#and i felt it was necessary to describe the events of the first two eps in detail to drive home exactly what adora was facing

[thesiltverses]

Hello! Just wanted to say, and hopefully this isn't an odd compliment to receive, how much I adore the episode titles of the silt verses. One of my favorite things to do after I get someone to listen to tsv is point out that the episode titles make a poem when you read them back to back. It always tends to blow their minds and I get great satisfaction from seeing their reactions. What I especially love about them is how they can stand on their own and reflect events of the episodes while still connect with one another to make a bigger picture so to speak. (For example, how Faulkner and Carpenter's reunion episode in s2 is titled "But We'll Never Be Rid of Each Other" to reflect their relationship as two people that can't seem to untangle themselves from each other, for better or for worse ((and how this title hangs over the episode ominously when contrasted with how happy their reunion makes listeners, as if just waiting for events to come)), but then connect it to the next title "My Song, My Sorrow and I" and it slightly changes the context where it feels more like it examines the characters' various complicated relationships with their gods)

(Though, on a tangent, speaking of episode titles and how they match each episode, I think constantly about "One Final Fall From Grace" with Faulkner and how it's the episode where he loses all but one of his acolytes, idk there's something about it that gets me so bad/pos)

I was wondering how you go about deciding on episode titles? Has the poem already been written out since the very beginning of the show? Is episode order dictated and determined by said finished poem? Or am I overthinking how each line fits each episode? What made you decide on this format compared to I am in Eskew's episode naming convention? Sorry for such a long winded question! I just cannot overstate how much I adore the episode titles, sometimes I'll go back and read everything all over just to hear the words.

Thank you very much!

So the plan was always roughly along the lines of:

Season 1 titles begin by trying to outline a kind of epic poem, then get distracted by describing its hold over the poet

Season 2 titles are about the poet's yearning to be free from the poem, but ultimate acceptance that their fates are entwined

Season 3 is about the realisation that the poem will outlive the poet.

Beyond that, there's generally plenty of flex and it remains a semi-spontaneous act of play - like you say, I might think I have something in mind and then realise at the last minute that another line works better for the themes of the ep (and sometimes there's no thematic relevance at all and it's just filling in a necessary rhyme to keep the whole thing going).

This leads to imperfections and a bit of a shaggy-dog story feel - if I could go back without confusing everyone, I'd correct the very first ep title to 'First I'll Sing Of Revelations' so the terminology is consistent - but I like imperfections, and I like shaggy dogs.

As to why? It just felt like a different way of being playful; the Eskew titles were fun for me because of their simplicity (I have vivid memories as a very young kid, not being old enough to be allowed to watch the video-tapes of Blackadder II, all of which had really evocative, teasing single-word episode titles - 'Head', 'Money', 'Potato'. So I'd just sit back on the floor and imagine what those meant.)

But for TSV, it felt appropriate and fun to begin with these trappings of epic storytelling and religious verse in the episode titles, and then gradually pan outwards to show that it's more of a story about being entrapped by stories and the impossibility of escape.

[swordlesbean]

rewatching the first 3 eps is kinda frustrating at how much Adora does NOT think about Catra covering for her not even once while she's playing around in beds, plays pinata, eats good food etc, she's gone for days and like Catra says later didn't even think she was taking the fall for her damn. and didn't even spare a glance at Catra while celebrating with her new driends at selinas

This is actually something I've wanted to talk about for a long time, so thanks for giving me an excuse to finally do it! I think when people are annoyed with Adora for supposedly not thinking about Catra in early s1, they aren't giving full consideration to Adora's perspective during that time period. She's, uh... dealing with a lot, to say the least. There's been a fair amount of analysis about Catra's perspective during this time, but not nearly as much about Adora's. I will try to remedy that here, in my typically long-winded way.

Let's take it from the beginning. Adora touches a mysterious sword in the woods that gives her visions and makes her black out. She’s still having these visions and hearing voices when she’s back home, so she sneaks out at night to find the sword again because she wants answers. Reasonable. She plans to be back by morning, but she asks Catra to stay behind because she doesn't want Catra getting in trouble on her behalf in case something goes wrong. Also reasonable. Boom, nothing goes according to her plan, and everything goes wrong.

Adora finds the sword, but runs into Rebellion soldiers. She tries to fight them for the sword, but when she touches it, she has another vision and blacks out again. She wakes up with her hands tied, a prisoner. She bides her time instead of trying to escape because she still wants the sword. During this time, she's told information that conflicts with what she knows about the Horde, and oh yeah, she somehow randomly transforms into an 8-foot-tall legendary warrior princess. Then she and her captors get chased by a giant spider to an abandoned temple, which she’s able to open because she can apparently read a long-dead language, but then they’re trapped in the ruins.

Once they get out, she’s no longer being held captive, so she can now go back to the Horde. But she needs answers and decides to go to Bright Moon so someone can give her an explanation for all this crazy shit happening to her. At this point, is she thinking about Catra and what might be happening back home? No. But frankly, there is a lot on her plate! Like, life changing stuff. She can turn into a princess! But princesses are evil and the enemy! But this angry sparkly princess and nice archer guy are saying the Horde are actually the bad guys? What is going on? What is she?

Adora still intends to go back to the Horde, but she feels she can't do that until she gets more intel about what happening to her and what it means. She’s always wanted to know more about where she came from. This may be her only chance. And even though her overprotective streak sometimes makes Catra think she feels otherwise, Adora absolutely believes in Catra and knows she's smart and resourceful and can handle herself, so it doesn't occur to Adora that there's reason to worry.

Then Thaymor happens. They stop there for transportation, but Bow insists they stay for the party because he realizes Adora's life has been utterly depressing, and he wants her to experience something nice. I think it's pretty harsh to hold it against Adora that she gets excited and awed and distracted by encountering a party and eating good food for the very first time in her life ever. Can the girl please be allowed to live a little? Like, she's an anxious, guilt-ridden, duty-burdened mess 90% of the time, so let's maybe not blame her for having a good time for once.

That good time is pretty quickly ruined anyway. Reality ensues. The Horde ensues. Catra ensues. But even as Thaymor is attacked, Adora thinks it's a mistake. It's bad intel; she just has to explain, and the Horde will stop. It's only when she comes face to face with Catra that she understands the truth about the Horde and makes her decision to leave. Let’s be clear on this: Adora doesn't just leave the Horde without any consideration for Catra. Catra isn’t an afterthought here, she is literally standing right in front of Adora when Adora makes her decision.

Thaymor from Adora's perspective is finding out that her whole life has been a lie and that she doesn't know her best friend as well as she thought. What Adora sees is Catra being part of an attack on defenseless people and seeming to have zero concern or regret about it. What she perceives is Catra refusing to join the good guys and choosing to remain part of a lying, destructive army despite the truth of a burning village in front of them. What she feels is Catra disregarding her decision to leave and tasing her in the back as she tries to walk away.

It's important to remember that in this moment, Adora feels betrayed by Catra as much as Catra feels betrayed by Adora. People always talk about Adora breaking their promise by choosing to leave, but Catra breaks it too by choosing to stay. They both make decisions that hurt the other, and they both feel abandoned.

So that's what Adora is carrying with her in regards to Catra in early s1. She's internalized this betrayal, these hurt feelings, but she's also really trying not to let herself feel any of it. Not just because it hurts, but because it’s what she’s been taught to do. She’s well-practiced in denying herself, denying her pain and her wants and needs. This trait of hers is given specific attention in s5, but it's a necessary lens to view Adora through in every season. She won't ever put herself and her feelings first. She doesn't think she's allowed to be weak, to feel hurt and express that hurt, not when more important things are at stake. Shadow Weaver always said her feelings for Catra were a problem, and for the first time, Adora agrees, so she tries not to feel them.

She can also avoid thinking about Catra because she has so much to distract her. Catra is still in the Horde, surrounded by reminders of Adora, so it's impossible for her not to think of Adora. But Adora's situation is different. She's in a new environment, suddenly overwhelmed by a huge destiny and all these new experiences and stimuli and social dynamics she has never experienced in her life. So she puts all of her attention into learning the rules and expectations of this new life. She hyperfocuses on her duty as She-Ra.

That doesn't mean there aren't reminders of the past. Adora doesn't feel comfortable sleeping alone, and the clear implication is that she can't sleep without Catra. She isn't "playing around in beds," she just has no idea what to make of a soft bed because she's used to austere conditions. And she's certainly not able to forget what the Horde represents to the people she's now living with. She gets run out of Bright Moon because of the Horde symbol on her back, and she receives a thinly veiled threat from Angella in front of Micah's portrait. She doesn't feel secure in her place in the Rebellion, so she's definitely not going to talk about missing anything or anyone from the Horde, however much of it she actually lets herself feel.

Salineas is the first time Adora encounters Catra after Thaymor, and the wounds from that confrontation are still fresh. She asked Catra to come with her then, but all it got her was a taser to the back, so she's not feeling too charitable towards Catra and isn't keen on reaching out again. She's completely in She-Ra duty mode, trying to restore the Sea Gate to protect the kingdom from the Horde. But then, Catra isn't making real efforts to try and bridge the gap between them either. In fact, from Adora’s perspective, she appears to be perfectly happy widening it. 

While Adora is fixing the gate, she’s getting hit with electric feedback and also can't risk moving or fighting back, but that doesn’t stop Catra from lashing out at her. Catra mocks, scratches, punches. Even when she softens up a bit, she talks like Adora is just going through a phase. She's trying to convince Adora to come back to the Horde, but in the same way Adora wasn’t thinking about what Catra might face by covering for her while she was away, Catra’s not thinking about what it would actually mean for Adora to come back, the terrible consequences she would face as a defector.

Adora knows she can’t go back to the Horde, not just because of her morals, but also because it’s too late to do so without something bad happening to her. So she wonders, if Catra cares about her, why would she want to bring her back to that? If Catra cares about her, why won’t she just leave the Horde and come with Adora? Adora can't see into Catra's mind, so she doesn't know the underlying motivations and feelings driving her behavior. And Adora’s never really had the "you hurt me, so I'll hurt you back" impulse, so she’s more inclined to read Catra's aggressive actions towards her as a sign that Catra maybe doesn’t care about her as much as she once thought.

After Salineas, things continue to heat up between them during Princess Prom. This time Adora is highly confrontational towards Catra. She fully believes Catra is planning something bad, and she's absolutely right, though she still tries to save Catra's life when they fall off the cliff. That act doesn't seem to matter to Catra, and she ups the ante and hurts Adora worse then ever by taking Glimmer and Bow as hostages. 

Adora finally softens towards Catra when Catra returns the sword and let's her and Glimmer escape the Fight Zone. Up until that moment, Adora isn't sure that Catra still cares, but this is confirmation for her. The next time they meet, Adora makes a real effort to reach out, and she again asks Catra to leave the Horde. And they actually do start reconnecting a little, until Light Hope plays on Catra's insecurities with those memory simulations, in an attempt to drive them apart and get Adora to let go of Catra in the same way Shadow Weaver always wanted her to. 

And it does successfully drive them further apart and is the true beginning of Catra’s descent into villainous self-destruction and reality-destroying levels of resentment towards Adora. But what it doesn’t do is get Adora to let go of Catra. Because it doesn't matter what Light Hope and Shadow Weaver and even Catra say or do, Adora never can let go. She does eventually let go of the idea that she's the one responsible for Catra's actions, and she puts up boundaries and becomes harder towards Catra. But she never truly gives up on her or stops caring about her, even when Catra is at her most destructive and spiteful and personally hurtful towards Adora. 

But then, Adora letting go of her feelings for Catra wasn't ever the solution anyway. Because She-Ra's power comes from love, and Catra is the first person Adora loved, and the person she loves the most deeply. So Adora as She-Ra is at her most powerful when she's loving Catra and doing it without conflict, either between the two of them or within Adora herself.

[swtzutara]

MAJOR THROUGH THE MOON SPOILERS

after reading through the moon, I decided to make a post with all my predictions for season four, especially because it changed the course of what most of us were expecting for it (rather tragically). i think it’ll be fun to come back here when the season drops and see what I got right. most of these predictions were already in my mind before the comic came out, but I had to change them just a bit to fit what happened at the end of thought the moon. under a read more because of ~spoilers 

Rayla won’t appear on the first episode, and maybe not on the second one too (though I think we might see a little bit of her at the end of the second ep) but we’ll see her on the end credits art, like maybe clues showing where she is, or the places she went to

I think callum is gonna be desperate about her, and will want to go after her right away, but won’t be able too for some reason, probably ezran and soren convincing him to go back to katolis first, or maybe something in the letter she left for him? 

Callum and ezran will have a fight about callum wanting to leave everything behind and go look for rayla, because ezran is also worried about her but he can’t leave because of his duties, and he feels abandoned by rayla already and doesn’t want callum to leave him too. rayla leaving the way she did would impact them both, but since callum can be a little bit of jerk towards ezran when he’s got his head full, I think maybe he’ll focus on how rayla leaving affected him and how hurt he is, and forget that ezran also cares deeply about her. they’re brothers and it’s easy to get overly emotional with family, and to have a lot of complicated feelings, and I’d like to see it being explored on the show with them. also callum can’t just leave his brother like that, i think he knows that deep down, but after the events at the end of season three i think he would be really worried about rayla 

(that’s a popular one already) I think we might get a “Rayla Alone” kind of episode, since I believe rayla won’t appear much in the first episodes. the episode will show the scenes referenced in the end credits art from the previous episodes and also where she is now. i believe we will see her struggling mostly with her feelings, since survival is not a problem for her. she will have nightmares like the ones in through the moon, and maybe new ones, since she left callum and ezran behind and will probably feel guilty about it, even though she believes it was the right decision. it will be a very emotional journey, which i think would be great, rayla’s feelings are incredible to analyze and really complex, there’s just so much potential for her on this season

I think Terry the Earthblood Elf will appear on book four

Ezran and callum will have a Big Feelings Time and solve their fight (not fast or easily, but i’ll leave these details for the show lol), and then maybe they will send corvus or soren after her, but at some point i think callum will go too, perhaps after they got a clue? i love rayllum but i can’t think of callum just leaving his baby brother (who’s king) for only God knows how long, especially knowing that rayla can take care of herself during her journey, the biggest problem here is to where this journey is taking her

Rayla will be able to reach viren because I believe she will get the coins in this season. they need time to develop all the conflicts that will explode when runaan, tiadrin and lain are free, so I think she will get the coins by the end of season four, they will be freed on season five, and we’re gonna have seasons six and seven to develop the characters and the conflicts between them

Rayllum will have a Big Fight when they get together again. i think their inicial reactions will depend on the situation they will found themselves into when they reunite, but after this they will have a fight that will turn into a serious conversation about what happened; i think they just need to put their feelings out there and with the way things happened, it would be through some screaming. callum will talk about how he felt betrayed by her, how she left him and ezran, how he just wants to help her and be there for her, she broke his trust, and as much as i think he’ll understand her motives, it’s still very hurtful, and she doesn’t need to do things alone anymore. rayla will talk about how difficult it was for her to see everybody apparently moving on while she was stuck in the past, how she didn’t want him to distract her of her pain but just accept that she was hurting and let her deal with it on her own, how she COULDN’T let it go because only answers would bring her peace, though it is true that she didn’t have to run away and try to hunt viren on her own. they will be fine by the end of the season, but we’re gonna get some pretty heavy emotional moments before that

I think ezran won’t be able to go after rayla with callum because of his kingly duties, and we’re gonna get a lot of human kingdoms politics with his narrative, and maybe some aanya-ezran bonding (PLS I WANT IT SO BAD). it would be nice to see callum dealing with the politics to, awkward as he is, and he is a prince after all, he can’t just ignore this part of himself

I think amaya will be torn between lux aurea and katolis. i think she and janai will be pretty close when the season starts, and since janai, as the new queen, will be dealing with the disaster viren caused at lux aurea and with no doubt being stressed a lot by it, amaya will want to support her and be there for her, but then she’ll found out about what’s happening at katolis (aka her nephews fighting all the time and rayla’s disappearance and all the crazy politics ezran will be dealing with) and she’ll want to be there for them too. i think it would be nice to see amaya having more of a emotional conflict, she’s so tough when it comes to physical conflicts, but emotions are something that can really shake you to the core

I think ethari will help the boys on finding rayla, maybe with some spell he knows?? he might work with corvus or soren to track her, they both joining their abilities, that would be really sweet and also reinforce the show’s theme of humans and elves working together. i think maybe we won’t get A LOT of ethari on season four because I believe he will be of great importance on season five helping rayla free runaan, tiadrin and lain from the coins, but it wouldn’t make sense for him to NOT be a part of season four too, considering all the situation with rayla, and how he needs to make up for what he did to her

Aaravos will take great interest in claudia, but she won’t trust him. we already saw on the show that he thinks she’s a “useful asset” and that he’s impressed by her resourcefulness, and he’ll probably want to use her for his own gain, but she doesn’t trust him because she hates elves. the creators said aaravos is really manipulative, especially because he was able to manipulated viren, that is also very clever, so sooner or later he’ll find a way to manipulate claudia or get her to trust him, and I believe it’ll be through viren. he’ll either threaten viren behind viren’s back or manipulate viren so he manipulates his own daughter (what a mess)

I think callum may connect to the moon arcanum by the end of the season. i’m not really into the theory that he’ll connect to all six primal sources, because as badass as it sounds I’m not sure if that’s what the creators are planning for his arc or if it’s really necessary, but I do believe that he’ll connect to at least two, sky and moon. he already have the set up to forge his connection, especially after both his experiences at the moon nexus, and I think the process will happen more smoothly now. he’ll be reflecting about something, maybe his situation with rayla and the lies she told him, and also remembering the “white lies” quote from the comics, and he’ll suddenly realize that he has connected to the moon arcanum (again, it wouldn’t happen as lame as i’m sure i’m describing it, but i’ll leave the details to the writers). callum struggled a lot to understand the sky arcanum because it was his first try, and he had no clue of what exactly to do, and I think it would show great character growth if his second connection came more easily, especially because of his feelings for rayla, and the way he’s trying to understand her. she being the key to his connection with the moon arcanum would be really sweet 

I think we’ll see soren also struggling a lot about his place on the castle. he doesn’t have his family around anymore and he used to be very close to claudia, and all the experiences at the storm spire affected him deeply. he loves the boys and want to be their protector, but I think he might feel lonely. i’d love to see some bonding between him and ezran or him and callum (hopefully both!), and I also think he’ll be worried about rayla too, they seemed to be starting to develop a friendship in ttm (i loved it so much), they talked about his father and how dangerous he is, he knows rayla will be in big trouble if she finds viren, and he’ll be afraid of another confrontation with his father

I’m honestly a bit lost about how the ending could be. if rayla will be found or come back willingly after getting the coins, i don’t know which one i’d like better. also rayllum being separated from ezran again is so hurtful, but there’s no way callum wouldn’t go after rayla at some point, and it would look really bad for ezran if he abandoned the crown again, right after the war, but i hope we can have callum and ezran together for most of the season at least. i’m also expecting a big fight between claudia and rayla, i think it would be great.

I already thought that rayla and callum would be in separate places during s4 or s5, but I sure didn’t expect for it to happen like THAT. I also expected a fight between callum and ezran because I think their relationship needs to be a bit more tested, especially now that ezran is king. I’m so excited about season four I can’t barely sleep at night lol (a release date when??). I know this predictions are a bit (or a lot) vague, but they’re really supposed to be just overall ideas of what could possibly happen on book four. 

[paperclipninja]

Younger post-ep ramble 6x11

I may be on holiday but if you think that’s going to stop me offloading some thoughts and feelings about this week’s episode of Younger, ‘Holding Out for a SHero’, then you’d be sorely mistaken (any chance to over-think and over-analyse my fave fake reality). In saying that, this will be a briefer version of my usual post-ep ramble, what I shall refer to as Ramble Lite™. There were parts of this episode I really liked and parts I felt disappointed with, but it largely played out in a way that I expected, with the exception of that twist at the end! Hats off to Joe Murphy for that fab misdirection, I may have gasped.

This episode opened with Maggie in her tomato garden looking radiant and Liza filling her in on the decision not to see Josh anymore because it’s complicated and feelings and that undeniable thing called chemistry (or something like that). I applaud Maggie’s consistent use of Chaz (I really hope we get to hear her say it to his face at some point) and Liza stating out loud that she chooses Charles, but this scene also delivered one of the two big moments of disappointment I had in this ep. If anything was ever going to be out of character on this show it would be Liza, a writer and editor, being unable to come up with decent adjectives to describe the man she is supposedly in love with. Yet here she is describing Charles as ‘a peer’ and ‘appropriate’ as reasons for choosing to be with him. For real? I understand the effort to paint him as the sensible choice vs. the less sensible, the head vs. heart, in this triangle that’s been resurrected. This particular way of describing men has always served a clear purpose in the Youngerverse and ngl, my alarm bells went off in episode 7 when Michelle referred to Charles as ‘appropriate’. Liza uses this exact term to describe Richard, the horrendous man Michelle sets her up with in S1E2 who starts reading emails at the dinner table on their date, he’s ‘age appropriate’. She also described Jay as nice, viable, legitimate prospect, sure, but she also sobbed on his shoulder because she was so in love with Charles that her heart was aching at the thought of missing the chance to be with him.

It feels so painfully deliberate, Charles has gone from intellectually invigorating and romantic and been relegated to safe and ‘appropriate’. My disappointment comes from the fact that if this triangle must remain in play, there can be two men who are vibrant and compelling and really different, without painting one as ‘boring’ and one as ‘fun’. Knowing the way Liza talks about the important people in her life, with such admiration and affection, I feel she would at least say Charles is intelligent and romantic or kind or thoughtful or SOMETHING better than being ‘a peer’ and ‘appropriate’. I do believe that as viewers we often form our own interpretations of characters and when they don’t behave the way we imagine we are disappointed, but in this case it’s the disappointment that Liza’s entire reason for being attracted to Charles is being reduced to the idea that it’s sensible when we have been shown this is simply not the case. Phew, glad I got that off my chest (and so much for Ramble Lite™ lol).

Once in the office Liza is running Diana through the wedding planning, which frankly I cannot wait to see all come together. I love that Liza’s already secretly planned a bachelorette party and really does know Diana well enough to know she’ll want one (so many lols @ Diana’s, ‘yes that’s why I was bringing it up, because I don’t want one’ and could Liza look any more pleased with herself that she’s managed to pull the wool over her eyes? Adorbs). Charles arrives looking for Kelsey and is wanting to see how she would like to break the news that he is once again publisher, because that’s how they work now that they’re the dynamic duo and have I mentioned this week how much I LOVED seeing their dynamic last week? Kelsey proves that she has indeed kept her head and announces that Millennial secured a new investor and that Charles is once again in the boss seat and I am once again extremely impressed with Kelsey this season, as is Diana (and honestly if you have the D.Trout stamp of approval, what more do you need?).  I will also never tire of seeing Diana, Kelsey and Liza as true peers and now friends, it’s undoubtedly a highlight of season 6.

The book pitch of the week is extremely timely (as always), a manners for millennials piece that aims to counteract the generation’s greatest shortcomings, such as ghosting exes and not RSVPing to weddings. This episode really did have some stellar lines and the fact that Liza can now drop jokes in meetings, such as her ‘neither was I’ response to the author’s ‘I am not proud to be a millennial’, is the kind of goodness I am here for since the lie is no longer a thing. Naturally Liza and Diana are both very interested in finding out more about these topics and it turns out the best way to get some finality with the ex is to write a good ol’ fashioned Dear John letter (best way to get those RSVP’s -unknown). This is reinforced nicely in Charles’ office, when Liza leaps off Charles’ desk as though she and Charles were caught christening the damn thing (which would’ve been very ok by me and at this point you should know I’m not at all sorry) by Diana bearing flowers and note from Alice the author letting them know she will not be publishing her book with Millennial (so no Charles, the flowers are not for you).  All this talk of how good letters are leads to Liza penning her Dear Josh letter that night, which we only catch a tantalizing glimpse of initially, before the narration and accompanying montage when Josh actually receives it.

While it was only brief, Charles asking Liza how she feels about him being back as publisher and her answering honestly, she just wishes Kelsey hadn’t been unceremoniously stripped of the title, is yet another lovely insight into their relationship. Charles continuing with, ‘what about you, always thinking of others, how do you feel?’, excuse me while I clutch my heart at the sweetness of it all and seriously, does ANYONE ever ask Liza this? The family picture on Charles’ desk is noted and it’s great but I also can’t help but feel it’s somewhat ominous so I’m putting my gush on pause (v. open to being proven wrong on this).

Kelsey and Zane continue to be all over the place, I have so little investment in them as a pairing and I really think it’s because I have simply not seen enough of them together to know whether I care, though I have enjoyed a number of their interactions recently. It also doesn’t help that Zane has been many shades of douche this season. Since professing their love for one another, he is being caring at the start of this week’s ep, apologising and saying he feels partly responsible for Kelsey’s demotion and trying to allay Kelsey’s self-doubt. It is Kelsey who says that she doesn’t know how to do this with Zane and that one of them always loses (the old editors-who-were-peers-and-then-one-became-the-boss-but-now-they’re-peers-again curse), which returns Zane to Douchetown in time for the staff meeting.

I felt for Kelsey, it would be so hard sitting in that first meeting with Charles at the helm again, though him going through all the acquisitions and saying these are a credit to Kelsey’s impeccable instincts was great and necessary. But then Charles brings up the Arabian Seas book and the ‘we’ enters the conversation, along with a list of books that sound like they belong on the bargain shelf because yawn and yes it’s fine that Charles has his own instincts, but Zane in this meeting is awful. Kelsey calls him out, she is clearly and rightfully angry about the unfairness of her entire situation and she warns Charles to, ‘pay attention…and you too Liza. I didn’t have any boundaries at work and look what happened’. I have no idea if this is foreshadowing but I feel like it could be juicy if it was so let’s keep abreast of any future developments (yes that is a boob pun and you’re welcome).

Highlight of this whole scene of course is Liza ripping into the guy and the whole office when Kelsey walks out of the meeting and can hear that her meme has been made into a banger of a tune. We get fearsome Liza schooling the entire room on the fact that Kelsey did get the money, ‘that’s why we all have a job, she’s a goddamn hero’. YESSSSSS Liza *praise hands*. Kelsey in turn agrees to speak at the girls school event that Lauren put to her earlier (yes it IS ok to be angry and Kelsey no longer distancing herself from her social media mistake but using it as a platform to empower others and be a role model…where do I sign?).

Lauren was in ultimate PR and friend mode for Kelsey this week, trying to figure out how to spin Boobgate and trying to see the positive side of all the invitation cancellations. I always say it, I know, but Lauren’s unrelenting advocacy for her friends is absolutely one of her best qualities and her line, ‘you are an example of a woman who made a very simple mistake and the patriarchy seizing that opportunity to tear you down’, was fantastic. She also very much latched onto the SHero theme and I appreciated her use of the word at any given opportunity.

It is as Lauren and Josh are leaving to catch an Uber to Inkburg Midtown that we discover this means he is very relieved Claire doesn’t have to move to LA now. I really don’t get this. I said last week that Josh is far too woke to expect the mother of his child to bail on her career aspiration just so he doesn’t have to move to LA, especially considering he knows the struggle Liza faced in her own career journey after having Caitlin (who you may remember is her daughter…or was. Current status unknown). If we’d seen in their conversation Claire saying that she really doesn’t want to move but she can’t see another way to give Gemma the life she hopes, then ok, Josh finding a way to up his income is ace. So I do hope we find out at some point this was the case, because Josh deciding he’ll get more money so Claire and Gemma can stay for his convenience, it’s just nope.

Though I do have to say that the biggest benefit of Josh securing the Infinitely 21 partnership is getting to see more Shelly because omfg I cannot with her. The way she talks about paint colours, giving her personal number, the line I could not believe I heard, ‘but seriously, Josh, unload on me’ ( I love that this season has seemed censored af compared to previous ones – I don’t love this but you know what I mean- yet lines like this get dropped in. Too good), I am in awe of her complete and unabashed lust for him.

It is between picking paint colours that Josh finds the letter from Liza and it is heart wrenching. And beautiful. The emotion really is palpable as Josh leaves the store to find somewhere to read it once he realises what it is. The flashback montage is certainly something that hasn’t been utilized in the show and it really leaves such an impression. Coupled with the narration of the letter, it really captures the impact of Josh on Liza’s life and Liza’s genuine commitment to make her relationship with Charles work. If this show was wanting to move these characters past this old relationship it would have been a poignant and perfect way to do it. However it plays out in the long run, I thought it was really well done.

The hands down highlight of this entire episode for me was Diana’s bachelorette party. Lauren running at an unsuspecting Diana screaming, ‘get in the Hummer bitch’ is one of the funniest moments of the series, I will be laughing for eternity. Liza reminding Diana that, ‘I get you’, yes she does and I just love everything about seeing these women, all the Younger women, out together. I feel like the focus of this episode really got pulled to the other drama but this is the first time we’ve ever seen every female character of this show together in a room and I feel like THIS IS A BIG DEAL. Maggie schooling Diana on how strip clubs work and SO many brilliant lines, as Diana waves her money in the air only to tell the first stripper, ‘You’re a lot, no thank you’, then ‘Hi, little one’ as she flags another. The hilarity does not stop with Diana, Lauren’s, ‘here’s a fiver, you should smile more’ is every kind of YES (I sense a whiff of Liz Lemon in that line and I approve). As Liza and Kelsey talk about men and work and blah, Diana tries to bring them back to the purpose of the evening, ‘ladies, there are bulging crotches in your faces, can you focus?’. Listen to the Queen people. Yet another Diana wedding related event in which she ends up asking, ‘how did tonight become all about you?’ and I was thinking the same Diva. *Eyeroll*

The Hummer ends up at Inkburg because Lauren wants to help Diana fulfil her wish of doing something she’ll regret for the rest of her life (and obviously the reason they all need to be there is so Liza and Josh can have their post-letter confrontation). They are all so drunk, it’s hilarious and I would watch an entire feature film about the antics of this group while inebriated. Seriously, take my money. From Lauren’s, ‘Get out of the hummer Doana’ to Maggie’s, ‘I forgot we were in a car’, they cover the entire drunk person spectrum. On top of that we have Diana’s penis balloon hat position which just cracks me up because I am 10 but my fave is Diana saying to Josh, ‘John, just something small, tasteful and literary’ and then as she’s leaving, ‘it was nice to meet you Jake’. Obvs a wise choice not to go through with the tat but I’d love to know what Diana would have ended up with.

Josh calling Liza out on writing the letter and trying to walk away never talking to him was completely fair enough. Him reminding her that she said she would always be there for him, be Gemma’s aunt Liza, he’s not wrong and his hurt and confusion are understandable. But it is so nice to finally hear Liza making a choice and sticking to it (whether she does or not in the future). Josh saying that he gets it, she’s scared of what they were, they still are, it’s powerful and her defensiveness of Charles when he says that she’s making the safe choice is exactly the right response if she really means she has chosen him. And not because I love Charles and Liza together, but because Liza is standing up for her choice and her ‘don’t you tell me what I feel’ retort is so charged and fierce and I love it. ‘I know this is hard to accept Josh, but we were a moment in time. But the time has passed’ - this whole scene is wonderfully acted, the chemistry between these characters has always been strong and this is no exception. And obviously I agree that they need to move on. However my second big disappointment for this episode is the, ‘you forget Liza, I know you. I know when you’re lying (a couple of seasons of thinking she was 26 might contradict that but ok), especially to yourself.’

I absolutely understand the sentiment and I completely appreciate the setup for the zinger, ‘you wrote a letter to the wrong guy’ (though I do take issue with that line in general considering Liza has just said she’s made her choice. Even a simple, ‘I think’ in front of it would’ve made it less arrogant), but if this setup is leading to a Josh and Liza reunion down the track, then I would have preferred the execution be different because to me, this is not insightful or romantic, it’s Josh once again questioning Liza’s understanding of herself and her needs (I know it’s meant to be him trying to get her to ‘be real’ but it just doesn’t land like that for me). I have no doubt lots of fans are jubilant but it feels manipulative and is not a tactic that compels me to think they might have something worth revisiting. If after Liza said, ‘I love him more’ Josh had looked at her with that heartbreak in his eyes he can convey so well and said, ‘well then I hope he loves you the way you deserve’ or something and walked away, then THAT would show growth and make the possibility of him being an option again (which is clearly where this is all heading) far more compelling IMO.

So in one of the best bait and switch moments this show has delivered, Liza returns to the loft and has a good hard look at the gala photo with Charles and Michelle and Tom (and in my head she’s thinking about how good it is she and Charles promised each other they won’t go to things like that anymore) before we see another letter starting, Dear Charles. And just when all the Team Charles Stans were going to have a collective meltdown, it turns out it’s Kelsey writing her resignation letter and we all exhaled but then didn’t because Kelsey, what are you doing??? So. Much. DRAH-MAH, so little time.

Ramble Lite™, that was a good joke wasn’t it? Can’t believe we’ve reached the finale but I am also very ready because WE GET TO GO TO A WEDDING!!!! Better get my neckwear sorted…

[sol1056]

another round of asks: keith

This feels like one of those things where you type ‘keith is’ into google and see what comes up.

Keith is a self-insert

Keith is on his way to becoming (a) god

Keith is destined to be emperor

Keith is friends with Lance > Keith is friends with Shiro 

Keith is over Shiro [ + kills Sendak]

Behind the cut.

Keith is a self-insert

I have no proof for this but I think that a majority of VLD’s writing staff are secretly making Keith their self-insert character.

It’s an amusing idea, but it’s very hard to do that when it’s a collaborative exercise like writing for television. Ostensibly collaborative, that is, ‘cause hell if I know at this point whether anyone has say beyond the EPs, but more on that in another post. 

I’ve never heard of anyone in the deciding-level staff (the EPs or the writers) say that Keith is their favorite. JDS is clear that his personal favorite is Lance, and LM’s been known for being pro-Pidge since the beginning. Early on (like S1), Hedrick’s on record saying that it mapped nicely, since he felt the most affinity for Hunk in some ways, but that’s not what I’d call a preference in the same way as I’ve seen JDS and LM speak of their favorites. 

More likely Keith is not a self-insert so much as a kind of every-hero. It’s really quite remarkable --- given how much the EPs are so blunt about their dislike for Shiro --- how the story events, put together, could be seen as split almost evenly between them. To the point we had nearly two seasons where they were never in the same room together, never exchanged any words, nothing. Like matter and anti-matter. 

To put it bluntly: by S7, Shiro pays the price, and Keith gets the rewards. We didn’t get to this point overnight; in S1/S2, it was split a bit more evenly, and the rest of the team had some share in the prices and the rewards, too. But that concept of an ensemble cast got tossed out the window to lie dead on the highway tarmac, somewhere around S4. 

The thing is, a character needs a conflict, needs an obstacle, because failing (and suffering the consequences) and trying again (and growing from it) is the only route to character development. And that’s been almost criminally denied to Hunk, Lance, and Pidge (and since S3, Allura). Their paths have been continually softened, if not truncated outright. 

I was noodling around last night, and this quote jumped out at me: ‘Dos Santos says they did think Pidge deserved a happy ending. “We wanted Pidge to have the true reunion she deserved...”’ They did the same for Lance and Hunk, whose families also survived. But what about Allura? Is her happy ending just Getting A Nice Boyfriend? Where’s Shiro’s or Keith’s happy ending? 

The result is that the story’s necessary conflict and tension --- because it must be there, or we’re all just watching paint dry --- gets shifted to Keith and Shiro. And with the bulk of that conflict landing on Shiro to suffer all consequences while Keith gets all the hero moments... it’s no surprise Keith might feel like a self-insert, since that treatment usually correlates. 

But I think it’s less self-insert, and more that with Shiro taking on all the EPs’ dislike, there’s not much left for Keith to do. 

Keith is on his way to becoming (a) god

At this rate, Keith will turn into god by the end of the show (like madoka, space dandy, and oban star racers), with all the stuff that gets handed to him, it doesn’t seem far-fetched anymore.

Okay, that’s out of left-field, but... it might actually improve the story if he turned out to be a long-lost twin of Haruhi Suzumiya (though I would totally dig if it were Haruhara Haruko instead, but only if the Atlas turns into a giant iron). 

With the way Keith's quintessence sensing came to the forefront several times this season, I still wonder (and fear, a little) about the possibility of him being part Altean. Even if there is a slim out with learning the druids were Galra, the focus on Alteans still has me worried that the last season will overlook Allura and Romelle in favor of having Keith develop druid powers and learn his connection to the Alteans.

Thing is, we’re so far along in the story that I don’t expect any of the odd abilities to ever be explained --- anymore than we ever got an explanation as to why quintessence reveals a skin tone Keith’s never demonstrated since, at least not to the same striking degree. And truth is, I don’t think the EPs know. I have a strong suspicion there was a lot of groundwork laid in the first two seasons that have since been abandoned. So I don’t expect it to fit together, in the end, and would not be surprised if everything’s hand-waved. 

So who knows. 

Keith is destined to be emperor

People are speculating on Galra emperor Keith (partly because he’s apparently magic now). Would explain why this season pushed Keith as leader... even though he never wanted to be a leader. And the leadership arc wasn’t really natural to his character. Also, whatever happened to democracies?

Emperor? Because magic? I mean, wouldn’t that make Allura a better candidate? I know, it’s so easy to forget she exists, now, but she did have a line or two this season. (Okay okay I kid, she had maybe a half-dozen.) 

I really don’t know. When I put on my writer’s hat, Keith’s entire arc really doesn’t make much sense. He spent way too much time in S2 and S3 protesting and fighting ever being a leader, and I have no idea how he got from that point to S7′s sudden undiscussed and unquestioned acceptance of the role. If there was development there, I would’ve liked to have seen it. 

Because without that, it’s still hard to look at the character onscreen and see it as the same person. Maybe they are setting up Keith to be emperor. I have no idea how that logic even works. Of course, seems like logic left the building about four seasons back but go off I guess. 

That reminds me of the teaser version that used to be all over the place --- and now I only see on the Google results --- that closes with “to conquer the Galra Empire.” That’s a rather specific word, compared to, say, “overthrow” or “defeat” or “end.” Conquering is what you do when your plan is to take over, after all. Maybe the idea of Emperor Keith isn’t that out-there. Hell if I know. 

As for democracies... well, the EPs have never mentioned influences that’d make me think genre political savvy (ie Gundam, Code Geass, Gasaraki, etc). Probably easier to have monarchs: one Puigian leader for the entire planet. 

Earth does get to be the exception there... with a social structure that appears to rest entirely in the quasi-military hands of the Garrison. Was there even a single civilian present, as the obligatory elected spokesperson for the people?  Pretty sure there wasn’t. (This is not unique to VLD; we have the same discussion on a regular basis in the SFF community about the bizarre prevalence of monarchial systems in American-written SFF.)  

Keith is friends with Lance > Keith is friends with Shiro  

There were scenes which would be v sweet for Keith and Lance if they weren't explicitly there to prove how useless Shiro is, and many to show how useless KEITH thinks Shiro is, and that’s why Keith took [Shiro’s] place. [Before S7] ... Keith wouldn't step on Shiro like that, take Black and his place in the team and his healing away from him. But S7? Behold the new Shiro and Keith dynamic. Keith choosing Lance to lead while Shiro’s right there? Roger that team leader SHIRO’S RIGHT THERE! +Sendak thing?

@sassafrassrex did a meta on the Sendak-Shiro fight that’s a must-read, so I won’t repeat that here. As for the rest... I mentioned above that Keith felt very unlike himself this season, and his dynamic with Shiro --- or complete lack thereof --- was a big part of it. 

After all this time, we’re overdue for seeing a solid friendship between all the paladins, and that includes Keith and Lance. Most of what I saw felt... well, uneven would be the best word. S1/S2 at its best, between them, was more of a good-natured teasing. S7 felt harsher, to me, as though it was Keith’s turn to be the asshole.  

More than that, though, is that it almost feels like the writers can’t figure out how Keith could cherish Shiro and yet have other friends --- so instead they chose to highlight Lance to the near-exclusion of Shiro. And that’s no better for Lance, either, because again he’s just a substitute. 

Frankly, I’m tired of Lance always ending up with someone else’s leftovers. 

Keith is over Shiro

They really had Keith kill a version of his most important person in the world (who he thought was Shiro) so he can rise as BP, then toss Shiro aside as broken, even choosing Lance as right hand over him. *And* to pick the one who abandoned him twice -- and at the end were [framed as a] “family" with Kolivan -- over Shiro who never gave up on him. Krolia even got an I-love-you *and* got called Mom for leaving. What fucked-up messages, lemme tell you, as someone who relates to Keith.

Put like that, it is pretty brutal. Not sure how else to read how completely Shiro is excluded from the narrative for the first 3/4s of the season, down to being literally frozen out --- and it’s most striking of all considering this is Keith we’re talking about. The one even the EPs describe as being so devoted to Shiro that he’d never dream --- let alone be capable of --- walking away (though the co-dependent note in that description skeeves me out some)... and then S7 starts and after the first episode, the two barely exchange any words. 

This was the one person Shiro was always vulnerable with, and Shiro was the one person Keith relaxed around. While yes, the team is way way overdue for doing that with each other beyond their original dynamics (and what I wouldn’t give for some real friendship-bonding between Allura and Keith, damn it), the complete absence made the season feel hollow. 

Just as Lance’s and Hunk’s friendship provided heart in the early seasons, so did Shiro’s and Keith’s. The absence of that, in S7, was nearly palpable. And it did make Keith look like someone who’d taken a long hard look at his best friend and decided Shiro was no longer worth it. This is the character who’d go back for a colleague even when the clock is ticking, who didn’t want to see Thace sacrifice himself, or see Regris killed, and went to the ends of the universe for Shiro? What wouldn’t he do for a friend? Unless, of course, that friend was killed, cloned, and brought back broken.

It comes down to two possible explanations: one is that the writers genuinely don’t know how to balance Keith’s devotion to Shiro while also letting Keith connect to the rest of the team. I’m having trouble believing they’d be that clueless about how friendships work, though. 

The other possibility is that we didn’t quite get the entire story when JDS said there’d been two versions of S6. I think what we’re seeing is the original script and storyboards for S7, leftover from when the EPs pitched a version where Shiro died at the end of S2 and never returned. 

The reason might’ve gone like this: we need N hours to sit down and write S7 with Shiro as Black Paladin (as they would for any other season). But if we just re-use the original storyboards with Keith as Black Paladin, we’ll save X dollars. Just edit a little to add Shiro, plus we’ll have the cash freed up to do [some set piece] so it’s really cool. 

JDS pitched the Atlas as the awesome and amazing consolation prize for Shiro, according to recent interviews. He might’ve argued the cost-cutting step would also let them expand Shiro’s role in the finale. 

My guess for the reason why Keith was the one to kill Sendak (besides the writers hating shiro and Keith needing to resolve every plotline himself now) is that Shiro killed Zarkon, the first major villain, so maybe that was one of their reasons to give that kill to Keith.

I was pondering that until I got to thinking about why the execs would reverse course and allow the EPs to shelve Shiro. I think that’s the reason Keith kills Sendak: it remained from the original storyline, where Keith took revenge on the person who’d tortured Keith’s best friend. Which in Shiro’s absence would’ve been powerful. In Shiro’s presence it’s... demoralizing. 

Bottom line: execs love cost reductions above all else. (Newsflash: DW is a business.) Given how the execs have consistently been described as pro-Shiro, cost is the only thing I can see convincing them otherwise. Especially if the series has already hit budget overruns from rewrites and redoes in previous seasons --- and if they’ve done this before to save money, by pasting Kuron where Keith would’ve been for most of S3-S6. 

That would explain why Keith doesn’t seem to even notice Shiro for most of S7. Because when the script was written, Shiro wasn’t there. 

note: it might also explain the EPs’ hints at a spoiler, but I’ll leave that wild speculation to @ptw30 to explain.

[recentanimenews]

Sing “Yesterday” for Me – 12 (Fin) – Life Goes On

Rou is his usual puerile self upon discovering Shinako with Rikuo (though you can’t really blame him!) and runs off in a tizzy, Shinako chases him down and tries to explain. She valued their relationship and was afraid of ruining it.

To his credit, Rou takes the high road, telling Shinako all that mattered was her happiness, and he was a “chump” for not noticing her feelings for Rikuo. Despite telling her “it will take time” for him to comes to terms with it but that he gets it now, Shinako assumes she’s just ruined everything with Rou forever.

The next time Shinako and Rikuo meet, its at a park bench, and as they analyze what they are to each other and how things went with Rou and Haru, the meeting gradually morphs into a more-or-less mutual breakup.

It’s only natural; things haven’t quite felt right because Rikuo hasn’t been able to properly tell her he loves her, but when he asks her simply “me or Rou”, she can’t help but summon much more emotion for Rou, who is family.

Rikuo owns up to becoming terrified of the happiness that suddenly rained down upon him when he found himself in a relationship with Shinako, but perhaps the reason it never felt 100% real for him is that…it wasn’t. He and Shinako had a natural distance from their long friendship that could not be closed, no matter what either party tried.

At the same time, Rikuo assures Shinako that Rou, who is still mostly a kid after all, will eventually come back around to talking with her. He just needs time to cool off, and as we saw, he already exhibited the self-consciousness to admit the mistakes he made. The two cordially shake hands, committing to maintaining what they know works: their friendship, and just like that, Shinako x Rikuo is dead.

Despite this breakup occurring in the last episode, there’s nothing rushed about it. After all, these three had been milling around for three months without the slightest romantic progression, which all confirmed that they’re not meant to be in that kind of relationship, however logical it might’ve seemed.

Meanwhile, Haru notes how little has actually changed in the world since what she felt was a categorical rejection by Rikuo, but still can’t help but wear a gloomy face as she fries vegetables, much to her mom’s dismay. It turns out she’s only taken some time off from Kyouko’s cafe and moved back in with her mom and stepdad. She spends the time away contemplating what love and happiness are to her, not

Rikuo ends up securing Haru’s address and bus route from Kyouko, and sets off to meet with and talk with her about what’s happened, if she’ll have her. During his long journey we get all of his naysaying inner thoughts in real time, negative and dismissive sentiments he must force his way through in order to take action.

He doesn’t like how things ended with Haru, and despite not knowing how she’ll react to seeing him again (or even if she’ll agree to do so), he’ll never forgive himself for not making he attempt, even if it makes him look selfish and foolish.

When he finally crosses paths with her (kudos to Kansuke for keeping her off the bus he just got off!) she’d been remembering when she met him and fell for him in middle school, assumes he’s just another vision, and proceeds to punch him. But when she realizes he’s real, she regrets the assault…but not too much.

All of Rikuo’s inner dialogue was a fight with himself over whether he should even be attempting to reconnect with Haru, which means when Haru is finally there in front of him, he has almost no plan for how to describe his feelings. He initially comes off as having only come to her because Shinako dumped him, but when he elaborates on the details Haru can sense it was more nuanced than that.

Rikuo comes out and says what we all know: he likes it when a woman is nice to him, and for a long time, he thought that was love…until he took the next step with Shinako and it didn’t work out. Then an “incomprehensible, bothersome chick” came along, and Rikuo didn’t realize until recently that love was staring at him all along from the opposite end of the konbini counter.

He thinks everything he thought about love and feelings up to now had been mistaken, but he knows one thing for sure: he thought Haru was cute, and that all of the time she was suddenly away from him, and all hemming and hawing on his way to seeing her, mean that he’s in love with her. It’s something he can come out and relatively easily say to her, while he could never say it about Shinako.

Seeing the shock, embarrassment, joy, and relief wash over Haru’s face is a season standout, as is her instinct to immediately embrace Rikuo and give him a kiss before he knows what hit him. Then she allots only 35 points to his confession and orders him to give another one. After three futile months and so much overthinking, I was astounded and delighted by how comparatively easily the distance between these two was closed!

A little time passes, and Rikuo and Haru prepare to go on their first official date together. Haru, always one to wear her heart on her sleeve, is clearly on cloud nine as she glides around the cafe where she returned to work. Meanwhile as Rou’s classmates celebrate him moving in to his own place, Shinako pays him a surprise visit.

This isn’t exactly how I thought things would end up between these four, but I can’t say I’m not satisfied. The events of this last episode, in hindsight, didn’t even feel at all like sudden twists, but a logical, necessary, and welcome corrective to the awkward confusion of previous alignments. It made me immediately giddy and excited for a Haru x Rikuo future. Not a bad trick for a show based on a 23-year-old manga!

For those asking “Wait, weren’t there going to be eighteen episodes, not just twelve?” Alas, that was an unfortunate miscommunication. Turns out the final six episodes are streaming-only shorts, so this is the final episode, with an anime-original ending. That’s obviously extremely disappointing as I was watching this show unfold as if it had six more eps to work with, but oh well…at least it ended on an upbeat note!

By: sesameacrylic

[wits-writing]

Crazy Ex-Girlfriend Season 3 Ep 6: “Josh is Irrelevant” review

[My other Crazy Ex-Girlfriend reviews here]

Rebecca takes her first steps on the long road to recovery in this episode of Crazy Ex-Girlfriend as she gets a new diagnosis for her mental health and her friends try to be there for her in anyway they can after her suicide attempt. Meanwhile, Nathaniel deals with his family so he can sort out some trauma from his past.

[Full review under the cut]

“Josh Is Irrelevant” picks up with Rebecca back in West Covina in the hospital after her suicide attempt. Rebecca confides in Paula about what was going through her head at the time. She ran out of stories to tell herself and felt like she burned every bridge with her friends, so she did something to stop the pain. While she’s in recovery, one of the things she worries about is that what she’s done has inconvenienced her friends because of how they want to be there for her. Paula, Valencia and Heather all clearly want to be there for her in anyway they can. Some to an extreme extent, like Paula one again ignoring her family to be there for Rebecca as often as possible to the point of some boundary crossing. Heather let’s Hector, who she’s been on two dates with since the last time we saw them, come with her to the hospital to keep her company. Valencia is annoyed at Hector’s presence, but not as annoyed as both Heather and she are when Josh tries to see Rebecca. He’s been taken in by his own guilt complex and need to make amends for anything he feels he did wrong, not understanding that he doesn’t have to be involved at all.

How Nathaniel tries to deal with what’s happened ends up highlighting how far as a character he’s managed to come since his first appearance midway through season 2. He’s clearly struggling with what to do or say in reaction to Rebecca’s suicide attempt, writing and backspacing condolence messages to her. Eventually, he realizes why he’s struggling to deal with this and goes over to his parents’ house to talk to them. He confronts them to ask if his mother tried to commit suicide when he was 10, based on a repressed memory of his where he found her passed out and unresponsive next to a bottle of sleeping pills before she disappeared for a month. His dad is angry at him for trying to drag up the past (mostly because it ruined their martini time) and his mom is visibly upset at having to recall this event. Later, she admits that this happened during a rough period in her life and when she went away for a month she was taught how to sleep without the need for pills. It’s the first open and frank conversation these two have ever had and there’s clear relief on both of their faces after they have it. Nathaniel’s arc this season has honestly caught me off guard in terms of how much I’ve liked it. Outside of his lapse back into his old behavior patterns in “To Josh, With Love”, he’s made a lot of forward momentum as a character in terms of being honest about his feeling rather than repressing them.

Valencia’s story this episode revolves around how she ends up taking charge of keeping people informed about how Rebecca’s recovery is going online. She starts doing this by livestreaming update videos over social media and eventually hundreds of people start following it. What started as a touching gesture to help keep people connected to the condition of their mutual friend becomes something Valencia is using to get attention for herself by making it a movement called “#BunchOfFriend.” When Heather finds out she’s getting promotional deals from sponsors for her videos, she calls out Valencia for being full of crap. Her rebuttal to Heather’s assertion is expressed through a parody of faux-inspirational pop anthems called “This is My Movement.” The rebuttal ends up being a reinforcement of Heather’s accusation as the lyrics and title of the song are all comedic euphemism for pooping, including “It’s gonna be a beauty/Cause it’s my duty/To spread it all over the world.” Helping the humor of the lyrics along is how committed to the bit Gabrielle Ruiz is with her enthusiasm in the performance with a lack of self-awareness for what the lyrics sound like.

Rebecca main story this episode revolves around the psychiatrist at the hospital, Dr. Shen, telling her that due to his conversations with Dr. Akopian, they’ve arrived at a new diagnosis of her mental condition rather than the anxiety and depression Rebecca has always been told she suffers from. Rebecca sees this as a new chance to understand how she can handle her life by understanding more about one of the sources of her behavior. Her excitement to know more about herself is expressed through the musical number “A Diagnosis.” Where she expresses that she thinks this news will be the key to finally being able to function in her life the way she’s always wanted. The concept of a new diagnosis is the light at the end of the tunnel out of this dark period in her life.

Reality doesn’t quite measure up to what Rebecca was expecting when Dr. Shen give her the diagnosis, Borderline Personality Disorder. He describes it to her briefly by saying people with BPD tend to lack the emotional fortitude to feel comfortable living in the world, tells her to start attending group therapy sessions and to not look up the condition online. She instantly breaks the last rule by looking it up and being upset by what she sees, later telling her friends “I read two and a half sentences about it and they were the worst I’ve ever read.” Paula tells her that if she’s not happy about it then they can go directly to Dr. Akopian to get a second opinion about her condition. When they go to her office and interrupt one of her other appointments, she reluctantly agrees to discuss the diagnosis with them and runs her through a checklist of BPD’s symptoms to see if Rebecca feels she has them. While the list is being read out, Rebecca reflects on all the moments in her life that reflect the condition and starts to agree with how the diagnosis was more accurate than she wanted to believe.

After a night of thinking through the diagnosis, she starts to accept that having BPD is something she’ll have to deal with in the right way. She reassures her friends the best she can about how even though she doesn’t know what her future living with BPD will be like she’s prepared to take the steps necessary to live as well as possible. When Darryl bursts in to her house, after rushing back into town from a retreat with White Josh the second he got the news, he starts talking about how he’s angry at Josh Chan for pushing her to that point. But Rebecca has finally had the episode’s titular revelation, “Josh Is Irrelevant”, she hasn’t thought about him since being back in town and accepts that none of this was ever about Josh. She’s says all this unaware that Josh is right outside of her door overhearing it. Later, she sees Nathaniel delivering some roses from his mother to her house and he tells her he’s happy to see her doing okay.

“Josh Is Irrelevant” manages the difficult task of following up such a heavy previous episode by keeping every character’s reaction perfectly inline with where they are at this moment in the series, like Valencia admitting that all the livestreaming was her way of dealing with the situation by putting on a brave face of her own for a public audience. There’s smaller funny moments like an insert contextualizing the last shot from this season’s theme song and Rebecca’s friends panicking as she can’t hear them knocking on the bathroom door. What Rebecca’s life will be like past her Josh obsession and trying to properly deal with her mental issues is something I’m looking forward to seeing once the show returns in two weeks with “Getting Over Jeff.”

[kinetic-elaboration]

April 19: Thoughts on 1x11 We Are Grounders Pt 1

It’s late, I’m all upside down, and I just reread some of my old meta so I’m thinking about how Smart I am and also how bitter I am about this show. So here’s more of my rewatch!

Today’s episode, We Are Grounders Part One

I wonder if Jaha was so quick to throw up his hands and walk away from the DNR group in S4 because, especially prior to what was basically a religious conversion, he has a similarly strong death instinct himself. I’m not saying he didn’t do everything he could in favor of survival many times, but honestly how many other times has he been like ‘well, okay, tried everything, time to die’? Like compared to other characters? I’m not saying he actively wants to die so much as that he is more comforted than the average bear by the possibility of a ‘good death.’ (Also I think this has a lot to do with having lost his son tbqh.)

Note to self: someone I’m assuming is a station rep referred to her constituents.

An incredibly bleak but fitting ending for this show would have been to kill the Ark in S1 and then to have the delinquents and grounders kill each other in an escalating S2 war. It would have fulfilled certain foreshadowings/themes of the first season (all the war escalation stuff, the nuclear-age throwbacks) and it also would have been an appropriate ending for all these truly terrible, morally rotten people.

Literally Jaha v. Kane is Jasper v. everyone else (or at least, like, Clarke and Monty) in S4. Truly this show ran out of original ideas after 2 seasons, see again my previous point lol.

Speaking of Jasper there is my angular boy.

There is nothing about the delinquent camp I don’t like. Raven in like a council-level position, ish, Bellamy’s speeches and blatant emotion, everyone’s outfits.

I completely forgot Tristan existed.

I also forgot how many fake out main character deaths this show used to do. Abby, Finn. Can’t get away with that 4 seasons in. The audience knows anyone important is getting a real death scene.

Omg Bellamy has a whole like war plan with little figures and stuff.

Bellamy has this reputation for being all emotion and I think that’s him at heart but ignoring Clarke, Monty, and Finn’s disappearance is a logic-based decision. A sort of...overcompensatory logic-based decision. Also not in line with the show’s morality, like, at all. Hence why he drops it later.

Yet again impressed by how Jasper managed to change more than any other character over 4 seasons while still remaining IC. Even young and comparatively innocent he could be snarky and sarcastic and he also was honest and straightforward in his confrontation with Bellamy, and he kept on being all of those things later, but with bitterness and bite.

Murphy (having just obviously suffocated a boy): He stopped breathing. I was trying to help him. Jasper (nodding slowly): Yep, sounds about right, totally legit, lots of evidence that that is what went down. Yep.

Also I’m like 99% this ep is basically their last canon interaction so btw this was the end of what is absolutely, canonically (see the pilot and the Pike-class flashback) a same-station-forged friendship. And probably also explains why Murphy’s reaction to Jasper’s death was like ‘Jasper who???’ though that doesn’t make it any less an unforgivable sin.

There’s nothing not perfect about this scene overall, but the most perfect thing is “Tell Bellamy what?” coming from Jasper’s pocket. I love both that he tried to be sneaky and the comedic value of it.

TWO HEADED HORSE TWO HEADED HORSE TWO HEADED HORSE.

Lincoln was criminally underused. He not only saved Finn and Clarke, he “killed one of his own people to do it.” This isn’t about Octavia. He’s just been looking for an excuse to rebel his whole life.

Jackson’s being so lovely and supportive and Abby’s still calling him by his last name. Knowing this show they probably forgot it was his last name.

Today’s reminder that Octavia likes literally 4 people in the universe lol. And one of them was Jasper. Until the show forgot about that too but whatever not bitter.

RE: Raven getting in under the floor. I’m thinking about my fic and my work around for opening the dropship from the outside and okay on the one hand if such a device existed, Raven would probably know about it as much as Monty but on the other hand, there has to be a way to close the dropship from the outside, because it’s closed in S3 and there’s no one in it. So logically it should open from the outside too, without recourse to loose panels and stuff. So maybe I was a little, like, short-cut-y in my solution but the show is not consistent so we’re even. (We’re not even but I’m self-conscious now.)

Bellamy talking on the walkie with Murphy might honestly be the most beautiful he’s ever been.

Legit question: who do the Grounders battle? They have this coalition, with like Ambassadors and shit. Which doesn’t mean they can’t battle each other but there’s also some diplomacy going on, like, clearly. Which should make battling less necessary, one would think. And even if they do battle each other, over fucking what??? Land? Literally never seen solid evidence that land boundaries matter to them. Shits and giggles? Bragging rights? They have an enemy in Mount Weather but Lincoln sure as shit wasn’t fighting battles against them.

T100 drinking game: take a shot any time says ‘cauterize the wound. Take two if they actually cauterize a wound.

“We lost Clarke, we can’t lose Bellamy too” is probably the first indication literally anywhere in the show that anyone acknowledges Clarke as an delinquent leader.

I miss the Raven + Jasper dream team. Tbh Raven has so few people who can appreciate her professionally. It’s literally Monty, Wick for a hot second, and Jasper (even though his skills aren’t the same as hers, they fit with hers nicely).

I miss my alternate universe where Jasper lives but becomes pacifistic in nature, where he abandons this ‘give me something to shoot through’ attitude and eschews the use of weaponry entirely.

I don’t think this show is 40% as badass or sick as it makes itself out to be but every now and then it lives up to that ideal. I mean this extended psychological torture sequence in which Murphy makes Bellamy hang himself is super fucked up.

The young Jaha and Griffin families were adorable.

“If you were never [in the tunnels] how did you map [them]?” / “Spoils of war.” I realize this is probably just quick plot-hole filling but nevertheless I sense a story here.

The Reapers were also a sick and twisted invention of this show. I feel like in S2 it was pretty clear that the Reapers were given dead bodies to feed on, so either I’m wrong/the Mount Weatherians were more efficient in their use of their limited resource of Sky People bodies versus Grounder bodies/the show has bad continuity/that living dude in the cart is an outlier/some combo of the above.

“The Eastern Sea” lol. The Chesapeake probably.

I never cared for Luna but she could have been cool and also she and Lincoln are ex’s pry this headcanon from my cold, dead hands.

I’m pretty sure Finn pounding in the Reaper’s head was his first kill. Would his S2 story be possible without that moment?

“They look up to you. Almost as much as they look up to Clarke.” Okay I’m sorry, this is just textually, canonically wrong. This is the show retconning Clarke’s position as a leader. And it’s so unnecessary! Her story line works better if she isn’t positioned as the main delinquent leader, imo. Like, lines like that are outliers that don’t make sense within the universe; they’re obviously outwardly pointed: here audience, Clarke is protag 1 and Bellamy is protag 2 and she’s the REAL leader, don’t forget that order! If you do, you might occasionally question her leadership credentials later, when we lazily write everyone just following her regardless of their actual interactions with her or the most recent developments of her storyline! (Not that I think they were already setting up the laziness of S4 this early, but I do think they were tipping the hand of their own biases and their inability to tell the difference between what’s going on in-universe and what the audience sees and understands.)

On the other hand “Well I think the princess is dead, but I know the king’s about to die, so who’s really going to lead these people, huh?” is a good line and I do like positioning Bellamy as king (of these people specifically) versus Clarke as a princess (of the Ark--an old position based on a class background that is irrelevant to their current society).

Lol @ Murphy’s plans being delinquent-domination though. Like that was going to happen.

Actually I think Finn’s S2 story line is created in the moment when he washes the blood off his hands: he’s killed, which changed him, and Clarke comforts him in that critical moment, and he comes to associate her with that event and its aftermath. He also says “I should have fought for you,” which I see as this...hard to describe but like...the creation of a devotion beyond what he’s so far felt. Not that he loves her more but that he’s convinced himself he loves her more, that she can save him in some way, that she is necessary to him. He has a lot of idealistic notions and I think this narrative gets created within him with Clarke at its center and everything else gets blurred out. Or something.

This Jasper and Bellamy scene is the best because it combines two things I love: Jasper’s hero-worship crush on Bellamy, and Jasper’s intense devotion to Monty. I’m a little sorry that Clarke and Finn’s return/these loser Grounders robbed us of a Bellamy and Jasper rescue mission though.

I guess it’s possible Bellamy said “Whatever the hell we want” all the time but really I think it was just the one time and the writers have already forgotten that Jasper never heard him say it omg sometimes I just want to knock their heads together their memories are such shit. (Yes I’m also bitter about Jasper’s pilot outfit returning out of nowhere in S4 and Clarke wearing his intact goggles in S5 even though he already smashed the plastic out of the lenses sometime in S3.)

Poor Jasper. He thinks Monty’s come back with them. He barely even has time to process that disappointment before they start debating whether or not they should leave.

Basically I have a lot of Jasper feelings.

Bellamy’s speech is better than Clarke’s. Come on Griffin, never start with ‘my opponent is right’ that’s a bad rhetorical move. I also find it intensely unrealistic that they’re all like ‘yes, Clarke, we will do what you say!’ when, I cannot emphasize this enough, she has literally never led them before. All of her leader decisions have been strictly BTS. Her only real advantage here is that they know they have no gunpowder and few other resources, so it’s probably just a straight up fear-flight.

“Crowds make bad decisions. Leaders do what they think is right.” I mean basically the theme of the show there lol.

I’m going to rant about this next time I watch but just gonna say here that Clarke is definitely, unequivocally, ultimately wrong in this and Bellamy was right. They should have stayed. People literally died because Clarke tried to take them out when she shouldn’t have.

The camp doesn’t look like I expect or picture in my head...where are their tents? How much land did they claim?

I remember watching this the first time and thinking Jaha’s plan to get them to the ground on the Ark itself was the outright coolest thing I’d ever see and you know what? It holds up. I stand by it.

[paperclipninja]

Younger post-ep ramble 6x05

If I wasn’t already excited about this episode, discovering that ‘Stiff Competition’ was written by Joe Murphy certainly would have got me there. Maybe it’s because he is a fellow Australian or maybe it’s because in every interview I’ve heard I find him utterly delightful and intelligent or maybe it’s because he is a damn great writer, but one thing is certain after this week’s episode of Younger: J. Murphy, I Stan (there was a time I might have been embarrassed about gushing so unabashedly but now I write weekly essays about fake people so I figure the shame level is zero at this point). This ep had the combination of playfulness, funny, flirty and drama that hooked me into this show in the first place and I feel like we got further insight into a number of characters, broadening our understanding of them and where they’re at. Plus kudos must be given for managing to use the title “Stiff Competition” and make the feature book “The Third Leg” in the same ep (one might even call it a riDICKulous feat…and no I’m not even a bit sorry).

A couple of weeks back I wrote about the Liza and Charles dynamic and how it really thrives on the build and resolution of tension. Up until last season it was the sexual tension and now that’s resolved there needed to be something to keep the fuel on the fire, so to speak. Cue the opening scene of this ep, with the competitive fuel well and truly lit and honestly, this whole scene just rocks my world.  We had the drama building the past few eps with Charles being secretive and while that would’ve resulted in the destruction of the relationship had it been left unresolved, it has been used to transition into this next type of competitive cat-and-mouse style tension that the characters are embracing (at the start anyway) and using to their benefit and, let’s be honest, we all benefit because it. is. HOT.

Walking into the National Arts Club party very quickly establishes Charles as well versed at such an event and I am so into the immediate retort from Liza that feisty isn’t the ‘f’ word she would choose to describe Charles setting up Mercury. That does of course come after Charles introduces her to Michael Cunningham as his girlfriend which is just so bizarre to hear but also YES. Their banter, the competiveness in the art of the schmooze, bringing her A game; the whole thing set them on such equal footing and seeing them as ass-slapping sparring partners was something I never knew I needed and could have watched an entire episode of with its feature film feel (Kickstarter for a spin-off series of nerdy espionage-style escapades but about books and authors and literary events…and maybe the odd murder to keep it interesting). 

While Liza was certainly showing that she can work a room, Charles’ reputation and professionalism was on fine display as authors greeted him warmly and Liza’s introduction of him to Meg Wolitzer as her boyfriend (seriously I’m living for these gf/bf drops) just got more and more awks as Meg and Charles clearly knew each other, Liza snatched his business card from his hand and then asked the photographer to identify him as her ‘guest’ in the pic (loved Sutton’s delivery of this and extra loved Meg’s ‘just pretend you’re talking to me’ to the rando so she could get away from the slightly unhinged antics of the editor she just met). Yet Charles is loving every minute of it and I so appreciate that now the whole Mercury situation is no longer a secret Charles is talking openly about it with Liza, evidenced by his telling her he received a message from Zane (about Mercury being highbrow/brilliant nonetheless).

Where there is highbrow there must be lowbrow (old tv proverb) and unfortunately for Kelsey, the head without a neck aka ‘a floating tragedy’, she has taken prime position in that quadrant of New York Mag’s approval matrix (can we take a moment to appreciate Liza’s ‘well it is a good picture of him’ remark re: Charles? Way to make your friend feel better but also lol and accurate). While I sympathise with how stressful it must be to lose authors, this ep once again highlights that our pal Kels is in quite the spiral. Luckily Liza has managed to pull in Chip and Joanna Gaines, I mean Hayley and Cameron Butler, who are promoting their cringe-worthy new book, ‘The Third Leg’, off the back of their New York Flip success. I heart the way this show parodies real people so hard.

I have said it week after week, but Diana has been such a scene stealer this season (Diana Trout proudly pointing out Shiplap, I don’t know why but this just made me grin). The writers keep bringing it with the lines and Miriam Shor’s delivery somehow magically seems to get funnier and funnier and her heart eyed gaze as she recounts her and Enzo’s third leg(s) (like a centipede…but also nothing like a centipede, speaking of A+ lines and delivery) was no exception. The whole pitch meeting was a bit of a train wreck, with Kelsey’s bitterness about the hot or not list spilling in, Liza’s attempt at diverting resulting in Diana railroading the entire thing and Liza wondering if she and Charles are in fact lacking the third leg (Empiriconda notwithstanding) that two home reno celebs have deemed a necessary factor in a successful r/ship (though theirs hardly seems the picture of happiness unless #relationshipgoals is taking jabs at each other through strained grins).

One relationship I am digging on every level is Josh and Lauren’s and this week’s ep gave us a mighty fine dose. Of course Lauren set up a GemmaLoves Insta and I’m 100% willing to overlook the slight ickiness of her pushing a SM account for the baby without asking Josh because it’s Lauren and she is sublime and also without it we would not have had THE film-worthy (minus the butt plugs) montage. I freaking adore that Lauren is so unapologetic about promoting stuff and getting freebies and Josh’s stance on not letting his daughter be a pusher for consumerism lasts approx. 25 seconds as Lauren points out all of Gemma’s favourite things that she will happily take back (Josh’s ‘but she loves it’ was just too good). Lauren’s declaration that both Josh and Gemma are gonna get free swag ‘and ya both gonna love it’ (the Eleanor Shellstrop vibe is strong and I approve) leads us into the shopping montage that made me want to dance around my lounge room and could sit comfortably in any rom-com from the late 90’s/early 2000’s. From ‘Baby Love’ to Josh and Lauren feeding each other cupcakes to that glorious moment of Josh parading back and forth on the pavement like a chorus boy, I bow down to Younger pulling rabbits like this out of the creative hat six seasons in, it was just such damn fun.

You know what else I adore? That throughout the series we have seen so many different aspects of Diana’s character and we just keep seeing more and more layers peeled back through her relationship with Enzo. I am so enjoying the side of her we see being open about her feelings for him when she’s around others, then the way she is with him; proud of their relationship then honest about her disappointment that they have to cancel dinner, rather than shutting down and pretending she doesn’t care. Enzo offering to buy Diana any necklace she chooses made my cold dead heart swell with the sincerity and sweetness of it all, but Diana revealing that she does not choose her necklaces, they choose her = the revelation I didn’t know I’ve been waiting six seasons to hear. Not to be dramatic but it felt like coming home.

 Side note: I’m finding the parallels between the Diana/Enzo and Liza/Charles relationships really interesting. I don’t know whether it’s deliberate or not but these two couples navigating relationships in their 40’s, trying to strike a balance between career ambition and their personal relationships, I am beyond desperate for Diana to know about Liza’s age and for these two to talk about it all tbh.

Speaking of balancing career and relationship, can we please talk about the dinner date because sweet lawd, my heart was already full from the Diana/Enzo goodness, but then along came Liza and Charles with this whole out together with the authors situation and quite frankly, I’m surprised I survived.  Bringing together the book and the earlier meeting was just so well done and the moment Hayley dropped the ‘and you’ and we discover that Charles had indeed gushed about Liza and their shared love of books as their third leg (still sounds weird and gross but totally worth it for the sentiment and post-dinner tie in), I too was staring at my screen the way Liza looked at Charles, but I was also a little bit deceased because I am romantic trash and him casually rubbing her back almost did me in.

I feel like each ep is adding another dimension to Charles this season and seeing him relaxed and candid outside the restaurant was certainly another insight into this character. The entire interaction between him and Liza was effortless and I love that it went from Liza ribbing him about using their relationship to secure the book to Charles being so frank about where it’s all at and how he’s feeling (and does anyone else hope a little bit that Charles does end up needing that room in Liza’s bed coz I am very on board with the idea of C. Brooks living in that loft for a while for many reasons). Bring on lusty Charles and I kid you not I let out a little scream of delight at Liza noting his excitement and then heading straight for the cab (yes Charles, she is just going to leave you like this). Thank you Joe Murphy for the ep and the book title combo so Liza could remind Charles competition is stiff out there while glancing at his crotch and telling him to take care of the third leg himself, you truly are doing God’s work. And I’m just all ‘round loving seeing these two adults in a relationship being flirty and lustful and open with one another.

I have to put it out there that Liza’s hustle game is so damn strong this whole ep and as she is questioned by Kelsey and Diana about how Charles is getting all these authors, I a) am very glad she does not blab, b) find it interesting that Kelsey assumes that Liza mustn’t know if she hasn’t told her and c) wonder why Liza is the only one who seems to understand that other publishing houses will be vying for books and that Millennial will lose some fair and square. But Liza once again has another potential author lined up in the musical prodigy turned conductor Gloria Rivera, but this is Younger, we’ve had lots of fun, flirty and funny, so it must be time for the drah-mah.

The moment Liza ran into Charles at the concert I think we all knew the competition might have just about run its course, and I had legit second-hand embarrassment as Liza so confidently gloated she had been in touch with Gloria ‘for months’ in response to Charles’ knowing her ‘quite well’, though Charles clearly wanted to explain further as he said he wanted to talk after the show before the lights go down and Liza needs to get to her seat. Insert appropriate amount of unimpressed for both Kelsey and Diana and it all goes south pretty quickly once Diana discovers that Gloria was the recipient of the Brooks family Arts Scholarship so knowing Charles ‘pretty well’ is a bit of an understatement.

Now I get that it must feel like a series of blows and I also get that we need a way for Kelsey and Diana to be at the axe throwing bar so that whole scene can play out, but for them to both bail on Liza and not even try to convince Gloria to sign with Millennial, I mean, you’re not going to get any authors with that attitude ladies. At this point Liza should just bail and start her own damn company, give it a great name starting with ‘M’, maybe Majesty? Mendacity? Or Mitosis and she can just expand quickly and open identical offices all over the place? Either way, Liza had no time for Charles’ girlfriend game post-show (and it is clear here that to Charles it is still just a game and he hasn’t quite clocked that to Liza this is her career being compromised).

While I think Diana and Kelsey leaving Liza to make a last ditch pitch to Gloria solo was a low blow, seeing them together, rage throwing axes while drunk (I both love and am terrified of the idea of people drinking and axe throwing in one place FYI) was pretty damn great. These two are always so messy together and Diana taking off her earrings and prepping only to have such a terrible axe throw was only surpassed by her saying that she tells people Enzo is a surgeon which is why he’s on call and Kelsey offering up that they both wear gloves. LOL. And Diana Trout peeing beside a dumpster is one thing I never thought I’d see on this show, yet here we are and her ‘I don’t know her’ and running away from the cop when Kelsey produces the axe was ridiculous and excellent and a great excuse for some chin-skin holding mugshots.

My one gripe at the mo is the ongoing distrust Kelsey has of Liza, first at the axe bar asking Diana if she thinks Liza is helping Charles land these authors and then when Liza turns up after Enzo has bailed them (can we just pause a moment to appreciate the ongoing mafia jokes since their first date and also Enzo calling Diana a jailbird and her smitten reaction. I heart it all). Seriously, this is just yawn at this point and while I get that Kelsey is scared (and thank you Liza for pointing out that she’s not the only one) surely Liza is over having to prove time and time again how loyal she is only to have Kelsey continue to question it? I know I am. Again, Liza – ‘Mitosis’. Think about it.

Our Maggie moment this ep is of course just prior to the déjà vu of Liza and Josh chilling on the couch with Gemma, a little throw-back to the cacao-induced dream from last season’s finale. But I gotta say, my heart hurt for Charles when he walked into that awkward af loft situation, because while I have no doubt that Liza is solid in her feelings for Charles, seeing your girlfriend in a super domestic looking moment with her ex has to feel like a kick in the guts. I want to bottle the look Liza gave Josh when he said ‘you two seem good’ because if I could whip that out on demand, it would be mighty useful.

The final moments of this week’s ep certainly heightened the drama all round. I feel like this episode really highlighted the insecurity of both Kelsey and Charles, which puts Liza in the interesting position of having to navigate this with two people she loves but also put her foot down for her own sake at some stage. Liza immediately quashes any concerns Charles may have about being in competition with Josh and uses the baby’s inability to talk ergo. steal authors as a way to broach the ongoing company rivalry. As Charles reveals that Gloria will be signing with Millennial, it is evident it is all still a bit of a game to him (though him saying that all he cares about is that he doesn’t lose her, ugh *heart emoji*) until his true take on it all is revealed, that he sees it all as shared victories rather than rivalry. Eeek, I tell you, I get and appreciate the dick theme of this episode but I struggle with the dick line ‘when you get to the bottom line, it’s still all me’ so much. I had an actual physical reaction to how awful this was and it certainly was not something I imagined this character saying. Yet I do think it also gives credence to the type of man Pauline said she was married to.

It felt insecure, like he was trying to talk himself up in some kind of misguided attempt to sound impressive, but it also was a glimpse of the man whose ambition contributed to the demise of his marriage. Pauline herself said that when they got married she thought they would be a team but right away it was all about Charles and she was there just to be his rock (S5E3). The difference now of course is that unlike Pauline, Liza has called him out on it and in the final second, the expression on Charles’ face (it’s gutted for those playing at home) is hopefully one of realisation that he is repeating behaviours of the past and that moving forward, we see that realisation play out and this character develop.

I have no idea how the rest of this season is going to play out but you know what all this drama and intrigue pave the way for? Growth. Liza’s growth as she becomes more sure of herself and her right to decide and demand what she wants and deserves, who she wants, what she will and won’t stand for, Charles to learn from past mistakes and work to redeem those and think about the kind of man and partner he wants to be, no character’s growth has been as glorious to see unfold up until now as Diana’s and I’m sure this will continue and Kelsey...well I’m sure hers will come. We’re almost halfway people and season six is proving to be quite the ride.