#especially if you do it right her personally could shine through the exposition. what her opinions are on the myths in how she tells us

[zoebelladona]

okay i'll say it: percy being "different" because sally taught him the myths before he knew he was a demigod is an unnecessary change. percy was never "different" because he knew the myths and thus came into the mythology world knowing how fucked up everything is. he's different because he has a strong sense of loyalty (fatal flaw). he's different because his mum loved him and he learned love and compassion and kindness from her. he's different because when the time comes, he will choose to be the demigod of the prophecy. he's different because despite the life he's had he's a good kid. he's different because he will not give respect that hasn't been earned, even if it gets him into trouble. he's not different for knowing the gods are a fucked up family and that sometimes a monster is not a monster. he's not different for not wanting kleos. in fact i think it's much more impactful if he gets to that conclusion himself, if he sees it and he comes out kinder and choosing not to continue the cycle on the other side.

also they should have let annabeth say the exposition. not just because she's the "smart one" even though she is, but because she was raised in the world of the gods since she was seven and she would absolutely have biases percy could challenge with his own choices.

you know.

like in the book richard wrote already.

[asteriasfallingstarsandtears]

Stepping (mostly) away from the 14 Fandom has definitely allowed me to re-evaluate how I feel about characters and other things in the game and how much of it was just me trying to fit in or swayed by public opinion.

Like, I still love G'raha, but most people I was associated with didn't so much so I never really discussed him except as part of my Hadestown AU. I still prefer his Crystal Exarch and Crystal Tower versions over his Endwalker. Hope in Dawntrail he can chill out a little over the hero worship but I also know some people like that, but also my dude, we saved the universe together, you don't need to uwu me.

Still really enjoy Emet-Selch, Lahabrea and Elidibus in my own interpretations of them being sad old men. I like all three of them slowly losing their minds, or quickly in Lahabrea's case I guess, and Elidibus being a shell of what he was with few attachments and memories, driven only by the barest memory of Duty, Love and his other half's need to feed on Aether (Zodiark, personal HC of why he keeps demanding more and more sacrifices, it takes a lot of aether to power something so massive for so long and do the miracles such as fixing the aethereal balance and rejuvenating the planet). Emet losing himself over and over chasing half ghosts of Azem over Millenia does something to me, I HC he made the Hyth shade out of loneliness and imbued too much of himself in it, making it too much of Hythlodaeus but also too much Emet and it reminds him of it every time he sees it. Lahabrea likewise chased his family over the eons, seeing his son die and be reborn over and over on top of the personal horrors he must feel for actively working to destroy the Star just to remake it probably wrung what little stability he had left in his mind post rejoining of the Hephaistos half. Not to mention 12k years of Athena insidiously whispering in his ears from the Heart.

The Scions, I like them, Alisaie is still my favorite little sister for my WoL, and Alphinaud for all he's annoying at first, really endeared himself to me in later expacs. They are Family with a capital F to my WoL, to the point she would have murdered Forchenault for disowning them if she had had the opportunity. I have very strong feelings on disownment for seemingly petty seeming reasons, having had it happen to myself. It was very much a Immediate Hatred Of Character Moment. Sure he had A Reason but I still stand there and side eye him hard.

Thancred remains a favourite as well, I like the personal growth he goes through, how he changes from the rakish bard with a silver tongue to a sad and broken man to sad broken dad to someone who at the end of the world gave everything he could to save his family from total destruction. I also appreciate his morbid jokes as someone who likewise feels just broken sometimes, who doesn't want to sometimes burn the world down makes me cackle so much.

Y'shtola I also rather still like, especially when she's allowed to be a bit, and pardon the pun, catty. She grew up with Matoya, cattiness was her bread and butter. Let a queen live her dream of world hopping and sassy retorts. The magical girl routine and the end of patch 6.5 where she's like There is no other version of this spell, right WoL? Makes me so happy.

Urianger I have mixed feelings on, mostly because I just don't understand him as a character. I know he's supposed to be all Mysterious and stuff but I really just standing man when he's expositioning. It's probably a thing to do with his Shakespearean way of speaking when no one else does (I guess Hydaelyn kinda does). He's fine.

Krile, I really like her in general. She's a side character that made it to main character status and I'm so proud of her. She makes me happy with how she is somehow the cutest cat ear wearing girl but also the terrifying creature that haunts Estinien's dreams. I look forward to seeing her shine more in Dawntrail.

More Thoughts (tm) Later.

[spencersawkward]

top shelf//MGG - part 1

summary: broke and having a bad day, Reader runs into Matthew outside a café. after a couple encounters, his financial support and friendship become something more.

word count: 3k

content warnings: swearing but nothing else!

pairing: Fem!Reader/Matthew

A/N: hi! welcome to my new series. i don’t think this will be super long in terms of parts, but i’ll try to update as frequently as possible for you all. this chapter is pretty expositional, so i’m sorry in advance lol. also i know i made it short but lmk if you want them to be longer. also shoutout my sweet sweet angels @reidsconverse and @voidsfilm bc i would literally cry without both of you. also THANK YOU to @dr-spencerr-reidd for this concept bc i probably wouldn't have written it without your ask!! sending hugs :)

you throw your phone down on the passenger seat with a frustrated groan. after everything that's happened today, you're now stuck on a congested street with your car barely inside the parking spot alongside the sidewalk.

your screen sits there beside you, blank and unresponsive, and you know you're going to have to go inside the coffee shop to ask to use their phone and call Triple A. of course it's not working because nothing is working today. you might as well just sit in your car and cry.

but you can't, because you have a huge project for work that you need to get done by next week, and you've already procrastinated enough. a red glow from the headlights of other cars on the street shine through your windows like melted wax, distorted by the rain. it's been pouring all day.

bracing yourself for the onslaught, you grab the old umbrella from the foot well of the passenger seat and open the door of your car. the torrents hit your body like a wall of ice, soaking you as you try to get to the safety of the café. the umbrella helps a little, but then you get to the overhang and have to actually close it before you head inside.

your fingertips slip around the metal, trying to shove the thing closed while water drips off the bridge of your nose. it's frustrating. your footsteps are still determined as they move towards the entrance, but you're distracted by the stubborn nature of the object, so you don't see the man walking out.

it's not even a bodily collision, really. it's so much worse: the sopping material of the umbrella pokes him in the stomach, knocking the hot cup of coffee all over his sweater.

your eyes widen.

"oh my fucking god, I'm so sorry--" you stutter over your words, completely at a loss. his face is twisted up in an expression of concealed pain. it can't feel good to have hot coffee seeping through your clothes after being prodded by a piece of metal. you move your wet hair out of your face in order to look at him full-on.

"it's fine, really." he gives you what's supposed to be a friendly smile, but looks more like a grimace. your stomach twists; he's hot. like, if you saw him at the bar you would stare at him all night kind of hot.

"no, it's not," your face heats up, despite the cold, damp air. "let me buy you another coffee."

"I--" he glances down at his sweater, which is knitted with cute foxes on the front, then back at you. he pauses a moment and you have to bite down on your tongue to keep from collapsing. he's considerably older than you, but he doesn't dress or act that way. maybe late thirties, if you had to guess. "sure. thanks."

a flowering relief in your chest, partly because he doesn't seem angry and partly because you'd like to look at his face just a bit longer. your eyes stay on his until someone walks through the door of the café and reminds you of where you are.

without a word, you brush past and go into the building, him trailing behind.

Matthew watches as you walk ahead, your clothes spattered with rainwater and your hair somewhat messed up, too. he smiles to himself at the way you almost bump into the corner of a table, nervousness evident in nearly every movement.

you head to the counter, setting your hands on the granite while the barista checks out your unkempt appearance.

"hi," you smile at her before realizing you have no idea what this guy wants. you turn around and see him standing slightly behind you, suppressing a smile. he can tell how flustered you are, and now you look like a fool. "what coffee do you drink?"

"can I have a medium Americano, please?" he asks the barista with a friendly smile. he's got straight teeth, dimples... holy shit. you wish he had been unappealing so that this whole situation would be less humiliating.

you pay for his drink before getting out of the way, both of you slowly walking to the pickup counter.

"again, I'm really sorry. that stupid umbrella." you shake the thing at your side, raindrops falling to the floor. you run a hand through your wet hair.

"it's okay. I appreciate you getting me another cup." he flashes that smile again and you remember that his sweater is all stained. before you can think to do anything else, you pluck a handful of napkins from the self-serve station and start to dab at the material.

he looks down at you for a second, surprised by the way you grab his clothes. Matthew feels your hand pressing into his stomach innocently, and he feels himself blush a little. it's only when you pull away that he's able to regain his head.

"it's still bad," you throw away the napkins and re-evaluate the garment. "jesus christ, it's a nice sweater, too."

"hey, it's totally fine. I can just wash it out." he lets out a slight chuckle, and the sound makes your heart flutter. he's got a dad laugh. deep in his chest.

"baking soda and water." you say abruptly. he frowns.

"what?"

"to get the stain out? I use baking soda and water for coffee stains and it usually works." you explain gently, your eyes meeting again. his irises are a brownish hazel color, warm. the laugh lines by them are charming.

"oh," he grins. "do you get coffee stains often?"

you twist your mouth to the side and glance at the windows of the coffee shop. he's teasing you and you'd be remiss if you said you don't want to play along. "more than I'd like to admit."

you can feel him looking at you with that stupidly brilliant smile and it's really setting you off-kilter. someone shouldn't be that attractive; it's not fair. and yet you want desperately to stare, if purely for the sake of aesthetic enjoyment.

"I'm Matthew." he extends his hand, which is decorated with a series of rings. you realize that you don't even know his name.

"Y/N." you shake. his fingers are softer than you expected.

"nice to meet you, Y/N."

"and under such fortuitous circumstances." the corners of your mouth turn up as you relax a little.

he laughs at your words, the delightful ring of it interrupted by a new Americano showing up on the counter. he glances at the to-go cup, then at you, then goes to get his drink. you wish you knew what he was thinking, but he's not displaying anything past friendliness.

"well, um." something like disappointment settles in your stomach as you recognize this will be the last of your interaction. there's no reason for him to stick around, and you need to get back home to work, anyway.

"I'll let you get back to your day." Matthew doesn't seem nervous, just unsure as he grips the coffee in his hand. you open and close your mouth like something impressive enough to keep him here will come out. you know it won't.

and then you remember the state of affairs, the existence of your useless car and the useless phone in the front seat, how you're going to have to call Triple A and then your roommate to come get you.

Matthew realizes that you aren't going to say anything and he gives you one last smile and an awkward wave before turning to go. you watch in silence as he crosses the room to the door. two more seconds until he's out of your life forever. so of course you choose this exact moment to speak.

"wait."

his head jerks suddenly to look at you. this is embarrassing, but you have nothing to lose.

"can I... borrow your phone?"

Matthew tilts his head to the side slightly, frowning as though deeply confused. and you suppose it is a strange thing to ask, especially given that you're a younger person and most people your age carry their phones everywhere. "sure." he walks back over to you, pulling his cell out of his pocket.

"I just--" you fumble with the device while you decide how to phrase it without sounding like a pathetic mess. "my car keeps breaking down and my phone battery is, like, totally fucked, so it just turns off and on constantly and it’s still in my car but it’s raining and I just wanna see if it’s back on so I can call my roommate." you immediately cringe at yourself. the rambling isn’t cute.

he’s not too bothered by your panicking, though, his mouth only forming an O shape. "it’s no problem."

you dial your number, fingers trembling while he waits. he's turned his eyes to the rest of the coffee shop, but it still makes you nervous that he's standing right there. you put the cell to your ear and pray that it rings out.

you’re greeted by the sound of your own voice telling you to leave a message. great. with a frustrated sigh, you hang up and Matthew gives you an inquisitive expression.

“it’s still off,” you explain. “I’m gonna call my roommate.”

he nods and shoves his hands into his pockets while you punch in the other number. for a split second, you peek his way and admire his side profile. he really is something to behold; a model, maybe.

"hello?" good thing Cecilia has no problem answering unknown numbers. you bite your lip.

"hey, it's me."

"Y/N? whose phone are you using?"

"uh, someone I just met--" you frown as you try to find a way to describe him without something as insulting as a random guy. "anyway, my car broke down so I was wondering if you could pick me up."

there's a pause on the other end of the line, like the movement of sheets and the slightly disappointed groan of another person. she probably has her boyfriend over again. "sure, of course. where are you?"

you give her the address and hang up before dialing the car repair company. Matthew gestures to a table off to the side so that you two don't need to stand, and then you sit down across from him. you're so distracted by the person on the other end of the line that you don't even think about it.

Matthew twists his rings on his fingers. he's fidgety and it's sort of cute. you try not to stare at his hands, at the black spot of ink on the outside of his pinky. either he writes a lot or he's an artist. you have to focus on the table in order to keep from blushing.

finally, you finish up with the phone and hand it back to him. "you're a life saver."

"do you want me to wait with you until your friend gets here?" he gestures out the window. your immediate reaction is to say yes. it'll be awkward to sit here alone without your phone, without coffee. but you don't want to keep him any longer than you already have.

"it's okay, I'm sure you have places to be." you smile accommodatingly. he chooses his next words carefully, it seems.

"I don't, really. but I'll leave you alone if that's what you want, too." the way he speaks, offering his company without trying to impose... something about it makes your heart melt a bit. you appreciate his thoughtfulness. it makes you want to know more.

"okay," you nod as you make your decision. "if you wanna stay. it shouldn't be too long."

"great," he settles back into his chair, the light from the café lights above you reflecting off the lenses of his glasses. "why does your car keep breaking down?"

you exhale sharply at the thought. "that's a really good question, because I don't know the answer. it's super old and I'm too broke to afford a new one."

he nods.

Matthew's mind turns to different avenues at this knowledge. he knows you're young and that usually means that there isn't a lot of spare income. and he doesn't know if you have a job. but what he does know is that you've got an energy about you-- a sweet, well-intentioned manner that draws him in. every once in a while throughout the conversation, you throw out certain phrases that hint at a quick-witted intelligence.

you're funny, but not boldly so. and when you two get on the topic of how you ended up rain-soaked, shoving your way into a Los Angeles café, you tell him about your day.

"--and I have this shitty job right now working for one of my old professor's friends, so it's not like I can afford to constantly repair the damages. all my money is going towards my savings so I can pay for grad school, anyway." you sigh. he listens intently to your words, and he never shies away from eye contact. every time he nods along, you practically feel your heart leap.

"what do you do?" he asks.

"I write for a wellness magazine, but I'm sort of a fraud." you joke.

he laughs. "why's that?"

"I don't know, a lot of it is about different yoga methods and meditation, stuff like that-- but I don't do any of that in my daily life." you admit. it should be embarrassing, but you don't feel ashamed of the fact. he seems to find it funny.

"working your way toward a different kind of job, then?"

"I'm hoping for a more editorial role, honestly, but..." you lift your eyes to his. they're bright, he notices; full of a deep-rooted hope. "gotta start somewhere, right?"

"very true." Matthew wants to tell you just how much he understands, about the roles as an actor he's taken and the hours he spent making films in college, just hoping that one day he'd be able to make things on his own, but he doesn't want to scare you away or sound like he's bragging. it's not your fault you don't know who he is.

"sorry," you speak through a silence he doesn't realize he's left between you two. "I've talked your ear off and you don't even really know me. what do you do?"

"oh--" Matthew actually blushes this time. you see the pink creeping up his neck. "I'm an actor."

in the same way they did when you ran into him, your eyes widen. "an actor?"

"yeah," he smiles at the expression on your face. "you know that show, Criminal Minds?"

the name is familiar, but you've never seen an episode. "yeah, of course."

"I'm in that."

you don't know a lot about the program, but you've heard it talked about and you know that it's a popular show. so this guy is an actual actor, not just some LA wannabe. that makes him about five times more intimidating. you feel even more idiotic for not seeing it before.

"oh, shit," the words tumble out. Matthew grins at the bluntness of your reaction, and you scramble to recover. "sorry I didn't know who you are."

"no worries!" he laughs it off. "it's not a big deal."

"do you like it?" you ask. "being famous, I mean."

he shifts in his seat for a second as he makes a face like he doesn't know how to answer. you wonder if there's something deeper to him that you just haven't seen, yet. secret feelings about the subject. "I'm really not very famous, but I love the work."

genuinely humble. you can see it in his face, the sparkle in his eyes. and maybe he's just charming and you're just a girl blinded by his attractiveness, but your gut tells you that he's being real.

this time, you're the one who falls silent. admittedly, you get a little in your head sometimes. and it makes sense, now, the smoothness of his behavior and the sheer beauty of his face. this is a show business city-- of course he's famous.

Matthew's phone rings and he jumps, as if jolted from a dream. your attention moves immediately to the screen and you recognize Cecilia's number. he pushes the device over to you.

"hello?" your voice sounds far away.

"hey, I'm here. where are you?" she says.

"I'm just inside the café."

"oh, okay, I'll park and come in--" you hear the click of a seatbelt and start to panic. she can't see you in here with him.

"no!" you say too loudly. Matthew's head jerks up to frown at you.

"why not?" Cecilia asks, confused.

"no reason," god, you're a bad liar. "I'll come out and we can wait for the Triple A person in your car." you and Matthew make eye contact again. he gives you an understanding smile. your stomach flips.

"sounds good." she hangs up and you grab your umbrella. time to go.

"thanks for letting me use your phone." you stand, not really wanting to say goodbye but also lacking a reason to stay. he remains in his spot, seemingly now settled into this little corner of the café. it sort of suits him, this place. all cozy and slightly strange.

“happy to help.” you notice the tip of his tongue dart out over his bottom lip as if deliberating whether or not to say anything further. but he doesn’t and you feel awkward just standing there by the table.

“I’ll, uh…” you could ask for his number. but that would be weird, right? he doesn’t really seem to have an interest, anyway. “I’ll see you around, then.”

“yeah. it was nice to meet you, Y/N.” he gives one more of those killer smiles and you turn around, almost bumping into a display of coffee beans before correcting yourself and heading back outside.

taglist (lmk if you want to be added or removed!): @la-vie-en-amour1 @reidsconverse @voidsfilm

[ordinaryschmuck]

What I Thought About “Separate Tides” from The Owl House

Salutations, random people on the internet who most likely won’t read this! I am an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons.

...>A-hem< F**KING CALLED IT!

I said that the earliest that The Owl House would return would be late June and early July. And some of YYYOOOUUU sons of witches doubted me by saying it would be fall or winter. Well, guess what! "Separate Tides'' has come and gone, the show is back and better than ever, and we are all happy about it! You see how it pays to be optimistic, you persistent PACK OF PESSIMISTS!

...Sorry. Got a little hot there. I'm just so happy it's BACK!

10 MONTHS! It's been nearly 10 months since this show began its hiatus, large in part because of the pandemic. It was painful. BOY, was it painful. But I can already tell that the new season is going to be well worth the wait just by this episode alone.

But beware you mangey sea dogs! Thar be spoilers ahead when discussing such a premier.

And I swear to you that it's only spoilers for "Separate Tides." I haven't seen "Escaping Expulsion" either, and I promise you will be safe from anybody ruining it for you. But maybe don't read any responses from this post. Thar may be d**ks in these waters. So let's review, shall we!

WHAT I LIKE

Mirroring Season One’s Opening Scene: First off, this is a neat callback to what is the perfect first impression of the series. That scene perfectly introduces us to the type of show The Owl House is, while this one acts as a reintroduction to the world we left for way too long.

Second, this is also a well-hidden character moment. Luz is finally living the life she dreamed of, but it isn't exactly all that she expected. It's a great showcase that despite literally running away to a fantasy world, Luz is still getting a regular dose of reality. And I still love the irony in all of that.

(Plus, King eating the bounty is just funny).

The Recap Recording: This is a smart way to recap events from the season finale. It might be weird that Luz says things that the audience already knows, but she's not talking to us. She's talking to her mom. So she's going to explain all that she can in a way for Camila to fully understand. Besides, not every fan had repeatedly watched The Owl House Season One over and over again like a bunch of frickin' lunatics...You know who you are.

Plus, as an upside, Luz gets to explain new events and concepts for how she and the rest of the Owl House are making a living. In no way does it feel like forced exposition because, again, she's trying to describe as much as she can to her mother. It's a reasonable and natural way to talk to the audience in order to catch them up while also showing what's been happening since we've last left this show.

Luz Can’t Send Texts to Her Mom: ...Well, Texts to Home, it was fun while it lasted, but the current canon has decided that you're done. I'll miss you and appreciate all that you've done for me, but, yeah, this is the end. Sorry.

Alright, now that I got my jokes out of the way, allow me to explain how this is really a heartbreaking moment. Because the fact that Luz is forever cut off from her mother, even through texts, is an idea that just twists the knife in your heart when you really sit down to think about it. Luz's little goodbye at the end of her video does nothing but makes it worse.

On the upside, we get some solid character development as Luz doesn't even hesitate to send the video to Camila, learning her lesson from "Enchanted Grom Fright" about being more honest. She finally faced her fear, even if it was a fruitless effort.

They’re Doing Odd Jobs Now: This is a smart workaround for how the Owl House residents are making money. Some fans guessed that maybe Eda had so much junk piled up that they wouldn’t worry, but this seems more of a logical direction. Even if Eda had enough garbage to sell, she’ll can and will eventually run out at some point, meaning that they will all have to take the odd jobs anyway. So I appreciate the writers used that plot point sooner rather than later, as a fun romp as bounty hunters is something you want to do early in the season instead of later on. Especially with how Dana Terrace confirmed that s**t’s gonna go down in the future.

Lilith: ...I'm still willing to hold off--What the f**k did I say his name was? *looks up past review* Frederick Ulis--Frederick Ulisinsburg!

I am willing to hold off Frederick Ulisinsburg, for now, because Lilith is...sort of on the right track. I mean, I don't like how quick she was to playfully mock Eda or rudely yell at Hooty. But I do think that there is potential for her character. She feels genuine guilt for what she's done, and there's a chance that the new season will explore that further if the writers are smart (which they are). On top of that, there's a possibility that every time Lilith tries to act cocky or full of herself, she will be treated as a proverbial punching bag because of it. Like how her poster got burned down after boasting how impressive she looks. Or how Golden Guard's poster magically sealed itself to her face when Lilith tried to throw it away. It's the latter that primarily got me cackling like a madman due to how deservingly hilarious it was.

And, well...she happily clapped like a schoolgirl! Which was adorable! I can't hate characters who have the potential to be adorable! It's not in my nature!

So, while I am a little hesitant in liking her, I think there's a chance for improvement in her character in the future that I look forward to. We just have to wait and see if the writers pull it off.

(By the way, to the person that came up with Lilith wearing a "battery low" shirt...you're a genius in visual gags/storytelling.)

Greg’s List: Have I ever mentioned that this show is funny?

Who's Greg? Why does he organize a list of perfect bounties?

I don't know, but the idea of some random person in the Boiling Isles is putting it on himself to set up a list to make bounties...I'm sorry, but that's funny to me. It's also probably for how Craig's List was made, but when you really think about it, Craig's List is a funny idea as well.

Eda Isn’t Feared Anymore: I sort of guessed that this would happen, but seeing it is a whole different level of sympathy to feel for the character. Eda's main schtick was being the most powerful witch on the Isles, and that's gone now. She's forced to adapt to this new normal, which she's quick to do, but still. Tt's got to be a rough kick to the ego now that no one even cares about who she is anymore.

It's a low moment for her character that hopefully sets up her own arc for the rest of the season.

Luz Feels Like She’s a Burden: I will demolish her with love and kindness if she even CONSIDERS talking so poorly about herself again! Because Luz is not a burden. She is a beam of light that literally brightens up the lives of nearly everyone she meets. Eda already explains how her life is better because of Luz (through a heart-tugging speech that almost got to me, by the way), but it's not just Eda.

King now has his first real friend who admires him and treats him like the king he wants to be.

Willow has become much more confident and cheerful because Luz was always in her corner.

Gus learns more about the humans he appreciates with his whole heart while also having a friend that treats him like an equal rather than a kid.

And do I even have to say ANYTHING about Amity?

The Boiling Isles wouldn't be better off without Luz. It's better because of her. And shame on this girl for thinking otherwise...even though I fully understand where she's coming from.

I'm about to get personal for a second, so strap in. Because I am a twenty-somthing-year-old who is currently living with his mom. It's as pathetic as it sounds. But it's because I'm still attending college, and she says school comes first and jobs and apartments come second. Despite that, I feel like trash for just...living here as she still takes care of me and pays for the food I can't afford. She says that I shouldn't worry about it, but I still wait for the day I can finally pay her back for everything. Not some things, but everything. And that's Luz's mentality in this episode. The overwhelming guilt she's feeling for thinking she's inconveniencing Eda's life is something that hits really hard for me. It doesn't matter if it's true, but that she believes it's true. It's a heartbreaking character arc she's forced into for this episode that also adds more to why she's one of the many characters I heavily relate to.

Lulu and Hootstipher: Whoever thought of this idea...I f**king love you.

This is similar to when Noah and Owen became friends in Total Drama World Tour. Seemingly one-sided at first, you see a cute friendship that you would have never expected, but it works! Hooty is this happy and naive character who hardly understands what's going on half the time, and Lilith is...Lilith. Their chemistry is instantly fun as their dynamic is quick to understand.

This also shines with potential for character growth, for it could give Lilith a chance to be more caring and Hooty a chance to be more than just the comic relief. If you were to tell me that this is what was going to happen when the season premiered, I would have thought you were crazy. But now, after seeing it in action, I'm genuinely excited to see where this cute friendship between these two goes.

(As long as it doesn't involve fans shipping them. Because Hooty can do better)

Luz Getting Better with Her Magic: Our little bisexual princess is growing up! And, man, is it awesome to see. Luz going from just barely knowing how to do magic to full-on using her spells like second nature just warms my heart with all the character growth it presents. Now, some people might want an explanation for how she's able to do said spells, to which I say: "Who the f**k cares?"

If you ask me, Luz's magic is one of those things that doesn't need a direct answer because it doesn't matter as much. But if you're going to be a baby about it, here's what I can offer: As far as I can tell, it's equal parts having the glyph and mentally picturing what the spell should do. It's much like how Willow draws a spell circle and can either make giant jungle vines or a patch of flowers to land on. Luz's glyphs are her own spell circles. As long as she concentrates hard enough, she can make the glyph do whatever she wants it to.

There. You have your explanation. Now let's just all appreciate the fact that Luz can now throw fireballs and make vine whips like the superpowered teenager she most likely fantasized of being. Ok? Ok.

A Pirate Losing His Head...Literally: ...And I'm gonna go ahead and add that to the list.

I mean, for f**k's sake, WE SEE BONE! He puts his head back on, but we still see the bone!

Eda in a Pirate Outfit: ...That is all.

The Golden Guard: This guy shows up for only a few minutes, and I'm already beginning to like him. He seems just as threatening as Belos while also coming across as a guy who loves his job and being a ton of fun to watch because of it. I adore villains that find that balance of being funny and terrifying. The result is a character who makes me laugh on top of making me scared of what they could do to our protagonists. So far, that's the Golden Guard in a nutshell, and I can't wait to see what the rest of the season has in store with him. Whether it involves seeing him play with food as he did with Eda and Luz in this episode or seeing him getting kicked in the crotch like a little punk like him deserves, I am all for it.

(Bonus points if it's Amity who does the crotch kicking if he ever makes an advancement on Luz)

Eda Wanting to Protect the Selkidomus: I love this. It plays into the idea that Eda cares about things being wild and free and despises how Emperor Belos would want to control everything, including the most insignificant of animals. It shows just how kind Eda really is rather than someone motivated by greed...even if she does end up filthy rich in the end.

Emperor Belos’ Brief Cameo: Yup, still terrifying!

And if it turns out that Belos can see the Scrying Potion that Lilith made...we're going to have some problems.

Much like the actual problems that I have with this episode!

(Like that transition?)

WHAT I DISLIKE

King Being Stupid: King has two different personalities in this series. Either he's a pathetic wannabe ruler who seems intelligent or an idiotic Disney comedic sidekick. That latter version of King is what we get in "Separate Tides," and I don't like it (obviously). I don't care how cute it is to see him cling onto Luz's leg and exclaim how he won't let her leave. The same character who helped Luz break into a prison to save Eda shouldn't be the same one who falls asleep when a sheet covers him like a dumbass parrot! King's at his best when he's as intelligent as the rest of the characters. And not as dumb as someone like Hooty.

Eda Being Too Nice Around Lilith: This one bothers me the most. After being cursed for thirty years and having her life ruined by the person she thought she could trust the most, Eda is still all smiley and jokey when talking to Lilith. Yeah, sorry, but I don't buy that. No one in their right mind would be that cool with a person who did all of what Lilith did. It's a major misstep that squanders what could have been a fantastic overarching story of Eda learning to forgive her sister and Lilith trying to earn it. We'll at least get Lilith's guilt, but as is, I feel Eda showing genuine anger towards her would elevate that story by a lot.

IN CONCLUSION

But that's about all the bad things I have to say about "Separate Tides." As is, it is a well-earned, solid A of a season premiere. It introduces new concepts and characters I can't wait to see more of, continues old storylines and character development instead of ignoring them, and still proves that The Owl House is as charming and funny as it always was. Maybe the rest of the season could continue to be great, or maybe things might get worse. Time can only tell. For now, all I can tell you is that "Separate Tides" is a great and fun episode that makes me excited as we set sail to this new season.

(And Scared. Mostly scared)

[juleswritesthis]

Roswell NM 3x11 Thoughts (I have a lot of thoughts!!!)

Contrary to popular opinion I really liked this episode. Yes, the science was so made up it was funny, yes certain character choices are hilariously silly, yes there was a lot of scenes filled with exposition dump, yes characters disappearing for episodes not to be mentioned as if they don’t exist is jarring & annoying, and omg yes, the Wyatt arc (if you can call it that) fell flat and was a complete waste of valuable screen time. So yes, I agree with most everyone’s assessment. That said still a very enjoyable and entertaining episode setting up the final concluding 2 hours of the season. Let’s get into it.

Jones is highly entertaining, overly good looking, and sometimes hilarious villain. Nathan shines bringing charm and depth to the role. Its important to note that Jones hasn’t caused any lasting damage to the group. Sure, he has tried to kill various members, he’s responsible for putting Maria in a coma & has kidnapped half the cast basically, kept our heroes busy all season. But when it comes to killing or destruction it’s really been focused on the dregs or racist folks of the town, the poor scientist in Santa Fe (I think it was Santa Fe) & the lady at the university last week. No one of any real consequence to our heroes. Now I have no idea if Maria’s vision arc has concluded because it hasn’t been mentioned in forever, but I’m assuming that there will be a major death by season end. Noah killed Rosa and the 2 other girls, abused Isobel for 10 years and destroyed the lives of all the mains. For Jones to be a real big bad there’s got to be some long-lasting consequences to one or more of our mains. Though I’m going into the final 2 episodes with excitement there is some concern. I don’t think any of the mains will perish but I do worry about Sanders and even Heath. (I’m really worried about Sanders y’all especially after that promo!!!)

Jones negotiation with Liz was bizarre. Why negotiate at all? Wouldn’t he just threaten to kill or maim people…what the heck is Liz’s bargaining chip against an all-powerful, evil dictator? If she doesn’t do what he wants he can just start killing folks she loves. It really is that easy. I get the whole creativity inspiration thing but fear for those you love is a great motivator. I was so amused that after hours of discussion Liz pulls out the big guns… free the sheriff. Was that her wild card? Really Liz? She may be a kick-ass scientist with a boatload of courage and sass, but I wouldn’t have her negotiating any of my needs anytime soon.

Isobel and Rosa scenes continue to delight. I think it’s clear Rosa won’t be in Season 4 much. As much as I will miss her, I’m glad that she will find some peace and joy at art school, she deserves it. Unlike Wyatt who does not deserve any tranquility because his redemption (if you can call it that) was not earned. Instead, his memories were wiped along with it any true feelings of guilt and remorse. How can we believe he has truly changed? What happens if his memories return? So silly and completely wasteful screen time (no offense to the actor who is quite good and likable).

The Dallas and Max scenes were wonderful. Don’t get me wrong I prefer the show not tell method. And Dallas conveniently having the entire Oasis history in a memory from his father then regurgitating those memories to Max (and the audience) was not the best way to convey the story. However, the actor who plays Dallas is ridiculously charismatic and I could listen to him recite the phone book (do those still exist?) and be entertained. Plus, for one moment I truly believe that Dallas had gotten through to the constantly self-sacrificing, martyr that is Max Evans. But as the promo for finale proves with Max asking Michael (why Michael?) to kill him, the words didn’t stick. Oh Max…

Speaking of, I truly feel so bad for Max. He’s had it rough. In a span of couple weeks, he’s been told he is a clone of an evil dictator, he isn’t the Savior but in fact a weapon to bring down the real Savior who also isn’t really a savior but a genocidal maniac (Michael’s words not mine) who slaughtered half his planet. Not to mention the “there has to be 3” doesn’t include him, as he isn’t part of the triad. And that because he is a clone, he doesn’t actually have biological parents or siblings or anything, well Michael, by DNA sort of, maybe? Oh, and he is the only thing tethering the evil, psycho dictator to life. I mean…

My hope for Season 4 is that Max gets to process everything he has learned about his existence. He hasn’t expressed how he feels the entire season and he deserves to. I hope the writers don’t have him get over it by season’s end with one scene or worse just sweep it under the rug. Like being a clone of an evil psycho, to be used as a weapon, without any real connection to Isobel and Michael? That’s got to have some lasting effects…please writers let me see it on my screen.

Speaking of show not telling, Michael’s new powers. I not a fan of Michael telling us a story of how he used his mind control powers accidently when he was 18. Can we please see these scenes so we can feel the true emotional impact?

As for these powers, strap in, this is a doozy (and might be controversial). I, like Michael, feel that taking someone’s free will, no matter who they are is not a good power to have; it’s not fun, it’s not cool. Michael is right that’s some dark shit and a power that needs to be used very sparingly and with a ton of responsibility.

I loved the scene between Sanders and Michael, but I have a couple issues with some of the dialogue. Sanders is the only living person (other than Jones) that knew and loved Nora. Thus, he can speak about her with authority. He is also the only person who is any kind of real parent figure in Michael’s. Thus, him saying Michael has no darkness can be believed. He knows Michael and he knows Nora. However, Sanders doesn’t know what its like to have powers, especially an immense power such as mind control. Though I appreciate Sanders’ perspective (and agree with him about the purity of Michael’s soul) I wasn’t a big fan of him brushing away Michael’s fears about having mind control powers and not wanting to use them. Yes, it’s important for Michael to recognize just because he has Jones’ power doesn’t mean he is or will ever become Jones. It’s not the powers that make a person. But the line about Nora not fearing her powers was not helpful. Nora’s powers were telekinesis, engineering (if genius is a power) and possibly miraculous crop growth. None of these powers take away a person’s ability to control their actions (well telekinesis to a certain point but in nowhere near actual mind control). So of course, Nora didn’t fear her powers.

I wish someone had validated Michael’s fears instead of brushing them away with a few words of you have no darkness or in Isobel’s case you aren’t like Jones/Noah. A person does not have to be evil or bad to misuse a power like mind control & for that misuse to have dire consequences. Can you imagine being able to make people do what you want them to do at any time? Even if your intent is to do good, it doesn’t mean it’s something that should be done or won’t have major consequences. Sort of like the ends justify means conversation between Jones and Liz. What is the line, do you recognize it and what’s to stop a person from inches towards the line and what happens if you cross it?

So, my wish for next season is for Michael like Max is given time to process what he has learned about himself and his powers. My wish is for Michael is to continue to struggle with when, how and if he should use the mind control power. That way even when faced with a racist sheriff that is holding a gun to his friends, he is careful, asks for consent and never takes advantage of this tremendous power. In addition, I do think it would be very interesting to continue to explore these powers and how they maybe could change a person? Take Max’s power to give and take away life force. He killed Noah and used that life force (and his own) to bring Rosa to back to life. Seems like a good exchange but ethically and morally having a person decide who lives or dies? And how would this all fit into religion with Dallas being a priest? These could make for some great conversations and strong character development. Fingers crossed we see some of it and not just get told in passing.

The music in the episode was amazing. The beginning with Nothing Else Matters and Jones is a tux… I mean… Also, the ending with the fight sequence, building the suspense, only for the reveal to be that Jones had wanted them all to come so he could trap Liz, Dallas, and Max along with Isobel and Michael (for extra leverage) in his mind. I’m confused about why everyone was sitting but Michael was standing? Is he able to move or is he able to resist his father’s mind control? I’m really looking forward to next week and for Team Human to come to the rescue (maybe).

Favorite lines of the episode:

Sanders to Michael: “You are just a pair of sad puppy dog eyes and a cowboy hat”

Jones to Team Alien & Liz: “Well, everyone seems a little tense” (LOL I love Jones!)

Dallas (or Isobel) writing on the wall to Jones: “KNOCK, KNOCK”

[jbuffyangel]

The Domino Falls: Arrow 1x12 Review (Vertigo)

It’s officially 1 year today since Arrow went off the air and I thought what better way to mark the moment than by chatting about the show we all love with a review!

We have begun the slow and steady climb to more Felicity Smoak content 

and “Vertigo” is a monumentally HUGE moment in Oliver and Felicity’s relationship. One little meet up at Big Belly Burger is what tips the dominoes over for Oliver Queen.

Let’s dig in...

Olicity

Let’s get right to the good stuff. Of course, there’s other stuff that happened in this episode, but do we care? Only a little. Oliver is on the hunt for The Count – the man responsible for the Vertigo epidemic and Thea’s looming drug trial. The Count is in my Top 5 of best Arrow villains. Of course his first episode coincides with an Olicity milestone. That rat bastard worked the hardest for our ship.

The judge has decided to make an example out of Ms. Queen in hopes of deterring others from trying Vertigo. Seriously, does that ever work? 

So, he chucked Thea’s plea agreement right out the window. Big Bro in The Hood is hoping to serve up a bigger fish – THE FISH – to help get his sister off the hook. Oliver is generally anti innocent people dying from illicit drugs, so there are unselfish reasons at play too.

No one knows the identity of The Count, so after roughing up the streets and getting nowhere, Oliver reaches out to Alexi Leonov. We met Leonov in 1x03, but for those who need a refresher - he leads the Starling City chapter of the Bratva. This is the first time Diggle meets Leonov, discovers Oliver speaks Russian, is a captain in the Russian mob, and can fake kill someone. 

It was a big day for John.

Leonov sets up the meet with The Count and Oliver attempts to buy some Vertigo off him, sans mask and arrow. The cops show up and Oliver tries to run down The Count as he escapes, but is stabbed in the chest with two syringes full of Vertigo. 

Never fear, Oliver has his magic herbs from Lian Yu which apparently can cure drug overdose. (Maybe share with the rest of the world?) Vertigo makes him momentarily murderous (more than usual) and he screams a lot.

THE POINT OF ALL THIS EXPOSITION IS ALL ROADS LEAD TO FELICITY SMOAK.  

Diggle and Oliver think it would be wise to have someone analyze the Vertigo… for some reason. This leads our dynamic duo to Queen Consolidated and to our favorite blonde hacker. 

Felicity rambles about Oliver’s haggard appearance (re: see drug overdose) and a cat being tased (she connects those disparate dots, I assure you). He offers yet another ridiculous lie and we embark on one of the funniest scenes in Arrow’s history.  

Arrow struggled to find its footing for a long time, but “Vertigo” is the beginning of the writers settling on to solid ground. If you ever have to wonder why the show focused on Oliver, Diggle and Felicity as the core characters you only need to watch this scene for the answer. 

The chemistry between all the actors is amazing. Arrow is not known for its humor (especially in Season 1), but between Emily Bett Rickard’s perfect delivery of another one of Felicity’s awkward and inadvertent sexual slip ups,

Stephen Amell’s inability to stay in character as he laughs right along with us,

and David Ramsey’s stone cold straight man reaction –

this entire scene is comedy gold. 

I vividly remember watching it live, laughing my ass off, and wanting more of EVERYTHING these three have to offer. And that’s exactly what we’re going get. 

“I ran out of sports bottles” reigned as Arrow’s funniest scene for a solid two years (until this episode), but it also marks the worst of Oliver’s terrible lies to Felicity. It’s so bad even Diggle has to remark on it in the elevator. Oliver’s lies are horrible, everyone knows Felicity doesn’t buy a word of it, and their need for her help is increasing with every day. Something has to change.

As we discussed in 1x11, Oliver is prone to distrust and very reticent to change his mind – ever. He’s been burned so many times in the past it’s difficult for him to view anyone through a trusting lens. 

And yet, Oliver told his deepest and darkest secret to a man he’d only known for a few weeks. Yes, Diggle had soldier skills Oliver would find useful as a partner. He knew John could hold his own in the field, but it’s not just about his abilities. It was also about the person Diggle is. Oliver did his homework and realized he needed John to survive. There was a wellspring of humanity in John that Oliver wasn’t able to access inside himself. He was subconsciously reaching out for help - like a moth to a flame.

It is the same with Felicity. Yes, Oliver needs her abilities – perhaps even more than what Diggle has to offer. (It’s not like Oliver Queen can’t handle himself in the field). But he is also drawn to Felicity’s warmth, kindness, humor, compassion and openness. Oliver’s heart is encased in iron and welded shut. He doesn’t know how to open it back up. It’s been dark and alone for so long. And yet, Oliver returns again and again to this brightly shining light and why? Because he craves it.  

Something has to change. We need that final push, the first domino to fall, so Oliver can make that final step and tell Felicity who he really is. Diggle was easier. He’d fought a war before. Oliver also knew about Andy’s death. Remember – Oliver brought Diggle onboard when he needed help with Deadshot. Manipulative? Yes, but it worked.

Felicity is trickier. I’m sure Oliver has done his research. 

Well, yes that kind of research, but also into her background. There’s no dead family member requiring retribution. No war zone she’s recently returned from. She’s an MIT graduate with a penchant for hacking working at a global conglomerate as a wildly overqualified IT tech. The girl doesn’t have so much as a parking ticket. The leap to vigilantism would be rather big.

I also think a fair amount of his hesitancy to involve her in anything related to The Hood is the danger. Diggle can handle himself. Felicity is a different story. Oliver is constantly battling the need for Felicity’s help versus the risk he’s putting her at by asking for it. The lies are to protest Oliver’s secret identity, but also to shield Felicity from it.

Whether it is Oliver’s own distrustfulness, his inability to see an angle to reel Felicity in, his desire to protect her or all three – it doesn’t matter. He continues to lie to her. Oliver isn’t ready to make that big leap either.

Source:  yet-i-remain-quiet

Until… Felicity asks to meet him at Big Belly Burger. Oliver waits for her, looking out the window on a rainy night, thinking of Yao Fei.

Oliver feared Yao Fei betrayed him and was really working for Fyers, but neither was true. He convinced Fyers of his loyalty by pretending to kill Oliver. (So that’s who Oliver learned it from!) Yao Fei wakes Oliver just as he rolls his “dead” body into the waterfall. He also slips Oliver a map with a location marked with the words “Survive.” 

Oliver doubted his trust in Yao Fei, but in the end was shocked to find out he had it right all along. Yao Fei was exactly who Oliver thought he was – a good man. That final and literal push cemented Oliver’s belief in his friend and to trust his gut.

There will probably always be a debate as to when the writers began the shift towards Olicity. “We DiDn’T dEcIdE uNtIL sEaSoN 2,” is the standard story, but I’m a firm believer it began in Season 1 and often include this scene in my massive pile of evidence. The last scene in the episode either tees up the next or contains a lot of emotional significance. Felicity beings to carve out a lot of final scene time as the series progresses.

The last scene in “Vertigo” is romantically lit with rain drops shimmering on the window. Oliver and Felicity are meeting outside the office and ALONE.  Soft instrumental music plays in the background. It feels more intimate than any scene they’ve shared before.

Source: andjustforthismoment 

I still cannot get over Oliver “The Sex God” Queen waving at Felicity Smoak like a giddy school boy and then shaking his head over how completely uncool he looked. We watched this man leave a criminal suspended in the air with an arrow through his hand in the first scene and in the last he acts like a puppy. THE RANGE.

It’s clear Felicity is a little nervous as she exhales walking in. Is she nervous to be meeting with Oliver or nervous about what she has to say? Both. She tips her hand a bit by thanking Oliver for meeting her at Big Belly Burger. She did not want to have this discussion at the Queen mansion. (THE PLOT THICKENS).

It seems Oliver and Felicity are having similar conundrums about each other. Felicity is uncertain if she can trust Oliver and has been debating for weeks whether or not to tell him the full truth. SOUND FAMILIAR? Felicity has far more evidence of Oliver’s untrustworthiness. There’s no rambling this time. She lays out the cold hard facts which is Oliver Queen is a big, fat liar and she knows it. He knows it. They both know it. Felicity Smoak is nobody’s fool.

And yet, she trusts him. Even though Oliver has given her no reason to. Even though there are clearly things he’s not telling her. Even though Oliver has yet to show her the same trust. There is something Felicity sees in him which tells her Oliver is worthy of it. It is an unsubstantiated truth. Felicity is going with her gut and her gut says Oliver Queen is a good man.

This doesn’t stop her from asking him the simple question though. Felicity needs that little bit of reassurance before she makes the final leap. 

At first, Oliver plays it off in his smarmy, smart ass and flippant way. It’s the Ollie Queen façade that always works with L*urel, Tommy, Lance, Moira and Thea.

It’s an act that’s never worked on Felicity. She sees through it now just like she’s always has. Her smile fades. Felicity breaks eye contact with Oliver and doesn’t hide her disappointment. She is tired of the games and lies. Felicity wants to talk to the real Oliver Queen. That’s the only man she will share this secret with.

All it takes is five seconds of Felicity’s disappointment for Oliver to drop the façade like a hot potato. 

He even apologizes and promises Felicity he is worthy of her trust. Then, Felicity lowers the boom and hands him The List.

It is difficult to surprise Oliver Queen, but this one has him reeling. She hands the book to Oliver, the same book Robert gave him, but he hesitates taking it. He has no idea where this is going, so he defaults to his standard operating procedure and lies.

Oliver is not doing a stellar job covering his “my world is upside down” reaction, so I highly doubt Felicity believes him, but she lets it slide for now. 

The more information she shares with Oliver the worse it gets. Felicity begins to fill in all the missing pieces to Walter’s disappearance and the guilt is pointing directly at Moira.

This is not the first time Oliver has reason to doubt his mother, but every time he’s able to reason away her involvement in anything nefarious. If he can’t do that on his own then Moira provides very plausible explanations (LIES), which allow Oliver to continuing looking at his family with a blind eye. But this? This is impossible to easily explain away. Particularly since WALTER was beginning to suspect his own wife.

Source: green-arrows-of-karamel

If The List cost Walter his life then Felicity is risking her own by showing it to anyone, particularly a Queen. She is literally putting her life in Oliver’s hands when she handed him that book. The first domino falls, but it’s not Oliver who pushes it over. It’s Felicity. She gives Oliver the truth when he’s given nothing but lies. Felicity trusts him absolutely when he’s done nothing to show he’s deserving of it. She risks everything while Oliver continues to hide everything.

Felicity shocks Oliver no differently than Yao Fei shocked him.  We’ve been waiting all this time for Oliver to make that final step and in the end it is Felicity who gives their relationship the necessary push over the waterfall. It’s a cold awakening, but he can see things clearly now. She is like a flashlight illuminating all the answers clouded by his distrustfulness and hesitancy. 

Felicity reveals so much of herself in this moment. First, she is willing to take risks if the cause is worth it. Giving Oliver that book took real courage. Second, the girl can keep a secret. She never said boo about anything related to Moira or Walter during Oliver’s little visits. Not even a hint! Three, Felicity Smoak sees clearly all the things Oliver is blind to. 

This serves as an important lesson for Oliver. Felicity knows so much more than he ever gave her credit for. Most importantly, his gut was right about her and he was wrong to ever question it. Two mistakes he will never make again.

And now everything will change.

Thea and Moira

I’m not gonna sugar coat this for you guys. I was one hundred percent okay with Thea going to jail. Season 1 Thea is a pain in the ass. A couple episodes with her sitting in the slammer would be a welcomed break from the teenage ‘tude.

L*urel and Lance work out a sweetheart deal for Thea after the judge basically said he would throw the book at her. Thea will serve 500 hours of community service under the watchful gaze of L*urel Lance at CRNI. And Thea flat out refuses.

Now, typically I am a fan of anyone who tells L*urel Lance to go screw herself, but even this was too much for me. Thea wants to go to jail to stick it to her mother because she’s still convinced Moira cheated on Walter. 

She didn’t cheat on Walter, Thea! Your mom just kidnapped him. So it’s fine.

Oliver decides to drop the Robert “I’m not the man you think I am” Queen bomb on Thea and tells her their father was a big hoe. Thea refuses to believe him and Moira is ticked because Oliver told the truth. Queens don’t do that EVER. 

Moira: He loved you. No matter his faults. He loved you.

Thea wants to know why Moira took all the punishment for Robert’s sins and her answer is very simple. She was trying to protect Thea’s memory of her father. Moira Queen is as shady as they come, but her desire to protect her children is always the driving force of any decisions she makes – good, bad and the ugly.

Moira: One day I hope you’re lucky enough to have a daughter and then you’ll know why.

This is the essence of motherhood. We will serve ourselves up on a platter and take the brunt of their hurt and anger if we believe it protect or help our children in the long run. Right or wrong - it’s just the gig.

Source: queensarrow.

L*urel and Lance

L*urel and Detective Lance are really Thea’s only hope of avoiding significant jail time and, despite their history, Oliver has no problem groveling at their feet if it means protecting his sister. Luckily for Oliver, this week L*urel likes him, so she’s willing to do Thea a favor.

But her reason for wanting to help Thea turns out have very little to do with Oliver. It’s about Sara. When L*urel looks at Thea she sees all the wild abandon of Sara with all the red flags.

L*urel: For so long you and I have blamed Oliver for Sara's death, but Sara is to blame too.

Detective Lance isn’t too keen on helping Oliver or Thea, but L*urel calls out her father on his hypocrisy. He had no qualms about bailing Sara out after she shop lifted. The youngest Lance daughter seemed to get herself in to trouble long before she ever stepped onto the Queen’s Gambit and her father always helped her avoid the consequences of her actions. Until those consequences finally caught up with her.

This is the first time L*urel lays any blame at Sara’s feet. I find it wildly disturbing whenever I agree with L*urel, but damn it she has this one right. Oliver wasn’t the only one who cheated. Oliver wasn’t the only one who lied. Oliver wasn’t the only one who was selfish. Sara was all of those things too. Just because she paid for those mistakes with her life doesn’t erase the choices she made and the pain she caused. If someone held Sara responsible without destroying her life, like L*urel is trying to do with Thea just maybe she would have never gotten on the boat. Maybe.

The game of “What if?” is a torturous one. It never gives any definitive answers. But Detective Lance refusing to help Thea to stick it to Oliver isn’t fair. L*urel is right. Sure, it may hurt Oliver, but it won’t bring Sara back.

More importantly, it doesn’t hold Sara responsible in any way. Detective Lance is treating Sara the same in death as he did in life. She wasn’t a saint anymore than Thea is – no matter how much Lance romanticizes his memory of his daughter. L*urel and her father don’t resolve the Sara issue, but Lance helping Thea is an important step towards his acknowledgement of the truth and putting some of the blame where it belongs.

Stray Thoughts

Oliver is shirtless and handcuffed in the bunker is an absolutely wasted opportunity for an Olicity sex scene. Pretty sure I read a fic that started like it though. Source: @olivergifs​

Bratva Oliver is cold, calculating and stylish. I don’t know what it is about that jacket you guys. It doesn’t things to me.

I say this as a person who was very anti murder throughout the show, but sometimes it’s great to watch Oliver do a little violence.

“Whoever you fear, fear me more!” As vigilante lines go this was a damn good one.

“I’m not the one going to prison.” Give it time, Moira. Give it time.

McKenna Hall makes her first episode appearance as the rotation of female guest stars continues while show desperately searches for a love interest Stephen has chemistry because it ain’t Katie Cassidy.  (Psst! You found THE ONE already!!! Call off the search!)

Just for you multifandom folks out there McKenna is also Qetsiyah on The Vampire Diaries.

Why doesn’t Oliver give a sketch to the police of The Count? That could be helpful.

“I don’t need the bow.” Yeah, but you need to walk straight!

Musings of the Kiddo

Kiddo: How many times does he do this to her?

Me: Lie? A lot. She was very patient with him.

Disclaimer: Any gifs on the blog are not mine. If you would like a gif removed from my reviews, please message me.

If you’d like to support the blog, please buy me a cup of tea!

[revchainsaw]

Nausicaa and the Valley of the Wind (1984)

Prayers and Salutations Cult Members! I am your mysterious minister Reverend Chainsaw and this is another nights revival service at the Cult Film Tent Revival. I bring you a special word tonight. Tonight's word is about a person who roamed the earth, in a time where people were backward and warlike. A leader emerged into a kingdom full of eschatological expectation. This leader came preaching peace, and was killed for the sins of the world, but was resurrected. In that resurrection a new hope was brought to the planet, and true healing through the power of love in the face of violence is made possible. I am talking of course about Princess Nausicaa from the Valley of the Wind.

The Message

Nausicaa and the Valley of the Wind is the film that put studio Ghibli and Hayoa Miyazaki on the map. No animated feature this grandiose and epic had been achieved by 1984, as much as Disney may beg to differ. The tale may be simple, and it may feel super 80s to us today, but Nausicaa is a masterpiece, and the fact that Howl's Moving Castle is brought up alongside Princess Mononoke and Spirited Away more often than Nausicaa is a farce and a tragedy.

The film takes place on a fantastic planet that seems to have suffered the ravages of an apocalyptic war. A war that involved gigantic warriors with powers so devastating they about made the entire planet inhospitable if not uninhabitable; save for a few areas. The fall out of this ancient war has left the earth in a state of repair, where the natural processes of a planet healing has creating giant toxic jungles.

Beyond these jungles lie two imperialistic factions, they seem almost to be city-states but it's not terribly clear. The Kingdom of Tolmekia, a militaristic proto-fascist society of almost Spartan sensibilities. Tolmekia is governed by the ambitious and cynical Princess Kushana, But I like to call her Furiosa. Just like Furiosa, Kushana is physically missing parts of herself, a visual metaphor for her metaphysical lacking and the parts of her humanity she has cut away. Kushana's world view is one of fear, a fear that can only be quelled by waging a genocidal campaign against her enemies.

Speaking of enemies, the Athens to Tolmekias Sparta would be the Pejite Kingdom. The Pejites might like to view themselves as simply responding to Tolmekian aggression, but the narrative of the film, and the story told quite visibly on the body of Kushana, is quite different. The Pejites are just as bloodthirsty if not more palettable in their approach, but like the Tolmekians, they believe only their own lives have any value. And thus, in this theatre of war, a Giant Warrior from the ages before is unearthed by the Pejite Kingdom, Stolen by the Tolmekians, before the forces of nature themselves, seem to conspire to drop the Giant Warriors "egg" right into the Valley of the Wind.

The Valley of the Wind is populated like the world of Avatar the Last Airbender, that is mostly of children and the elderly. The people of the Valley have been able to remain untouched by the ravages of war and the toxic jungles of the damaged world primarily due to geographic luck that's explained in minor exposition in the film. They are ruled by a King, and they are all deeply enamored by their beloved Princess Nausicaa.

Nausicaa is a gentle soul. She is kind to animals, she is empathetic, unreasonably patient, and bears pain and grief inflicted on her out of cruelty with a saintly understanding. She really is a thinly veiled Christ figure, scratch that. There is no veil. But she's also my favorite Christ figure. She does not preach a message, as much as she tries to save everyone from their own short sighted goals. She is not perfect, she does lash out and do some fantasy sword fight murder, but she regrets her actions so deeply that it seems to have played a part in motivating her to become even more compassionate and patient with the evils of the world.

Nausicaa discovers yet another plot by the Pejites, who are afraid of the possibility of the Tolmekians awakening the Giant Warrior, to use animal cruelty to enrage a group of almost invincible giant insects known as the Ohm. By luring the Ohm into the Valley of the Wind where the Tolmekians have become an occupying force, they hope to completely wipe out everything that threatens them. The Tolmekians DO awaken the Giant Warrior and pure pandemonium ensues. Nausicaa manages to save the Baby Ohm and calm the rage of the bloodthirsty Ohm swarm, and to defeat the warlike tendencies of both the Pejites and the Tolmekians. All the while fulfilling a prophecy fortold about a messianic savior figure called the Man in Blue.

Now that you have heard the Gospel of Nausicaa, please stand to receive The Benediction.

Best Character: Half a Person

Now that I've spent the better part of this review gushing about our Lord and savior Nausicaa. I have to admit, she's at times a bit too perfect, a bit too saccharin. Even her flaw, or her one weakness and her failing to be perfect, just adds to the perfection. I can't even say she never makes mistakes cuz she made one, and that's infuriating. It's even more infuriating that I still think she's a great character. Normally this kind of thing really kills a hero. Most Chosen Ones are the most boring and least likeable characters in their narratives. I don't know how Nausicaa avoids this trap, but she does. I'll have to do some meditating on that.

However, just like in your typical Chosen One fantasy narrative, the hero is a lot less fun than the villain. I'm going to say the best character in Nausicaa is Kushana. I want to be like Nausicaa, but I don't understand her. She's almost alien, even though we learn all about her. Kushana is mysterious, secretive, and enigmatic, yet I understand her. She barely has an arc, she doesn't really change. She's cold and cynical to the bone, but I don't need to see much of her situation to completely understand why she is the way she is. I usually hate totalitarian bad guys, but Kushana I like. Sue Me.

Also fun fact, did you that Nausicaa means 'Sinker of Ships'. That's kinda fun.

Best Scene: Spoiled for Choice

I'm going to be lazy and say take your pick. There is really not a bad seen in this movie. If the action isn't going, then there's intriguing dialogue. If there's no dialogue then you may be about to get hit with a forceful burst of whimsy. There's horror, there's swordfights and aerial dogfights. The only thing in Nausicaa I don't like to see, is the bloody tortured Ohm Baby. It's like a god damned Sarah Mclachlan commercial.

Best Creature: Foxy Shazam!

The Ohm are so simplistic yet so detailed. The number of eyes is alien, but the way they are used is expertly expressive. Who'd think you could get me to love what basically amounts to a silverfish with the intensity that I love a kitten. How did Miyazaki pull an Okja with a creature that should be haunting our dreams? I don't know.

And what about the Giant Warrior! If you are an Evangelion fan then you probably already know that Hideaki Anno designed and animated the melting goopy biomechanical beast. Surely a sight that would make both H.R. Giger and Clive Barker giddy with excitement. Just the image of the silhouettes marching amidst the desolation of the old world is burned into my brain.

So which of these is the best creature from Ghibli's first outing? It's fucking Teto. It was always gonna be Teto you idiot. Just look at Teto, he's adorable. He's too cute to exist. I'm so alone. I need a pet.

Best Character Design: Tolmekian Regalia

I originally included this category to talk some about Kushana, however, at that time I also thought I was going to say Nausicaa was the best character. I thought hard about deleting it, but I think it's a different category and you can't accuse me of playing favorites because my favorite character is clearly Teto. Just to keep it simple. It's the two costume shift from full military regalia in white and gold, to the one metal arm, warrior princess get up. It's a great costume and a great look. Get on this shit cosplay nerds. It's great for Cons in Canada, you have to think about layers, and you can't keep going as Mr. Plow. It's lazy.

Best Excuse to Talk About Patrick Stewart's Character: Lord Yupa

I just realized that I was about to write this whole review without talking about Lord Yupa. Lord Yupa is a sword saint and all around badass I think a lot of entertainment, especially in the west is lacking bad ass old men. Lord Yupa particularly shines in the early half of the film as a warrior and as a wise council to Nausicaa. If she's Jesus then Yupa is John the Baptist. He is also voiced by the elegant and eloquent Patrick Stewart. He also comes with 2 chocobos!

Worst Character: For Whom Asbel Tolls

This might also be the worst actor category as well. Actual Cannibal (haha meme) and actual monster (haha real life) Shia Labeouf doesn't so much act in the role as he read the lines and it was recorded. The good news it doesn't effect the film too much because Asbel is completely forgettable. He is a catalyst to some of the action, but besides that I don't really care for him.

Worst Aspect: To Be Fair ...

It would be unfair to completely ignore anything negative about Nausicaa. I have already mentioned in many places that there are some pretty corny, or pretty predictable tropes to this movie. But what I can't capture in words is exactly why it feels fresh when it's done in this movie. I suppose that's what makes it good. It's just so good that it's weak points are lifted up by it's strengths. Some people may bored of Nausicaa's unyielding goodness, or that she very rarely chooses to take action as much as she chases and pleads with her surroundings, but I mean, she does pay for that eventually. It's a fantasy story and it hits a lot of timeless themes that have been hit in stories for as long as human beings have been telling stories. Some people may feel that it doesn't do enough to stand out.

Summary

I have defined the S tier for myself as "near perfect and personal favorite" films. I like to think that Nausicaa and the Valley of the Wind is near perfect. Some may say that it looks like it might just be a personal favorite. In the case of Nausicaa, I'm having a very hard time telling the difference. I think it would be overly simple to claim that Nausicaa is just an ancient archetypal heroes journey with an 80s anime coat of paint. I think it's doing quite a few new and interesting things with that formula, those things are just playing out all around that narrative as opposed to being at it's center. For a first full length outing by the studio, you can really see Miyazaki's heart and the values he holds close to. I'll repeat myself so that we are completely clear on the matter. I think Nausicaa and the Valley of the Wind is a near perfect movie.

Overall Grade: S

[adinosaurnamedmittens]

Alright so I can’t stop thinking of RVB Zero and how much potential it has so I wanna rework it a bit to work better.

So first I’m gonna talk about the new characters and what I’d change before breaking down the individual episodes for critique and suggested rewrites. At this point, I’ve only seen up to episode 4, Encounter. So spoilers till that ep. 

West - Honestly great! He doesn’t have a ton of character, but what he has is solid. He works very well as the gruff, no-nonsense leader who’s a tiny bit of a dad.

Raymond - Also great! He’s the most classic RVB character, as he’s an underdog who’s not the best at fighting, but has a lot of heart. My fav new character, right next to Tiny.

One - I want to change her to 2nd in command and drop the whole “can’t work within a team” thing. Keep the confidence and slight rudeness, but drop all the lines referencing anti-teamwork. It hasn’t factored into the story so far, One has been successfully working as part of the team for all the episodes. This would make her dynamic with Axel more interesting, being in a higher position of power. Especially considering how her healthy relationship with her dad contrasts with East and West’s relationship. This would reinforce the tension with East, since One now has an actual position of power over her. Also, she should have the exact same powers as Zero, but maybe less powerful. This would help foreshadow that reveal, and help us understand how the enhancements work. While One is a bit of a shit, and thinks she knows best, she’s willing to take the fall when her ideas fail or get them in trouble.

Axel - Imma be honest: totally forgot he was One’s adopted dad until I rewatched the episodes prepping for this. You could drop it totally, as it gets a bit redundant with West and East’s relationship, but I think there’s more fun in working with it. Also, if One’s 2nd in command and Axel isn’t insecure about it at all? Instantly makes him a more likable guy. I also think he parallels to Wash very well (bit of a kid at heart, weapons guy, team dad, emotional heart) so we’re gonna expand on that too.

East - Her and One’s relationship is the driving force of conflict within the strike team. With the changes made to One, East can stay pretty much unchanged. Before they were too similar. Now, with One being abrasive but willing to work together, and East being more reserved and distant, they’re great foils for each other. Also she parallels early Carolina, which I love (speed is her ability, prefers working alone, competitive as hell, dad runs team)

Villains: On characterization, they’re all good! Villains are allowed to be a bit more shallow, and they all seem to have understandable motives for what they’re doing: Zero wants revenge and power, Phase wants revenge especially against West, and Diesel just seems like he’s having fun. I do want to change Zero’s power tho, with Phase already having a teleport with a cool gimmick, and Diesel having a strength/tank ability, Zero should have a unique ability. Maybe gravity because of the sword? It would allow him some cool movement tricks while still being visually distinct from Diesel and Phase’s abilities. Or something inspired by his “ghost” line from Duo.

EP 1: Viper

The Good: The introduction to the villains and their abilities was amazing. I love Phase’s knife and it’s honestly one of the coolest things I’ve seen in the show. And the intro to the Strike team? Hilarious. Great character work. You can tell that One and Axel are close, that Raymond is hesitant and new, East and One have a very competitive relationship, and West is the tough love dad.

The Bad: Don’t violate the 180 camera rule. The intro fight scene was cool, but the camera moved way too much and made it hard to keep track of everything happening. And with the new, shiny art style we need a bit more time to absorb what’s happening since the detail level went up. Also y’all healed Wash’s brain damage with a throwaway line, and then immediately fridged him? Not cool. I mean, if you wanted to show how tough the villains are, you already had them beat up Carolina.

Story Changes: - Zero gets name dropped this ep so we get a scene next ep where Axel recognizes his name. - Either replace Wash with a high ranking soldier and completely scrub him from the episode, or give a different reason why he can’t help, maybe exactly Carolina’s reason of “you’re recovering”. I’m not committing to totally removing Wash bc in Recovery Carolina’s line of “That I-that we thought was a medium risk asset” hints that Wash knew exactly what they were carrying and I’m excited to see where they take that. - Mainly I want scenes of Wash talking to Axel and expanding on his characterization as they are both Nice Boys Who Have Been Through It. - I also think a scene after we meet Strike where Axel asks Raymond “You like riding with East?” and Ray goes “You two stuck me with her on purpose!” and One goes “Yup!” all cheerfully. Just reinforce those team dynamics and friendships before it goes to shit!

EP 2: Recovery

The Good: The garage scene was perfect. Tiny is amazing, love her so much! And Axel got such great characterization during this ep. What a dork. West and Raymond also work super well together, their interactions are great.

The Bad:You know it’s a problem when the villains have a better dynamic than the heroes. The scene where Carolina explains all the strike member’s abilities and personalities? Bad. Also a little OOC for her. And redundant, since we also get Raymond asking West about East, and Axel’s explanation of the girls to Carolina.

Story Changes: - Have Axel, the emotional heart, waiting outside the recovery room for Carolina. Honestly, this isn’t that big, but I think it’d suit his character. - Carolina’s exposition is changed to solely history and abilities, no commenting on their personalities. Maybe East gets a little “has shown difficulty in working with others” but that’s it. The physical acting for these scenes really shines through, so let it stand alone. Even watching without sound, you can pick up that West is a no-nonsense leader, that Axel isn’t a flashy fighter but gets the job done, that East is fairly young and doesn’t take fighting seriously, and that One is willing to leave others behind if she thinks she can do it better. - For Carolina’s convo with One this ep about her “not willing to work on a team” either swap One with East or change it to “you need to listen to your team more. Don’t assume that you immediately now what’s best” - At the end of training, when Axel says “the guards were priority #1″ One should say “I knew you could handle it.” and Axel could respond with “Well, it’d be nice if you let me know that.” to show that One can work well as 2nd in command, but needs to communicate and stop assuming things. -Also should change Axel’s warning line about her enhancements to “Don’t push yourself. Remember what happened last time?” to enforce that this is a habit, and that while he cares about her, he’s not trying to boss her around as much. -Don’t reveal that East is West’s daughter until Raymond and West talk. That way, there’s a bit more emotional weight, and Ray’s line of “I was digging through the team files” makes more sense if Carolina doesn’t drop that info in the previous scene. - When Axel talks about the experiments East went through, he should mention that he was there for some of them. Dropping more foreshadowing for the Axel/Zero reveal! - Carolina drops Zero’s name in their convo, and we get a shot of Axel’s hand tightening on his weapon, showing the audience that the name means something to him, but we don’t know why.

EP 3: Duo

The Good: First 3rd of the ep? Really good. I love One being rude to Carolina, and then gaining a grudging respect. West and Raymond are, again, the best dynamic. How? I honestly have no idea. The car looks so stupid in the funniest way, I hate it but I love it. Also god yes Axel and Zero’s relationship is so wholesome and could be the best thing in this season. One’s warning call to the facility? The funniest shit. And Zero’s dialogue is hella cliched, but it works bc he’s obv such a dramatic bitch.

The Bad: HOLY HELL THE DIALOGUE. First, One and East’s fight? garbage. Very forced. Super hard to believe these two are real people. Carolina and West literally repeat the exact same line, less than 5 seconds apart. The dishwasher joke West makes does NOT at all work, it’s too tonally dissonant.

Story Changes: - Obv. need to change One and East’s convo. End it with “Without your power, you wouldn’t even be on this team!” East should storm off or almost attack One, requiring Axel to diffuse. - It’d also be really nice to get a line where One acknowledges that she went too far with that, but puts off apologizing to East. It’d be a nod that she’s good at reflecting and assessing, but too proud to actually take her words back. - I’d like to make Raymond more panicked when they find Wash. It’d help sell that he’s in bad shape and add more weight to “He’s got a heartbeat!” - Maybe re-work Phase and Zero’s conversation a bit. The dialogue is definitely not this season’s strong suit. - Pull Carolina’s “I’m just trying to help, East.” since it’s more impactful for East to storm off immediately and West says the line a couple seconds later. And change East’s dialogue to “You may be my CO, but don’t try to be my dad. Not after what you’ve done.” Or something similar. - For the dishwasher gag in the meeting, either pull it or double down. It’d work so much better if someone asks “Are you serious about this? Aren’t there more important things to discuss?” and West just deadpans. “This is of the upmost importance. If we can’t keep this base clean, how can we be expected to do anything else?!” and then Carolina clears her throat super loud and West goes “...Right. Rookie? Take it from here.” - Rework the “Carolina stay behind” dialogue. Even just a “Carolina. You’re still recovering. If you get hurt again, it’ll just be longer till you can take these bastards down. Keep an eye on Wash, will you?” I just couldn’t get behind the wording of “we need you here. With wash” It sounds like every cliched “woman must stay behind while the manly men save everyone!” Might be personal preference but just ew. - Add a scene where One notices Axel being a bit off (bc he’s worried about Zero being a part of the bad guy team) and she asks if he’s okay. He brushes her off, says its nothing. She goes “alright, i trust you.” - Maybe make the flashback a bit more apparent? There was a moment in the middle where I questioned whether or not it was a flashback. Again, could be a me problem.

EP 4: Encounter

The Good: The fight scenes continue to be absolute standouts. The varied environments, the movement, the dynamics on point. Wish we could’ve saw a bit more from Axel, but as is the scene worked well. The framing of the ep was good too, cutting between the mission and the fallout. And Ray, resident coward, immediately squaring up without a thought after West got injured? *chef’s kiss*. THAT is good character development. THAT is an amazing way to establish their relationship without telling us outright. Go feral, my boy! And Tiny and Raymond’s convo was so cute. I love how, despite what he says, Ray is there for his team and always willing to help. Carolina and One’s convo was also pretty decent. It got a bit long and over-explainy on Carolina’s end, but there were some pretty good moments.

The Bad: The fight after the mission failure was SO over-acted. Too much motion, to many camera angles. It changed what should have been tense arguments to hilarious melodrama. This has been a consistent problem, but it REALLY affects this scene in particular. And the second Axel enters the scene it just immediately goes downhill.

Story Changes: - Add a line from West in the beginning scene like “I’ll cut them off!” to explain why he isn’t in the car too. This also means it’s not as out-of-nowhere when West shows up to trash the car. - One should call out Axel instead of East. If she’s his daughter, she should be able to tell when he’s acting off. And she would have an easier time connecting the dots between Axel and Zero. - Instead of “I trusted you.” One should say “You lied to me.” 1) He’s her dad. One lie isn’t gonna break her total trust. 2) This would imply it’s the first time he’s lied to her, adding more weight to the whole situation 3) It’s way more accusatory and less cliched (if only a bit) - Add in a “One, wait!” bc I am a sucker for it and we could hear the guilt in his voice, rather than the weird scene where the girls make him spin around by bumping into him. - It’d also be nice if Ray stayed back for a bit before leaving, so we got a bit of his feelings on the matter. I mean, obviously he cares a lot about West, but does he blame Axel for not being there to help? It’d be nice to know!

TL;DR The best parts of the episodes are the fight scenes, and when they focus on the fun team dynamics. The worst parts are dialogue (mostly the serious bits) and over-animating, as this takes away from the drama.

I don’t mind the cheesy villains, but that may not be the case for everyone.

The best part of RVB has always been the rag-tag found family dynamics. While the fight scenes are cool, they have always been supplemental to the real meat of the show. The writers are trying something new with the whole “actual family” but you have got to focus on and develop these relationships if you want fans to care.

Mostly, I see a lot of potential in these characters, but there are GLARING issues in this season that are holding them back.

[warriordreamer95]

RWBY Volume 7 Crew Commentary Notes!

All credit goes to Sweetfable over on Reddit! Sweet, if you’re on Tumblr and have already posted this or want to, let me know and I’ll take this down!

Chapter 1

Featuring Kerry Shawcross and  Miles Luna.

Miles says he was hoping people didn’t figure out Atlas was a floating city in the sky before they got there. Even in World of Remnant, they were very careful with how they worded things to avoid spoiling this fact.

A large portion of ep 1 was intended to be in V6

Originally it was going to end with Penny being revealed, dealing with the Grimm, and ending on “Salutations”

Almost everything up until the Penny moment was how it was going to be in V6. For production and story reasons they decided to end V6 with just seeing Atlas.

Mantle is a little more Blade Runner and utilitarian looking, while Atlas was made to look like it was created by Apple. Two different futuristic looks.

When making the four kingdoms, they compared it to parts of the real world. Atlas and Mantle were two different versions of America

The drunk guy (Drunk Mann) we see insulting Blake is based off of Joel Mann and the other is Dustin Matthew (Grape-kun).

We saw Pietro (his hand) for the first time in Volume 3. They didn’t want to make him too similar to Dr. Weller from gen:LOCK, and so they made him to be like a ‘big’ kid. It’s where Penny gets a lot of her attitude from.

Kerry wants to do a show with all the old RWBY characters

V8 was harder to write than V7

It was a challenge in this episode to make it clear that Atlas is a new place for some characters, but a familiar one for several others, but that the Atlas in V7 is a different one than what they remember.

They try to theme the grimm to the location. So Grimm from Atlas are those that are from the Ice Age.

Miles compare Grimm to Pokemon. Some will pop up in every region, while others are region specific.

They had a lot of discussion surrounding what they wanted Penny 2.0 to look like. They considered giving her a conflict of her being a clone or not having her memories, but ultimately with the amount of stuff that needed to happen this volume they felt that it wouldn’t have been able to be done well.

Chapter 2

Featuring Kerry, Conner (director), and Kiersi

Forest became a fan-favorite

This episode was tricky to write because it was getting close to being an exposition dump

They had to balance movement and how much the characters can emote (especially when characters lie this episode)

Ironwood’s office shifting to present his plan was a cool idea + it was another way to stay in the room without having things get boring

Really wanted team RWBY to feel like they were on the right path and had something to follow. Establishing the trust theme early on.

Qrow and Ironwood’s relationship is super interesting to Kerry, and he wishes they could have explored it more. Conner pushed for Qrow’s hand to be lower in the hug scene (lol)

Conner jokes that he also proposed Ironwood should propose to Oscar when kneeling

Ironwood giving the relic back was his biggest sign of trust

They comment about how positively Penny states ‘it’ll be just like Beacon again!’ when she got destroyed there in V3

Kerry calls Watts ‘Daddy Long Legs’

Chapter 3

Featuring Kerry and Miles

They were confused when they saw people on Reddit and Tumblr think that this volume would have a shopping montage

Team RWBY jumping out of a plane is a callback to landing strategies and to see how far they have come since V1

The crew thought everyone would love Jaune’s new haircut, and was shocked when everyone immediately hated it. Miles wanted to see Jaune grow up a bit, so he liked the change.

They wanted team RWBY to start acting like and learning from professional huntsman

Miles wanted Atlas to feel like the Beacon days at first, and first came up with the idea that some Atlas academy professors would teach them. But that evolved into mentors, which eventually became Atlas’s best of the best.

The Ace-Ops are not only fun characters, but also foils to some of our main characters to help move their stories along

The Ace-Ops having five members + a team name not based on a color was very intentional. It was to show that Ironwood doesn’t care about Oz’s rules and would rather have an efficient team.

Eddy came up with the name Ace-Ops. Each member is based off an Aesop fable.

The mine scene has us seeing the SDC logo everywhere. Adam, as a terrible of a person as he was, when he was younger, was arguing with someone at a SDC place and the other person grabbed a brand and gave him his scar. So seeing the logo all over the mine was very intentional to put that in the forefront of Blake’s mind, and Yang notices

The fight with the Centinel grimm was originally supposed to be a bit longer and there was going to be an alpha variant of the centinel (which they imply we will see in the future)

Some characters got more upgrades than others. Weiss is already perfect, so she didn’t need any changes. Miles was excited that they were able to give Ren heavy rounds to shoot with. Ren has his father’s dagger on his arm

Many things that seem like retcons are actually not, and instead is just Kerry and Miles learning how to tell a story while simultaneously telling a story. So things were not always explained well early on.

Qrow and Clover were an interesting couple of characters, Miles says. For a long time Qrow was the guy that worked best alone (compared to Shadow the Hedgehog) and wanted him to interact with people that aren't his nieces and their friends. Clover was made to be a total bro and like Captain America- who always makes luck puns. He constantly feels like he is in an action movie because things always go right for him, so he doesn’t need to look where he’s about the jump. Which ultimately leads to someone who relies too much on their semblance. He rides the line of confidence vs arrogance. Clover is kind of person that Qrow always wanted to be. At the beginning of their friendship, Qrow doesn’t really like Clover and finds him irritating. But eventually it evolved into friendship, and later tragedy.

They left RWBY out of the battle of the Ace Ops vs the Geist to showcase how they didn’t need RWBY to get things done. It was their moment to shine

Wanted to give a sense in these first few episodes that, maybe everything will work out okay

Spoiler alert: It won’t

Chapter 4

Featuring Paula (co-director), Dustin (co-director), Eddy Rivas, Kerry Shawcross

Wanted a chance for the characters to breathe a bit before bigger things went down

Kerry loves the lighting in the first scene. They referenced how lighting looks in the tundra

The first draft of the scene where Ironwood is giving orders originally happened in his office

From V5 they learned it’s great to be efficient with sets but they can fatigue the audience and the crew

Originally the celebration wasn’t going to be in Amity, and instead it was going to be in Atlas’s version of an auditorium.

The ship Jacques arrives in is the same one Winter arrives from in V3. It’s a Schnee company ship

Paula thought it was important that Blake hold Weiss’s hand and be the first to stand by her side when Jaques is yelling at Weiss since Blake knows what it is like to be in an abusive relationship. Ruby and Yang didn’t even really know a father would talk like that to his daughter.

They were excited to write Penny and Winter’s ‘mirror-destiny’, which they laid some of the foundation for this episode

Qrow talking to Ruby was barely on the outline for the episode, but it was on their wish list if they had time to get it in.

Dustin says ‘fatherly’ when describing the moment and Kerry is like, ‘you just opened up a whole can of worms’

Eddy loves the ‘Jim’ gag when referring to Jaune.

Watt’s entrance was a difficult shot to execute properly because of the door.

Chapter 5

Featuring Conner, Eddy, and Kerry

They originally weren’t sure about having a montage in this episode

The penguins we see for a moment were possibly going to be grimm penguins

Kerry wants RT to sell the cards Clover has, and Eddy thinks it’s funny he would have cards with him emblem on them.

They liked having the moment of Clover and Qrow in the middle of this episode to show that Qrow is now becoming a mentee of sorts.

Adding in the Robin encounter was a late addition to the outline. She wasn’t going to be introduced until Chapter 6 during her rally

But they wanted to put the two factions head to head earlier on.

It was also the first moment of Clover being a bit duplicitous.

The plot line of tying the supplies through Robin’s storyline was a late addition while writing

Weiss vs Winter with summoning is a callback to V3C4 with them training together

Weiss being able to sit on hard-light (a block) is something Kerry was unsure about at first

Originally Weiss and Winter going to see Fria was going to be Winter getting an alert from Ironwood and having to leave, and Weiss following her suspiciously. But it worked better as Winter revealing a secret while Weiss was still keeping one

Chapter 6

Featuring Paula, Kiersi, Miles, Eddy, and Kerry

Eddy is the one who came up with the idea for the middle part of the season while he had a really bad fever

Originally Tyrian was going to make it look like a bunch of Atlas soldiers fired on civilians in Mantle. Then Eddie thought it should frame RWBY, but ultimately they went with framing Penny.

Nobody has ever offered Penny a fist bump before, so she wanted to do it perfectly

An old draft had the team and Ironwood doing an investigation at this warehouse post-massacre

There was also no montage in C5, just them sitting around a table talking about what they did

Miles also mentions there was going to be a scene in C3 with Marrow trying to bond with Blake about being a Faunus, and also about him specifically being a Faunus in Atlas who is a part of Atlas’s military team. But that episode was so packed they wanted to move it to C6, but then that episode also became too packed. But they plan to get to it in future volumes

They wanted to show how much the Happy Huntresses care about each other and about Mantle

They also originally did not want to have anything political in this season. But the more iterations they did, they felt it was the best course of action to do that with the story.

They wanted to give the heroes a high personal moment with Renora kissing right before things went down

Penny was not used to fighting sneaky enemies, so that is how Tyrian got the upper hand

While they don’t usually check back up on extras, things turned out that we kept seeing Drunk Mann and Grape-kun throughout the season to represent the city of Mantle

Chapter 7

Featuring Conner, Kiersi, Miles, Eddy, and Kerry

Fiona’s semblance was originally going to be Torchwick’s semblance, and it was called Deep Pockets. But they never found a moment for him to use it. So they decided he could be a great example of how some people don’t unlock their semblances

Originally some of C7 was meant for C4 where they found out earlier that Tyrian was involved with things

Miles wrote the description we got of Tyrian’s past (Salem first contacting Tyrian), and it was one of his favorite things to write.

Qrow looking at Clover when he is willing to go with Ironwood’s plan was meant to show some distance growing between the two

We were going to get more of Ren explaining why he was feeling the way he was and agreeing with Ironwood, but ultimately they are pushing it to next volume

Originally Blake and Yang were going to directly reference Adam when they had their talk, but they later figured out how to reference him indirectly

The arm robot Pietro has in his office was originally going to have more of a character like the robotic arm Tony Stark has

They tried hard to get Maria more scenes, but there was often no room for it

Miles realizes he was dumb to suggest that Pietro cover Watt’s face with his thumb while looking at a picture since they already did that with Raven in V3

The lady in the photograph with black hair is not Cinder’s mom (which was apparently a fan theory)

Robin encountering the Bees was a late edition to the outline. But it gave every member of RWBY a moment

They wanted the vault in the Academy to feel similar to the one in Haven but not a direct copy

Miles believes that if Ironwood would allow himself to be more vulnerable more often things would’ve gone differently

The invitation to the Schnee manor was originally going to be to a news conference

Chapter 8

Featuring Dustin, Miles, and Kerry

They didn’t specify what the hood ornament on the car would be, so Dustin was happy when it came back as a velociraptor, which references a raptor Monty Oum would put in photos with RWBY characters

Fans have guessed what direction they are going with Whitley. He starts off as a jerk, but Miles implies that is going to change. It is also an easy way to remind the audience of how the elite act

At the table, Jacques’s chair is bigger than everyone else's

Miles wrote the gag of JNR sabotaging Whitley’s conversation with Weiss and expected it to take only a few seconds, but as more people worked on it the longer it got

The stack of food was taller than Dustin expected it to be, and they even had to scale it back because it was going to be even taller

Another power move of Jacques is to only give a few people wine, as well as not giving Penny any food

Willow was originally going to be in the intro

A joke was made about Salem being Jaune’s sister in the V6 intro before everyone knew who she was

None of the writers expected Penny and Winter to have such a bond this volume initially

Miles wanted to portray when Weiss is talking to Willow that she doesn’t really know how to act around an adult with such an adult issue. Since Weiss is quite young (Miles compared it to him having to help an adult with an adult issue when he was 13)

Chapter 9

Featuring Paula (director), Kiersi, Eddy, and Kerry

It was difficult to keep the shots interesting in the dining room

We see Grape-kun and Drunk Mann again this episode

In earlier chapters they made sure to have an orange glow to represent the heating in Mantle since they knew it would be turned off in chapter 8

They wanted to showcase that Ironwood was starting to have doubts, which would later be clearly seen in episode 11

The foot soldiers (AKs) that the Grimm are able to overwhelm in only a few seconds were meant to represent that Atlas wouldn’t provide them with much defense against Grimm because they don’t care enough

Every storyline was coming together in this episode, and it’s tricky to make a setup episode like this not seem like filler

Ruby and Oscar’s awkward interaction came from them both ‘riding the high’ of the moment where it seems like they each have great plans that will go well.

Oscar is starting to tap into some of Ozpin’s memories, as alluded to when he mentions how Atlas is held to a higher standard

Terry the grimm being hit by a fireball (part of a plane I believe) was a call back to Jurassic Park

They struggled a long time with where to put the Neo reveal

Chapter 10

Featuring Conner, Dustin, Kiersi, and Kerry

They felt that if they showed a lot in the first scene of the episode, they wouldn’t have to saturate the background with other fires and crowds.

The shot of Weiss’s knight being summoned and overshadowing Marrow is setting up their fight in C12

When seeing the shots of the enemies infiltrating the kingdom, they didn’t know if they wanted to show Neo and Cinder or Tyrian and Watts first. But they went with Neo and Cinder because it would show that they thought their cover was blown, when it would really be about the other two.

The place Neo and Cinder are staying at is an Atlas ‘high-life’ apartment

They always knew Elm would have a rocket launcher/bazooka, but never got the time needed to show it until now

They had to restructure Mantle a bit to allow the huge elephant to fit in the streets

The main characters working with the Ace Ops in this episode was to make it so things hurt so much more after events in the following one

All the background characters apparently have little backstories as they made sure they didn’t appear in two places at the same time

Ironwood jumps down a ridiculous number of feet to meet Watts. They had to cheat to not make that so obvious as well as say this is animation logic so people working on the shot would stop questioning how he could possibly make it.

Chapter 11

Featuring Kerry, Paula, and Miles

Originally a gravity biome in Amity was going to appear in V3C5. It was going to be Sun and Neptune vs Pyrrha and Nora. It was written, boarded, and ready to go but they realized there wasn’t time for it

This was a hard episode to write. A lot of stuff that needed to happen, and happen in a specific way

Watt’s gun was inspired a 20-shot revolver Kerry saw on Reddit

Ironwood losing another hand represents him losing another part of his humanity (possibly confirming he lost his one organic arm)

The first cut of this episode was 23 minutes and was deemed too long so they had to scale back, but they still felt they kept in everything that was needed to make the episode great

Initially the Tyrian vs Qrow, Robyn, and Clover fight was going to be a chase that turns into a fight that turns into another chase. And Qrow is the only one that could keep up with Tyrian since he can transform into a bird. Qrow would land in front of Tyrian and say ‘that’s enough’ and Tyrian would ask, ‘are you able to talk when you’re a bird or do you have to wait until you’re a person to throw your one-liners?’ (Tyrian asking the real questions here) Tyrian’s lack of self-preservation would be shown even more. He would have run down an alley packed with Grimm and would just trust that he could’ve made it through

The fight with Tyrian was initially going to be more of a Tyrian vs Qrow fight, but Miles loves that they made it a 3 v 1 so it could show off Tyrian’s exceptional skill

The fight was also a callback to the first Tyrian vs Qrow fight, where Ruby tried to be good back up for Qrow but was ineffective. But instead this time have Robyn and Clover be effective and more experienced teammates

Clover is defense, Qrow is offense, and Robyn is picking away at Tyrian with her long-ranged weapon

There was going to be more discussion of where Oscar was at the end of the episode, as well as a whole bit where the Ace Ops and the kids land and they get a hand-written note saying they’ve been compromised instead of getting it via scroll, but it turned out to be too much

The scene of Ironwood talking to RWBY and his turn to being against them was the most important scene in the episode, and something everything in the season had to build up to

Miles said it was about time the two sides met face to face with RWBY meeting Salem

They wanted to make Ironwood’s progression into villainy subtle and make sense

Salem made things personal for Ironwood, so he felt like he had to come up with a solution

They wanted more Cinder and Neo in the volume but had to cut back. But to compensate they had to be instrumental to the collapse of Ironwood (Miles first said collapse of Atlas so wonder if he slipped up)

Chapter 12

Featuring Dustin, Conner, Kiersi, Eddy, and Kerry

They wanted to have a false sense of resolution in the previous episode just to blow everything up here

Eddy handled the Ace Ops vs RWBY and Winter scenes while Kiersi handled the rest

Kerry learned from V5 that having everyone in one room for a fight doesn’t work well

Eddy is a big Weiss stan

Clover has no idea who he’s up against with Tyrian, and thinks of Qrow as the big threat, as well as Tyrian manipulating Qrow

Clover saw both Qrow and Tyrian on the wrong side of the law, so he felt like he had to fight both of them no matter what

They made sure team RWBY can’t just stomp on the Ace Ops, but still show their teamwork. Plus the lack of Clover being there didn’t allow for the team to have a ‘cheat code’

This is another episode they had to trim down in length

Cinder was always going to lay waste to the medical facility and attack Winter

They also wanted to do a Qrow vs Tyrian reprisal

Kerry said he loves Clover

It was crazy for Qrow to meet someone that was a genuinely good person

Chapter 13

Featuring Miles, Kerry, and Eddy

The Neo vs ORNJ fight could have been shorter

At one point they wanted to show Cinder using maiden magic to bring some dead AKs (Atlesian-Knight) back to life to fight Penny (was going to be some sort of puppet joke).

But Miles realized that Cinder could just blow up the room and bust through the walls

Ren is struggling with some heavy emotional stuff that is not resolved at all this volume, but it is hinted there will be a lot more for him next volume.

The writers knew a lot of people wouldn’t be happy with Ren’s attitude this volume. But he still cares about Nora, even if he doesn’t always communicate it well

Miles cried during the voice over session of Fria’s scenes for this episode

They had a lot of talks about how the maiden power would be transferred. They debated if Penny would have to kill Fria.

Originally one pod was going to be broken, with the one with Fria being in tact. But because Penny is a robot, she could ‘remote-interface in’ and get the powers. But that still felt like stealing, and they didn’t want to go that route.

Oscar has matured so much in his role (joking call him Farm Man)

Ironwood is still expecting Oz to show up. He still really wants that guidance

Ironwood arguing with Oscar was the finale scene they wrote this episode

Ironwood feels that he is backed into a corner and is doing the only sensible thing.

Winter was waiting to be the Winter Maiden her whole life, but in a split second she gives it all up

There was one line in Oz’s monologue they were struggling with for a whole day

They loved the idea of ending the volume on almost an identical shot from where they started

Neo’s look after Cinder takes the relic and doesn’t thank Neo for getting it is setting up some things for V8 (probably a betrayal)

Oz came back at that moment because he heard what Oscar said to Ironwood and that made him brave enough to return

Miles reveals that the Grimm whale is based on Monstro from Pinocchio

It is once again said that Volume 8 is the hardest one they had to write so far. Miles seems super excited about it

Volume 8 was made with some fan-input in mind (since it was still being written by the time V7 ended), but Volume 9 will be the first one written in a vacuum

[the-working-class-guide-to-films]

Tenet-No Spoilers

I am a massive Christopher Nolan fan. I’m a fanboy, I’ll admit. Nolan, for me, is the goat. I don’t think there’s a director out there today that can create movies like he does, the way he does it. The mix of pure spectacle, blockbuster action using real effects, combined with interesting characters and personal, real stories is something that is rarely achieved in the film industry today. 

John David Washington is The Protagonist, who after a mission goes wrong is recruited by a secret organisation, Tenet, to prevent the end of the world. He learns that there is a technology in the future that allows objects to be reversed through time and that people are buying these and selling them on the black market. Objects such as inverted bullets that cause much more damage than regular ones.

There has been criticism of Tenet that it is too complicated and confusing. And yes, this is definitely the most complex Nolan film to date. The inverted/reverse time business is quite bizarre and takes a while to get your head round but towards the end it certainly becomes a little easier to understand. The plot itself however is more complicated. All Nolan films are complex and there are always clues throughout that you won’t notice on the first watch that you will on the second. But the plots aren’t as difficult to understand than Tenet. With Tenet, I think the second watch will be to understand what you didn’t from the first one, and then on the third viewing it will click. Maybe, maybe some people got it straightaway, maybe some people won’t get it on the third. I think the film, and this isn’t just a criticism of Tenet, but of most films, is that the dialogue at times was difficult to understand. It’s hard to get your head round this in the first place, never mind when you can’t make out what they are saying. During the more exposition scenes it was hard to make out what was going on, and Tenet needed these scenes to be clear in order for the viewers to maybe get a better understanding of the plot. My biggest criticism of Tenet however is that it lacks the human side of his films, especially in comparison to his other films. Not that I went in over-hyped because I never think that is a good idea. And maybe the film was his homage to the spy genre where it wasn’t intending us to care as much about the characters. But in all his films, and however epic the scenes we always care about the character, that I feel is the main part of the film, it is what we are drawn to. Whether that be magicians in the Victorian era, a caped crusader, three layers deep in a dream or floating through space; it is the human element that always keeps the film grounded. I felt that Tenet didn’t strike that balance. And that’s not to say that John David Washington wasn’t good, because he was fantastic, but I didn’t necessarily care about his character because he didn’t have anything personal for us to relate to. In Inception and Interstellar, the two main characters are fighting to see their children again. It’s personal, it shows the human side. Washington’s character didn’t have that, it was him saving the world, and yes that’s brave and courageous, but why, why did he care? What was HE fighting for? And that was what disappointed me the most about Tenet because that side of Nolan is I think the most under appreciated. I LOVE the set pieces, the action, the mind-boggling plot, but the human side is what brings it all home. I was blown away during Interstellar with the visual side of it, the black hole, the waves, all of that. But it is when Matthew McConaughey’s character breaks down seeing his grown up daughter via a TV or reuniting with her at the end of the movie that overshadows everything else. Tenet didn’t have these personal moments and that was a real shame.

No doubt about it, Tenet is the biggest Nolan film to date. It is honestly huge. No matter how confused you may, or may not get, you won’t be bored. It’s a lot of fun. In most action films you’d expect to see maybe 2 or 3 small action sequences followed by the big kick ass action sequence at the end. Tenet has 4 or 5 big kick ass action sequences. The opening of previous Nolan films, The Dark Knight and The Dark Knight Rises really set the standard for opening sequences in action movies, Tenet follows suit and kicks off from there without skipping a beat. A lot of the scenes involve the inverted time structure, where the object is going backwards in time (I think that’s how it works), it’s incredible to watch.

It’s absolute madness. I don’t think I’ve seen something like it before. If I have, not to this extent. It’s barmy, but it is fantastic. Technically it’s a delight. The whole plane scene has been talked about, how Nolan bought a real plane to crash instead of just using visual effects. That’s the standard that action films should be aiming for. Yes, visual effects are a work of art, there is no denying it and I certainly won’t be shitting on it that some people do. I am incredibly envious of the skill. But there is something magical about watching real effects, and it’s become part of Nolan’s signature. 

Away from the jaw-dropping action scenes and the incredible technical ability on show the acting is fantastic. John David Washington is superb in this and should hopefully cement his name as an A-list. His character has it all, cool, scary, witty, he captures all of this. And it isn’t just his acting that is top notch but it is a very physically demanding role which as you might expect from a former American Football player, you might expect. I don’t think there are many actors who could have struck the balance quite like JDW did. Sure, an actor like Daniel Day-Lewis could do the acting, but he couldn’t do the physical side. Dwayne Johnson could do the physical side, but he can’t act. Washington achieves both terrifically. There is a huge, and brilliant supporting cast in Tenet, most notably Robert Pattinson, Elizabeth Debicki and Kenneth Branagh who each bring something different and exciting. Nolan comes under criticism for portrayals of women in his films which is something I don’t necessarily agree with but in this Debicki’s character is the one who we probably care about the most and it is her character that brings the humanity to the story. 

4/5 Now I’ve had a day to digest it, and now I have written this review, I’m really excited to watch it again. If it wasn’t for COVID I would probably watch it about 4 times. Maybe on subsequent showings I could give it slightly lower (although I’ve tried to be impartial) maybe I’ll think it is better once I understand it more. Yes it is a shame that the human side of the film is lacking slightly, but the technical ability on showing will blow you away. No matter how confused you are, you won’t be bored.

p.s There has been criticisms from some corners of the film industry saying that Nolan, and the studios, are irresponsible for releasing Tenet as the film to bring cinema-goers back, especially when the film is complex. Why would the audience want to watch a film they can’t understand? Now I have an issue with this. Critics slam the Fast and Furious franchise because it is over the top, silly, action fuelled, spectacle garbage. Critics will also jizz over films such as Midsommar, The Shining, The Lighthouse for their complex and interesting storylines. Now I love these films, but what exactly are those films about, and would you know directly coming out of the cinema. Would the link between Greek Mythology, Prometheus and giving knowledge to civilisation be known to you when you came out of The Lighthouse? Probably not. Isn’t there like a whole documentary on The Shining because there are so many fan theories? That film is weird af. I’ve always found an issue of classism within the film industry, especially when reviewing certain films. Action films are seen as dumb, lowest common denominator garbage, and yet odd artsy stuff is seen as the pinnacle of film. Nolan somehow manages to get these both together and yet now they criticism him when this complex stuff is the shit they love. Now critics want a film like Fast and Furious to bring people back, but you know they’d shit on it at any other point. Maybe Nolan can do no right, people have called his films obnoxious because they are too smart. Well maybe these people mistake the intelligence of the general viewer? Who knows, I’m just mad the Nolan hasn’t won a Best Director award, or hasn’t even got a knighthood when people like Ed Sheeran or Phillip Green have?

[metawatts]

When I’m With You, I’m at Home- a Freezerburn Thesis

Table of Contents

Introduction

Tell Me Can A Heart Be Turned to Stone?

Any Remarkable Heart Has Gone Through the Hardship and Shame

Goldilocks and Snow White- The Freezerburn Dynamic

Snowflakes, Sunlight, and Songs- Symbolism Surrounding the Ship

Counterarguments and Refutations

Conclusion

Let’s get this show on the road. 

1. Introduction

RWBY has had multiple attempts at diversity throughout the years, from the good, to the bad, and an entire spectrum in-between. Some of this involves LGBT+ couples, which are a favoured ship in the RWBY fandom. The most popular of these wlw ships are generally involving pairs between the main four girls, Ruby, Weiss, Blake, and Yang. In this thesis, I am going to discuss the characters of Weiss and Yang, the storytelling and development of their relationship, and why this ship is top-notch.

2. Tell Me Can A Heart Be Turned to Stone?

Weiss Schnee, first appearing in the White Trailer on February 13th, 2013, is the second character who appears in RWBY canon. In her trailer, Weiss’s main theme song, Mirror Mirror, characterises her as a lonely individual who fears that she has become so closed off from the world that she’ll never be able to make any connections or open up to others again.

Heiress of the Schnee Dust Company, Weiss is characterised as a prim, proper, snobby brat when we meet her in volume 1, her haughtiness getting her into spats with her teammate and partner Ruby, and eventually causing friction within the group when her racist and discriminatory attitudes collide with the rest of her team. While we don’t get a proper resolution in the form of actual apologies for her actions, this part of her characterisation is quickly dropped throughout the rest of the show and Weiss later becomes the main person to stand up to racist actions in the cast.

Weiss, from volume 2 onwards, is characterised as a defrosting Ice Queen, cold, proud, and thorny to everyone, but slowly warming up to her team. She proves herself to be loyal, brave, and compassionate to her teammates over the course of the rest of the show, consistently offering support and kindness where she can. She fits rather well as a support fighter within the group, consistently buffing her teammates with her semblance, and using her elemental dust for combat effect. She has consistently been a caring, supportive individual to her allies, despite her overarching motif of ‘loneliness’.

3. Any Remarkable Heart Has Gone Through the Hardship and Shame

Yang Xiao Long, first appearing in the Yellow Trailer on June 2nd, 2013, is the final member of the protagonist team to appear. Her debut song, I Burn, is all about her love of fighting, and her supreme self-confidence in her skills. What is interesting about the trailer version of I Burn is that it carries through the other songs from the rest of her team, depending on what stage of her battle she’s fighting.

The older sister to main character Ruby Rose, Yang doesn’t get much characterisation in volume 1 aside from being generally nice, supportive of her sister, and hints to some staggering anger issues and impulsive behaviour. This personality is in place throughout volume 2, where she gets more information given on her backstory and begins to show the flaws in her character, specifically how her abandonment issues from Raven drive her, her aimlessness of purpose scares her, and how her reckless temper puts her in more danger then she can handle.

Volume 3 puts Yang through a physical and emotional wringer, starting with being framed for attacking Mercury and ending with her desolate in her bed, having lost her right arm to Adam. The rest of the show attempts to tackle her storylines of depression, PTSD, disability in the form of amputations and prosthetics, the neglect and abandonment from her deadbeat mother, trauma surrounding Blake and Adam, and her anger issues. Despite it all, the core spark of Yang’s warmth is still available for her teammates, with her welcoming each of them with open arms when she reunites with them.

4. Goldilocks and Snow White- The Freezerburn Dynamic

Weiss and Yang have the healthiest friendship of the four main girls in team RWBY. They have excellent synergy when they work together, as implied first with their team move in Painting The Town, further fuelled with the two of them planning the Beacon Dance and having it go without a hitch, and confirmed when they go into the Vytal Doubles Round together. Weiss and Yang have complete trust in the other during combat, consistently protecting each other in a way no one else in team RWBY does. A good example of this is Weiss willingly throwing herself into a lava spout to protect Yang from an attack from Flynt. Even outside of fights they are always pushing the other to be their best. Eg. Yang confronting Weiss on her attitude towards Blake in volume 1 and Weiss supporting Yang throughout volume 5

While they don’t get as many scenes as some of the other bonds in the show, their rock-steady faith in each other is especially prominent after Yang kneecaps Mercury, with Weiss immediately declaring with full confidence ‘Yang would never do that’ and ‘Yang would never lie to us’ when Blake doubts Yang in the same scene. Yang, meanwhile, shows an incredible amount of emotional maturity after the Fall of Beacon when she recognises that Weiss did not choose to leave her side, having been forced to return to Atlas by Jacques.

When they reunite in the Branwen camp, they once again immediately have each other’s backs, with Weiss’s knight acting as a guard for their backs while they face off against Raven. Yang, despite her conflicted feelings towards Raven, instantly shows anger and horror at the fact that Raven kidnapped Weiss, showing how her bond with Weiss is much dearer to her. Weiss, once the danger has passed, throws her sword away without a shred of hesitation and bodily flings herself into Yang’s arms, hugging her close while proclaiming ‘I missed you so much’. Yang returns the hug, but not before looking stunned at Weiss’s actions, and returning the sentiment with ‘I missed you too’. In one of the more beautiful bits of animation in the show, Weiss’s knight fades out of existence behind them.

Throughout the talk with Raven, Weiss and Yang’s main roles are relegated to asking questions to allow for more exposition, but Weiss stands up for Yang quite a lot against Raven, specifically calling her obnoxious when Raven tries to start on a delaying tactic. Weiss also grounds Yang when Yang’s temper threatens to get the better of her, taking Yang’s hand and calming her down when Raven insults Taiyang to get a rise out of Yang. The two ride off on Bumblebee together, and when Yang reunites with Ruby, she shows no hesitation in inviting Weiss into the hug as well.

In Alone Together, we get Weiss and Yang talking in a scene where Weiss allows Yang to vent out a lot of her frustrations about Blake and her abandonment from family before she opens up about some of her own homelife, in an attempt at empathy about them both having experience with extreme loneliness. Weiss states ‘I don’t know loneliness like you do. I have my own kind’ and finishes the scene with ‘I’m here for you too’ to Yang, offering a measure of support that Yang has not been offered by anyone since she left Patch.

While Yang and Weiss don’t have much time together during the Haven fight, they are generally aware of each other, particularly when the other is in trouble. Yang’s expression when Weiss is impaled is horrified, meanwhile when Blake is standing in front of the rest of the team, Weiss’s eyes are on Yang to wait and see what Yang wants to do. It is only when Yang chooses to agree with Ruby that Weiss offers the hug to Blake, since she is aware of just how much Blake hurt Yang.

It is this trust and support that makes up the backbone of Freezerburn’s dynamic as a ship, with the two of them near-eternally supportive while also being willing to push the other to do better for themselves. Both with their own experiences of loneliness and with trauma, they also have never pushed their pain onto the other and have instead showed mutual communication, understanding, and warmth to each other.

5. Snowflakes, Sunlight, and Songs- Symbolism Surrounding the Ship

Freezerburn has a lot of good symbolism that is a shipper’s playground for the pair. From their first noticeable team-up being bookended with rainbows, to the very classic hot and cold dynamic that is very popular in a lot of important bonds in media. Yang saturates herself with fire imagery, to the point that it is the main tell of her semblance, and a recurring motif in most of her music. Weiss has the exact same saturation of her snow and ice motif, with her glyphs being snowflake-patterned. This provides a nice contrast both in and out of show for the two characters when it comes to their imagery.

Another, more subtle, piece of symbolism that threads through volumes 4, and 5, is Weiss’s knight being narratively tied to Yang. While one could make the argument that this started in volume 3, with Weiss first manifesting the Knight’s right arm in Heroes and Monsters, the same episode where Yang lost her own arm, that ties Yang’s traumatic experience into shipping fuel, which is a bad take and should not be done. Trauma is not romantic and holding up a disability and the event that caused it as the shining example of True Love is not a good argument for a ship.

Instead, we can talk about how Weiss first summoned her Knight in Two Steps Forward, Two Steps Back, where Yang also takes her ‘step forward’ so to speak, listening to her father’s advice for their next spar, and how tying the two events as the ‘Steps Forward’ also comes into play when they first reunite in Lighting the Fire. Throughout the beginning of volume 5, Weiss has been using her knight as her comfort, and it is only when she is hugging Yang that she allows her knight to disappear. While this symbolism is a thin thread, it is still worth mentioning as a connection that exists.

Speaking of the songs, Weiss and Yang between them have the most singular character songs in the RWBY soundtrack, each of them stringing together to tell stories. For Weiss, her songs start, retroactively, with Path to Isolation, flowing into Mirror Mirror, Mirror Mirror Part II, It’s my Turn, and finally ending with the masterpiece This Life Is Mine, where she lyrically discards the mirror motif that has been with her from the start. Yang, meanwhile, starts with I Burn, quickly followed by Gold to show her softer side, with her number of songs diminishing over the events of volumes 2 and 3, before it kicks back into force with the triumphant Armed and Ready, the anger-fuelled Ignite, and ending on the heartbroken All That Matters, where Yang ruminates on how much Blake has hurt her, and will likely hurt her again in the future.

These two ‘song stories’, so to speak, are both currently at a pause until we get any further Weiss and Yang solo songs, but considering how we left with Weiss on a high note in her character development, finally freeing herself from her father’s abuse and ready to take her life for herself, and Yang at a low point where she requires the support of someone who has not hurt her the way Blake did, it is an interesting contrast . I would also like to talk about the significance of Home playing over the Freezerburn reunion, as Home upholds the same values of endless support and safety that is a running theme throughout Freezerburn as a ship. Specifically, the lines ‘I had you through it all’ and ‘A haven of safety where I’ll dry your tears’ are very emblematic.

6. Counterarguments and Refutations

Now, the main argument that seems to exist against Freezerburn as a ship is, well, Bumbleby. Now, I don’t mean to attack Bumbleby, I am not trying to start a ship war, but I would like to point out that Bumbleby, currently as it is written from volume 4 onwards, is based around trauma bonding and lacks any of the trust or open communication that Freezerburn has. An example of this is the talk in the truck in volume 7 doesn’t have Blake and Yang discussing anything of importance and instead features them dancing around their issues until Yang goes along with what Blake wants. Another example is the main Bumbleby fight scene in volume 6, where Blake spends most of it offscreen climbing a wall, letting Yang take the brunt of the fighting, and doesn’t make any moves to truly protect Yang from her ex.

I would also like to state that Bumbleby, going into volume 8 this weekend, is not canon yet, and should not be taken as canon. If RWBY can confirm relationships with things like ‘this is my wife, Terra Cotta’, or with kiss scenes, then it can do the same for Bumbleby. And should Freezerburn become canon instead, then it is a good milestone for LGBT+ representation in media, as Freezerburn is also a wlw ship, and would not devalue the show’s attempts at inclusivity.

7. Conclusion

To finish things up, Freezerburn is a great ship. This ship is an overall positive development for Weiss and Yang, character-wise, as it brings out their best qualities rather then their worst qualities. Freezerburn has a healthy amount of trust, respect, and communication, never feeling like the other ‘owes’ them anything, and they are endlessly supportive in a variety of ways. It’s good, what else is there to say?

[unexpectedreylo]

Here It Is:  My Spoilerific Review/Post Mortem of TROS

When I saw The Last Jedi two years ago, the movie haunted me for days, for weeks, for months.  It inspired the imagination, dragging me into the world of Reylo and reassuring whatever reservations I had about the post-Lucas sequel trilogy.

The Rise of Skywalker haunts me too but more in a “Demon House” kind of way.  It fires up the imagination, but more in the sense that it keeps you up at night thinking of all of the ways it could’ve been better.

This isn’t to say I hate the movie.  I don’t.  It’s not even entirely or mostly bad which is what makes it extra frustrating.  You can laugh your way through a total disaster like “Cats” or “The Room” but a movie with plenty of promise and of talent behind it that makes some bad decisions is tragic.  Especially since this is the closing chapter to a trilogy and the saga itself.

You can see there are bones for what could’ve been a really good, maybe even great movie.  One of my favorite parts was the opener where Kylo Ren literally descends into hell/the underworld to confront the devil for no other reason than he didn’t even want Satan above him, a man who serves no gods or devils.   (That right there is a classic Byronic hero.)  Exogol is a great haunted house/spooky setting.  The revelation that it was Palpatine manipulating him all along was a shocker and makes Ben’s story that much more poignant.  I also really liked the contrast with Rey’s introduction, a beautiful shot of her in the verdant forest floating among rocks as she’s meditating.  She is Persephone in her element (which makes the ending all that more baffling but don’t worry, I’m getting to that).

This sets the stage for the revelation that the two are part of an intriguing concept, a Force dyad, kind of a Star Wars version of soulmates maybe even twin flames.  The two just had to acknowledge the feelings between them, reunite, and take out the Sith trash while Rey finally confronts her own dark side.   I don’t mind the latter concept at all because with the trilogy’s thickest plot armor, I think it’s valuable to put her in some peril and to have her better understand Kylo/Ben.

Abrams also wanted to recapture the feel of 1980s blockbusters like the Indiana Jones films or The Goonies, both made by his old mentor Steven Spielberg.  That’s most palpable when the Space Scoops Troop, er “trio,” falls into quicksand and pokes around an underground cave looking for one of the film’s many MacGuffins.  Abrams does good set pieces and powers them along with snappy dialogue.  Like TFA, it’s peppered with some genuinely funny scenes.

If nothing else, you can’t blame the cast for any of the film’s problems.  Everyone does the best they can with what they’re given and the long-standing chemistry between various pairs (Adam and Daisy, John and Oscar, Adam and Harrison Ford for example) do a lot to serve their scenes.  I think Oscar’s best scene was when he confesses to Leia lying in state that he doesn’t know if he can be the leader the Resistance needs.  It’s an honest, human moment.  Daisy continues to infuse Rey with her natural luminance.  I particularly liked the few quiet moments she has, such as meeting the children on Pasaana or healing the snake.  It shows her compassion and foreshadows healing Ben.

Daisy does pretty well with what she is given about struggling with her dark side.  (Remember, she didn’t write her own screenplay.)  Maybe it’s unpopular to say this but I kind of liked her brief turn as “Dark Rey.”  I have no doubt had she turned dark she would be pretty scary.  Her desire for revenge and fear of her own nature--driven by genetics or not--were intriguing concepts and I thought she tried to make the most of it in her performance.

Ah Adam Driver.  God bless that man.  He brings his considerable A-game 100% of the time no matter what and it shows.  He could sell sand on Tatooine.  I have no idea why they put the mask back on him other than a marketing department decision as I suspected, but taking it off when he’s making his appeal to Rey before she leaps out to the Falcon carries a gravity few people can pull off.  His reconciliation with Han was one of the film’s highlights.  For once the repetitive nature of the script actually worked in TROS’s favor, as Kylo retraces his steps in that fateful scene from TFA and finds a way to clear his conscience.  I also think this was originally meant to help the audience forgive him, especially since right after this he renounces the dark side.  Which makes later choices baffling, which I’ll get to.  Driver’s shiniest shining moment though is when he is once again Ben Solo.  Deprived of dialogue for the rest of the film other than “ow,” he nevertheless manages to convey a different personality that is very much Han Solo’s son.  His fight scene is right out of a 1970s martial arts movie, imbued with determination and sass.  I want to see a trilogy about THAT guy.

The Reylo scenes are, well, until it goes south, wonderful.  Some of us would’ve  preferred a lot less fighting but I see it as mostly Rey trying to deny herself and Kylo not being sure if he really wants Rey to turn to the dark side.  (On that note, I wish we’d seen Rey’s vision of sharing a throne with Kylo rather than just hear her talk about it.)   As I predicted, the turning point of the relationship came after the lightsaber battle on the Death Star wreckage.  I find it interesting that Kylo hesitates to kill Rey--partially because of his mother’s influence--and it’s she who could’ve killed him.  She immediately recognizes the dark side was turning her into something she didn’t want to be and nearly costs her the man that deep down she loves.  She heals him completely and along with her confession that she would’ve taken Ben’s hand, his soul is nearly healed by the power of love alone.  Which makes the film’s later choices baffling.  If you think about it, Ben’s turn is even more dramatic than Vader’s.  Vader chose his son over the Emperor at the last minute, some inkling of his light still there shining through at the right moment under duress.  Ben flat out rejects the dark side of his own volition.  That is pretty powerful.  Which makes the ending far more painful.

Rey and Ben’s one big romantic moment was tender and sweet and that was a pretty good kiss.  We finally get to see Ben’s big toothy grin.  Even though we all hate it, Driver did an amazing job conveying first his sorrow over Rey, then his relief, his joy, his love, and finally his strength leaving him.

Visually, the film looks great.  I think J.J. did an even better job shooting this film than TFA.  Adding to the visuals is the fabulous art direction.  They hired supervising art director Paul Inglis immediately after his previous flick Blade Runner 2049 came out, and that decision paid off.  This leaves the film with a number of beautifully-rendered scenes, whether it’s the haunted house scary underworld beneath Exogol, Kylo Ren’s starkly white quarters, the landscapes of Pasaana, the stormy seas around the Death Star II’s wreckage, the shot of Rey hesitating in the Star Destroyer’s hangar before leaping out to the Falcon, or Rey meditating among the floating rocks during her introduction.

I liked D-O and Babu Frick.  I even liked the lady who complimented Kylo’s helmet.  

Where do I start having problems?  The first time I saw the movie the scenes with Leia didn’t bother me but the second time I saw it, it was far more apparent they wrote around the bits of footage they had left.  It was a valiant effort to make Carrie Fisher part of the last film she never had the chance to perform in but it didn’t feel organic.  Since Leia dies during the movie anyway, I don’t know why having her pass away offscreen in between TLJ and TROS is less merciful to the audience than having her body lie beneath a sheet for half the film.  No wonder Billie Lourd skipped the premiere of this flick.  I couldn’t take it if it were my mother either.

On my second viewing, the Resistance base scenes started to get on my nerves.  Maybe it’s because I got tired of looking at the same group of like 10 people over and over.  Maybe I was annoyed that the only purpose of those scenes was to earnestly spout exposition.  Now, exposition is important.  I’m surprised Abrams, notorious for not bothering with it even if it’s necessary, even did this much.  But there was something about George Lucas’s Rebel base scenes that made these people look and act like guerrilla soldiers.  Maybe it was Lucas’s experience shooting films with Navy guys as a student, or his documentary style.  Abrams’s Resistance behave more like college students and activists than soldiers.  

But TROS’s biggest problems lie in its breakneck pacing and its writing.  Parts that should’ve had greater emotional resonance don’t because it moves along too fast.  I would’ve sacrificed one of the set pieces/action scenes or chuck one of the pointless new characters for the sake of deepening the relationship between Kylo and Rey or showing us more Ben Solo.

Some of the characterizations seemed off.  I know a lot of fans are deeply unhappy Rose Tico didn’t get to do much but I was surprised to see her in it even to the degree she was there.  What gets me about the whole Rose thing was her relationship with Finn is totally forgotten FOR NO REASON.  Really, why drop it?  There was no narrative purpose for doing so!  

General Hux is totally wasted in this film, reduced to little more than a cameo.  Sure it might be a surprising twist that “I am the spy!!!” (LOL) but his reasons for it are totally OOC.  He might despise Kylo Ren but to the point of helping the Resistance?  This is the guy who cheerfully blew up the Hosnian Prime system and wanted to blow up more.  He’s evil, a psychopath, a true believer in the First Order.  He might give the Resistance a tip that would result in embarrassing Kylo Rey and use that to start a coup against him but just helping the Resistance out of petulance and spite?  Nah.

Poe tries in this film to be a combination of rogue and deadly earnest idealist, but you generally don’t find those two qualities in the same person.  One second he’s talking about smuggling space dope, the next second he’s saying stuff like “Good people will fight if we lead them!”

Finn, God love him, is reduced to largely running around yelling, “Reeeey!” and eagerly trying to tell Rey something but the film never really got around to what it was.  It wasn’t until a Q&A session that Abrams revealed Finn was trying to tell Rey he was Force sensitive (something that should’ve been developed over the course of the trilogy).  Abrams had time to show us a random lesbian kiss for representation points, but no time for Finn to tell Rey he was Force sensitive?  Huh?

The story not only contradicts the previous films--I wonder if Abrams even saw his own movie TFA much less anything else besides the OT--it contradicts itself throughout.  Palpatine’s return is never really explained and his motives with Rey keep changing.  MacGuffins are added on top of MacGuffins with side missions thrown in.  Chewbacca is blown up then he’s miraculously alive on another transport we didn’t see.  Abrams and Chris Terrio didn’t just add to Rey’s origins, they blatantly spackled over it and TLJ’s overall message.  Discovering one is of evil origins is a gothic storytelling trope but really, it should’ve been developed since the first film so it doesn’t feel like whiplash from something else.  Everyone keeps telling Rey don’t be afraid of who you really are, but Rey ultimately does nothing but run from who she really is.  With each reversal, retcon, or contradiction in the film, it leaves a mess.  We’re supposed to believe Rey was better off sold to Unkar Plutt than be with her not-so-bad parents?   Who the bloody hell had sex with Darth Sidious?  You mean to tell me Luke and Leia knew all along Rey was a Palpatine but they never bothered to say anything and somehow they had more confidence in her than in their own flesh and blood?  Oh while we’re at it, I noticed the second time I saw the movie they straight up gave away Ben’s death before it happened!  WTF?  “Leia saw her son’s death at the end of her Jedi path.”  It seems like Luke and Leia were resigned to Ben’s fate as some horrible destiny that couldn’t be changed but Rey was still an open book to them.  That’s so stupid and really fellow OT fans, how does this respect our childhood faves?  Han comes off as the only decent person in this thing.

Rey and Ben taking on the Emperor was a great applause moment, the dyad unified against the ultimate evil.  For the most part it was fantastic...until The Yeetening.  Two things annoy me about the remainder of the conflict against Palpatine.  One, Rey and Ben should have destroyed Palpatine together.  If Rey could do it on her own then what the hell did she need Ben for?  He could’ve sat out the rest of the movie at Starbucks and remained alive while Rey killed Palps on her own.  There’s no point to their combined power because it wasn't necessary.  Two, while poor redeemed I-turned-back-to-the-light Ben was crawling up the pit with no help from anyone, every good guy we ever knew of in Star Wars, even from the cartoons, is giving a voice over pep talk to Rey.  (It seems cheap too since we don’t see the characters.  Avengers Endgame did this kind of thing far better.)  How about if the pep talk was given to the BOTH of them?  That Anakin Skywalker, the man Ben had idolized, had time to say “wakey-wakey” to his tormentor’s granddaughter and not his own grandson is appalling.  The third thing is while Darth Vader defeated Palpatine with the love for his son and his long-gone wife, Rey defeats Palpatine simply with power.  Rey and Ben’s love for each other could’ve been the force that defeats the Sith once and for all but for some reason it doesn’t occur to Abrams and Terrio.

I could’ve forgiven most of this--the jar of Snickles and all--had they got the resolution right.  But they didn’t.

ROTJ and ROTS’s endings were masterful.  ROTJ gives you an idea of what trajectory our heroes were likely to follow:  Han and Leia were going to end up together, Luke was going to bring forth the next generation of Jedi.  ROTS sets up Obi-Wan on Tatooine, Yoda on Dagobah, Leia on Alderaan, Luke on Tatooine, Darth Vader on a Star Destroyer, and poor Padmé on her way to Star Wars Heaven.  I have no idea what happens to Finn.  Maybe he’ll train with Rey.  Maybe he’ll go to college.  Maybe he’ll backpack through Europe.  I have no idea.  His story just stops.  Same deal with Poe.  Aside from getting shot down by Zorii, what’s he going to do?  The film gives zero indication.  It goes from the Free Hugs session to Rey squatting at the old Lars homestead.

The biggest crimes though occur to Ben and Rey.  Ben’s death sucked all of the air out of the film.  Yes, it’s beautiful that Ben loved Rey so much and so selflessly he was willing to surrender his life for hers.     It’s beautiful that it never mattered to Ben who Rey was, whether it was “nobody” in the last movie or the granddaughter of his tormentor/enemy in this one.  Had the Palpatine concept been there all along, there would’ve been something sweet about healing the rift originating in the prequels.  But I wanted Ben to live.  I wanted for once for someone to address the issue of atonement but Terrio and Abrams were too lazy to bother.   If The Grinch could be redeemed AND find atonement with those he wronged in a 30 minute Christmas special with commercials, then why not Ben Solo in a 150-minute movie?  

I could have lived with a sacrifice arc though had it been handled correctly.  But they flubbed it big time.  The sacrifice isn’t honored at all.  He just dies, he vanishes as Leia’s body vanishes, and he’s “never to be seen again.” Or mentioned.  Rey barely reacts on camera.  It’s as though reviving Ben from certain death, choosing good over evil, making a valiant attempt to save his girlfriend armed only with a blaster, and giving his life for hers weren’t valued by anyone.  The movie didn’t give a damn.  When Vader died in ROTJ, he at least had final words with Luke who then burns Vader’s remains on a pyre.  We see Anakin restored to his true self join the Force Ghost crew at the end of the movie.  We got none of this with Ben.

It’s also the most frustrating and disappointing disruption of a romantic arc since 1980′s “Somewhere In Time.”  In that film, Christopher Reeve travels back to 1912 and finds true love with Jane Seymour.  Everything is going great and Reeve’s character has made the choice to stay in that time and marry Seymour.  Then he pulls out a 1979 penny and is sent “back to the future” as Seymour screams.  At least that film though had the decency to reunite the love birds in the afterlife.  Which might explain why the movie still has a cult following to this day.  Tragic love stories always make sure there’s some kind of catharsis for the audience.  Rose takes Jack’s name, lives her life as he asked her to do for him, tells his story, and reunites with him when she dies.  Romeo and Juliet are united in death and the healing of their respective houses begins.  Even Padmé got a state funeral and had the legacy of her children.  There was no such catharsis for Rey and Ben.

Rey ends up right where she started:  alone and in the desert.  She got the Dorothy ending, there’s no place like home.  But the difference is Dorothy is a child not yet ready for the big scary world and the answers to her problems weren’t out there but right where she was.  Rey is a grown woman.  She should’ve been treated like one.  Instead she is deprived of her lover/soulmate and while such a separation should have been painful, it doesn’t even register.  She has a “found family” but they’re not there with her.  She’s in a home others tried to escape from, haunted by ghosts instead of being among those she loves.  Taking the Skywalker name seems tacked on, as though they realized if the name is to live on somebody needed to take it.  Why not then just have made her Han and Leia’s or Luke’s daughter in the first place?  It’s worse when you remember it’s a Palpatine who’s usurping the name.  Or when you realize she’s still hiding who she is.  

Here’s what would’ve been better.  Rey tells the Resistance about the pure selflessness of the Skywalkers and she wants that to be the core value of the new Jedi going forward, where every new student was going to learn their story.  Then we see her anywhere but Tatooine, happy and surrounded by students of all ages.  Maybe Finn training too.  She sees the approving Force ghosts of Leia, Luke, and Anakin.  Then Ben, clearly a different entity, materializes beside her.

Or something, anything other than what we got.

It’s as though they kept making story decisions without giving any thought at all to their implications.  They tried to do too much while being lazy about it.  They went for expedience--copy pasting ROTJ when convenient--over meaning.

The ending accomplishes what no other Star Wars film has done to me in 42 years of being a fan...it broke my heart and fulfilled my worst suspicions about where the ST was going to end up, largely due to its deflating ending and terrible denouement.  It leaves for me and many other fans a big gaping open wound, not closure.  

Ultimately the sequel trilogy’s biggest flaw is that there clearly was no plan.  What we got was a billion dollar game of exquisite cadaver with no real design for characters, their arcs, the story, or even what message these films are supposed to have.  Every decision was based on the director’s own ideas along with corporate meddling.  So we get conflicting ideas and blatant spackling over what the last director didn’t like. Was Kylo Ren meant to be a guy we love to hate or a lost boy we want to come home?   Was Rey a heroine we can all aspire to be or a lost princess of darkness?  What the hell was the point of Finn or Poe?  What does this add to the saga overall aside from more stuff?  Who are these films even for, old OT fans or young fans?  I believe it’s this lack of a plan that has generated so much confusion and bitter internet wars among fandom.  

[dreamcatcherfication]

The Queens of London Part 3 - My Loneliness is Killing Me

Hello hello hello! Chapter three has arrived, and boy does this one have some developments in it. (I say that like action happens. It doesn’t really). This chapter is mainly exposition and worldbuilding for you all, but there is some good drama throughout and some action in there. Sorry for any spelling/grammatical errors, my dog ate my chromebook.

Writing Masterpost

NOTE: I know historically that Katherine Brandon is Maria de Salinas’s daughter, but for the sake of this story we’re going to pretend that they aren’t related. Otherwise, it would cause a lot of plot holes with Maria’s involvement with the queens that’s just way too hard to work out for how the story is being written. 

If anyone wants to send in prompts or requests, my inbox is always open, I love hearing from you all! Here are some prompts and asks if you ever feel like dropping by:

Prompts | More Prompts | The Trifecta of Prompts | Random Asks

Trigger Warnings: Vague mentions of sexual abuse

Part 1 | Part 2

The Queens and their ladies sat around the table listening to what Jane and Joan had gathered on Kat. “She was very uncomfortable,” Jane noted.

“Especially when I called her Brandon,” Joan threw in. “This girl’s hiding something, the only problem is we don’t know what.”

Cathy twirled a pen in her fingers. “Well this certainly complicates things.”

“Why don’t we just confront her on it?” Anne asked.

Maggie nodded along with her. “She can’t lie to all of us.”

“No,” Aragon sighed, “that wouldn’t work. She’d get defensive. If nine suspicious women surrounded you and demanded the truth, would you confess?” Anne let her eyes fall as her suggestion was rejected.

“Why are we talking about Kat as if she’s already a criminal?” Anna asked from her chair. She was leaning on the arm and had her leg up at an angle, a stance she put on to suggest that she had little stake in the conversation. Really, the others knew Anna had a big heart and was willing to intervene on behalf of any of them.

“She’s right,” Jane agreed. “I can keep an eye on her, like you all suggested, but other than that, we leave it be. Kat looks properly like a kid, we shouldn’t treat her like a hardened criminal.”

Cathy sat up and reminded the group, “She does supposedly deal with the Black Market, though.”

“Yes, we can’t forget about that,” Maria affirmed.

Rubbing her forehead, Bessie stood up. “I usually just let you do your thing, but this is dragging on. Let me just do a quick synopsis and then we can go home, kay?” When there was no objection from any of the others, Bessie continued, “Okay. Katherine Brandon, well known for her popular record label and dealings with the Black Market, has never been seen in public. Apparently, that’s because she looks like a seventeen year old. Although we don’t officially know her age, something’s clearly wrong with this whole situation. What I believe we’re all thinking right now is that Katherine Brandon is an alias.”

“Exactly,” Joan pointed at Bessie. “She flinches every time we say her name. Normally I would suggest that means she isn’t Katherine Brandon, but there’s no way anyone else could have gotten ahold of that note. Besides, what random person opens an envelope not addressed to them?”

Agreeing with Joan, Bessie finished the basic rundown. “We can’t directly confront her on this suspicion, but we can have Jane keep an eye on her. There will be no stalking,” she said this directly in Anne’s direction. “And things will continue as planned. Sound good?”

There was unanimous agreement among the group as they disbanded the meeting. As everyone got up, Anne pulled Cathy to the side. “Hey, is it just me or is there something familiar about Kat?”

The journalist frowned. “Not that I could tell. Why ask me?”

Anne shrugged and hid an embarrassed face. “You know the most, I figured if anyone would have any idea, it would be you.”

Giving Anne a kind smile, Cathy clicked her pen. “Well I’ll keep an eye out and tell you if I suddenly recognize her.”

“Thanks Cathy.” Those were the last words the queens exchanged before leaving for the night, set to return at the same time tomorrow.

Making it home, Kat immediately went to her old laptop and worked on getting it running. She had the thing from when she still lived with her father, but after being kicked out she was unable to get anything better. When the screen was properly lit, she typed in Jane Seymour Joan and waited for any information to pop up. First off, she got a bunch of photos of Jane at promotional events with Joan at her side. The two of them looked close, maybe even siblings. 

There was an article attached to one of the pictures, so Kat clicked on it and started reading. “Joan Meutas is the co-owner of the Seymour fortune with her close friend Jane Seymour. Okay, so not related,” Kat talked to herself as she read. “The two are rarely seen without the other and they deal with Seymour related activities equally. When asked about allowing Joan to control half of her fortune, Jane said ‘Controlling all that money by myself is for too much power. I trust Joan to handle it far better than I could all alone. We work together and that’s what works best for us.’” Kat couldn’t help but feel her respect for this woman grow.

Moving on, Kat did her best to find the other ladies she had never met. She remembered Jane mentioning the names Maria, Bessie, and Maggie, so she started searching. After no results were yielded from Anne Boleyn Maria and Catherine Parr Maria, Kat struck gold with Aragon News Maria. There wasn’t as much personal stuff on her as there was on Joan, but there was quite a bit of work related information. Maria de Salinas is the close friend of CEO Catherine of Aragon and works beside her as the CFO of Aragon News. It is unclear when the two of them met, but when Catherine inherited her business, Maria was immediately appointed the CFO beside her.

The process continued with Bessie and Maggie. Margaret “Maggie” Lee is the main supplier of alcohol to Boleyn owned bars. While she does not own any alcohol companies, Margaret is known for providing some of the best mixes from different suppliers. Boleyn talks about her in many interviews as, “the best of both worlds. She makes a killer cocktail and she’s the best friend I’ve got…”

The article for Bessie was particularly long, so Kat skimmed it. Elizabeth “Bessie” Blount is the spokesperson for Cleves Fashion. She organizes the company’s events and speaks at press conferences in the place of legendary designer, Anna of Cleves. The two have been close friends for years, Elizabeth even collaborating with the designer on some occasions. There was a period of time where Elizabeth left the company to work for Aragon News, but she quickly quit under mysterious circumstances.

As much information as the articles had provided, Kat couldn’t help but have more questions than she started with. There was so much behind these nine incredible women, and she was hiding herself in their group, pretending to be someone she wasn’t. 

Katherine Brandon is the owner of Darkrider Records and is known for writing many Number 1 hits in recent years. She appeared out of nowhere, taking the world by storm with her work and collaborations with rising artists. But perhaps the most interesting thing about Brandon is the lack of pictures of her. In fact, there is not a single confirmed photograph of Katherine Brandon, leading to some wild conspiracies surrounding her. Many claim that they’ve dealt with people under the alias Katherine Brandon in the Black Market, garnering Brandon an infamous reputation in the business world. Another one of the most famous conspiracies surrounding Katherine Brandon is that she is not a singular person, but rather a group of influential people pretending to be the figurehead of the company.

That was certainly quite the character Kat would have to play. Her only grace of good luck was the lack of information on Katherine Brandon. “Why am I doing this,” Kat mumbled under her breath.

The answer came clear as day, even though Kat didn’t want to accept it. Accepting her answer would mean continuing this dangerous lie. But her resolve was breaking down quickly, and Kat couldn’t help but think of her reasons. Backing out would mean her life would go back to the way it was. Playing music to passersby and barely making enough money to afford her dingy apartment. She didn’t even have much of an education, something she desperately wanted. These women had offered money in their note, but that wasn’t what really interested Kat. Of all things, it was because Kat was lonely. She had no one and nothing and slowly but surely it was killing her. This was probably her only chance at doing something worthwhile in her life. She could disappear off the map and never matter at all, or she could help take down a murderous, corrupt politician. 

When phrasing it like that, Kat knew she never stood a chance of backing out.

Unfortunately, joining a secret plot to overthrow a wealthy politician did not really have any benefits. Waking up at the crack of dawn to get set up on the street was not something Kat particularly liked doing, but it was necessary if she wanted to make enough money from free music. At first she couldn’t make much money, but quickly Kat learned the trick was the length of time she spent playing, not the quality of the music.

Most of the time people dropped money out of pity, not because they enjoyed the music she played. Kat hated living off of pity money, but no one ever wanted to hire her for a job, leaving her with no choice. The day always started out slow with only a few dollars here and there, but business picked up later on in the day. Kat liked to refer to her music as if it was a real job, using terms like business and customers to make herself feel better about the whole situation.

As the pale morning started to fade and the sun began shining through the clouds, Kat huddled in on herself, obsessively checking her watch that was propped against her guitar case. 7:50. Kat anxiously chewed her lip and strummed the guitar, trying to keep her mind fixed on the music. In the next few minutes, Jane would walk by and for once Kat did not want to be noticed.

“Kat? What’re you doing here?” asked a voice, causing the girl to jump in her seat. Dread and nervousness settled in her stomach, but Kat put on her best facade. The minimal information on Katherine Brandon allowed her to build her character as she wished (Kat was glad she had taken those theatre classes when living with her father), so she tried her act on Jane.

Appearing calculated and confident, Kat glanced down at her instrument and then back at Jane. “Oh this?” Kat commented offhandedly, “I play out in public in order to attract anyone interested in music. You’d be surprised how many talents come by and start singing with the music. How do you think I recruit so many new stars to my label?”

Jane hid her surprise at Kat’s sudden change in demeanor well. The girl was acting completely different than the worried teen the night before, which immediately sent up red flags in Jane’s mind. “How long do you stay out here?”

“Eh, only a couple hours in the morning, I usually go to the company to put in some actual work. Can’t be slacking off.”

Taking note of the vagueness in the word “work”, Jane bobbed her head up and down. Kat was acting exactly how the queens had predicted Katherine Brandon would, something that shouldn’t have been strange. But Kat made a lasting first impression, and to have her do an entire 180 in a single night meant something was up. “I can’t stay for long, Kat, but I’ll be seeing you later tonight.”

Returning to her music, Kat gave a small wave, “Yes Jane, I’ll be there.” With that, Jane walked off and Kat sighed heavily, releasing the tension in her body. While her Katherine Brandon character wasn’t perfected, that portrayal was certainly more believable than the nervous girl Kat had been the night before. Being Katherine Brandon was far better than Kat being herself, and if that’s what it took for Kat to take her first steps into this new world, she would take it in a single leap.

The night came again quickly, Kat’s nerves skyrocketing as the first sign of darkness started creeping into the sky. This time, Kat was more prepared, so she pulled out her cleanest pair of pants and the nicest dress shirt she owned, regardless of the warmth. If she was to impress these women, she needed to dress elegantly while also appearing nonchalant.

Arriving at the closed theatre, Kat moved to open the door like the first night. Before she could grab the handle, someone’s hand wrapped around her mouth and another around her waist, wrestling her away from the door and into the alley beside the theatre. Screeching into the hand, Kat started thrashing in panic, pushing at her captor.

The person made a grunting noise and Kat squirmed, but they kept a tight grip on her waist. Suddenly, Kat was thrown back into the memories of hands on her waist, holding her and touching her. A sob came out of Kat’s mouth as she started to shake, only for her assailant to let her go.

“Kat?” came the soft voice of Anne Boleyn. The bar owner had quieted herself so she couldn’t be heard by anyone other than Kat. “I’m sorry, did I scare you too much?”

Spinning around and lifting her head, Kat realized the person who had attacked her was only Anne, her face heating up with shame as she saw how badly she’d spooked Kat. “Why would you do that?” Kat whispered hoarsely, trying to regain her composure.

Putting her hands in her coat pocket, Anne shrugged. “I was trying to test you, see how well you reacted to being attacked.”

“Yeah, well I’ve never been attacked like that before, so clearly I didn’t do well.” Kat sighed and clenched her fists so Anne could not see the trembling. “Just don’t do it again.”

Anne held her hands up defensively. “Sorry, sorry. You head inside, I’ll be in in a minute.” Kat nodded and moved around Anne and out of the alley. She shot one last glance at Anne before moving inside the theatre to join the other women.

When Anne was sure Kat was gone, she reached in her pocket and pulled out a wallet. Opening it up, Anne began muttering to herself. “Alright Brandon, let’s see what secrets you’re hiding in here.”

[ordinaryschmuck]

What I thought about “Young Blood, Old Souls” from The Owl House

Salutations random people of the internet who probably won't read this. I am an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons. Today, I am reviewing the season one finale of The Owl House. And by the way, there are zero dislikes that I have for this episode. Any issues I could have are either petty nitpicks, or just not worth talking about. So, for the first time ever, I'm going to share my thoughts unfiltered. No likes. No dislikes. Just my thoughts on why I think this episode turned out as great as it did. And in case you couldn't guess, there are going to be enormous spoilers for the finale itself, and The Owl House in general. So consider this your last warning as we dive in!

The opening narration: I'm a sucker for fairytale esque opening narrations in stories, and that's the feeling I got when watching this scene. Sure, you could say that it's an exposition dump that tells us stuff we already know, but I don't see it that way. I see it as a technique to set the mood of the episode, while also reminding us how much of a threat the Belos can be.

And again, let's ask ourselves: How much is accurate in this small history lesson, and which parts are made up by Belos? Because who's to say that he isn't the one who wrote the book that King is reading?

No intro: This. Was a shock.

Usually shows shorten the intro to it’s first and last portions, or at the very least, flash the opening logo. Never, to my knowledge, has a series straight-up drop both the intro and the logo. To me, that is a good sign of a great episode. Because no intro tells me that the writers had so much to put in, that they didn't want to waste a single second to even flash a logo.

Not that many jokes: The jokes were another appreciated, albeit well missed, absence within the episode. Because this is the season finale. An event that, depending on what show you make, needs to be taken seriously. And while I say that The Owl House is a comedy show with drama on the side, that doesn't mean it shouldn't focus on the drama if an episode calls for it. And an adventure where Luz has to save her mentor from an emperor who turns people to stone? Yeah. That's an experience where drama has to take center stage for the time being.

Luz is serious and angry: Don't get me wrong. I love Luz for her endless optimism and her ability to find fun in whatever situation she's in. But this is not the type of episode that requires that personality. If anything, I was happier to see Luz act more seriously rather than stick to her quirky personality. Because this proves that Luz isn't some oblivious goofball who can't see the darkness in the world. It shows that she understands when to be serious if the situation calls for it. This also reveals that not only can Luz get angry, but she can get downright vengeful. Her desire to make Lilith pay is not only understandable, but it's absolutely justified. Say what you want about her now, but what Lilith did to Luz in the last episode was awful. So I can't really blame her for getting angry at the mere sight of Lilith.

Now, if Luz were to remain with this angsty personality, then I would be less than ecstatic. But it seems pretty clear to me that angry Luz is a situation-dependent side of her personality that will only come out in the more dramatic episodes. This is evident with the fact that Luz's optimism returns after Eda comes back safe and sound. So while I came to enjoy angry Luz, I'm still going to prefer happy Luz any day.

Owl Beast Eda sticks her tongue out: I love the idea that this was a part of the real Eda shining through, just because the thought of Eda fighting a curse to get under Lilith's skin is just funny to me. And Lilith sticking her tongue out too was just icing on the cake.

Belos’ is still terrifying: That's it. That's all I have to say. We get even more of a glimpse of Belos' power, and it just cements how he's the most terrifying villain that Disney has made in years. Because I saw his fight with Luz (more on that later) as Belos holding back. Which makes me wonder: WHAT THE F**K IS IT GOING TO LOOK LIKE WHEN HE'S ALLOWED TO LET LOOSE?!

And if I'm being honest with you guys, I'm a little scared to find out the answer to that question.

Eda is partially the Owl Beast: This was a cheat, but an effective one. It gives Eda a chance to have actual speaking roles, while also nerfing her, so she doesn't escape. Would it have been more tragic if Eda spent the entire episode as an unintelligent monster? Maybe. But it also means Eda couldn't give Luz the portal (the most important thing in the finale) and not get to say goodbye to Luz (the most gut-wrenching scene in the finale). Say what you want about Eda being partially cursed, but I think it was a smart decision.

We meet Gus’ dad!: This might not seem like a big deal, but I certainly enjoyed it. Hell, I always appreciate it when I get to know more about the lives of characters in my favorite media. And finding out that Gus' dad is a news reporter? That's a nice reveal, even if it's not the most important thing to happen in the show.

Petrification: Sooooo, this is basically the death penalty. Let that sink in for a second. Because the world of this show, that's aimed for children, actually has a death penalty. Sure, the writers don't actually use the d-word. But turning people into stone with no way to turn them back? They might as well be dead at that point. And I actually like that The Owl House is allowed to go this dark. It raises the stakes much higher than any episode once we find out that Eda could die if Luz fails. And that's a thought I'm sure no one appreciates. Especially Luz.

Luz and King stepping on the grass: Hey, there may not be that many jokes in this episode, but that doesn't mean it isn't allowed to be hilarious. And, yeah, this got a huge laugh out of me. Both from how King and Luz look as they commit their "crime," and because of the guard's over-the-top reaction to it. It gets me everytime.

Warden Wrath’s high-pitched scream: Not much to say here other than I just thought it was funny. Because what also gets to me is when a "big scary character" does something pathetic like what Wrath did. And if you didn't hear his scream, go back to play this scene again. It's well worth it.

“Draw me a map!”: I don't know why I love this line so much. Maybe it's because Sarah-Nicole Robles' delivery made me laugh, or because it preemptively shuts up nitpickers who would ask how Luz knew where the detention center is. Either way, this was a great line.

Willow and Gus help...sort of: In the grand scheme of things, Willow and Gus didn't really do that much when helping Luz and Eda. Sure they got a crowd to chant about letting Eda go, but that effort didn't do anything to stop the petrification. Even that brief moment of standing up to the Emperor came to an end the second he showed up. Which means that it's an issue that Willow and Gus didn’t really help Luz, right? 

That would true if it wasn't for the fact that Willow and Gus didn't immediately jump at the idea of backing Luz up if she needs them. That makes these two the perfect best friends that Luz could ask for, solely on that loyalty alone. Would it have been better to see them fight alongside Luz? Maybe, but I doubt Luz would actually want her friends risking everything for her vendetta. Besides, I doubt Willow and Gus would really be that much help compared to how quickly Lilith dismissed both of them in the last episode. So while they get a C for contribution and efficiency, they get an A+ for loyalty in my book.

Eda’s goodbye to Luz: Oh, man. And I thought Eda's goodbye in "Agony of a Witch" was painful. This? This actually got me misty-eyed. And I think the reason why it's more heartbreaking this time around is that Eda is fully showing her emotions in this scene. In my "Agony of a Witch" review, I said that Eda was trying to hide how dire the situation from Luz by smiling and playing the thing off as no big deal. She fails because her eyes and her voice cracks give away all of her feelings, but she still tried nonetheless. This time, however, Eda makes it clear how serious the situation is with both her expressions and tone of voice. Probably because the last time she tried to be gentle with Luz, her apprentice threw herself into the lion's den. So as a result, it comes off as more heartbreaking, given the fact that Eda makes it clear how serious their predicament is. And the fact that she not only says a real goodbye to Luz but practically pushes her away?! Add that with the fact that they share "I love you's" to each other, and you got a scene that just tears at the heartstrings.

Luz crying again: NnnnnnnOPE!!!

I already said that the single image of Luz crying was enough to break me. So seeing her just break down and sob her eyes out is more than enough to hurt the soul, man!

IT HURTS DA SOUL!

“Talk to the glyph, WITCH!”: You know for a FACT that if Luz was allowed to swear, she would use a very similar sounding word to describe Lilith. And I love that implication!

Luz can’t do magic in the human realm: Woah boy! It was one thing when we all predicted it. But to now have visual confirmation that Luz cannot, in fact, do magic in the human realm? Let's just say that adds a whole new level of heartbreak for when Luz has to go home. As well as an overflowing amount of angsty fanfics that plays with that idea.

Lilith’s backstory: ...

*DEEP INHALE*

I will hold off Fredrick Ulisinsburg for now. For. NOW. Because while Lilith's actions are nowhere near justified...it is clear that she does regret her actions. Lilith said it herself. She thought the curse would last for at least a day, and in no way intended for it to be permanent. It's still crappy of her to willingly curse Eda at all, but at least she didn't want her sister to live a life of torture. Plus, there's a sense of tragedy given the fact that Eda wasn't going to fight Lilith anyway. Lilith underestimating how much Eda truly cares must have made the guilt set in even more. And I hope that the show explores that in season two. Because while I think Lilith is on the right track towards redemption, what she did was awful, and I want her to actually earn her forgiveness. Not just hand it out because of a few acts of kindness (more on that later).

(Also bonus points for that foreshadowing with the sharing-the-pain spell. I did not think it would come up again in the way that it did.)

Baby Eda: Must. Protect. Baby. Eda.

Amity’s parents(?): It's yet to be officially confirmed (to my knowledge) that those students in the bleachers are Amity's parents. But if they are, then it's awesome that The Owl House crew snuck this reveal in the finale. They didn't need to do that, but the fact that they did just make schmucks like me happy.

Luz briefly looking out into the forest: So much is said about Luz with just these few short seconds. The fact that she hesitates going back to the Isles tells me that she's wondering if she should. Because right now, Luz has an out. She could say goodbye to her problems and run home to mami, especially given the fact that that's what Eda wants her to do. Except Luz would never do that. Because Luz has proven time and time again that she will not back down when it comes to helping the people she loves. Eda, Willow, Amity. These are all characters that Luz would do anything and everything for if it meant they would be safe. But that doesn't mean she won't briefly get tempted to escape. So while this moment of hesitation shows that Luz can have times of selfishness, her almost immediately running back proves that she will always choose the path of selflessness.

Lilith willing to be a double agent: This was the first sign of Lilith working her way towards redemption. Her willingness to still work for the Emperor's Coven, and to change it from the inside, is pretty admirable. It's almost a shame that she gets caught almost immediately. Because I would have loved to have seen Lilith's attempts to work against the Emperor to protect Luz and Eda from getting arrested. Not only for character growth reasons but because it would actually strengthen her redemption by having Lilith willingly risk everything for the right people.

Luz vs Emperor Belos: I could have never expected this. At least, not so soon. I always assumed Luz would fight Belos at some point, most likely in the series finale. Never would I have expected this confrontation to happen in the first season. And man, oh, man, what a fight! I'm sure some people are gonna complain how easy it was for Luz to fight back, but to those people: I have a few things to point out.

First off, Belos' line of, "I'll play," tells me that he's going easy on Luz. Nothing he does really looks like it would hurt Luz too badly-at least by his standard. And to me, it seems like Belos is treating the fight in a similar way a teenager lets a toddler "challenge" them. Because when you compare Luz's frantic movements to Belos' calm and calculated ones, it is clear who's the better fighter in this battle.

Second, Luz doesn't do that much. Sure she chips his mask with an ice spell. But that's the equivalent of how Iron Man's finishing move on Thanos only resulted in "a drop of blood." Every other glyph Luz uses during this fight was to protect herself rather than fighting back. And the fact that she barely got a chance to fight back, when the Emperor was going easy on her? Let's just say that it makes me even more terrified for Luz's safety when round two inevitably happens.

Lastly, Luz is someone who has what I like to call: Percy-Jackson-Syndrome. A character who's a bumbling idiot seventy-five percent of the time, a surprisingly good strategist for fifteen percent, and terrifying when angry in the last ten. And Luz has shown in the past that she has a sense of quick wit and strategy when fighting powerful foes. Her plan to beat Willow's inner-self, as well as Luz's plan of escape from Otabin, are two examples that come to mind that prove this. So it's not too much of a stretch that Luz is still alive after fighting Belos, because the one time she got the upper hand was by outsmarting him.

So again, good fight, and I'm terrified for round two.

Luz destroys the portal: This was a heroic sacrifice I didn't see coming, even though I really should have. If you've been paying attention to the episode titles, you'll notice that the first letter of each title spells out the phrase, "A witch loses a true way." A lot of people have been speculating what this phrase could mean. Even I dipped my toe in theorizing the right answer. It turns out the people who thought Luz would lose a "true way" back home were correct. But I don't think anybody could have thought that it would be Luz who would take away her only way back home. Not only is Luz being the one to destroy the portal tragic, but this sacrifice shows how much Luz cares about Eda. Luz is willing to say goodbye to everything she knows, for who knows how long, just so Eda can be safe. Plus, it's another moment of Luz defeating her enemy by outsmarting him. Which teaches kids that you don't need to fight harder. You just need to fight smarter.

Lilith shares the curse: This is another sign that Lilith is on the right path. While I still wouldn't say that I forgive Lilith, I will say this sacrifice makes me want to at least consider it.

Belos is fixing the portal: You want to know what makes a villain even more terrifying? The fact that every victory our hero has is more of a minor inconvenience towards the villain. Which is what this scene is. Because while Luz definitely won the battle, it looks Belos is planning on winning the war.

Eda looks different in the outro: I like this. You know why? Because it tells me that Eda being half cursed is not going to be fixed any time soon. Case in point: Willow was wearing her Abomination Track uniform during the intro and the credits, so as not to spoil the ending of episode three. For every episode after, Willow remained in her Plant Track uniform, and it looks like that's not going to change. So the fact that the crew is committing to Eda's design change, to the point where they change the credits as well, shows a great attention to detail. That also hints at a dynamic shift that will remain for the foreseeable future.

The finale makes me want more: To me, the best finales are the ones that resolve most stories but still opens up more for the next season. Because every narrative and conflict season one opened up has been closed. Lilith wanting to arrest Eda? Closed. Who cursed Eda? Closed. Amity's redemption? Please. That got closed, like, three episodes ago. And yet, this finale left me with more questions that I can't wait to get answered in season two.

How will the dynamic change now that Lilith is added into the main crew? What's the day of unity? Why does Emperor Belos want the portal to the human world? Who's that hooded figure that Belos sends to spy on the Owl House? How is being half-cursed going to affect Eda and Lilith? Can Eda still turn into the Owl Beast? Is Lilith going to turn into an Owl Beast now? Are we going to have an episode where Luz and King are going to deal with TWO Owl Beasts? And most importantly: WHEN THE HOLY F**K ARE LUZ AND AMITY GOING TO KISS ALREADY?!?! DO I SERIOUSLY HAVE TO WAIT DURING ANOTHER SEASON-which I'm totally fine with-TO SEE THESE TWO IDIOTS GET TOGETHER?!

I doubt I’ll ever know the answer to all of these questions, but it sure makes me more excited to see what happens next.

---------------------------------------------------------------------------------------------------------------

So, yeah. "Young Blood, Old Souls" is a definite A+ of an episode. It had excellent drama, astonishing character moments, some closure to several stories, and even a few well-timed jokes on occasion. However, I wouldn't go so far as to say that it's the best episode of the season. It's definitely in the top five, for sure, but not the best. I'm more than willing to give that title to "Enchanted Grom Fright" just for the importance of it alone. Hell, I'd say that I enjoyed "Agony of a Witch" a lot more than "Young Blood, Old Souls." But, I'm willing to blame that on the same reason why Avengers: Infinity War is seen as the better movie than Avengers: Endgame. Whereas the first part did a great job at lifting up the stakes and tension, that part two pales in comparison from doing its job of giving closure. But that doesn't change the fact that "Young Blood, Old Souls" is a damn-near perfect episode that both hurts and heals the soul.

(And that’s it! It’s going to be another few months ‘til season two hits, and in turn, months until I’ll have to review episodes again...Unless I want to do something crazy like review the episodes I didn’t talk about. But that’ll never happen!)

(...)

(...Alright fine. I’ll review them. But not until The Owl House comes onto Disney+!)

[bijackkellys]

thunderstruck ; part three

safe haven.

Fandom: Newsies (All Media Types) Relationships: Jack Kelly/David Jacobs/Katherine Plumber Pulitzer Word Count: 4,352 Dedications: a huge huge shoutout to my beta and gf @mistyw273 without whom this fic would not exist! tag list (if you’d like to be added to this list just send me an ask or dm!): @dimenovelcowboy​ @santa-fe-maniac @pulitzers-world @yo-let-me-get-a-milkyway @verified-dumbass @jewishdavidjacobs @agentsnickers @thetruthabouttheboy @the-games-changing Author’s Note: yes i know what i said and i'm aware that it's been WEEKS since i posted and i have absolutely nothing to say for myself. except that i'm the worst. and also that i'm going to stop making promises and tell you guys straight out that i'm probably not going to be any better at updating from this point forward, especially considering i'm working on college apps and sat prep right now. but it's fine! i hope the fact that this chapter is only like 10 words less than all the other chapters so far put together sort of makes up for it? but i kind of hate this part; i have a ton of exposition to get through so i'm really really sorry if it sucks and you've waited this long for like 4.3k of bullshit. i'm also sorry that i still haven't introduced kath—she will get here in the next chapter and she will play no small role in this fic, i promise!! we've just got a lot to get through leading up to that. anyway, thank you to everyone who's read and reviewed so far, and if you're still here despite my questionable reliability (or lack thereof) i love you, personally. tws for this chapter includes a minor panic attack, mentions of vomiting but it's pretty brief, and that's about it.

read it on ao3

MEDDA IS SINGING when they get to her apartment. 

Even through the closed door, Jack can hear her voice lilting down the corridor, a bittersweet melody that he can’t quite remember but loves all the same. It makes him falter, makes his throat close up as warmth and the ache of missing her spread through his chest in time with each other. He doesn’t know what she’ll say when she sees him, and the thought of her viewing him as a killer nearly makes his knees buckle. Distantly he thinks that it doesn’t matter what the world has been told as long as she believes him.

“Is this it?” the older boy says behind him, gesturing to the door that Jack is staring at. He’d mostly been quiet the whole walk here, but now he’s looking at Jack expectantly.

Jack nods and pushes back the tide of emotions swelling in his chest. If he waits any longer he might never be able to do this. He knocks twice on the door, and her singing cuts off abruptly; he hears her voice saying “Coming!” and then the lock clicking as the door swings open.

“Hi, Miss Medda,” Jack says hoarsely. 

She stares at him. For this brief, terrible moment, he thinks she’s going to turn him away, and then she’s crying and oh, she pulls him into a hug. Something he’s been trying to hold back since he found himself running in the streets hours ago spills forth. In her arms he can’t stop the tears; he feels suddenly twelve years old again, scared and small but not alone, not anymore.

“You’re alive,” she’s saying, over and over, like a mantra. “Oh, baby, you’re really here.”

Jack clings to her tightly. “I didn’t do it,” he breathes, desperate for her to know as she runs a hand through his hair. “The fire—that wasn’t me.”

“I didn’t believe them for one second.” Medda pulls him back at arm’s length. “But where have you been?”

He winces, looks away. “The Refuge. I just escaped.” Her mouth opens again but he shakes his head slightly and she nods, understanding immediately. 

“It’s okay, sweetie. We’ll talk later,” she says, and cups his cheek with a gentle hand. He leans into it, starved of positive contact like this for so long. “Jack Kelly,” she says warmly, her eyes shining—he’s gotten so used to hearing his name spit at him like a curse—“I thought I’d never see you again.” She huffs a laugh and smiles at him, wiping at his eyes with her thumb. “Don’t you ever disappear on me like that again, you understand?”

He gives a watery chuckle, maybe his first in months. “I’ll do my best, Miss Medda.”

She pulls him into another hug, squeezing his shoulders tightly, before her eyes come to rest on the two boys still standing awkwardly in the hallway. “And who are your new friends?” she asks.

“Oh, this is—” Jack breaks off, realizing abruptly that they had never gotten to introductions. The younger of the two steps forward and puffs his chest out.  

“I’m Les, and this is my brother, David,” he says brightly. He’s been solemn since Jack met him, no doubt jarred by his experience with the Snatchers, but Medda’s warmth is notoriously infectious. Even the kid’s older brother—Davey—cracks a smile.

“It’s nice to meet you, ma’am,” he says politely, and Medda beams and waves a hand.

“None of that. It’s Miss Medda to you, darling. Come on in,” She steps out of the doorway and gestures inside, placing a gentle hand on the small of Jack’s back as she ushers him in. He’s grateful for it, a grounding presence that reminds him he’s really here in front of her. “Stay as long as you like, boys.”

In the last few hours alone, Jack has felt like he’s been thrust into an entirely different world. Entering Medda’s apartment is a burst of shining familiarity; there’s the elegant wooden piano in the corner, the blooming plants lining the windowsills, the photos of the theater and the paintings Jack has done over the years hanging on the walls. The faint smell of cinnamon in the air. He may never have lived here, but it feels like coming home all the same.

“I’ve still got the clothes you’ve left here, if you want to change,” Medda tells him. “I’ll get something going for us to eat—how does Sancocho sound? I don’t have any plantains, and now I know it’s not quite the same without them—”

“That sounds incredible, Miss Medda,” Jack says, his mouth already watering. For as long as he’s known her, Medda has always made it a point to give him and the other boys a taste of home however she can manage. She’d tested recipes for Sancocho for months until she’d perfected the warm, rich stew that always drew up distant memories of Jack’s mother. 

Medda smiles at him and bustles into the kitchen, pulling vegetables from the fridge. “David, Les, is there anything you two don’t eat?” she calls to them.

“Oh, we keep Kosher, so no pork, shellfish, or meat and dairy together? And Les can’t have peanuts. Sorry,” Davey responds quickly.

“No worries, darling, this recipe doesn’t call for any of that anyway. Dinner will be ready in a couple of hours—Jack, why don’t you go clean up and get some rest? You look exhausted, baby.”

It’s one of those things he doesn’t fully realize until she points out, and then it hits him full-force; he thinks his legs will give with the impact of it. He’s tired and starved and wants absolutely nothing more than to take a hot shower and eat and sleep through the next day—and in truth the only thing holding him back is the still-stinging bite of the cuffs around his wrists. 

“Uh, Miss Medda—you got a screwdriver somewhere around here?” he asks tentatively, rubbing at the skin underneath them.

Her gaze drifts to his hands and she winces in sympathy. “In the office down the hall. There’s a toolkit on the shelf—you need some help, Jack?”

He shakes his head. “No, I’ve got it,” he says as he heads into the room.

It turns out to be harder than he expected. He spends a good ten minutes hacking at the cuffs with a screwdriver, but all he really succeeds in doing is scraping his wrists raw. He’s getting desperate, though—the longer he’s stripped of his powers, the less he feels like himself, and the silver steel is nothing but a jolting reminder of everything that’s happened. He needs to find a way to get these stupid things off. 

“It doesn’t look like you’ve got it.”

Jack’s head snaps up to see Davey standing in the doorway, his hands in his pockets. His expression is hard to read, half-concerned but laced with something else, and he’s sort of tentative as he steps into the room and kneels down beside Jack. “Here, let me.” He holds his hand out for the screwdriver. 

Jack gives it to him and splays his hands out in between them. Davey switches out the head of the tool for a tiny flathead and gets to work on the right cuff, astonishingly careful. His slender, practiced fingers pry open a tiny panel on the side of the cuff, exposing the circuit board underneath.

“You seem to know what you’re doing,” Jack notes.

Davey pauses his movement for a split second and then continues without looking up. “I was captain of my high school robotics team for two years,” he responds. “And I’m an engineering major.”

Jack clings to this small piece of information; it’s the first thing he’s learned about Davey since they met, and he’s already desperate for more. “Where do you go?” he asks. At this, Davey tenses up, and Jack bites back a wince. “I’m not trying to interrogate you,” he says flatly, after a moment. “Guess I just...thought you’d changed your mind about me.”

Davey’s dark eyes latch on to Jack’s for just a moment before darting away. “I don’t know yet,” he answers finally. He prods at the wires of the cuff; there’s this crinkle in his brow that Jack can’t help but think is sort of endearing. “Miss Medda seems like a really good person,” he continues, still barely looking at Jack. “And she clearly loves you a lot. It’s possible you could be lying to her, too, but the way you were when you saw her—no one’s that good of an actor.”

“So what’s your holdup?”

“I’m not sure what to believe.” Davey twists the screwdriver and bites his lip, then meets Jack’s gaze at last. “After you—after the hospital burned down, the whole city was in chaos. No one knew what to think or who to blame—the police revealed that the sprinkler line had been damaged, and that some of the exits had been sealed, and that the fire started because the power box had been tampered with.”

Jack’s stomach twists. “I don’t understand...you—you’re saying it wasn’t an accident?”

“I think if it had been, it would’ve been contained a lot faster,” Davey says darkly. “It hadn’t even been a week before The World published a full story about how it was Strike’s doing. Jack, there were witness statements, sources explaining how your powers could’ve caused this—”

“I was trying to save people,”

“A lot of people thought you had done it by accident. Or that you’d...snapped, or something.”

“I nearly died in that fire.” He isn’t entirely sure he hadn’t, to be honest. Everything since then is blurry and out of place, and he feels like he’s been set right back to grappling desperately for a handhold, like he’s in the center of an inferno all over again—

There’s a click of metal on metal and the cuff on his right hand clatters to the floor. 

“Got it,” Davey says, and suddenly Jack can breathe again. Even with the cuff still circling his left hand, he feels electricity surge through him, that familiar hum of lightning beneath his skin. A part of him he hasn’t felt in so, so long. 

Sparks dance over his fingertips, and the air fills with static. He can see the hairs on Davey’s arms standing on end and despite everything, fights the urge to laugh. Davey looks at him, eyes wide with amazement, and Jack wonders if he can taste the power in the air, too. 

“Thanks,” Jack says, breathless as he runs his hand over the torn skin of his wrist. 

Davey nods and gently takes his left hand, starting the process again and evidently more sure of what he’s doing now. “Jack,” he begins, but whatever he’s going to say next, Jack doesn’t let him finish.

“Someone set me up,” he says fiercely, trying hard not to sound as desperate for Davey to believe him as he really is. “Whatever evidence and witnesses they had—it was fake.”

“Okay, but why?” Davey presses. “Why go through all this trouble to frame a dead man? How did they get The World to publish a bunch of false information? And if someone really is trying to pin this on you,” there’s a click, and the cuff around Jack’s left hand pings against the ground, “who set the fire in the first place?”

-

Jack can’t remember the last time he’d had a hot shower. Even before the fire—and god, Jack is really about to start categorizing his life events as before and after his death, like that’s not absolutely insane—the lodging house never really had a surplus of hot water, especially with so many of them. Standing under it now, though, everything else melts into the background. There are scars and bruises along his skin that he hadn’t even noted before, but the water is like instant relief; he doesn’t have to think, just lets it wash him clean.

By the time he gets out, the effects of the drugs, which have been weaning away for hours now, seem completely gone. Everything is sharper, like he’s been thrusted into high-definition, his thoughts clearer and his memories—well, his memories becoming more painful by the second.

It’s not easy, trying to push it all back. As he pulls on fresh clothes, Jack stares at himself in the mirror, at the jagged scars raised against his chest and the tiny spots that pockmark his forearms where he remembers needles going in, and tries to reconcile this picture of himself—exhausted and hollowed out and afraid—with the identity he’d spent so long building up from the ground. He doesn’t look like Strike, New York City’s favorite vigilante. He looks like a scared kid.

He doesn’t know what to do. Something bigger than himself is brewing in the city, he knows it, he has to stop it. But he doesn’t know how. People are counting on him and Jack just wants to forget any of this ever happened.

There’s so much noise. Davey’s questions are ringing in his ears and behind them there are voices telling him he’s never, ever going to get out, and he thinks he might be on fire. Everything is too hot and too loud and hurts.

There’s nothing in his stomach to throw up, but he dry heaves over the toilet anyway.

Jack sits back on the cold tile floor and drags his knees up to his chest. He could just go—break out the money he’s been saving and skip town, hop on a bus all the way to Santa Fe. Crutchie could come with him, and he could change his name—again—and start fresh. Never see this place again.

Except there’s an arsonist on the loose in the city. There are Snatchers all over the streets, and maybe Jack wants nothing more than to leave it but New York is still his city, still his place to protect. He can’t just leave.

Jack tilts his head towards the ceiling, biting back the urge to scream. The unsteady silence is broken by a tentative knock at the door, and then Medda’s voice—“Jack, honey,” she says, “Dinner’s ready. You okay in there?”

Slowly, he picks himself off the floor, pulls the loose hoodie hanging on the door on over his clean t-shirt, takes a shuddering breath. “I’ll be right out,” he calls through the door, and glances at his reflection one more time. He can be Strike again. He can do this. 

And even if he can’t, he has to.

-

The Sancocho is perfect, warm and spicy and brimming with the taste of home. By the time he’s inhaled maybe three servings and helped clear the dishes, Jack is so exhausted that he doesn’t even make it to the guest room. He just stumbles towards the couch and collapses there with the sunlight still spilling in through the windows, falling hard and fast into a heavy sleep.

It’s dark when he bolts awake. He feels hot and breathless, his heart racing against his ribcage, and whatever awful memory had invaded his dreams left the sharp taste of metal in his mouth. Sparks flicker across his fingers, blinding blue-white in the darkness, and Jack curls his hands into fists to quell the lightning brimming in his veins. His eyes dart to the clock on the wall; it’s just past one in the morning. He doesn’t think he’ll get back to sleep any time soon.

He maneuvers around the coffee table to stumble blindly towards the kitchen instead. A dim glow catches his eye, then; Davey is sitting at the bar stools, hunched over his laptop.

“Couldn’t sleep?” Jack says, and Davey starts and then swears.

“Jeez, you gave me a heart attack,” he huffs as Jack chuckles lightly and fills a glass with water. “I thought you were still asleep. And...no. You?”

Jack shrugs. “I slept okay, got a few good hours. But I don’t think I can go back to bed. What are you doing?” he asks, nodding towards the open laptop.

Davey hesitates. “Miss Medda let me borrow her computer. I’m trying to contact the rest of my family,” he replies, his gaze flitting between the screen and Jack’s eyes. “When Les and I ran off there were already Snatchers at our house. None of them have powers, though. Just Les.” He works his lip between his teeth. “They said not to contact them in case the Snatchers found some way to trace it back to us, but I set up a separate email account and sent them a vague message, hoping they’ll know it’s me. I just need to know if they’re okay.”

Jack’s chest twists in sympathy. Davey’s family is just one more example of all the lives the Snatchers have torn apart—and Jack is the poster boy for their whole agenda. He has to fix this, for Davey, and for the rest of his city. “You’ll see them again soon, Davey,” he says—yet another promise he can’t afford to break—“I’m gonna make this right, okay?”

“How?” Davey scoffs. “You don’t even know where to start.”

Jack slips his hands into the pockets of his clean hoodie and feels the familiar weight of the flash drive he’d placed there. Actually, he might have some idea. “Can I use the computer?” Jack says, barely waiting for Davey’s nod before taking a seat on the barstool beside him and plugging the flash drive in. 

“What is that?” Davey’s brow furrows.

“Honestly? I’m not sure. I took this from a computer in the Refuge’s control room, hoping I’d find something important. Maybe something here could give us a clue of what’s really going on.” There’s only a handful of files on the drive, and they’re labeled with numbers instead of actual names. Jack opens the first one and feels his heart sink. “Shit. It’s encrypted.”

“Let me try,” Davey says, pulling the laptop towards him and typing furiously. The computer makes a few error noises in protest as he works through the code, but Davey is laser-focused, seems to know exactly what he’s doing. He’s some kind of genius. “Got it,” he announces after a few minutes. Sure enough, the screen flickers, and rows of text begin to replace the numbers and symbols from before.

“That was incredible,” Jack tells him.

Davey shrugs and ducks his head, smiling just a little before turning back to the screen. “They look like email exchanges. Between some guy named Snyder—” Jack feels a cold trickle of shock run through him at that name, “—and...Joseph Pulitzer.”

“Wait, Pulitzer?” Jack leans forward to read over Davey’s shoulder. “As in the CEO of The World?”

“He’s running for mayor in next month’s election,” Davey explains. “It looks like he’s trying to get Snyder’s support? He’s promising money to fund the Refuge. But why would—shit.” There’s something dawning on his expression as he looks up at Jack, eyes blown wide. “Jack, a lot of his campaign has relied on anti-super propaganda. And...The World was the one who first published the story about you setting the fire.”

The realization crashes into him, hard and fast. “He’s the one who framed me.” Jack feels a hot rush of anger surge through him. “For what, a political platform? So that he could give the people a common enemy? Holy shit, did he set that fire for this...twisted agenda?” 

“I can’t believe this,” Davey shakes his head, leaning back in his chair and tugging his hands through his dark hair, shell-shocked. “How could he do something like this?”

How could he?

“I’m going to kill him,” Jack says fiercely, and the lights above him flicker. He stands up, feeling wild, brimming with untamed fury—innocent people died for Pulitzer’s insane power grab, and he has to pay for that. He can’t get away with this, he won’t; Jack can’t find it in himself to mitigate his anger right now, he needs to find Pulitzer and fix this.

“Jack—Jack!” Davey’s hand latches around his wrist and a shock like static electricity bursts between them, making him pull back. “Wait. You’re not thinking clearly.”

“What, you just want me to let him walk? He killed people, Davey. Innocent people.”

“You don’t actually know that yet.”

“I know enough,” Jack snaps, pulling back. “This can’t all be a coincidence, it makes too much sense. He has to be behind this, behind everything.”

“I’m not arguing that.” Davey is astonishingly calm; Jack doesn’t know how he can keep his resolve right now, after finding out something this sick. “But what are you going to do, break into his house and murder him? What is that going to solve? Things are only gonna get worse for supers.”

Jack hesitates. Davey is right—a personal attack on one of the most influential people in New York would make him even more of a villain than he already is. And every super in the city would suffer from it. He can’t make this some sort of revenge plot; he has to be smart about it. He takes a shuddering breath. “Then I’ll expose him. These emails—”

“—aren’t enough. All you have from this is a theory. Pulitzer would just find a way to spin it, make you look like the bad guy here. Again.” He shakes his head. “He holds all the cards right now. We have to find hard, indisputable evidence. What we need is a way to get close to him.”

“We?” Out of everything, that’s the word Jack gets hung up on. Davey’s making it sound as though they’re partners. 

Davey looks at him for a second. “I believe you, Jack,” he says finally. “I’m sorry I didn’t before. I don’t think you set that fire, and if we’re right, and Pulitzer did frame you, and we can find proof...we might be able to stop everything. Shut down the Refuge for good.”

“No, no—I’m not dragging you into this any further than I already have,” Jack stops him before he can go any further. His whole time as Strike, he’s been a solo act for a reason—not for lack of Race or Specs or Elmer trying to get him to let them join him—but because he can’t bring himself to pull someone else into this life. Especially not someone like Davey, who’s an engineering student, and a genius, and has a family. He’s got his whole life ahead of him. “I appreciate everything you’ve done to help me so far, I really do, but I can take it from here. You and your brother just lay low and stay out of trouble.”

“You can’t do this by yourself,” Davey argues. There’s something hardening behind his eyes, something bright and sharp and determined. “I’ve already shown you what I can do, so let me help you.”

“It’s too dangerous.”

He snorts, defensive. “I can handle it.”

“You think so?” Jack stares him down, skin buzzing. “I almost died because of this, and I may not remember everything about the Refuge, but I can tell you that it wasn’t pretty. If we try to take Pulitzer, there’s a good chance we don’t make it out alive.”

Davey doesn’t break his gaze. “But if we do it together, we double our odds,” he says quietly. When Jack snorts and turns away, Davey keeps going. “This is so much bigger than you or me, Jack. If we can pull this off, we could make New York safe for supers again. I promised that I would protect Les, but I can’t do that as long as there are Snatchers roaming the streets and as long as Pulitzer has power. And you can’t protect this city if you’re dead.” 

Jack wishes he didn’t have a point. “You could get hurt,” he counters. “You don’t even have powers.”

“You’ll protect me,” Davey replies swiftly, and something in Jack’s stomach twists.

“You have an awful lot of faith for someone who didn’t trust me an hour ago,” he says grimly, eyes darting away from Davey’s fierce ones.

“You don’t have to do this alone,” Davey presses, unrelenting, and god, the offer is tempting. Davey clearly knows his way around his computers and technology, a skill that could be really helpful here, and more than that, Jack stupidly, selfishly doesn’t want to do this by himself. He wants a partner. He’s tired of being alone, and he hates himself for it. 

“We do this on my terms,” Jack says finally, and in the corner of his eye, he can see Davey smiling. “I say get out, you get out. You’ve got to be smart about this. Got it?”

“Understood,” Davey nods. “I’ll be okay, Jack. I promise. So where do we start?”

“It’s like you said, we have to get close to Pulitzer.” Jack sits back down, racks his brain for anything that could help. Pulitzer is a private person, watching the rest of the city from high off the ground; getting close to him would require someone who already knows him well. He can practically see the lightbulb over his head when it hits him—he knows the perfect candidate. He just hopes she’ll be willing to join them.

“I know someone who might be able to help,” Jack says, already drafting an email—coded words like the two of them used to use when he was just starting out as Strike. “She interned as Pulitzer’s personal assistant for a while when she was in high school, but the last time I saw her she was a journalism student, working for The Sun. She may not work for him anymore, but she knew Pulitzer as well as anyone.” Jack takes a deep breath and pleads silently that she’ll believe him, then sends the message. 

“And you think she’ll know what to do?” Davey asks.

“I’m sure of it.” Jack has always had faith in her; he knows she’ll come through, will fight for what she believes in. “If cards are what we’re playing,” he tells Davey, suddenly brimming with a newfound sense of determination, “then Katherine Plumber is our ace.”