind that made us really uncomfortable and want to tear our hair out during the Selin/Deniz era. We know that Eda and Serkan must decide to stay together (spending time together, ring finger tattoos) so the point of the pregnancy storyline is done. When Eda found out Selin was pregnant, it gave Selin the chance for one last Hail Mary pass, and she took it, trying to break them up, but it failed. So it’s usefulness is over. She can’t keep the charade going because of Deniz, and because once Serkan has time to calm down and think, he’ll realize that any time in Slovania where he was so injured that it’s possible he doesn’t remember, he also would have been too physically incapacitated to do anything of the sort.

As for Eda needing some time, yes, things in 36 were just too easy for Serkan in terms of the fallout from his amnesic behavior. Episode 37 made him work for it and I think come to terms with the fact that, Selin manipulations or no, there’s work to do and things he needs to atone for. Putting her first throughout the episode, and showering her with love, was a good start.

Anonymous said: The conversations Selin had with Eda, Serkan and Aydan in this episode had my blood boiling. Someone stop this psycho! The unnecessary hole digging was real, my god. I don't care if she's pregnant, don't hold Eda back this time and let her fight this snake. Let everyone fight her! If she's lying to Deniz now, he can fight her too.

I know, she reached new levels of abusive manipulation. They better be planning a comeuppance, if she’s just allowed to leave with people waving goodbye, I will scream. The Aydan conversation with her posing the question about abortion was something else. It came across to me more as a threat. Like... I’m thinking about doing this, if you don’t want my decision to be your fault, you better stay on the right side of me.

The Eda and Serkan stuff goes without saying. It still floors me that she’s willing to pretend like she raped him (if he can’t remember because he was that injured and foggy, then it’s impossible for him to have given consent.) rather than just giving up and living the truth.

Anonymous said: Like I get it (kind of) but I am so sick of watching Serkan be nice to Selin. Very much looking forward to Serkan chewing her out for how much she hurt Eda with this fake Serkan baby daddy story when she is exposed. I get that Serkan feels he is to blame for calling her to Slovenia in the first place & essentially in his mind giving her hope of them being together but he needs to stop excusing her horrible behavior from there. No decent person would take advantage of that situation the way she did. It seems like the only way that Selin will have an epic fall is if Deniz decides to fight for the kid he knows must be his and tell Eda everything. Going to be tough for her to believe initially but it will have to start making sense once she thinks back on things and then if the photos surface then she will know it must be true.

Agreed. I get Serkan’s guilt, and it actually shows what a good person he is, but he needs to get over it. Because seriously, all Selin was obligated to do when she got his call was to hang up, and then dial one of the following: his mother, his father, his fiancé or best friend/business partner Engin. That’s it. Call them and say, hey, Serkan’s alive, this is where you’ll find him. But NOPE! Instead she decided to fly there, manipulate him, keep him hidden and try to use it to get back with him. She made him beholden to her, just another in the long line of brainwashing and manipulation. Her flying to his bedside was the wrong thing to do, and it would be great if someone beside Eda recognized that.

Anonymous said: Even though Selin is the worst and I just cannot wait for her to finally be unmasked as the manipulator she is, I am really looking forward to Edser in the next episode. Eda taking care of Serkan after he passes out, the two of them reaffirming their commitment to each other with the tattoos & possible elopement, Eda reassuring Serkan that she will be at his side even if the kid turns out to be his and also the two of them working together to get to the truth. So darn excited! And if the spoilers are right that Deniz tells Eda the truth and Serkan sees the photos from Ferit then I will be so happy. It is time for Selin to go for good!

SELIN MUST GO. Yes, I think as soon as the news that Selin is pregnant and trying to pass it off as Serkan’s brain-fog baby, Ferit will unleash the photos. (if it’s him that has them).

I just want Selin and Deniz gone so we can focus on other things. Their presence on this show is a energy drain, and I want to focus on rain frolicking, motorcycles and bed sharing!!!!!

Anonymous said: I'm so glad that we had a scene of Serkan telling Eda that even without his memories he fell in love with her again, he just couldn't admit it. Serkan has an interesting perspective on the memory loss part of their lives where I think he almost feels too guilty about it all and just wants to move past it. I've noticed that in his dialogues in 36 & 37 where he wants to leave it in the past and basically do his all to make it all up to her in the present and future.

I think this is very well observed. He definitely was trying to leave the past in the past, but honestly I think that’s just laziness on the part of the old writers, not wanting to have to have a reckoning for all the things they had him say or do. Since the writers decided to go that way, I could buy it’s because Serkan feels too guilty about it all. We know how much he loathes making mistakes or being wrong or owing apologies. If that’s what they wanted to do, it would have gone a long way if they’d shown a bit more of him blaming himself, especially in 36.

I was also very happy that Serkan came out and said that he’s fallen in love with her again. My only thing is I wish if they were going to do that, they would have thrown a little more detail in the dialogue. Like Serkan admitting to her that he started thinking about her all the time as soon as he returned and met her, maybe admit that he slept on his office couch clutching her wedding invitation. A couple of things like that would have been very nice for Eda to hear.

Anonymous said: SCK sure loves creating difficult situations for Eda & Serkan. I really felt for Serkan in the last episode especially since he was back to being the romantic robot we all love. He so baldly wants to make up for lost time with Eda that he rushes ahead with the proposal and then gets crushed when she rejects him. And then spends most of the episode frantically trying to figure out what is going on with her and trying to show her how much he loves her. I was really happy though that the show addressed a few different times how awful the last few months have been for Eda and it also made Serkan address it. His plan to just forget about everything and move forward did not happen. Loved that the side characters stepped up to remind him of everything he & Selin put Eda through. Not so crazy that the show decided to use Selin’s pregnancy as the plot device to get Serkan to finally realize “oh yeah, what happened since my accident is a very big deal & now I have to face it & come to terms with it” but still glad it happened. Selin is obviously so much more in the wrong than Serkan but let’s hope her downfall takes place in the next episode.

All of this. I think you’re exactly right, Serkan tried to brush past everything and I’m glad that finally the other characters stepped up a little to help make him see that he had more work to do. Special shout out to Seyfi for his sassy comment about Serkan almost marrying another woman. And finally Piril was useful and acted like a friend, the first time she had since he returned.

#Sen Cal Kapimi #Edser #sen çal kapımı #SCK Speculation #SCK Episode discussion #sck 1x38 #sck 1x27 #sckask #asklizac #anonymous

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stray-tori · 3 years

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TPN S02E09 - Initial Thoughts (anime-only)

[ Reaction video w/ captions/subs ] we collectively have a breakdown about the pen, please enjoy it pff-

... hmmm... yeah I... ain’t feeling it. I think my tpn feelings overall are carrying this more than anything pff. I didn’t hate it, it was just...... mediocre... like if this wasn’t tpn, I probably would have dropped it at this point.

BUT IT IS TPN SO LET’S GIVE SOME THOUGHTS.

. Random thoughts I don’t want to re-arrange

when Emma was like “share your pain with us!!”, I liked how Norman turned to Ray like “Ray. help. tell her I’m right” kind of like Ray did in s1 pfff-

Norman cried the words he didn’t allow himself to say in s1 :( I’M EMOTIONAL. it might not be the icing on the cake execution wise but GOD MY HEART. And knowing he’s going to die to it’s just- (well not if the pen has something to say about it but more about that later)

where- wheres my trio hug :((( RAY HUG THE CHILD NOW

it’s interesting that while Emma got the entire emotional speech spotlight, only Ray got a reaction shot to “I won’t live long”?? equivalent.... exchange...?

I thought Norman had a seizure when he broke down in front of Emma and Ray and I kinda wish he had because while it’s good to have him say it outright (a win for communicationnn), imagine THE ANGST. “I want to live with yo- *coughs up fountains of blood*”.

So. yknow that hideout Cislo or Vincent referenced when talking to Emma and Ray. Yknow where Norman hid the children they stole from farms, making it look like demons did it? ... w-what about them? will we see them? Are they getting left behind? it would have worked for Norman’s plan, since all they had to do was stay put and wait for demons to be yeeted. But now... he’d have to take them all too. But... I doubt we’re gonna introduce a bunch of new designs and characters? Or are we? Who knows. I don’t. I have unreasonably amount of protecc feelings for those children I’ve never even seen haha- WHERE ARE THEY. I mean... the plan rn is to immediately use the gate right? or is the plan to eradicte the GF farm staff and higher ups? I guess if thats the plan it might work. Or I guess the plan is to save Phil for now???

the idea of Sonju just... slicing his arm and throwing it at demons in a loop sounds so funny to me please someone make that.

I liked that Mujika turned to the lambda kids after giving a cup to the demon children but then we didn’t see their reaction or anything and then it cuts to the temple??? that was weird. was there sth missing there? confusion.

I also like Isabella remarking "[a radio] was supposed to be there" regarding the shelter, because it further heavily implies they know of the shelters and just let them be. Which further confirms that they should have just reframed the shelter and had the kids escape from it quickly but oH WELL.

I really liked demon Emma apologizing and Norman's reaction to that. it was a sweet little moment and like, the realization of apologizing for something that she didn't do but is aware of and all that. Cycle of hatred and all that shiz hell ye. Ik the anime won't rly delve into that but I kind of relish in the angst potential of the village - sure it was undone but some were still eaten and died and transforming people back won't bring those back. So, that’s some hella terrifying implications for families; and I'm assuming Norman is aware of those so. guilt time! not that he wasn't aware it was bad but yeah- I teared up at that moment :<<

I feel like this season really does its best when it’s doing the whole two worlds/species angle. Mujika and Sonju, the village, demon and human Emma... all that stuff.

I wish we had gotten more time (god this is really the season’s downfall) thought to see Vylk talk to the GF kids more often. it’s implied he told them not to hang out there before but I would have liked to have him show up a few more times before that but yeah. Runtime very RIP.

I also feel like CW is bending over backwards to put cliffhangers at the end of episodes. that was already a problem in s1 when they had Phil come in when Don and Gilda were in Isabella's room. it was obvious it'd be a copout but they still did it. I'm just wondering why we had to have Vincent disagree with the group to this extend (and if the shock value might play a part in that). we have 2 more episodes, why are they introducing more plot threads? Just streamline it you dofuses. I just don't know what good can come of it unless it's like an ultra big brain move to help them?? (and then we're back with the forcing cliffhangers thing) - if it's actual conflict, this'll just make things more confusing and clustered, and we don't have time for that right now imo. But who knows maybe it plays into something I just don't understand yet and it'll work out somehow

. Animation flow kinda dead.

I felt like this episode was kind of... awkwardly executed whenever something that was a slightly dynamic movement happened?

The whole bit while Emma is walking up to Norman could have been better, but it’s passable, except that a lot is spelled out for us.

But then she takes his hand really weirdly in a far away shot with bad inbetween timing?? what is that haha-

Or him collapsing is cut really weirdly. you barely really see it, you just kinda piece it together from Emma’s reaction and her catching him.

Most facial expressions are good though, which is arguably the more important part in this scene. I feel like a better execution just would have elevated it even more.

The only one I felt was really awkward in its entirety is Barbara’s scene with the children demons. I felt like that was in particular kind of stiff and the cut between the child and her was too sudden and felt jarring. TPN anime doesn’t really do that sort of stuff a lot, so imo it’s kind of “??” when they do it. With Norman it was too, but that at least had a good transition over to it (with bg and fg panning) and nice animation. Barbara’s just kind of switched. Tbh don’t switch it out, and as the child screams, switch over to her facial expression as her own voice fades into the scream? I think that would have done it too and also be low effort.

I think it’s moreso the flow of the shots than the actual shots though? it’s a bit too fast paced and sometimes missing inbetweens (like the wild demon eating sonju’s hand is literally just 2 frames) - it’s very weird. It’s jarring, but I can’t really explain why.

I’m sorry for the staff, I’m sure the production hasn’t been easy. maybe with the bluray release we’ll get some updated animations/inbetweens.

Some appreciation though:

as mentioned, most of the facial expressions, even if the body language was a bit stiff.

the cut from the trio talking to the eye-transition of the demon and the following breath animation looked nice. Also his arm regenerating!

Sonju smirking as he cuts his arm off, what a bastard

they didn’t have to show Vylk’s arm regenerating casually while they’re talking but they did.

. the lambda crew

If only I cared about you guys. Hahhh it’s just... introducing characters so close to the end is just. A mess. A recipe for disaster.

Where has the anime’s “show off the younger kids” angle gone? I thought they were always pretty good at that. but they haven’t really contributed anything since the whole tidbit about the older children always eating less for them. And even then it was just Lani and Thoma.

Potentially, what segments we saw in the shelter will come back for the GF raid thematically but I’m just... EH?

. the cure pen

at this point, just stick a syringe part at the end of the stick and just inject it and it’s gonna solve everything probably.

I just don’t understand why that needed to happen. Assuming they go to the human world, it’d be perfectly acceptable for me for medicine to be so advanced that it’d be able to like, lessen their symptoms and significantly improve their lifespan.

Don’t just... REMOVE their struggles. It’s okay to not be normal and cured. it’s okay for their lives to be impacted by it going forward. In fact, I’d much prefer that.

(added in later) OH wait they literally spell out why the cure being in the pen is meaningful - because it opens up a path where they can live through not having annihilated all the demons - it's essentially the moral "reward" for not killing them. Since they probably wouldn't have gotten it if they did that. I still think it wasn't needed and the blueprint on its own would suffice for another pen-convinience moment but I kind of get what they're going for, I just don't think it's worth it . In their case, going to the human world (while they don't know it) means having more medical expertise at their disposal which they can then use to survive. UNLESS they're actually not welcome over there and have to hide or something, in that case... that might be hard, true. I guess I'll come back to think about this once it's over. For now, it feels kind of unearned and it wouldn’t even have to be this way in my eyes which makes it somewhat worse.

But good, let’s say in-universe you need it NOW, then at least don’t put??? the medicine??? recipe??? INTO the hologram.

What if they just checked the GF blueprint and Norman goes “hey, Vincent... do you think this [database/archive room] could have some data on our experiments?” - Norman said he tried to develop a drug to help them but the supporters who had that data were purged. but... they had Smee to help them too. But SOMEHOW, a dude from 15 years ago just HAS the cure??? (at least let Norman develop it himself and have the data be just THE DATA and not the recipe).

It might still check out somewhat??

15+ years ago, James Ratri was assumingly still the gatekeeper since the switch to Peter seems somewhat recent considering his big "era of James has ended" speech.

I guess the implication is that just like Smee => Krone => Norman, a supporter all that time ago gave random person the pen when they escaped.

When Vylk found him, he also had just the data medium of the pen (not the entire pen), so maybe the farm thought they eliminated it and that’s why they didn’t change their methods to not work with those drugs anymore? It's still a bit curious that their experimentation hasn't changed at all in 15 years but maybe that's because they keep killing the smart people instead of making them scientists to research for them :D

Somewhere since those 15 years, Smee gave Krone the pen (probably a few years before she got to GF?), which means that at that point the gate the keyword "future" sent them to, was still in tact when Smee gave Krone the pen. Maybe WM wasn't discovered yet at that point?

then WM got discovered, James was chased. He made that phonecall update and was probably eventually killed, along with the human location (and likely bunkers since they knew a radio was supposed to be there, begs the question why they didn't remove it) being discovered (the one with the future keyword) and the gate there being destroyed.

The problem is just that it can make sense when you think about it for way too long and assume things in good-faith, but it still feels unearned.

Maybe I would care more or this would feel a little more earned if we knew ANYTHING about that person? They seemed fairly young, so it’s probably not Minerva/James Ratri. The “hope” talk reminded me of the book in the shelter, but I’m not sure if that checks out either? The cookies were rotten but not completely. I know cookies hold out relatively long, but would they rly not be completely rotten after 15 years? I MEAN. Maybe not. Who knows. I tried to google it but didn’t find anything.

But anyway. That tidbit is going into my “shelter kids OC project” I guess.

But even if the worldbuilding makes sense, I think the data set in itself makes little sense?? How did they find that pen part? Did a supporter give it to them? Why do they have the cure? Clearly their group of escapees wasn’t doing too hot (#help) and they seemed relatively young too so they probably couldn’t have worked in the farm.

Were the shelter escapees lambda escapees? but if that was the case, wouldn’t the WM group have secured the cure information more properly than in just one pen (maybe it was and those were just destroyed, to be fair) - it’s just WEIRD to put the cure for Lambda experiments on the same blueprint as the GF layout??? that makes so little sense.

Plus, why would you send them to GF, when it’s so secured and all that, and not just send them to the human support place our GF kids were sent with the “future” keyword, which had a gate. Maybe it didn’t exist 15 years ago (that the humans had control over it, that is), but even then it seems weird to me to imply to send them to GF instead of one of the other gates that existed. I mean. The “future” location’s gate wasn’t destroyed when Krone got the pen right?

I’m guessing maybe it was meant as help for escaping? But then again, why the cure? I guess if they met lambda experiments? I’m just confused.

Also: do we just accept that the layout of GUARDS and SECURITY MEASURES has not changed in 15 years???

*sigh* welp. Still looking forward to seeing some stuff with Isabella hopefully. Time... is not on their side and it shows. Neither run-time wise nor production wise.

#tpn anime #tpn s2 #tpn anime-only #tpn #tori talks #tori has opinions

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starcrossed-pharaoh · 3 years

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Red Crackle Breakdown

Itstalkcartoons recently had a live stream interview with Carmen Sandiego’s showrunner Duane Capizzi, I’ve seen some thoughts on tumblr so after watching the interview I thought I’d drop down some direct quotes and talk about what happened. You can find the interview on Istalkcartoon’s IG page, it’s about an hour and a half long full of other tidbits about the characters and the show so definitely check it out if you’re interested. The post below will have spoilers from season 1 - season 4 so if you haven’t seen it yet, do not read below.

- Duane confirms that Gray is the most complex character and has the most complex arc of anyone in the show.

- Gray’s story was meant to be wrapped up in the season 1 pilot. Duane created his story for that episode only. After the pilot, the Writer’s Room was developed and he was blown away by the interest that people had in Gray as a character. It was from there they decided to go with the ‘amnesia’ arc to expand and enrich his character.

- Duane confirms that in the pilot episode, at that point in time, Gray “was willing to kill her [Carmen] for V.I.L.E on the train”. He says a little earlier to this quote that “we know Gray has good qualities, from his days back at the school protecting Black Sheep, but he’s still a criminal, still a sociopath” and he admits that this is a controversial opinion of the character. “He [Gray] says one of the most awful things to her, that anybody in the series has ever said, something like ‘You proved yourself to V.I.L.E, that’s all you ever wanted, wasn’t it?’ and it’s so demeaning.” By Carmen leaving him gift-wrapped in her coat on the train, Gray “got what he deserved” and Carmen “moved on”.

So what we do know is that despite Gray and Black Sheep being very close on the island, when Black Sheep defected, no matter how hard Gray could have found this he was still grimly determined to kill Carmen for V.I.L.E. This is heart breaking, not only for their friendship, but because of the successful brainwashing and nurturing of sociopathic tendencies that V.I.L.E did to these barely legal adults. Carmen clearly proved herself unique to this, she had the longest exposure to villains and brainwashing on the island, but her innate empathy for others won over her drive for success.

I suppose, we don’t know exactly what the lives of the other V.I.L.E members were like. We know from season 4 that Gray’s drive was to be successful, he was a junior technician at the Sydney Opera House and wanted more out of his life. But V.I.L.E is, essentially, a cult. V.I.L.E engages in mind altering practises, cull dissenters, dictate their students’ beliefs, education, social communities. They clearly target and prey on teenagers with specific skill sets, who likely have specific backgrounds that make them more vulnerable in society, or more likely to respond to a vigilante or criminal way of living. They clearly make sure that their students know V.I.L.E is their entire life, their entire community, and if you want that: you need to follow the rules.

It’s not too surprising to me that Gray is like this in the pilot. He’s a complex character leaning into sociopathic tendencies, he was written to be that way.

- Gray’s arc changes with his amnesia. Duane confirms Bellum created nice guy Graham Calloway onto Gray, it was a personality “grafted onto him” that opposes his personality in the pilot. Carmen protects Graham Calloway, she recognises that he isn’t the ‘V.I.L.E Gray’ and that he is innocent and has the potential for a do-over. This shows Carmen’s true selflessness, despite her ex-best friend trying to essentially kill her/take her down, she sees he doesn’t remember any of that and believes in his goodness. So much so that she protects it. It’s the opposite of where Gray was in the beginning.

- Tragically, when Gray gets his memories back, he does revert back to V.I.L.E. Duane does not confirm exactly why this is but he does say that Gray was never good enough for Carmen up until the finale. We can theorize and infer a lot from what he’s told us of Gray’s character, despite the good qualities he does have, he struggles with doing the right thing. How much of Gray is because of V.I.L.E’s cult-like brainwashing and how much of it is due to Gray’s own chaotic morality and ambition is up to interpretation. I’m of the belief it’s a strong mix of both. In saying that, I’d like to think Gray’s aware that if he defects with Carmen, he knows he’s as good as dead. Graham Calloway might have believed Professor Maelstrom would let him walk free, but Gray is not so naive. He made his choice a long time ago and taking Carmen’s hand is not just about caring about her, it’s choosing a side and who he wants to be.

Just because Gray doesn’t join Carmen doesn’t mean his arc is entirely reverted though. In the pilot, he was willing to kill her. After knowing her through the eyes of Graham Calloway, and having the empathy and naivety and kindness of Graham Calloway literally injected into him, Gray truly feels regret and empathy. V.I.L.E unintentionally gave Gray a huge gift they likely never foresaw: a different perspective. He regrets ever hurting Carmen and never wants to do so again. That’s a huge step from where he was at the beginning, but is it enough to leave what he’s familiar and used to?

There’s a lot to unpack there that I won’t go into because this is long enough. I think it’d be interesting to go more in depth about the psychology of cults and how future Gray and future Carmen would assimilate the personalities they were forced into. Do those personalities go away when the memories come back? Can the trauma of it cause black outs and more memory loss? What does it do to your mental health? Do you assimilate it into who you are? But I digress

- The most important part of Gray’s arc is in the finale. As Duane says, it’s Gray’s “coming of age, when he becomes a real person” and he does so by showing what Carmen stood for: true selflessness. There’s a bitter irony to Gray’s ambitions of success, his desire to work with Carmen as a team, pulling off successful and incredible heists ... all his dreams are coming true. But she takes more risks, he’s shocked by her ruthless and individualistic impulses, he knows it isn’t truly her, and whatever he could excuse before, he knows it’s wrong. He chose to be a criminal, Carmen didn’t. The final thing that gets through to him is what Gray knows she can never take back: killing Shadowsan. He defects and betrays, not for himself, not for success, not for anything except for her. He’ll risk getting killed, imprisoned, he’ll even betray this Carmen, out of a true selflessness for her to be herself again. He proves he has become a person good enough for Carmen Sandiego.

- I also absolutely love that at some point he changed his Crackle Rod to stun mode as a ‘maximum setting’. He didn’t plan for Carmen to be able to use it against him because he thought she couldn’t use it, so for awhile now he’s been ‘stunning’ people instead of killing them. Even though he returned to V.I.L.E, he came back as a changed person.

- His decision in the hospital room was also quite tragic, he didn’t want to complicate her life any further and Duane confirms he felt shame over his actions. That it was the right narrative at the time. I agree with this, though I’m a RedCrackle shipper at heart, the writer in me recognises the parallels of Carmen selflessly staying away from Gray to not ‘complicate’ his new beginning, and now Gray showing the same selflessness is a mirror to me that they’re on equal footing. (But also, please meet up again and talk to each other, because they’re the only ones who have gone through traumatic memory altering and personality grafting and there’s bound to be mental issues with that and they could help each other!)

And now, some talk by Duane on some RedCrackle hints:

- Carmen [on V.I.L.E island] was at an age where she probably didn’t know how to interpret her feelings for him, referencing when she called him a big brother to her. She tells Player she cares about him but doesn’t specifically reference that this is romantic or not

- 100% Graham was flirting with her in Australia

- They absolutely will meet up again in the future.

Anyway, I’ve seen some things circulating about the interview on Tumblr and I just wanted to provide some context and quotes from the interview. It was surprising to me that we were to read Gray as someone ruthless enough to kill Carmen in the pilot, because I didn’t interpret that exactly from my viewing, but I suppose that’s the great thing about art: it’s your interpretation. It also makes sense to me that Gray was written for the pilot and it was the Writer’s Room afterwards that took his character in new ways, just proof of organic storytelling. I also love that in the interview, he doesn’t specify any of the pairings as canon but if we saw things happen between characters or implied by a character, it was intentional, and I love that.

Definitely check out the interview for yourselves on Itstalkcartoon’s IG, they had a lot more to talk about, particularly with the goodbye to Zack and Ivy and Carulia.

Special thank you to Duane Capizzi, I doubt he’’ll ever read this, but thank you for your part in bringing this amazing show and its characters to a new narrative. It’s such a shame it only lasted for four seasons, hopefully in the future we get new stories to tell with these characters. As a complete side note, I am a New Zealander and it was so great to see NZ represented in media, even better that it was a Carmen and Gray episode :D To everyone else, thanks for reading this if you have gotten this far :)

#redcrackle #carmen x gray #carmen sandeigo netflix #duane capizzi #carulia #spoilers

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theartofimaginaryfriends · 3 years

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A Whole Latke Fun (Part 8)

Fic series: Hanukkah Oneshots

Characters: Jewish!Percy Jackson x Jewish!Reader, Jewish!Sally Jackson, Paul Blofis

Premise: Percy celebrates Hanukkah with his partner, parents, and kids.

Masterlist

taglist: @pjsolympians

word count: 768

A/N: I mentioned a show on the first night in my Author's Note, and it's really worth mentioning again. Hunters (Amazon Prime) is about a group of Jews in 1977 that hunt Nazis who are living in America. Logan Lerman plays the male lead, Jonah Heidelbaum, and his performance in the ten episodes that are currently available is his best one yet. There's mixed reviews within the Jewish community, I'm one of the people that praise it. HIGHLY recommend it to everyone that loves PJO and especially Dark!Percy because it's the Dark!Percy content that we barely see in Rick’s books. It’s also the Percy Jackson performance from Logan Lerman we never got from the m*vies. I’ve created a blog dedicated to the show called @simpingforthehunt and will be posting my full thoughts on the show sometime soon! Something in regards to a small bit of this fic: Something From Nothing is a Jewish Children’s book that I absolutely love. On that note, Happy last night of Hanukkah! It’s been a tough one this year. Hope you enjoy this last fic :)

For the Eighth Day: the eighth light is the light of Courage. Let truth and justice be your armour and fear not. Judah Maccabee, the hero of Chanukah, lived by the words Moses spoke to Joshua: "Be strong and of good courage."

While the kids were out of the house for the day, Percy and his partner wrapped their gifts and placed them in two different piles in the living room. While both parties grew up with their parents giving them one present on each day, they had decided to wait until the last day of Hanukkah to open the gifts.

They weren't sure about the new tradition at first, but it ended up being fun. It was entertaining to watch the two siblings searching the house trying to figure out where everything was hidden. One day, Y/N walked into their room to see their kids snooping around and the sight made them burst into laughter. Not only were they trying to be sneaky, but it was also clear that both of them got into their parent's makeup. When Percy came home from work, Y/N rushed over to him to show the pictures they took before removing the makeup off their faces.

Every year was an eventful holiday, and this year was no exception. The adults had just finished tying bows on the final gifts when the kids ran into the house, followed by their Safta and Saba. "Abba! Nibi!"

After having to be reminded to take their shoes off, the kids ran into the arms of their parents. "How was your day with Safta and Saba?"

"It was so much fun!" Their daughter, Silena, gushed on about the day they had. Their son, Jason, added his own tidbits into the story as his sister rattled on but mostly stayed quiet. Sally and Paul had taken the kids to the ice rink for the day and treated them to some sufganiyot from the Kosher bakery nearby.

"Can we open our presents now?" Jason asked, excitedly. While Silena was giving her parents a play-by-play of the day, her brother had noticed the two piles and was itching to get to his.

"After dinner, bud," Percy chuckled. "We made a new batch of latkes."

"Yay!" the kids chorused and ran to the dinner table.

"Apparently lighting the candles can wait," Y/N said, smiling at their husband. Silena and Jason moved from their spots at the dinner table to the two menorahs that were set up on the island in the kitchen. Sally picked up the matchbook and lit the shamash on both menorah's, and the family recited the brachah together as Percy and Y/N lit their respective hanukkiah.

During dinner, the adults had a chance to talk while the kids stuffed their faces with the fried heaven. "Where's Estelle today?"

"Celebrating Hanukkah at Emma's house tonight," Paul explained. "They haven't seen each other much since Grad."

"She said that she'll visit next week," Sally said, watching her grandkids in amusement.

Jason and Silena both opted to put applesauce and sour cream on their latkes and were decorating the food to make it look like a surprised face. Y/N laughed and turned to their husband. "I remember when we did that."

"The only difference is we were twelve," he smiled at the memory. The first latke lunch he joined when Gabe was gone consisted of the B'Nai Mitzvah class fooling around with the food rather than eating it. All of them grabbed three each and arranged them so that they could make emoticons with the applesauce.

"Can we open our presents now?" Silena asked, looking at the living room. Everyone was finished dinner, so they agreed. Deciding to deal with the dishes after the kid's bedtime, they followed and took places on the couches.

There was wrapping paper all over the room in an instant. Silena's eyes lit up at her new American Girl doll, this one with black hair and green eyes just like her. Jason seemed to be itching to open his brand new set of hot wheels and play with them on the racing track he got for his birthday.

As more gifts were opened, a bigger mess was made. Y/N took to slowly cleaning it so that there wasn't much to do later. By the time all the gifts were open, Silena and Jason were tuckered out. Y/N and Percy carried both of them upstairs and waited as they got ready for bed. As soon as Jason sat next to his sister on her bed, they insisted on their Safta reading them Something From Nothing.

When Percy and Y/N made their way back downstairs, they immediately got to cleaning up before wishing Sally and Paul goodnight as they were leaving. This was by far the married couple's favourite Hanukkah.

#jewish!percy #percy jackson #percy jackson fic #hanukkah fic #hanukkah #jewish headcanons

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wykart · 4 years

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Oneshot fic where I try to piece together Thirteen’s character post spyfall part 2, and extend the episode’s final scene. (read on ao3)

The Promise

She stands, bathed in blue, with three pairs of eyes boring holes into her back. Inquisitive eyes, reproachful, skeptical. Dissatisfied. She thinks that’s probably fair enough.

Behind her, the ship puts on a pale imitation of its usual golden hue – which is partly her fault, because the strength of her anguish resonates within the temporal engines. The ship mourns with her. It had been her home too.

She’s taken on more than she can handle; three humans – she hasn’t had to deal with that many at once in a long while. It’s exhausting, because behind her back, they talk. They conspire. They formulate attacks in the form of questions and furrowed brows. It’s her against them, and it has been for a while now. Her against them; how had it ever come to this? Friends or enemies? She’s always found it difficult to tell the difference.

It would be easy, perhaps, to drop them back on Earth, waltz off with a grin and a lie through bared teeth, and never return. She’s done it before.

But the promise she made claws at her, raging at her behind pale eyes. Eyebrows; with his lined face and harsh expression – easy to intimidate, with a face like that. Easy to lie. She craves that mask of lines, that icy stare. Maybe if she still wore that face, they wouldn’t ask so many questions.

He wanted to die, old Eyebrows had, and she’s starting to think that maybe he had the right idea. “Be a Doctor,” She had promised, but she doesn’t feel like the Doctor anymore. It all just feels like a game.

And what was the rest of the promise? Never be cruel, never be cowardly... oh, but she is a coward – she’s been afraid of the dark since she was a boy, and she’s been running for – how long? About three thousand years, half of her assures (more like four and a half billion, the other half answers). And – though this is harder to admit – she is cruel. She’s crueller, colder, older. Be a Doctor, but the Doctor is a lie. Now more than ever, she’s hiding behind a title. For the first time, stranded without her friends, marooned in history, the cruelty had boiled over, and she’d found that she was full of so much of it that it scared her, but she couldn’t stop it from spilling out. At least the Master knows he’s cruel, he revels in the fact. She is something worse, because she’s convinced herself that her cruelty is some sort of justice. Some sort of twisted kindness, because the rules of time are not hers, and she is just a traveller. Walking away, in Montgomery and the Punjab, leaving a young boy to burn and a horde of innocent creatures to starve, that was cruel, but it was necessary, because sometimes she loses. Because the rules of time were never hers.

Wiping Ada’s mind should have shaken her, it should have reminded her of pleading eyes and words of power; Donna, Clara, Bill. But it didn’t. (If you ever stop, I think the universe might just go cold). And what if I go cold, she asks no one, what happens to the universe then?

Always try to be nice. This one, she has down to an art. She can’t remember ever being nicer. She’s bubbly and hopeful and sweet - at least, when her friends are around. When she’s putting on a show, because the Doctor is a lie. Even when she’s cruel, she’s sweet. She’s nice. All wicked smile and steely eyes, teasing. A trickster’s stare. It was fun, at first, the youth, the constant movement and chatter and quirky quips. It was fun, because they didn’t question her. She revelled in their awe and their reverence in a way that filled her with sour guilt. She kept herself mysterious, confident, infallible. Vague. She stuck to the rules, when her friends were around. No weapons, no interference. Hasn’t she already seen where breaking the rules can get her? She is just a traveler; not a god or a monster or an impossible hero. Not anymore. She’s holding herself in, but the shell is too small. Jagged edges of her past jut through the edges of her silhouette, so she keeps her friends distracted. She keeps them moving and she never stays for tea, because the quiet is when questions are asked, and linear time makes her head ache and her fingers twitch. She’s hooked on the adventure. The lie. (It is Clara, she answers an old question, weary, it is like an addiction).

Never fail to be kind. But she was always failing. She’s told her friends who she is, using empty words robbed of their usual pride and significance. Her voice and her manner had been waspish, impatient. Cruel. (There, happy?). Their unending curiosity, their kindness, it grated against her in a way that told her she was becoming something awful. She holds them, her new best friends, at arm's reach, and never closer, because she knows what happens when she lets herself get too invested.

Oh, and never tell anyone your name. Well, that’s one promise she can keep - because everyone who can understand the cadence of her true name is dead. Killed by the only other person who still knows it. She will never be able to tell anyone her name again.

Laugh hard. She’s done all sorts of laughing. Triumphant exclamations of wonder, because she’s just a traveller, and everything is new to these dark eyes, everything inspires hope. Belly-clutching, strained reels of laughter when her friends are cracking jokes. When they’re travelling, never stopping, never still. The real sort of laughter comes when she’s alone. Low, cruel chuckles to the enemy that roil in her gut, that make her feel alive. Wind whistling through newly spun blonde hair, cold air against new bared teeth, old tattered clothes hanging loose as she shed the one she was before. It was a good feeling, intimidating. Darkness biting through the nice.

Run fast. She’s faster than ever. She’s running so fast that she can barely keep up with herself. Hands always moving, fixing, tweaking, tinkering. Mouth running off at a hundred miles an hour spouting tidbits and anecdotes that even she isn’t sure are truth or lie. That night on the train, she had hit the ground running, and hasn’t stopped since. Not until she’d taken a trip home, and she’s stopped dead in her tracks. All the adrenaline she’s been running off it gone, now. All she has is anger.

Be kind. And that’s the most difficult part of all. Nice is just a show you put on to the people around you, and pretending is easy. Kindness is deeper, and difficult to fake. Difficult, especially, because she can feel him – the Master – in the back of her mind like an itch, gloating. The ghost of a laugh, bright and spitting and maniacal, because this is exactly what he wanted. Where he is, that dark, dead dimension, the walls are thin. He can see her. Exiled to an unknown dimension, foiled and hopeless and alone, he’s still won. Laughing. Gloating. (Why would it stop). He tore apart the life she’d been building, ripped away the veil to show a glimpse of her true face; to her friends, and to herself. And she hates him. She hates him so much she wants to scream. Who is he but a reminder that it can never, ever stop. The grief and the running, and her, growing colder by the moment. A snarl twists at her face. She’s all anger, prowling, body wracked with energy that makes her want to break something, break him. The thought only makes him laugh harder.

“Doctor?” A voice that doesn’t come from inside her head. A voice without the bite of the telepathic. Simple, human. “Are you sure you’re okay?”

It’s Yaz. The Doctor turns, blinking against the golden light of the console and its amber pillars. Graham and Ryan stand under its canopy, concern knotted through their features. Yaz is closer, because she’s the only one who’s brave enough. Her eyes are wide and dark and kind. The sort of kind she hasn’t been in a long while.

“Yeah, I’m okay. I’m just tired, it’s been a long few days.” Five days, five planets. No trouble, just relaxing. She did it for them rather than herself, because her ideal vacation involved a lot more running and danger and mystery. Instead of sickly sweet ice cream and soft golden sands, she craved blood and ash, the slick oil and grease of weathered machines, the smell of fear and panic. The calm and emboldening feeling of being in charge, weaving together a solution, saving the day and bounding off on the next adventure. The past five days have been hell, because hell is quiet. Hell is being left to your own devices and thoughts and left to stew out in the sun like the the rocks baking on the shoreline by her faded luxury deck chair. Decaying. And all the while, his laughter, echoing inside her skull.

“Doctor?” The voice tries again, impatient.

“Hmm?” She murmurs, absently meandering back towards the console, looking for something to tinker with. Something to do with their hands to make herself look busy. Behind her back, she feels them shifting, casting glances at each other that speak a thousand words. Inwardly, she sighs. Friends or enemies?

Graham is the first to venture forth. “Look, I, err, we” – he amends, and nods pass between her friends, still behind her back – “we’ve been meanin’ to ask you something.” Of course it’s him, the most skeptical. She sees the way he looks at her, the way he worries. It’s true that she prefers the company of the young, because the young haven’t yet had the chance to learn what old eyes look like. They don’t recognise those eyes in her. “Why are you travelling with us, I mean really…” Because you were there. You were human and you were there and I was lonely, she doesn’t say, because that would be cruel.

“Yeah, and who are you? We’ve tried asking’ so many times but you always dodge the question.” Ryan cuts across, emboldened. She turns around, away from the nothing she was doing with her hands. She stares at them and tries to look nice, but fails to look kind.

“‘Cause we’re putting’ our metaphorical foot down, Doc,” Graham says, with a hint of a smile. Keeping it light. “We’ve been talkin’, and we think, if we’re gonna keep on travellin’ together, we should get to know who we’re travellin’ with.” There was a time when they wouldn’t have dared. They were so caught up in the adventure and so scared that it was going to end that they would never have asked her that question, not when she’d been so adamantly obvious about dodging it. They were afraid to lose her, but now, they know just how much power they hold. Her against them. They know she’s lonely, that she needs them just as much – maybe more – than they need her. Running from grief, from abandonment, from boredom. Human problems. Simple reasons. The other reason they are asking now is, she knows, because they’re afraid. She slipped up. All that time carefully calibrating the ultimate TARDIS experience; controlled, self-contained adventures, and never to those voluminous corners of the galaxy where the people knew her name; in reverence or in fear, because she’s just a traveller. Now they know that she can make mistakes, that she has a history, old enemies. It scares them, because they wanted, needed to believe that she was infallible. It made following her seemingly arbitrary and ever-shifting rules all too easy. Now, suddenly, travelling is difficult. Scary. Real.

“Not that we don’t want to keep on travellin’ with you,” Yaz assures her with that officer calm. “We just think we’re entitled to know a bit more, seein’ as you know us so well.”

“And I don’t mean some made up words that don’t mean anythin’ to us” Ryan says. Gallifrey, Kasterberous, Time Lord – what did any of that mean to them? Nothing, especially when her voice had been so cold, deflated, deflective. Trying to make them feel guilty for daring to ask. “I mean, why are you runnin’?” What a question... Of course, he doesn’t realise what he’s asking, the gravity of it. Boredom or exile or fear – or a mixture of all three. (And why, he asks, with his eyes, not his mouth, because he can’t quite articulate the feeling, why do we trust you?) It had been going so well. In her head, the Master laughs some more, and she doesn’t know whether he’s really there or if she’s imagining it.

“And who were you before we met you?” Yaz asks, eyes softening, begging her. “Who were you before that night on the train?” It’s the final question that makes her muscles seize up and her eyes go cold. It’s what makes the anger bubble to the surface and the laugher break from background noise to a shrill cackling inside her head. She had been a white-haired scottsman, and she made a promise. A contract, and she’d broken every clause.

“Why should I have to tell you?” She snaps. Maybe the ferocity should surprise her, but it doesn’t. Cruelty is becoming normal, for her, something that’s always lurking there, just below the surface. Yaz steps back from her stare, shocked. “I’m just a traveller, didn’t I already say, I’m nobody. Isn’t this enough for you?” she pleads, and he laughs. “Aren’t you having fun?” a different angle, because they can’t deny that. It’s been fun, it’s been lighthearted. It’s been good. “Why can’t you just let me be this?” her voice comes in strangled, breaking gasps, because there isn’t just cruelty under the surface, there’s grief as well. “Why can’t you just let me leave it all behind?” The ship rages beneath her; lights flashing, sparks spitting, crystalline pillars spiralling with blue and harsh red. It casts them all in shadow. The remnants of her voice rings out in the hollow space, the ship whirring back into silence, echoing her, understanding her like none of her new friends ever will.

In the silence, Graham hums, his mouth folded into a line. Ryan is staring at the ground, chest rising and falling with subsiding panic. Worse, though, is Yaz, because she’s staring right at her. There’s no fear in her eyes, just kindness and a twisted sort of satisfaction. Her face says ‘I was right,’ and in her cruellest moment yet, the Doctor hates her for it.

“I’m sorry – I…” she knows what she has to do, and all her previous faces are looking at her in disdain. In disgust. Shut up, she swats their images away. They aren’t her, not anymore. The Doctor is a lie, and she is just a traveller. “Yaz, I’m really, really sorry,” she whispers, voice like silk. Beckoning. The girl can’t resist.

“I know, it’s okay,” Yaz smiles, walking forwards. But the Doctor isn’t apologising for what she said, instead, she’s apologising for what she’s about to do, because she won’t get the chance after it’s done. More faces; Donna, Clara, Bill. Ada. She ignores them, and takes comfort in the cruelty of the act.

The Doctor reaches out, and Yaz leans in to her touch, thinking that she’s offering comfort. The Doctor places outstretched fingers against her temple and searches her mind. As she sifts through her timeline, the act pressed into the space of a moment, it occurs to her that she could pick apart the strands of her memories and pluck out the parts that don’t fit. The doubts, the fear. The time she spent in that horrible dimension; lost and alone in the endless forest. She could make her better. The ship hums a dissonant note; a warning, and she realises that she isn’t quite that cruel. Not yet, anyway. She only takes the past minute. It’s barely a touch upon her mind, barely a dent, so she stays conscious. Yaz sways for a moment, dizzy, while the Doctor strides over to the two boys. They aren’t paying attention. They’re talking amongst themselves in low, harsh whispers. Behind her back. Her against them.

There’s a moment when they notice her purposeful steps clanging against the metal floor, and they look up. They see her expression; flat and cold. Unyielding; and their eyes flash with fear. Graham opens his mouth to speak, but before he can, she raises both hands towards their heads. She takes Ryan in one hand and Graham in the other; outstretched arms reaching, the pads of her fingers running over the surface of their thoughts as their eyes brush closed. She could take back the memory of the Master, the panic on the plane, the bone-burrowing fear of being on the run - but she doesn’t. She thinks she will regret it later, when she’s grown a little colder still.

In their moment of confusion, time rewinding, she takes her position at the top of the stairs. The blue light on her face feels right, it feels honest. She waits for their eyes to open and adjust, once again trained on her back, and she walks away before they can pose their carefully constructed questions. She leaves them standing under the fading gold of the console, sharing those transparent, conspiratorial glances, forming a new plan to get her cornered. Her against them. She makes a new promise, and the promise is this; they can never know. You are nobody. You are just a traveller.

The Doctor is a lie, and they can never know.

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gavillain · 3 years

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Thoughts on the Loki tv show then?

Short version: I'm liking it! I fully expected to hate the show given that I hated almost everything they did with Loki in the MCU after Dark World. However, they're doing a pretty good job. I think overall, it's a mixed bag for me, but a mixed bag is so much better than I was expecting that I'm very happy with it. Episode 3 really was a big step up after the first two eps and I hope future episodes continue.

Now if you want the long version, I've been writing up my thoughts after each episode to share on a private forum, so I'll copy and paste under the cut. Also spoilers galore past this point:

Ep.1 "Glorious Purpose" Loki himself is the big important thing so I'm gonna talk about him first, and I was both happy and disappointed with his characterization here. Let me explain. Tom Hiddleston obviously plays everything perfectly, and he did a great job on every moment. But the writing on Loki's character is pretty inconsistent. There were a LOT of moments that genuinely felt like they were right out of the golden era of MCU Loki that captured his speech patterns perfectly, his mannerisms, his world view, his humor. Those moments were legitimately there, and they were there more often than I was expecting. Ragnarok had Loki written wrong down to the dialogue and his manner of speaking, and so it was actually very refreshing to see him written generally well, particularly in his conversations with Agent Mobius. However there were multiple moments where he was blatantly written out of character to pander to jokes or to dip into that Ragnarok jokey joke tone. I audibly groaned at the "Am I robot" bit, which was SUCH low brow human and so not in line with the fact that Loki literally knows exactly what he is and had a "species reveal" that was very important to his character. I also would have liked him to be a little more violent. This man came out of a portal, saw SHIELD agents threatening him and immediately went into kill mode in Avengers. Yet this guy stands around and lets himself be taken and forced into situations a lot. But overall, I was happy with his general characterization because I expected the bad stuff to be much worse and it wasn't and the good stuff was more plentiful than I expected. I wasn't fond of the "I don't enjoy hurting people" bit because it's weepy and wrong, but it also was an expected development and I do appreciate that they're at least delving deep into his character on an intellectual level and playing off that "Always so perceptive about everyone but yourself" line of Frigga's. There's potential to do something interesting with him here, so I'm intrigued if not convinced. The Time Keepers concept I hate, but I think I hate it because Loki ALSO hates it and we're a bit too alike in a few regards even here XD I just kind of wish it was less bureaucratic and "we're a joke about corporate offices" and was something more mystical and other worldly. I feel like if it was more science fantasy and ethereal feeling, I would probably be a lot more down for it. But I guess you gotta save money somehow. Agent Mobius is likable, and I like how he can go toe to toe with Loki and how he's kind of morally neutral. I called that Loki was the dangerous time variant disrupting the timeline before it was revealed, but I have to wonder why in the final scene they kept his face hidden. That would have been a great opportunity to show Hiddles hamming up the evil bloodlust, and I am HUNGRY for that. But they kept that Loki hidden in shadows for a reason, and I have two theories regarding why: 1. It actually ISN'T Loki and Agent Mobius is wrong and our villain is someone else. 2. Our villain is LADY Loki and they're saving the reveal that villain Loki is a woman for a later episode. We'll see if I'm right. I HOPE it's number 2 if they kept him in shadow for a reason. So yeah. Not exactly what I wanted but we're on the right track at least for now. I hope this track leads somewhere interesting.

Ep.2 "The Variant" So, first things first, this episode had "I Need a Hero" during a fight scene and TOTALLY botched it. It was way too early to play that card, the action didn't sync with the battle, and it was between a few nameless TVA agents and the evil Loki with the evil Loki still masked in shadow and not really doing much. It just lacked the OOMPH that I felt was necessary for it to be satisfying. This should have been done better. Loki characterization update: less good and less bad than episode one at the same time. There was no "Am I a robot?" cringe, but there was a lot less of the really good Loki dialogue that caught my attention in episode 1. His seemed to have kinda settled back to the mediocrity of Ragnarok Loki with occasional moments of intrigue such as his whole bit about a wolf's ears and teeth. Loki's obviously planning to overthrow the time keepers and to become the new master of time, and he even says as much to his alternate counterpart this episode. I have a sick feeling they're going to have him grow to like the TVA and to save the time stream, but I really want him to follow through with his plans because I think that's much more interesting than the alternative. Will they do it? Time will tell. I also like how much he utterly does not give a shit about Mobius's condolences about Ragnarok happening. That was a good touch. Speaking of Mobius, I still don't care for him or the TVA. They're all just very boring to me, and I don't like Loki being caged to follow their bidding. It's restraining a hurricane of excitement by forcing it to play within this very structured framework instead of burning through freely. With Loki escaping into the timestream to chase after the other Loki, hopefully that will change for the better next episode. Mobius himself gets his character expanded a bit, but his expansion is literally that he is just a cog who doesn't question his purpose and does what he does because it's what he's told to do. And that's just not compelling to me. Sidebar: Ravona, Kang the Conqueror's lover, is the head of the TVA. A fun tidbit but where's Kang? I like the way the episode explored how time variants can't happen during massive catastrophes and apocalypses because everyone dies and everything gets destroyed, so they're safe places for time variants to hide and interact with history. I enjoyed Loki and Mobius going back and messing with Pompeii right before Vesuvius erupts to test that theory. That was fun (though I wish Loki would have, instead of just acting silly and making a scene, would have done his "Kneel before me" bit on the Pompeiians or something more villainous). And I liked the whole aesthetic of them exploring a massive hurricane in Alabama in 2050 and the whole aesthetic going on there. It gave the episode an epic quality. The evil Loki was revealed in this episode, and the twist is that she's Lady Loki. Yeah, I called it. She hasn't done much herself yet and we haven't seen her do much except posses the bodies of various others and then break the timeline with multiple sprawling timeline variants, both of which is very cool. I'm excited for her, though my biggest complaint is that she has blonde hair. No. Lady Loki has BLACK hair. Why didn't they stick her in a black wig or have the actress dye her hair??? AMORA is the blonde Asgardian villainess. Lady Loki has the same hair color as Loki. And... look, I know it's a dumb detail to get hung up on, but the black hair matters to me because Loki has black hair and his beautiful female form does too and I always liked that for personal reasons. Also, she doesn't want to be called "Loki" apparently which is weird but okay, so what DOES she want to be called? I swear if they name her Amora or Sigyn, I'm gonna throw something.

But yeah, the next episode I think promises to be a change of pace, and we can see if Loki can truly spread his wings free of the TVA. I hope he does.

Ep.3 "Lamentis" This was the best episode yet! And for MULTIPLE reasons. This episode sees Loki and Lady Loki Sylvie stranded together in time. It was away from the TVA and it's boring qualities, which was great, and it put two very interesting characters in a situation where they had to rely on each other. This is more of what I was HOPING we'd get from the show. It's a lot more engaging and fun. The TVA always feel like they have their boot on our necks, and having that boot gone, it's amazing how much easier it is to breathe. And I honestly think that was intentional too with regards to how Sylvie outright calls them tyrannical fascist time police. The whole thing with Loki and Sylvie being stranded on the planet Lamentis during its apocalypse is super cool too. First of all, Lamentis is BEAUTIFULLY designed. I can tell they relied on desert locales to save on the budget, but the purple sky, the colorful train, and the neon alien city are all really pleasing to look at. And with the sky literally falling around them, it looks even cooler and the stakes feel cosmic and intense because they ARE. A very good setting that felt refreshing after the very mundane TVA headquarters and Earth scenes. Loki continues to be a sort of mixed bag with weird moments of humor that feel like they were written by someone else for another character, but those moments were a lot more sparse this time around too. Tom is still unmatched in the role, and I love the way he got to be serious, smug, manipulative, and sincere in this episode. I've kinda accepted and settled into anti-hero Loki for this series, and I'm honestly pretty okay with it here. See, I think my issues with Loki being "good" is that it comes with making amends with Thor or working for the TVA. Seeing him pursuing his own agenda on his own terms and collaborating with a kindred spirit who he seems to genuinely like is a lot easier to stomach because it feels a lot more true to the freedom that is so potent about his villainy. I loved him talking about Frigga and how she taught him her magic. That was a genuinely powerful moment. Also even though his dagger metaphor for love got kinda undercut by a joke, I think it was quite good writing and really cut to the point of what makes Loki tic. Also this episode marks a VERY important moment: Loki was canonized on screen as being bisexual in the MCU. He is the FIRST queer main character in the MCU and the first queer main protagonist of a Disney show. And I like the way they did it too! The way Sylvie asked about if he had any dalliances with princesses and then adds "or princes" and Loki says "a bit of both." It was simple and direct and unambiguous, and I love it because Loki has always BEEN queer in the MCU and the writing for him has been very queercoded. Even if that little moment is all it amounts to, it really matters and means a lot to me that they did it and I'm so happy for it. I hope they give him a boyfriend though. Like PLEEEEASE Marvel. Sylvie I'm more okay with this time around. She IS established as Sylvie and not really identifying as Loki anymore, so I can separate her from my preconception of Lady Loki and not mind the BLONDE so much. Sylvie is the name of the second Enchantress in the comics, an Enchantress that Loki himself created. I'm interested to see where they go with her backstory and who she is and what her deal is because they've been implying that she differs from the main Loki quite a lot to the point where she barely even remembers who Frigga was. I also like that Loki's response to the bisexual question implies that Sylvie is bi too. Get that MLM/WLW solidarity. I hope they don't ship them, but I hope they DO stay friends and allies because I'm loving their friendship chemistry. Also, a minor thing in the grand scheme of this episode, but Loki SINGS in this one! And I love it! Tom's always had a very pretty voice that he's gotten to show off in other roles so I'm glad he got to show off his singing in this role too. The Norse folk song he sings was both jovial and somber all at once, and I

loved it. We deserved this Minor nitpick: please give Loki his Asgardian clothes back or something. Because this TVA suit is fucking ugly and I hate it. Sylvie looks so good next to him, and he deserves to be just as stylish. This was a GREAT turning point. PLEEEEEASE keep it up. F&WS failed to. But I genuinely believe that Loki can do it.

#Loki #Loki series

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