#because of comic book spoilers

[finemeal]

Artemis and Akila are a tragedy I will never be over. I love them your honor.

I tried my hand at a more dynamic/comic book-y style (inspired by Dan Mora primarily cuz … have you seen his art? Anyway—) Hope you’ll enjoy

[kathaynesart]

REPLICA PLAYLIST

MUSIC UNDER CUT

I have been receiving requests for any songs that inspired Replica, so here, have my personal playlist. Sorry it’s not Spotify/Soundcloud but they don’t have some of these songs available so uh… guess you’re stuck with YouTube vids. For fun I'll include my personal titles for them (which might give a few hints of what to expect in the future/end).

Replica Main Theme - “Die for You” by Grabbitz Like Father Like Son Like Brother (Omega and Shelldon) - "As Above So Below" by Alistair Lindsay Mikey's Theme / The 1st Vision - "Suzume no Tojimari" by Nanoka Hara Military (Mad) Dogs / Central Park Colony - "Imperium" by Madeon Shanghai - "Icarus" by Madeon Boom Goes the Donnie-mite (Mikey/Donnie vs the Sweeper) - "The Red Zone" by Mitsuoto Suzuki The Day the Sky Bled Red - "7 Seconds Till the End" by Nobuo Uematsu Going Out Like a Boss (Raph and Leo) - "Agape" by Nicholas Britell Remembering the Right Way (Mikey and Leo) - "The Souls of Many" - by Alistair Lindsay Mystic Hands / The 2nd Vision - "Am I Dreaming" by Metro Boomin x A$AP Book 2 Trailer - "Sea Dragon" by Covet 7 Years Later - "Iron" by Woodkid Leo's Theme / Attack on the Labor Camp - "Ego Death" by Polyphia Omega's Theme - "Touch" by Daft Punk Flat Lines (Omega Alone) - "Die Toteninsel Emptiness" by 1000 Eyes Spear - "Monsters" by Tommee Profitt Final Protocol - "The Kraken" by Katie Dey Rise / Epilogue - "Close in the Distance" by Masayoshi Soken & Tom Mills

I will admit, it's a little embarrassing since you can easily see the patterns of what I've been listening to for the past year or two. I swear I listen to more than just videogame OSTs, these songs just jive well with the story and I often find lyrics distracting when brainstorming scenes. Regardless, the music I listen to is such an important part of my creative process and some of these songs really defined the scenes I now have locked in my head. So I figured it was only fair to give them the credit they're due.

I will continue to add to this playlist, and will note in comic updates when one of these songs is applicable!

[bklily]

Silver: I love and support you father, but there's a time and place for everything!!

(this is entirely based off the interaction i had with a friend who is avoiding spoilers for book 7, and when she allowed a single minor non plot spoiler we told her Lilia was confirmed bi. her reaction was hilarious)

(so you know i had to make a comic out of that lmao)

[hoofpeet]

I'd probably have to read the printed version and web version back to back at some point to note all the differences but... ough

[writing-for-life]

About Love As The Catalyst For Change

Okay, so while I was going through all the panels for March Mania, I also stumbled over these ones again:

And although I’ve read it all a million times and had all these feelings before, I just need to blurt them out:

Love Is What Changes Him

It’s such a central message of The Sandman, but I feel it often gets lost in a million other things. And they’re all important, but so is this one.

Because yes, Dream went with Delirium and found Destruction (and Despair found him btw), and his Destiny was Death. And that whole Desire thing… ‘nuff said. BUT… (major spoilers ahead)

Those panels above are basically the turning point in a nutshell. No, well, the turning point is actually the moment he kisses (and then kills) Orpheus, but those panels are the essence:

He set out with Delirium in hopes to find Thessaly (the pendant Nuala wears here used to be hers, and she gave it to her when she left the Dreaming and him. And I can’t even begin to tell you how I feel about him letting Nuala keep a gift of his ex, who betrays him later by protecting the woman he hurt, and then making it the item that holds the power with which Nuala can call in her boon. One could spin that very far in all sorts of different directions).

But when he comes back after killing Orpheus, it doesn’t really matter anymore. Thessaly was the usual romanticised dream that could never be real. But he finally did find love. For his son. The unconditional kind. The one that doesn’t need anything in return because it just is. And he was loved back, if for a brief moment. But it was real, not a dream. And that love stays real (that’s why it initiates the turn, 3rd act and all that).

I’m reminded again of the words of Frank McConnell in his intro to The Kindly Ones:

“And with [killing Orpheus], Dream has entered time, choice, guilt and regret—has entered the sphere of the human.”

(Side note at this point: With all of this in mind, read Dream Hunters [again], and look at all THREE main characters—that includes the onmyōji, not just the monk and the fox.)

And it would be so easy to say, “Well, love killed him then, what’s the fucking point?” Not just the love for his son, but also the love of a maiden who called in her boon (Nuala), the love of a mother for her child (Lyta), the love of a crone for no one but herself (Thessaly).

But we all know that “change or die” was never an “either or”, because it’s an “and both”. And it’s ultimately love, in all its shapes and forms, four times over, that changed him (while it was also part of the death knell, but that’s a complicated one. In any case, it also led to change: To be(come) a new, better, kinder Dream).

Yes, call me romantic or hopeless (although I think that’s the wrong word in this context, because I feel it’s the opposite), I don’t care.

Because that story is about catharsis. And that means Dream is a vessel for our feelings. And the feelings won’t be the same if we change any of this, for better, for worse. Because truthfully: That story is about me. And you. And you.

About allowing love, of whatever kind (this is very clearly not just about romantic love), to change us. And that ultimately means letting go (of control). Just like he did.

Bleurgh, I’m crying. Catharsis 🤣

[jonnjonz]

Love how Jon is so happy to see Damian he just swoops and picks him up like a cat

[fluffypotatey]

ok, raise your hand if you chuckled at the “this spiderman comic passes the Comics Code Authority” bit before the movie began?

[mfdragon]

Just read A Glitch in Time and while I liked it, I do prefer your take on Vlad’s redemption. Though to be fair AGiT did have the unenviable task of having to build off Phantom Planet.

This is obviously very flattering to hear UwU 💕

The book had an incredibly difficult and fundamentally bad episode that it needed to fix in only so few pages. It juggled a lot of characters and it told a complete journey that explored a lot of things while still keeping it fun and highlighting some badass and emotional moments. It did it’s job excellently and beautifully; but inevitably some things will be left out or feel rushed.

I loved the ending; never in a million years would I have thought it would have ended like that and it leads to so many interesting, fresh possibilities!

It’s also thankfully not influencing how my comic goes in any way so I can easily continue dissecting Vlad as much as I want and finish the small story I want to bring you all ✨

Thanks again for the compliment 👌🏻 👍🏻

[alcnolien]

Found myself doodling after rereading A Civil Campaign for the 8th time, and ended up fleshing it out and going way harder than I meant to.

[honorthysalad]

’hikaru’ really only be attacking women and gay ppl. I think he needs to kill a few cishet men to even the scales.

[kimberlyannharts]

The corrupted Ranger stuff is weird but that Kim #112 variant cover is sick as hell

Yeah, this is definitely more in mind with what I wanted corrupted Rangers to look like

MMPR #112 variant by Francesco Mattina

Hopefully this isn't just the cover artist going wild with their own interpretation, considering Adam and Rocky look way different in #115's main cover. Or maybe #115 is just what corrupted!Adam and Rocky look like, and corrupted!Kim has her own exclusive evil form because everyone loves evil Kim lollll

[1am-s0-veryt1red]

"bakugou better not be killed again"

"istg if ago or shigafo kill him again I'm gonna shit talk hori"

can we read?? how many times is hori going to teach you guys this lesson. NOBODY IS DYING. hell not even edgeshot is dead and he's a worm on a string rn. the man says it's an overused trope. this story is about hope. it's about saving to win and winning to save. end of discussion.

[soleminisanction]

Justice for Jordanna Spence

I am well aware that I am one of maybe three people in the entire world who gives a damn about this character, but I've been mad about her for thirteen years and also I am currently sick and needed the outlet so just, let me have this.

This is Jordanna Spence.

Jordanna is a supporting character in the 2009 run of Batgirl written by Smallville writer Bryan Q. Miller and starring Stephanie Brown.

Specifically, Jordanna is part of the extremely half-assed attempt to give Stephanie a civilian life outside of being Batgirl, which is one of the most unbearable parts of the entire damn book because Stephanie spends literally all of these scenes whining and complaining about how much she hates pretending to be normal.

(This is an entirely other rant but for fuck's sake girl, if you don't want to go to college, just don't go. You came back from the dead something like last month, I don't think your mother is going to begrudge you a fucking gap year.)

Anyway. Jordanna is one of Stephanie's civilian classmates at the much-disparaged Gotham University, and she is also the primary reason why anyone claiming this book is feminist should be laughed out of the room.

TL;DR - Jordanna exists purely to be The Other Girl that Stephanie Isn't Like, so that Stephanie has someone to belittle, bully and slut-shame to show off how much better she is than Normal Women, who are dumb enough to enjoy things like sororities and wearing pink.

Don't believe me? I have receipts. I've placed them under the cut to save people's dashes, because this is going to be a long one.

We're first introduced to Jordanna in issue 2, during an incredibly forced expositional lecture that makes less sense the more you think about it, starting with the fact that it's explicitly listed as Philosophy 480 despite otherwise being written a required entry-level freshman seminar.

(400 level classes are pre-graduation courses for seniors, most often restricted to those on track to graduate with a major in the subject in question. 480 level classes are usually introductions to grad school. Even if the implication was supposed to be that Steph is genius who skipped a bunch of credits, a 400-level philosophy course wouldn't be covering basic morality like this in a huge lecture hall.

All of Stephanie's classes are numbered like this, it really goes to show how lazy Miller and his editors were being at the time. That and the blatant typo -- the place they're talking about is called Devil's Square.)

That's Jordanna in front, next to her asshole friend Xander Francisco and Stephanie herself. Now, I have had many people, including the (uck) Stephanie Brown wiki, insist to me that this moment is Stephanie "heroically standing up for Her Fellow Poors against Vapid Rich Bitch Jordanna."

And that’s clearly how the narrative wants us to take it too, as everyone stares like she’s said something Shocking and it’s framed with these captions that boil down to, “Ghasp! I am so very passionate and emotional about this! How embarrassing to show off how sincere and compassionate I am!”

But there's a few problems with that.

First of all, we never actually get any proof that Jordanna is rich. The most we ever get is one thing that she says in this issue, and the fact that she's in a sorority. A sorority at a shitty inner-city university that everyone from the students to the faculty badmouths for being a shithole every chance they get.

Second -- and this is something Miller himself desperately needed to hear -- Stephanie Brown is not fucking poor. She is, at worst, a middle-class white girl from the suburbs. The idea that she's poor comes from a mix of people desperately needing her to be an underdog, and cultural stereotypes deriving from the fact that her mother is a drug addict and her father is a criminal -- stereotypes which, of course, completely ignore the fact that plenty of criminals and drug addicts live in the suburbs too, especially when they're white.

Despite her name, Crystal Brown is not some meth-addicted crack head, she's a working nurse who got her doctor friends to write her scripts for opiates. And Arthur Brown isn't some run-of-the-mill crook, he's a supervillain who runs his own gang, never seems to need money for his elaborate schemes and, prior to turning to crime, was a minor celebrity who hosted a game show.

Stephanie is not fucking poor.

Third, and most pressing of all -- go back and actually read the dialogue in those panels. Ignore Steph's internal monologue and focus on what is actually being said.

See a problem?

Yeah. Stephanie's big "heart on her sleeve" moment is literally just saying exactly the same thing as Jordanna.

Keep in mind, the question being asked here is not, "Why don't people just move out of Flint, Michigan?" it's explicitly "Why do criminals keep returning to an area under martial law?"

Jordanna is completely right. Practically speaking, the criminals' choices in this situation are a) run to the war zone and be free or b) come back and go to jail, which isn't a choice at all. So Stephanie butting in here with her "bUt WHat iF tHeY dOn'T hAvE a CHoiCE?!" is just her taking the words out of Jordanna's mouth and then pretending she said something profound

And just to make everything worse, when Steph can't follow up on that argument, she makes this joke to "break the tension."

First time I read this, my jaw fucking dropped.

For anyone blissfully unaware, the American public school system ties its funding directly to local property taxes, resulting in schools from more prosperous neighborhoods being much better off than those in lower-class ones. And, due to centuries of systematic inequality through things like redlining and gentrification, those neighborhoods tend to be unofficially segregated between prosperous white neighborhoods and the less-prosperous... everyone else.

So, saying that you've moved to a certain location "for the schools" has pretty much always been a racist dog whistle, especially when you're talking to or about people of color.

This is as good a time as any to point out that Jordanna is Hispanic. We know this primarily because of her name, Francisco's name, and the fact that they're both consistently colored with the same hair color and skin tone, the latter a shade or two darker than our extremely white protagonist. Worse, later on we'll learn that Jordanna and Francisco have actual familial connections in the Devil's Square, while Stephanie explicitly does not.

Now to be clear, the writer absolutely did this on accident. I cannot imagine a world where they intended to make their bold, feminist hero low-key racist; hell, I'm pretty sure I'm more keyed into this than most white AFABs would be purely because of the specific racial tensions that populated the town where I grew up. But that's what they stumbled into by being careless.

So I, for one, tend to read this next panel as Jordanna being understandably insulted that this random white girl just tried to embarrass her for no reason, and then made a racist joke at her expense.

Even if you don't agree with that reading, at bare minimum Steph butted in to steal Jordanna's answer, basically just to get herself attention. I think Jordanna's upset is pretty reasonable either way.

We follow up with this on the next page, where we also get to see that Jordanna is dressed in ass-accentuating jeans and a tight pink crop-top. Nothing like Stephanie, who for some reason is dressed like she shops at an army surplus store.

We are then properly introduced to Francisco Garcia, Jordanna's friend and one of Steph's wannabe love interests. And let me say this unequivocally: Francisco is an asshole. Literally his first line of dialogue is to call his supposed friend a bitch, repeatedly, to impress a blonde he just met.

And later on he will just be, the biggest jerk to Jordanna while she's worrying about his safety and trying to look out for him when his dad gets him into a dangerous situation. Francisco is, of course, completely ungrateful for all of it because he's too busy trying to bang blondie.

We next see Jordanna two pages later at a Harvest Festival frat party, which Steph appears to be attending purely so she can stand around judging her classmates for taking an excuse to party.

Jordanna appears, highly intoxicated to a point to a point that would be deeply concerning even if she hadn’t been drugged, which it turns out she has.

Stephanie has zero sympathy, and neither does the writer, who portrays Jordanna as so vapid that she thinks/talks in textspeak. Which doesn’t even make sense. How did Steph hear how she was spelling things in her head?

This is our one and only indication that Jordanna is supposedly rich -- you know, like Cordelia from Buffy, which this series desperately wants to be -- and supposedly looks down on Steph for being poor. Again: Stephanie is not poor. She’s not even portrayed as poor in this comic. She just lives with her mom.

You’ll also notice that Steph changed clothes, while Jordanna is still in her unofficial uniform, which is drawn extra-low to show off her bikini line. This further accentuate how Stephanie is drawn to look normal while Jordanna is an over-sexualized slut. Note the unnaturally swayed hips, extra focus on her curves, and lack of underwear.

As previously mentioned, Jordanna has been roofied via spiked punch with a drug that we the readers know from previous exposition has killed some of its previous victims. And yet, despite this, I think she actually behaves more heroically than Steph here, because Jordanna seems to realize that this isn't the fun kind of spiked and immediately takes action to make sure no one else gets the same treatment she did.

She then collapses, and we don't see her again for the rest of this story arc.

Seriously. That's it.

Stephanie does absolutely nothing to help her. She gives this half-assed "somebody call 911!" shout and... that's it. That's the last we see of Jordanna for this plotline, because it's far more important for Stephanie to go chasing after the half-dozen guys who conveniently decide to run off at the perfect to make them look suspicious. For no reason.

You'll also notice that the very second she's no longer sharing a panel with One of those Other Girls, Stephanie's previously-normal sweater suddenly falls completely off her shoulders and gets vacuumed-sealed to her boobs to show off that she's not wearing a bra.

'Cause see, Stephanie has to still be sexy, because all of the named men in this comic (including Francisco, her ex, the fucking 10-year-old and, it's implied, her own goddamn father) want to fuck her. (All except for Commissioner Gordon, who is An Old and therefore sexless; and Dick Grayson, who wants to fuck Barbara). She just has to be sexy on accident because to do anything else would imply that she's like those Other Girls.

The whole free will philosophy bullshit culminates in the utterly nonsensical climax to this arc, in which Steph's bold statement for why she should get to be Batgirl boils down to, "I want it, I want it!" but I have gone off on enough tangents and we're here to talk about Jordanna.

---

Next time we see her is in Issue 5, where we learn that Steph has assumed -- based on absolutely nothing and in spite of Fransisco's blatant flirting with her -- that Jordanna and Francisco are dating. Steph shirks her part-time library job to eavesdrop on their conversation like a creep, learning that Francisco's father conveniently owned the flaming building she'd been fighting in during the first half of the issue.

Here, we get Jordanna's one canon redeeming character trait (not that it's ever acknowledged as such), in that she very much cares about this asshole friend of hers who, remember, called her a bitch "like all the time" in his first panel of dialogue.

It's also the first of many, many, many times when Steph will just luckily stumbling into the plot, which is literally the only reason they have her going to school in the first place: so she can Plot Convenience Playhouse her way into exactly the information she needs to find the story.

This happens every. single. arc.

This is also where it begins to be established that Jordanna and Francisco have familial ties in the Devil's Square. We'll later learn that Francisco's father has invested a lot of money into trying to fix the neighborhood up. From the way that Jordanna talks about the area, it's not too hard to figure that they might've grown up there until their parents got a lucky break and were able to move out, to "cut ties" as Jordanna says.

Jordanna is then understandably upset when she catches Steph eavesdropping.

Keep in mind, from Jordanna's perspective, her total interactions with this rando white girl have gone: - Stealing her argument - Racist joke - Giggling with Jordanna's so-called friend over what a bitch Jordanna is - Abandoning her at a party while Jordanna was drugged, unconscious and helpless - and now, eavesdropping on her private conversation.

So I, for one, would say that Jordanna has a damn good reason to not be fond of our "hero." Not that she's ever given that benefit of the doubt; so far as Steph and Francisco are concerned, she's "jealous."

Steph then proceeds to stick her nose where it’s not wanted and TL;DR Francisco gets kidnapped. Steph winds up with Damian tagging along for “we need to imply that even the 10-year-old wants to fuck her” reasons, and they decide to break into Jordanna’s room at her sorority house. 

This sequence is just fucking gross. 

Remember: Francisco is Jordanna’s friend. They’ve clearly known each other a long time, she’s familiar with his family and she obviously cares for him deeply. Stephanie supposedly thinks they’re dating. He has been kidnapped off the streets as part of a nonsensical betting plot, and Jordanna is visibly worrying about him as she comes in the door. She's been worried about him every appearance in this arc so far.

Steph, having broken into her dorm room like a creep, shows her no sympathy, calls her “self-absorbed” and opens the “interrogation” with the stated intent to terrorize her -- “let’s play bad cop and worse cop.” Her opening salvo against what she thinks is a scared girlfriend is to threaten to beat her. And if that doesn’t work, she threatens to let Damian stab her. 

But again, it’s portrayed as okay, because Jordanna is just, such a bitch you gaiz. 

Nonsensically, Jordanna -- who has zero connection to the whole evil supervillain betting game plot outside of her friendship with Francisco -- knows all about the secret betting website. And surprise surprise, this whole thing that Steph stumbled into completely on accident turns out to actually be a plot to lure Batman!Dick into a trap, so that Steph gets to rescue him and prove how wrong he was to ever call her "reckless" and doubt that she could be Batgirl.

We actually do get a resolution with Jordanna this time. Barely.

Some chucklefuck on either the DC wiki or (more likely) the Stephanie Brown wiki decided out of literally nowhere that these two panels mean that Francisco is gay and the nameless brown-haired dude he hugs there is "his boyfriend."

I hope I don't have to tell you how dumb that is. But it does kind of shine a light on how people who enjoy this comic are reading it. Francisco continues to blatantly flirt with Stephanie for the rest of the series.

---

From here, Jordanna is no longer directly involved with the plot, but she does turn up on occasion when the book remembers that Steph is supposed to maybe kinda-sorta give a damn about her civilian life.

In issue 10, we see her as part of one many, many nameless Gotham U student controlled by the Calculator in an attempt to get to Barbara.

This storyline is an anti-tech, anti-cell phone screed. Stephanie doesn't get mind controlled because she'd never waste her time with something as vapid and mindless as texting.

In issue 15, we learn that Steph has joined a study group with Jordanna and Francisco because..... the plot said so.

And we also learn here that Steph is one of those people who crap out on group projects, which isn't a surprise because, again, I cannot stress enough how much she does not actually want to be attending this school. She's just wasting everybody's time and a bunch of government assistance money so that she has something to complain about. And so the writer can randomly throw plot points at her and pretend that she has some kind of motivation beyond, "Tell me how good I am at punching people."

In the next issue, Jordanna has organized an anti-Batgirl protest on campus, blaming her for the murder of a student killed by a cult.

The comic, of course, tries to play this as Jordanna selfishly manipulating a tragedy to get her grades up. Grades that are down because, again, Stephanie crapped out on a group project.

I, however, will remind you that Batgirl broke into Jordanna's dorm room and threatened to beat and/or torture her for information on her kidnapped friend.

She didn't even rescue Francisco after that either, Francisco was allowed to just leave because... the plot said so. So yeah, Jordanna has damn good reason to dislike Stephanie and Batgirl. Assuming she doesn't know they're the same person, which I think she actually does, because Steph is barely even trying to hide her secret identity, and I don't think Jordanna is an idiot.

The very last time we see Jordanna is Issue 18, the nonsensical Valentine's issue where Steph just happens to stumble on the immortal witch-child Klarion and manage to charm him because, again, all the men are there to be her boytoys, even the one who magically prevents himself from hitting puberty for all eternity.

Oh and also, so we can get this delightful exchange.

In which the artistic slut-shaming is made verbal.

Notice how Jordanna and her "slutty" friends aren't allowed to show their whole faces (save for one panel where they're too small to have any individual detail), with the emphasis being on their T&A and painted, sultry lips, while Stephanie is once again dressing like a boy and always allowed to be completely in the frame.

And the last-ever mention we get of Jordanna Spence is the implication that Klarion has turned her into a frog as punishment for being slutty and unlikable.

And that's it. That's every single appearance of Jordanna Spence.

This post has been going on long enough so I'm not going to drag on the conclusion in an attempt to be academic. I subscribe to the school of thought that a feminist work can't be defined by its heroine alone, it also has to engage with the women around her like they're also three-dimension characters with their own inner lives and struggles.

Batgirl (2009) fails that standard at every single turn. The only woman it cares about -- hell, the only person it cares about -- is Stephanie herself. And, despite what some people will tell you, that's not "typical" of even solo books like this one. We know this because Stephanie wouldn't even exist if the writers on Tim Drake's run as Robin didn't treat his supporting cast like they were real people with real lives, in which Tim was only a part.

Jordanna Spence was a causality of that. She exists entirely so that Stephanie has someone to look down on, to be better, and to treat with casual disdain. She is, in short, a tool whose only purpose is to make Stephanie look good. The other women in this comic all get similar treatment. Even Barbara. Even Supergirl. Especially Cass Cain.

Jordanna deserves better. They all do.

[drbatsponge]

Some more comic spoilers today but Cass was in the Milestone 30th Anniversary Special surprisingly.

As Batgirl... with the Outsiders, hm. 🤔

[silvensei]

Had a fantastic fic-writing experience when my brother visited

[laurelwinchester]

I watched the latest Big Sky episode because of that Jenny/Beau gifset you reblogged and nobody warned me about the killer of the week CRAWLING OUT FROM UNDER THE BED LIKE A HORROR MOVIE VILLAIN

anon, the way i screamed when that dude slithered out from under the bed lol

honestly that entire scene was bonkers. i rewatched it this morning and it was...a lot for a wednesday night. like, let's break this down point by point.

jenny and beau, after learning of the killer's obsession with the victim's teenage daughter, who he has now kidnapped, figure out that the killer has a secret room in the walls of his house. again, a secret room IN THE WALLS.

they enter the secret room in the wall and find the kidnapped and drugged girl shackled to a chair in an exact replica of her childhood bedroom. it's revealed that this creepy ass motherfucker, a long time trusted family friend, has been planning this since she was a child.

during the quick pan around the room, items such as photographs, presumably taken without the girl's knowledge, used ballet shoes, a used hairbrush, used band aids, and other stolen trash are seen.

(it's also worth noting that there is an eerie music box lullaby playing.)

the lights go out. creepy stalker bad guy slithers out from under the bed with a big ass knife like he thinks he's michael myers and immediately attacks.

there is a rather brutal fight scene that ends with beau getting slashed (possibly stabbed?) in the shoulder and then stabbing the creeper in the chest, seemingly putting an end to the whole ordeal.

jenny moves to make sure the monster is really dead but is quickly distracted and ends up lowering her weapon and rushing to beau's side when he says "he got me." (by the way, he's completely fine, there isn't even a mention of the injury later, and there was no reason for her to be as frantically worried as she was, just saying.)

creepy guy pulls off an impressive for network television jumpscare by bouncing right back to his creepy feet while jenny and beau are distracted. beau, unarmed, sees him, pulls jenny closer and spins her around so she can finally shoot the bad guy of the week dead. (and then continues holding onto her for far longer than necessary.)

and the best part about this wild ride of a scene? all of this happened in less than three minutes. this show is unhinged in the best way possible.