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lokitvsource · 3 years

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You came into the show with the idea of Loki clashing with the TVA already in place. How exactly does this kind of arrangement work at Marvel? Michael Waldron: There was a creative brief that was 20 pages or so that basically said: “We want to do something about Loki running up against the TVA. Here’s some different avenues that might be cool to explore.” It was really serving it up for writers as a jumping off point for us to put together our pitches. Then I went off and really worked on the idea of Loki being brought in to hunt another Loki, and that becoming the heart of the show, and the Loki/Sylvie relationship. The big thing that I did in my pitch — even as early as pitching it to Kevin [Feige] — I really walked through the six episodes, kind of similar to what they were. I knew I wanted Episode 3, for instance, to be a little bit of a Before Sunrise, with Loki and this character walking across this apocalyptic moon. But Marvel had the initial, probably the most important spark of genius, which was just Loki and the TVA.

Where did the idea of the variant being a female Loki come from? That was one of my ideas, that we then confirmed in the writers room. Yeah, we knew from the get-go that it was going to be Loki falling for another version of himself.

Why was that appealing to you? I love writing any romance; it’s fun. Especially, it hasn’t been done a ton in the MCU. There’s an obviously self-reflective quality to it. And a show that’s quite literally about self-love; it is Loki getting to see parts of himself. At the start of the show, he kind of hates himself. He assesses himself to Mobius as a villain. And then he meets Sylvie, and he sees her as someone on a heroic crusade. He sees the good in her, and is able to see the good in himself.

Mobius suggests that, of course, Loki fell in love with his own variant, because he’s a narcissist. Do you think he’d be capable of falling in love with someone who is not a version of himself? [Laughs] I don’t know if he didn’t fall in love with himself first. Maybe after that, but the first time he falls, maybe this is what it had to be.

What’s the key to telling a time travel story that takes advantage of the concept without confusing the audience? I think it’s doing a lot of work that the audience never sees. It’s really understanding the logic of this thing, building out the TVA as a real organization that actually exists in our minds. Our writers room, we had a TVA handbook, encyclopedia, what they do and why they do it, a glossary of terms. And then you want to only give the audience the absolute bare minimum to understand the story, and to just get swept up in the emotional stakes of everything. If the sci-fi of it all, if the time travel logic of this show did not hold up week to week, then that would have distracted from the emotional journeys of the characters. So I’m glad that even though everyone had to take their medicine a little bit, along with Loki, in episode one, I’m glad it didn’t distract from the story we were telling. And we had the benefit of Loki being the audience’s eyes in. The audience is learning as he is.

There’s a funny scene in Avengers: Endgame where the Avengers start arguing about exactly how time travel works in the MCU. How much did you have to study what other Marvel movies had done with the idea to make sure your rules were consistent? Fortunately, Endgame was the main one, and that’s how they understand it. The TVA is an organization that understands time travel on a deeper level, probably more comprehensively than the Avengers do in Endgame. We wanted to make sure we were staying true to any rules that they laid out, but sort of establishing our own rules. It’s a time travel show. What was I thinking? A movie’s one thing, but a show is hard.

How many Loki variants did you have on the writers room whiteboard at various points? Hundreds. So many different Lokis. There was one Loki, actually maybe it was a version of Mobius that took off his glasses, and he just had really tiny eagle eyes, like he could see everything. There was stuff like that all over the white board. Tom Kauffman, who wrote that fifth episode, he’s an amazing comedy writer, and was on the first three seasons of Rick and Morty. His first draft of that episode was just bananas.

Was there a variant, or a crazy idea in general, that you really loved but couldn’t ultimately do? There was so much different stuff that we wanted to do in the Void. But the truth is, I don’t want to say any of it, because you never know. The ideas that I want to do the most may pop up elsewhere.

Okay, so let’s stick with a variant we did see. Was Alligator Loki actually a Loki, or just an alligator that happened to be wearing a Loki’s crown? A magician can’t reveal his tricks, man. That’s the great debate. Let it rage.

What was Alligator Loki‘s origin story on your side of things? Who pitched him and how was that initially received? That was maybe my very first meeting with the producers at Marvel, Kevin Wright and Stephen Broussard, talking about the show, and me saying, “When we’re doing this, you can encounter lots of different Lokis. You could have an alligator Loki. Why? Cause he’s green.” And us all laughing about how stupid that was. I think I made the point that it’s that energy of what we can do with the show. We can have something like that, but let’s play it straight. Alligator Loki, you get a laugh out of it, but by and large you try and play it straight. That was the fun tonal balance that we tried to strike in the show.

There’s been some conflicting information out there about whether the big bad was originally just going to be He Who Remains, who’s a different comics character altogether from Kang, and whether the casting of Jonathan Majors changed the plan. From your point of view, what happened? The character was always written as a version of Kang, as early as the first draft of the script, we knew in the writers room, relatively early on. He Who Remains, that’s the guy behind the curtain with the TVA, and we saw an opportunity to fuse that mythology with the Immortus mythology. And that was just really compelling. It was a way to elevate, it just felt right for Loki, because Loki was there in the first Avengers, he’s the one who brought the Avengers together, and here is directly related to the exploding of the multiverse, this event that will drive the events of Phase Four. Certainly, when Jonathan came in, it allowed us to step on the gas of just how eccentric and charismatic this character could be. I was inspired in the writing of He Who Remains by Tom Cruise’s character in Magnolia, trying to give it that Frank TJ Mackey energy a little bit. He captures that and then elevates it to something else that’s different and weird.

You just said how important the multiverse is going to be to Phase Four of the MCU. How challenging is it to have to set up this big thing for the larger Marvel endeavor while also serving the needs of the particular story you’re telling on this show? It’s a challenge in the sense that it’s all a relay race, and you’ve got the baton on this thing, and you want to do a great job. The name of the game over at Marvel is with each movie or TV show, make it the best it can possibly be. And they’re really supportive of that, and trust that it will organically fit into the larger blueprint of everything. We were excited about introducing a version of Kang, because yeah, to introduce this new big bad was cool for our show. I was aware, and cautious, of the thing I read in your review, that it might not be the most sound storytelling to introduce a new character at the very end that we’ve never seen before as the big bad of this thing. Obviously, we had the benefit that people know who Kang is, and there’s a meta thing where a portion of the audience knows Jonathan Majors is going to be playing Kang in Phase Four. But the finale was only ever going to work if He Who Remains, in a compelling way, serviced the Loki and Sylvie emotional story. That was the most important job that that character did in the finale: he laid out a very compelling conflict that ultimately drove the two of them apart.

There has also been some confusion as to exactly when you knew that there would be a second season, as opposed to you just making a limited series. Initially, in the writers room, we were not operating as though there would be a second season. And the whole way through was, this should be a story that should stand on its own. I referenced The Leftovers and Mad Men all the time. I think about those seasons, they pushed the overall stories forward, but you can pull any one of those seasons and look at it on its own as an individual story. I wanted that to be the case here, whether we did a second season or not. I think we always felt that we would want to propel Loki forward into the MCU after the conclusion of our season. The only question was, would that be in an appearance in a movie, or would that be in a second season. And it was only over the course of development that the stars aligned to make a second season.

But that end scene, where Mobius no longer recognizes Loki and the TVA is filled with Kang statues, wouldn’t have been a satisfying conclusion to a limited series. That is an ending that only works if there’s going to be a second season. So there is another conclusion to the story that I wrote that exists out there, that I guess is just for me. My own little play, that I perform with my action figures.

What was Sylvie’s original plan, before Loki hijacked her to that dying moon? It was to empty out the TVA. The entire bombing of the Sacred Timeline was to create a diversion. She’s not going to be able to create a multiverse from doing that. Ultimately, the TVA has the manpower to get out and take care of these events, but they’re going to have to scramble a lot of their minutemen teams, and it leaves the Time-Keepers significantly less guarded than they would have been otherwise. That was her plan.

You didn’t come into this as a big comic book nerd. So was there someone on staff who could tell you, “Well, there’s this giant cloud called Alioth that eats time,” or, “Well, one time Thanos had a helicopter,” or maybe someone assigned to you by Marvel? I’m constantly reading the comics but trying to not be so beholden to the and do our own thing. I charged our writers assistant, Ryan Kohler, with, “You’ve got to become the authority on all things TVA, all things Kang, and all that.” So he and my assistant, Sophie Miller, became a support staff who read a ton of these comics and became a wealth of knowledge for the writers to turn to. And then the Marvel producers, obviously are very well versed in the comics. It was Kevin Wright who came in one day and was like somebody throwing down a blueprint in an asteroid movie, going, “Alioth! Look at this!” And we were like, “Ohmigod, this is perfect!” The best thing about working on these comic book shows is that if it’s from the comics, it doesn’t matter how much of a deus ex machina it is, it’s just cool, like, “I can’t believe you pulled that from the comics.” Alioth, that was a big breakthrough that unlocked the last two episodes for us.

That is not a famous comic book that introduces Alioth. It’s an obscure Nineties miniseries, with really ugly art. But you look at it and see what it could be. You say, “If we do this, and it feels like Twister, it’s going to be really cool.”

Was Mobius’ love of jet skis there simply to illustrate his character, or did you have a grander idea in mind? I will come clean: I’m a jet ski guy. I’ve spent a good amount of time on jet skis in my day. I used to tow a jet ski to a lake and ride it in college. So it probably was me. Loki, I was just becoming a steward of that character. Mobius was a character I really felt I got to create from nothing. There’s not really anything to that character in the comics. So bits and pieces of me found their way in. I just think there’s something so poignant — here Mobius is, a guy who is literally fighting to preserve all of time in the multiverse, and yet his interests are maybe the most humble, human, terrestrial, unremarkable thing you can think of. Just a jet ski. And when you’ve got Owen Wilson playing him and it’s just that much better.

Will you be back in some capacity for Season Two? [long pause] Time will tell.

‘Loki’ Head Writer Michael Waldron — and ‘Rick and Morty’ Alum — on MCU, ‘Heels’ and More

#loki tv #loki series #michael waldron #interview

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immaturityofthomasastruc · 3 years

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IOTA Reviews: Optigami

For the first time this season, we're actually acknowledging what happened at the end of the last season. Of course, it's the thirteenth episode chronologically, so you can tell the writers really wanted to strike while the iron was hot.

Let's get into the ninth (chronologically the thirteenth) episode of Miraculous Ladybug's fourth season: Optigami.

We start off with Nathalie recounting the events of “Miracle Queen” to Gabriel, where Chloe exposed the identities of the temp heroes, which is kind of odd considering they were both there. Then again, it's entirely possible Gabriel forgot what happened given we're literally halfway through the season chronologically. According to Nathalie, she created a Sentimonster the very next day to spy on the heroes. After a lot of surveillance by the Sentimonster, named Optigami, all Nathalie and Gabriel really found out was that the heroes were just regular teenagers who occasionally got a Miraculous from Ladybug without even learning her identity, all while we learn she continued to give Miraculous out to the heroes despite the risk to their safety.

Okay, a few questions here. First, why the hell didn't Hawkmoth/Shadowmoth or Mayura try something like this from the beginning? It took you two lucking out in finding out the identities of seven heroes to think about spying on your enemies? Second, Mayura created Optigami the next day? Wasn't she in a lot of pain as a result of using the Peacock for a whole season? At least when she created a Sentimonster in the New York special, it was set a vague amount of time after “Miracle Queen”. Third, Ladybug is seriously recruiting the same heroes again after the rules that she imposed onto Chloe? You know, the person who couldn't use the Bee Miraculous again because of the risk to her safety, and ultimately betrayed Ladybug because she hated the rule? Seriously, the video footage shows Ladybug recruiting Ryuko, someone whose identity Shadowmoth already knew before “Miracle Queen”, so this makes even less sense. If Chloe doesn't get her Miraculous after exposing her identity to the whole world, the same should apply to the other heroes too. If they wanted to make Chloe an exception, all they had to do was have Ladybug bench Queen Bee because she didn't trust Chloe in her civilian life. This just makes Ladybug come off as a hypocrite who serves to justify Astruc's warped mentality that Chloe doesn't deserve a Miraculous even though she lost hers for the same reason as the others.

Nathalie calls Optigami a failure, but Gabriel actually uses his brain for once and comes up with a plan to take out all of the temp heroes at once by putting them in a situation where Ladybug is forced to recruit one of them in order to stop an Akuma. He calls Audrey Bourgeois, a major fashion magazine writer and praises her idea to give a monthly award to a fashion icon, and Gabriel says “there's no better introduction than giving it to his son”, so I'm not sure if he told Audrey to give the award to Adrien, or if he already got the award and Gabriel was just capitalizing on the chance.

So we cut to Marinette and Alya hanging out in the former's room, and surprise, surprise, Marinette is gushing over Adrien. It isn't a love story if there's a single scene not talking about the love interest according to Astruc.

Yeah, despite not being on the list of targets, Marinette got a ticket to the award show because the writers weren't sure how else they could work her into the plot. The Kwamis ask if they can come along, forgetting about the fact that they need to be a secret or be with an owner (guessing Marinette learned her lesson after “Furious Fu”). I'm starting to think I was a little too harsh on Master Fu considering he managed to put up with these godlike idiots for 176 years.

Alya and Trixx, the Fox Kwami, bring up a decent point that now that Alya knows she's Ladybug, she can take a more active role in helping her as Rena Rouge if she had the Fox Miraculous full-time, while Marinette points out the fact that it's too risky for anyone but her to hand out Miraculous. This is brief, but I like this little disagreement here. While I think Marinette could have brought up the fact that Shadowmoth knows Alya's identity in her argument, both sides still make a good point, and this will come into play later on, for better or for worse.

So Marinette and Alya head out to the award party where they meet up with Adrien, Kagami, Luka, Kim, Max, and Nino, with Alya doing a secret handshake with him that I'm sure won't be important later on. We also get a hilarious scene of Alya once again trying to force Marinette into an elevator with Adrien with the explicit intent to have her get closet to Adrien, while she unsurprisingly freaks out, leading to some brief Unfunny Marinette Slapstick.

So much for Marinette growing after the second umbrella scene.

Optigami is set up, and Shadowmoth creates a Sentimonster of the man hosting the award ceremony, and takes the opportunity to do what we've all wanted to do since Audrey's first appearance in late 2018.

I can't believe I'm saying this, but thank you, Gabriel Agreste. You're the real MVP of this episode.

So Shadowmoth sends out an Akuma to akumatize Audrey into his “magnum opus”, Style Queen, once again (Audrey is also implied to be willingly akumatized like Chloe in “Queen Banana”). And since the titular Sentimonster plays a big role in Shadowmoth's plan this episode, I think now's a good time to talk about Optigami.

Optigami has a simple design, a butterfly colored like Mayura, but I like the role it plays. It has the power to hide in any solid object and observe the environment like a camera Nathalie watches, all while Style Queen chases after the temp heroes and turns them into piles of gold dust. Whether that's because she's been powered up by Shadowmoth or because the animators can't afford to create new models of the characters as gold statues isn't clear. It still really shows the writers are taking advantage of the concept of Sentimonsters as support for Akumas outside of more muscle.

So Kagami tries to distract Style Queen while Adrien runs, and she is the first to be taken out. Chloe then tells Style Queen where Ladybug went, but she gets targeted because she laughed at her mother earlier, and then tries to use Zoe as a human shield before getting blasted. Oh, thank God. I thought Chloe was going to appear in an episode where the writers didn't remind the audience how much of a terrible person she is and anyone who supports her is just as bad.

Marinette and Adrien both run off to transform, but get into the same elevator together, which then gets broken thanks to Style Queen's interference. This leads to an interesting setup where neither of them can transform and hope their partner will save them, leading to some real tension. There's also thankfully little to no stammering from Marinette in these scenes. It's almost like the writers only have her struggle to talk with Adrien so they don't actually have to write scenes like this. Alya briefly teases Marinette for saying she's stuck in an elevator with Adrien before realizing she's trapped in an elevator with a civilian and can't transform.

After Max and Luka get taken out, Marinette calls a phone she set up near the Miracle Ball to call the Kwamis, pretending to talk to the fire department and secretly tells them to send Kaalki to help her, but Adrien sees Optigami spying on them in the elevator, so Marinette is forced to hang up. Marinette and Adrien are about to transform and reveal themselves to each other, but because neither of them are on the list and because Shadowmoth felt like actually being a decent father today, Optigami retreats with Style Queen, who then takes out Kim, leaving only Alya and Nino left.

Marinette tells Alya to call the Kwamis, but while she does so, she gets a call from Nino, who is soon taken out by Style Queen and... is replaced... by an... evil... doppelganger... The eighth one in four seasons...

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The only question I have is how did Shadowmoth create two Sentimonsters in the same day? Did he recharge offscreen? Either way, he sends “Sentinino” after Alya to lure her out, but Kaalki arrives and portals her to Marinette's room, leading to the funniest joke of the episode.

Alya takes the Fox Miraculous and transforms into Rena Rouge and creates an illusion of Ladybug to distract Style Queen while she meets up with Marinette with the Bee Miraculous, but she decides to take the Turtle Miraculous even though Marinette didn't tell her to just to be safe.

Rena Rouge meets up with Sentinino and gives him the Turtle, alerting Shadowmoth to the fact that Alya may have a bigger role than he anticipated. Sentinino transforms into Carapace (or would a more accurate term be Sentipace?) while Optigami hides in the Turtle Miraculous, leading to another interesting conflict. If Style Queen gets Ladybug's Miraculous, Shadowmoth wins, but even if Ladybug wins, Sentipace can swoop in and steal Ladybug's Miraculous when her guard is down. This is David Xanatos levels of planning here.

Rena Rouge escorts Adrien out of the elevator via one of Kaalki's portals, and Marinette transforms into Ladybug before unifying with the Bee Miraculous into Ladybee.

Ignoring the creepy look on her face, I think Ladybee has a pretty good design. I think the black and gold go well with her suit, and the ponytail with the gold streaks is a nice touch. I'm not sure if it's referencing Queen Bee's design, but I like it, as well as the slight antennae on her head. I still prefer Dragonbug's design, but I can see why so many fans love this one too.

Ladybee is surprised Sentipace is there, but accepts his help anyway. Ladybee summons her Lucky Charm, a compact mirror, but when looking around, she doesn't see how to use the Lucky Charm with Sentipace as he isn't highlighted in her vision like certain objects/heroes that play a part in stopping an Akuma. Ladybee uses Venom, and with Sentipace's Shelter, manages to tank Style Queen's blasts and stun her before de-evilizing her.

Cat Noir tries to cataclysm the golden shield Style Queen placed around the building, but shows up too late, being surprised at the presence of Rena Rouge and Sentipace. He jokes about it, but this will somewhat come into play in future episodes.

Ladybug prepares to throw the compact mirror to use Miraculous Ladybug and fix the damage, but through the mirror, sees Nino fail to do the secret handshake with Alya. Ladybug pulls a John McClane and swings off the top of the building and tells Cat Noir to use his Cataclysm to destroy the Turtle Miraculous, releasing Optigami, and giving Nathalie a major headache. Shadowmoth undoes the creations of Optigami and Sentinino and retreats.

Alya is naturally upset that she screwed up and almost let Shadowmoth find out Ladybug's identity, but then, well...

Like with “Gang of Secrets”, I'm very mixed on this ending. Both Alya and Marinette make good points here. Alya knows she almost let Shadowmoth win, but Marinette points out how invaluable Alya was today and realizes how helpless she was doing a lot of things on her own. Even if Alya didn't give the Turtle Miraculous to Sentinino, Marinette still had to face the possibility of revealing herself to Adrien. Like it or not, she needs someone to help her more, and Alya is the only one able to fill that position.

The problem I have is that because of how Marinette phrases that sentence, it comes off like Alya is being rewarded for what happened this episode. I get she helped, but I just find it weird that Marinette doesn't feel a little uncomfortable trusting Alya more after going behind her back and almost screwing up the entire mission in the process. I think the scene could have worked if Marinette was a little more stern towards Alya and realized she had no choice but to give her the Fox, creating a little tension between the two as a result.

So the episode ends with a post-credits scene where Gabriel and Nathalie realize they need to focus more attention onto Alya due to her connection to Ladybug.

But yeah, this was honestly a really good episode. It's become my favorite this season.

The plot has a fair amount of suspense and tension, most of it derived from the very clever plan Shadowmoth has this time, taking full advantage of the repaired Peacock in order to make what was already a very powerful Akuma even more of a threat. There were jokes, but unlike in other episodes that focus on humiliating Marinette or interrupting the tension, they're well-placed. The same goes for the elevator scene. The writers easily could have made Marinette stammer all of her words around Adrien, but for once, they realized that they needed to have her actually interact with him in order to maintain the tension of the episode.

Granted, there are still some flaws, like Marinette really had no reason to be invited to the award ceremony. All they really had to do was have Adrien invite her himself, which would justify her eager reaction at the beginning. It's also strange that nobody brings up the fact that all of Adrien's friends who were invited were temp heroes. I've already gone over the problem with timeline at the beginning as well as the ending and I plan to talk about Rena Rouge's partnership with Ladybug next time.

Overall, this was still a really good episode. Even the evil doppelganger plotline had an interesting twist to it. What's the next episode about again? What? Another evil doppelganger of Nino?

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sometipsygnostalgic · 4 years

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Lemongrab’s tragedy

Lemongrab hated himself so much because of his failure to live up to the role his “God-Creator” gave him, his failure to live up to her as her heir, his failure to connect to other people or to her. Being incapable of fulfilling such an important role, the heir to freaking God, destroyed him. When PB tried to offer him help, he rejected it in anguish. He was overcome with his inability to accept himself, the ultimate failure.

He ended up imitating her in a number of ways. At first he stared at her candy people... which is something PB herself was doing with her cameras in the episode. He made a “reconditioning” chamber, which reflects her dungeons. He made a sound sword - once again, something she would probably make. If it isn’t literally one of her gifts to him. Lemongrab had catcher’s mitts on pedestals around the castle. Lemongrab wanted to “play catch” to relate with his mother, but didn’t know what catcher’s mitts were for.

When she made a clone of him, he was overjoyed to finally have someone similar to himself, someone who understands his “lemon styles”.

He didn’t stop there though. Using the formula Bubblegum left behind, Lemongrab was given the opportunity to do something that would connect him to his creator, AND give him more companions - Play God. But Lemongrab was unable to play God responsibly. He was unable to stop himself from bringing candy to life, unable to show restraint. He blamed PB, because he had told himself it was all in her plan for him to gain this knowledge, but he was unable to recognise she made a mistake, or hold himself accountable for his actions. The episode is titled “All Your Fault” because Lemongrab’s complicated feelings about imitating his god-creator and causing a catastrophe are the most important part of the ep. He tries to demonstrate superiority by having Lemonjon invade the Candy Kingdom, and bring all of THEIR candy to life.

In the end, Lemonjob had to sacrifice himself for Lemongrab’s mistake. And Lemongrab is punished for his failure by having the secret to life erased from his brain. But, it is stressed at this point, Bubblegum doesn’t think there’s anything wrong with their hearts. Everything they do is born from their own decisions, not from an innate lack of feeling.

Unfortunately, it turned out Lemongrab and his clone were not identical. Because of the bad experiences Lemongrab had prior to the clone being born, he was more ferocious, hostile, inconsiderate of others. Lemonwhite wants little Lemonsweets to go to bed, while Lemongrab wants him to keep on dancing, against the will of his brother. And when shit hits the fan, Lemongrab turns against his brother, devouring him.

After this point, Lemongrab’s desire to imitate Bubblegum and prove himself becomes more twisted. He turns the lemon castle into a “royal society”, giving titles to all of his people and having royal dinners and events. But his people are all still lemons, so it is imperfect. And he is now torturing them. He has become completely sociopathic, taking pleasure in making others suffer because of his inner turmoil.

Lemongrab hates Lemonhope because the boy has the potential to be the heir he never could be. Lemonhope can play the harp, and he has the hope of the other lemons behind him. And, devastatingly, Lemonhope immediately wins the approval of Princess Bubblegum - she perhaps sees him as the only pure good thing to come out of Lemongrab’s history. So when Lemongrab sees her kidnap him, he absolutely loses his mind. After everything he has done, all of his greatest plans, he is unable to earn her love, and he turns to blind violence. But she still gets away with Lemonhope, so unable to hurt the Princess for rejecting him or Lemonhope for stealing his dreams, he hurts all the other lemon people instead.

Lemonhope represents light and dark, sweet and sour. I could write an entirely separate post of similar length on him. To put it short, because Lemongrab was HIS God, he had more than enough Lemon qualities to cause friction with Bubblegum, and he was unwilling to be part of her design. But he had enough light and enough fear of Lemongrab to not want to become him. Anyway after spending a while coming to terms with his position he decides he must go back and blow Lemongrab up so that he can escape his own inner battle.

Lemongrab is stitched back together with his clone, in a final symbolic act of being Frankenstein’s Monster, and they become Lemongray. Lemongrab, now defeated, of two minds, and having faced some of his worst nightmares, now resigns to being a peaceful antisocial ruler of Castle Lemongrab, His sad tale becomes a part of Candy Kingdom underground history, part of Bonnie’s mythology among the banana guards.

He is still discontent with his life because he is no closer to finding purpose. He travels to the Mountain on what is essentially a suicide mission, to become part of a greater whole, but ends up on the path to self discovery.

He is faced with three choices. He can follow his longstanding desire to relate to the God-Creator. He can try to vanquish Lemonhope, his greatest usurper. Or he can try to repair his biggest mistake. And he chooses the latter, which greatly demonstrates how Lemongrab has the potential to change. At the end of the episode, he defies Matthew, throwing pieces of Lemonjon into him, which causes him to explode - the sheer ego that Lemon represents is too much for the Matthew.

Lemongrab has accepted his place in this world.

Following this point, he started to make connections with others, and escape from the shadow of his mother he had placed upon himself.

What I always found particularly tragic about his tale is that he kept zigzagging from blaming himself entirely for what he was, to blaming Bubblegum for making him that way and rejecting him. He revered her as his God-Creator all this time. He never realised, at any point, that the reason he couldn’t connect to her was just as much because of her flaws as it was because of his.

He didn’t realise she fucked up by leaving the formula behind, and it never clicked that the way she treated him was imperfect or bad. Bubblegum is basically his neglectful teen mom, and had she been a better creator, she should have reached out to him regardless, but she is far from perfect. If she is a God, she is one who doesn’t look after her subjects too well. Lemongrab doomed himself to failure from the very start by trying to follow her footsteps or connect with her, because he didn’t understand her at all.

Fortunately, now that he has had time to chill out, and she has actually done some reflection on her past mistakes, it’s possible for them to forge a connection. It’s certainly not going to be what Lemongrab wants it to be. Bubblegum still fundamentally does not understand him, and probably never will. But Lemongrab is notably by her side at the battle for Golb. There is a really funny joke which recognises their relationship. “UNMAKE ME”. Remember that one? But what I found more touching was this scene in Diamonds and Lemons. While it’s technically not canon, it is supposed to serve as a reflection of their changing relationship. Bubblegum sees that Lemongrab needs help. She reluctantly tries to help him out of his breakdown and he actually accepts her help. It’s not perfect, but it’s baby steps.

Anyway, now that Lemongrab is on his path to self discovery, learning what he wants to do, we can hope he has a decent, lemony future.

#adventure time #lemongrab #princess bubblegum #lemonhope

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robin-the-enby · 3 years

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Hey! I love your matchups and I really want one with on the black butler characters.

I am ISTJ and even though I was born in America I come from a Mexican family. So I am fluent in Spanish and English. Along side of Mandarin Chinese (still learning) and Japanese (still learning)

Appearance wise, I have olive skin, long wavy/curly hair that reaches my tailbone (i like putting it in side braid). I also have long bangs that quite often fall over my glasses. And just too lazy to move them. I also have dimples when I smile. I will bite anyone who try poke them.

Personality: I can get hard to know at first because I have trust issues (my heart has been broken okay) . Not too mention people don't try to get know me because of my major Resting Bitch Face. They think I am judging them or that I am scary. But I am not... I am attentive so I will stand up for myself and anyones else. I am patient. Also, after you get to know me you will realize I am a chaotic crackhead with a melodramatic persona. Like "your star is here!" "The stage is calling for me. Move out of my way" "the spotlight is on me so could you move you crusty face?" I like to tease and flirt with the people I am close to. I zone out or daydream a lot. And in the worst times. It could be a serious meeting and I am chuckling because of something in my head. Which have scared people. It could be during a conversation and I will stop listening. But I will always feel bad and apologize.

I also like to scare people. Like tell them the unsolved cases or horrific cases that I know (I love unsolved cases) . This is also why my little siblings hate me. Turns out talking kids murder cases and disapperinv cases was not appropriate for bed time story... woops.....

I like to pop out of nowhere and either flick or playfully punch my friends and say boo. I do accidentally roast people. I don't think before I say things. And don't realize until hours or days later. And I am like "shit"

I am sarcastic and that has gotten me in trouble before. My friend asked for my advice and I didn't know she was being serious. So I gave her a sarcastic advice and she came back to me mad. I was like "shit you believed me?"

Likes/hobbies: i like my anatomy class and I like to read, write, meditate (because I get stressed a lot). I really like to dance and listen to music. Which my music taste is everywhere: Kpop, classical music, jazz, jpop, Spanish songs, rock, metal. Every music genre except for country. I like to play the violin.

My passion lies in the arts and crafts. I would like to do illustration and photography. More specifically street fashion photography and and event photography. Like weddings and funerals. Yes funeral photography does exist and I will like to do it. Since it is also special event. I draw a lot of portraits and landscapes. I have been told that my art is either scary or mysterious. Though I can get a little caught up with my passion. I practice to get better with no rest.

Flaws/toxic traits: I am not empathetic or sympathetic. People always thought I didn't care about my friend's issues. I do i just don't understand them. My compassion does make up for this and will give advice. My other flaw, is the high walls I build to protect myself. I am there for other people. But people were never there for me. People have manupliated me and that cause me trust issues. I don't know how to handle negative emotions like depression, anxiety, self doubt, procrastination. So I just isolate myself in these moods. They really take a toll on me and make me think I can't do my passions. I am afraid of commitment because of toxic relationships i had before.

Love language: I am not obvious with affection. (Because no one ever gave me it). I show it through my teasing and flirting. My love language is however Act of Service. I will help my s/o with anything they need. Chores, work, advice, etc. Sort of the mom of my friend group. But a Savage mom as I have been told. "Stop crying, here I made you a cookie" "do I need to hurt someone" "don't worry I can get coffin with a lock in it". I am also an aggressive supporter. Like "No YOU are beautiful. YOU are gorgeous!" (This happened when someone gives me affection and time try to turn the attention to them as way to hide my fluster)

I will call my s/o like "stupid" "idiot" but in a endearing way. Okay. Occasionally I will use "beloved" and "Cariño/cariña"

I am not good receiving verbal affection or physical affection. I was never given affection so I am not used to it. I will start blushing and stop working. I will also probably say "idiot" or turn the attention to them like "no.. u" but I think fails because I am terrible at hiding my blush. I get easily flustered with affection okay. But I won't ever admit that I like it. Though it is obvious.

Sexuality: i am bisexual so it doesn't matter what gender I am paired up with.

Funt fact i guess?: I love small plants, plushies, and banana milk. Like I have hundreds of different kinds of plants and they each have their own name. Like GGmo, Lily, Melody, Edward. I love Banana milk as I said. I drink it every evening. It always get me happy so when I am sad or had a bad day. I drink banana milk and I am happy. It is also to make up for my coffee addiction. I am addicted to coffee. My friends said no coffee and I was like fine banana milk then :)

This is getting long now... bye.

I'm glad that you like my matchups, I'm trying my best tbh😅 I match you with:

Sebastian Michaelis

Sebastian is very curious in nature, so he definitely wants to know what you're really like, not the front you put on.

He's also very charming when he wants to, he makes it very easy to open up to him and get comfortable around him.

Sure, he, as a demon, doesn't really care much for humans, so when he doesn't have to play the polite, kind butler, he probably has a RBF as well, however, I think that changes when he's interacting with someone he loves.

His sweet words may have been a mask at first, so he could see the real you, but the closer you two become, the more he means every word of praise, encouragment or comfort he utters.

He would most certainly be amused by your crackhead self once you do get comfortable around him, but it's not really his vibe. He wouldn't scold you for being loud, brash or inapropriate, like he does the other servants.

If he's in a really good mood or when the situation calls for it, he can be dramatic as well. Sometimes he'd do it just to get on Ciel's nerves XD

One big pro of being with Sebastian is that he lets you off the hook a lot. If he was talking to anyone else and they'd space out, oh honey, he would stare them down so hard, it's sending chills down my spine just thinking about it. But if it's you it's like a complete 180, Sebastian can't possibly be mad at you, everyone spaces out sometimes, those things just happen.

The other servants make sure to be on your good side so that you could intercede with him on their behalf.

You can't scare him with your true crime stories, but you sure as hell can scare the others. And you can bet your ass Seb's gonna help! The plan is: You tell the story and then he's gonna pop up out of nowhere behind them, giving them mini heart attacks.

If you try to scare him though, you'll need to be on guard 24/7 until he gets you in return. And even if your on guard all the time, he finds a way to scare the life out of you.

Your humor is practically the same, I mean, Sebastian is great at off handed remarks/roasts and sarcastic comments that you have to look for to really see them. You two could be talking shit about anyone and everybody would be like "Oh yeah, normal conversation, yes"

Sebastian would love to dance with you. And trust me when I say this, he is good at any type of dance. If you two are ever at a ball, prepare your feet, because he's not gonna let go of you the whole night (unless his master is in danger of course).

He would be your #1 supporter, he'd go with you out to take photos, and if you asked him to look at some, he'd take a good long look at each and every one of them and describe in detail how he feels about them. Also would go to any art shows you'd host if it came to it.

When it comes to sympathy and empathy, Sebastian also has a hard time showing these feelings. He's been alive for far longer than any human on Earth and he's a demon. He's never had any of the problems humans have, so naturally he doesn't kniw what it feels like to have them. Plus, before you came into his life, he didn't care much for them either.

However, he's gonna be there for you whenever you need him, emotionally or practically, even though he doesn't get your feelings.

You both have walls put up, you because of bad past experiences, him because as a demon, he has major issues with being vulnerable in any way. And I'm not talking just emotionally here, but demons are almost undestroyable, yet they have very few weaknesses that they just need to hide away.

It's rare Sebastian has a problem, but even if he had, you wouldn't know, because he thinks you, as a human, wouldn't understand and so he won't burden your mind with it. However, he's very perceptive and so if your behaviour changes, be it due to anxiety or a depressive episode, he'll know.

Now, he's not the type of person to try and break down your walls by force, but in situstions like these, where he's not sure how to help, you gotta talk to him and he won't leave you alone until you tell him how he can help.

He's not above carrying you around and doing everything for you until you're embarassed enough to tell him

He is very appreciative of your help around, since the other servants are good at everything but what they're supposed to do.

You with your tough love and Sebastian with his teeth rotting compliments and affection, it'd be honestly really funny to watch. He adores how you show affection, because it's different from most people he's known. But on the other hand, you can't expect him not to spoil you afte all the hard work you do every day?

He would really shower you in love and affection, because you deserve it and because it makes you flustered XD

#black butler #kuroshitsuji #black butler matchups #matchups #requests open #black butler x reader #black butler x y/n #sebastian michaelis #sebastian michaelis x reader #sebastian michaelis x y/n

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abigailnussbaum · 4 years

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The Watch 1x01 - 1x02

The first two episodes of BBC America’s The Watch aired this weekend, and I’ve seen basically zero discussion of them on my twitter and tumblr feeds. Which I assume is because most of the people I follow are Pratchett fans who have been horrified by the press releases and the trailer (or, for that matter, the lackluster reviews) and decided to write the show off before it even started airing. To be clear, this is an entirely reasonable approach, but there’s nothing else on right now and I was bored.

Quick verdict? It’s not dire, but also not so interesting that you’d feel compelled to keep going with it. In fact, my most powerful reaction after the first two episodes is puzzlement - I can’t understand who the intended audience for this show is. The thinking seems to have been “everyone will be interested in a brash, in your face, rudely comedic fantasy cop show!” And maybe that’s true, but The Watch isn’t particularly brash, in your face, or even that comedic, so what’s left are fans of the genre(s), who are reasonably spoiled for choice right now (the show The Watch most closely resembles is Carnival Row, which is not amazing but still has a greater depth of emotion and a more interesting world). Why anyone would go out of their way to watch a show that seems to be working so hard to stamp out anything original about itself is a question the creators don’t seem to have asked themselves.

More thoughts below the cut.

First, something positive: I quite like the look of the show. There was obviously a lot of pressure from previous adaptations, not to mention the famous illustrations associated with the books, to strike out in an original direction, and I think the show really found one. Instead of fantasized-medieval-through-Victorian, The Watch’s Ankh Morpork combines those period and genre elements with modern ones. So The Mended Drum is now a seedy nightclub with DJ lighting and an open mike stage, and the city’s walls are covered with graffiti tags. The more distinctive settings - the Patrician’s palace, the Unseen University library - are not as interesting, possibly because the budget wouldn’t stretch to make them look really spectacular. But the core approach of the series, that Ankh Morpork is an old but modern city where there are also a lot of fantasy elements, is a fun and refreshing one.

Second, despite all the prevarication and spin in the run-up to the show, this is a Pratchett adaptation. It isn’t merely “inspired by” Pratchett’s novels, as the show’s title screen insists. It isn’t taking Pratchett’s ideas and making its own things with them. I can only assume that these claims were made in response to the backlash against stuff like “Sybil Ramkin, young, hot vigilante”. But despite changes like that, this is actually a fairly straightforward adaptation of Guards! Guards!, which also incorporates elements from Night Watch, plus some rather deep cuts from the rest of the Discworld corpus (the second episode, for example, implies that the ultimate villains of the series are the Auditors of Reality). So yeah, The Watch doesn’t have the excuse of being its own thing. It is a Discworld adaptation, but a bad one, that fails to understand a lot of fundamental thing about the world and the characters.

Third, I think the thing that most strikes about the show is how low-energy it feels. Despite billing itself as something outrageous, and despite some work on the visual front (and in Richard Dormer’s Jack Sparrow-esque performance as Vimes), the show itself feels almost bland. You see this in particular when it comes to the humor. It’s not that The Watch isn’t trying to be funny. There are jokes, and a few of them - mostly the ones original to the series - are mildly amusing. But when it comes to Pratchett’s own humor, the show simply has the actors deliver the gags and references in the most low-key way, and unsurprisingly the result is that hardly any of it lands.

Now, to be fair, this has been a problem with Pratchett adaptations since the 90s. Most of Pratchett’s humor is based in what his third-person narrator tells us about the world, and is hard to convey in a dramatic presentation (Good Omens tried to solve this problem by putting a lot of Pratchett’s narration in its voiceover, with only limited success). But even the dialogue-based jokes are so arch and stagey, that to deliver them successfully would require committing to a lot of very specific, demanding choices from the actors and writers (off the top of my head, the only show that even comes close to that kind of humor is Brooklyn Nine-Nine). It would have to be a high-concept, meticulously executed sitcom, whereas most Pratchett adaptations have been fantasy dramas with jokes.

So it’s not entirely The Watch’s fault that it isn’t managing to convey the zany energy of Pratchett’s novels, but at the same time, it also clearly isn’t trying to. Its attitude seems to be that simply the existence of things like troll cops or assassins’ guilds who leave a receipt are funny in their own right. And sure, even in a media landscape in which fantasy has been mainstreamed by Harry Potter, the Lord of the Rings movies, and Game of Thrones, not a lot of fantasy settings have an orangutan librarian who only says “ook”. But what makes The Librarian funny isn’t that he’s a librarian who is an orangutan. It’s that he’s a librarian who is an orangutan who still behaves exactly like a librarian (while also doing ape things like swinging from the bookshelves and eating bananas), and that “ook” can convey almost any concept in existence. The Watch doesn’t seem to realize this. It seems to be assuming that just putting that stuff on screen, or parroting Pratchett’s lines, will be hilarious in and of itself, while leaving out a lot of the specificity of setting, character, and tone that made the books sing.

You see this also in how it handles its characters. Everyone fixated on Lady Sybil when the promos came out, because that’s the most egregious misreading of the original (and rooted in the most boring assumptions about what audiences want and will respond to). But it’s everywhere. Take Carrot, for example. In the books, Carrot is fascinating because he’s never entirely what you take him for. He’s innocent, but not naive. Principled, but not a zealot. A goody-two-shoes, but not a prig. He’s always a lot smarter than you think he is, and most importantly, he genuinely likes and is interested in people.

The Watch delivers none of this, and instead makes Carrot your basic hothead rookie who just wants to take down bad guys and sees the more seasoned, cynical officers who keep trying to slow him down as hopelessly corrupted. There’s none of Carrot’s openness, or his genuine love of the city, in this character. Instead he’s sullen and judgmental. And look, we could have a long conversation about which one of these characters is more useful to us and our ongoing conversation about policing (as well as a much shorter conversation about which one of them is truer to the ideas Pratchett was trying to convey about policing). But what feels more important to me, when coming to evaluate a new series that is trying to make an argument for why you should keep watching it, is the simple fact that there are a million places where you could find a character like The Watch’s Carrot, and hardly anywhere where you could find one like Pratchett’s.

Again and again, it feels as if, in the pursuit of what it thinks of as outrageous, risk-taking storytelling, The Watch jettisons the unique characters from the books and replaces them with ones that we’ve seen a million times before. Angua in the books is kind of neurotic, and extremely thoughtful about the way her condition can incline her to see other people as objects to be used and consumed (which Pratchett later develops into an aspect of his theme of monsters-as-aristocrats). In the show, she’s obsessed with how her lycanthropy makes her “the real monster”. Oh boy, I’ve never seen a werewolf worry about being a monster before! I’ve never seen a scene where they send their friends away just as they’re about to transform! This is cutting edge stuff, I tell you. And while we’re on the subject, it gives me no pleasure to report that Anna Chancellor as Patrician Vetinari is thoroughly meh, because no effort has been taken to convey the character’s intelligence, near-omniscience, and constant scheming. Vimes is intimidated by her because she’s his boss and she’s posh, not because of anything specific to her. She feels almost identical to a million other posh rulers whose job it is to infodump to and threaten scrappy, working class heroes.

Which brings me back to my original observation: that I do not get who this show is for. It’s not for Pratchett fans, because it deliberately drops a great deal of what made his writing and characters special in favor of the most generic, predictable choices. But I can’t help but feel that anyone who is into this sort of extremely familiar cop story will be put off by the dragons and the wizards and the orangutan librarian, not to mention Dormer’s gurning performance. The whole thing is almost fascinating to watch - a work that clearly believes itself to be boundary-pushing and different, when really it’s just dull but with dragons.

#the watch

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rvmmm21 · 4 years

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. you’re gonna spaghet it .

summary : a home-cooked meal and a baking show is too much to ask for. but only when the person asking is seungwan.

small note : i'm tentatively back. and here's the worse news. you get this pile of 'what-the-fic-is-this?!' before i start clonking you over the head with my leg of yandere ham.

think of it as your pre-christmas coal in your stocking.

(this sat in my drafts for so long its not even funny. if i had a cent for every second i spent thinking about whether i wanted this out here, i'd have accumulated enough for the plane ticket, the lawyers and the hospital fees to fly over to SM to clonk them myself.)

just for tumblr. if you want to read this but in pretty, it’s here.

tw : tickling, probably many grammar errors because i do not know how to write anymore, and my cretinous knowledge of how tv recordings work.

[irene x white-winged dove!wendy]

. . .

[6:15pm] A mischievous smile tugs at her lips when she sees how Seungwan struggles.

. . .

Bae Joohyun blithely watches her girlfriend titter around the kitchen preparing vegetables for the chopping board. When the sound of water beginning to boil reaches attentive ears, she secretly smiles at the melodious hum of a happy tune.

Everything is going as planned!

However.

Pangs of guilt are beginning to tweak at Joohyun’s conscience. Because what she really wants to do is not to be a good girlfriend and offer a hand at stirring the pot. She doesn’t even want to sit patiently and wait to hear Seungwan sing out for her when dinner’s ready.

No. Joohyun wants to play. And she knows who she wants to play with. Even though it’s going to be a complete setback to the lovely night she’s sure her Wannie has planned out for them.

It was Seungwan’s idea to cook tonight, then eat together while they watch their favourite TV program. Pfft, ‘their favourite’. What Joohyun really means is she’ll happily watch the season finale of the unorthodox cooking show her girlfriend is currently obsessed with.

. . .

“It gives me ideas, unnie,” Seungwan had explained when, about a week ago, Joohyun had walked in on a very experimental game of muffin-making.

The latest episode of “Baking for the Seoul” flashed through Joohyun’s memory.

“Don’t the ingredients have to be… in the bowl, though?” she asked incredulously, eyes searching for any part of their countertop that was actually visible.

“Hm?” Seungwan looked up, wiping the frosting off her nose… with the wrong hand.

Joohyun raised an eyebrow. “And which one are we putting in the oven, your sludge mix or you?” She inquired, now searching for any part of her girlfriend’s face – that was actually visible.

When the girl in question stayed concentrated, apprehension bubbled in her gut at the state of that exceptionally thick bowl of frosting. She surreptitiously strained to peer behind a thoroughly battered Seungwan, trying her hardest to not actually step foot into the kitchen.

Her girlfriend has this… ‘thing’ about work space. Especially the kitchen.

“Wan-ah,” Joohyun’s tone was equal parts warning and concern. “You didn’t get any on your wings, did you… that frosting looks too thick and last time you got yourself all mucky, remember we had to – ”

“It’s fine it’s fine, look! I’m being careful!” Seungwan quipped cheerfully, pirouetting round to give a worried Joohyun a glimpse of her wings which were nicely folded through each designated slit in the back of her sky-blue jumper.

The latter breathed a sigh of relief when she saw them; all white, fluffy and – most importantly – clean. She inwardly shuddered at how much of a nightmare that bath was. Thank god she’s behaving this time, she thought.

Although momentary relief didn’t stop her from contemplating an alternative method of keeping her mind at ease.

But the thought of having Seungwan wear her wing guards in their own home tugged at her unpleasantly. It was bad enough she had to have them on when they were out in potentially stressful situations. So she wouldn’t accidentally hurt herself or anyone around her… which had unfortunately happened once or twice before. It was clearly a burden to go about so obviously restricted, and despite Seungwan’s insistence on having grown used to them, Joohyun could always feel how upset she’d get whenever she was helping to do the clasps up behind her.

Definitely no wing guards then. And if that meant Joohyun would be bruising her knees for hours on end trying to keep dense baking mix and her messy baby bird two separate entities, then she’d happily do it.

Whatever kept Seungwan chirping.

Plus, her little chef looked damned determined, so she thought it appropriate to slip in one last passing remark before plucking a banana from the rack. “Yah, Wannie! Let me know if I’m gonna have to pick out birdie feathers from my cupcakes, okay?”

Seungwan grumbled something along the lines of a ‘hm, yeah whatever unnie’ in response.

Joohyun just laughed, heading back to their room and leaving the mastermind to her latest trial.

> > > > >

[7:00 p.m] Seungwan doesn't know which she finds more horrifying: what Joohyun intends to do to her or the fact that they're going to have to have take-away two nights in a row.

. . .

It should’ve been a simple mission.

Retrieve a fresh packet of spaghetti from the topmost shelf.

Her attempts are… laughable. She’s clearly doing her best.

Though she doesn't realise it yet, she’s still being watched. From the living room, Joohyun is watching. And she isn’t laughing. Hands ball into unconscious fists as a tight wave of numbness washes over her at how adorable Seungwan looks.

Just… like that: both wings tucked against her back, beautiful and neat as their owner. Strained muscles from reaching for something Joohyun already knows she’s going to have to help out with. And the tiny grunts when fingertips barely graze the edges of the packet.

Seungwan looks so soft, so frustrated. So vulnerable.

A small spike of inexplicable adrenaline leads Joohyun to head over to the huffing, moon-hopping girl.

She really needs to teach her little dove that being this cute comes with a price.

. . .

When a lithe body slides up behind her and presses against her back, Seungwan’s wings give a gentle flutter to mimic the stutter in her heart. She sighs affectionately at the pair of hands resting low on her hips.

The task is almost forgotten. Almost.

Unnie’s here to help, Seungwan thinks… ever so mistakenly.

“Hyun – ahh,” she’s interrupted by a slight shiver when the tip of her right wing is stroked between a finger and a thumb, delicately running across pure, downy feathers. A tried and tested (Bae Joohyun-certified) method of getting the girl absolutely weak.

Judging by the sound of strained breaths filling the space between them, it’s working.

Alas, dinner hasn’t been cooked, the sun’s setting and Seungwan’s time-management brain is screaming at her to get a move on. She points to the shelf, trying her hardest to block out the dangerously wonderful feeling. “Could you – could you please get that for me?”

Instead of complying, Joohyun chuckles, moving her hands from her back to glide them lightly up and down her sides. She isn’t surprised that Seungwan is already shivering, terribly overwhelmed from that alone.

Her smirk twitches when she feels the smaller girl squirm.

Seungwan has always been like this… so responsive, so susceptible to touch. Her touch. She’s jelly in her clutches, and even Joohyun has to admit that sometimes she really doesn’t deserve to be.

Sneaky hands grow bolder, finding their way under the hem of Seungwan’s fleecy jumper to continue tracing teasing lines against soft, sensitive skin.

“But it’s so cute to watch you struggle, baby,” Joohyun coos, beginning to rest more of her weight into Seungwan’s hips, keeping her trapped against the kitchen counter.

“U-unnie,” Seungwan tries, half-heartedly writhing against Joohyun’s hold, torn between wanting to cook dinner and wanting to be dinner. “Not – ah… not right now… it’s already late, we have to – ”

“And you smell so nice. Is this new shampoo?” Joohyun presses her nose into her nape, cutting her short, nuzzling into that pleasant fruity shampoo scent. She then pauses to nudge Seungwan’s legs suggestively ajar with her knee before leaning in to whisper into a ruby-tipped ear. “ Should I give you a reason to shower again later, hm?”

The younger’s eyes widen at the sinful implication.

Gosh, really? Right now? In the kitchen?

The kitchen. The place she cooks and handles food? (Sure, Joohyun will – once in a blue moon – dice the odd carrot or something, but that certainly does not give her the right to be making any unauthorised, hormonal messes for her to clean up). She must be off her rocker if she thinks Seungwan’s going to allow her precious workstation to be tainted by what she can already foresee to be copious amounts of bodily fluid just because someone can’t keep it in their pants.

It snaps something inside her. And – with all the strength neither of them knew she possessed – Seungwan wrenches out from under Joohyun’s weight with a firm “YAH! Stop fooling around!”, sending the older woman stumbling a few steps back.

For a second, they’re just as stunned and disbelieving as each other; Seungwan at her own apprently dormant Herculean strength –

– and Joohyun at the sheer audacity.

Then again, could this be any more timely?

God, Joohyun could kiss herself.

She straightens her blouse, putting on her best ‘I-can’t-believe-you’ve-done-this’ expression, and turning to lock the now slightly (and rightfully so) terrified-looking Seungwan with a stare. This is the best part. The part where she just glares, secretly gleeful as the other girl absolutely crumbles with apprehension.

The part where Seungwan thinks it’s her fault.

“Uh oh,” she tuts, sporting a grin to match that mischievous glint in her eyes, “someone’s in trouble, aren’t they?”

Seungwan is, of course, at a total loss for words, but she fumbles around anyway, desperate to justify whatever the hell she’s just done. It’s almost too much for Joohyun to handle, watching her dig her own grave like this.

Finally, Seungwan tries to back up, only to let out a sharp gasp when she trips over her own feet in her haste. She’s on the floor in seconds with Joohyun immediately following. There’s hardly a chance for her to get her bearings before she’s stuck on her back with a weight straddling her hips.

Seungwan goes wide-eyed. She might as well kiss the prospect of a candlelit dinner bye-bye… for tonight, at least.

“My clumsy, clumsy Wannie,” Joohyun mocks, holding herself above the smaller girl on her hands and purposely tangling their legs together. “Tonight was very thoughtful of you, baby, but I’m postponing our dinner plans to tomorrow night. I think we should order in, don’t you?”

“Ah unnie...” Seungwan groans, failing to ignore the way Joohyun’s predatory expression crayons her cheeks a soft pink, “we had take-away last night! I don’t wanna eat chicken aga – ”

“Then let’s get pizza,” Joohyun offers unhelpfully. She’s clearly got her own agenda that she’s determined to follow through with. “Okay? Hm, let’s see… you have to the count of five to agree with me or…”

She pauses to savour the panic in those deep brown eyes. “I’m going to have a very tired little birdie to take care of.”

That satisfied smirk leaves nothing to the imagination. Seungwan can practically read her fate on her girlfriend's rosy lips before they delve into hers, causing her eyes to roll back as they melt hotly into each other.

Seungwan hardly notices Joohyun lacing their fingers together until her eyes flutter open and she finds herself held down, arms stretched securely above her head. Joohyun adjusts her grip so she has both wrists pinned under one hand and the other free.

Ah, fuck, not again. Seungwan laughs emptily, fidgeting with high-strung premonition. When her one final struggle proves useless, she resorts to asserting herself with her voice. “Yah, unnie, I’m cooking tonight. Stop being annoying or you’re not getting fed.”

Ah, too easy.

Joohyun contemplates elaborating further. But she’s said enough. Besides, Seungwan doesn’t even deserve a response to that. That was a threat, wasn’t it? The prospect of starvation is a serious threat that should be promptly dealt with. And what do you do when you’re faced with a threat? Be that a burglar, a murderer or a very flustered Son Seungwan.

Tickle them. Obviously.

Joohyun leers over her, wiggling her fingers in anticipation. “Five…”

Seungwan’s eyes blow wide, and – with miserable luck – she renews her efforts at breaking free once again. “Hyun! Seriously?! You – I can’t believe you’re d – ”

“Four.”

“HYUN!”

“Three.”

“Okay! Okay! Let’s get pizza tonight! There, happy?! You can even choose the flav – ”

Seungwan hears a scoff above her. “Nope. Sorry Wannie. I made that decision. You’ve changed nothing.”

“YAH, YOU TRICKED ME YOU BIRDBRAIN! LET ME UP. YOU’RE SO DEAD!!”

One click of a tongue and Seungwan has never retracted any statement faster in her life.

“Okayokayokay! Sorry that was super mean! Please I – ”

“Two…”

Too late. She’s dead. She’s one hundred percent about to be on the list of the unfairly deceased.

Seungwan whines hopelessly. “Unnieeeee, you’re not being fair!”

It’s a ditch attempt, but one Seungwan doesn’t intend to miss. “OKAY SERIOUSLY I MEAN IT, GET OFF!”

Joohyun snickers. “One.”

With five fingers and wicked intent, she dives in.

. . .

A pair of pretty wings and an even prettier face make for an impossible choosing.

Even now, as she has Seungwan flat on her back with her eyes screwed shut and tears streaming down her face, she wants to flip her over so she can be blinded by white insulation. So those feathers can brush against her as she drives their owner to the brink of sanity.

She wants to feel her dove respond to what she does to her.

“Hyu – Hyun, p-please!”

Joohyun smirks down at her victim, who’s weakly pawing at the front of her blouse in what she can only assume is an attempt to get her to stop.

Pathetic.

Seungwan never fails to struggle. But then again, she never fails to forget that Joohyun, too, is much, much stronger than she looks.

All that tiresome squirming is easily dealt with. Only a fraction more pressure from Joohyun’s fingertips, and Seungwan’s arms fall to either side, limp and useless just like the rest of her. The only indication she’s even conscious is the violent trembling and – when she’s able to muster up the lung space – the occasional plea for mercy.

Even the laughter is silent.

Joohyun loves it this way. She loves having Seungwan all sweaty and flustered beyond belief; whenever and wherever she pleases, the younger girl is reduced to a quivering mess, trapped beneath her cruel dexterity.

So instead of getting the pasta boiling for a romantic dinner, Seungwan is graciously letting Joohyun have her one-sided fun while she’s forced to cough, splutter and laugh so hard her insides hurt. The reflex to try to buck Joohyun off or twist out of her clutches nips at her incessantly.

Although she really shouldn’t worm around like that, because it’s only making Joohyun’s job easier with how her jumper rides further and further up with every inch she wriggles away.

It almost makes Joohyun think her little songbird wants to be tickled.

“Aw,” she coos, playfully tweaking unintentionally exposed ribs. “So cute, Wannie. You want it here, too?”

Seungwan is breathless from the tickles before she’s even processed what Joohyun’s said. Those tantalising touches never linger on any part of her long enough for her to develop a resistance to them. Not that she could even if she tried. She’s as sensitive as Joohyun is skilled. And Joohyun strikes with dreadful precision, switching between light skittering and then deftly kneading her fingers into every spot that wrings Seungwan’s lungs for all they’re worth.

The smooth tile is cooling against her feathers, even if her wings are twitching beyond her control, trying their hardest to flip her over to give her some shot at escaping. She barely manages to crawl a few inches away before there’s a firm grip on her ankle, all but dragging her back because Joohyun sure as hell isn’t done with her that quickly.

Trying to get away? She cocks an eyebrow, scooting up to sit on Seungwan’s butt, pinning her hips to the floor.

“Oh no, my poor birdie’s flipped herself over,” she feigns concern, gently resting her palms on Seungwan’s wings, stilling their fluttering and holding them steady. The sight of them unfolded, outstretched from the struggle and completely exposed has Joohyun catching her bottom lip between her teeth. “Did you hurt yourself here, Wannie? You need unnie to kiss it better?”

Seungwan shrieks at a pitch that’d have every dog in the neighbourhood cowering when she feels a pair of pillowy lips settle on that excruciating spot right where the arch of her wings meet her back, where she absolutely cannot stand to be touched.

Even under normal circumstances, Seungwan had made her swear to never spring upon her like that. And of course, by virtue of that alone, it quickly became one of Joohyun’s favourite places to touch her.

Luckily she’s too distracted now to protest.

The ‘kisses’ aren’t any less torturous than ten fingers going all at once.

Poor, tired Seungwan hardly has the energy to writhe as Joohyun continues to press her hellish butterfly kisses all along the length of those oversensitive appendages, nosing into her feathers and ruffling them gently with her breath. The younger’s expression contorts into silent agony when she feels the fingers return, this time digging into her armpits.

Fresh tears well up in the corners of her eyes as she lays there, flailing like a fish out of water, face down with zero leverage to combat her girlfriend’s merciless onslaught.

She’s as defenceless as a turtle on its back (or rather, a dove on its tummy). Her squirms are getting weaker, the laughter more strained, but it’s all so rewarding to her loving tormentor.

Seungwan is kept laughing till the hollow ring of the doorbell sounds through their apartment.

. . .

[An hour post stuffed crust pepperoni pizza with extra cheese]

Joohyun enters their room just as her girlfriend is getting dressed for bed, freshly showered… again. She lets out a low chuckle when Seungwan catches sight of her in her peripheral vision and hastily pulls the loose necked pajama t-shirt over her head.

“How was dinner?” she asks, arms folded and leaning against the door.

Seungwan rolls her eyes and releases her hair from its bun. “Too much cheese. We need to drink lots of water tonight or we’ll be pufferfish in the morning.”

“Aw, is someone grumpy?” Joohyun gives an uncharacteristically exaggerated pout and the latter hides a shiver.

Good god, please someone save her.

“Unnie, of course I am. We’re going to eat reheated carbonara sauce tomorrow no thanks to you,” Seungwan bluntly retaliates. “You’ve had your fun, now can you stop talking to me like I’m five, please?”

Naturally, her request falls on selectively deafened ears.

“Yah, seriously,” she punctuates the severity by manually unfolding her trembling left wing and pointing at it. “Look. I’m still shaking because of you. Now you're done, I really – ”

That’s all the grumpy talk she’s allowed before Joohyun jump-tackles her onto their bed, pinning her to it and watching sheer panic etch into deep cinnamon irises.

“When did I say I was done?” she asks, suggestiveness tracing the edges of her tone. She hovers above her, bringing a hand up to cup her face.

Seungwan hisses a laugh. “Unnie, I have a limit too, you know. You can’t just keep finding excuses to tickle the crap out of – ”

She chokes on a gasp when she feels a hand – the one she’d been as good as tortured under not two hours ago – trailing down her stomach… slipping past the elastic of her panties and –

– it just reminds her why she’ll always let Joohyun have her fun.

Because no matter how much she laughs, screams, cries or begs, there’s always a reward. Much sweeter than anything Seungwan thinks she could ever bake. Their sex life is anything but stagnant, however this is, more often than not, Joohyun’s way of making it up to her afterwards (much to her approval).

Or maybe she just wants to drive Seungwan to the brink of losing her voice so she won't have to hear the nagging about the next episode of Baking For the Seoul.

Which, by the way, came out tonight. And Joohyun made them miss it. She had better be praying they’d be able to find a copy online somewhere.

Either way, it’s so much more gratifying after an eternity spent howling your lungs out on the floor. Seungwan’s full attention is lasered down to where Joohyun is now softly caressing her under the thin cotton barrier. The warm ache beginning to settle in between her thighs prompts her to try to squeeze them together, but Joohyun catches on and wedges her knees in between them, spreading her even further.

“Ah,” she raises a smug brow as she leans in to press her lips to the base of her ear. Her own eyes darken with lust in response to her little dove writhing helplessly below her. “Be a good girl for me, okay, baby?”

It’s late. Seungwan can barely keep her eyes open. Oh, but she aches so badly.

“Still grumpy, hm?” Joohyun murmurs questioningly, hot breath fanning over Seungwan’s neck and echoing goosebumps over her skin. She glances down at the bulge of her hand stretching the fabric, fingers already coated in slick. Her index finger rubs against Seungwan’s clit. “Feel good, Wannie?”

Hopelessly turned on, it’s all the other girl can do to whimper in agreement.

The pleasing sound of those soft whines escaping right into her ear turns Joohyun’s grin into something downright wolfish. She gives the swollen bud a few more leisurely strokes before retracting her hand completely, leaving Seungwan squirming in anticipation with whatever energy she has left.

Joohyun tastes the arousal on her fingertips. “Mm, I love how small you look right now, in my hands. So small and needy.”

Seungwan pants out a quiet “please, unnie”, clasping a shuddering hand over Joohyun’s and guiding it back down to the heat in her panties. She rolls her hips up into her palm, silently begging for her reward for being such a ‘willing’ participant in the one-sided games they played today.

After letting her gaze linger for a second, Joohyun shifts so she’s lying next to Seungwan. She slips her hand back in and squeezes firmly, revelling in the hoarseness of the girl’s voice. Velvety lips delicately map out her shoulder, and Seungwan has to fight to keep her eyes open to drink in the image of Joohyun pressed up against her, right hand cradled under her neck, propping her head up so they can both see the other one teasing her down her underwear.

It’s when Seungwan turns away to frustratedly pout at the suspense that Joohyun smiles and gives her a quick peck on the nose.

“I’ll continue if you promise not to pass out this time, okay baby bird?”

She bites back a snort watching Seungwan nod like she’s ever been able to stay awake after.

Then she has to bite back another because since when has she ever not continued even after being fed these empty promises, time and time again.

Anything to keep her precious Seungwan happy.

#red velvet #wenrene #wendy #irene #wing kinks are only valid if you exploit the crap out of them #so irene's got the right idea

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aer-in-wanderland · 4 years

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구미호뎐 | Tale of the Nine Tailed - Lost in Translation EP03

The saga continues: part three in a series in which my sister and I pick our way through all the (mis)translations, humour, and cultural subtext that dropped from the fan-subbed version of TotNT. Thank you so much to everyone who bought us coffee - this one’s for you. ;)

Before we begin, for anyone just joining us: EP01 / EP02.

We pick up back where we left off last episode with Yeon dressing Ji Ah’s wound.

Yeon’s line that’s subbed, “Stop being a crybaby” can be a bit hard to translate. The word he uses is ‘eomsal,’ which literally means, ‘the exaggeration of pain; feigning pain; a great fuss about nothing.’ So he’s essentially saying she’s overreacting. I'm not a fan of the use of the word ‘crybaby’ here though personally.

“Long time no see, Lee Yeon.” > > > 12 Hours Earlier.

We see Thirsty meet his ignominious end in a toilet (we never got character names for these guys so I’m just going to call them ‘Thirsty’ and ‘Hungry’).

Elsewhere on the island, Rang fishes a curse doll with the man’s picture on it out of the surf. That’s quite the atmospheric shot. Point to the director.

Episode 03 Title Card: The Secret of the Dragon King

We open the following morning as Ji Ah and the man who found the body (who Ji Ah refers to as ‘Captain’) examine the scene.

Sub: “Being at sea wasn’t enough and he drowned himself to death.” I’m not sure that sentence even makes sense. I would have translated the man’s line as: “Ho~ Let no one say he wasn’t a seaman. He managed to kick the bucket by drowning [even on dry land].”

Sub: “Talk about it being all for nothing. This is what he gets after throwing himself at his life.” Um, what now? The line is: “Human lives are so futile. And after he clung so viciously to life, too.”

Lol Yeon. “I see someone threw a party.” I like this sub. What he literally says though is: “Oh~ Looks like it was a really special night.” (‘special’ here is in English).

Sub: “He smells like a stinky fish.” What Yeon literally says is: “Ugh, a smell like rotting fish is coming from this kid!” Yeon refers to the man as ‘yae,’ which literally means ‘this kid,’ but can also be used to refer to inanimate objects. So, either way...pfft

Appropriately, the BGM playing as Pyung Hee casts her curse is ‘Shaman.’

Back over to Yeon and Ji Ah as they investigate the body. The chyron on the screen reads: ‘The first survivor of the Milky Way (Deceased)’ Irony-(probably)-not-intended.

We get another chyron not long after, over a shot of Pyung Hee’s father’s head being returned to shore that reads: ‘Seo Gi Chang (Died aboard the Milky Way)’

Lol None of this has stopped Yeon from nomming on his banana milk. I had thought the milk made him seem like a little kid, but according to Korean fans, it’s also, apparently, commonly enjoyed by old men. heh

Sub: “Besides, they’re not good looking enough.” This is a mistranslation. Yeon’s line is literally: “And besides, I don’t like the look of their faces.” What he means, though, is the feeling they give off, rather than their actual ‘looks.’ It’s a common expression in Korean. If I was translating instead of explaining, I would probably render this as, “I don’t like the look of them.”

As Ji Ah drags him out, however, Yeon can be heard saying, “Ah~ I judge people by their looks~!” I’m 98% sure this is another LDW ad lib. Basically, LDW made a joke of his previous line, as if to say Yeon cared about the look of them because they weren’t attractive enough, when really his line meant they seemed shady. It’s almost as if he predicted the bad sub...

We get a brief scene featuring the second (and only named) survivor of the Milky Way, Jin Shik. Oh, and his headless ‘visitor.’ Creepy.

The music underscoring Hungry gorging himself on raw meat is making everything worse (or possibly better, if disturbing is your jam)

I’ve said it before, but I would watch an entire series of Yeon and Ji Ah being a supernatural investigative duo.

Pfft Yeon refers to Seo Gi Chang as ‘the head’ (mogaji). I’m not sure if I should call that indelicate or irreverent. It’s a bit of both, really.

Yeon’s line here is subbed as, “What happened on the boat?” but it should more properly be: “What did you do on the boat?” He’s not just asking after the sequence of events; the line is a clear accusation.

Sub: “We met an unexpected storm that day.” Actually: “Rough wind and waves hit the side of the fishing boat.” (i.e. causing it to capsize)

I appreciate that Yeon sits back here and allows Ji Ah to take the lead.

So, as it turns out, the 11th hell is actually a fishing boat (I’m sure the cast of 1N2D will back me up on this).

Fun fact: This sequence was filmed in a green screen pool and then made to look like the middle of the ocean with CG.

As an aside, I love that Ji Ah deduced the whole story on her own and that she uses that knowledge to corner Hungry psychologically. Also, that her strategy proves more effective than Yeon’s threat of violence. It’s not so much a ‘you catch more flies with honey,’ as a ‘brain over brawn’ sort of deal.

Ji Ah: You were frightened, weren’t you? Twenty-eight days straight on a perilous life boat without water or food. They’re the perfect conditions for a person to go mad, aren’t they? First-degree burns from the hot August sun striking your body mercilessly, the boat pitching about all day; despite not having eaten, you feel as if you’ll throw up. Clenching your teeth and waiting to be rescued only works for a day or two. The more you think about it, the angrier you get. ‘Why, me? Why?!’ Around the fifth day was the crisis point. Since, in that time, not a drop of rain had fallen. Dehydration would have set in first. [...] But it’s odd, isn’t it? For having starved for 28 days, you lost too little body mass. [...] What did you eat?

Meanwhile, Yeon’s contribution to all of this is: “And you couldn’t have used a delivery app in the middle of the open ocean where there’s no wifi signal.” Pfft He has, of course, caught on to her strategy. As usual, though, he decides to take the cheeky route.

Side note: I find it interesting that, in this universe full of monsters, the first incident Yeon and Ji Ah end up investigating together turns out to be an entirely human horror.

Yo. Hungry deciding Ji Ah is food is just...ugh. Never trust a cannibal.

Luckily for Ji Ah, her guard dog fox is on the job.

Over to Rang, who asks a weeping Pyung Hee what she’ll give him in return for granting her ‘wish’. We don’t get to see her answer him, but it was included in the backstory collection.

It’s unclear to me just how much Rang is involved in ‘granting’ Pyung Hee’s wish. Like, is he the one fueling the curse somehow, or did he just teach her what she needed to know? I’m inclined to believe it’s more the latter.

We cut to Taluipa at the Afterlife Immigration Office, who’s pissed that someone’s messing with her Death List. There’s a fun mythology-related chestnut in this scene: when Hyeonuiong comes running in, he’s carrying a watering can. Taluipa accuses him of having been watching dramas, but Hyeonuiong insists he was watering the Uiryeongsu.

The chyron for it reads: ‘The Uiryeongsu. A tree that measures the sins of the dead by the weight of their clothes when they’re hung on it.’ The hanja for ‘Uiryeongsu’ (衣領樹) literally mean ‘clothing-amount-tree,’ so its name is essentially its function. In traditional mythology, it grows on the near bank of the Samdocheon. This is also the same tree that the Uiryeong’geom (geom = sword) mentioned in EP13 is made from.

“You watered a tree for 3 hours?” Pfft Hyeonuiong and watering can, exit stage right.

Minor detail: I just realized I can actually see from Taluipa’s List in this scene that one of the two fishermen is named Kim Gil Sang. Still not sure which one though, so I’m going to stick to calling them Hungry and Thirsty.

The Dragon King Scroll

Back over to Ji Ah, who examines a creepy scroll hanging in Jin Shik’s vacant quarters. Once again, the show cuts into its own dramatic tension with a moment of levity as Yeon startles both Ji Ah and me by popping open his bag of snacks with a massive bang. The contrast between Ji Ah, who’s in serious investigator mode, and Yeon, who just continues his one-gumiho snack parade, blasé as can be, adds humour to an otherwise grim situation.

Yeon’s response of, “Oh. Sorry.” is in English, making it sound, if possible, even less sincere.

On the off chance that anyone was wondering, the snack Yeon claims as his favorite here is 솜짱 (somjjang). According to the Korean fans again, this is also a food commonly enjoyed by elderly people.

Subs: “Do you know how many people in Joseon died during the 50 years of war? 3.5 million. I’ve seen more deaths than all the funeral companies in this country.” This is another case of diagonal translation. Yeon’s line is more properly:

Yeon: Between the Imjin War and the Manchu War, do you know how much of the population of Joseon-era Korea was lost in just 50 years? 3,500,000. I’m a guy who’s seen more funerals than all the funerary companies in Korea put together.

[Note: Yeon is talking about The Japanese Invasions a.k.a The Imjin War (1592-1598) and The Qing Invasion of Joseon a.k.a. The Manchu War (1636)]

As a linguistic aside, Yeon refers to himself here as a ‘nom’ (rhymes with ‘home’). If you read the breakdown of EP02, you’ll recall that ‘nom’ can mean anything from ‘guy’ to ‘bastard.’ It’s not that Yeon means to call himself a bastard, though. It’s only that the typical alternative here (i.e. ‘person’) carries the implication of 'human.’ Since Yeon is, of course, not human, he opts for ‘nom’ instead. The word gets a lot of mileage in this show in relation to all the supernaturals for that reason.

Lol This exchange about the Dragon King was great. Point to the writer. I would translate it as:

Yeon: You’re right, but it looks nothing like him.

Ji Ah: You’ve...seen him?

Yeon: Back when I was a mountain god. Well, in today’s terms you’d say we attended a leadership conference together. They over-glamorized him. He’s not this good looking.

Ji Ah’s reaction is perfect too. Her, ‘I don’t even know where to begin with that statement so I’m just going to move on’ look came across loud and clear.

Yeon’s line as he leans over Ji Ah’s shoulder is subbed: “This is just like ‘Where’s Wally?’” In Korea, the game is called ‘find the hidden picture’ (‘sumun keurim chatgi’). So the line is actually: “What is this, ‘find the hidden picture’ or something?” I’d say there’s a 50/50 chance this line was another ad lib by Lee Dong Wook.

On an entirely different cultural note, ‘Where’s Wally?’ is know as ‘Where’s Waldo?’ in North America and exactly nowhere else. Don’t ask...

This scene features the first mention we get of Imoogi. Imoogi are among the most famous Korean mythical creatures. In most tellings, they are essentially proto-dragons, though occasionally they can be baby dragons. For example, one imoogi tale claims its imoogi was the son of the Dragon King (the same one Yeon attended a ‘leadership conference’ with). Most of the lore agrees that if an imoogi stays submerged in deep water for a thousand years, it earns the chance to become a dragon, though the caveats vary widely, and many imoogi fail. Finally, while the imoogi in TotNT is evil, imoogi aren’t categorically so; some are good, some aren’t.

Rang and the Mudang

Fun fact: Kim Beom explained in his Instagram LIVE that he chose to wear a red suit partially because the color gave off the feeling of a villain, but also because it contrasted well with the green of the forest. He also named this as his favorite Lee Rang outfit.

For anyone keeping track, Rang speaks to the mudang in banmal. She, in return, addresses him as ‘Lee Rang-nim’ and speaks very respectfully.

Okay, there are a couple of things to unpack in Rang’s following exchange with the mudang:

Mudang: The Corrupt God, King of the Wicked. He is Lee Ryong-nim.

Rang: [Laughs] What’s with that? Ugh, I seriously just cringed! If you slap a fancy title* from the next world in front of its name, does a snake become a dragon?

First, the mudang’s line here is said in an archaic cant. Second, ‘Lee Ryong’ (properly pronounced, ‘i-ryong,’ since there’s actually no ‘L’ in ‘Lee’), is another name for imoogi.

Finally, when Rang says ‘a fancy title from the next world,’ he’s referring to a posthumous name/title. Nearly every kingdom to have occupied the Korean peninsula has used posthumous titles (시호), most often for deceased royalty. By giving one to Imoogi, the mudang is venerating him. Rang mocks this, seizing on Imoogi’s failure to become a dragon. (Let no one say he and Yeon aren’t brothers).

The subs have Rang referring to Yeon as just ‘Yeon,’ but he actually calls him ‘Lee Yeon.’ That’s a very impersonal way to refer to one’s older brother, which is, of course, intentional on Rang’s part. It serves as another linguistic cue to the audience as to how Rang regards Yeon at this point.

A note on the evening primrose: tvN released a short blurb about it, since, as far as I can tell, the mythology was invented for the show. It reads:

Evening primrose that has grown while feeding on the blood and flesh of corpses is the same as poison to gumiho; if they so much as touch its powder, their bodies catch flame.

While the subs consistently just say ‘evening primrose,’ this should more properly be ‘burial ground evening primrose,’ which is how the various characters refer to it.

Fun fact: ‘Evening primrose’ in Korean is ‘dalmaji-kkot’ (달맞이꽃), which means ‘flowers that welcome the moon’.

Sub: “Half-brothers, to be exact.” The term Rang uses in Korean is quite literally, ‘brothers from different stomachs,’ so it refers specifically to half brothers who share a father but who have different mothers. I mention it only because Korean viewers will have been given slightly more information about their familial relationship here than was provided in the subs.

Back over to our leads, as Yeon urges Ji Ah to leave the island post-haste. His line is subbed: “I’m saying you may die if you stay here.” That’s a perfectly fine translation. For anyone curious, though, his line is quite literally: “I’m saying if you stay here, [the conditions are] perfect for dying.”

Sub: “That’s none of your business.” Yeon’s line is more properly: “That’s not for you to know.”

Ji Ah’s response to this is very literally: “I have no intention to go home for a reason I don’t know. So Lee Yeon should find the person Lee Yeon came here to find. I have to know why my parents came to this island.” This is the first time Ji Ah uses Yeon’s full name as a second person pronoun (so basically to mean ‘you’) when speaking to him. It’s hard to make generalizations about any form of address that don’t have multiple exceptions, but in this case, using his name is a more neutral, and somewhat more familiar, alternative to some of the other pronouns she’s been using when speaking to him. To my sense, it softens her rejection of his advice a little bit.

Back to Rang. His line is a bit awkward to translate, but essentially what he says is, ‘Calling my brother a ‘mountain god’ is an overstatement/ putting it nicely.’ I might approximate this as, ‘Sure, my brother was called a mountain god.’ This is the only time in the entire drama that Rang refers to Yeon as ‘uri hyung,’ and it kills me a bit that it’s not out of fondness, but rather derision. ㅠㅠ

Similarly, when Rang says, “I’m a fox, after all. I have to repay eunhye properly,” he is, of course, using eunhye sarcastically.

The subtitle here once again says ‘the underworld,’ but Rang’s line is actually: “I’m going to go to hell, without fail. Together with Lee Yeon.” The subs really need to do a better job of distinguishing between hell and the afterlife.

We see Ji Ah instruct Jae Hwan over the phone as to what to search for in the library records. She’s split off from Yeon since we last saw them.

Elsewhere on the island, Yeon also makes a call, only his is to Halmeom (Taluipa) to ask about Imoogi. When this episode first aired, I thought it was odd that Yeon was using ‘Imoogi’ as if it were a name, since this would be like referring to Yeon as ‘Gumiho.’ He later taunts Terry-Imoogi about just that though (i.e. not even having a proper name), so obviously it was an intentional decision on the writer’s part.

Sub: “If by chance Ah Eum was born again into this world, I can’t let that thing coexist with her.” This sub went a bit sideways. The ‘by chance’ has been mis-attributed. The line is properly: “There’s no way I could possibly (i.e. by any chance/under no circumstances can I) let such a thing exist in a world in which Ah Eum has been reborn.” Yeon is already sure that Ah Eum has been reborn at this point. He’s saying that because she’s been reborn, he can’t allow Imoogi to coexist with her under any circumstances.

Rang vs Ji Ah

Ji Ah returns to Pyung Hee’s to find ‘Pyung Hee’ reading Moby Dick. This is an ironic enough choice of literature to clue her in to the fact that this isn’t really Pyung Hee. Smart cookie.

On a character note, I loved that Ji Ah’s knowledge of, and love for, world literature was threaded believably throughout the drama in a way in which it feels natural that she caught on to Rang’s hint here. Point to the writer.

Again, for anyone keeping track, Ji Ah and Rang speak to each other in banmal, as has been the case since Rang revealed himself at Ji Ah’s house in EP01. Not because they’re close, obviously, but because they have zero respect for one another. It’s a bit of a power play on Ji Ah’s part, too, since she’s (hundreds of years) younger.

Over to Yeon, who barges into the local market owner’s personal quarters to interrogate him. His line when he catches sight of the scroll on the wall is subbed: “Look at this.” This should more properly be: “Check these people out. There’s one here too.” The word he uses that I translated as ‘these people’ is ‘i-geot-dul,’ which is very literally ‘these things,’ so I sort of understand the confusion in the subs. He means the islanders though, not the scrolls. In contrast, ‘there’s one here too’ does actually refer to the scroll.

The knife Yeon throws hits directly over the slit pupil of the scroll dragon’s eye. Nice aim.

Back to Ji Ah and Rang. When Ji Ah accuses Rang of orchestrating the deaths of the Milk Way survivors, ‘to distract us,’ what she says quite literally is ‘to cover our eyes and ears.’

When Rang applauds Ji Ah’s deductive abilities, his line is subbed, “Awesome.” This should more properly be, “Outstanding,” or, “Exceptional.” I honestly believe he’s being sincere in his praise. Being Rang, though, he’s probably just delighted this makes her more challenging to toy with.

Having completed his interrogation, Yeon’s eyes change as he erases the man’s memory of the event. I suspect the reason Yeon is so cavalier about revealing he’s a gumiho is because he can basically ‘undo’ it whenever he wants using this power.

Ji Ah’s quiet, “I decline” is so satisfying. Also the way Rang pulls back in surprise haha I guess he’s not used to being turned down.

Rang’s exchange with Ji Ah is subbed as: “Loosen up. Why be so stiff when it’s just good old me?” / “Let me give you some advice since that’s how you feel. Don’t gamble with another’s tragedy just for kicks. There’s a word for people like you, you know. A colossal jerk.” This is difficult to translate, and I think the subs have done a pretty good job, but a closer translation would be:

Rang: Augh— So uptight! Are you going to keep acting this uptight, just between us* (literally, ‘between you and me’)?

Ji Ah: Between you and me, then, I’ll give you just one word of advice: Don’t carelessly role the dice atop others’ misfortune. People call jerks like you ‘sleazy bastards.’

[*Note: Rang’s phrasing implies that they’re somehow close/on good terms, but he’s being sarcastic, of course.]

First off, the word Rang uses for ‘uptight’ (빡빡하다) means ‘stiff; uptight; rigid; inflexible; strict.’ By this, he’s referring to how she never lets her guard down. I don’t know that any of those words properly conveys that, though.

Second, while I translated Ji Ah’s line about the dice very literally here (in keeping with the spirit of this post), I actually like how the subs handled it from a translation/subtitling standpoint.

Finally, the subs have Ji Ah calling Rang ‘a colossal jerk,’ but the term she actually uses (‘yang’achi saekki’) is a much stronger expletive. ‘Yang’achi’ is a term for a thug, gangster, or hoodlum. ‘Saekki’ literally means ‘child of.’ In practical use, though, it’s close to ‘bastard.’ (I really didn’t think I’d be explaining the finer points of Korean expletives when I started this series, but here we are). I approximated this as ‘sleazy bastard’ above.

Pfft Rang being genuinely offended at Ji Ah’s language. Jo Bo Ah talked a bit about what she thought of all the explicit language Ji Ah uses towards Rang in her wrap interview.

Subs: “When he finds what he wants, you’ll be begging for mercy.” No idea where they got 'begging for mercy.’ What Rang actually says is, “When he finds what he wants, you’ll see hell.” Unlike in the subtitle, Rang’s warning actually has substance to it, since he’s referring to the fact that, once Yeon identifies Ji Ah as Ah Eum’s reincarnation, their fate with Imoogi will repeat itself.

By the time Yeon rushes back to Pyung Hee’s, Rang is long gone. His line subbed as: “What did he say?” is, quite literally, “Lee Rang, that nom, what’d he say?” This use of ‘nom’ manages to come off as fairly mild. (He may be a jerk, but he’s Yeon’s jerk).

Ji Ah’s response has undergone cultural translation to become: “Even when I order pizza, I never go for half-and-half. I always choose just one.” Honestly, though, I don’t know that it was necessary. What she actually says is: “Even when I order chicken, I don’t go for half-seasoned, half-fried; I’m the type to just pick one.”

This scene was originally longer but part of it got deleted. They released the clip, though, so I’ll translate the full exchange here:

Ji Ah: I'm saying I turned him down, your younger brother. Since I bet on this fox.

Yeon: Let no one say you aren’t a learned (wise) woman. Is that all?

Rang (voiceover): Don't trust Lee Yeon too much.

Ji Ah: That's all. But...you said the two of you are brothers.

Yeon: Yeah. We’re brothers.

Ji Ah: Why are you so hellbent on destroying each other?

Yeon: It seems like you don’t know since you’re an only child, but, as a rule, the relationship between siblings is a lot like noir, just without the guns.

Ji Ah: There you go, deflecting the question again. Is that a secret, too?

Yeon: If you ever happen to run into that guy again just the two of you, no matter what, run fast. That kid* despises humans. Especially humans that look like you.

Ji Ah: Why do you keep taking cracks at people's faces?

Yeon: ...I'm hungry.

Ji Ah: Why don’t you take the opportunity to pack up and leave while you still can? Your younger brother...it seems he’s preparing some sort of special event.

Yeon: That’s what I’m waiting for.

*Note: The word Yeon uses that I translated as ‘kid’ is ‘jashik.’ This is another word that, depending on how it’s used, can either be fond or rude. ‘Jashik’ literally means ‘[one’s] child,’ but it’s also commonly used in the sense of ‘punk.’ It’s a bit softer than nom. You wouldn’t use it to refer to yourself, though.

Ji Ah’s “Why do you keep taking cracks at people’s faces?” (meaning he’s insulting/taking issue with how she looks), is referencing their exchange the previous night when he told her not to smile because she was ugly.

We cut briefly to Shin Joo eating at the Snail Bride as he sizes up Yoo Ri from a distance. Come to think of it, we never got this BGM for the Snail Bride, either...

Ramen Heart-to-Heart

Lee Yeon’s one-gumiho meokbang continues. I feel like Yeon has been nomming on something in nearly every scene this episode.

The BGM while Yeon and Ji Ah eat is a remix of Yeon’s theme, ‘The Fox’s Wedding Day.’

Sub: “Just because these ladies wear baggy pants in floral prints doesn’t mean they have kind hearts. Get digging, and you’ll find all sorts of dirty secrets.” Yeon’s line is more literally:

Yeon: Living is all the same [everywhere]~ Just because grannies in the countryside wear flower-patterned pants doesn’t mean that even their insides are flower-patterned. If you start digging, venomous and insidious years come pouring out.

Ji Ah’s response then plays off of Yeon’s turn of phrase: “Is that the case for you too? I just wondered, ‘With what pattern did you live all those long years?’” (referring to the ‘pattern’ of his heart).

On a minor cultural note: the word Yeon uses is ‘mombbae pants’ (몸빼바지), which are a fashion(?) staple in the countryside. You’ll know what I mean if you run the hangeul through a google image search. That’s where the subs got ‘baggy’ from even though Yeon doesn’t explicitly say it.

Sub: “Why have you been searching for your parents all this time?” Yeon’s line is more properly: “Then what about you? What has made you wait for your parents for such a long time?”

Sub: “I’m the same. I’m waiting for the one I miss.” I would have translated this as: “I’m waiting for someone I miss,” which is literally what he says.

Sub: “Why did you part ways when you still miss her this much?” This is a bit hard to translate into natural-sounding English. The word Ji Ah uses is ‘mi’ryeon,’ which means ‘lingering attachment.’ So her line is quite literally: “Your face is so full of lingering attachment, how did you come to part ways/break up?”

Sub: “The first being I loved was a human girl who ended up dying. It’s why I’m still hung up on her. Happy now?” Hmm... I would translate Yeon’s line as:

Yeon: My damn* first love was a human of all things, but she died, so I’m foolishly unable to let go of my lingering attachment. Happy now?

[*Note: Yeon is cursing is the phenomenon of first love itself, not Ah Eum.]

His statement is witty, because the word he uses for ‘foolish’ is also pronounced ‘mi’ryeon.’ In this case, though, 'mi’ryeon’ means, ‘foolhardy and dense enough to be stubborn to a preposterous degree.’ Which is probably a fair assessment given he’s been waiting 600 years. The sub for this line made it sound like he’s saying, ‘I’m hung up on her because she’s a human girl who died,’ which would just be weird.

Shin Joo Meets Yoo Ri

Okay, minor detail, but what exactly was Yoo Ri trying to accomplish here before Shin Joo stopped her from entering an off-limits area of the Snail Bride?

The BGM here is called ‘Skip a Beat’ (‘Kanju Jump’). I found the track title slightly surprising since it’s actually taken from an ad lib made by Kim Yong Ji (Yoo Ri) in a later episode.

For anyone keeping track, Shin Joo and Yoo Ri are speaking in a mix of banmal and jondaetmal in this scene.

We next see Shin Joo on the phone with Yeon, whining about the whole ordeal and asking an unsympathetic Yeon to come back and retrieve his necklace for him.

Yeon’s line that’s subbed as, “Deadly?” could mean more than one thing. The line is literally, “What? The thief was deadly?” The word for ‘deadly,’ though, could equally mean that she was a knockout (i.e. gorgeous). It’s probably a bit of both.

Subs: “There’s nothing more pathetic than being blinded by a woman’s beauty...” / “But you also ruined your life by falling for beautiful woman.” For the record, neither of them actually uses the word ‘beauty/beautiful’ here. I would translate this exchange as:

Yeon: You... The most pathetic thing in the world, is being blinded by a woman, and...

Shin Joo: But being blinded by a woman and wrecking your life is something Lee Yeon-nim did too, isn’t it?

Yeon: What, you punk?!

Lol Yeon’s “What, you punk?!” is a familiar refrain whenever Shin Joo unwittingly(?) insults Yeon. The word is ‘imma’ (임마) or sometimes ‘inma’ (인마). Yeon consistently uses the former.

‘Bad Fate’

Subs: “Why is that branch broken? It must’ve hurt.” Yeon is actually personifying the tree here, which makes sense seeing as he can communicate with it. So his line is more literally: “Now why has this kid gone and made a fuss breaking [his] branch? It must’ve hurt.” Which is cute.

I actually really appreciated this short scene of Yeon healing the tree. Yeon may no longer be the master of Baekdudaegan, but this scene showed that it’s still very much a part of who he is; not just his powers, but the care he has for the forest.

Fun (?) fact: It turns out this simple scene was actually a huge pain to film.

Subs: “I hope you grow well.” Actually: “Eat well and grow well.” I realize that sounds awkward in English, but the line is a directive. He’s once again speaking to the tree.

Sub: “The wind is blowing from the northwest. Something is coming.” I would have translated this as: “A northwest wind blows... Something is coming.” That’s partly a tonal choice, but it’s also a more literal reflection of the original Korean.

We finally catch back up to the end of EP02, as Jae Hwan calls Ji Ah from the library to tell her what he’s found. This time, we see her connect the first dead body in 1954 to what the forest spirit told them more explicitly.

The dates of the four incidents are: August 13, 1954; August 25, 1961; September 6, 1979; and September 7, 1987. Ji Ah quickly deduces that these all work out to be the same date on the lunar calendar: July 15th. In 2020, that works out to be Wednesday, September 2nd. If you’ll recall, the wedding at the start of EP01 was held on August 29, so it’s only been 3 days since Yeon and Ji Ah crossed paths at the wedding hall.

“Long time no see, Lee Yeon.” What is it with Imoogi and choking Yeon?

Subs: “You should’ve let me go.” More precisely: “I know, right? You should have let me go.”

Yeon’s final “What are you?” should probably have been subbed as: “I’m asking what you are!” since both his tone and phrasing have grown more insistent.

Subs: Our ill-fated relationship would’ve ended if you hadn’t stopped the boat from crossing the Samdo River. More literally:

Jimoogi: Our ak’yeon should have ended. That is, if only you hadn’t stopped the boat from crossing the Samdocheon.

The word the subs translated as ‘our ill-fated relationship’ is ‘ak’yeon’ (悪縁), which literally means ‘bad fate.’ In contrast to the broader, ‘destiny’ sort of fate (‘un’myeong’) however, ‘yeon’ (縁) is inherently relational. It refers specifically to the fate between two people (or even between a person and a place). ‘Ak’ (悪) means ‘evil.’ So 'ill-fated’ is a bit misleading as a translation since the word actually refers to the relationship between Yeon and Imoogi (i.e. mortal enemies), rather than the fact that Yeon and Ah Eum’s story ended tragically (as in, ‘an ill-fated love’).

WAIT. Subs: “No. That woman is born with a face that only I can recognize. And I don’t see it in you.” What?? That doesn’t even make sense. Yeon’s line is:

Yeon: No. That woman is born carrying a sign that only I can recognize. You don’t have it.

Obviously, Yeon is referring to the fox bead, and I’m fairly sure that was apparent since the line was intercut with the scene in which he imparts the bead to Ah Eum, but that seems like a pretty critical line to fudge up.

Jimoogi: “You really don’t know anything, do you, Lee Yeon?” It’s weird to me that they have Imoogi addressing Yeon as just ‘Yeon’ in the subs. That makes it seem like they’re friends or something...

Subs: “The scar is gone.” Actually: “The wound disappeared.”

Deadball

Subs: “We hate each other too much to play catch. I actually meant to kill you.” Wait, WHAT?! Yeon’s line is:

Yeon: Our relationship is too makjang for that. That was meant to be a deadball, actually.

Makjang, for the uninitiated, is a slang word taken from the phrase ‘the final scene’ (‘majimak jangmyeon’) that has come to refer to an entire genre, as well as particular dramatic elements or conventions of Korean storytelling. Dramabeans explain the term here. When Yeon says his relationship with Rang is ‘makjang,’ he’s essentially saying it’s overly fraught, not that he hates his brother.

He also doesn’t say he meant to kill Rang. ‘Deadball’ is a Korean baseball term for a pitch that hits a player (typically causing the game to be paused). So Yeon’s just saying he meant for the ‘ball’ to hit Rang, rather than for Rang to catch it.

On a personal note, it really bothers me when the subs spread all over the internet and they’re wrong like this. I don’t mind slight changes in phrasing or wording, but when they grossly misrepresent the characters like this it can be a bit upsetting. It’s no wonder I sometimes feel like I watched a completely different drama. ㅠㅠ

Yeon’s cheeky smile™ XD

The BGM in this scene is actually ‘The Forest of the Agwi.’

Subs: “Run away.” Yeon’s line is quite literally: ‘Get away from here,’ or even, ‘put distance between here and you.’ I mention it because I really appreciated that, despite all the danger she confronts, Yeon never once tells Ji Ah to ‘run away’ (‘domang ga’). His second ‘run away’ in the subs is also just him telling her to hurry up (literally ‘go quickly’).

The following banter between the brothers is something I mentioned in an ask a while back because all the humour had been lost in translation. To recap, though, one recurring joke the show uses plays off the word for ‘bastard/son of a bitch,’ which translates literally as ‘child of a dog’ (kae-saekki). As you might imagine, this gets a lot of mileage in relation to Rang, our resident ‘baby fox’ (agi yeou) a.k.a. ‘child of a fox’ (yeou-saekki):

Rang: This is domestic violence, you know?

Yeon: (Nodding) They say you’re supposed to raise wild children* with a firm hand (literally: hit them as you raise them), but I couldn’t do that, so I ended up raising a fox child into a dog child (son of a bitch), didn’t I?

Rang: And who was the jerk who kicked that child (saekki) to the curb? You treat me like a stray dog any chance you get.

Yeon: My little brother, I’ll have to gift you a muzzle this Christmas.

Rang’s line was subbed: “You keep blaming it on me, when you were the one who turned me into an orphan.” which I find fairly problematic since that makes it sound like Yeon killed Rang’s parents. It’s also just plain wrong; to the extent that I’m not even sure what went wrong in the translation process.

The word Yeon uses here for ‘wild children’ is ‘horo jashik’ (호로자식), which many Koreans understand to mean something like a barbarian child, but the true origin, as it turns out, is a parentless child. It’s also a term used predominantly by elderly people heh

Finally, because the dog jokes dropped out ‘muzzle’ became ‘mouth guard’ in the subs, which is both less funny and less sensical. The two are also conceptually opposed, since ‘muzzle’ implies that Yeon means to protect the world from Rang whereas ‘mouth guard’ is more about protecting Rang.

As Ji Ah continues to put distance between herself and the brothers, she happens upon the mudang’s house, which she immediately clocks as such from the obangi.

I like that Ji Ah doesn’t immediately call the mudang out for lying, but instead continues to question her knowing she’s lying. Sometimes the lies people tell can be as telling as the truth.

When Ji Ah questions her, the mudang tells her the fishing ritual is held during the ‘Ghost Festival’. This is a Buddhist festival similar to All Souls Day. In Korean it’s called ‘Baek Joong Nal’ (literally ‘hundred-gather-day’) meaning ‘the day when all the spirits gather.’ It falls on the full moon of the seventh lunar month (so July 15th of the lunar calendar), which is, of course, the date Ji Ah identified as the day when the murders were taking place. That’s why we get the zoom in and the flash to the newspaper dates: Ji Ah has put everything together.

Chyron: “Obangi (五方旗) A five-colored flag symbolizing ‘life, death, illness, sacrifice, and ancestors’”. This is the quick quotes version. Obangi have their roots in the Chinese philosophy of Wuxing, but for more on that, I’ll refer you to Wikipedia. In Korea, the colors of the obangi (red, blue, white, black, and yellow) are known as the five orientation colors, and are closely tied to both shamanism and fortune telling. You’ll notice these same colors flying outside the fortune teller’s in EP06.

I also appreciated that Ji Ah didn’t just foolishly drink the tea here. She was properly on her guard. It’s only that she mis-identified the source of danger.

Back over to our fox brothers. Rang’s line is subbed: “That was plenty of time.” This is more properly: “I think I’ve bought more than enough time by now.” So he’s actually quite overt in telling Yeon exactly what he'd been up to.

Subs: “Don’t you know why she ended up on this island?” More closely: “Do you still not get it? Why that woman ended up coming to this island of all places?”

We see the mudang encircle the creepy well with burial ground evening primrose to ward against Yeon, who is currently searching the island for Ji Ah to no avail.

Subs: “You tricked your mom while you were in her womb.” This is a bit difficult to translate. The word the mudang uses that was translated as ‘tricked’ is ‘ggweda,’ which means to ‘lure’ or ‘entice.’ So what she means is that the part of Imoogi that was reincarnated with Ji Ah ‘lured’ her mother to the island by sending her recurring dreams.

Gumiho

Lol Yeon: “I am the original mountain spirit, the master of the mountains and streams. Lift this darkness and lead me to her!” This is more literally:

Yeon: I am the original mountain god, the master of your mountains and streams.* Part this darkness and lead me to that woman!

[*Note: ‘Mountains and streams’ here can also be taken to mean ‘nature’ at large.]

Lol The line is met with silence and the soft hoot of a lone owl. That’s basically the director’s version of *crickets* isn’t it?

This line is another rare case in which Yeon speaks archaically, and it serves to make the command sound more formal and potentially magical. It’s also worth noting that he’s addressing the forest directly as a whole here (thus the ‘your’).

Fun fact: When Lee Dong Wook did his TotNT VLIVE, his promotional team made him perform this line again live just to mess with him haha

The BGM here as Yeon heads off through the forest led by his (supernatural?) fireflies is ‘Opening Title: The Legend of the Fox.’ It sounds vaguely Harry Potter-ish to me (not complaining).

For the record, Ji Ah is now speaking to the mudang in banmal out of disdain.

Sub: “Be a sacrifice. You are a very special child.” Pfft ‘Be a sacrifice’ sounds oddly funny to me. Her line is: “Become a sacrifice. I’m told you’re a very special child.” So the implication is that this information came from someone/something else.

Does anyone know what BGM this is as Yeon sprints though the forest? I think it might be another unreleased track, but I’m not positive...

Yeon’s “Halt!” is once again in olden speech. It indicates linguistically that he's in Gumiho mode.

Out of curiosity, is it not odd for people watching with subs when Ji Ah’s only utterance is ‘Lee Yeon’ but the subs just say ‘Yeon’?

Subs: “This has nothing to do with the old master of the mountain. Why don’t you keep walking?” I would have translated this as: “It is a matter unrelated to the former master of the mountain. Beg, go along your way.” She’s once again using olden-speech in her second sentence.

Lol Sub: “Says the living corpse.” I like this sub. Yeon’s line is quite literally: “With the ‘juje’ of a living corpse...” ‘Juje’ is essentially your station or lot in life, and it’s used almost exclusively derogatorily.

Sub: “Who was it that provided you with longevity you don’t deserve?” More closely: “Who was it? The one who gave you a lifespan so much longer than you deserve?”

Yeon: “I asked you whom you serve!” (literally ‘what’ you serve). Yeon once again drops into an archaic cant for this line. It serves to underline his full age and gives his demand an extra air of authority.

Yeon’s TAILS. I can’t believe this was the last we saw of them. ㅠㅠ Personally, I interpreted the firey tails as being a sort of ‘shadow’/ projection of his actual tails, which I assumed were actually more physically there (since he talks about shampooing them in the teaser interview). My sister thinks differently, though. Guess we’ll never know...

The BGM for this sequence is naturally ‘Gumiho.’ If you read our EP01 breakdown, you’ll know I was fully expecting this to be Yeon’s theme. But no, it’s the whimsical 'The Fox’s Wedding Day’ instead haha

Okay, Yeon just casually smiting the mudang is pretty badass. Seeing as he can command lightning, I’m pretty sure he was joking when he told Ji Ah, ‘even gumiho are afraid of electricity.’

If by chance you wondered what was going though Yeon’s mind when he smote the mudang, it’s featured in the EP03 subtitle poster.

I appreciated that Yeon just accepts Ji Ah at her word here when she tells him all she needs from him is one arm for support. I feel like in most dramas the male lead would have just forcefully swept the heroine off her feet amidst her protests, which I always find more problematic than romantic.

For that matter, when it became clear that Ji Ah really did need help, I appreciated that she didn’t act shy or coy and just accepted being carried without making a big deal of it.

Pfft The way Ji Ah’s eyes flash when Yeon tells her the mudang was just a human being says it all.

Yeon: “So you say... Excuse me, but you nearly died just now, you know?” This line is once again cheekily in jondaetmal.

*Ominous close up of the well*

Thank You

We catch up with Shin Joo at the supermarket as he talks to Yeon over the phone.

Shin Joo’s ‘PD-nim’ has once again become, ‘the director lady’ in the subs. *Sigh*

Subs: “Your love story is more than just famous among us.” Actually: “Just how famous is Lee Yeon-nim’s love story in our world? It’s obvious your younger brother* must have been playing tricks!”

Shin Joo refers to Rang here as ‘donsaeng-bun’ (younger sibling + polite word for person) for the same reason he calls Rang, ‘Lee Rang-nim.’ It’s an extension of his regard for Yeon, rather than for Rang himself.

Lol Shin Joo hanging up on Yeon. His love for supermarkets and fried chicken are actually in his character profile. Apparently, they’re what convinced him living as a human was worth the existential crisis that came with it.

Sub: “I’m too much of a human to easily fall asleep after such an event. Join me.” More literally: “I’m human, so on a day like today I can’t sleep sober. You* have a glass, too.”

The word Ji Ah uses for ‘you’ here is ‘ja’ne’ (자네), which is a polite term... except it’s only used to refer to people younger than you. So’s she’s talking down to him politely haha This is what prompts Yeon’s line that follows it:

Sub: “I never said anything since it could make seem old-fashioned, but you’re too informal with me when you don’t even know my age.”

Yeon: I kept holding it in thinking you’d call me an old fart, but you’re [using] banmal really blatantly. Just how old do you think I am?”

Yeon’s ‘Just how old do you think I am?’ is rhetorical. It’s not that Ji Ah is necessarily unaware of his true age, but rather that she acts as if she is.

Sub: “Those over 60 are universally considered as grandpas.” Actually: “You know everyone over 60 can be called a grandpa, right?”

Pfft Sub: “Be as informal as you like.” What Yeon literally says is, “Please lower your speech,” but he uses very respectful language to say it. I’m not sure if he’s being sarcastic, or if he just hates the thought of being considered a grandpa that much haha It’s probably a bit of both.

Aww Ji Ah promising to protect Yeon. I luff her.

Ji Ah: "Do I perhaps have something you’re looking for?” I love that she doesn’t miss a thing.

Lol Yeon: “Who am I, Jesus? Just drink what you have.”

The Vanishing

Subs: “Don’t ever resort to cursing people again. Karma can sting.” Quite literally: “You were lucky you kept your life, but don’t do such a thing* as cursing others ever again. They return, you know. Back on the one who casts them.”

*Yeon uses the disparagement marker ‘ddaui’ (따위) to refer to the act of cursing someone here. You may recall it from our EP01 breakdown.

Ji Ah chooses this moment to come running in to announce that the island has turned into a ghost town over night, which is enough to make even Yeon pause, perplexed.

I love the way Yeon and Ji Ah exchange looks here on the dock. They don’ t know what’s up yet, but they intend to find out.

‘Blue Moon’~~~ This worked great scored over the drone-camera pan out. I may be slightly biased, though.

And that concludes Episode 3. Once again, thank you to everyone who commented or left feedback on the last episode! Never hesitate to send me your thoughts, even if they’re just to say what you found funny or surprising. It helps me to know what’s of interest for one thing, but I also just enjoy chatting about the show. ;)

A brief note on pronunciation/notation: for words like ‘sa’ingeom’ and ‘mi’ryeon,’ the apostrophe is there just as a pronunciation guide. So in the case of the former, to indicate that it’s pronounced ‘sah-in’ and not ‘sine’ or ‘sane.’ Similarly, for the latter, the apostrophe is just to indicate that this should be pronounced ‘mi-ryeon’ and not ‘mir-yeon.’ I could have just as easily done this with ‘Hyeon’ui’ong’ except that’s a lot of apostrophes and I set an earlier precedent of not. It’s not an aspiration or anything fancy. Hopefully that makes sense.

Once again, I’d like to credit my sister for being the main researcher and fact-checker for these, in addition to weighing in on all the translations. I don’t always take her advice, but I do always appreciate it haha.

Thank you also to everyone who bought us coffee! Your support is truly felt and appreciated ♡ As usual, this took an ungodly amount of time, so every coffee helps haha. For anyone just joining us (or not), if you’d like to see more of these, please consider buying us a coffee. If you follow the link, you can buy a $2 cup of virtual coffee. This helps me to gauge how much interest there is, and also how much value people place on these. If you cared enough to read all the way to the end, please at least consider it. Once I’ve established there’s enough interest, I’ll proceed with Episode 4. ;)

#tale of the nine tailed #totnt #lost in translation #구미호뎐 #kdrama #korean language #happy new year!

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withthingsunreal · 4 years

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hey guys

did y’all know there’s a limit to how many links you can have in a post

adventure time masterpost part one

♥=my favourites Ω=significant plot (though sometimes this is not immediately obvious) ♪=a song happens ♫=a personal fave song happens ¿=just don’t try to think about it too hard okay

SEASON SIX

Ω 6x01/6x02 - Wake Up/Escape from the Citadel [WATCH] - Finn and Jake need to get to the Citadel, and Prismo agrees to help. But the Lich beats them to it, and it seems he's got some plans of his own.

♥ 6x03- James II [WATCH] - An excess of James.

6x04- The Tower [WATCH] [alt]- Finn's missing his arm, so he decides to build a tower into space so he can punch his dad and steal HIS arm instead. Solid plan, right?

¿ 6x05 - Sad Face [WATCH] - A circus, and a clown.

♪ 6x06 - Breezy [WATCH] - Finn's flower isn't doing so well, and Finn himself isn't feeling anything, but his new bee friend Breezy wants to help. Stay tuned for spook (me, that's me) starting a petition to retitle this show 'what the hell did I just watch.'

¿ 6x07 - Food Chain [WATCH] - Finn and Jake learn about the food chain by, um, living it.

6x08- Furniture & Meat [WATCH] - Mo' treasure, mo' problems.

6x09 - The Prince Who Wanted Everything [WATCH] - LSPrincess has a story to share with the Ice King, and LSPrince has a lesson to learn from Fionna the Human.

6x10 - Something Big [WATCH] - Something something Maja something Ancient Psychic Tandem War Elephant something something feelings?? Listen I don't know what I'm watching anymore ok

♪ 6x11 - Little Brother [WATCH] - Shelby has an accident, ends up with a little brother, and turns to Jake for brotherly advice. Well, giving Finn a sword worked out pretty well...

6x12 - Ocarina [WATCH] - Kim Kil Whan buys the treehouse and tries to teach Jake a lesson about responsibility. It goes suuuper well.

6x13 - Thanks for the Crabapples, Giuseppe [WATCH] - Ice King and his fellow offbeats go on a wizard road trip to form their own secret society.

6x14- Princess Day [WATCH] - Breakfast Princess gets rude with LSP. Mistake! Time for her and Marceline to mess up the Breakfast Kingdom way bad.

6x15 - Nemesis [WATCH] - There's a great evil in the Candy Kingdom which must be stopped.

6x16 - Joshua and Margaret Investigations [WATCH] - Finn and Jake's parents fought monsters, too! Even when their mom was way super about-to-pop pregnant, apparently.

6x17 - Ghost Fly [WATCH] - Jake kills a fly, because flies are disgusting. But ghost flies seem to be worse. Oops?

6x18 - Everything's Jake [WATCH] - Bender searches inside himself and finds that Fry has been with him all along Jake goes on an inner journey, but like, literally. not really spiritually so much.

♥ 6x19 - Is That You? [WATCH] - Jake and Finn mourn Prismo, and then things get super bananas up in their dreamspace.

6x20 - Jake the Brick [WATCH] - Jake observes nature as he spends some time as just another brick in the wall.

6x21 - Dentist [WATCH] - Finn's tooth is in real bad shape, and he has to face facts: it is time for him to Go Dentist.

6x22 - The Cooler [WATCH] - There's a crisis in the Flame Kingdom, and FP makes the (objectively terrible??) decision to turn to PB for help.

6x23 - Pajama Wars [WATCH] - Sleepover in the Candy Kingdom! Nothing terrible is happening.

Ω 6x24 - Evergreen [WATCH] - Master Evergreen and his lizardy minion Gunther attempt to save the world.

¿Ω 6x25 - Astral Plane [WATCH] - Finn goes on an astral adventure, and sees some junk that may be relevant soon.

6x26 - Gold Stars [WATCH] - Sweet P starts school, and makes some new (terrible) friends.

6x27 - The Visitor [WATCH] - Finn follows his dream from Astral Plane and finds his least favourite massive disappointment at the end of the trail.

6x28 - The Mountain [WATCH] - It’s a Lemongrab episode. I don’t know anymore.

6x29 - Dark Purple [WATCH] - Susan Strong and some brave hyoomans on a rescue mission.

6x30 - The Diary [WATCH] - Fandom can be a consuming thing. TV finds an old diary and gets a little too into it.

6x31 - Walnuts & Rain [WATCH] - Finn and Jake get separated and go on different (weird) journeys.

6x32 - Friends Forever [WATCH] - Ice King tries to make himself some new friends. It goes terribly.

6x33 - Jermaine [WATCH] - After Jake has a shared dream with Jermaine, the boys go to visit their brother, who’s still living in their childhood home.

6x34 - Chips and Ice Cream [WATCH] - Chips, chips chips chips. Ice cream ice cream. (A travelling performer passes his curse on to Jake. It doesn’t go well.)

6x35 - Graybles 1000+ [WATCH] - Graybles, again, some more. Apparently the Candy Kingdom is still around however much further in the future, and someone’s still putting up string lights at Marceline’s. So there’s that.

6x36 - Hoots [WATCH] - The Cosmic Owl gets distracted by a mystery lady’s pretty set of tailfeathers.

6x37 - Water Park Prank [WATCH] - Finn and Jake (and the Ice King) spend the day at the water park.

6x38 - You Forgot Your Floaties [WATCH] - Magic Man, up to his usual biz, but this time he’s getting a helping hand from Betty. No way this will go horribly wrong??

6x39 - Be Sweet [WATCH] - For some inexplicable reason, Tree Trunks thinks LSP is a good choice for a babysitter. Yikes.

6x40 - Orgalorg [WATCH] - Gunther and the Gunts throw a houseparty.

6x41 - On the Lam [WATCH] - Martin finds another group of adorable creatures to try to exploit. yay.

6x42/6x43 - Hot Diggity Doom/The Comet [WATCH] - An election in the Candy Kingdom, and an impending catastrophe.

SEASON SEVEN

7x01 - Bonnie & Neddy [WATCH] - The King of Ooo continues his efforts to be the worst. PB has to help someone important to her get back to where he belongs.

7x02 - Varmints [WATCH] - Bubblegum tries to protect her pumpkin patch; Marceline lends a hand.

7x03 - Cherry Cream Soda [WATCH] - A candy citizen comes back from the dead, causing some complications for those he’d left behind.

7x04 - Mama Said [WATCH] - While out on a mission for the King of Ooo, Finn and Jake run into Billy’s ex-gf Canyon and decide to help her out instead.

7x05 - Football [WATCH] - BMO tries to do something nice for a friend. It does not go well.

7x06/7x07 - Stakes: Marceline the Vampire Queen/Everything Stays [WATCH] - Marceline has a favour to ask of PB, which results in her reflecting on the last thousand years of her life.

7x08 - Stakes: Vamps About [WATCH] - Marceline’s old nemeses are back, and she’s absolutely down to take ‘em all on again.

7x09 - Stakes: The Empress Eyes [WATCH] - Targeting the Ice King? Possibly not the greatest plan a vampire could have.

7x10 - Stakes: May I Come In [WATCH] - Jake finds his courage.

7x11 - Stakes: Take Her Back [WATCH] - Marceline’s out of commission, so it’s up to Finn and Jake to take on The Moon.

7x12 - Stakes: Checkmate [WATCH] - Four down, one to go.

♫ 7x13 - Stakes: The Dark Cloud [WATCH] - Marceline has to decide what she’s fighting for.

7x14/7x15 - The More You Moe/The Moe You Know [WATCH (watermarked)] - It's BMO's birthday, and a special guest is coming with a special mission for our lil robot buddy. yay?

7x16 - Summer Showers [WATCH] - Viola helps LSP put on a play, and Jake is super proud.

7x17 - Angel Eyes [WATCH] - BMO bribes Finn and Jake into playing cowboys and bandits.

7x18 - President Porpoise Is Missing! [WATCH] - An undersea authority figure appears to have vanished.

7x19 - Blank-Eyed Girl [WATCH] - Urban legends may or may not be baloney, and may or may not be out to get you.

7x20 - Bad Jubies [WATCH] - One heck of a storm brewing up some real nasty vibes.

7x21 - King's Ransom [WATCH] - Ice King isn't going to let anything stop him from rescuing his best bud, and Finn and Jake have got his back.

7x22 - Scamps [WATCH] - Finn rehabilitates some bad seeds.

7x23 - Crossover [WATCH] - Prismo needs Finn and Jake’s help with a junked-up timeline.

7x24 - The Hall of Egress [WATCH] - A dungeon keeps hitting the reset button every time Finn tries to exit.

7x25 - Flute Spell [WATCH] - Does Finn have a new girl in his life, or is he working on a different sort of magic?

7x26 - The Thin Yellow Line [WATCH] - It Is Okay To Be You, ft. The Banana Guards

7x27 - Broke His Crown [WATCH] - Bonnie and Marcie try to have a dinner date with the IK, but his crown is up to some weird biz.

7x28 - Don’t Look [WATCH] - Finn fails to follow the literal only instruction given.

7x29 - Beyond the Grotto [WATCH] - Sea lard rescue 911

7x30 - Lady Rainicorn of the Crystal Dimension [WATCH] - TV finds a weird box.

7x31 - I Am A Sword [WATCH] - FinnSword gets straight up hijacked.

7x32 - Bun Bun [WATCH] - Remember how Cinnamon Bun used to be... just, like, generally bad? at doing things? okay that but smaller.

7x33 - Normal Man [WATCH] - Normal Man needs some hero help to return Glob to Mars.

7x34 - Elemental [WATCH] - An... ice... princess? kinda??

7x35 - Five Short Tables [WATCH] - Fionna and Cake try to make some artsy-ass flapjacks.

7x36 - The Music Hole [WATCH] - Music happens, some of it on a stage.

7x37 - Daddy-Daughter Card Wars [WATCH] - Charlie helps her Papa work through some card-related stuff.

Ω 7x38/7x39 - Preboot/Reboot [WATCH] - Finn, Jake, and Susan visit a very scientific establishment.

SEASON EIGHT

8x01 - Two Swords [WATCH] - So when a FinnSword and a Grass Sword meet... sometimes some stuff can go the hell down.

8x02 - Do No Harm [WATCH] - Finn and Grass Finn try stuff out.

8x03 - Wheels [WATCH] - Jake tries to connect with his granddaughter by proving he’s cool.

8x04 - High Strangeness [WATCH] - Tree Trunks loves... revolution (｡•`_´•｡)

8x05 - Horse and Ball [WATCH] - James Baxter rides again.

8x06 - Jelly Beans Have Power [WATCH] - PB tries to get a handle on the elemental powers thing.

Ω 8x07 - Islands: The Invitation [WATCH] - Susan sent out a distress signal, and a response has arrived.

8x08 - Islands: Whipple the Happy Dragon [WATCH] - Hazardous seas, or Here There Be Dragons.

Ω 8x09 - Islands: Mysterious Island [WATCH] - Finn gets separated from his friends, but makes a new one.

Ω 8x10 - Islands: Imaginary Resources [WATCH] - BMO helps Finn and Jake get acquainted with the triumphs and defeats, the epic highs and lows of virtual reality gaming.

Ω♪ 8x11 - Islands: Hide and Seek [WATCH] - Memories of island life.

Ω 8x12 - Islands: Min & Marty [WATCH] - Minerva Campbell and Martin Mertens get to know each other.

Ω 8x13 - Islands: Helpers [WATCH] - Finn meets his mom.

Ω 8x14 - Islands: The Light Cloud [WATCH] - The conflicting desires to protect your child while also allowing them to grow and thrive.

SEASON NINE

9x01 - Orb [WATCH] - Some very normal dreamscapes on the return journey to Ooo.

9x02 - Elements: Skyhooks [WATCH] - The boys make it home but things are looking... different.

9x03 - Elements: Bespoken For [WATCH] - The Ice King has a story to tell about a hot date he had, and also tangentially the current state of things.

9x04 - Elements: Winter Light [WATCH] - A visit to the Ice Kingdom.

9x05 - Elements: Cloudy [WATCH] - Finn needs to calm down, and Jake needs to potty.

9x06 - Elements: Slime Central [WATCH] - It's Slime Time baybee

9x07 - Elements: Happy Warrior [WATCH] - A normal one in the Flame Kingdom.

9x08 - Elements: Hero Heart [WATCH] - LSP tries to help Finn listen to his hero heart, while PB just wants everyone to be a little bit sweeter.

9x09 - Elements: Skyhooks II [WATCH] - Let's Get Lumpy.

9x10 - Abstract [WATCH] - Jake is wary of some changes in Jermaine.

9x11 - Ketchup [WATCH] - Marceline and BMO catch up on recent events.

9x12 - Fionna and Cake and Fionna [WATCH] - Ice King gets to hang with the REAL Fionna.

9x13 - Whispers [WATCH] - Finn and Fern help Sweet Pea with some nightmares.

9x14 - Three Buckets [WATCH] - Finn and Fern spend some uhhh quality time together

SEASON TEN

10x01 - The Wild Hunt [WATCH] - Huntress Wizard needs some assistance, and Finn has some junk to work through.

10x02 - Always BMO Closing [WATCH] - BMO and Ice King team up to become a door-to-door salesman.

10x03 - Son of Rap Bear [WATCH] - FP needs to work on her rap game.

10x04 - Bonnibel Bubblegum [WATCH] - Family junk is complicated.

10x05 - Seventeen [WATCH] - It’s Finn’s birthday! Let’s get Arthurian up in here.

10x06 - Ring of Fire [WATCH] - The marvelous misadventures of Tree Trunks.

10x07 - Marcy + Hunson [WATCH] - Marceline’s dad is in town and totally embarrassing her again.

10x08 - The First Investigation [WATCH] - Finn and Jake look into some haunted happenings at Joshua and Margaret Investigations

10x09 - Blenanas [WATCH] - Finn wants the highest possible authority to weigh in on whether or not he is funny.

10x10 - Jake the Starchild [WATCH] - Jake’s gotta save the world. No, a different one.

10x11 - Temple of Mars [WATCH] - Jermaine and Finn gotta rescue Jake, and in the process maybe help Betty work through some things.

10x12 - Gumbaldia [WATCH] - Peace talks.

♥Ω♫ 10x13 - Come Along With Me [WATCH] - Everything stays, but it still changes.

#adventure time #maybe i will also figure out how to make the folder accessible #that's probably easier right?#though less fun bc i am sure you all love my summaries #right #right guys #anyway here it is #done at last #so we can all cry about it together

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cookiedoughmeagain · 4 years

Text

Haven DVD Commentary: 5.10 - Mortality

Commentary with Speed Weed (writer of the last episode) and Adam Higgs (writer of this episode)

AH: This was my first episode of Haven to write. It was a lot of fun. SW: Yeah you came in when we were already a couple of episodes into the season, and you just got up to speed so fast, it was really great. AH: It was a really nice room to come into, great writers, good people. So we changed the opening of this episode a lot. This fist scene of 5.10 was at one point at the end of 5.09, we had it further down near the end of act one at one point. [As we see Audrey driving] SW: There’s the Toyota integration AH: Yes, and a nice beauty shot of the Toyota there. So Audrey here is coming back from dropping off Hank SW: And Emily is talking here to Lucas Bryant’s wife, who did such a good job on the show [as Rebecca Rafferty] AH: I really wanted to start this episode with lots of tension. I thought Speed took us to a nice level, everyone’s against each other, there’s so much conflict going on, and I wanted to start this episode really hot and just push through. And keep raising the tension to be honest. SW: Yeah, and it ramps up very high, by the time we’re done.

AH: So, the fact that this contagion does set off Troubles like crazy, made this episode have some of the most Troubles SW: I don’t think we’ve ever had nearly as many Troubles on one episode as this one AH: I think we might have trumped it with our next pair of episodes, but up to this point it’s a record SW: And it was great to have your fresh blood in the room because, we sort of have this exhaustive pile, or what we thought was an exhaustive pile, of potential Troubles. And you had the challenge of having a bunch of little Troubles, or not little - they were big Troubles but we didn’t make big stories out of them. So you had to sort of ping them here and there; this Trouble’s happening, then this Trouble’s happening. And you did a really good job of getting a whole bunch of Troubles into one episode that we’d never seen before. We as a room had never talked about before. AH: it was a lot of fun. There’s a list for the room of Troubles that they wanted to have in previous episodes, but didn’t have enough context to tell a whole story around, so we were able to talk those dribs and drabs and mush them together to make one big story.

AH: Another nice shot of the inside of a Toyota there [as Charlotte puts the dashcam on.] And this is a nice little scene here, a bit of Haven meet-cute. SW: Yeah; for our first date we can go to a firing range and you can shoot me! Adam you wrote some scenes for Laura’s audition [Laura who plays Charlotte]. Was it a version of this scene? It was before we had actually gone to script on these episodes. AH: Yeah, there was a version of this scene, and then a version of another scene which is coming up later. So we got to hear her perform some of this in our audition.

SW: There was even an earlier version where Dwight’s last line in 5.09 was “I’m going to tell her [Charlotte] about the Troubles.

*both laughing at Mara and Duke’s first lines to each other* AH: I like the interplay between Duke and Mara SW: Yeah. AH: It’s nice to pair certain characters off together; Duke and Mara, Charlotte and Dwight. SW: It’s a big decision for Duke here, it alters the course of the entire season. AH: What a different show it would be if he was just like; Nope. And left Mara chained up for the rest of the season. And that nice sly smile from Mara there.

AH: So again a couple more Troubles here to demonstrate [the Guard member turning a banana ripe with her touch]. One of the things we wanted to do here was just really try to deal with the reality of what it would be like for a person of science to see the Troubles and really accept what it is. And so we see some push back, instead of how often on a show like this, or on this show, it’ll be like; I’m magic! And there’s just an acceptance right away. But we wanted to really push to see what it would take for someone to buy it.

[As Vince is talking to whichever public official it is in Bangor] AH: So here is Conrad Coates who I worked with on Republic of Doyle, it was fun to have him here for this storyline. We got to have Vince throw his weight around a bit, which I really enjoyed. SW: I love that he decided to wear a tie but keep the plaid shirt. AH: And I think Conrad is now on a sci-fi [SyFy?] show … I want to say Dominion I think he’s been cast in, as a new regular.

[As Audrey and Nathan are on their way to the cells to speak to Victor Kirby] SW: Here’s a story line that worked out very well, but I wish we’d had a chance to do your original - you were going to do a nod to Kristine … AH: Yeah so Victor Kirby who we’re about to meet, has a very different Trouble from what he originally had. We had planned to have him have the machine Trouble SW: Louis Pufahl’s AH: Right, machine man with the zamboni episode where machines fell in love with him and reacted accordingly. And Kirby was going to have a Kristine-like Trouble, but instead of the machines loving him, because he treated them poorly they were trying to kill him. So we had this wonderful sequence with a car chase and Nathan trying to take out the engine and stuff and it was great. We went pretty far on it; Rick, the director had it all story-boarded out, and then we ended up having to cut it. SW: It just proved too expensive in the end I think ,right? AH: Yeah, it was a cost issue. So we went and looked for a different curse for him to have. And one of the fun things here was to bring back something from a past episode. And the ability to see the future, in a way, was a fun one just to tease what’s going to happen. SW: Well the pay off is great. It did much more for the arc of the season than the Kristine one would have done. AH: Exactly, it did just fit into place a lot better. SW: Yeah; he sees Audrey’s death. AH: Vanessa Stanley’s Trouble. And it also reminds us of Duke’s experience of this Trouble in terms of the vision Vanessa had of the arm, which we’ll play on in episode 26.

AH: I love that little dog on Duke’s dashboard there. And again, it was such fun to write these scenes. Mara has such a different voice from a lot of the characters on the show. And again this is a really tense episode, the stakes are really high and she’s able to inject a bit of humour, a bit of fun. AH: And this was fun, getting to have Stan have a little interplay here with Eric. SW: Good old Glen Lefchak, such a nice guy. AH: So we’ve got a Victor Kirby and Stan the Man references, going back to my love of the printed form. So references to Jack Kirby, and then Stan Lee, for Duke’s “Stan the Man” line. I think that’s all I did in this one, sometimes in other episodes I’ll name everyone after a hockey or something, so I always try to have some kind of naming convention. SW: Oh that’s good, I’ve never done that.

[As Charlotte is looking through press clippings about gas leaks] AH: And again we’re trying to deal with the reality of it all. SW: Yeah, make Dwight earn it. AH: And it’s kind of fun to deal with the layers of it all. One of the things we haven’t talked about yet is how Vince and Dave have been using the paper to hide the Troubles, but now we’ve also got this character Peter Palek who’s been using information and data to hide the Troubles for years - his whole life basically.

[As we see the Troubled bear suit in the station] AH: I love this music, it’s such a great little cue. And it was great how well this bear curse lined up with what’s going on with Audrey. SW: Thematically with Audrey, right; her worries about is she just an empty suit like the bear AH: There’s some wonderful resonance there. And I like the interplay here with Nathan and Audrey too. It was fun in this season, and coming on board in this season, with the relationship between them being a bit more solid. It’s not a will-they-won’t-they thing, it’s more of a; We’re a couple and we’re in a relationship, and what is like when you’re in a relationship; how you protect each other, but can still give each other space, because you’re in that comfort zone of knowing that this is going to continue. You don’t have to always be buying flowers and dinners every night. Though I’m sure Nathan still does do that every night. SW: Oh, for sure. AH: And again there’s some call backs to previous Troubles there [as Nathan is mentioning douens and golems]. It was fun to come onto a show that has so much mythology and so many stories to highlight. And I think one of the goals for this season was just to lean into that a bit and make reference to where we’ve been and - [sentence cuts off abruptly, presumably as they go to the ad break]

AH: There’s Jayne [who plays Gloria]. I liked writing for her as well, she has an interesting role as a character where she can say some things that no one else gets to say. SW: Yeah, totally free of pretence

SW: It’s interesting about Audrey and Nathan’s relationship. It makes me think that in a lot of ways - I certainly hope the show comes back, but we were writing it to 5.26 imagining that it might not, and wanting to wrap it up in a satisfying way. And, as all shows do, or certainly supernatural shows as they age they become much more serialised, and you can see how much more serialised we’re getting here. And it allowed us to take Audrey and Nathan to a new level, because we didn’t have to build up from there. But if the show comes back, it will come back in a way from 5.26 that has to be reinvented; it coudln’t be the same show. The stakes get too big AH: Yeah we can’t just pick up from where 5.26 left; so much has changed, so much is different. SW: No, I mean, we bring in William Shatner, that’s now big it gets. The Captain himself.

AH: So again we’re ratcheting up the tension here SW: Yeah, if 5.09 was structured as a farce, this is structured as a disaster movie.

AH: It’s interesting, five seasons into a show, getting to see how characters grow and change. Like Speed was saying, it becomes more serialised. And just to see how far Dwight’s come since his first episode when he was a fixer in the background. SW: Yeah, huge change. AH: And he’s now in charge of the Guard, in charge of the police. He’s the hero of this town and he has to act like it. Big decisions, big pressure. SW: And we did that because he let us. He came out of wrestling, never really having acted before, and just did a phenomenal job. And every time we gave him a new inflection, he really delivered. So we really came to feel that there was nothing we could give him to do that he wouldn’t just hit out of the park, and he did. He has a long career in Hollywood if he wants it. AH: For sure.

AH: Now I don’t remember exactly what the combination is on this lock [on the safe in the police station with the aether in], but I do know it’s a Stephen King reference. And this was fun for me to write [as Mara and Duke hid under the desk when Dwight comes in]; inadvertent sexiness. And I’m sure it’s going to be OK that Mara knows the combination to the safe now. SW: She’ll keep it to herself. AH: Exactly, she’s a very private person.

AH: I like Conrad Coates’ wardrobe here; he’s rocking that yellow tie with the yellow shirt there. Very different palette. And these were some of the issues, you know that maybe somebody influenced a political campaign, the Troubles in other parts of the world besides Haven, when we came up with the idea of the shroud, this was an answer to what’s happening outside Haven with the Troubles.

AH: Peter Palek is named after a doctor friend of mine, a good friend of mine, Gary Palek. And I’ve named a couple doctors after him in various shows. And we looked at Contagion the movie to get some of this nice research - and then of course, looked it up. But this R0 stuff [that Peter is writing up on the blackboard in the morgue] SW: And the other source of information that we had that was very helpful in these two episodes, is Adam has a close relationship with an epidemiologist in Canada, right? AH: Dr David Kelvin, my girlfriend’s father, is one of those WHO (World Health Organisation) doctors who travels around the world. He’s in China right now actually, there’s a bad outbreak there. So, if it goes really bad, then sorry you’re listening to this at the end of the world, but enjoy! [I feel the need at this point to note this was being recorded in 2015] SW: I love that the dude has a farm in the middle of nowhere in Canada in an undisclosed location, and suggests that everyone have such a place for armageddon. AH: Well the scariest thing was over Christmas I was told to stock up on tamiflu. But he was a great resource for some of this information on how diseases travel and how a CDC doctor would react. And odd fact about him is he wanted to be a screenwriter when he was younger, and ended up becoming a doctor instead. SW: Oh really! You can shoot him a freelance someday.

AH: Oh here we go, this was the scene that I wrote for the audition [Charlotte telling Dwight about tearing her containment suit in the middle of an outbreak in the Congo]. And she nailed it then and she nails it here again. And those were really the first scenes I wrote for Haven, and Speed gave me really good notes on them. I have to give huge props, and it helped so much to get that out of the way before I got to write this episode. So thank you again Speed. And there’s a reference to Cake Lady again! We love cake lady [the woman who everything she touches turns to cake] SW: She comes back in 26 doesn’t she? AH: I think so. SW: I hope she does. I haven’t seen a cut of 26 yet. AH: I have yet to see it as well. There’s a lot of cameos in 26 though. SW: There are; a lot of people involved. All shot in Canada. AH: Really good work by the two actors there in this scene. And props to Rick, the director as well.

[As Dwight is talking to Kirk in the hospital] AH: So this was an interesting bit of casting here, where we had numerous different characters in this role and it ended up working really well because Kirk continues on in the next two episodes. SW: Very prominently, and we’ve seen him before. AH: We have, and this was a different Guard member for a couple of drafts; it kept changing. Very happy where we ended up though.

[As Mara watches Charlotte leave the lab] AH: Now for everyone at home who’s seen the next few episodes, this is a big moment for Mara. SW: Huge. AH: Huge moment. She just saw … somebody who she’s kind of related to

[As Nathan and Peter talk to Dwight about how Peter is the source of the contagion and we see him struggling to stay calm about it] SW: We’ve always been interested (since I’ve been on the show starting from the beginning of season four) in people that you can’t Trouble Whisper. Shernold and I wrote an episode, 4.12, about a Troubled baby; you can’t Trouble Whisper a baby. And Adam did a great job here with someone that you can’t Trouble Whisper because Troubles work on emotions and Peter Palek is Asbergers - we never quite say it but, AH: He’s on the spectrum SW: Right

AH: I remember this was a later addition, this oxygen Trouble [Kirk’s Trouble sucking the oxygen out of the room], and it worked really well SW: It worked really well. Though we went back and forth about how Duke could actually move when everyone else was down. I forget what we added; oh he’s a scuba diver AH: There’s a scene that was added where he gasps for air at the open window. But we had gone through a bunch of things.

SW: Different Troubles are different in our universe. If someone dies in the middle of expressing a Trouble, some people the Trouble dies with them, other people it can live past them. We think it makes sense. AH: I think so. It was interesting coming on to the show because everything is well thought out. Nothing is random. There’s so much logic behind everything. The history of Troubles of how everything happened in previous episodes is all thought about, nothing is discarded, everything has to line up. And it was interesting to come on board and find how to tell these stories within those margins and those rules. Which I thought made for better stories.

AH: Now Nathan here is not remembering what you learn on an airplane that you should put the oxygen mask on yourself first. SW: He isn’t, but there was only one. He had to put it on his beloved.

AH: So here’s Duke taking a big breath out the window before he goes inside the hospital SW: His pearl diving. For black pearls.

AH: I love the shaky camera work here [to show the lack of oxygen]. Really good work by Rick. SW: Absolutely. I wonder how he shot that; is that a Go Pro on her chest? When you see their arms in front. AH: I think you’re right I think it would have to be. SW: Rick our director was a camera operator and then a DP and then a director, and you can really see that the camera work is just exceptional.

[As Peter is talking to Duke with Mara outside the hospital] SW: This ability of Duke’s has been quite the story engine for us over the years. It’s a real curse, to get a great benefit from killing somebody. What do you do? It’s a moral dilemma of the highest sort. And we’ve done a lot of flavours on it, but we hadn’t done this yet, where Mara forces the issue. Super cool, you did a really good job on this Adam. AH: And that ability, the fact that Duke is special, that Duke is different from everyone else, really builds for the end of this season and then even into the next SW: Much more so for his finale, so to speak AH: I really liked this a lot how all of the Troubles aren’t just powers they are actually curses, things you wouldn’t want to have. And they’re emotional, everything is routed in emotion, and there are places for the characters to go because of that.

AH: So there was originally an additional scene. This [where Dwight wakes up on the lab floor and Charlotte finds him] was not initially the last scene between Dwight and Dr Cross here, we went further on the first draft of this episode where they actually kiss. SW: Oh I had forgotten that. We just have to wait until 5.11 I guess right? AH: It might be 5.12 I think. But it would have been too fast to have it here. It was a great choice to wait. And the chemistry between Audrey and Nathan here is great. I loved writing them as a couple.

Nathan, on screen; “Things are finally starting to look up.” AH: Oh, can’t have that, things can’t go too well in Haven. Audrey; *coughing fit*

AH: And it was fun to tidy up this episode with all these little coda scenes at the end because there’s just so much more coming. SW: And I just love this scene Adam [Mara talking to Duke in the front seat of the landrover], really, it’s the kind of emotional scene that we don’t get to do too often. It’s very real. It takes a supernatural thing where he had to kill this guy, and talks about the manipulation behind it. AH: It was interesting, I do believe personally from a writing standpoint that with Mara there is some honesty here. There is some truth in what she’s saying. SW: Yeah. AH: This isn’t just her trying to trick somebody. And that’s a fun device too, of Mara knowing everything that Audrey did, having all of Audrey’s memories. It’s a really unique way of utilising a character when you can flip their perspective completely and you still have all of that context. Mara, to Duke; “We’re on our own.” AH: It’s fun to think of this through the filter of what Mara just saw, seeing her mom.

#haven syfy #haven 5 #haven dvd commentaries #5.10 - mortality

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