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metawitches · 4 years

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In episode 6, the worlds ended, thanks to Adam’s double apocalypse. In episode 7, we meet the new world. And tie up a few loose ends.

Recap

The episode begins with a twist on the opening voice over- a segment from HG Tannhaus’ science show from the 1970s:

Tannhaus: “What is reality? Is it singular in nature? Or do several parallel realities exist at the same time? To address this, Erwin Schrodinger constructed an extremely interesting thought experiment. Schrodinger’s cat. A cat is locked in a steel chamber with a tiny amount of a radioactive substance, a Geiger counter, a vial of poison and a hammer. As soon as a radioactive atom disintegrates inside the steel chamber, the Geiger counter triggers the release of the hammer, which smashes the vial of poison. The cat is dead.

“However, due to the wave characteristics in the quantum world, that atom is indeed disintegrated and intact. Both states are true until our own observation forces it into a definitive state of existence. Until the moment we check and see, we can’t know if the cat’s dead or alive. It exists in two superposed states. The attributes “dead” and “alive” exist simultaneously in the microcosm.

“But what if the simultaneous existence of life and death also applied to the macrocosmic world? Could different realities exist side by side? Could we split time and let it run in two different directions, and, as with the cat, induce a state of death and life simultaneously? And if so, how many different realities could exist side by side?”

Good question- how many realities could exist side by side? Is that the normal state of reality- for many realities to exist side by side, happily coexisting long term without judging each other’s existences, each accepting that sometimes the cat lives, sometimes she dies, and sometimes she chooses to leave the box closed and uncertain forever? That does seem like what the theory predicts, doesn’t it?

The famous cat, waiting for her life to go one way or the other.

HG Tannhaus presents the 2 potential states which the cat is superposed in- it exists as both a live cat and a dead cat at the same time, until an observer opens the box and forces circumstances in one direction or the other. The observer affects the outcome because of quantum entanglement.

A representation of 3 equal states/worlds/dimensions superposed together which arose from one moment in time, showing this is possible in the Dark universe, according to science expert HG Tannhaus.

In the Prime world 2020, Alt Ex Raincoat Now Emo Martha stands outside of Hannah’s house at the end of S2, just after Adam shoots Prime Martha. Inside, Young Jonas watches his Martha die and promises to make it right. Alt Martha goes inside- or does she? In split screen, one Martha runs into the house, while the other stops when Bartosz appears and yells to her not to go inside, Back to the Future-style. He tells her that Adam doesn’t want to stop the apocalypse and will kill her in the future.

Bartosz says that they’re all doomed because of Jonas/Adam, because everything is his fault.

Of course it is. At least some things are consistent across all of Space-Time.

As the black hole warp bubble forms in the sky, Jonas runs to the basement. Bartosz takes out the time sphere and begs Martha to trust him. He can save her and show her the origin and how everything is connected. Martha and Bartosz poof away just as the shockwave hits.

So good to have Bartosz acting normally again.

Time to note the next twist of the episode- sometimes we are seeing a 3rd world, which I am going to creatively continue to call the 3rd world or Tannhaus’ world. You can tell when it’s this world because widescreen black bars appear at the top and bottom of the picture. And HG Tannhaus appears.

Except in this episode, the jumps between worlds aren’t always marked by any of the normal markers that we’re used to. Make of that what you will- do some of the scenes apply to multiple worlds? Are we seeing Bartosz’s world sometimes? Are we seeing more of Tannhaus’ world than we realize?

Did the most recent surges in time energy fry the system in some way so that the boundaries between worlds are overlapping and more fractured than usual? Maybe the new connections that were made need a while to settle down? Usually, after an event like the end of episode 6, we’d be shown where/when travel has now been opened up to- my guess is that’s why we can see Tannhaus’ world in this episode. The connection to his world has been made or changed. We’d also usually be shown the travelers along with the new places they went, but apparently we’re assuming Martha, Charlotte and Aleksander are dead.

In the Prime world, in 1986 HG told Teen Charlotte that his son, daughter-in-law and infant granddaughter, Charlotte, died when their car went off a bridge in a storm in 1971. Baby Charlotte’s body was never found. That same night, two peculiar women brought him a replacement infant to raise. The “For Charlotte” pocket watch, a Tannhaus family heirloom since the early 19th century, came with her. Teen Charlotte met Peter, who came to town that day and eventually became her husband, on the day HG told her about her past. Both HG and Charlotte were given reasons to stay in town and stay settled when they were told the story of the accident.

In the 3rd world, in 1974, the clock shop looks much more like an inventor’s workshop than usual. HG works on a machine on a table late at night. It’s unclear whether he has Charlotte in this reality. We never see her, but he could be working around her sleep and then later her school hours. In S1, Prime Charlotte found a piece of the time machine chair room’s wall paper in the bunker and recognized it for what it was.

That suggests that on the Prime world, Tannhaus brought her with him to the bunker while he worked at night and the room was originally set up as a bedroom and playroom for her. The ownership of the bunker and cabin is murky, since we’ve been shown that the property also belonged to the Dopplers, especially Helge, during the same period. Bernd Doppler and HG were the same age and may have been friends, sharing ownership of the vacation/hunting cabin between the families.

The ownership of the cabin could be a bootstrap paradox- someone could have changed history. Bernd and Helge are Claudia’s allies, so it would benefit her to pass ownership of the passage to them. Encouraging marriage between Charlotte and Peter also accomplishes that goal.

Or we could have been seeing the cabin and bunker in multiple worlds all along, but it’s only become clear now that the timelines have differentiated more. In the pilot, Jonas’ timeline, Martha’s timeline and Bartosz’s timeline may have been identical. They could be living in entirely different universes by now.

HG glances at his photo of his son and family, then the scene switches to the Winden graveyard and the family’s gravestone. They died on November 8, 1971. Marek was born on March 20, 1947. Sonja was born May 26, 1949. Charlotte’s birthday was May 30, 1971. She was just 5 months old when she died. HG leaves a red knit animal on the grave for Charlotte.

Both Charlotte and Sonja were born just a few weeks before the Summer Solstice, the peak of the light. Marek was born on the Spring Equinox, one of the balance points in the year between light and dark, this one tipped toward light.

In voice over, HG says that it’s hard for humans to accept death and loss. “We long in vain for a way to turn back time. To reverse death.”

“But if time is relative and nothing is really ever in the past, and the simultaneous overlapping of different realities is possible, shouldn’t it then also be possible to bring back something that was believed to be dead long ago and to create a new reality in which the dead live again? If our life is defined as everything between birth and death, it exists there, ad infinitum. Could we succeed in cheating death by finding a way to bring back life, there, between time?”

As he speaks, HG goes to the Doppler cottage and down into the empty bunker. He must own the cottage on this world. He looks around the bunker thoughtfully.

The bolded question is the central question of the series and especially this season. There are several different stories about how time travel began on Dark. They all have to do with bringing someone back from the dead. Generally, the characters’ theories about the knot involve blaming someone who they believe shouldn’t be alive either.

The show’s focus on how guilty characters feel about this or that serves to distract from how alarmingly frequent murder and physical violence have become. When you combine this violence with the way Adam speaks about who deserves Paradise and pay attention to how few characters Eva saves from the apocalypse, it starts to look like a multi world genocide.

Prime world, 2021.

Young Elisabeth and Hanno work to clear the rubble from the passage. It can’t be that long since Hanno finished clearing the passage the first time, in the 1920s, so he has every right to be an angry guy. Adam couldn’t send him to the 1990s for some R&R for a few years first?

Of course not, Adam doesn’t believe in happiness or fun anymore.

They reach one of the Sic Mundus doors, which gives them hope. Later, while they’re relaxing, Elisabeth looks at the For Charlotte watch that Adult Noah gave her. She asks Hanno to tell her about Paradise. He uses sign and speech. “Paradise is free of pain and sorrow. Everything we’ve ever done is forgotten there. Any pain that we’ve ever felt is erased. And all the dead live. Adam will keep his promise. The passageway will open up.”

So cruel of Adam/Jonas to raise all of these kids on the dream of a beautiful world, then take it away from them. Such a timely storyline. Better living through chemistry and physics, y’all, ’til the artificially concentrated and combined chemicals turn into poisons that build up in every system on earth.

Prime world, 1890.

Adam/Stranger Jonas is working in his workshop, wearing a leather suit that looks like a hazmat suit, but of course it isn’t as sturdy. The cesium 137 is placid in its basin until he turns on the electricity. Once it’s been hit enough times, it turns into a blue-black cloud, but it remains unstable.

When Jonas goes to one of the lightning rods to adjust something, he gets struck in the arm by an intense bolt. It gives him a large burn. The energy surge probably would have killed anyone else. He glares at the stone basin where the God particle lives- it’s sentient, so given the way he treats it, it probably is out to get him.

Later, he finds Bartosz staring out the window in the one bedroom in 1888. It’s time for their regular blame Jonas session. Bartosz is angry that Jonas hasn’t reinvented time travel and all of 20th century technology yet, after two whole years in the 19th century. He’s wasting the best years of his life here in the past and he doesn’t think Steampunk is a good look on him at all.

Jonas reiterates that he knows he’ll get the God particle working eventually, because he’s already seen it working in the future-past, but Bartosz continues to be suspicious of his intentions. Jonas explains that he wants to fix everything, not just one event or one person’s problems. He’s the savior, okay? That’s bigger than their love triangle.

Jonas: “If the portal works, then we can use it to find the origin. The one moment that started all of this. And when we’ve found it, we’ll destroy it. And everything that arises from it. That is paradise.”

Bartosz storms out and takes a long walk in the rain. Of course it’s raining. Jonas makes a mental note to do something about this situation in the future, like get Bartosz a girlfriend or a hobby so he’ll quit being such a pain in the butt.

Still in the 1890s.

Silja arrives from the 2050s, wearing Alt Martha’s 1800s outfit. She hides her hazmat suit under some brush. Bartosz comes stomping by, still fuming over Jonas. Silja makes a little noise so that Bartosz will notice her, then comes over to introduce herself.

And Jonas’ Bartosz problem is solved.

I hope that Hanno, Agnes and Silja at least got to pick out which family members they wanted to date before the first cycles in which they were used this way. Because there is no other way to interpret how they are sent to Elisabeth, Doris and Bartosz and the way Agnes was bred with the Unknown. We never see Silja question her path, but Agnes expects Jonas to keep up his side of their deal (plus, she doesn’t stay with either Doris or Unknown). Hanno/Noah openly chafes at the expectations placed on him, and eventually rebels against them, even though he loves Eli.

2023, Prime world.

After 3 years of torture by blue lightning bolts from Jonas and Claudia, the cosmic egg has developed a transparent, protective outer layer, but seems no closer to becoming a time travel portal. Claudia and Jonas give up for the day and rinse the radiation off their hazmat gear in the outer section of the power plant. Jonas is super depressed and ready to quit. Claudia tries to convince him to keep going, because, well, he just has to. Someday, somehow, it just has to work, if they can keep up their team spirit. Jonas tells her he really doesn’t have any team spirit and walks away.

Of course he goes home. He stops in the kitchen for one last look at all of his emotional touchstones- the family portrait, the kitchen table where he last saw Michael, the spot on the floor where Martha died. Then he goes up to Michael’s studio, which has tree branches growing in through the skylight. A sign from his dad, the Sun King- choose life! Jonas looks up at the ceiling beam fondly, then goes about the business of hanging himself.

He doesn’t die. Young Hanno rushes in and cuts him down, sent by either Claudia or Adam. The poor kid has been doing hard labor in the tunnels for years, now he has to live in the barren cave with his child bride, and his savior can’t even be bothered to stay alive. He tells Jonas that he and Adam made Noah and Hanno a promise that the apocalypse had to happen so that everyone would get saved. “You cannot die.”

I think if Jonas died, Hanno would kill him.

He hands Jonas a gun. Jonas holds it to his head and fires. 5 times. Hanno takes the gun back and fires the bullet in the last chamber at the wall. Time and Hanno win this game of Russian roulette.

Hanno explains that Jonas can’t kill himself, because his older self already exists. A force or a person will always intervene. He tells Jonas that he and Elisabeth have found the passage, as ordered by Jonas’ older self. So now it’s up to Jonas to keep the promises made by his older selves.

When Hanno burst into the room, Jonas asked why he was there and if he was following him. After that, Jonas stayed silent. When they’re done with the gun, Hanno brings him to the passage to prove that it’s waiting to be reopened. Jonas stays silent for this as well.

Hanno tells him again that the passage will open up and then Adam will take them to Paradise. Before then, he and Jonas are supposed to become friends, until Hanno is betrayed.

It’s always worded that way- Hanno/Noah will be betrayed and Jonas will be to blame. Jonas is never blamed in the active voice and Hanno never notices. But Hanno is also one of the few who knew Adam well before he met Jonas, so he sees Adam as the real version. Young Jonas is merely the alternate.

Jonas is already tired of the burdens placed on him by people he hasn’t become yet.

And he isn’t even saving for retirement or a mortgage or his kid’s college or keeping up with the maintenance on that poor house so he can pass it down to the Unknown. His eldercare plan for his parents is pretty rough, too.

I’m thinking Jonas’ cosmic egg is also a metaphor for all of those core wounds that get buried deep inside and won’t budge, no matter what you do to heal them. They pop out occasionally as giant black time clouds or nightmares or ex boyfriends. They say that time heals all wounds, but even time can’t heal some damage.

Metamaiden says she assumes that “time heals all wounds” means you’ll die eventually anyway and then your problems will be over.

She was born with this cheery outlook, folks.

But you see- Jonas doesn’t have death to look forward to as an end to his pain, so he keeps zapping that poor time egg. It’s ultimately a circle of torture and self-loathing, punctuated by occasional suicide attempts. He didn’t even hesitate before he pulled the trigger on that gun, 5 times in a row.

In 1904, Silja gives birth to a baby boy. She tells Bartosz she wants to name him Hanno. Bartosz realizes that this innocent newborn baby will grow up to be the killer who brought him into Sic Mundus while posing as a priest and drug dealer.

In the 3rd world, 1974, Tannhaus hangs the photo of his son’s family on the bunker wall, mirroring the way Claudia hung photos on the wall and Martha made the family trees in chalk. The 3rd world mirrors the other two, but things don’t happen in exactly the same way or at the same time.

Tannhaus: “Fate is playing a cruel trick on us. Yet we will always believe there is a way to turn the tide in our favor. If we only want it hard enough. A person is able to pursue any goal, no matter how unattainable it may seem, over the course of an entire lifetime. No resistance, no obstacle is great enough to stop the human will in its tracks… Throughout the ages, isn’t this unquenchable thirst at the heart of any progress that is ever made? No matter what motivates our will, it guides us on our path. We will only be able to let go once we have finally reached our goal.”

As Adult Tannhaus speaks, he spends the 12 years from 1974 to 1986 building a time machine in the bunker. At the same time, he turns into Old Tannhaus. The machine is a large ball with even larger rays sticking out. When he’s done, it looks like a room size version of what’s probably in the sphere.

We saw a similar aging process mirrored with Gustav Tannhaus in the carriage, which had a prophet, the wheels of time and Charlotte’s watch, even if it didn’t technically have a souped up time machine. HG’s new time machine could be seen as a high tech variation on a wheel of time or a cosmic egg as well.

Forward to Prime world, 2040.

17 years have passed in the power plant and Hanno and Jonas have aged into their older selves. Hanno works with Claudia and Jonas on the God particle. At rest, it’s still a white cosmic egg, but when stimulated by enough electricity, it gradually turns black, then becomes the larger cloud that’s a precursor to forming portals. They all look hopeful for a moment as the cloud begins to smooth out into a ball, but it doesn’t hold the formation.

Later that night, Jonas and Hanno stand outside in the dark over a fire. Jonas wonders why the portal isn’t working.

Hanno: “Maybe Claudia doesn’t want it to work.”

(This is correct.)

He asks why Jonas trusts Claudia. Jonas asks why Hanno trusts Adam (Adam raised him). He tells Hanno that Adam’s Paradise is a lie and that he knows the portal will work eventually, because he’s seen it, in the future-future. Everything repeats itself, so this will, too, Jonas is sure that he can do things differently this time though. He and Claudia have changed enough of the components in the passage so that this time, he’ll be able to close it forever when he tries in November 2019, as Stranger Jonas.

Hanno confirms that Claudia told Jonas this. Then he asks what Jonas actually knows about Claudia. “She sometimes disappears for days. How does she know all the things she knows? She said that not all that’s here, should exist here. What did she mean by that? Claudia’s hiding something from us. We can’t trust her. I hope that you know that.”

A very pregnant Elisabeth calls Hanno inside for the night.

Alt Claudia to Prime Claudia: “He still doesn’t suspect anything?”

Prime Claudia: “No, he has no idea that you or the other world exist.”

Alt Claudia: “You must continue to guide him on this path. The matter must not function yet. You keep the knot up in your world, and I’ll keep it in mine.”

Alt Claudia pulls out the sphere, ready to leave. Prime Claudia stop her. She asks how Eva knows what will happen in the future and what instructions to give them. She wonders if Eva knows everything, every future. Has Alt Claudia met her? Alt Claudia asks who she means. Prime Claudia says, “My older self.” Alt Claudia says, “No.”

Prime Claudia: “I still remember exactly what she said. ‘If all this works, then our Regina will live.’ I’ve thought about it all these years. I just can’t believe that what she meant by that was that her suffering would repeat endlessly. There must be a way to untie the knot, without destroying all life in it. A way for Regina to live. Really live. I think neither Eva nor Adam know this path. But I’ll find it. In my world or yours.”

Prime Claudia takes out a gun and shoots Alt Claudia in the forehead. Alt Claudia dies. Prime Claudia becomes the supreme deity on 2 worlds. She picks up her prize, the Golden Time Snitch of Omniscience. Now she can figure out what the multiverse is really all about.

Because they’d never seen an Alt Old Claudia, Prime Claudia assumed she was meant to kill her. Claudias think this way. To be fair, so do Adams and Evas. They are gods, far beyond our mortal ways of thinking about murder and death. They know there’s always another version of the person, somewhere, on some world, and anyway, that person will be born again, next cycle, like nothing ever happened.

Claudia is assuming that at some point she changed the course of the cycles to bend toward favoring her Regina. And if that isn’t the reason Alt Claudia died in past cycles, well, it is now. If you ever think that changes haven’t been occurring over the course of the cycles, go watch S1Ep1 and any S2 episode again. The Windens are all very different places.

And with all the Claudia drama, we skipped right past the confirmation that she’s actively holding back progress on the God particle portal (“The matter must not function yet.”). She doesn’t need to hold Jonas back in 1888. The primitive working conditions do that by themselves. In the 21st century, they can scavenge modern materials. So she’s misdirecting him toward experiments that are ineffective, while she and Eva, and maybe Adam, work on other goals.

Swoop into the Alt world, focus on those darn scorched paintings. This scene takes place after the apocalypse in the Alt world, when Stranger Martha is aging into Eva, so it’s probably about 2040 there as well. Eva’s God particle apparatus is disassembled on the floor, so she probably lost it in the shockwave too and is trying to rebuild it.

The same scenario is being played out on all 3 worlds, in a different way on each world. As promised, no matter what, the three worlds are linked and the same archetypal events repeat between them. Family members die and get lost, going all the way back to the first Charlotte Tannhaus in the early 1800s, creating the desire to change the timeline. Time travel is invented and reinvented, repeatedly, by the same or different people. This is not a one time occurence based on a single sad event.

Tannhaus justifies following his Will with no restrictions by saying that wanting his son back so badly makes it okay. Claudia believes that saving Regina’s life justifies anything she will do for that cause, no matter who else she hurts in the process. Both arguments come back to Bernd’s advice to take what you want, because no one will give it to you. The flip side of that is the assumption that you are owed whatever you want and no one else’s needs or desires matter as much as your own.

When Prime Claudia enters, Stranger Eva asks if her alternate self is coming, too? Claudia says that Noah is watching her, so she couldn’t get away.

Note that she knows he’s suspicious of her and is limiting her movements because of him. When Charlotte disappears, Noah’s mental focus is conveniently removed from Claudia and his physical person is conveniently removed to time periods and locations Adult Claudia mostly stays away from.

Eva rolls up a blueprint for a time travel device and tells Claudia to give it to the other Claudia, who must then give it to Tannhaus to build. She asks if the Claudias understand why everything they’re doing is necessary and everything has to keep repeating. Claudia nods her head yes.

At some point, everyone in Winden will have been designed one of the time travel devices. I’m glad to see Martha get her shot. Does Alt Tannhaus also get blueprints, or does the Alt world go straight from their futuristic God particle portal design to the sphere?

Back in time to 1910. We aren’t shown a switch back to the Prime world, and for the first time all season, we’re shown the outside of Erna’s tavern and boarding house. Either we’re still in the Alt world, or this happened in both worlds. Both worlds, is my guess.

Silja has died in childbirth. A woman tells Hanno that he has to be strong now for his father. Someone holds crying baby Agnes. A crazed looking Bartosz bursts into the room and kneels at Silja’s side. The midwife tells him the baby’s name. He looks overwhelmed.

Forward to 2041.

Under a full moon, Hanno and Elisabeth leave their cabin to bring in the laundry that’s hung outside. Elisabeth asks Hanno to tell her about paradise. As he tells her the same story he told her in the caves in 2020, 2053 Charlotte and Elisabeth sneak into their cabin to kidnap Baby Charlotte. Elisabeth picks up the baby she lost 12 years prior. Charlotte takes the pocket watch.

When Hanno is done with the story, they hug and take the laundry inside, where they discover that Charlotte is missing.

Hanno vs Noah

By telling Elisabeth the story, Hanno keeps her facing away from the cabin during the kidnapping, so she has no idea what happens. But as it’s happening, he seems like he’s upset and trying to control his emotions. From where he’s standing, he should notice the movements of the two women entering and leaving his cabin.

Noah/Hanno tells the Paradise story to Elisabeth twice on camera- just after Peter dies, which he knew was coming but didn’t prevent, and now during Charlotte’s kidnapping. Did he know it was coming and that he had to let it happen? Even though he spends the rest of his life blaming Adam and Claudia?

I think he did know that he had to let it happen, but he blames them because Charlotte is taken as part of their war. Prime Hanno blames Adam/Jonas and Claudia for the whole war and the way it tears the whole family apart, starting with the death of his mother. Silja was born in the 50s. If she hadn’t been time displaced, she probably wouldn’t have died in childbirth.

Before he dies, Bartosz tells his son to ask Adam why he took Hanno back in as an adult, after the apocalypse and after Charlotte was taken, and called him Noah instead of Hanno. The biblical Noah is remembered for saving his own family and two members of every species. Since we are all theoretically descended from those winners, we see it as a victory for the virtuous.

We rarely think about the fact that Bible Noah knew the flood was coming and did nothing to stop everyone but his family from dying. Noah’s immediate family weren’t actually much better than anyone else. It’s more likely that Noah had boat building skills and was in the right place at the right time. But Noah went along with God’s plan and watched everyone die, feeling quite good about himself. In fact, when it’s all over, God makes a backhanded promise to Noah:

“Never again will I curse the ground because of humans, even though every inclination of the human heart is evil from childhood. And never again will I destroy all living creatures, as I have done.”

God promises he won’t send another apocalypse, even though humans are born evil with no hope of ever changing. God has apparently given up on finding good in humanity and is settling for telling people to be fruitful and multiply.

Like so many others, Hanno usually has good intentions overall, but he performs evil acts, such as killing Erik, Yasin and Mads, to attain his goals. In the Dark world, consequences usually catch up with the characters over time, no matter their intentions.

Hanno leaves the cabin and goes straight to Jonas, who’s working in the bunker, and demands to know where Charlotte is. Jonas is taken by surprise as Hanno shoves him up against a wall and nearly chokes him to death. Hanno continues to ask where Charlotte is and whether Jonas or Claudia took her. He says that he finally understands how Jonas betrays their friendship. Before he leaves, he curses Jonas with endless suffering.

Too late. Jonas has been there for a long time. Or is this falling out between best friends the true origin of the timeline split? They’ve been close for 18 years. I think that’s Jonas’ real time record. And their fireside chat showed that they really were very close.

Causality. Such a slippery concept on this show.

Hanno returns to Elisabeth, who looks like her soul has been ripped from her body. She’s fondling Charlotte’s tiny knit cap. He promises to find Charlotte and bring her back. A bit of resolve forms in Elisabeth’s eyes as he gets up to leave, but they both know their life together is over. He picks up the triquetra diary and puts it inside his coat, an offering to help smooth his way back into Adam’s lair after wishing him endless suffering.

Where is Charlotte? Mikkel? Ulrich? Mads?

Noah/Hanno does find Charlotte after some number of years in his life. We aren’t told how many, though he refers to it as a long time, during their first conversation in the clock shop. When he finds her in 2019, after reading the final pages of the triquetra diary, she’s 49 years old and has already been told by Stranger Jonas that Noah killed Yasin, Erik and Mads. That’s the true betrayal of the Jonas-Hanno friendship. Adam is no longer Hanno’s friend, so I don’t think it matters what he does to Adult Hanno/Noah. Hanno is just waiting for the chance to kill Adam.

It’s Stranger who drives Hanno’s long lost daughter from him by giving her out of context information that benefits Stranger and makes Noah seem like a terrible person who’s only motivated by his cult’s orders and his own sadism. That’s what we all thought about Noah in season 1.

Instead, Noah is a driven man, more like an addict who’ll do anything to get what he needs, which is something Stranger Jonas should understand. For a long time, Jonas mainly takes his pain out on himself and Martha. But even in his more benign forms, he’s coerced into participating in Michael’s death and Mikkel’s kidnapping, which ultimately lead to Ulrich’s confinement and Katharina’s death.

Adam coerces Hanno into becoming a demon just as surely as Claudia leads Jonas to his fate as Adam, heartless mass killer. Hanno can’t simply leave his daughter alone and abandoned in the world. He’s been trained since his mother died to be a caretaker and fixer. The murder of the boys is even mixed up with raising Helge and getting him back to 1954.

Meanwhile, Charlotte is displaced in time in before she’s even born in 2041, since Hanno was born in 1904 and Elisabeth was born in 2011. In addition to her kidnapping to a third time period, she and Elisabeth give birth to each other.

Alt Charlotte was born in 1971, the year HG Tannhaus tells Prime Teen Charlotte his original granddaughter was born. But Noah and Elisabeth still enter the bunker in the Alt world and Charlotte and Elisabeth are still shown giving birth to each other on the Alt world family tree. Is this a clue or a mistake?

If this is real, and isn’t changed within 48 hours of me posting this recap, then it perhaps fits with the theory I’ve had about Charlotte since sometime in S2- I think that when she’s kidnapped as an infant, 3 versions of her are swapped between 3 worlds, not just taken to another time in the same world. If the Charlotte who’s in the Alt world was born in 1971, then she could be the Charlotte either from Tannhaus’ world or Bartosz’s world. Alt Infant Charlotte would have been taken to the Prime world and Prime Infant Charlotte would have gone to the 3rd world.

The Adult Elisabeths and Charlottes (or someone else- we don’t know who ran Marek’s car off the road) would have done this round robin with the infants between the 3 (or 4) worlds to help create or strengthen a connection in time and space- an earlier, less binding version of the Unknown. I can’t explain every detail because of the bootstrap paradoxes involved in Charlotte’s family and HG’s family, but I suspect they are the same family, slightly altered between variations in timelines, time accidents and deliberate tampering.

HG Tannhaus: “A man can do what he wills, but he cannot will what he wills. All the paths we take in our lives, every choice we make, is guided by our deepest desires. It’s pointless to fight this sense of want. It determines every one of our actions, no matter how difficult and unimaginable they seem.”

This is a very different sentiment from the one expressed by Prime world HG Tannhaus, who’s said many times that he’s always wanted to travel, but circumstances have required him to stay in the present, running his clock shop.

3rd world, 1986, the bunker.

Tannhaus looks at the family photo on the wall and removes his lab coat. It’s time. He presses keys on a keyboard, fiddles with this and that, then decisively presses the 2 blood red buttons on the wall. The time machine fires up- literally. The center ball is coated in a thin layer of orange flames, with waves of electricity flowing up the arms, but the machine doesn’t seem to be out of control in any way. The music and other sound effects aren’t ominous either.

Prime world, 1911, Tannhaus factory.

Bartosz is in the courtyard working on a car when Hannah and her approximately 4 year old daughter approach, device/apparatus suitcase in hand. Bartosz, who already looks haunted, recognizes that this child is his wife, who’s been dead for about a year. Hannah asks for Jonas. Bartosz warns her that traveling has changed him, but still takes her to see Jonas in his lair.

Jonas is in a transitional stage between Stranger and Adam. He’s in Adam’s uniform and stands staring at the painting. But he still stands tall and straight. Adam will eventually sort of melt into rounded edges and a more socially presentable public persona. This man is still in the midst of the hottest part of the fire.

When he turns around, Hannah is momentarily shocked by the extreme facial scarring. In this time period, his face looks like a skull in ways that will soften later, maybe when he tires of punishing himself. Hannah recovers quickly and introduces his sister to him.

She’s clearly saddened by what she sees, but as a mother who wishes she could have helped spare her child this pain. She touches his cheek and explains that an old woman, Eva, came to her a few days ago and told her that Jonas needed her and where to find him. She promises to be there for him from now on.

Since Jonas doesn’t want to be spared pain, he’s not interested in her compassion and even finds it repulsive. He removes her hand from his cheek with enough menace that Hannah feels it. He finds himself repulsive and probably finds anything connected to him repulsive right now. He tells Igor Bartosz to take them to the bedroom.

Later that night, once it’s raining, Jonas sneaks into the bedroom. He goes to Silja first, but as he’s carefully folding down her covers, Hannah awakens and asks what he’s doing. He decides it’s Hannah’s turn first and sits on the edge of her bed, as we’ve seen Young Jonas do for sweet mother-son talks.

This is an entirely different situation. He tells Hannah that she and Silja aren’t right here and all of the pieces must be in the correct position. Hannah knows something isn’t right with him, but he’s got her lying down and blocked in. He gently touches her face, calls her Mom one last time, then pulls her pillow out from under her and smothers her to death.

She and Silja are both in white nightgowns. Women should refuse all white garments on this show. It never ends well.

When Jonas is done brutally murdering his mother, he turns to his baby sister and wakes her up, telling her has a secret to show her. He needs her to be quiet so they don’t wake her mom up. He carries her out so that she’s facing back toward Hannah’s body, staring at it the entire way to the door. Hannah very clearly isn’t asleep.

I can Only Salvage So Much from a Bad Situation, Okay?

So. That was sickening and exploitative. There is no good reason to include hints of pedophilia and for Jonas to brutally murder the mother he hasn’t seen in decades. Given the number of characters who commit heinous crimes, such as Helene, and are never caught, and the women who just disappear, such as Greta, there was no reason to bring Hannah back simply to kill her this way.

Though Tannhaus’ last voiceover certainly justifies indulging in any sexual or violent predilection you can come up with, regardless of the other person’s desires. Is that what this show is saying? Anything goes?

The message, if there ever was one, has gotten confused in these last few episodes, as if this show doesn’t know what it’s trying to say anymore. I’m tearing my hair out trying to continue some kind of coherent narrative through line that holds together through the final episode. I finally realized the only way to do it was to give up.

Maybe Claudia has taken the wheel and Hannah had to die out of revenge, because she allowed Ulrich and Katharina to think Regina had turned Ulrich in for rape. That’s a giant stretch though, to the point where I’m writing the show for the creators. And many innocent people who had little to do with Claudia or Regina have died horrible deaths.

I could play the mythology card, and say that Jonas is Hades, the god of the Underworld, who has been collecting young women as his Persephones. Hannah, as the Mother goddess/Demeter, came to look into the situation. Jonas sent her back to another realm, where she wouldn’t interfere with his plans. The myth is sometimes called The Rape of Persephone. In mythology, Demeter mostly wins, though they essentially end with joint custody of Persephone, creating the seasons. Demeter isn’t going to win here.

And there’s only one Persephone, whereas Jonas is collecting everyone’s children for his cult, but mostly girls. Adding a scene where he has a skull face, creeps on a small child in bed at night who’s dressed in white, then kills her mother when he’s caught and carries the little girl off, pretty much solidifies his symbolic nature as a pedophile. At least they only implied the pedophelia itself, rather than showing it.

But this finishes the assassination of both his character and Martha’s character. When we met Martha, she was was on a hunger strike to save starving children. Now she’s procuring women and girls for men who like to murder women and rape little girls?

Yes, the fairy-tale witch imagery has been there all season in Eva’s long black dress. I’d hoped they’d avoid actually going to the stereotype for old women, witches and the biblical Eve, even though they’re obsessed with stamping out original sin. I should have realized that getting rid of the “origin” would involve killing as many mother figures as possible, while turning over little girls to men as child brides.

Because it’s really all Jonas’ mother’s fault, right? She must have done something wrong to make him this way. She must love him too much or too little or embarrass him in front of the other boys. Otherwise he wouldn’t need to live in the basement forever and only have sex twice in his life.

This is an incredibly disappointing direction for this show to take, in so many ways. Beyond misogyny, the philosophy seems to be that people just can’t control themselves and there’s no point in trying.

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1920, Erna’s tavern.

Adult Hanno enters the bar, fresh from 2041. The crowd pauses for a moment when the stranger enters. He tells Erna that he’s come a long way and needs someplace to rest. She calls for Young Hanno and tells him to take their guest upstairs to a room.

Adult Hanno goes to see Adam in his lair. Adam has become the older version played by Dietrich Hollinderbäumer. Before Hanno can speak, Adam says that he’s been waiting for Hanno’s visit. He says that Hanno was right about Claudia all along. She was the one who stole Charlotte. Adam says that Hanno needs to find the missing pages from the triquetra diary, with the help of Helge. Then he’ll find Charlotte, his final destination and his Paradise. Adam hands Hanno a bible and says that this will be his last cycle. “Are you ready, Noah?”

Forward to 2052, the bunker.

Old Claudia gives instructions to Stranger Jonas. They’ve finally stabilized the dark matter/Cesium 137. She’s sending Stranger off to November 2019 to lead Young Jonas down the correct path. If he helps everyone he knows complete this cycle in the exact same way they’ve done all the other cycles, for sure change will occur this time.

I have to wonder what she’s been putting in his food for the last few decades.

She hands him Tannhaus’ book, A Journey Through Time and says that the author will repair the apparatus. Once the device is repaired, he can destroy the passage and the knot. It’ll work for sure this time.

Because doing everything exactly the same way always creates the change you’re looking for.

As he’s headed out the door, she tells him not to ever give up hope. Then she tears out the last few pages of the triquetra diary, sticks them in her coat pocket, and leaves.

Now for a brief recap of the series. Stranger goes to Winden in November 2019, when Mikkel and the other boys have gone missing. Noah experiments on the time machine chair, killing 3 boys in the process. Old Claudia gets Gretchen from 1953 and brings her Adult Claudia in 1986, to prove that time travel is real and that she’s really Adult Claudia’s older self.

Both Claudias will abandon Gretchen with Regina in order to pursue time travel and supposedly save Regina. It doesn’t occur to any Claudia, ever, to actually be a mother to her daughter, which is why I question her motives.

Claudia abandons the dog, the daughter, the lover and the father. She kills the daughter and the father and leaves the lover to die in the apocalypse. This is not a woman who will devote eternity or destroy worlds to save someone. This is an obsessed scientist who is devoted to solving a problem and needs an emotional flag to keep her motivated through the tough times.

The writers can retcon the character they created. That’s their prerogative and TV shows do it all the time. But this is the Claudia they created. She doesn’t move heaven and earth for Regina. She moves them for science.

Hey, remember that time that Bartosz decided to get in on the Back to the Future action, so he put on Christopher Lloyd’s duster and went to rescue Martha from getting killed by Adam? I know it was about 9k words and 110 years ago, but I promise you, that did happen. After 3 seasons of Claudia trying to save Regina and Jonas trying to save Prime Martha and Noah trying to save Charlotte and half of Winden trying to save Mikkel, and all of them failing, all the time, plucky little Alt Teen Bartosz jumped in and rescued Alt Teen Martha.

I knew I liked that kid, And his older self, too. In fact, I think he’s the chosen one on the 3rd planet that his Grandma is trying to take out of the system in her obsessive quest to ruin everything for everyone, everytime in everyway. That’s why this episode focused on Bartosz’s story and the story of his son, Hanno/Noah. We’ve already spent quite a bit of time on Bartosz’s granddaughter, Charlotte and her family, for 3 seasons. And Charlotte has known all along that she was important.

This episode is kind of its own little season, focusing on a third world/timeline that’s almost identical to the prime world/timeline, so we’ve switched between them throughout the episode. That’s my theory. Time is so mucked up that apparently even the writers can’t be bothered to sort it out anymore, so here we are. I can’t tell you when we were where, necessarily, just that we jumped around a lot without the normal markers telling us what world we were in.

Also, I think the HG Tannhaus time machine world, which I’ve been calling the 3rd world, is a 4th world, that’s not Bartosz’s world. As I said, Bartosz’s world is so close to Jonas’ and Eva’s that it blends with theirs, so it doesn’t get the widescreen black bars at the top and bottom that HG’s world does. HG’s world/timeline has some significant differences from the other 3, so it looks different on screen. That will be explored more in episode 8.

Okay, so. Our plucky boy hero, Alt Teen Bartosz, convinces Martha to leave Jonas in his house, so he can live in his mom’s basement forever like the loser he is. She goes back to Erit Lux with Bartosz instead.

One poof of awesome gold glitter later, and we’re there. Those paintings are still scorched and I’m sorry, I still can’t spoil how it happens. Truly annoying, I agree. The writing and editing for S3 are meant to f–k you over, but I doubt they meant for it to indecipherable rather than mind blowing. 3 episodes worth of teasing when the paintings burn? Really? And then all of the scorched painting scenes look so alike that it’s nearly impossible to put them in order, though I’m not sure why we would care enough to go back and try, when it’s all said and done. I know I don’t. Somebody didn’t think that one through.

Martha wonders why Bartosz brought her there. He tells her that the Marthas are the only ones who can save them, because they are the Light. Martha realizes she’s in the hands of an Erit Lux true believer, though she has no idea what that means.

You know what? I think it mostly means love. I think Old Claudia impersonated Eva when she brought Hannah to be murdered by Jonas. I’m going to singlehandedly exonerate Martha/Eva of this crime, for my own sanity’s sake, and go on with my life. Readers, you do you and believe whatever you want. I can’t work with a meaningless world. What would be the point? I know they’re going to continue with Eva pushing apocalypses and whatever, but I’m going to believe that she at least loves her little family of followers, even if she doesn’t show it, because I need Martha, or someone, to be a good person in order to continue writing.

And the madness continues, as Eva enters the room. Martha says something nasty to Eva and Eva says they’re more alike than she thinks. Then she gives her version of Adam’s patented “You’ll grow up to be just as bad as your parents” speech, before pulling out a dirty machete and swiping it across Teen Martha’s eye.

She tells Martha that she can’t tell all of the Marthas apart anymore unless they have festering wounds to go by. But Adam is the one who’s trying to kill her. The disfiguring wound is a reminder that things can always get worse. Choosing Jonas/Adam’s side means choosing death, while choosing Eva’s side, which is ultimately her own side, means choosing life.

This is strange reasoning for someone who’s main motivation is protecting her son- if Martha doesn’t choose Jonas sometimes, the Unknown is never born, because this is the version of Martha that brings him to the Alt world.

There’s really no way to spin what Eva’s says into something that makes much sense. They just wanted to squeeze in more mirroring of Adam/Jonas’ scenes.

I can put a meaningful spin on it, but I’m pretty sure this is coming from me, and not the show- in real life, the underlying reason for the slash would be to make Martha unattractive to creepy old men like the ones Jonas becomes. The road to women’s accomplishments is paved with women who fell by the wayside because they couldn’t take the sexual harassment, even rape, from their male colleagues anymore and were driven to quit the male dominated fields they worked in. And the women who got married and pregnant, giving up their careers.

By taking away Martha’s perfect features, she takes away her attractiveness as an innocent young woman to both Stranger and Adam. If they want her, they will have to deal with more than just Young Martha’s pretty face and apparently neither of them are ever inclined to do so. Adam collects other young women instead, until he finds a replacement Young Martha Eve to torture to death for tempting him into sin.

Yet God and Lucifer both still refuse to take him back.

Unfortunately, Martha/Eva didn’t realize Prime Claudia was also her enemy. As far as I can tell, Alt Claudia was actually working for/with Eva. Prime Claudia is the megalomaniac who took over the universe.

I suspect the creators just wanted to throw in one more senseless, sadistic action against a main character for shock value, plus they needed Martha/Eva to mirror Adam’s disfigurement, but sexism stops them from making her as scarred as Adam.

Time to take the Wayback Machine over to the end of episode 6. Adam has the other Alt Teen Martha dressed in the only rapey white slip he had left after 66 years of kidnapping and torturing women. He’s tied her to some Faye Wray scaffolding under the enhanced God particle. The God particle is turned up to 11 and it’s incredibly excited to finally be turned loose.

Martha’s yelling for mercy and Adam is excited to finally be getting somewhere in his life’s work. He’s pretty sure he’s never used an enhanced God particle to kill the love of his life and his own child inside the womb before. Surely this ultimate human sacrifice will do the trick and Time will finally be satisfied with him.

A portal opens up above Martha’s head. Then the God particle finally escapes its enslavement, mercifully taking Martha and her unborn child with it. Time has always had a fondness for her.

The cloud and the woman disappear. Jonas assumes they’re dead, because he has so few brain cells left.

I sincerely hope that Martha is in a world outside the Dark universe, with better writing and no white slips. Women actually die in the clothes we’re wearing- we don’t change our clothes when we find out murder is on the schedule, or keep a special victim dress on hand for the occasion. I f–king loathe the sight of those things. “Time to die or be abused, little girl. Here’s your pseudo-virgin gown to remind that you’re ultimately powerless.” Where is the corresponding male attire?

Jonas waits to disappear, too, but he doesn’t. He’s dumbfounded. Life is so unfair. Why does Martha get to die, but he doesn’t?

I wouldn’t mind if he eviscerated himself to see if it would stick.

A moment later, the door to the control room creaks open and his other nemesis, Old Claudia, who Noah killed on his orders almost a century ago in chronological time, walks in.

“Hello, Jonas.”

I’ll give her credit for knowing how to make an entrance.

Martha on her way to Oz- You can see Martha is getting transferred up into the cloud. The upper right part of the cloud shows a bright light and the opening to the next reality.

Commentary

The God particle has literally never killed anyone on this show, much as Jonas has clearly tried to get it to kill him. The dark matter/Cesium 137/cloud/goo/cosmic egg transforms, it doesn’t just cease to exist. In fact, nothing in the universe ever just ceases to exist. Everything either transforms or transfers to a new location. That’s basic physics. In this case, there’s nothing left behind, so it goes somewhere else.

If Dark is following its own rules, then Time took Martha somewhere, probably to Bartosz’s world. It would make sense for this to be a way to create a new connection through time and space, maybe connecting the 3 worlds together. But we’re in the Endgame and the rules no longer apply.

If they ever did. It’s retcon time.

Next episode, we visit the Biff World of Claudia’s mind. Don’t look her directly in the eye and don’t take your hand off your valuables. Actually, that sojourn in the Old West 19th century was probably more fun than anyone realized at the time, even without antibiotics, since there was nothing Claudia or Biff wanted there.

Too bad Adult Bartosz wasn’t able to get the car he was fixing to fly- or was he???? Maybe there’s a world where instead of showing Hannah to her room, he grabbed her, Noah, Silja and Agnes and drove away as far and as fast as he could. Parts of early 20th century Northern Africa seem nice. Or maybe they took the God particle forward 50 years, then went to live in the south of France.

Wait. I just realized. Bartosz is in the Harry Potter world. He’s Mad Eye Moody! Constant Vigilance!

Kill the Origin or Find Another Timeline?

I bolded the first half of HG’s speech from the graveyard because it fits both his point of view and that of his protege, Jonas, who spends 66 years trying to go back to the origin point and bring back something that’s lost, whether it’s Mikkel or Martha. For HG, it’s Marek, Sonja and Baby Charlotte. But the second half of the speech is equally important:

“If our life is defined as everything between birth and death, it exists there, ad infinitum. Could we succeed in cheating death by finding a way to bring back life, there, between time?”

The episode takes its name from the bolded phrase, between time. The 3rd world is formally introduced in this episode. The 3rd world is the Time/Eternal Recurrence that is between the other two Times/Eternal Recurrences that we’ve been watching. What HG is really saying is, in this multiverse full of infinite possibilities, could he find another timeline where things worked out differently for his family? Could he jump to that timeline and live happily there? Or is he hoping to meld the two timelines- bring that Marek and Sonja home to this timeline? It’s not clear.

This is echoed in Stranger Jonas’ speech from S2Ep1, explaining that he is both infinite as part of the multiverse, but also finite as himself, the single soul known as Jonas:

“You could say that I exist infinitely. I’m here now. And I exist for every second between my birth and my death. I’m always Jonas. I’m the same as I was and yet not the same. Just as you’re not the same person who came through that door about an hour ago.”

No matter where or when he goes, what he does, or what he looks like, he’s still Jonas. At first, Hannah still wants the Jonas who left a few months ago, but she quickly accepts Stranger as her son, just as she accepted the proto Adam she met in this episode. In S2 Stranger was grateful for her acceptance, then, in a supreme act of hypocrisy, rejected her when he learned she’d cheated on his father one time before Michael’s death.

The next time they meet, in this episode, he murders her, either because she’s served her purpose in his plans or because she’s kind to him at a time when retaining his strength requires removing all human warmth from his life.

He is still Jonas, but he’s changed everything about himself, from his looks and dress to his demeanor to his home time period and way of thinking. He is no longer trying to save his loved ones. He is now trying to find the origin moment and destroy it. He’s redefined saving as destroying and convinced himself that saving himself saves everyone else. Maybe when he finds the origin moment and changes it, it will set both him and the God particle free from their enslavement. He is now enslaved to a life he can’t bear to live.

Gustav taught him a prophecy of a Paradise that was a dream filled with beauty and light, the Heaven or Ascension of so many religions. Jonas turned it into darkness as an absence of light, where he would remove the cancer that caused his pain (in the form of the God particle, which is the true knot) and kill the patient (himself) at the same time.

In his scenes with Hannah in this episode, Jonas’ true state is laid bare. During the time between 1890-1920, he is a 4th Jonas, Lord Death, with his facial scars meant to look like a skull.

In other words, maybe he’s made some sort of Ghost Rider deal with the God particle, but there are no flaming skulls involved. Just a pact to get out of this world together. That would explain the way they are bound. No one else seems to share quite the same relationship that he does with the God particle, Time and Death, not even Martha.

Martha, the Unknown and the God particle are his family. They all disappear at once and the other 3 versions of the Unknown presumably die in the nuclear meltdown. Unknown has time to save himself if he wants to, but he told us he was about to die. Anyway, after Jonas sent everyone else who was with him in 2053 to the past, it must be devastating for him to watch Martha and the God particle leave him behind and alive while they get raptured together.

He’s in a heartbroken, confused state when Claudia appears to tell him another story.

Images courtesy of Netflix.

Dark Season 3 Episode 7: Between the Time Recap- Hanno, Bartosz and HG Tannhaus move to the front of the house as gaps in the story are filled. #DarkNetflix In episode 6, the worlds ended, thanks to Adam's double apocalypse. In episode 7, we meet the new world.

#Between the Time #Dark #did not stick the landing #dystopia #Lisa Vicari #Louis Hofmann #metacrone #Mystery #netflix #Paul Lux #recaps #review #science fiction

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nellie-elizabeth · 5 years

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Supernatural: Lebanon (14x13)

Hmm. So I... Hm. I have a lot of thoughts and feelings to discuss. This is probably going to turn in to quite the review. It's one of those ones where I really don't know how I'm going to fall on the scale when I grade it at the end. I'm just going to start writing, and I'll get to my thoughts through that.

Cons:

If I were to review this episode by comparing it to the milestone 200th episode, I might look on it with some disfavor. Why? Well, this was an episode centered around the nuclear Winchester family. So, the focus was on Sam, Dean, John, and Mary. And I'm cool with there being an episode focusing on that dynamic, and it's neat that Jeffrey Dean Morgan was able to come back and all that. But the 200th episode managed to focus on the themes of the show as a whole. It focused mostly on Sam and Dean, but it referenced everything from Adam to Destiel to Chuck to the Samulet and so much more. It was an episode that managed to be about the ever-changing, twisting road that is Supernatural over the seasons. This episode, by contrast, was kind of a "taking it back to basics" sort of episode, that encapsulated the original, long past, aims and themes of the show. Not a bad idea for an episode AT ALL. Just an interesting choice for such a big milestone. Barely any Cas, no Jack, no other recurring guests or even mention of them really... it felt like this episode existed in a time capsule, a little bubble that could have landed anywhere in any season and felt just as appropriate. Is that a bad thing? I don't know.

The elephant in the room here is that John Winchester was a demonstrably abusive father. Supernatural demonstrates that, but ever since his death back at the start of Season Two, the show has been inconsistent in how it's treated the memory of this character. It makes perfect sense, and is indeed good, that Sam and Dean themselves would have conflicting emotions. I don't mind that sometimes Dean brings up how awful John was, and other times seems to canonize him as some sort of a saint. That makes sense for his character. I don't mind that Sam has forgiven John for everything and has his own regrets about their tempestuous relationship. But here's where it gets a little more shaky for me. Think about it: from John Winchester's perspective in this episode, he's in 2003. He and Sam are not on speaking terms. He is continuing to emotionally and perhaps physically abuse and manipulate Dean, who idolizes him in an unhealthy way. Sam and Dean can remember their dad with rose colored glasses, but a more interesting, and more real, interpretation of the John Winchester that they should be meeting in this episode would be one that's so full of anger and grief that he lashes out at his two sons and can't accept Sam wanting to do anything outside of the hunting life.

I like that Sam and John had their big apology/reconciliation scene. I like that Sam expresses that he put their arguments aside a long time ago. But what about Dean? The problem is, John is right in the middle of things with Dean - from his perspective, he would have no reason for apologizing. And Dean would never ask for that apology, or express any anger. But Dean deserves to feel that anger. He deserves for his years of perspective to have taught him that his dad wasn't really a good father to him at all. He was, at minimum, neglectful, and Dean doesn't get to confront that in any meaningful way in this episode.

A couple of smaller notes: as I said above, I understand that this episode had a rather narrow focus on the Winchesters, but it did include a few other characters - namely, Cas and Zachariah. If you were going to do the whole timeline being rewritten thing, cool. If you were going to throw in a few cameos, cool. But this is the 300th episode, people! Is Zachariah really the best pull you have? No Bobby? No Naomi? No Charlie? Gabriel? Jody? Nothing? Time is being rewritten! There are so many creative cameos you could have done here, and it could have been brief, and not taken away from the focus on John. Zach just felt like a very odd choice for such a brief reappearance. Also, does killing him mess up the timeline even more? Time travel makes my head hurt.

I liked the random teens at the beginning of the episode, but it felt odd to cram in this story at the start of the episode, and then toss it aside for much of the run-time. There was just a bit too much focus on the kids to discount it as window dressing, and not enough focus to really bring them in to the limelight as characters in their own right.

Pros:

If I try to tear myself away from reviewing this as a milestone episode, I think I look at it with much more favor. John Winchester has long been a looming presence on this show, and I think the opportunity to focus on him, and more specifically, on his sons' memories and relationships with him, is a great concept for an episode. I personally think John sucks, and I might have wished for him to be treated a bit less kindly by the narrative in this instance. But I'm on Sam and Dean's side, always. I want what's best for them, and a happy family is what they want and totally deserve. I liked seeing that.

For me, I would forgive a hell of a lot of crap for just the moment with Sam and Dean washing up dishes after dinner. That scene for me was the one moment that most made this episode feel like the 300th. It's just Sam and Dean alone, talking about what a shame it is that they'll send John back and he won't remember anything, thus making the whole trip pointless. But Dean points out that as hard as their lives have been, he doesn't want to change anything because then, what would that make them? Dean says he's good with who he is, and with who Sam is too. That is freakin' HUGE. That is a capstone moment for Dean Winchester's character development, and it made me instantly misty-eyed.

Let's do a little check-in with the Cas corner here. Yeah, I might be slightly bummed he wasn't in more of the episode, but there are several things to discuss even so. First of all, Misha killed it with his performance as the back-to-Angel-basics Castiel that we saw. We see the wings, he calls himself an Angel of the Lord, and he kicks the crap out of Sam and Dean. First of all, I'm sure Misha took great satisfaction in that. Second of all, I love the way that Cas is used as a shorthand for everything that's wrong with this changing timeline. Before this moment, Dean was happy to accept the changing universe as recompense for having John back. After this encounter, Sam and Dean both know that things have gone too far. A world where Cas doesn't know them, and tries to kill them, is unacceptable. I also like that Sam and Zachariah paired off for the fight, leaving us with the delicious angst of Dean trying to stop Cas from killing him. (Again. Sheesh). I love that bewildered, heartbroken look on Dean's face when he realizes Cas doesn't know him. And I also love that as the episode ends, the real Cas, our Cas, returns to the bunker, solidifying his place among the core cast of the show, and among the family.

Another thing that I was struggling with a bit in this episode is that the focus was so much on the family, but the family seemed only to include the Winchester four. "Family don't end in blood" is one of the more powerful lines and sentiments from this show's long history. But as the hour progressed, I realized that this core message wasn't being disregarded. Sam and Dean fill John in on everything that he's missed, and they're clear to emphasize that they live in a bunker with an angel and with Lucifer's son. They don't have time to go in to all of the details, but they're sure to fill John in on the state of their family - Sam, Dean, Mary, Cas, Jack. That's family to them now. This important point is re-emphasized again as John has a moment with Dean, lamenting that Dean never got out of the life, and instead was pulled in by John's mission. He says he thought Dean would have a family of his own one day, and Dean instantly responds: "I have a family." This moment is strengthened by his later saying to Sam that he's good with who he is. Yes, he never settled down with a single romantic partner and had babies of his own, but he is not at all dissatisfied or unfulfilled when it comes to a strong family system. It's not just the Winchesters vs. the rest of the world anymore, and that's important to point out.

I know that I earlier said that I had some qualms about the opening sequence with the teens, but I actually really liked the stuff with the pawn shop, the magic items, and Sam and Dean on a regular hunt. It felt a little imbalanced within the pacing of the episode, but I also think it's important to note another key aspect of this story: an homage to the humble beginnings of Supernatural. Sam and Dean are on a simple hunt. They have to burn an item to defeat a ghost. There's a hilarious gag about the ghost of John Wayne Gacy, given Sam's hatred of clowns and fascination with serial killers. It's all very classic Supernatural. It's a sequence that could fit into the show in any season at all. It's also a chance for us to spend some time with Sam and Dean alone, doing what they do best. That was once the only heart of this show that mattered, and it's still one of the most important pieces to the puzzle. We also get John fighting Sam and Dean in the dark, in a nice echo of Sam and Dean's fight in the pilot. All of this serves to show that this 300th episode is about honoring the show's origins, instead of trying to encompass the whole thing. I have conflicting feelings about that, as shown above, but mostly I think it's done really well.

On a smaller note, I love the introduction of the concept that Sam and Dean go about town in Lebanon as the Campbell brothers, and that they've become something of a local legend. That was such a cool idea. I never really thought about their day-to-day reality, but it's cool to think about them being an urban legend, because it kind of brings the show around full circle. From hunting urban legends to becoming one! And the kids describing Cas and Jack was hilarious. Another moment to emphasize that Team Free Will includes all four of the boys.

And now to the performances. Because... holy hell. This episode starts to fall apart a bit if you scrutinize the plot too closely. John Winchester, as I mentioned, is not behaving very John Winchester-y. But this is about Sam and Dean getting closure, and let me tell ya... all four of these actors (Padalecki, Ackles, Morgan, and Smith) were giving it their all, and I felt every one of those heartbreaking, heartwarming moments. I'm going to rapid-fire some of the best things I noticed:

- The way John's voice cracked on the word "Mary" when he heard her voice.

- John and Mary holding hands, and John saying "my girl" to her... instant tears.

- The look on Sam's face when John said "I'm proud of you."

- The hug between John and his two sons, complete with all three of them crying.

- Dean saying "I love you too." Just like... wow. Dude has been throwing the love word around a lot and I am all about it.

- Dean flinching when Sam crushed the pearl.

- Sam saying that he thinks about John a lot and doesn't think about their fights, but thinks instead about not getting to say goodbye.

- Both Sam and John saying "I'm sorry."

- All of the overly sappy yet beautiful shots during the family dinner, of the family laughing, and sharing stories, and eating Winchester Surprise. The fact that this is the ONLY family dinner that they've ever had that way is just heartbreaking. But I'm so happy they got to have it.

Well, what did I tell you? This review is long. I knew it would be. 300 episodes, you guys. Holy crap. And we've got a Season Fifteen coming around the bend. I was really pleased with Jeffrey Dean Morgan's performance, and I thought Jared and Jensen killed it with the emotional material as usual. Are my thoughts conflicted? Yes. But is this one of those episodes that I'll probably go back and watch again? Also yes. It stands out, and it made me emotional. That's kind of all I can ask for.

8.5/10

#review #supernatural #supernatural review #spn 14x13 #spn 300th #spn

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margarittet · 6 years

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“Tombstone” (1993): cowboys and gay subtext

Disclaimer: I wrote this text long time ago, when we first heard the title of the episode, and we knew perfectly nothing about the plot - I just somehow never got to posting it. Back then I never DREAMED that we will be getting Cas and Dean roleplaying Texas rangers, and running around in cowboy hats. (What a time to be alive!) Anyway, I hope this little rant about how “Tombstone” (1993) is relevant to tomorrow’s episode will still be fun to read.

Disclaimer 2: I do not equal effeminate/weak bodied/flamboyant = gay, just different from the surroundings in the context of this movie. At the same time, the movie uses cheap stereotypes to characterize their characters in subtext. It is 1990s, and this is not good, but it happened back then.

File it under the “Things I do because of my “Supernatural” obsession”: I watch and read stuff I hadn’t expected to before I started watching the show - you know, like a 1993 western telling the story of the legendary gunman Wyatt Earp and his two brothers, hunting and killing some Old West gang of outlaws in a frontier town.

Nevertheless, I did watch it, and now I will write about it because I am painfully aware that episode 13x06 is called “Tombstone”, that it has a western theme, and that it’s an episode by the writer who gave us “Stuck in the Middle with You” (12x12). It is therefore quite possible that the source material is relevant to the final product - plus with Tarantino being a western buff, it all connects nicely.

I will not speculate about the actual episode since we have almost nothing to go on at the moment - besides a few pictures from which we can gather a couple of facts:

The boys are most probably in Dodge City at some point (we saw pictures from the set saying “Dodge City” on one of the buildings). The city is about 3,5 hour drive from Lebanon - where the bunker is - and it was here Wyatt Earp was the sheriff before he moved to Tombstone. It also is “the cowboy capital of the US” because of it being the main city on the old “cattle trail”, famous for its cow markets and for its gunfights. We saw Dodge City on the show once before when Krissy’s dad was attacked in “Adventures in Babysitting”, but otherwise this is the first time we visit it,

We also know that at some point we will visit a cowboy-themed motel.

[While all of this gives us no story hints whatsoever, I think it’s safe to assume that the keywords for the episode are “cowboys” and “western”. Since Davy Perez’ most noteworthy episode last year was Tarantino themed, I am not remotely surprised this season for him is “westerns” (he is also bringing us the train heist episode later this season - yes, please.)]

I can, however, present the movie “Tombstone” that may or may not have something to do with the final episode (we’ll see). As I am aware that not everyone is as dedicated (read: bored and obsessed) as me to check out every pop culture reference on the show, I decided to share my newly aquired wisdom with the class.

Ok, so the story. The movie tells a (rather idealized) version of the shootout that occured in the frontier town of Tombstone, Arizona, between Wyatt, Virgil and Morgan Earp (plus their friend, Doc Holliday) and the gang of outlaws who called themselves “the Cowboys” - known as the gunfight at OK Corral. I will talk just about the movie here (since the historical truth is a little different, and a compare-and-contrast historical analysis is not what we need right now).

So, Wyatt Earp got famous being the marshall of Dodge City, while also being a pacifist and trying to avoid starting conflicts as much as possible. Tombstone was supposed to be his retirement - he wanted to settle down, finally having his family around, and earn some money for a comfortable and silent life. He came to Tombstone together with his two brothers and their wives; upon arrival, he found out that his best friend, Doc Holliday, also ended up in the town, searching for his luck and trying to cure his TB - an illness that will later kill him at the age of 35.

We meet Wyatt Earp when he has people closest to his heart right around him, and is very content with his life. He is also very adamant to leave the past and the fame behind, and start a completely new chapter in Arizona. The Earp brothers find out very quickly, however, that Tombstone is very far from the sleepy abode the name might suggest. The town is full of colourful characters - gamblers, gunslingers, preachers, prostitutes, outlaws etc. And of course there is a conflict boiling just below the surface.

Unwillingly, one by one the Earp party is pulled back into being the law officers again, and into the bloody frontier war.

SPOILERS AHEAD (you know, if you wanna watch the movie yourself)

So many themes here that remind me of SPN!

We have a duty bound man who meets a maverick and outgoing woman. She offers him excitement and adventures, and of course he falls for her, but doesn’t let himself have what he wants because of his mission, his situation (he was married at the time), and the need to act honourably. He is, however, perfectly aware of his feelings and that a part of this behaviour is fear of following his heart because he had never done this before in his life;

It takes a death of his closest friend to realize life is too short, and he should go for what he wants, which he does;

Before this, however, he follows the murder of one of his brothers by going on a shooting spree, and killing every bad guy he can find until they all are eradicated,

There is also so much gay subtext between two of the characters that the movie is always mentioned when “gay westerns before Brokeback Mountain” are discussed.

“Tombstone” as a lesson in gay subtext:

It is never mentioned in the movie that Billy Zane and Jason Priestley’s characters are gay. Yet, it is so obvious from the way they are portrayed that even people who are not used to reading subtext are perfectly aware the two characters are most probably lovers.

The characterization

The first thing we notice is the look of the characters. The two man are both dressed in a way that differenciates them from the enviroment around them - Billy Zane’s Fabian is completely different from the masculine world of the Old West, with his soft hair, boyish good looks, clean shaven face, and elaborate outfits.

Jason Priestley’s Billy is more in accordance with the tough world of Tombstone - he is the deputy sheriff after all, and can be tough when needed - but still, in his time off he is portrayed as soft, effeminate, especially while contrasted with the criminals he usually runs with. His outfit is not too different from everyone else’s, but he is the only person to wear a bowtie (everyone else wears neckties or bandanas) and spectacles. He is portrayed as a slightly weaker and more vulnerable person.

Exposition in relation to other characters

The two characters sexuality is shown, not talked about, especially through the kind of interractions they have with other people.

We meet Fabian when he steps out of a carriage, all confident, flamboyant, well-groomed and witty. His person awakens the reaction in the manly-men of the West, which is shown by Morgan Earp asking the local sheriff “What kind of town is this?” (at which point Wyatt shushes him, as if he said something offensive).

To hammer the point home, Fabian is an actor who travels with a gorgeous woman, but obviously has no sexual interest in her - they are best buddies who ogle the Earps together, and comment on their attractiveness.

As for Billy, we meet him when he arrives at the theatre to see the actors’ performance, and right away he is shown bullied by the Cowboys. The quips obviously refer to his sexuality (“Hey, sister boy, gimme some!”). He doesn’t try to shoot them down, just tries to avoid being touched. Quickly he is “saved” by the leader of the gang, and seated beside him. Shortly afterwards the camera shows us the difference between the Cowboys and the deputy sheriff’s approach to Fabian onstage (mocking vs in awe).

Later, during a blink-and-you-miss-it moment, Billy grabs Fabian in the saloon, and cordially invites him to his table. This is the last time we see the two men together, alive.

Fast forward to the end of the movie: Billy is riding around with the Cowboys while Wyatt Earp runs around, shooting everything he can find. The outlaws stop a carriage and find the actress and Fabian in the back: the actor is dead, shot by the Cowboys. Everything here happens completely beside the dialogue and the rest of the scene. Billy watches dead Fabian while the actress holds her dead friend, and angrily discusses the war with the leader of the gang.

(Just for your viewing pleasure, I created THIS GIFSET of the scene)

It is never said out loud that Bily and Fabian are lovers. It is still pretty damn obvious. It is perfectly clear from the way they are presented, their interactions with other characters, and the (very limited) onscreen interactions with each other.

“Tombstone” is a cowboy movie that takes a step towards the actual reality of the Wild West, and makes it almost textual. Homosexuality was a natural part of the cowboy lifestyle - it was after all a society full of men, where the men to women ratio was around 8:1. Everyone had needs, not everyone had money, and love and sexual encounters between men were as common as in any other, similar enviroment. There is a reason why the uber-masculine cowboy stereotype is one of the main figures in American gay iconology - think everything from “Midnight Cowboy” to The Village People and “Brokeback Mountain”.

Why Davy Perez chose to call his episode after the kettle-market town in Arizona, but also after the movie with such a strong gay subtext?

WE MAY NEVER KNOW!

#spn vs tombstone #spn 13x06 speculation #pop culture references #gay subtext #destiel #spn season western romcom 13 #yeehaw

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atrophiedcompassion · 6 years

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the last jedi review

spoiler free: it was overall good, but not as good as it could’ve been. it had about 30 mins of filler and some of the plots execution was less than desirable. certainly needs at least one more viewing for a proper opinion

spoiler full review under the cut

what they did well was near perfection: Luke, Leia, Kylo and Rey were beautifully characterized, their arcs clear, well done, exceptionally emotional and powerful.

First of all, they finally gave Leia the standing she deserved in the new trilogy. it was like Rian Johnson heard my criticism of TFA Leia (no force sensitive mentions, just an old hag they had no clue how to use. it was and remains one of the most disappointing things about TFA) and finally gave her a meaty role, in a way, the perfect way to end Carrie’s work with Star Wars. sure, the travel through space scene was a bit cartoonish, but finally, FINALLY, we were given, shown, FORCE SENSITIVE LEIA. it was emotional, especially that it came after the very clear moment between her and Kylo, when he hesitated in shooting at her ship. it was very clear that they were sensing each other and Kylo’s reaction when the ship was shot after all was also amazing.

her whole role was great, finally the General i had always expected from post ROTJ Leia to be. and even if they didn’t kill her on screen, and it’ll have to be an offscreen death (or who knows...who knows), i think they did conclude her arc remarkably and whatever happens in episode IX it can only finish her participation in a great way.

the final meeting with Luke, the forgiveness, the closeness, i am so glad they gave us that. the space twins live on, and we were given true closure.

second of all, Luke. LUKE WAS PERFECT. the guilt, the wisdom, the cranky old master behaviour a la yoda in ESB, it was miraculous. every time he was on screen it was emotional and powerful. the awe and fright at Rey’s abilities. his disappointment that she went straight to the dark, that she didn’t fight temptation at all, when it was clear that he had done that all his life and it had cost him so much! i mean, it’s clear that Luke’s resolve in ROTJ is strong, and that he will certainly not cave in to the Emperor’s requests. but now, with his anger at Rey’s easy temptation, it becomes clear to me how much it had cost him to say no to Vader in ESB. at his lowest moment, having just been mutilated, having just learned that his great mentor Obi Wan had lied to him, at the very revelation that the long sought after father was finally before him offering him the world, he still found the courage, the strength and maybe even the weakness to say no. to allow himself to die rather than to fall to the dark side. and then this kid, with enormous grasp of the Force, dives right into the darkness on the first occasion!! the fact that they gave us that on screen was immense.

and then, the final battle, when he displays the most stupendous command of the Force, when he shows Kylo off in a spectacular fashion, that was amazing, it was one of the best moments in the whole SW saga.

the death moment was perhaps a little sudden, because it clearly stemmed from the fight with Kylo, and not later, but it still comes peacefully, and not at the actual, real hand of his nephew.

Now, Rey, her journey was not as spectacular as it was in TFA, but she was the emotional core of the film and in many ways, the only true pure Force sensitive person in the saga. sure, Leia was as pure and free of temptation as possible, but there is something murky about the relationship between her, Ben/Kylo and Han. something happened to Ben to have all that great darkness inside him, and as a comic panel once said, it surely came from her side of the family. Rey can and did dive into the darkness and came out unscathed. she not for one second yields to Snoke nor is she willing to accept Kylo’s offer of joining him to rule the galaxy (at some point in these movies, this has to stop tho. it’s the worst offer in the galaxy ffs! no-one seems to take up on it). she is the voice of reason and the hope the galaxy needs.

the big family reveal is underwhelming for a reason. it’s something Kylo says, it’s her biggest fears that he’s voicing, trying to play with her mind. it may be a misdirection, my dad says, and he’s been right about this (after snape’s “treason” in HP6, he was the first to point out that it may play out differently in the end. plus, should her true, actual, shocking parentage be revealed in the middle film, it’d be too much on the nose copying of ESB. we already had the offer scene and the moment between the dark and the light characters.

Finally, Kylo Ren. first of all, what a pleasure it is to watch Adam Driver perform!! he is magnetic in every scene and you can literally see the conflict in his face. his weirdly beautiful face. i love the guy (i mean, i went to see Silence in the theater, a religious film! starring Andrew Garfield!). i think his arc is tremendous and if my gut feeling is right, they might actually make him the big bad. no redemption. he just follows the darkness through and through. at the start of the movie, he has that moment with Leia, he hesitates, he takes the finger off the button. at the end, he barges full on, take no prisoners kinda way, totally willing to kill every single person in the mine/bunker, his mother included. it’s interesting, because so far it seems that killing Snoke (and not his father or Rey) finally completed his apprenticeship in the dark side, killing the puppet master finally allowed him to go completely dark.

@winteredfall believes there’s the parallel with Anakin, who also made the offer to Padme, to kill the emperor & take over, and in the end he was still redeemed. but....that was the third movie. this is just the second movie. i think it’d be much more interesting if this guy didn’t get redemption and if he was simply the bad guy. it’d make the character richer, it’d be a departure from the classic SW and it’d show that some people cannot be redeemed. it’d finally take Nu SW into a new direction and the following trilogy wouldn’t have the baggage. (side note: for me, after learning in the prequels what Vader did to access the dark side, aka kill 30 kids, Vader’s redemption in ROTJ is meaningless and unacceptable. for me, Vader cannot be redeemed after we know what he did. he can be forgiven by his son, who doesn’t exactly know the details. but me as the viewer, i cannot forgive him anymore. his son saving is nearly an empty gesture given his actual really heinous crimes. and this is why i hate the prequels, because they ruined Vader for me, arguably the most interesting character of the OT)

the offer to Rey immediately after offing Snoke shows that he never really wanted to be good. he just wanted to stop being manipulated and used. his rage after she rebukes him and takes off is not brattisness, but simply the dark side finally taking over. rage fuels the dark side, anger is the prime motivator, so it all works. and Kylo is a better character for it. and the movie could take the SW saga into a whole new direction. but we shall see.

The Force was finally restored to its original meaning, fuck the midicloridians. Sure, luke’s explanation seems a rehash of Obi Wan’s but it had to be done. also perfect was Luke’s put down of the Jedi and their hubris, it was amazing to see the concerns people had with the prequels, namely the sith emerging during the Jedi’s highest power, addressed and put to bed.

the Kylo - Rey relationship was intense, and heightened, but unlike in TFA, where it did have some dark sexual undertones (Kylo does mind rape Rey and the sexual overtones of that scene cannot be overlooked), this time it had a very sibling vibe. Rian Johnson took note of the unholy Reylo shippers and of the effects of that scene in TFA and turned it around. sure, it was weird that Rey was bashful to see Kylo shirtless (but thank you for the scene nonetheless), but all that malefic sexual energy from TFA was gone here and it felt great.

all their scenes together, be it in the Force, or actually side by side fighting were superb. they have immense chemistry and made it all seem very palpable. also, at the end, where Rey’s leaving in the Falcon and they communicate once more, that was not Snoke’s doing, so their connection IS real, and not “forced” by a higher power.

now, what they did wrong may actually be not that bad on a second viewing, perhaps it needs a little more attention to detail. but so far, the whole Casino plot, get them on the FO ship, Benicio del Toro char, all of that was awful. i understand the political aspect of the plot, of showing the war profiteering and the real reason why the galaxy is still at war, which is highlighted by the fact that at the end, no-one comes to the aid of the Resistance. but the tone of those scenes was all wrong. it was choc full of species, of way too much slapstick humour, cutting away from Resistance cannot get a moment’s respite really awful situation, to Rose & Finn riding blissfully, almost forgetting their mission, on those animals?! it was worth it now that they saved those animals, even if they were about to die and leave their Resistance with no actual hope?! WHAT THE FUCK!! i get why it was liberating for characters like Rose & Finn, who had lost everything and had always been downtrodden, to finally do something rebellious and for themselves, but in the bigger picture of what was happening with the remaining Resistance crew, it was very offputting.

i liked Rose a lot, because she had heart and seemed sharply focused, but then..they gave her some really weird choices. it was almost like let’s give the POC characters something meaningless to do (because they eventually not only fail their mission, but they bring into Resistance secrets a third party who betrays them, leading to a near disaster for the Resistance), while the white characters were given the actual plot, and actual plot resolution. remember, Poe is also mistaken in his plans, and eventually, the white woman Holdo was right all along.

now, let’s get into the open misogyny of Poe Dameron’s character. undercutting even Leia, and causing massive loss (all the bombers!!!) in the opening battle and acting like he was right. disbelief that the heroic Vice Admiral Holdo is a woman (that was such a jarring moment, wtf!!) and not trusting her, and her cautious ways. of course, the plot is awfully trying to make us think Holdo is a bad guy, simply by having her not relay her every decision to an underling, which she should do why!??! (because he is the man right?) the reveal is just awful and even if i read somewhere that some folk like how the second in command is bad trope was subverted, Holdo was highly mistreated by her inferior and we can only understand that it was because she was a woman.

why they chose to portray Poe this way, i don’t know. but the whole plot was very very poor and even if the end is quite satisfying, as Holdo’s cautious, womanly plan actually works, she saves the day, and Poe’s manly action plan fails, it still begs the question why was this whole plot necessary!?

what was also filler was the minute rivalry between Phasma and Finn, absolutely pointless. also, i know Finn / John Boyega is a main character, but after giving him a horrible plot, him sacrificing himself would’ve been a little more satisfying than him being “saved” by Rose out of love. that whole romance came out of nowhere! of course, with Finn sacrificing himself we wouldn’t have the epic Kylo - Luke confrontation, still the resolution of Finn’s sacrifice could’ve been better. Also, this romance feels made up just so they wouldn’t have to “ship” Finn with Rey, even if for sure, they have far better chemistry, an actual story together and real feelings for each other. maybe i am just looking into this from an inappropriate angle, but it did somehow bothered me that they aren’t willing to let Finn/Rey happen. while i certainly don’t ship anyone in the new movies, some chars have obvious chemistry together while some don’t!

finally, who is Snoke!? his death probably robs us of any possibility of finding out who he was. i mean, this guy seems far more powerful than the Emperor even, so where did he come from? was he another hidden apprentice!? was he the emperor in a new disguise!? was he just some random dude who happened to be exceptionally good with the Force? how could he come to power when Luke/Vader ended the sith in ROTJ!?! all these questions might never receive an answer. i mean, the whole Casino scene proves why an organization like the First Order can prosper and exist in the first place, as war is profitable as fuck. but there’s no explanation for this Force sensitive ultimate bad guy. ugh!

now what was truly atrocious: all the animals, the 4 tittieded animal Luke milks (blue milk! but are they telling me this is where Beru also got the milk? because for sure those creatures didn’t look like desert dwellers. and if it was imported, no wonder they were poor LOL), the island caretakers, the porgs, the animals Rose & Finn ride, all the Casino creatures. filler filler filler. this is pure disnification and it sucks

BB8 was also just awful. he was given R2D2 in ROTS powers, remember how bad it was when R2 started flying?!? BB8 showing up in the Imperial pacer was worse!! a true great reveal would’ve been if it was the BDT char coming to an unlikely rescue minutes after selling Rose & Finn out, but no. it had to be the wonder robot! how did he get up there in the first place!? that was horrendous. and i will finally say it. i hate BB8. i didn’t like it in TFA, but here i hated it. god!

and finally, the marvel type jokes seconds away from a highly emotional/intense moment. i understand the technique and even in marvel movies it is sometimes hit and miss, but in the tonally dark TLJ, where the resistance cannot catch a break, are taking loss after loss, with less and less hope and more and more deaths, these cute moments don’t fit at all. SW needs humour, even in its darkest movies, but not this type of humour. give us something else. or at least, give us the joke after the tears have started flowing, and not when they’re just still brimming in the eyes, that is not too much to ask!

overall, this is a 8.5 i would say, even if i have a lot of criticisms, the action scenes are brilliant and it has some real, amazing, SW-like moments.

#the last jedi #the last jedi spoilers #star wars the last jedi #tlj #star wars tlj

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bountyofbeads · 5 years

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The Caribbean Resort, the Investment Banker and the Dead Handyman https://www.nytimes.com/2019/08/09/nyregion/gavin-hapgood-kenny-mitchel-anguilla.html

The Caribbean Resort, the Investment Banker and the Dead Handyman

What happened in Room 49 on an April afternoon?

By Michael Wilson | Published Aug. 9, 2019 | New York Times | Posted August 9, 2019 6:55 PM ET |

WEST END VILLAGE, Anguilla — Sunset is as much a part of the package at the Malliouhana resort hotel as the warm face towels at check-in and morning yoga on the beach. Guests gather at plush patio sofas, tented cabanas, poolside lounges, bar stools and day beds, signature Rum Punches in hand, to watch a daily natural occurrence as if it were a blockbuster show.

But a violent death at the resort has rattled its tranquil rhythms and brought unwanted scrutiny to the resort, specifically to the door marked 49 and the bathroom within.

What happened on April 13 has riled the small island’s population and has raised uncomfortable questions about class, privilege and the deference shown to tourists, who drive the local economy. At the same time, as the narrative of events unfolds, those very tourists are left reconsidering assumptions about personal safety once taken for granted in this idyllic setting.

On a Saturday afternoon in April, a maintenance worker arrived at Room 49. He had not been summoned by the guest within the suite, a trader with UBS Investment Bank from Connecticut, on vacation with his wife, Kallie, and their three young children. The worker, Kenny Mitchel, 27, said he had come to fix a sink, and the guest, Gavin Scott Hapgood, 44, let him in.

The two men almost immediately engaged in a crashing, vicious brawl that left Mr. Mitchel dead. Mr. Hapgood told the police the hotel worker had tried to rob him at knife point.

Three days later, Mr. Hapgood was arrested and charged with manslaughter in the island’s tiny courthouse, then escorted next door to the squat bunker marked Her Majesty’s Prison. Anguillans, swept up by the rare drama of a homicide investigation, showed up to watch, filming with their phones.

But within hours, Mr. Hapgood was flying home to Connecticut. A judge, citing among other factors the “inflamed passions of the general public” and the “almost imminent likelihood of public unrest,” released him on the equivalent of $74,000 bail and a promise to return for a court hearing on Aug. 22. He walked out of prison and onto a small airplane, trailed to the runway by more Anguillans and their cellphones.

Mr. Hapgood’s release triggered an uproar on social media and on the narrow, winding streets of the island’s weathered interior. At two crowded funerals for Mr. Mitchel, one in Anguilla and one in his nearby native island of Dominica, mourners wore commemorative T-shirts, the fronts bearing his grinning image, the backs the words “Justice for Kenny” below a raised black fist.

Officials in Anguilla, worried about the incident driving away visitors, have issued awkward public statements — one reminding that the United States’ State Department lists the island as among the world’s safest, and another asking that citizens refrain from statements that “negatively affect the amicable environment” of the place.

But at the same time, the police in Anguilla have warned Mr. Hapgood that they cannot guarantee his safety on the island, where everyone seems to know one another. (The judge who granted Mr. Hapgood’s bail noted that some guards at the prison where he was held were relatives of the dead man.)

There is much at stake for the small island that calls itself “tranquillity wrapped in blue,” a former member of Anguilla’s Parliament, Haydn Hughes, said in an interview.

“Tourism is not number one,” he said. “Tourism is the only one.”

‘He pulled a knife’

The fight began in the suite’s entryway, where the men crashed into a heavy table hard enough to dent a wall and spilled bright drops of blood on the tiled floor. It then moved to a large bathroom, where Mr. Hapgood, a former Dartmouth College football player, pinned the thinner Mr. Mitchel on the floor and planted a forearm to his neck.

Mr. Hapgood, who has retained a crisis-management firm to handle inquiries from reporters, declined to be interviewed, but offered his first account of the fight and its aftermath in emails to The New York Times.

Mr. Hapgood said he was relaxing in the suite, watching the Master’s golf tournament on television. His daughters, 13 and 11, returned from snorkeling in the ocean. His wife was returning the snorkeling equipment, and their son, 9, had gone to the lobby for a cookie. Mr. Mitchel knocked on the door, and Mr. Hapgood answered.

“I had not seen this man before,” Mr. Hapgood wrote. “He said he was there to fix a broken sink. I did not think a sink was broken and I had not called in any requests for maintenance. Nevertheless, as he was in uniform and being rational (after all this was an upscale hotel), I said he could come in and take a look and I let him in.”

Moments later, Mr. Hapgood wrote, Mr. Mitchel “pulled a knife on me, demanding my money and my wallet.” Though Mr. Hapgood declined to discuss the details of the fight, he said it was a “hard struggle” and he was stabbed and bitten several times.

“I feared for my life, as well as the lives of my daughters,” he wrote.

As the two men struggled, the girls ran to the front desk for help, and a bellman, Geshuane Clarke, 27, hurried to the room. He said in an interview that he saw drops of blood on the floor inside and, nearby, a partially opened Leatherman tool.

Then he heard loud thuds and found the two men on the floor in the bathroom. Mr. Mitchel, who was whippet-thin, was on his back, and the larger Mr. Hapgood was straddling his torso with his left arm leaning on Mr. Mitchel’s neck and face, Mr. Clarke said.

He said Mr. Mitchel appeared to be struggling for air. Mr. Clarke recalled Mr. Hapgood saying, “‘He came at me with a knife, threatening me, asking me for money and asking my daughters for money.’”

A “security guy” arrived and told Mr. Hapgood, “We’re here to help,” Mr. Clarke said.

Then Mr. Clarke, who also has a job as a dental assistant and who has had medical training, told Mr. Hapgood that Mr. Mitchel was having trouble breathing, but the American replied, “He’s O.K. He’s breathing. I can feel him breathing.”

Mr. Hapgood was adamant that he would not let Mr. Mitchel up until the police arrived or the hotel security guards put him in handcuffs, Mr. Clarke said. About a half-hour passed this way. To try to appease him, Mr. Clarke said he looked around in vain for duct tape to bind his friend.

More employees arrived at the room, including a supervisor. Mr. Hapgood said they were wearing hotel uniforms and addressed Mr. Mitchel by name. “I was afraid they were part of the plan to continue to attack me and frankly I did not trust them,” he wrote.

Mr. Mitchel was fading, Mr. Clarke recalled. “From the way he was breathing, you could hear there was fluid in his throat,” he said. Then, he added, Mr. Mitchel managed to whisper, “Can I speak?”

“Hapgood said, ‘You don’t have a thing to say,’” adding an expletive, Mr. Clarke recalled.

Mr. Hapgood’s wife arrived, and Mr. Clarke said he saw her filming the scene with her phone. The Hapgoods, however, said she did not film the incident.

The police and paramedics arrived and took Mr. Mitchel away on a gurney. Mr. Clarke accompanied them.

“He had a very weak pulse,” Mr. Clarke said.

In the ambulance, Mr. Clarke placed an oxygen mask over Mr. Mitchel’s face. “You know how when you breathe out, it fogs up?” he said. “Nothing happened.”

He spoke to his unconscious friend. “I told Kenny, ‘I’m waiting to hear your story, because something happened,’” he said.

After the suite was empty of employees and the police, Mr. Hapgood said he discovered $200 was missing from his money clip on a bedside table.

His lawyers said the police found more than $600 in various currencies on Mr. Mitchel, and it was unclear where the money came from. Mr. Mitchel’s father, Neville, however, told the police he had given it to his son the night before.

Days later, Mr. Mitchel’s cause of death was listed as “positional asphyxia,” or suffocation in a prone restraint.

‘This was strange and unusual’

Since Mr. Mitchel’s death, his friends and family have said Mr. Hapgood’s account seems implausible. Mr. Mitchel was a good-natured joker, they said, and, in the words of one friend, an “ambassador for Anguilla.”

He doted on his 2-year-old daughter, they said, and enjoyed his work at Malliouhana. It was a good job on an island where the per capita income is about $29,000 a year. The idea that he would try to rob a guest — while in uniform, during his shift — did not make sense, they argued.

“Once you’ve got a job, you’re going to keep that job,” Mr. Clarke said.

But revelations suggest that perhaps Mr. Mitchel was anticipating losing his job after an incident that complicates the sunny portrait.

On March 25, less than three weeks before the fight with Mr. Hapgood, Mr. Mitchel was arrested and, the next day, charged with rape, according to police correspondence obtained by The Times. He spent a night in jail before being released on bail, and the case was pending when he died, with a court hearing scheduled for July.

A criminal conviction would have surely cost him his position at the resort and would have likely caused him, a nonnative, to lose his permit to work in Anguilla. Without the permit, he would have been forced to leave the island, and his father and daughter.

The person who accused him of rape was his former live-in girlfriend, Emily Garlick, the mother of their daughter. They had separated and Ms. Garlick had moved out, but the two remained close, she said.

Ms. Garlick declined to discuss the rape allegation in recent interviews, writing it off as a nonevent.

“It wasn’t a rape,” Ms. Garlick said. “It was a misunderstanding. We had a spat. We had a disagreement. That was it.” She said Mr. Mitchel was not overly preoccupied by the arrest.

Mr. Clarke, the resort bellman, also said Mr. Mitchel did not seem anxious about his job. “He did not show any concern, any worry,” he said.

On a recent visit to Anguilla, an island of 15,000 people where a typical breaking news story might be about a farmer’s missing goats, the death of Mr. Mitchel was still front and center in conversations. His friends spoke of it in hushed tones within the halls of the Malliouhana and, miles away in The Valley, the island’s interior town where Mr. Mitchel lived.

“I’ve never seen Kenny angry,” said the owner of a nearby store, Neville Richardson, 63. “His friendliness is what attracts you to him.”

Mr. Hapgood, a coach for his daughter’s lacrosse team who last made news for winning a platform tennis tournament with his wife, has become a reviled household name in Anguilla, which is only 35 square miles.

What was supposed to be the Hapgood family’s first vacation abroad — “We just wanted to get some sun over Spring Break,” he wrote — has become a fight to stay out of prison on foreign soil. He was placed on leave from USB pending the outcome of the case.

Many residents assume he will not return for this month’s court date — he has said he will — and deeply resent that he was allowed to leave in the first place.

“Anguillans caught with weed have much stiffer penalties,” Mr. Hughes, the former government official, said. “This was strange and unusual.”

In recent weeks, the police have issued an Osman warning to Mr. Hapgood, a formal notice that officers cannot guarantee his safety, said one of his lawyers, Tim Prudhoe. Mr. Hapgood’s lawyers are trying to allow him to attend the hearing remotely without returning to the island, Mr. Prudhoe said.

Some wonder whether the case will deter tourists from visiting — and whether, at least in the short term, that is an altogether bad thing.

“The tourists who querulously inquire about the ‘atmosphere on the island’ give me cause to shake my head,” Vanessa Croft Thompson, a 34-year-old teacher on the island, posted on her Facebook page. “We are suddenly scared, like a dog who was never hit before.”

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There’ll be a clear and obvious controversy! VAR won’t end arguments, but will be mostly right

Coming Sunday at 3 p.m., a small dark room deep in the heart of a gigantic industrial estate, two miles north of Heathrow Airport, will be a become chaotic

& final game before their eyes

For the first time, the Professional Game Match Officials Limited (PGMOL) tries all 10 Premier League games in to keep track of the assessment for the arrival of VAR next season.

<img id = "i-1f456e218e3e7ba8" src = "https://dailym.ai/2Q20JAy. jpg "height =" 423 "width =" 634 "alt =" <img id = "i-1f456e218e3e7ba8" src = "https://dailym.ai/2vTCefq -7018859-image-a-11_1557609814433.jpg "height =" 423 "width =" 634 "alt =" The Mail on Sunday was invited to the IMG Studios in Stockley Park to test the technology "Sunday was invited to the IMG Studios in Stockley Park to test the technology "

The Mail on Sunday was invited to test at the IMG Studios in technology from Stockley Park

Some may notice a missed offside at Anfield, others could notice infringement in a Sergio Aguero winner at the Amex. All decisions that could have been made about which colors the Premier League trophy drape.

We have seen

PGMOL since September 2018, have tried VAR in FA Cup and Carabao Cup competitions and other non-live tests on Premier League- spell. it is in action in the Champions League, which excludes the place of Manchester City in the semi-finals in the most dramatic way, as well as in the world cup in the summer.

Now, whether you like it or not, it is coming to the Premier League.

The Mail on Sunday was invited to the IMG Studios in Stockley Park to test the technology prior to Sunday's action the head of the PGMOL Mike Riley revealed how VAR will help make more correct decisions take.

You are the video assistant referee. You sit at a table in the VAR bunker. In front of you are two television screens, one above the other. The top one shows the game live.

The screen below has been split into four. The top left corner shows the same feed but with a three-second delay. If you think you see an incident, you can check it there. The other three offer different angles.

Two large buttons

You are going to pay attention to four things – goals and whether they should stand, straight red cards, but no second yellow cards, penalties and wrong identity. lie on the table. A green one that you can use to add a bookmark to the passage of the piece you want to view and a red one that lets you speak to the referee's referee.

To your left is your assistant VAR. It has its own screen. He is your extra pair of eyes.

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They will check four things – goals, straight red cards, punishments and wrong identity

There is a helpful person on your right young man from Hawk-Eye, the specialist in video technology, who has also had a number of referee training sessions.

He has his own two screens: one live, one touch screen.

For a Saturday 15.00 game hour stand e r 12 cameras in a game that show you more angles, speed things up, play slower, build tracks outside. For a match on TV this is a maximum of 24. For them you have an extra screen with an extra Hawk-Eye helper.

The referee to the right of the left side of the line, the field also has the option to use a video screen on the side of the field to review incidents themselves, although Riley says referees have been instructed to use them as sparingly as possible to avoid unnecessary delays.

theory, it all sounds simple enough. CLEAR AND CLEAR

If there is only one sentence on the couch next season, let it be this way: & # 39; clear and obvious & # 39 ;.

VAR will ask & # 39; should this be a red card? & # 39; Do not reply?

The distinction is subtle but crucial. Riley insists that PGMOL & # 39; wants to preserve the primacy of officiating with the referee on the field & # 39 ;. The referee is still in charge. They do not want the game to be re-fasted by a person in the box, even if they are elite competition officials themselves.

Another reason is because the question & # 39; should this be a red card & # 39; so is subjective. A ref is red, is again a strong yellow.

That in itself suggests a decision on the field was not clearly and clearly wrong. That of course will not prevent rival fans from raging about what they think is clear and obvious and what is not.

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VAR will intervene if the referee makes a & # 39; clear and obvious & # 39; mistake made during the match

RED CARDS

Was at the VAR stand, the first incident we have to tackle through Huddersfield defend Zanka at Crystal Palace forward Wilfried Zaha

In that match, in September, Zanka was shown a yellow card, after which Zaha complained that he must have broken his leg. and before referees penalized bad tackles on his way.

We must view the incident in real speed first. Riley cannot emphasize this enough. That way, VAR & # 39; s can achieve the actual & # 39; intensity & # 39; assess the challenge. Intensity is important when it comes to dangerous tackles. In short: did it make you falter?

Only when that intensity has been established is the incident viewed in slow motion. Slow motion always makes it look worse.

Just as by slowing down images of a handball, it seems that it appears more intentional, and poor equipment seems more dangerous. If you are the first to see this, check it in real time, your assessment will be skewed.

<img id = "i-7b665a95ab7fcfcc" src = "https://dailym.ai/2Q18t5S image-a-8_1557609236122.jpg "height =" 419 "width =" 634 "alt =" In slow-mo, Zanka's challenge on Wilfried Zaha should have been a straight red in September -mo, Zanka's challenge on Wilfried Zaha in September should have been straight red "

In slow-mo, Zanka & # 39; s challenge on Wilfried Zaha in September had to be a straight red

In real -time the equipment from Zanka looks late, but nothing more. In slow-mo, his stallions catch the ankle of Zaha, his joint curves and rocks.

I think it must be a straight red card. The man next to me from the Sunday Mirror is adamant, it's just a yellow. Split already. Good start.

Riley has done demonstrations like this with Premier League players and managers, who will ultimately decide where they want the lines to be drawn, and the consensus was that they were happy to be yellow.

The point is that referee Scott was not clear and clearly wrong to show a yellow. Again, that's the thing to remember.

OFFSIDE

These are the decisions that VAR should find easiest to clean up: inside, outside; ourselves, offside. Really wrong; Yes No; black and white.

Yet we know that through the scenes of Chelsea staff that a laptop with alternative angles pushed the miffed Maurizio Sarri after their defeat against Tottenham in the Carabao Cup, which is not always the case.

In the Champions League, border guards are instructed to keep their flags on marginal offside calls and allow the game to continue. If a goal is scored, VAR will check it.

By holding down the flag, you avoid the uncomfortable scenario of a linesman going offside, where the referee stops the game and ends the attacking team's chance of scoring, and then finds out that the player was heading in the right direction

Next season in the Premier League it will be something else. It is not the border judges who have to lower their flags, but the referees who are told to refrain from whistling until the attack is over.

Next season the referees will be told to refrain from blowing their flute until they get over his "blkBorder img-share" This is so unnatural for referees that they had to be retrained to do that.

Michael Oliver, the referee, in that Chelsea-Tottenham game did it correctly When Kane was played, the linesman signaled, but Oliver did not blow his whistle after the striker had been knocked down in the penalty area.

] & # 39; If he is not offside, then it is a penalty, & # 39; was Oliver & # 39; s

The moment the ball was played was actually between the frames on the video

so the V AR only use the ball if the ball had left the foot. When margins between us and outside games are so good, even the boundaries of technology could make a difference.

Leroy Sane descends into the box, appeals to a penalty, the referee waves but everyone stops, only for David

First check the build-up to it target. David Silva came back from the field to play the ball, so there was an offside to watch, but a quick zoom lens from Hawk-Eye showed that the game was over.

So no goal. Back to the criminal case. Numerous repetitions later and one of us thinks it should have been a penalty, while the other didn't.

It is ultimately decided that it is not a clear and obvious error (there is that sentence again) and we stick to the on-field decision of Jon Moss

<img id = "i-4dd389faf9434dbb" src = "https://dailym.ai/2vV8vCI" height = "364" width = "634" alt = "<img id =" i-4dd389faf9434dbb "src =" https://dailym.ai/2PXnMMR -a-10_1557609779276.jpg "height =" 364 "width =" 634 "alt =" One of the most complex incidents we saw was the goal of Bernardo Silva against Burnley "we got Bernardo Silva & # 39; s goal against Burnley to be seen "

One of the most complex incidents we saw was Bernardo Silva's goal against Burnley

Well done to us. We think you have it fast enough. In fact, there are three reasons for this: the fact that they are all out and probably have long since descended to the hall

In the 68 live VAR tests so far, there are on average eight checks per game, average on average 30 seconds each.

That usually doesn't cause any delay at all, but that is impossible to avoid, the average stopping time has been around 22 seconds.

[WAT WAT OVER DIE FANS?]

[WHAT OVERFANS]

That will change next season, even if it is not the same as that in the box. not much It is intended that fans in the stadium show fragments of the incidents on screens in the stadium, but only after the VAR decision has been made, in contrast to cricket and rugby, where the incidents are shown to supporters while the referee make its decision.

For lands that do not have large screens, such as Old Trafford and Anfield, the information can be relayed by PA announcements.

In contrast to other sports, the dialogue between the field officials and the VAR's will not be broadcast. Regardless of how much clearer it would be for fans to understand the reasoning behind the decisions, Ifab, the makers of the laws, simply won't allow it.

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In tennis the incidents are shown to supporters while the referee makes the decision

HOW MUCH WILL IT GO?

Son Heung-min shot a shot in the top corner from 30 yards, meanwhile, on the center line, is Manuel Lanzini of West Ham wrinkled in.

West Ham believes that their husband is soiled, but the referee was not there Tottenham won the possession and less than a minute later the ball was in the net.

Prepare yourself for me there gray areas. There is no fixed timetable in which a VAR can go back to check for infringement.

Riley talks about the beginning of the attacking phase of the game.

In the example of Son, that would not allow the goal if VAR thought it was clearly and clearly a mistake on Lanzini. But just after that tackle, he played a bad pass to the left and behind Erik Lamela, who had to withdraw to collect it.

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[Gehhunden]] Son Heung-min scored a few minutes after Manuel Lanzini believed he was soiled in the Carabao Cup "

Son Heung-min scored a few minutes after Manuel Lanzini thought he was soiled in the Carabao Cup

This gave West Ham the time to reset, even if the hammers argue that it would be Lanzini that would have been closed.

& # 39; It will not be perfect, & Riley admits. & # 39; There is a high level of subjectivity. The advice of the play side is to keep the window as narrow as possible. Do not go back and back because that destroys football. & # 39;

Many think that VAR does. It will not.

But neither.

But that won't be either. it removes the controversy. Decisions are far too subjective and people far too varied. That is clear and clear.

How it will work

VAR will be used in all 380 Premier League games next season.

The referees of the video assistant will judge all scored goals and potential challenges related to the red card, penalties and cases of false identity.

Here's how it works, using the example of a tackle from Huddersfield defender Zanka at Crystal Palace, ahead of Wilfried Zaha, earlier this season.

Step 1: Zanka stretches for the ball but catches Zaha on the ankle while he passes. Zaha descends and grabs his foot. Referee Lee Mason awarded an error and showed Zanka a yellow card.

Step 2: VAR informs the referee on the field that they want to revise the tackle for a possible red card infringement.

Step 3: The VAR first views the incident at full speed to determine the intensity of the tackle from as many available angles as they want.

Step 4: Only when the intensity has been determined, the VAR will evaluate the tackle in slow motion to determine the contact point.

Step 5: VAR judges whether the referee has a & # 39; clear and clear error & # 39; has made by showing Zanka yellow card. This is the crucial decision.

Step 6: If the VAR thinks he has them, they will let Mason know that he must withdraw the yellow card and show Zanka to the red card instead. If not, they will say & # 39; check completed & # 39 ;.

Step 7: The game continues.

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