#This show is a masterclass in having your foil characters actually be in love with each other

[zoomclown]

So it goes like this.

Warren and Gordon are foil characters.

I've been thinking about it a lot.

How Gordons primary goal is gathering knowledge. He wants to learn as much as he can about Cryonics, about Red Valley, about overhead. How Warrens primary goal is ignorance. He will do anything to avoid having to learn about his past. He doesn't care what other people know about him, but he doesn't want to confront the truth himself.

How Gordon is patient, watching and gathering information about Red Valley for years, all the while managing to fly under the radar of the very company he works for. Laying in wait. How Warren is impulsive and reactive. How literally the day after Warren learns about Red Valley he decides in a moment of avoidant spontaneity that he and Gordon are going to pay the base a visit.

How the only time either of them deviates from these behavior sets are in regard to each other.

Gordon could learn about Warrens past at any time, but he actively avoids that information. He chooses ignorance for Warrens sake. Meanwhile Warren, upon waking up in 2064, demands information. He doesn't want to escape into oblivion anymore, he wants to know if Gordon is okay. He wants to know where they are and what's going on. He is choosing to *know* because of Gordon.

Gordons riskiest, most impulsive decisions are all for Warrens sake. Gordon has spent *years* covering his tracks, doing everything in his power to remain inconspicuous. But within a couple weeks of meeting Warren, they are going to red valley together. Everything from following Warren into the building in the first place to sending Aubrey the files to choosing *not to run when he had the chance* because he just couldn't leave Warren. All of that was far riskier and more impulsive than anything he would have done before meeting Warren. Meanwhile Warren, who has only ever ran and hid, who avoids emotional discomfort like the plague, who doesn't seem to have managed to maintain a single adult relationship, chooses to wait for Gordon. Warren who has never waited for anyone, choosing not only to wait for Gordon, but to sit through a 40 minute recording of Gordon waiting in the rain because even across time he can't just let him go through that alone.

So yeah anyway I think about them a completely normal amount.

[hatchetfieldtheories]

Return to Hatchetfield-Town - TGWDLM Part 3

Have I been putting off this part because of sad Bill? Maybe.  Or is it because of all your amazing Ridiculous Hatchetfield Theory submissions? Yeah, you were right the first time.  I just can’t deal with sad Bill.

We left part 2 of the TGWDLM rewatch where the Scooby Gang had turned up at the spooky mansion, which can only go well, and we come back in part 3 as they’ve left the tied up resident bad guy alone with the one person who has a weakness for said bad guy.

Links to previous parts

It’s Ted loving time and I make no apologies for it.

Am I the only one who saw the scene with Ted and Charlotte and immediately got sent back to MAMD’s Joey and Sally?  It’s so good seeing Joey and Jaime acting opposite each other like this again, they both bring the same amount of chaotic brilliance.  

I have no jokes to make for this, I just needed a gif of the “slap” here.  Beautiful.  Iconic.

Here we see a bit of the true Ted, the Ted we see in Time Bastard.  He’s an idiot sure, but its obvious he is actually a hopeless romantic who really cares for Charlotte, underneath an exterior of “sleazeball”. 

When I originally read what happens in Time Bastard I will admit it didn’t really fit with the image I had in my head of Ted.  Ted is first and foremost played for laughs.  He’s selfish and arrogant and funny.  But rewatching TGWDLM, especially with Time Bastard in mind, you do see where Joey let’s Ted’s façade drop.  You see it at a greater extent later when Charlotte dies and Ted goes off on one to Bill.  But you also see it here (I’m sorry Ted fans):

Serious gifs, who is she?

Now. What’s happening in this next little scene? Are we ready for some tin foil hatting?

What do you want Charlotte?

Continuing our theme of characters explaining what they want in clear and certain terms, Charlotte starts praying to God, then Sam wakes up.  Was Sam waiting for everyone else to leave before “waking up” in order to target Charlotte?  Or were Charlotte’s prayers answered by an Eldritch being with the capability to control the Creedy Chorus?  Later Sam says that he “saw god”.  

In Black Friday, Linda attempts to issue in the “birth of a god.”  God is certainly a word the Devil Dolls are happy to attribute to themselves.  Somehow I don’t think it would have mattered if they had gone to a Methodist or Presbyterian church.

Opinion time: Tied Up My Heart is a full on rock bop and deserves way more praise and acclaim. You could have told me this song was from Rock of Ages and I would believed you.

“Don’t you twust me” – serious Wiggly vibes there Sam.

This is kinda catchy Sam!

In part two we briefly discussed when Hidgens became infected, and there is some theories that believe he was infected from the moment he touched the blue brain goo, leading to Show Stopping Number happening.

Charlotte was infected the minute she touched Sam’s brains.  Like Hidgens, it happened slowly, but its very clear it had begun to take root in this song.  Tied Up My Heart is to Charlotte, what Let It Out is to Paul.  They both find themselves dancing without meaning to, they both begin to hear the music.  I’ve mentioned previously that Tied Up My Heart is the only song in which there is an offstage chorus, which would be strange unless for the first time we’re hearing the show as Charlotte is hearing it – she’s beginning to hear the rest of the Hive.

 The only difference between Charlotte and Paul is their wants during these pivotal numbers.  Paul is trying harder to fight the song because his want is to destroy the meteor.  Charlotte isn’t able to fight the song because her want is Sam… and the song is giving her that. 

I think this is the part of the musical where most people pause and proclaim… what the hell am I watching. Which, you know… valid.

Can anyone tell me what foreshadowing is?

Ted just casually predicting the ending of the show.  Take out the head and the whole thing falls down – an historically inaccurate statement in the proceedings of Hatchetfield’s apocalypses.

Exhibit A – Taking out the meteor does not stop the hive.

Exhibit B – Sending a Nuke into the Black and White does not stop Wiggly.

I don’t know what Nerdy Prudes will be about but heads up to the characters – maybe don’t try and destroy the root of the issue as your solution.

Obviously there is a lot of story in Emma and Paul’s discussion here, a lot of which gets unpacked and revisited in Forever and Always, but I’m not really going to delve into the specifics of it here.  My biggest take away from this conversation is that Emma explains her past, and her intentions for the future, but at no point is it ever clear what her want is. 

In a musical where character’s are killed because they want something, is it any wonder Emma is the one who survives at the end?  She doesn’t have any big, ultimate want.  She’s jaded and tired, until the end… when what she wants is for Paul to have survived.

This shows a clear distinction between how Pokey and Wiggly operate (and the others, but we’ll discuss them when we get to Nightmare Time.)  Both of these Bothersome Brothers use wanting as their tool of chaos but in very different ways.

Pokey wants you to want something, in order to tempt you with that in order to destroy you.

Wiggly wants to find holes to fill with exaggerated, artificial echoes of a want.

The new game at Toy Zone – Bop Ted

Does anyone else forget for a bit how amazing Jaime’s voice is and then finds themselves entranced when Join Us and Die happens?  I’m sure there is some lore in this song but I’m far too distracted.

If we refer back to our Violence over Time chart from part two of the rewatch you will see we have now fully arrived at the point where the Hive has stopped trying to just entice everyone with fluffy feelings before murdering them, and are now just resorting to “we’re gonna kill you and it’ll hurt a lot.”

I know there is plenty of discussion regarding whether Hidgens is good or bad, infected or not infected etc – but none of that matters.  What matters is he makes the same crappy puns I make in inappropriate situations and I think that’s beautiful.

“The Charlotte you knew and loved was gone the minute a note came out her mouth.” – Snape’s back with the foreshadowing again.

Hidgens then proceeds to subject our heroes to a very intricate test to find out who is human, and who is the musical Doppleganger (one of the AJ Holmes fans there).  I’ve seen Moana once, and I became obsessed with the bioluminescent crab so I don’t remember any of the other songs apart from Shiny.  This is a problem because the only other song I know from Moana has now become Paul’s version of whatever it is he is singing. I refuse to believe there is any other version of that song.

“Their tactic is to hide amongst us, and as their numbers grow, they become more bold.” – yes Hidgens – we’ve all seen the chart.

Acting Masterclass with Corey Dorris

Bill gets a phone call from Alice, she’s stuck at Hatchetfield High and her girlfriend and the other kids have become singing and dancing zombies.  Is this a prequel to High School Musical?

Its worth noting that Alice has locked herself in the Choir room – Hatchetfield High’s number one place to hide when things are going badly - x

Look what happened Nightmare Time.  

Corey Dorris’ face pulls on every heart string I possess.  Not Your Seed is a fantastic song, with some superb singing by Mariah, but the heart of this song is Corey.  Bill is a broken man from the moment he echoes Alice’s words that Grace Chastity is a Nerdy Prude. And the voice crack!

Small warning here for a very brief discussion about suicide. If you want to skip past scroll to the next gif.

The song is an attempt to bring Bill to the Hive, but I think the plan from the start was to push him to shoot himself. Bill wants his daughter back, he wants her to be a part of his life, but unlike with Charlotte, where Hive!Sam attempts to convince her he’s not really dead and wants her, Hive!Alice uses Bill’s want to break him further and further, swinging between Alice’s love and disdain for her father.  This isn’t an attempt to lay a trap and kill him when he falls in it, it’s a blatant push towards him killing himself.  The Hive only picked up the gun because Paul was there to stop him.

I also find the mirror of this moment to later in Watcher World very fascinating.  We obviously know Pokey and Blinky are brothers, and I wonder if the set up leading Alice to point a gun at Bill in Watcher World is Blinky’s twisted humour, echoing what he knows happened in another timeline.  A horrible joke that would be lost on Bill and Alice in that timeline, but very recognisable to all of us Watchers.

Once again the Hive could have easily killed Paul, but they don’t.  They make a big song and dance (get it?) out of how the guns not good enough to kill him with and then they start singing at him just in time for the army to turn up.  The Hive had no intention of killing Paul yet, though obviously they can’t let him know that.  Paul has been chosen as their Hero.  He’s got work to do.

Hatchetfield High Homework

Just the one this week, I’m currently doing an Ask series where I attempt to make ridiculous sounding Hatchetfield Theories make sense.  You can find them by searching Ridiculous Hatchetfield Theories.  Go and have a look and follow the wonderful people sending them in.

When the rewatch returns, we get our first peep into the world of PEIP.

[ultrahpfan5blog]

Brooklyn Nine Nine: Season 7 Retrospective

Finally done with season 7. I'm pretty impressed that I managed to finish all episodes before season 8 began. But that also speaks to the bingeability of the show. Season 7 is one of the less eventful seasons of the show in terms of plot. Unlike the previous seasons, there are no plot through lines or sub stories that drive the season. Its a very light and fun season with no major darkness lurking throughout. If I had to pinpoint one arc for the season then that would have to be Jake and Amy trying to have a baby with the season ending with the baby's birth. So the season basically charts them trying and then conceiving and giving birth.

This season does feel a lot faster and that obviously has to do with it being the shortest season. All the episodes this season are enjoyable. The first half of the season deals with a shift in dynamics of the precinct with Holt being a patrol officer. The show has some fun with that, since it gets him actively involved in more frivolous activities like the Jimmy Jab games, having to deal with doing mundane duties and taking orders from Jake and Terry in various episodes. The first half of the season also has Vanessa Bayer as a guest star in a handful of episodes as Debbie and she even has an episode named after her. I know people have a mixed opinion of her but I quite enjoyed her kooky vibe. I think the show missed an opportunity not following up on the dead twin sister idea that was planted in the premiere. That could have been fun. We get returns from Adrian Pimento and Doug Judy. Pimemento is a fun episode.

Like I mentioned before, I enjoy all the episodes. However, the Jimmy Jab games II isn't quite the home run compared to its predecessor in season 2. Its not quite as snappy with the pacing and humor but it gives Rosa and Holt some nice moments as well as show how Jake and Amy have now grown as a couple but haven't changed in essence of who they are. Valloweaster is another strong heist episode and it has some neat twists. Its not quite top tier heist episode but it ranks somewhere in the middle. The show got a fairly big casting coup by getting JK Simmons in the titular role as Dillman. That's a strong Charles episode and a good one for the Jake and Charles dynamic. Its always cool when they flip the dynamic a bit.

There are a few episodes that I really love. Towards the top of the list is Trying which is the most serious of the episodes of the season. And its a very effective one at that. Having experienced my sister close hand through the struggles of conceiving, the episode rang very honest and true and in the end, beautifully bittersweet. I thought the way they handled how exhausting and stressful the process is was very well done and I like that they let the episode end on a bittersweet note. They didn't puncture the drama of the scene but they also showed why Jake and Amy work so well together. They are always there to comfort each other even during difficult times. The only thing about this that doesn't work is no fault of anyone, which is that Melissa Fumero was so obviously pregnant all season. It does make it a little more difficult to buy into it, but I can't hold it against the show. I also thing that for drama purposes, they should have held them actually getting pregnant for a few episodes. I suppose it was tough to do so given how Melissa was showing quite prominently and they couldn't hide it for much longer. Irrespectively, Ding Dong is also one of the funniest episodes of the season. As with every season, there are always a couple of Holt special. This episode is a Holt special. We get both petty Holt and vindictive Holt, with a gloriously reactive Rosa to boot. It also was a sign that the show was starting to wrap up mentally with them killing of Wuntch. I thought they addressed the rivalry and Holt's feeling of her being gone very well. But the episode was a masterclass of Holt insults. Similarly brilliant is Ransom, which puts the Holt, Kevin, and Jake dynamic in the forefront. Adding Cheddar to the mix and there is no way to go wrong. Only Andre Braugher can make you crack up with a fierce delivery of "you took the wrong fluffy boy" and yet have it be completely believable. The action scene with Holt is probably the longest action scene I have seen on the show. Jake's reaction to the whole thing is delightful. Like with the wedding episode, 'Lights Out' also falls into the standard "everything goes wrong during birth of child" episode. But its heartwarming and funny and very true to the characters. Pretty much everyone gets to deliver memorable moments. We get a great Rosa and Amy dynamic with Rosa taking care of Amy while Amy takes charge during a blackout while her water broke, we see Terry and Holt dancing to hip hop, we see Jake and Charles foiling a bank robbery, and we even see Hitchcock and Scully make a birthing suite for Amy at the precinct. Its a very fun way to end the season and it ends ironically with the words "everyone wash your hands".

In many ways season 7 felt like the show finally starting to wrap up. the ending of the Wuntch and Holt rivalry was one sign. Also the show completed the arc for Jake that I always foresaw for the character, where he went from being an irresponsible man child in season 1 to a responsible adult who became a father, without loosing his innate goofball charm. I feel the show successfully completed that arc, which was evident in episode like Admiral Peralta, where you see he is by far the most mature of the Peralta men. As a result, I was not too shocked when they announced the end of the show with season 8. With the events of 2020 and the way the season ended, it felt that the show mostly just needed to close the books on the characters in terms of their professional lives. The season was a fun blast. Its not the level of season 1, 2, and 5. Its better than season 4 and 6. So it lands along with season 3 at a 8.5/10. While its sad to see the show come to an end with season 8, I am happy it gets to go out on its own terms. I am curious to see where the characters land. Will Holt become Commissioner, will Terry become Captain, will they flash forward to Amy becoming Captain. What happens with Rosa and Charles? Captain Kim did open an interesting notion for Jake maybe joining the FBI. That seems like the right sort of career progression for him since he isn't interested in management type of work required in becoming Sergeant or Lieutenant or further. Whatever it is, I'm confident the show will end on a good note.

[rwbyconversations]

Why Emerald and Mercury’s scene in Lost is one of the best scenes in all of RWBY

Lost is a really underappreciated episode in Volume 6. It tends to get overlooked because Dead End precedes it and that’s easily the weakest episode of the season, while right afterwards we get the three-parter of the Argus Battle and Adam’s return meant focus was shifted for a hot minute. But I adore this episode, nearly every second of it barring some choices at the end (barring Oscar getting shafted for development- again- and Ruby’s oddball speech of “we didn’t need adults this far” to Qrow), but it’s honestly one of the best episodes of the season in my eyes, and that falls down to one major scene- Emerald and Mercury’s conversation in the first third of the episode, which is one of my favorite scenes in all of RWBY.

I know when people think of character arcs involving Lost they tend to go for the obvious lure of the Pyrrha statue, which, to be fair, is a really solid character moment and I loved a lot about it- especially the small reference to the Volume 1 OP of Jaune looking at the statue, it’s framed with almost the exact same camera angle. But as someone who mains my two murder kids, I cannot stress how hyped up I was going into Lost. Finally, after years of being relegated to background fodder with their one big moment since Volume 3 being their humiliating appearance at Haven where Emerald took a literal dive and Merc was left holding an arm like a numbnuts, Lost was gonna give me the content I’d been waiting for.

The fact that Merc and Em were getting the thumbnail- something neither of them had been in since Volume 3- was something that made my goddamn day when the thumbnail went up on VRV

And ultimately, I think the scene delivered, and delivered with a gusto that makes me unironically call it one of the best scenes of the Volume, one of the best of the show, in fact- and today I’d like to explain why I love Emerald and Mercury’s scene in Volume 6 Chapter 9, Lost.

1) The establishing context, or: a quick breakdown of Merc and Em in V6C4 

Merc and Em had one scene earlier this volume, in Chapter 4, “So That’s How It Is.” It chronicles them and Hazel returning from Mistral several weeks after the Battle of Haven, Hazel having contacted Little Miss Malachite and gotten the heads up on where RWBY were going next. Spirits are low as they leave the ship, and an unexpected welcoming party in Tyrian doesn’t lift the mood. Emerald in particular lashes out at Tyrian when he mockingly notices Cinder’s absence, which just gives him all the motivation he needs to get up in Emerald’s personal space and mock her for her weakness. 

Fun fact, in the Volume 6 trailer, Tyrian creeping on Emerald happens in Salem’s conference room, presumably to throw people off the scene on when the scene would be happening. 

Tyrian proves to be as sharp as his dearly-departed stinger (now resting in Ruby’s cabinet of Maimed Body Parts), mocking Emerald in a delightfully chilling voice that “Cinder isn’t here to protect you anymore.” You know who is though? 

This asshole, that’s who. Mercury fucking Black, finally showing the spine he lost after Volume 3 and getting up in Tyrian’s grill to protect Emerald. He even got his eyebrows back just for the occasion! 

Never forget Volume 4 and Merc’s penciled-on eyebrows

It’s a short but sweet scene that sets up the duo’s dynamic well- they’ve really only got each other out in Evernight so even if they bicker... a lot... Merc and Em will watch each other’s backs because it’s that or deal with Tyrian, Watts and most importantly Salem alone. And that’s not a thought either of them truly want to consider. 

The rest of the Evernight scene in chapter 4 has some small but important moments for them- I especially love Mercury being the first person we see realizing Salem’s about to snap because of his abusive father. If anyone’s gonna know how to read the room and know to get out of dodge before the glass starts shattering, it’ll be him. How he just stands at attention, eyes locked forward when everyone else looks at Salem is also a nice subtle bit of character- eyes forward, since he was probably told not to move without permission. Emerald’s sheer terror for much of the debriefing is just a masterclass in animation- her eyes are these narrow pinpricks that can’t focus on a single spot, she cringes in anticipation of a slap when she rats out Cinder (gee it’s almost as if Cinder is her abuser who conditioned her or something why do people still ship them), how she flinches when Salem touches her shoulder and only relaxes when Salem moves on and reveals that Cinder’s alive. It’s all just great stuff for their characters that you get from looking at their body language. 

That’s all that we see of Mercury and Emerald until chapter 9, and unfortunately the last we see of them from there until the post-credits scene, but fortunately, this is a real doozy of a scene. 

2) The actual scene

We open with Merc and Em alone in a room, Emerald bitterly noting how much she hates being kept in the dark about Salem’s future plans. Mercury agrees, stopping some training to note that at least Cinder kept them up to speed, before resuming his combat. 

Mercury and Yang are two of the easier foils to compare and contrast to in the series, especially in the RWBY/CRME contrasts between Ruby/Cinder, Weiss/Emerald, Blake/Roman and later Adam and Yang/Mercury. Both are close range fights with firearms strapped to their limbs of choice, both have cybernetic limbs and as we learn later this episode, both had fathers with wildly differing views on their Semblances. But something else that connects them is that neither Mercury or Yang stay down for long when they get knocked out. Yang lost her arm and once she got back on her feet, she updated her fighting style to be more acrobatic and all-around, which paid off in dividends when she got to fight Adam and was able to move around his strikes. Similarly, the first time we see Mercury get some free time after Haven, he’s training... except he’s working on his fists, since he was overly reliant on his legs until now. I like this, it would have been easy to have Mercury just working on his legs or even just doing nothing but not only does it give the conversation a more lively feel, but it shows that Mercury is working on covering his weaknesses. And if there’s one thing Mercury hates, it’s leaving a weakness uncovered.

Your daily reminder that Yang vs Mercury is some of the best choreography in the show BTW

Emerald, seemingly out of boredom, decides to pry a bit and asks Mercury why he came with Cinder and Emerald in the Volume 3 flashback. I’ve seen some people criticize that Emerald is only asking this now, but given how when she tried to object to Cinder she got a slap for her troubles, I think it’s safe to say she decided it wasn’t worth Cinder’s wrath a second time for asking too many questions about Mercury. 

Mercury tries deflecting with a simple answer “Just made sense,” to which Emerald calls bullshit with one of the most deadpan-laden lines she’s ever uttered. “It ‘made sense.’” 

Mercury decides to keep up that path, trying to cover the question with his usual sarcasm and wit. It’s notable that his explanation gives nothing away that Emerald didn’t already know- Marcus trained Mercury to be an assassin, Mercury killed him and right afterwards, Cinder showed up. It’s almost clinical how, despite covering it with his usual wit, Mercury doesn’t let anything slip until Emerald gets under his skin by calling bullshit again, since to her that Mercury joined Cinder for as shallow a reason as “right place right time” is anathema to her- there has to be something in this for Mercury beyond just getting to fight. Mercury again deflects, giving Emerald knowledge she already knows- “Salem’s promised us everything. We win this thing, we’ll be top dogs in her new world.” Again, he’s only telling her what she already knows, and when he asks her what she gets out of this, Mercury manages to throw Emerald off the scent and tricks her into talking about herself- a topic Mercury enjoys because it means he’s not the one under the microscope. 

Something I adore and hate in equal measure is how musically when Emerald talks about Cinder, the score itself changes to a more whimsical version of Cinder’s theme- as if Emerald’s using her Semblance on the soundtrack itself to paint Cinder in a better light. 

Also something worth noting is the lighting symbolism for Emerald in the first part of this scene:

She starts in darkness, surrounded by light.

When Mercury gets a rise out of her, she walks out into the light to confront him, but Mercury moves into the darkness, a barrier separating them. But when Emerald begins talking about Cinder...

The camera pans to put Emerald back into darkness. This scene is loaded with this kind of symbolism on a lighting and musical level, the two dancing around the edges of light and dark, separated usually by the barriers that form from the overhead light.

Regardless, Mercury is perfectly fine to let Emerald prattle on about Cinder, right up until Emerald begins having a crisis of conscience. Not one based on how Cinder used her to stage a terrorist attack, no. Mercury butts in when Emerald’s crisis of conscience is based on how now that Cinder isn’t here, Emerald isn’t sure if they’re doing the right thing. And thus Mercury’s fandom finally got to see the scene they had been waiting years for: Mercury telling Emerald Cinder doesn’t care for them. Emerald gets angry, still caught up in the web of lies that Cinder spun around her, but Mercury doesn’t give a solitary shit about any of that and keeps saying things Emerald doesn’t want to hear- that Cinder never cared about Emerald, let alone either of them. 

I absolutely adore how the ever-present smirk on Mercury’s face just melts off while he’s trying to get Emerald to realize Cinder never cared for them- either because he’s done playing nice or because he’s trying to stress to Emerald that he’s not messing around, just this once.

Mercury’s mocking line to Emerald finally sets her off, and she charges him furiously, trying to beat him into shutting up. But it doesn’t work- of course it wouldn’t, Mercury is leagues above Emerald in skill even if she uses her weapons, going in without them is tantramount to suicide. This guy danced around Coco and Yatuhashi and gave Yang and Pyrrha good fights while deliberately throwing both fights. Beating Emerald would take less than a minute if he tried. But he doesn’t. Mercury never actually hits Emerald, focusing on just blocking her blows. It’s only when Mercury finally decides to stop giving Emerald information she already knows and actually give her some honest truth that he begins trying, and immediately Emerald is forced back. But even then, Mercury throws his kicks. Compared to the ones he threw in training they’re sluggish, easily predicted. He’s not trying to hurt Emerald, he’s just stressing his point. 

Literal chills went down my back when I heard that line the first time, Yuri killed it.

Mercury basically decides to throw his abuse in Emerald’s face, which I’ve seen some people deride and describe as Mercury basically playing the victim card, but I think this is perfectly in-character for him. Emerald’s locked in her cycle of abuse with Cinder, even though the bitch is on another continent and now is the perfect time for Emerald to break free, to get out before Cinder maims her like Marcus did Mercury... and she’s not. Taking. The chance. Of course Mercury would be pissed, of course he’d get heated for the first time- he’s basically watching Emerald squander one of the only chances she has to get out of this life before Cinder catches her again, and he (and the audience) know if Cinder gets her hands on Emerald again, that’ll be it; Emerald will be ride or die for Cinder all the way to the finish line due to her paternal/romantic love. If it takes Mercury being this most callous and blunt he’s ever been to finally get Emerald to see the truth or even just to make sure where she draws her battlelines, then he’ll do whatever it takes. 

As we get an orchestral reprise of I’m The One, Mercury finally gives us a new hint into his backstory- one of the most fucked up of all the cast according to Kerry- for the first time in three years. Marcus didn’t just beat Mercury senseless, didn’t just excuse it as training and potentially even cut off Mercury’s legs to refine him into a perfect killer- he stole Mercury’s Semblance with his own, seeing it as a crutch that Mercury relied on and holding it over his head with the promise of its return once Mercury got strong. To quote the normally Unirkable Merc himself, “So I got strong, but I never got it back!” 

Mercury forced himself to get on the level of titans like Pyrrha and Yang without having the safety net of a Semblance like they have- he got strong in spite of his father, not because of Marcus taking his power from him. But that power- that strength that lets him fight at a skill ceiling beyond what Marcus likely thought possible, destroyed this young child. It stole from Mercury, things that he can never get back- a literal piece of his soul was taken from him and the thrill of the fight is the only thing he’s ever found that can fill the hole. That confidence is earned because Mercury was defiled by his father and spat in the face of destiny, he chose to get back up and try and earn back what was rightfully his. And when he got the strength to kill his abuser and burn his house down, just to realize he couldn’t get that power back? In walked Cinder Fall, looking for another lost youth to corrupt and twist the worldview of- and here was one such youth, with all the corruption done complete with a neat little bow on top. 

All of this- all of this- goes without mentioning how not two volumes prior we had a different character go through an arc involving her Semblance and a father figure teaching her how to control it and not let it control her. 

I’m just saying guys if you still wanna live in denial over Yang and Merc’s foil status and how they’d be the coolest rivals in the show, door’s right there, I’m gonna be here eagerly awaiting their proper rematch (Fuck off and die Volume 5, you mountain of wasted potential). 

The kicker (pun not intended) is Mercury’s line at the end of the training with Emerald- “I’m right where I’m supposed to be,” he confidently declares, absolutely sure in himself. The whole dynamic of the scene has been Mercury and Emerald calling bullshit on each other’s excuses, with Mercury dominating once he got Emerald to play the Cinder card. But he gets so caught up in his rage over how he got defiled by Marcus, that he loses sight for a second and forgets that he’s lying to himself as much as Emerald- the difference is he’s gone thought he cycle before and seen it so he can see that Emerald’s in it, but he hasn’t yet realized he’s gotten caught in a different cycle and still can’t see the trees from the forest. Denial is a recurring trait in Mercury and Emerald, and one neither of them are ever truly free from (”Salem promised us everything,” like how Marcus promised you back your Semblance, Mercury?). Emerald attacking Mercury after he mocks her “crisis of identity” can almost be taken as her subconsciously agreeing with Merc that Cinder doesn’t care, but after all she’s done for Cinder, everyone she’s hurt and helped kill, the idea that it was all for less than nothing is something she’s got to run away from- the alternative is just too nightmarish.

Mercury “I’m right where I’m supposed to be” Black, ladies and gents. He’s feeling really confident in these scenes, can’t you tell?! 

And who sees this and realizes it, but none other than Tyrian fucking Callows of all people. And of all the people in Salem’s castle, who expected him to be an adept armchair psychologist? Tyrian is blunt, completely unforgiving in his assessment of Mercury and Emerald- they’re trapped in a cycle of violence, pain and misery, and they’re too afraid of what’s on the other side to ever leave it- what’s waiting for Mercury out in the world of Remnant? All he can do is kill, and now that he’s burned his bridges with Huntsmen society, all he’d wind up doing is assassination work like father like son. Granted, Tyrian being the one to break this down to them both is... ironic given how Tyrian himself is trapped in Salem’s web of devotion and has been for so long he couldn’t find his way out if he wanted to, but here he raises a valid point. 

After this the scene mostly moves away from Mercury and Emerald and becomes Tyrian informing them and the audience that Watts and Tyrian are going to Atlas to intercept RWBY, but before he leaves, Tyrian leaves some parting advice.

“Do what makes you happy children, please? I’m begging you.” 

Reading through the mile-wide lines, it’s obvious Tyrian wants them to run so he can hunt them down himself, even though he denies telling them they should leave earlier when Emerald asks point-blank if he’s telling them to go (of course he isn’t saying that, he wants them to come to the conclusion himself, no fun stalking prey when the hunt’s made easy for you after all). But the scene ends with a somewhat more optimistic note.

Emerald and Mercury, still unsure about a lot of things after this group therapy session, are still standing together, almost more unified than they were before now- no barriers of light and darkness separating the two now. And that should be something that terrifies anyone who crosses their paths, especially the guy who made a point to T-Bag Mercury and basically promise he’ll draw the straw on killing them if they stray out of line. 

3) Conclusion

Mercury and Emerald are my favorite characters in the show, and while that’s been a bit harder to maintain in the Dark Times of Volumes 4 and 5 where they got nothing to do, 6 reminded me and a lot of other people why they’re the characters to keep an eye on in future years. They have these wonderfully dark backstories that let them serve as haunting foils for two members of team RWBY each (Emerald and Ruby and Weiss, Mercury for Blake and Yang) that show how far things could have gone if the RWBY girls had been born with a bit less luck. On top of all that, I’m The One is just a killer of a song that excites with its spiteful air, its cockiness only accentuating how horrific these two have had it. 

Mercury and Emerald start the Mistral seasons separated by a barrier (the window) but after their conversation in Lost and time away from Cinder, the barrier’s gone. They’re closer than they were before. And Merc got his eyebrows back too, that’s a sign he started caring about Emerald! 

Their scene in Lost I feel encapsulates a lot of what keeps them together and what makes for one of RWBY’s best dynamics- they don’t really like each other a lot of the time, but they have each other’s back come hell or high water because they need each other like a lifeline. Mercury does, at least a little, genuinely care for Emerald; he goes about it in a dickish way but trying to recognize Cinder’s abusive behavior is one of the most noble things he’s done all show. And while Emerald did try to attack him, he goaded her into it and she was indignant with rage when Tyrian pinned Merc down. Everything about the scene just works for me, from the small musical cues (alongside the return of I’m The One and Cinder’s theme, I love how right before Emerald attacks Mercury, this beeping starts and then accelerates into this droning sound like a flatline, which really captures Emerald’s temper reaching fever pitch and then snapping, to the lighting symbolism (Merc and Em both begin the scene in darkness but come together in the light at the end after Tyrian leaves, alongside everything I said above) and of course, Katie Newville and Yuri Lowenthal both knocking it out of the park with a home run of a performance, alongside Josh Grelle being his usual self when Tyrian shows up. While it was overshadowed by Jaune’s scene with the Pyrrha statue, I’d be very comfortable marking Emerald and Mercury’s spotlight scene in Lost as not just a highlight of the season, but one of the best scenes of the entire show. Everything came together for this ambrosia of a scene, and I can only hope I sold how much it means to me and how much I appreciate the work that went into it on a technical, writing, animation, acting and musical level. 

Keep an eye on Merc and Em is all I’m saying, and if you’ve written them off in the past, I hope this convinced you to take another look at them and hope they get their due time to shine in future. 

Thank you for reading.