#if there’s a first episode callback there’s a chance

[galadrieljones]

"Bet on Hope": More Thoughts on Isabelle

This is a response to @frangipanilove's post about Isabelle as a Beth Proxy. I agree 100% with everything frangi says and had to type up this quick follow-up, regarding Isabelle as a "proxy" for Beth.

I want to add that this may feel a little out of left field, but I believe that Beth and Isabelle are connected even in the hard wiring of some of the symbols we've seen over the years. What I want to talk about here is one of the last things it seems we will hear Isabelle say in the series, which is: "Bet on hope." She can be heard saying it in the trailer, and it also appears in the *leaked* script from episode 2.6.

The language "Bet on hope" is unique and uses gambling rhetoric and essentially conjures an underdog situation. To bet on hope is to call the enemy's bluff, and to hold out "hope" that you can win, even against all odds. The opposite of betting on hope would be to fold, to give into your fate, even if you still have a chance to win, or if your chances are, essentially, no worse off than your enemy's.

First, I have to wonder, what "hope" they are betting on here. I maintain there's a connection to the actual character Hope Bennett from The World Beyond, who, as a distiller and a scientist currently hiding out with T.B. Ellis, I think will be instrumental in curing Wildfire or finding a remedy for it. I think we should literally "Bet on Hope" (capital H).If you rewatch the WB coda to season 2, you'll notice that the French scientist (who has a folder full of T.B. Ellis papers on her laptop) uses the word "hope" multiple times, mainly in iterations of the phrase: "Hope beyond hope." She is "hoping beyond hope" that the Primrose Team will return to France and "end all of this."

We also see in episode 1.4 of The Ones Who Live, at the "Greenwood" laboratory where Rick and Michonne find themselves after exiting the helicopter, a poster that urges residents to "Keep Hope Alive!" None of this is coincidence!

Hope Bennett aside, when thinking of the phrase "Bet on hope," I am also reminded of episode 10.19 "One More," which TD pounced on long ago as containing a huge number of "Still" callbacks, including alcohol consumption, drinking games, golf, color parallelism, and cards. The episode revolves largely around Father Gabriel's slow loss of faith, a conflict which he will confront in season 11, and Aaron's struggle to believe in himself as a survivor. Their dynamic mirrors that of Daryl and Beth in "Still."

In "One More," FG and Aaron play a game of poker while drinking whiskey. At the end of the scene, FG bluffs his way to a win, because, instead of calling his bluff, Aaron folds. Episode 10.19 is all about foreshadowing and setting up characterization for the future, just like so many of the episodes in 10c. It is also the episode that comes directly after "Find Me."

What's so interesting about their poker game is not JUST that Aaron folds in the face of adversity, but the way that the hand goes down. Mind you that they're not playing for money. They're playing for bottle caps, so essentially, there's nothing at stake. Aaron, in a very Beth-esque "bullshit" moment, accuses FG of bluffing, so FG urges him to call his bluff.

Aaron, however, is afraid. He "doesn't have enough" to call. In a game with no cash pot, FG, however, realizes one has to be creative. He tells Aaron to bet his whiskey.

At this point, Aaron considers it. He even starts to push his cup toward the pot, but then at the last moment, he folds. You can see in his hand that he has a jack, just before he throws his cards down. It doesn't mean he has a better hand than FG, but it does mean he could have something, and that it's worth soldiering forth. He will not "bet on hope" here, so to speak. He gives up.

After FG wins, Aaron then demands that FG show him his hand, and what are the cards that FG holds? An 8 and a 2.

In the shot above, you can see in the background of FG's hand a mini-golf set. Apparently a game of mini-golf was among deleted scenes for this episode. The 8 and 2 here, which is a terrible hand, and which beat Aaron (who was too afraid to call FG's bluff), is yet another callback to Engine 82, the firetruck that mysteriously disappears without any explanation after "Coda." The firetruck that Abraham's group previously fights tooth and nail to defend from walkers. Where did it go?

Whatever happened to the firetruck may explain what happened to Beth. After "Coda," both Beth's body AND the firetruck disappear without a trace, and we never learn what happened or why.

"Bet on hope" could mean, essentially, hold out for the long odds. You could still find the one thing that's been missing all these years, which could solve all of your problems and deficiencies. Even if it is hidden behind a major, major "bluff." You must see through it and be brave enough to call it out. You may have to be creative, to bet everything. And to do this, you need all the hope you can muster. Unsurprisingly, Isabelle, a woman of faith, just like Father Gabriel, gets it.

It could also be important, especially as this is in response to a frangipanilove post and contains the reference to "Hope" Bennett, that in "One More," Aaron considers betting his alcohol to call FG's bluff. Alcohol, we are all pretty sure, has some connection to the "cure" for Wildfire, as the "Staff of Life" (quoted by Jim, the beer brewer from Fear season 4). I've also written a post comparing the French herbal liqueur Chartreuse to the potential cure for Wildfire. Essentially, I think "Bet on Hope" also means "Bet on a Cure." It also just means, "Don't give up. To get the happy ending you desire, you have to take the long odds."

Alcohol, Engine 82, and golf all in one shot. Both a nun and a priest encouraging a doubter to bet on hope. Idk if it means what I think it means but I'm going to "bet on hope" a little longer.

[girinma]

over/under on girinma showing up in yespre season 3?

[infiniteentertainment]

So we saw Tammy Thompson sing the national anthem in the first episode of s4...

Which prompted Robin and Steve to give each other looks because they remembered Robin's coming out moment in the bathroom, where they made fun of Tammy's singing...

Vickie overheard them joking, and Robin took the opportunity to talk to her, saying that she "used to think that Tammy sounded good because I had this massive crush—um, we took a massively hard class together. We were in Mrs. Click's class together," reminding the audience of Robin's explanation that, in the class, she wanted Tammy to look at her, while Tammy only looked at Steve.

So episodes later, in the boat out on Lovers Lake, where Robin looked at Nancy looking at Steve? Yeah. This was a direct callback.

And it's interesting that even though Robin's crush was specifically mentioned when talking to Vickie, it's this scene with Nancy that we see what Robin referenced in action.

But the question is: why do any of this?

Even though Robin said Vickie is the girl of her dreams, we saw Vickie for approximately 3 min of s4, and it's within the last 20 min of the final episode that they had their first actual on-screen conversation. Meanwhile, Robin had been glued to Nancy's side all season. The writers are smart, they could've inserted Vickie into the main group at any point, to give her and Robin a chance to bond, and to develop their relationship. It's been done before with other characters. If anything, it seems like the last thing the writers would want is to give clear preferential treatment to Robin's dynamic with a character who's (supposedly) not meant to be a love interest for her (especially in the season where the actual love interest is first introduced, and the audience has been mentally prepped for Robin to have romantic interactions). I'm not saying Robin can't have platonic female friends, I'm just pointing out interesting writing choices, and the usage of show vs tell.

[merrybloomwrites]

Spencer - Smosh UTI Live

Summary: When you apply for a cast position at Smosh, you're only goal is to get a job. But that job introduces you to Spencer, the cute editor on staff. You keep your crush a secret for months, but taking part in a livestream where alcohol is a key factor may lead to a turning point in your relationship.

Word Count: 3K

CW: alcohol consumption

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Getting hired to be a cast member on Smosh is a dream come true. 

Literally. 

You’d watched Smosh videos when you were growing up, and loved when it expanded to include new people. From that moment, you had one goal in life, and you did everything you could to achieve it. 

The audition progress was equal parts exciting and terrifying, weeks spent on your application followed by multiple callbacks, each time meeting a new person who you have been a fan of for years. 

Getting the call that you were hired was the best moment of your life. Not only were you excited that you achieved your dream, but now you have proof that your hard work paid off. Plus, the people that you always looked up to had chosen you. They liked your comedy, your personality, and thought you’d fit in with them. 

Your first day is nerve wracking, as first days always are, but everyone is so welcoming that by the time you’re heading home, you feel only excitement about what’s to come. 

Over the first week or so, you manage to meet almost everyone who works for the company. You recognize plenty of them. Of course you know all the cast members, as you’ve been watching videos of them for years. You also recognize some of the crew members who have guest starred in some videos as well.

It isn’t until the start of your third week that you meet Spencer the editor. He looks familiar, you know he’s been on the channel before, but without Kimmy doing an official introduction you wouldn’t have been able to put a name to his face. 

Ever since that first conversation there was something that just drew you to Spencer. Maybe his fluffy hair, maybe his laugh, maybe even his passion for Mountain Dew kickstart. Whatever it was, it was the start of a great friendship. 

It wasn’t long before you and Spencer ended up at the same lunch table every day. It also wasn’t long before your feelings for him switched from platonic, to maybe something a little bit more. 

So yea. You developed a crush. On a coworker. Which is generally a pretty bad idea. There’s always the chance that if you started dating, you could break up and that would cause tension amongst everyone at Smosh. And with Spencer being there years before you, it probably wouldn’t end well for you. Plus, he probably doesn’t even like you back, so if you were to ask him out he’d reject you, and then everyday would be totally awkward.

That’s why you keep your feelings a complete secret. No one knows. You only tell your best friend, Katie, that you like someone at work, but don’t even tell her his name.

Time goes on, you make great friends and fun videos, and life is going well. You and Spencer talk every day, but nothing more ever happens.

Then you get put on a Smosh Pit video. It’s one of your favorite series, “Beopardy”. You adore trivia, having watched Jeopardy with your parents every night after dinner growing up. This is your second time on this series, and you had lost by only a few points the last time. You’re determined to win this episode, but they hadn’t revealed the topic yet, as they didn’t want any of you studying in advance. 

It’s not until you’re on set sitting between Ian, Olivia, and Shayne, that you learn Spencer is the host of the episode which is titled, “Are We Smarter Than Our Editor?” You’re feeling pretty confident in your editing knowledge, having learned a lot from Spencer over the last couple of months. Your only problem is the potential for getting distracted simply watching Spencer be on camera. 

It still is rare that he’s in this position, and from the start his confidence is, unfortunately, very attractive to you. Taking a deep breath, you center yourself to remain professional. 

It’s a fun shoot, one of your favorites so far. You win by 200 points, and celebrate your first victory. When the cameras stop you joke with your video costars for a little bit before getting up to make your way to the lunchroom. 

Before you can leave the studio Spencer comes over and says, “You did a great job today.”

Blushing at his compliment you reply, “Thank you. Guess sitting with you at lunch really paid off.” 

“Wow, I thought my company was the prize there but it looks like you’re using me for my editor knowledge.”

“Oh absolutely. I knew that would come in handy someday,” you say with a laugh. 

“Heading to lunch?” He asks. 

“I am indeed,” you answer. 

The two of you walk over together and grab some food before heading to your normal table. 

“Be right back,” Spencer says after putting down his lunch. A moment later he walks over again, carrying a drink for himself as well as a can of your favorite flavor of La Croix, which he places in front of you. It makes your heart race just a bit faster, seeing that he not only knows which drink you like the best, but made sure to bring you one. Not the whole table, just you.

Things like this have been happening for a few weeks, little interactions and favors that make you wonder if maybe Spencer has feelings for you the same way you do for him. After thanking him for the drink, you sit quietly, lost in your thoughts while conversation flows around you. The table you’re at is full, the rest of your friends discussing a new game they’ve been playing. 

But then you look up and see that Kimmy is being just as quiet as you. She’s looking at you, like she’s trying to solve a puzzle. It isn’t until she looks pointedly at you, then Spencer, that you realize she may have you figured out. 

Turning back to your food you ignore her eyes practically burning a hole in your head. After finishing lunch you head to the bathroom, choosing one that’s hidden in a back hallway. You thought that would mean no one would find you, but Kimmy is waiting for you when you’re done.

“Is something going on between you and Spencer?” she asks with no preamble, a large smile on her face.

“Nothing is happening,” you reply.

“But do you want it to?”

You don’t answer right away, not wanting anyone at work to know the truth. But this is Kimmy. One of your closest friends here. If there’s anyone at Smosh you can confide in, it’s her. 

“I may have the tiniest little crush on him. But that’s all! I’m not planning to act on that or anything. I don’t want it to get awkward at work if anything goes wrong.”

“And why do you think it’d go wrong?”

“Kimmy, I bet he doesn’t even feel the same way, so it’s silly to even worry about it,” you say. 

“Oh, he absolutely feels the same way. Boy has heart eyes every time he looks at you,” Kimmy replies. 

“He does not!”

“Okay, sure. Honestly I thought you were going to confess the two of you are dating in secret, not that you both have silly unrequited crushes on each other. I guess I could be wrong, but I’m certain that boy is head over heels for you.” 

Just as she says this, your phone buzzes with a ln incoming text message. It’s from Spencer and reads, “You disappeared after lunch, you okay?”

You can’t help the smile that forms on your face as you read the message, endeared by him checking up on you. When you glance up, Kimmy is giving you a knowing smirk. You jokingly say, “shut up,” before walking back to the tables. 

Spencer is standing there, looking around worriedly. He catches sight of you and relief spreads across his face. 

When you get close he says, “Everything alright?” His hand rests gently on your elbow, and you feel like your skin is burning from just that small point of contact. 

“Yea, I’m good. Just stopped to talk to Kimmy,” you reply, hoping no one notices your reaction to him touching your arm. Well, no one except Kimmy, who is giving you yet another knowing look from across the room. 

Luckily it’s time to get back to work, and you can focus on something other than your crush.

The next few weeks fly by. You’re all getting ready for the first live show that Smosh will be doing in years. It’s a big undertaking, on top of all the normal videos you need to shoot, and everyone is incredibly busy. 

And yet, you still get to see Spencer every day. At the very least you get lunch together, but he also often happens to be getting coffee in the kitchen at the same time as you, and you see each other during the rehearsals. Your heart skips a beat every time you get him to laugh, and the two of you share more eye contact than is strictly necessary.

All of this has you thinking that maybe Kimmy is right. Maybe Spencer really does like you as well. But still, it’s a tricky situation to date a coworker. And this job, as well as Spencer’s friendship, means too much to you to risk it. So your crush continues to remain a secret.

Finally, it’s time for the live show. Smosh Live: Under the Influence. Oh yea. That’s the other part of the live show. You’ll all be drinking alcohol during it. 

Well, not everyone. A few cast members will be staying sober. One of them being Spencer. And you’re grateful for that. And for the fact that he’s your designated driver for the night.

The live show is an absolute blast. You make sure not to go too crazy with the drinking. Not only are you technically at work, but everything you do is being live streamed to thousands of people. The last thing you want is to make a fool of yourself, so you take it easy with the alcohol.

Or well, you take it easy until the celebratory afterparty. Where you may go a tad overboard. Not too bad, not blacking out or anything, but definitely feeling a bit inebriated. Your inhibitions are definitely lowered. 

Which would be fine. Except Spencer is your ride home. Sober you should have realized this is a recipe for disaster. But now drunk you is in control. Alone. With Spencer. 

It’s after midnight when everyone finally starts to head home.

“You ready?” Spencer asks, handing you a glass of water which you happily take sips from. 

“Ready,” you reply once you’ve finished the glass. He takes it from you and places it on a nearby table before leading you out to the car, his arm wrapped around you protectively to keep you upright as you stumble slightly. You giggle as his hand wraps more firmly around your waist and you lean into him. 

He opens the passenger door for you, and you pout as you’re forced to separate from him. When he gets in the driver's seat and looks over he sees the big doe eyes you’re giving him. 

“What is it?” He asks. 

“Nothing,” you quickly answer, making no move to look away. Spencer knows something is going through your mind but decides not to push. He begins to drive, hand resting on the center console, and in your inebriated state that seems like a perfect invitation for you to slide your hand into his. You’re so focused on watching his fingers intertwine with yours that you miss the pleased smile on Spencer’s face. 

“Thank you,” you suddenly say. 

“What for?” Spencer asks. 

“For making sure I get home safe,” you reply. 

“I’ll always make sure you’re safe,” he answers. 

“You’re a really good person. I’m so happy we met. I’d be really sad if you weren’t my friend. Which is why I don’t want to mess it up.”

“What do you mean?” He asks. 

“You know, wanting too much and ruining what we have. I mean, I like you but it’s complicated.” You don’t even realize you’ve just confessed your feelings to Spencer, but he immediately notices, and begins to feel hopeful. He hopes that this isn’t just drunk ramblings, that you actually mean what you’re saying. 

“It doesn’t have to be complicated,” he says. 

“But it is! What if you don’t like me back?”

Spencer can’t help but laugh at how honest you’re being, like you don’t even realize you’re admitting this all to him. 

“Okay well first of all, don’t worry about that. Because I do like you back,” Spencer admits just as he parks the car in front of your building. 

“You do?” You ask, eyes finally meeting his. 

“I do. I have for a while now.” Spencer’s watches as your entire face lights up, eyes sparkling as you  smile the brightest smile he’s ever seen. 

“C’mon,” he continues. “Let’s get you inside.” 

You’ve barely opened your car door before Spencer is there, once again wrapping an arm around your waist. You’ve sobered up a bit, no longer stumbling at all, but you’d never deny yourself a chance to be close to him. He keeps his hand lightly on the small of your back while you fumble with your keys. 

He comes inside, needing to make sure you’re settled for the night. He’s been to your place a couple times before during group hang outs so he knows where to find what he needs. While you duck into your bathroom to change into pajamas and get ready for bed he fills a glass with water, placing that, a granola bar, and some pain relievers on your bedside table. He figures you’ll need all of that at some point between now and tomorrow morning. 

You're about to walk into your room, suddenly feeling exhausted and just wanting to climb into bed. But you nearly bump into Spencer as he walks out of the bedroom. 

“I left some things on your table,” he explains. 

“Thank you,” you shyly reply. 

“I should get going,” he says, but you don’t move to let him pass. Instead you ask, “Can you stay? Just a couple minutes until I fall asleep?” It’s bold of you to ask, but you always feel extra lonely after drinking, and you’d already been pretty bold in the car so you figure it couldn’t hurt. 

“Of course,” he replies and steps to the side so you can enter the bedroom. You get under the covers, laying on your side, and look at Spencer with expectant eyes. Understanding your wordless request, he sits on the edge of the bed. His hand rests on your hip before he starts to gently rub your back. 

You’re asleep in no time, comforted by Spencer’s presence. 

When you wake up the next morning you’re feeling better than you have any right to after a night of drinking. You eat the granola bar and take the pain medicine in order to relieve the mild headache before it can get any worse. As you finish the glass of water you reflect on the night before. 

Your eyes go wide as you realize what happened at the end of the night. You’d drunkenly confessed your feelings to Spencer. You’d asked him to stay with you until you fell asleep. You’re mortified! You actually told him you liked him. Were you insane?

But before you spiral too much, you remember his response to everything. How he admitted his feelings as well. How he stayed with you, gently lulling you to sleep. 

Could this be the answer to months of pining? A drunken confession?

You pull yourself out of bed and decide a shower is definitely needed. When you get out you see a few texts in a Smosh group chat, you’re friends planning to meet up at a diner. You text that you’re in, and a moment later your phone dings again, this time Spencer asking if you want a ride. You accept his offer, hoping the ride won’t be too awkward after everything that happened. 

You get ready and Spencer pulls up a little while later. 

“She lives!” Spencer shouts as you climb in the passenger seat. 

“Ha ha,” you answer dryly. “I’ll have you know I felt perfectly fine this morning.”

“Well then I am impressed,” he replies and you both laugh. 

Throughout the drive there, during the meal, and even the drive back home, neither you nor Spencer acknowledges the elephant in the room. But the suspense is killing you, so you once again invite Spencer inside when you get home. 

“I wanted to talk about what happened last night,” you say once you’re both seated at your kitchen table. “I didn’t mean to blurt everything out, but I guess I’m happy you know the truth.”

“So you meant it? You weren’t just saying that because you were drunk?” Spencer confirms. 

“I mean, I probably wouldn’t have said it without some liquid courage, but I did mean it. I’ve liked you since I met you. But I never thought you’d like me back,” you explain. 

“Of course I like you! How could I not? God, you’re so pretty, and funny, and kind. You’re like, the coolest person. So yea, I’ve liked you the whole time too.”

You both sit quietly for a minute, absorbing this information. 

“What happens now?” You finally ask. 

“Well now I can ask you on a date without worrying about you rejecting me,” he answers. 

You blush and duck your head, bashful at this statement. But before you can hide too long, he gently lifts your chin so you’re looking at him again.

“Y/N, will you go out to dinner with me?” he asks.

“Spencer, I would love to,” you reply. 

The two of you can’t help but start giggling like two high schoolers that just decided to go to homecoming together. You realize that this could be your future. Lots of smiles, and laughs, and time spent enjoying one another’s company. 

You know it’s too soon to think about forever, but when Spencer suggests a round of Mario Kart to ease the tension, it’s clear that there’s something good between the two of you. And you can’t wait to see how it all unfolds.

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AN: Thanks for reading! Hope you enjoyed it! I have 5 more Spencer fics planned at the moment, but feel free to send in requests!

[matan4il]

Buddie 610 meta

Holy shit, this ep.

Okay, what shall we start with? Maybe with what 911 itself starts, lots of foreshadowing. At the beach call, we have Eddie looking at Buck and replying to him (about the lightning), “I really hope it doesn’t strike twice, though.” Which, of course we know it will. But the foreshadowing continues, as Buck talks to Omar about unexpected things in life coming out of nowhere. That suggests we need to pay extra attention to other elements in this ep that might act as foreshadowing for later events along 6b. ~~

That kind of connects to me with Buck being closely tied to Ely, the pregnant lady (he saves the day there twice, first by realizing the oil is dripping and if they use the saw, it might prove fatal, then by helping Bobby with the baby). First off, it made me chuckle when we learned that, despite being driven to the hospital by a man, he’s actually not her partner. 911 made sure we knew Ely has a wife, and that she has another kid with her. Is it a coincidence when Buck, who practically has a husband and a kid with him already, is the main firefighter taking care of her? Maybe, but it still amused me. What really made me take note is when he told her not to push, trying to stall her childbirth, and she replied that it doesn’t depend on her. That made me wonder if perhaps this is also in a way foreshadowing what we might end up seeing with the sperm donation storyline. I’m not sure, I can’t be, but I was not surprised to see that storyline brought up later in the ep. ~~

In general, this ep’s title, “In a Flash,” might seem to refer to the lightning storm the team experiences, but the real tempest is the havoc our families can wreak on us, tied to the unexpected nature change can sometimes take on. Chim’s dad suddenly shows up, raining on his parade. Albert suddenly thinks Chim should give their dad a chance to be Jee Yun’s grandpa, but decides against giving his brother a warning. The Buckley parents are suddenly making an effort, yet leaving everyone suspicious and unnerved. Albert suddenly leaks Buck’s sperm donation to everyone and unleashes hell between the in-laws. Denny’s changes, probably influenced by getting in touch with his dad, come as a surprise to Hen. And of course, at the climax of the ep, Bobby as the unofficial adoptive father of Buck might lose his son in a flash. The whole ep is filled with these parallels of abrupt familial disquiet, especially in relation to dads, on all 118 fronts. And as Buck deals with maybe the biggest of these questions, because he doesn’t even yet know what he wants for himself and how does the life he helped create (but only as a donor) fit into that, it’s no wonder his life ends up hanging literally in the balance. ~~

One of the most painful things in this ep for me was seeing how much Buck’s parents are willing to accept him as a donor, because not for a second do they think he can be a father. That would be the natural conclusion from him looking at a sonogram on his phone, but his parents find it easier to believe their daughter is pregnant again than to think Buck would be a dad (ironic, because he already is one. Just not to the baby in the sonogram). It reminded me of how Eddie’s parents also didn’t believe in his ability to be a dad, and actively petitioned to have Chris taken from him to be raised by them in 315. It amazes me every time anew just how much Buddie are compatible, because their stories parallel so much that they can understand each other in ways most other people can’t. ~~

And it gets to me that this whole episode also insists on reminding us how good Buck is with kids, first with the ones on the beach, calming them down and answering their questions to help them make sense of the whole ordeal. Then with Ely’s baby, a callback to how we saw him with the pipe baby in 101. It connects to him looking at the baby sonogram, all excited, once again acting so much like an expectant dad would (parallel to him and the firefighter onesie in 609), when we know he’s not actually going to be that baby’s father. It very much does feel like 911 is signaling to us Buck has some realizations coming his way in this context. ~~

Speaking of the kids on the beach, Buck telling the boy he wants to fix everything, then adding that Buck gets it, had me screaming into my fists, because hey, remember who said that to Buck? That’s right, his Eddie, back in 504. A reminder of how much Eddie sees Buck, accepts him and allows him to be himself, enabling Buck in turn to reflect that back to that kid. Of course, in the context of the sperm donation, Buck’s tendency made him want to help “fix” things for Connor and Kameron, and we might learn in 6b that Buck comes to realize he sometimes lets this tendency take him to places that aren’t actually good for him, without fully considering the consequences, and then hopefully, he’ll get to find a way to balance this, to be himself, but not derailed from his life goals by this part of himself. ~~

At the same time that the ep shows us how good Buck is with kids, it also serves to remind us of the one kid that we’ve seen him co-parent all along, the one who has always demonstrated what a good, loving dad Buck is, Christopher. Yes, when we see Buck working on his cooking with Bobby, it’s a part of the many parallels revolving around dads in this ep, so Buck and Bobby’s r/s is the immediate focus, but at the same time, we know who Buck is learning this FOR. Lazania kitchen scene from 601, anyone? Oh, but the best part? It’s when Buck tells Bobby, “Something’s missing.” He can’t quite put the finger on what, but he knows something in his domesticity isn’t fully there. I wonder what, Buck... And this is again in an ep full of foreshadowing! ~~

It may seem like a minor thing, but remember how in my past meta, I was more or less losing it over the many times Buck and Eddie did rope rescues together as their own team within the 118 team, even having their assigned roles where Eddie connects Buck to the line and then becomes an anchor himself to keep Buck safe, to the point where I wrote a smut fic involving this very meaningful act? Yeah, so imagine me seeing that the most intense Buddie call we’ve had since the end of 413 starts with them doing this subtextually intimate thing, Eddie hooking Buck up to the rope, becoming his literal life line, and even teasingly calling him “cowboy” while at it. No, I was not breathing for a full minute at least. ~~

But since I brought up the shooting in 413, can we talk about the insanity of the parallels? Take the meaningful staring once disaster strikes. Back in s4, it was mutual, right before Eddie collapsed. In 610, Buck is unconscious, so you wouldn’t think they could stare at each other at this moment, right? Plus, back in 413, it was just the two of them present at the scene out of the 118, the other members of the team weren’t there. The lightning strike seems a lot less intimate in comparison... But in this ep, the camera plays a role in recreating that same dynamic, singling out the connection between Buddie. Because when Buck is hit by lightning, we get shots of every 118 member looking up and being terrified of what just happened to their friend.

The only exception in terms of this shot? Eddie. He’s the only one that isn’t being filmed from the side as he looks up, he’s filmed from above as he looks straight into the camera. Essentially, the shot recreates Buck’s POV for Eddie, and for him alone. It shows us what Buck would see and how he would stare down, back at Eddie, if he only could. The fact that the camera has to do this instead of Buck himself further emphasizes the horror of Buck being unconscious, but the choice to do this only with Eddie highlights their connection and makes it clear that Buddie’s bond IS different to what the other team members have with Buck, no matter how close the others are to him or how much they love him. What’s insane is that DESPITE having all of the 118 there, there is still a bubble within this whole situation that is Buddie and Buddie’s alone, even as Buck himself is unconscious. It’s no wonder Eddie jumps up that electrocuted ladder without even thinking about it, it’s no wonder no one even tries to stop him or warn him of the danger in that. That is a man on a mission to save the other half of him, and the show tells us that in more than one way.

That’s gonna continue through Eddie’s attempts (and eventual success) in getting Buck away from immediate danger, as well as when the team tries but then fails to revive Buck, because Eddie will be the one to push past Bobby to see Buck, and Eddie will be the one Bobby has to keep in line by assigning him driving duty, maybe the most important thing anyone can do for Buck once all the medical assistance they can give him in the field is of no further use. ~~

One more thing regarding the comparison with the shooting arc in s4, as well as talking about camera shots, is that we get to see the difference between a platonic friend resuscitating his teammate and a man desperately trying to keep the love of his life alive. If you look at Chim doing compressions on Buck, he’s giving it his all, because he DOES love Buck, Chim’s doing his best for his friend and brother in law. But the shot is not an intimate one, we don’t get close ups, we don’t get to focus on the eyes and see the frantic look of a man who knows he CAN’T fail, we don’t see the intimate touch of a hand laying a gauze on an exposed chest and trying to keep this treasured body together, we do get “come on, Buck,” but we don’t get personal speech, begging the other man to hold on and just “stay with me.” While back in 414, in the ambulance, we had ALL of those as Buck, almost on the verge of losing his sanity, fought for Eddie’s life. ~~

Lastly, I’ve made in the past a gifset of times when we’ve seen Buck screaming Eddie’s name in horror at the face of danger (including in 413), and I love that we can finally add to that Eddie doing the same thing for Buck. But I think it’s particularly meaningful that it happened not as a matter of when Buck would be in danger, but rather it was a question of just how significant Buck had to become to Eddie for this former, highly decorated soldier to go from the stoic man he was in 218 to what we see in 610 (as seen in my latest weekly gifset). Because Eddie WAS incredibly worried back in the s2 finale. He was gritting his teeth, you can see the tension on his face, and the second it was safe, he sprang to Buck’s side. Eddie also held on to him while everyone else was lifting the truck (even though Chim, as a medic, would have been a more natural choice to hold on to Buck, while Eddie the firefighter helps lift engine 118). And Eddie wouldn’t even let go of Buck’s hand on the way to the truck. HE WAS DISTRAUGHT. But the man who kept his facade up in the hospital after Shannon, his wife and mother of his son, died just one ep earlier, did the same thing with Buck. What I find so telling is that he can no longer do that by 610. Buck has become such an integral part of his life, of his family, of who Eddie is as a person and how he deals with life, way more than even Shannon managed to be. And that’s why Eddie loses it, confirming what we’ve known for a while: Buddie are life partners. ~~

I now have direct links to my weekly meta posts, my Buddie gifs and more of my content in my pinned post. Loads of love to @whosoldherout​​ for making unbelievable gifs for my very unique requests. You’re a star! Tag list will follow in the reblog. Thank you in advance for any reblog and like! I’m operating on 1.5 hours of sleep to get this posted ASAP, so I really appreciate any and all encouragement to keep doing this. xoxox

[thesoftboiledegg]

"Fear No Mort" was constant whiplash. In fact, I struggled to evaluate this episode at first because it was one twist after another. Throughout the episode, I had flashbacks to "M. Night Shaym-Aliens!" (the rap scene might've been a direct reference) and the Rickbot reveal in "Ricktional Mortpoon's Rickmas Mortcation."

For better or worse, season seven's had a lot of callbacks and episodes that mirrored previous ones: "That's Amorte" played out like "Mortynight Run"; "Air Force Wong" brought together Dr. Wong, the president and Unity; "Rise of the Numbericons: The Movie" was a "Get Schwifty" sequel.

Seasons six and seven have also piled on the fanservice. The first four seasons stubbornly refused to give us what we want, dangling fan theories or a gentler Rick in our faces before yanking it away. Rick started to change in season five, but it's another ten episodes before you get Rick in a suit and tie, Rick announcing that Rickcest is canon, Rick regularly going to therapy, Space Beth joining the family and other content that's floated around the fandom since 2017.

And let's not forget the big one: C-137 Rick and Morty, Prime Rick and Evil Morty in one episode, fighting and teaming up after we saw Evil Morty's once-forbidden backstory.

Some call it cheap thrills, but I call it a gift to the fandom that's patiently waited for the fakeouts to end. And now that I've said that: "Fear No Mort" was one giant fakeout.

But was it, though?

This is the most unpopular opinion in the world, but I'm not invested in Rick and Diane's relationship. As a gay woman, I just don't connect with opposite-gender couples. Also, I dislike the trope of the idolized dead wife that the audience only learns about through her widower. She's not her own character, just an extension of the male protagonist.

When the fake Rick and Diane reconnected, I thought "Oh boy, this is getting cheesy." They're falling for each other again: check. Rick feels guilty about her death: check. We see how similar they are: check. Rick doesn't want to leave: aaaand, check.

I'm also a little lost after the ending. Morty was the only one in the hole, so why did we see all these scenes from fake Rick's perspective? Was an NPC really that busy?

How much we learned about Diane is debatable, too, since Morty never met her. I guess his ideas came from whatever Rick's told him and maybe the ship's voice since she's based on Diane.

I did like how the episode kept reminding us that Morty's still in the Fear Hole. I mean, we didn't know that, but we knew that. No "Are they in the Fear Hole or not??" until all the twists in the third act.

Aside from that, I don't want the show to revisit the past too much because Rick needs to let go. If you're a Marvel fan, you saw the backlash to Steve Rogers traveling back in time to spend a lifetime with Peggy in "Endgame." He had a life in the present, but he refused to move on.

Nostalgia makes us yearn for earlier years, but if Rick abandoned his family to live with Diane in another reality, I wouldn't call that a sweet ending. I'd call that a disappointment and a waste of his character.

Turns out, Rick never had that option at all.

Well...in a way, he did. And when Morty told him what he saw in the Fear Hole, Rick ran back to the restroom. He looked into the hole. He thought about it. And then he did what I wanted him to do, which was walk away. In this moment, he chose the present.

Admittedly, Morty's fear came true: Rick didn't jump in the hole after him, he did just sit there and watch, and he didn't want to say that Morty's irreplaceable out loud. Plus, Rick was bewildered when Morty hugged him. But for the first time, instead of standing stiffly or gently pushing him away, Rick started to hug him back.

We also saw what Morty didn't: Rick smiling to himself after hanging up the picture of Morty that he kept in his wallet. He had the chance to wallow in shadows of the past, but he didn't take it. Rick chose him.

"Fear No Mort" could've ended with Rick just saying "Let's go" and leaving, but it didn't. Seasons one and two Rick would've bitched and moaned about Morty taking so long. Season three Rick would've left him there for a while to torment him. Season four Rick would've found a way to take advantage of this.

But seasons five, six, seven? That's real character development. That's what all the Twitter users saying "Wow, Rick and Morty is actually good" have been missing out on.

And for the first time in the series, a season didn't end with Rick relapsing or getting a (well-deserved) ass kicking. Is Morty going to get the grandfather that he deserves? Or will he move on, too, now that Rick's releasing his iron grip? Speculating is fun, but for now, let's focus on today.

[un-bearablysweet]

Ben 10 Omniverse isn't a terrible show, but it often misses its mark for the sake of comedy. And it's not even good comedy either; it's the same old "Lol. Ben's so lazy, ignorant, and irresponsible. It's a wonder how he keeps the Omnitrix at all! LMFAO" And it's like, okay, we get it. Everyone thinks Ben is a moron, but if Ben's a moron, what does that make the people who lose to him? 🤨

One of the times Omniverse misses the mark on what could have been a legendary episode akin to Adventures Time's "The Hall of Egress." It is the episode Universe v. Tennyson.

The episode about Ben going to trial for recreating the universe. Besides seeing Alien X fight, the episode doesn't make any sense. And I entirely blame writers. They did not think of the logistics of how a trial of this sort of magnitude would actually go. I wouldn't be surprised if the trial was just an excuse to see the celestialsapiens in action.

They wanted a reason to explain the different art styles and all the retcons. Which in itself is stupid. As the audience, we know why specific changes are made. They didn't need to hand-feed us retconning; it always happens.

But more to the point, the entire trial is a sham. And it pissed me off to no end!

1. Ben was never subpoenaed. Alien or not, you can't part the sky like the Red Sea and drag someone to court. You have to set an official date and time for trial, allow the defense to acquire a lawyer, and build their defense. This is basic shit, and if your excuse is that it's just a kids cartoon, that doesn't excuse bad writing.

I just can't stand when people brush over essential details.

2. Only in certain circumstances can you forcefully take a person to court. And that is if the suspected criminal is considered a danger to the public or a flight risk. And even then, it's an immediate arrest before going to court for a hearing. Ambush arrests are considered a last resort; considering Ben's positions as a plumber and wielder of the Omnitrix, Ben has little to no criminal record.

3. Due process, refering back to my earlier point, the celestial sapiens would have needed to give notice of charges, and Ben would need to be heard in front of an impartial tribunal. The entire universe is not an impartial jury. There's a reason any Rando can't walk into a courtroom and decide whether a person is guilty. What if several people aren't even aware of the trial? That could skewer the vote in favor of the Plaintiff (Celestialsapiens)

If the writers on Omniverse weren't so focused on having a hate boner for the main character, this could have been a great episode. And it is a hate boner because why else would they pick Mr. Baumann as the first witness. This dude had beef with Ben since early childhood before having the Omnitrix. His opinion is beyond biased.

Also, Rook took the first chance to air his petty grievances with Ben in front of the entire universe in a court of law, and that is beyond shitty. Ben being "ignorant of many things" isn't a proven fact; it's a personal opinion. Also, being ignorant is a crime?

And had Ben been sentenced to death or died in the trial by combat, what was the plan afterward? Rook carries Ben's body to his mother and says,

"Sorry, Ms. Tennyson, your minor child didn't have the mental knowledge and fortitude of a 50-year-old veteran; his death was totally justified. "

If Ben is ignorant of many things, it is because he is young and has only just started exploring the universe. Many toddlers should be behind bars if simply being uninformed is a crime. It's like the show constantly forgets that Ben is still young but insists on punishing him for it.

The court case is to decide whether Ben recreated the universe; his lack of knowledge and irresponsibility are not up for debate. Besides, Rook has only known Ben for a few months; I doubt that makes him a sound judge of character.

I wish they had brought different people to the witness stand. They could have made excellent callbacks by bringing characters like

Tetrax- He is literally the guardian of Omnitrix and decided that even at age 10, the Omnitrix was safe in Ben's hands. Also, the fact that Ben restores the planet Petropia can be used to defend Ben's recreation of the universe. 

Reinrassig III- I'm sure the word of Highbreed Supreme would hold more weight in court than Mr. Bauman. A small store owner on a tiny planet in the far corner of the galaxy. 

Queen Cicely of the Lewodan( ep. Con of Rath) - The mother of the Tiffin, you know, the baby Ben jumped down a man's throat to save. Ben broke the law by doing that but still prevented a massive war. 

Magister Hulka- (ep. Basic Training) Hulka is a well-decorated Plumber and was Ben's academy instructor. Ben passed with flying colors despite disobeying orders, saving Hulka's life. He even gave Ben his medal for creativity and effective tactics. His word holds more weight than Rook Blonko's, a literally rookie in the plumber association.

Azmuth- do I even need to say anything?

Maxx and Xylene are more than familiar with the Omnitrix and Ben himself. 

Paradox is literally the number one expert on the subject.

Could you imagine the cross-examination with these characters? 

And even without proper character witnesses, Ben could argue that what is illegal is not always morally right.

What is the actual crime, the crime of caring too much? And if his crime is recreating the universe without prior permission. The celestialspaiens were a hidden society; how would he have gotten permission?  

If a tree falls in a forest and no one is around to hear it, does it make a sound?

If Ben was the only living thing left after the universe was destroyed, did he really break the law since no one was there to uphold it?

Especially since he created the universe up until the very moment it was destroyed, so no time would have passed at all.  

Ben's other option was leaving that universe for dead, and pulling a Rick and Morty, but he didn't do that cause he's not a sociopath. 

The only angle that makes sense for this trial to happen is if it wasn't to prosecute Ben, but to send a message. The message that Celestialsapiens are not to be trifled with and that any attempts will be met with extreme prejudice and even death by combat.

The Celestialsapiens have recreated the universe multiple times, with even more drastic changes than just a smoothie flavor. I mean, Grandpa Max can't even open his eyes, and Azmuth's voice has changed several times. They literally point that out in the episode, and yet this is the first time a trial has ever been broadcasted to the universe.

In fact, this is the first time any other aliens have seen a celestialsapien save for Alien X. And even he was deemed a myth. So why now? Why the grand fan fair? Why broadcast the trial at all? They never notified the universe before.

 It's because the celestial aliens were afraid for the first time since their conception. Their entire beings were briefly erased from existence and recreated, and they did not like it! Do you honestly believe that they changed anything about themselves after recreating the universe multiple times? Of course not!  

But Ben doing that sent the species into a mental spiral of worry and anguish with the fear of not being completely yourself. The same curse they've placed upon the universe prior without any hint of guilt.

The trial was about establishing dominance to keep Ben from recreating the universe regardless of his reasoning. But also to prevent other aliens from attempting the same thing. That's why the trial was broadcasted through the galaxy. This was just a bunch of dick-swinging, so the celestialsapiens don't have to face any sort of actual accountability. 

[snowblack-charcoalwhite]

"Come with me" by Alicent after b&c and well, basically everything, was such a disgusting way to put a final nail in the coffin of what once was, or could have been, a great character. I'm so tired of this useless and distasteful queerbaiting and the nonsensical ship that has been so detrimental to the story. And 'a son for a son' by Rhaenyra?? B**ch, what?! What about baby Jaehaerys? And why wouldn't Alicent mention him? No mention of Jaehaerys, but we got the cringe nail biting, what a peak character development. They must think they are so smart, Condal and Co. Anyway, almost everything was bad in the episode, but the Rhaenicent scene must be n01 of the horrors.

I would also like to make a brief comparison of the two character assassinations we saw this season, Alicent's and Aemond's. Both characters were indeed stripped of any significant and organic development and the result is the mess we've got. However, I think that the intentions weren't the same. With Alicent, I believe that these excuses of the writers wanted to depict it as her atonement, her regression to the only version of Alicent that in their minds, deserves sympathy, young Alicent who longs for Rhaenyra and seeks her approval . She is humiliated and constantly punished by the narrative so when she finally 'comes to her senses' and crawls back to Rhaenyra, she has a chance to ingratiate herself to the audience (and I've seen positive reactions to her in the finale on SM, so it wasn't entirely fruitless). Therefore, the writers actually in a way wanted to endear her to the GA and this was their way to do it. She is in the wrong and must be punished and ridiculed as long as she is the beacon of TG and as long as she doesn't ditch her sons for Rhaenyra, or, "to stop the bloodshed". With Aemond, it was more straightforward. They needed a one dimensional villain and they got him. They wanted to kill all the sympathies for his character and his popularity in s1 was in the way. Hence, all the idiotic changes and inventions regarding his character, and let's not forget the fact that he is one of the supposedly 'important players' who doesn't even have a POV. He needs to be boogeyman for tb and he is allowed to be badass and scary just enough to be a worthy opponent to Daemon so his victory (or whatever it was) at God's Eye doesn't fall flat, but he cannot in any way overshadow the rogue prince. And yes, in the finale he had less than 4 minutes of screentime which proves how Condal's gang sees his character, and also the utmost disrespect they treat him (and his fans) with. Once again, this clearly works because a considerable chunk of the fandom, and I'm sorry to say this, is braindead. It's apparently true that they wrote the show for the worst sort of Dany and Targ stans (and I like Dany and the Targaryens), people who go like 'yass, Queen,' 'slay, queen' , 'the Targaryens are the saviours of Westeros' etc. Daemon's vision and his and Rhaenyra scene proved this perfectly.

Sorry if this was too long. I know I sound angry, but this damn season wae such a torturous and nonsensical snoozefest that it irreparably soured this universe to me. Anyway, it's always a pleasure to read your thoughts wi thanks in advance.

Hello! Thank you for the ask and for the compliment!

First of all, I heartily agree with everything you said.

Condal&Co, apparently, really believe themselves to be oh so clever. GoT callbacks - you got them (overbearing and quite often confusing as heck but who cares). Scenes featuring mirroring, symblolism and whatnot (most of them with Alicent and Rhaenyra) - in abundance (dragged out and pointless - like Alicent swimming scene - but this is Cinema™️). Progressive feministic agenda - you are welcome (said agenda is actually degrading for women as it at the very best presents them as passive and lacking ambition and the will to act - plus it absolutely effing destroys multiple characters and their storylines). And HBO people apparently don't care - and they will not care until all this atrocity bites them in the ass in one way or another.

Alicent doesn't remember Jaehaerys having been murdered - but who does? Poor boy has been all but forgotten right after the show had Helaena announce that she should get over her grief because the smallfolk suffers more than she does. Besides, in the writers' eyes it's not Rhaenyra's fault anyway since she had nothing to do with it. And it's not actually Daemon's fault either since he was shown feeling sad about it for a couple of seconds. You know what, in fact the blame for Jaehaerys' death completely lies with TG: Aemond shouldn't have murdered Luke, Alicent and Criston shouldn't have been fucking, Aegon shouldn't have been drinking with his friends. So it really doesn't count. I have seen a post made by a (quite deranged) TB stan where they claimed that "many sons should die to avenge Luke because we are talking about Lucerys Velaryon". Whatever that even means, Condal and Hess apparently share this opinion.

As for Aemond and Alicent, I agree with you once again. In one of my previous answers I mentioned that the key word for Alicent's character assasination this season is "humiliation" and for Aemond's - "dehumanization". Well, that's literally it: one is shown to be completely miserable (the cause for that misery being her supporting the wrong side of the conflict) - plus she brings the same misery on her daughter's head; the other is left almost without any means for us to understand what he really thinks and feels. Ewan pours everything he has into his eye acting - and it can be seen in the few instances when we are allowed a couple of seconds to focus on his face - but the script staunchly continues hammering home the point of Aemond being a psycho with next to none emotional connection to his family.

Team Green characters had such a huge potential - together and separately - but the writers with their pro-Daenerys agenda (and hence pro-Rhaenyra one as the Black Queen is clearly their Dany 2.0) couldn't have that. There is some hope remaining for Aegon and Larys team up - but I don't trust the writers with them one bit.

[kit-kat-jo]

My Murder Drones Finale Analysis... 2/2 - 1/2

jesus, imagine getting your entire life force RIPPED out your body, and being able to look back at it. i feel like this is only a taste of what the dissassembly drones went through during transformation.

uzi desperately trying to scoop her core back into her gaping open chest will haunt me for life, i think. and her hands haven't regenned yet, leaving her to scramble even more. absolutely. horrific. probably gonna be the most gruesome moment in this series for me altogether. didn't even notice N getting yoinked away there lol

this whole sequence as well… we, or N starts hearing a second voice while she repeats “let me in,” but who is it?? the actual cyn? one thing i know for sure though, is here is where N starts to get his past flashbacks, specifically of being torn apart and transformation. fuuuucked. up

i realize now that Uzi’s protecting her core from Cyn’s callback pings in all the times she’s grabbing at her chest, but at first i really thought she was terrified of losing her core again. which: UNDERSTANDABLE GIRLIE!! MY heart?? broke.

so, N did see the actual Cyn while he got tore open. and now he’s having proper trauma flashbacks and getting back bits and pieces. this absolutely breaks my heart, seeing how desperately panicked he gets, watching memories of what i’m only assuming is V being transformed. my sweet baby. for a moment i thought for sure he was going into a full panic attack. it’s a good thing hand holding pulled him out of a full on episode, but i think this man deserves a nice big breakdown after everything to process all the shit he’s been through. pretty sure V needs the same thing, having held onto these memories a whole lot longer. post series group therapy sesh?

i think i'm gonna hear CALLBACK PING in my nightmares, actually.

AND THIS IS WHERE I FUCKING CRY!!! after everything, after learning J was never on their side, V breaks. she needs to let everything out in the open to N. her apology and genuine emotion is so, so important to me… she LOVES him! always did! and it fucking hurt to have to hide like she did, only for it to all be a trick! she wanted to be honest with him this whole time, but she was so scared! she felt like she HAD to resort to acting resentful towards him and pushing him away! it gets me so, so bad.

and then N sacrifices his own safety to save her.

also teefs.

sorry

oh god. when V realizes that she’s only led N to his death… and that this long ago promise was only one big trick… everything falls down around her. she desperately grasps at being able to fix this. she blames herself. as Eternal Dream plays in the background… it was always their song, man. it was always V singing to N. so many of the lyrics fucking HURT now, putting it into this bittersweet context.

“let my body keep you warm, let my essence be your breeze, can you hear me calling? please look out for me. can you set me free?” it was always a love letter to N. (platonically. i see it platonically, better yet, in a sibling way.) the wishes she had for him to know everything. for them to be together. for her to not have to hide. to go home, to be set free from her neverending dream. it’s all so horrible and lovely and poetic to me. she deserves everything. they deserve everything.

and then her expressions as Cyn’s about to eat N’s heart, agonizingly slowly, staring her straight in the eyes so mockingly to pour salt in the colossal gaping wound. HEGGDHHSGSGGH💔

on a side note, i find it so interesting how, seemingly, a drone’s core magnetically gets yanked back to the body as soon as it gets a tiny chance. very ehm… helpful.

bi uzi tho. QUEEEEEEN PROUD OF HER FOR COMING OUT 💜

“glad you’re not dead or whatever.” waaaahahahh. they care for each other. bwuhuhuhh.

here, howd she stop letting the callback ping effect her….? just from being cringe and free?…. queen i guess?

also, she can effectively control the solver without cyn making it go crazy anymore. is this a result of just practicing and gaining more control over it? she’s just built different? or another plot hole? shrug noise. i said i was oddly okay with the plot holes, so that stands true here too.

nori already flinging herself into mom mode with her terms of endearment had me CRYING BRO!!! development!! she went from “i caused every horror in her life,” i gotta stay away from her, to HELL YEAH THAT’S MY DAUGHTER, KICKING ASS!! mom of the year ❤️

the entire fight scene was SO GOOD!!! i need AJ Dispirito’s “Bite Me” song injected into my bloodstream RIGHT NEOOWW!!

i’m obsessed with seeing them hold hands to calm each other down after a moment that affects one of them. it’s my favorite thing. we came so far from episode 6…… wipes tear

the lyrics focused on these two here is interesting to me… V saying to let her go, Uzi saying she’s not worth saving… either i’m looking too deep into it or OUCH GUYS NOOHOHO, MY SWEETIES

this had to be giffed. also, i love these scenes breaking the immersion several times and showing that all this time the nightcore is just playing through uzi’s ipod in the distance. absolutely genius.

i’ll admit, i was so confused from the black hole scene at first. but now i understand somewhat. after uzi grabbed her core and formed a [null,] she essentially had cyn’s life force. all those times she got away by turning herself into a black hole and floating off... that was essentially HER. in the void here, cyn had to try and get it back to come back to the living, like a drone putting their core back in their chest but in a weird, eltrich cyn way, i guess? instead of her core, its the manifestation of the solver itself? cyn’s and tessa’s bodies are so far gone, that all that’s left is the solver? and as soon as uzi saw what was happening, she knew she couldn’t have it back.

she fucking eated it…. homph. that was not on cyn’s bingo card. the eyes are HILARIOUS

awwwww husband wife reunion! she is so uzi’s mother.

and now, before we get into the end of things, my vizzy propaganda. not only did lizzy KNOW that v wasnt dead, and distracted j for her, but now, in @ottterpops' words, the sentinel is just like the pet she doesn’t want. its her and v’s daughter now, it’ll grow on her for sure : )

and now, my chosen video! :D

EVERYTHING about this scene, N calling for her, the HUG, him squeezing the LIFE out of her, her noises of getting choked and giggling, sent arrows straight through my heart, THEYRE SUCH CUTIES AAUHHHHG!! n spinning her around and throwing her in the air, her tackling v, ugh! THEY GOT THEIR HAPPY LITTLE ENDING!

she’s a fucking mary sue guys, ohhhh my lord. the eyes are so so cool though, they literally look like a sunset. she is living her best mary sue life now, jesus christ. she deserves it ❤️

uzi, uzi my beloved. she feels like a dear, dear friend, my sweet little emo who goes through the horrors and comes out of it with all her unhinged goofy cringe. i love her so, so much, and i’m SO fucking proud of these three. they deserve the happiest little life together.

and lastly, end credits!!! during the series rewatch, my friends and i joked that the finale should involve n getting to play a game of cards with everyone. and HAHA SKFHSJCKSJDHDJS

oh they’re def watching a scary movie… look at the way they hold onto each other, i’m done 😭😭 if i redraw anything, it’s gonna be this first tbh.

i ran out of space for images again, but! the solver still being alive in uzi is so good, she’s gonna be a real pain in the ass… the implications this brings up is so fun to think about, ugh the possibility for spinoff series is crazy! i’ll be waiting with baited breath for more content from glitch, whatever it may be! i’ll be happy!

alright, this is probably the longest frickin post i’ve ever made. but god, did i love this show. i’m so grateful my friend got me into it, and i can’t wait to continue loving it, rewatching it and messing with my stories for as long as that’s gonna last.

thank you Murder Drones, Glitch, and Liam Vickers. now to waste money that i don’t have on merch!! 💫

[canon-transgender-virgil]

ALRIGHT I HAVE SOME TIME SO LET'S TALK ABOUT THIS (also shut up i only noticed the typo when i was taking this screenshot-)

Okay, so I noticed a common theme in all the videos that orange (or Orange) is in: right after you see the color orange, you can see some form of shame or embarrassment in one of the characters.

Let me explain.

Let's take the flash card scene from Learning New Things About Ourselves.

As many people know, right when you see Logan crumple up the flashcard in his hand (like the upwards POV shot), you can see orange light coming from up the stairs. Many people (as I've pointed out, like, three times now) believe this to be the first time we see Orange show up.

Now, logically, many people take seeing the color orange show up when someone is visibly angry to mean that Orange is the representation of anger, but I think I disagree.

Look at Logan's face immediately after the flashcard hits Roman.

That's not anger. That face says a lot of things, but it doesn't say rage. It says, most notably, "I wish I hadn't done that".

AND! I can't believe I forgot about this but Logan literally says "I do regret throwing that paper at puppet Roman" in the Five Years Later episode! He says the words "I regret throwing the paper"!!

I'm going to get back to the Five Years Later video later but keep that in your mind.

I wouldn't put much thought into this if it was just a one off thing, but it's not - Logan's not even the only who exhibits this sort of behavior!

In Putting Others First, what is the first live action scene we see (that isn't the recap of course)?

That's orange. That is Thomas bathed in orange.

And again, Thomas may be angry here but this anger is mainly directed at himself for letting himself go to the wedding and not the callback!

Patton I feel is in the same boat, where he regrets or else is embarrassed by not being able to answer "Logan's" questions (for context here, Lilypadton's eyes are orange).

And then there's Working Through Intrusive Thoughts.

Logan was mad of course, but I think, once again, this is more so the regret of not putting his foot down earlier and making Thomas listen to him (hence the lashing out not thirty seconds before Thomas decides to abandon their plan).

Alright, on to a more solid bit of proof: the Five Years Later video.

There is a whole segment in this episode about C!Thomas and the other characters talking about their regrets.

Aside from the aforementioned Logan's regret of throwing the paper at Roman, there were some other notable reactions to this question:

Roman's regret of making Thomas go to the wedding in the first place (cementing my earlier point that that wasn't fully anger on Thomas's face but rather regret about the situation entirely) is a major one, but then there's Virgil's entire CVS receipt of a list (ranging from "boiled carrots" to "achieving consciousness" - mans is full of regret), to Roman's mirrored regret from Logan's about wishing he'd thrown something at Logan before Logan got the chance to throw the flashcard at him, to Janus's regret of "lack of attention to detail" (which, while unrelated to this discussion, I thought was an interesting point to make before the release of the season finale - hopefully we get to see more disguised Janus content in the finale? 👀👀 )

It's also interesting to note that in the Five Years Later video Remus is the only one who doesn't have any regrets about, you know, anything. That makes sense obviously in the context of who Remus is as a character but it also tracks that the one of the only characters who doesn't seem threatened or scared of the Orange Side has no regrets.

This is all I have for now, but if anyone would like to add on to this please do.

[coraniaid]

You said a few days ago that you would have liked if season 7 went more in the direction of Help rather than the direction of the First. I know you're not a big fan of the First but I was wondering what you meant by that specifically, and what kind of direction you might have preferred season 7 go in overall?

I don’t have any good reason to think it actually happened, but I always get the impression from watching or thinking about Season 7 that the early plans for the season changed pretty significantly at some point after most of the first few episodes had already been written.  (Perhaps when they decided that it would also be the last season?  I’ve heard conflicting accounts of when that decision was made.)

If you go back and look at the then-contemporary discussions of the show, the whole season was initially marketed as something of a ‘year zero’: a return to the show’s high school era roots, to something much more upbeat than Season 6, to the original Scooby Gang as the focus of the show.  

And just to be clear, I rather like Season 6 – it doesn’t always work, and I think some of the subplots are pretty dreadfully executed, and sometimes I respect the episodes more than I enjoy watching them – but it inarguably has a clear vision for the story it’s trying to tell, one that builds on and recontextualizes what came before it.  But for the payoff for that season to land, we needed Season 7 to be different.  To be less cynical, more hopeful.  It needed to show us that Buffy was right to promise Dawn in Grave that things were going to get better.  

And that sort of reset is what we got … for about half a dozen episodes.  Then, of course, it goes rather horribly wrong.

I like Help in particular because it is, for me, the closest the show ever gets to delivering on that promise of a return to the high school era.  It’s not quite a regression or a soft reboot: Buffy is still an adult with a job, even if she’s suddenly unexpectedly back in high school.  Her more mundane responsibilities haven’t suddenly gone away. But now the job she has isn’t something she hates but has to do – it’s something that she actually has a calling for, almost literally, something that harks back to her getting the Class Protector award back in Season 3.   In Help Buffy’s inhabiting the same world she did in the first three seasons, she’s still trying to save people, but this time with a new, more experienced perspective. 

The episode feels very aware of the show’s history, too.  There are nods to Lie To Me (a teenager Buffy knows is going to die because of illness, not anything supernatural Buffy can stop) and Reptile Boy (the cult trying to sacrifice a teenage girl to a demon for material riches) and Beauty and the Beasts (with Buffy herself taking on the role of Mr Platt, worried that Mike is going to turn out to be another Pete), and of course the whole episode is a callback to Prophecy Girl.  Because Cassie – probably the show’s last great one-episode character (and yes, the actor comes back later but the person doesn’t) – isn’t just somebody Buffy is trying to save, she is Buffy: a Season 1 Buffy who struggles to make friends and has a supernatural gift she doesn’t like to talk about and knows she’s going to die heartbreakingly young.  I don’t think it’s merely chance that Cassie’s big speech to Buffy about her destiny (“You think I want this?  You think I don’t care?”) echoes Buffy’s own words to her mother in Becoming either (“You think I choose to be like this?”).

Plus, while the episode ties into the wider story arc – with Spike in the basement and hints that Principal Wood might be up to something and our first appearance of future Potential Amanda – the whole thing still tells a coherent, self-contained story.  It stands on its own right; it makes sense on its own terms.  it’s not just another installment in the long running saga of General Buffy and the friends she never talks to who later kick her out of the house she owns.

And I think there was a lot more ground there to explore, in the same vein as Help.  At least a full season’s worth.  There was so much more the show could have tried to do in terms of going back and revisiting some of the classic moments of the first three seasons from a more mature and more grown-up perspective, instead of summarily kicking Buffy out of her new job and then blowing the school up (again).  If this season is about the future – about new Slayers being called, one way or another – then what does that mean?  How else are Buffy and Willow and Xander engaged in the challenge of trying to pass on what they’ve learned about life on the Hellmouth to a new generation?  

At its best, Buffy has always been in conversation with its past, building on ideas that were touched on in one season and asking the audience to think about them again from a different angle.  And the beginning of Season 7 sets up the perfect stage to try to do more of that.

I’d have loved to have seen a whole season of Buffy trying to keep her students alive while also preparing them to go out and live in the world.  Of Dawn making new friends and finding value in being herself, not just the Slayer’s sister or the mystical Key.  Of Buffy and Willow and Xander really getting to know each other again, and having a chance to talk about everything that happened to them last year.  A whole season of, in a way, seeing the show from the very beginning, but this time from the perspective of people like Giles or Jenny or Joyce.

But instead we got a lot of boring wank about an impossibly old super-god who can’t actually touch anything (but one who Buffy would definitely let Dawn die to defeat because this godlike being is so much more impressive and scary than Glory, trust us guys, please, we swear) and her army of interchangeable and personality-free super vampires (and of course Caleb, who’s somehow even more mind-numbingly boring than they are).  Instead we get a second half of the season in which Andrew Wells has more screen time than Willow or Xander or Anya or Giles or Dawn.  Instead we get to wonder whether Giles is the First and try to pretend to care that Spike has been hypnotized.  Instead we get Lies My Parents Told Me.

Oh well.  At least Faith shows up near the end.

[heyclickadee]

A couple things:

1. The thing is, I actually don’t really think we’re done with the bad batch, for a variety of reasons. There’s too much unresolved, for one thing, and “end of this chapter with these characters” is not how anyone says, “We’re never touching this again.” I really do think we’re getting an immediate follow up with more of a focus on Rex and Echo, but that the rest of the bad batch will still pop in from time to time, giving all of them a chance to round out the last little bit of their stories and character arcs—because they are all just a little bit undercooked. (For example: Crosshair doesn’t even get lines after Tantiss, and the last thing he says about himself takes him from implicitly to explicitly suicidal. The hug is beautiful and cements his place as part of the family, but we never get a moment where he forgives himself or no longer believes that he deserves to die. His redemption arc is magnificent, but it needs that last little push to feel fully resolved).

And, for another variety of reasons, I actually do still think we’ll be getting Tech back in one way or another. So much of what is left unresolved in TBB forms a chalk outline around a Tech-shaped void, for one. The writers aren’t committed enough to have come up with a decent reason for why he had to go in the first place—stakes does not cut it and is actively undermined by never treating it like a character death—for another. They were, at the very least, not committed enough to actually kill him. Tech is the only character in a show that loves making us watch who doesn’t die on screen, and the only one who’s “death” moves nothing forward and is never treated like an actual death. And we have no definitive proof he actually died, for another. (Even if he was CX-2—CX-2 got “killed” two other times on screen and popped up five minutes later each time like a daisy. If you do that you’re going to have to burn the body and scatter the ashes for me to think he’s dead, impalement or no. Besides, you can’t definitively kill a main character via subtext. You still have to be clear and direct.) And Tech has too many callback lines and potential survival foreshadowing for someone to never tug on them at some point, for another. You’d have to kill me to keep me from doing something with, “Better late than dead.” Basically, tl:dr, I think Tech will come back someday, whether they have plans or not.

Because I can’t really get on board with the idea that The Bad Batch was just always badly written. I can’t agree with that. It was never perfect, of course, but it was always remarkably well written and thematically consistent for 46 straight episodes and then tripped on the chalk of the finish line. Besides, I’ve never seen bad writing that was perfectly set up amazing writing if all they did was one simple thing—ie, follow through with what they set up. It’s not that the ending is bad, it’s that it’s bad in this particularly insane way. If it was just normal bad, I’d have dropped The Bad Batch like a rock by now and done my best to forget I’d ever watched it. But because it’s bad like this—basically, a non-ending that resolves nothing but Hunter’s Cut Lawquane arc, Rampart (which was good, actually), and the problem of Hemlock continuing to draw breath (which was just the last major obstacle in Hunter’s Cut Lawquane arc, so it’s not even a separate thing) and answers NO questions—I’m obsessed.

And I can’t get behind the idea that The Bad Batch ending is like this and that we got shorted a Tech return because they got shorted a season. I’ve seen many serialized animated shows that got shorted a season or more, and what every one of them did was cut out everything they could in the middle so that they could get to the resolution they wanted, squash the originally planned last season’s arcs into the actual last season—not leave those arcs undone and the resolution out. The only way them being shorter a season works as an explanation for all of this is if the creative team found out season three was the last at the same time we did. And even then, the solution there would have been to take out five minutes of fight scene and replace it with five minutes of resolving everything in the short and stupid but still THERE way.

For example: Give Wrecker and Crosshair one line each after Tantiss that tells us what they’re going to do. Unmask CX-2 as Tech after spearing him (or don’t spear him) and add one line where Hunter says he’s recovering and that it’ll be a long road, but they won’t give up on him. Or! If you don’t want to bring Tech back in the short and stupid but there way, add a line to the epilogue where Hunter tells Omega, “I see Tech when I look at you sometimes. I don’t want to lose you the way we lost him,” which seems like a no brainer, or, “Tech would have been so proud of you,” which is absolutely a no-brainer if you actually want to close things out for Tech. Tech would still be gone, but at least it’d be resolved, and that’s all short, simple stuff you could add to the very last episode to make it feel finished. If you’re shorted a season or even a few episodes, you cut everything that doesn’t matter, you do whatever you can to get your story resolved—unless you have somewhere else to put it. Which, given how open Star Wars canon is and how heavily it relies on recontextualization, is a very real possibility here.

What I think may have happened here is that The Bad Batch ended up being the first part of a longer story that had to be artificially cut in half. Whether it was always planned that way, whether it was something that unexpectedly happened partway through the production of season three, or a secret third option (the creative team set things up to to be resolved in three seasons but always wanted to do a longer version, but the longer version (in the form of another show) didn’t get greenlit until they’d already written most of season three, so all the payoff got schlorped over to that follow up show while the payoff stayed in this one, leaving us, the audience, with this incredibly unsatisfying mess of a finale in the meantime while whoever is in charge of announcing shit at Lucasfilm doesn’t see the problem). Put a pin in CX-2, slap something that looks like a happy ending on the rest, resolve nothing, do it all in the next thing.

(Slight sidebar: If it turns out that the reason we didn’t get Tech back is because something went horrifically wrong during the writer’s strike—basically, the finale got hit with extreme budget cuts and the script patched by AI—I think we’d still get Tech back. Tech in the first two seasons was something of a writer blorbo, and no one is leaving their blorbo dead over that. That’s a good way for them to bring back their blorbo and have that blorbo murder the hell out of a thinly disguised CEO insert.)

And if that’s what we’re looking at—well, okay. I can see wanting to give certain things (especially a Tech return) more time. If this is what’s happening I actually think it will be more satisfying in the long run, from a story perspective, anyway. I’ll be able to live with that.

That said….

2. If that’s the case—if what we’re looking at is a story artificially split in half one way or another and we are getting a Tech return and the rest of the resolution eventually in an immediate follow up, something that will ultimately work really well in the long run—that doesn’t mean I think it works now. Right now, it’s awful, from every angle. We don’t know for sure that anything else is coming, it makes for a deeply unsatisfying story right now because the “ending” we have is all we have to go on, and it’s unnecessarily stressful for most everyone but especially the autistic fans who relate to Tech.

And the thing is, if Tech were neurotypical? I don’t think we’d really be question the idea that he could still come back eventually. He’s a clear writer favorite to the point that they basically gave him the entirety of season two, except the two Crosshair episodes, great lines and moments in other character’s episodes, and they apparently liked using him so much that either CX-2 was Tech or they physically couldn’t stop themselves from writing and animating Tech in a season he wasn’t in. Killing off one of the writer faves and the fan favorite in order to bring them back later is something that happens. But it’s something that hits differently when that writer and fan favorite is also the only canonically autistic character in the franchise.

Which. Is I think where we run into a problem. You see, I never really got the impression that the creative team ever thought of Tech as The Autistic One. Does that mean I think the didn’t write him as autistic? Of course not—they absolutely did, and did so intentionally. What I mean is that that wasn’t the sum total or even the primary way in which they thought of him, otherwise I think we would have ended up with a terrible Sheldon-Cooper-esque. Instead, the Tech they wrote, and the Tech we got, is just a guy. A really amazing guy who’s noticeably different and autistic AF, but treated like any other character. And on the one hand, great! I know people have a lot of different ideas about this, but I personally want writers to deal with autistic characters that way—to just write us like we’re people. And if what they’re doing is bringing Tech back later and on a longer timeframe than what we expected—also great. It means that all the ambiguity, hinting, and complete and total lack of processing or closure makes sense, because that’s how you write a fakeout death. That’s textbook how you write a fakeout death. But—but—

The flip-side of just treating Tech like any other character and, perhaps, playing a long game with “killing” him off and bringing him back later like someone would do with a fan favorite, if that’s what they’re doing, is that you end up in the situation that we’re in right now. The interim situation where it feels like Tech’s sacrifice was never given the weight it needed to feel final or meaningful, where we’re given no closure and no opportunity to let go, where we DON’T know if anything is coming next even if we do get hints, where Tech got dropped, where nothing makes sense, and where the autistic fans in the audience who relate to Tech feel like Star Wars kicked them in the face and told them that they don’t belong here.

So.

I want this to be a long game, and I do think this could, one, be a situation where they team is having to work around some kind of corporate shenanigans to play that long game, and; two, could end up being a fantastic story that I love even more than the version I wanted.

But even if I’m right and that is the case, I also hate that this is where we’re at in the here and now, that it’s hurt people as badly as it has, and think that they should never do anything like this again, because the game stopped being fun a long time ago.

tl;dr: I don’t think we’re done yet, I think this is part of a longer story, I think we’ll get Tech back at some point whether it was planned or not, but I also hhhaaaaaatte the current situation and think it’s been mishandled.

[fellshish]

maybe 14 won’t have a painful regeneration. maybe he won’t go out horribly this time. maybe they’ll have a callback to the first episode. maybe JUST maybe he’ll learn to let that face go and move on. (<- copium)

(pls tag spoilers)

Call me an optimist but i would say 80% chance they give him a wholesome goodbye 20% chance donna cradles him in her arms like a pieta as he tragically tearfully wet dog like regenerates

[natlacentral]

For ‘Avatar’s’ Dallas Liu and Paul Sun-Hyung Lee, Zuko and Iroh’s relationship ‘was the most important thing’

One of the most emotional callbacks in Netflix’s “Avatar: The Last Airbender” is in the music.

The fourth episode of the series, “Into the Dark,” features a flashback to a funeral. As young Prince Zuko offers his condolences to his Uncle Iroh on the death of his son Lu Ten, the score transitions into an orchestral version of the familiar melody, “Leaves From the Vine.” The song, first heard in the animated “Avatar” series, has long been associated with the Fire Nation general’s grief.

“That wrecked me,” said Paul Sun-Hyung Lee, who portrays Iroh in the new live-action adaptation, now streaming.

“I only just heard the [new] song in December,” added Dallas Liu, who plays Zuko. “I started imagining our scene and [it] killed me.”

The live-action “Avatar” co-stars were in high spirits as they discussed the show and their characters’ relationship over coffee at a West Hollywood hotel earlier this month. (This reporter borrowed a page from Iroh’s book on the joys of spending time with fascinating strangers and opted for tea.) 

Both actors say they are big fans of the animated series, which originally aired from 2005 to 2008 on Nickelodeon. More than once they mentioned the high bar set by the original show and the responsibility they felt to honor its spirit (a previous attempt was not well received), especially because everybody else on set loved the show, too.

“Not even just me and Paul,” Liu said. “Our cast members, our writers, even our transportation and craft [services] team.”

“Avatar” is set in a world inspired by Asian and Indigenous cultures, where certain people have the power to manipulate elements through a martial arts-infused ability known as bending. The original series was the rare children’s cartoon that touched on weighty topics such as war, genocide and imperialism within a fantasy coming-of-age story of a young hero destined to save the world.

“Zuko is a character that I’ve always loved since my childhood,” said Liu of the exiled Fire Nation prince. He is desperately searching for the Avatar — a special bender reincarnated into every generation tasked with maintaining harmony in the world — in order to win his father’s approval and a way back home.

Accompanying Zuko on his mission is Iroh, a renowned general and former heir to the crown who’d spent years at the front lines of the Fire Nation’s ongoing war to conquer the other nations.

Iroh “seems very jovial, but you know there is way more to him than that,” Lee said. “He carries a profound sense of sadness and loss.”

Working within a franchise with a passionate fanbase is nothing new for Lee, who has appeared as New Republic pilot Captain Carson Tevain several recent “Star Wars” series including “Ahsoka” and “The Mandalorian.” But getting cast as Iroh has offered the “Kim’s Convenience” actor a chance to take on the challenge of portraying a character that is already well-loved.

For Lee, Zuko and Iroh’s relationship “was the most important thing to get right.”

“It’s such a backbone to [Zuko’s] story arc,” Lee said. “To his pursuit and where he starts and where he ends.”

Because while “Avatar” is a story that follows Aang (Gordon Cormier), the world’s last airbender, as he figures out how to embrace his destiny and become the hero he is meant to be, it’s also a story about the teens in Aang’s orbit carving out their own paths.

Knowing this, Liu appreciated that their “Avatar” explores Zuko and Iroh’s past a earlier than it was revealed in the animated show. While there are some hints, it’s not until the second season that the animation digs into the Fire Nation royal family’s (dysfunctional) backstory. And some flashback scenes, like Lu Ten’s funeral, are original to the adaptation.

“I was excited because there was no expectation for it already,” Liu said. “I think there are scenes and dialogue [from the animated show] that people are going to look for with a certain level of expectation. But for everything that is new for Zuko on our show, it allowed me to be an artist and be creative.”

These moments were blank canvases Liu relished. He explained that to prepare for the younger version of Zuko in these flashbacks, he took hints from what he learned from his time on “PEN15” watching creators Maya Erskine and Anna Conkle portray middle-school versions of themselves.

“I think I got to tap into that younger side of my own self because I do see similarities between myself and Zuko,” said Liu. “Especially 14-year-old Zuko because there’s no ounce of evil in him.”

Iroh is despondent at Lu Ten’s funeral, as a procession of guests stop by to express their sympathies for the death of his only child. When it’s his turn, Zuko only offers the sentiments that are expected of him at first. But then he shares more heartfelt words as he tries to console his uncle. It’s one of the show’s earliest looks at Zuko’s humanity and capacity for love.

“Dallas does some really, really beautiful work at that funeral scene,” Lee said. “That speech that he delivers is just so heartbreakingly beautiful and comforting. He does all the heavy lifting. I just needed to react to what he was giving me.”

Not for the first time, Liu is quick to respond to the compliment by expressing his own appreciation for everything he learned from Paul during their time together on set. 

“Especially that scene, and in a lot of our other emotional scenes, I can’t stress how much I actually relied on Paul,” Liu said. “He was always there every day to support me with honestly all of our scenes.”

Equally charming was when Liu tried to credit Iroh’s influence as the reason why Zuko is able to open up, for one brief moment, with Aang during another episode. Lee is quick to point out that Zuko’s compassion was something already within him from when he was younger, as seen in the flashback scenes. 

Lee is aware that “Avatar” fans have wondered whether he would sing “Leaves From the Vine” on the series. It was first featured in Season 2 of the animated “Avatar” in an episode that shows Iroh singing the song through tears after he sets up a small memorial for Lu Ten on his birthday. (That segment was dedicated to Mako, Iroh’s original voice actor, who had died before the episode aired.)

“I didn’t want to spoil anything … but I knew that one scene was coming up,” Lee said. It’s one of the reveals that leads to “everybody look[ing] at Zuko differently. I love that. This adaptation, it really is about subtext, past experiences, traumas, success, failures, all of that stuff.”

Both Liu and Lee hope that their Zuko and Iroh will get to continue on their journey.

“What I love about their relationship is, Iroh is there to give advice, but he never tells [Zuko] what to do,” Lee said. Zuko’s “got to find his own way, and he supports him. … I really do wish [we get] to do more [seasons], because I want to see that relationship flourish even more.”

[frangipanilove]

Pharmakon; Fighting Fire With Fire

...or should I say "fighting wildfire with fire"...

(Part one, read part two here, and part three here)

...in that the virus responsible for the zombie apocalypse is called "wildfire"...

In TOWL 1x3 Bye, we hear the term "pharmakon" used in TWDU for the first time. As Major General Beale explains, "it's an ancient Greek word, meaning both poison and the cure".

In the next episode 1x4 What We, we see Rick and Michonne escape in that yellow hybrid truck, loaded up with cans of ethanol in the back, making it an electric/bio-ethanol hybrid:

We know from season 4 of FTWD that "ethanol" symbolizes "the antidote", or simply a "cure"...

I went into great detail on that here.

What is the connection between the ethanol and Major General Beale's pharmakon?

TOWL 1x4 What We had so many callbacks to TWD 4x12 Still and 4x13 Alone, we all were stunned. Quick question, where would the ethanol (which, according to Morgan Jones, is just a fancy word for alchohol) in the back of Richonne's truck have been produced?

In a still. It would have been produced in a still. Ethanol is produced through a process of fermentation and destillation.

In a still.

Hence all the references to TWD 4x12 Still and the moonshine shack, a shack where ethanol was produced and consumed.

In the series pilot, 1x1 Days Gone Bye, we are introduced to the physical laws of the TWDU.

We follow Rick, who wakes up from a three week coma in the hospital. The world has ended, and he doesn't know anything about what happend, how it happened, or why. He doesn't know what a walker is, and he doesn't know how to neutralize one. Neither do we, the audience. Morgan becomes the charachter who introduces us to the rules:

He checks Ricks temperature and finds it to be "cool enough", meaning he's willing to believe Rick on that he's not been bitten, he's simply been shot.

Pleased by this, he then goes on to explain to Rick, and us, the audience, how the virus works:

"The fever burns you out. But after a while, you come back"

He later elaborates on how relentless the fever was to his wife:

"Her skin gave off a heat like a furnace".... meaning the fever burns like fire...

It's the fever that kills. It burns you up. Then you come back.

(also, read about Sirius symbolism here)

In 5x1 No Sanctuary, we hear Eugene explain the scientific basis behind his alledged cure for the virus. Of course, Eugene wasn't a scientist, and he was never going to find a cure for the virus. However, he was knowledgeable, well read, and able to put together a plausible lie:

Fighting fire with fire. A poison and a cure. Pharmakon.

In TD, we were many who at one point believed in the bite/cure theory, that Beth got bit right before she was taken by the Grady car in 4x13 Alone, and that the treatment she was subjected to involved experimental medical testing, somehow resulting in her surviving the bite without developing an infection/fever. The jury is still out on that one, but in FTWD season 7 we did see a representation of the bite/cure theory that was suspiciously close to our old theories:

Alicia at one point got bit, and proceeded to amputate her arm. As we know, this has so far been the only way a person can survive the bite; by cutting off the affected limb immediately, before the infection has the chance to spread. This is how Hershel survived getting bit in season 3, this is how Lydia survived after her walker bite in season 11.

Alicia, by her own account, wasn't quick enough. The infection spread, and she developed the fever. Of course that's not something anyone can verify, theoretically she could have cut off her arm quick enough, and the following infection could have been a reaction to the amputation itself rather than the virus. However, the assumption given by TPTB is that she wasn't quick enough, and that's also her own belief.

According to Morgan's rules from 1x1, that should have been the end for her. There's no surviving that. She developed the fever...

...and fought it for months...

...way longer than anyone else we've seen in TWDU so far. In 1x6 TS-19, Dr. Jenner explained that the longest time between bite and reanimation at that point was 8 hours. Alicia went months without reanimating...

In 7x15 Amina, we watch her struggle with the fever. She's closer to dying than ever before. She has dreams of herself as a walker, she has hallucinations, she thinks she's talking to a little girl, who in reality is a representation of herself. Alicia is preparing to die in this episode, but the girl, who is Alicia herself, explains that she was once bit, and she survived just fine.

The girl brings up an excellent point:

This is a fair question. This is the role fever normally plays in infections. Fever raises the body's temperature in an attempt to burn the infection out. Fighting fire with fire. But as we know from Morgan's commentary in TWD 1x1, this fever is different:

"Bites kill you. The fever burns you out. Then after a while, you come back".

And Alicia is well aware:

...but the girl, who is a hallucination of herself as a young girl, insists that's she's going to survive.

Throughout the episode we watch Alicia's struggle to avoid giving up. The episode is packed with symbolism we already know and love, such as bird symbolism and stairwells as representations of metaphorical passages between the realms. At one point she's in a stairwell, trying to reach the top of Strand's Tower. She says she's not going to make it, then the girl replies over radio that she will. She then sees a bird, which guides her through the burning tower.

By following the bird, we see Alicia reach the top of the tower. We later see her wake up, her fewer gone, the bird by her side.

She's the first person in TWDU to get bit, develop fever... and then subsequently recover from the fever.

She's the first person to survive a bite and the following infection! That is, if she really was too late with amputating her arm, as she believes herself. If she really was infected, she represents something completely new in TWDU, a complete shift, a paradigm shift, away from the old rules that Morgan laid out in 1x1. The end of the beginning, and the beinning of the end?

A cure?

Last but not least, Alicia's confirms that the bite/cure theory that TD were discussing after Slabtown, could be real. Hypothetically, it could still be what happened to Beth in season 4-5.

What set Alicia's case apart from others we've seen bitten in TWDU, that potentially allowed her to survive the bite, infection and fever, was that she had been exposed to high doses of radiation around the time of her getting the bite. This is where the potential "cure" part of the bite/cure theory comes into play. And this is where "radiation" ties into the pharmakon/"fighting fire with fire" framework.

And this is also where things get interesting for TD, because Beth would have had access to radiation therapy at Grady, in fact, there was a whole storyline about an oncologist, Dr. Trevitt, who Dawn desperately wanted to have saved. Oncologists deal with radiation therapy. And to make matters even more interesting, he had previously worked at St. Ignatius Hospital, and as I explained here, the name "Ignatius" is derived from the latin word for "ignite", which refers to "ignite/spark a fire"...

...fighting fire with fire...

Radiation goes under the "fire" symbolism, because electromagnetic radiation, in the form of everything from UV rays from the sun, to X-rays as well as other types of radiation used in radiation therapy, has the potential to burn your skin. When you get a sun burn, that's the UV rays from the sun burning your skin.

In fact, we saw this theme revisited in the last season of FTWD:

(Thanks @wdway for these screenshots)

We learn that June, inspired by watching Alicia survive for as long as she did after her bite, started experimenting with treating walker bites with radiation therapy. She didn't have massive success, and the patients experienced burns from their treatment and eventually died, but we did see her treat Dwight and Sherry's son Finch after he was bitten. And while he ultimately didn't survive, they were able to extend his life with one week, likely due to the radiation therapy. So while a full cure might be a way ahead, Finch's response to the radiation therapy could be concidered legitimate medical progress.

And as a fun fact, I will mention that after we saw Rick survive his little death fake-out back in 7x12 Say Yes, when he survived by hiding in the yellow carnival ride car which I discussed here, we did see this:

No, I'm not talking about the infamously bad CGI deer, I'm talking about the ER sign behind it. ER for Electromagnetic Radiation? As in radiation therapy? In a death fake-out scene?

If it turns out that radiation therapy in some way, shape or form could help treat walker bites, or potentially create some kind of cure/vaccine/immunity, that would be fighting fire with fire, or should I say fighting wildfire with fire. It's a poison and a cure. It's pharmakon.

Ok, so back to the ethanol. How does it tie in with the radiation, how could it represent a cure, and what does it have to do with Beth and TD?

Well, one clue came in TWD 10x16 A Certain Doom. The Whisperers war was at its height, and Whisperers had surrounded Team Family, who were sheltering in a place called the Tower (interestingly the same location as the one used for Grady Memorial back in season 5) with thousands of walkers.

In order to escape and survive, Team Family mounted loudspeakers on to a wagon, and blasted music to draw the walkers away. The song they went for was an interesting choice; Talking Heads with Burning Down The House:

...whose lyrics include this line: "fighting fire with fire"...

Keep in mind, the walkers in TWDU are what they are because of a virus specifically called "wildfire", they're a threath to humanity because of the wildfire virus...

If that's not a representation of "fighting fire with fire", I don't know what is...

And how do we tie ethanol to the symbolism around "fighting fire with fire" and "burning down the house"?

Because of TWD 4x12 Still, in which houses were definitely, decidedly burned down...

Burning down the house. Fighting fire with fire... And how did they set the house on fire again?

Ethanol. They used ethanol. Moonshine.

Which is why it's so darned interesting that TOWL 1x4, with all the references to TWD 4x12 Still, ended with Richonne escaping in a yellow electric/bio-ethanol hybrid truck, supplied with cans of ethanol in the back. Ethanol, which would have had to have been produced in a still, and is famous for burning really well, even well enough to burn down houses.

And let's again appreciate Daryl's immediate response after learning the truth about the wildfire virus back in TWD 1x6 TS-19:

It's like he knew... He couldn't have known that ethanol/alcohol would be involved in a cure all the way back then, but I have a sneaking suspicion TPTB knew a thing or two about it...

I recently wrote about the resurrection symbolism from the sorghum barn from TWD 6x10 The Next World. In that episode, we saw Eugene endorse sorghum as though it was a miracle grain, and maybe it is, because sorghum can be used to manufactor ethanol.

In TOWL 1x1 Days, we saw a similar type of entusiasm over a different grain, millet, when we learned that Okafor was growing millet in his study/appartment, and was constantly on the look-out for the perfect strain of millet. Millet can also be used to produce ethanol.

In TWD season 9, we saw Daryl oversee an ethanol production plant at the Sanctuary. They made it from corn, which they grew on the premises. As the Sanctuary was a factory rather than fertile agricultural land, the crops weren't exactly thriving, and the ethanol production was at the center of many of the conflicts in 9A.

Nevertheless, we saw Daryl convert bikes and cars to run on bio-ethanol. His current bike, which we saw Carol drive in the sneak peak for DDTBOC (which apparantly needs work on its transmission), runs on bio-ethanol. We saw Maggie, chief of food production at Hilltop, trade produce for bio-ethanol.

It was used as fuel, and now we've come full circle with that, in that we saw the yellow electric/bio-ethanol hybrid truck in TOWL 1x4 What We.

This is already a massive post, so I'm saving the rest for part two.

[mal3vol3nt]

I actually love how Aang's death in TCOD affects him, Katara and their relationship in season 3. They're both afraid of the worst case scenario, but deal with it differently. Aang died without confessing his love to Katara, and this time he would rather take the chance... because it might be the only one he's got. While Katara spent weeks caring for Aang when he was unconscious, not knowing if he will wake, and it was the darkest time of her life. She's afraid of being hurt even more badly if the worst does happen. Both of their views are perfectly understandable and it makes for compelling drama in their relationship.

When discussing the EIP kiss (which was wrong, yes) people only focus on Katara saying she's confused - and they completely ignore everything else she was saying. How she said it's not the right time, there's a war going on (notably, she never says anything about NOT having feelings for him). And I guess people take it as her making excuses to turn him down instead of her being honest with her friend? And while I think the criticism for the lack of Katara's POV in the relationship is valid, even if she turned to the camera and spelled out her feelings for the audience, people would still find ways to "prove" that she doesn't have feelings for Aang.

Anyway, this is a long winded way of me saying that I do really like what they did with them in season 3... Except for the 4-part finale, where the ball really was dropped, because come on, why couldn't they talk about it at least once? On that balcony maybe? That would solve literally everything. And it could also be a nice callback to the first episode, too.

i agree with all of this tbh. it is of course okay to criticize ways in which the kataang development could have been written better, as many arcs in this show could have benefited greatly from better writing. i just find it silly how people insist that what we did get for their development made no sense or came out of nowhere because their relationship progression after DOBS was heavily influenced on their separate responses to what happened in TCOD, and both perspectives make sense when you take that into account

and i can definitely relate to wishing that we got some sort of verbal communication between them in the finale. it would have been a nice end to the show, just to hear them be completely honest and vulnerable with each other in a way the war didn’t allow them to be