#the real power move is posting this on an episode premiere day

[chatonne-rousse]

Be Bold, Be Kind, Be Brave

This is one akuma whose intentions are good. After all, who couldn't use an extra dose of courage to overcome fear?

A superhero whose identity will be immediately revealed in the process, for one.

When an akuma causes several secrets to come to light all at once, our heroes will need to drum up some courage to face their fears - and each other.

But what's waiting after that looks like it might be a dream come true. It'll just take a bit of bravery and a lot of heart. Piece of cake.

***

Only eight days late and several dollars short, I’m wishing @jennagrinsoverml a happy belated birthday with this gift, written just for her.  ILY, my friend!  

Read it on Ao3 here.

***

Ladybug has to give Courageous some credit: she's a rarity, an akuma born of selfless means. A teenager who hadn't mustered the courage to stand up for a younger student being bullied at school, she'd been so ashamed, so angry with herself, that Hawkmoth had found an easy target to ply with honeyed words and promises.

Her power isn't even a terrible one. The beam of light she shoots from her right hand simply causes the person it strikes to relive the last encounter they had when their bravery failed them, this time with courage aplenty. It's admirable, really.

Admirable, but terrifying nonethless.

(The fear of Chat Noir finding out her identity is deep and dark and often floats to the surface of her nightmares with blue eyes and white hair and a drowned, ruined world. He cannot know. The cost is too high.)

"Whatever you do," she calls to her partner, frantic and scared, "don't let her hit you! Please, Chat!"

She hears the desperation in her own voice, and the look on his face conveys that he certainly does. He nods solemnly.

"I'll do my best, My Lady."

She nods back, and off they go into the fray.

For well over an hour, they fight Courageous through parks and plazas, sidewalks and thoroughfares. All around them, the people of Paris have squared their shoulders, lifted their chins, and braved conversations big and small with people only they could see.

Ladybug has to smile as she hears a young man confidently ask for a raise and watches his eyes light up at the response.

That smile fades when she remembers once again that the last time her courage had failed her was just as they were dismissed for lunch break, when she'd tried to invite Adrien to a movie that weekend. His eyes had been so kind as he'd waited for her to gather her words properly, and somehow that had just made it harder.

Then Lila had "accidentally" tripped and knocked into her, sending her to the floor. The memory of Adrien's hand reaching out to her to help her up, those same kind, patient eyes locked on hers, makes Ladybug's cheeks heat even now. But after she was upright again, after Lila had stalked off because no one seemed to care that she "probably would need surgery now because her arthritis would flare", Nino had reminded Adrien about the gig he was DJing on Friday and Alya had led her away to show her something on her phone.

Just like that, her opportunity was gone.

And that would be fine, honestly. Marinette was used to moments of stuttering and botched declarations when it came to Adrien.

But if she's hit by Courageous, Chat Noir - plus the citizens of Paris, Hawkmoth, everyone - will hear Ladybug try to ask Adrien Agreste on a date, and that will be a disaster of epic proportions.

"Ladybug, look out!"

Chat's body slams into hers, sending them rolling on the sidewalk just as a beam of magical light zips over their heads. In a flash, Chat Noir bundles her in his arms and vaults them to the rooftop above, making sure she's steady on her feet once they land.

"Thank you, Ki-" The words die in her throat when she sees over her partner's shoulder that Courageous has followed them.

Chat turns, his baton at the ready, while Ladybug reaches for her yo-yo, but neither is quick enough to stop the akuma's beam from finally finding one of its main targets.

"I'm sorry, Bug," he murmurs as his eyes glaze over.

Using her yo-yo as a spinning shield, Ladybug drags her partner behind the nearest chimney stack just as he begins to speak.

Panic sets in as her mind screams at her over the hum of her yo-yo, the akuma's laughter, her partner's voice.

I can't just leave him!

"Father, may I come in?"

Oh no, oh no, oh no. I can't hear this!

"Yes, Nathalie said she penciled me into your schedule for noon."

Nathalie?

Ladybug's gaze snaps to her partner, yo-yo still spinning to deflect beams of light. She's surprised to find Chat Noir's head bowed in deference, though his eyes shine with a confident gleam.

"I requested this appointment to ask you again if I could attend the event with my friends tomorrow evening. I've already completed my assignments for school and the homework from my Mandarin tutor."

Mandarin tutor? What?!

"Yes, Father, I'm aware that you don't care for Nino, but..."

The panicked scream in her mind gives up any attempt at coherence; by this point, it's no more than a muddled loop of Nathalie, Mandarin, Nino, Father.

Ladybug feints to the left to avoid being hit by the akuma as a mix of terror and adrenaline floods her system. She leaps forward, leaving Chat behind the chimney in the hope that she can engage the akuma just long enough to get her partner back and finally, finally finish this off.

She knows too much already. The cat has bolted straight out of the bag and is running loose on this rooftop beneath her feet, a distraction she can't handle right now.

On hero autopilot, she hurdles one beam after another, then tucks and rolls and pops up to roundhouse kick Courageous in the chest, sending her flying.

She hears the akuma's "oof" just as Chat Noir's jubilant voice rings out from behind the chimney.

"Thank you, Father! Thank you so much!"

She can hear his grin in those simple words, the sheer joy in being given permission to leave the house. Everyone in their class knows what a tight leash Gabriel Agreste keeps on his son. It breaks her heart every time she thinks of it. In fact, she's successfully fought for his release from that marble prison on more than one occasion! So yes, she'd already known with all the clues in place, but there was truly no mistaking it now: that was Adrien talking to his father.

Because Adrien is Chat Noir.

Her heart cracks. Oh, Chaton.

Suddenly, the akuma's progress in clambering to her feet is impeded by the whoosh and subsequent metallic thunk of Chat's overhand swing with his baton.

Relief floods her heart at the return of her partner. No matter who he is, Chat Noir is her other half, and Ladybug is never quite herself without him.

"Maybe we could use a little extra luck, My Lady!" Chat winks at her over his shoulder before facing the akuma again.

"Yes! Right! You bet!"

Get it together, Marinette, she thinks. Her face heats and she scampers away to the safety of the chimney stack where Chat was hidden to call for her lucky charm.

A red and black spotted can opener drops into her hands and she looks at it in confusion. "What am I supposed to do with this?" she grumbles, looking around frantically but seeing nothing to help her decipher how to use the lucky charm.

She takes a deep breath, peeks out from behind the bricks, and promptly takes a light beam to the face.

No, no, no, no!

It feels vaguely like having a water balloon popped on her head, a chill of sensation dripping down her spine and rippling through her nerves. It's a small mercy that being hit by an akuma rarely hurts physically. Her vision swims like a mirage in the desert, the familiar courtyard at school coalescing from vapor around her.

The last thing she sees is her partner's stricken face.

The last thing she hears is the akuma cackling.

"Heylo! Who! I mean," she takes a deep breath, a rush of confidence tingling along her nerves. "Hey, Adrien!" She smiles and gives him a little wave.

His grin takes her breath away. "Hi, Marinette! How are you?"

"I'm great!"

You can do it, you can do it!, her heart sings, and miraculously, her brain listens. Her smile turns coy. She taps her lip with her index finger. Her pulse pounds a bolstering tattoo in her ears. Go for it, girl!

"But I could be better."

Adrien's smile drops a fraction. "Are you okay? Is there something I can do?"

With another deep breath, she squares her shoulders and looks him in the eyes, her very cells imbued with a courage unparalleled even when she's wearing spots. She could do anything, anything, right now, but she has her mind set on accomplishing one thing and one thing only.

"You could join me for a movie on Saturday."

"I could...?" His brows furrow, but his grin grows slowly, bright but incredulous. "Are you asking me....?" He blinks, takes two shallow breaths. "Do you mean just the two of us?"

She nods decisively. "A date."

You did it. You did it! A veritable party erupts in the back of her mind, radiant relief spreading to her fingertips. It feels so good to finally break through her anxiety and fear and ask him that simple question that felt like an impossible task just a few hours ago.

Thankfully, he doesn't keep her waiting. The answer is in his eyes, anyway. "I would love to," he breathes, cheeks pink and smile dazzling.

"Really?" Marinette squeaks, and now it's his turn to nod.

"I'll be there even if I have to sneak out." Adrien reaches for her hand and gives it a little squeeze. "We'll talk about it later today, okay?"

She nods again, her chest so full of emotion she can barely breathe. Not only did she ask him, but he said yes!

Suddenly, blue sky fills her vision and she regains awareness to the sound of a scuffle on the other side of the chimney stack. Ladybug tentatively gets to her feet, reaching for her yo-yo and setting it spinning immediately. This time there's no peeking around the corner; she bursts from behind the bricks on the offensive, ready to finish the fight.

What she finds is Courageous struggling under Chat's baton, twisted up like a pretzel and unable to move for the steel-toed boot resting across her shoulders.

"Just in time, LB!" Chat crows triumphantly. He tosses her a bracelet emblazoned with the words Be Bold, Be Kind, Be Brave that currently pulses with Hawkmoth's dark energy.

In moments, the bracelet is broken, the akuma is freed and purified, and a confused teenager sits where Courageous was restrained a moment ago.

Chat docks his baton at his back and looks at his partner with the softest eyes she's ever seen, a tiny, equally soft smile playing at his lips.

Her heart sighs. Adrien. That's Adrien, and he knows.

The lucky charm sits heavy in her palm. Abject fear makes her hope against hope that she won't remember his identity when she casts her miraculous cure, just as her heart longs to hold on to the knowledge that her precious partner is the boy of her deepest desires, and maybe, maybe they really can have it all.

With a deep breath, she throws the unused can opener into the air, watching magical ladybugs and healing light burst forth and spread throughout the city. She waits, holding her breath, but when pink light swirls around them, the only affect it has is the healing of the twinge in her ankle from when she fell mid-fight.

She looks up, and her partner's eyes say it all.

He remembers, too.

Even as fear grips her heart, radiant joy shines from his face as his grin spreads. It scrunches his eyes behind the mask and pinkens his cheeks, delight seeming to glow from his pores. Ladybug has never seen her partner so happy. That elation is a balm to her soul, and she can't help but smile right along with him.

Ladybug turns to the akuma victim and holds out her hand, offering the bracelet back to her. "I really like that inscription" she says, pointing at the now-silver bracelet as the girl fixes it back on her wrist.

She smiles shyly at the two heroes. "I wish I had the courage to do more. I wish I was brave like you."

"We get scared sometimes, too. Everyone does," Ladybug starts, before her partner nudges her shoulder with his elbow.

"Speak for yourself, Bugaboo. This cat has no fear." Chat Noir throws her an exaggerated wink, and the girl laughs. "But real talk, anyone can be a hero in their own way. Little things, big stuff...you're stronger than you think, I promise. Cat's honor."

She nods. "Thank you for, you know, saving me and everything." Glancing at the street below, she gestures toward the edge of the roof. "Would it be too much trouble to get me back down there?"

"Not at all," Ladybug replies with a smile. Calling on her own courage, she looks at her partner and takes a deep breath. Here goes nothing, she thinks. "The usual spot in five? Or less, I guess, since it...doesn't matter now," she says with a shrug that she hopes looks nonchalant.

And there's that smile that shines like the summer sun. He gives her a jaunty salute. "I'll be there with bells on," he says, tapping the bell at his throat and making it jingle.

Ladybug just shakes her head and giggles.

A few minutes later, when she lands beside Chat Noir on their familiar rooftop, her earrings are beeping a frantic rhythm, signaling mere seconds before she detransforms. Instinct has her looking around the roof, ready to dart behind anything she can use to hide.

Before she can move, Chat steps toward her and quietly asks, "Marinette?"

Her transformation dissolves in a wave of pink light, and she hears him gasp as she catches Tikki gently in her palms. Marinette takes her time retrieving a macaron from her purse to feed her kwami, deliberately moving slowly in an attempt to get herself under control before she looks up at her partner. He knows, and he's thrilled, and that's amazing, but it feels like the entire world will change when their gazes finally meet, and she's just not ready yet.

"I, um...I didn't use my cataclysm, so I can stay transformed if you'd prefer, but..." he trails off.

There's something in his voice that finally makes her look at him. Just like when he talked to his father under the akuma's control, his head is bowed slightly, but instead of confidence, this time his eyes are bright with nervous hope.

Marinette understands both the nerves and the hope, and she'll joke with her partner until the end of time about who's in charge, but it feels wrong for either Chat or Adrien to look at her with uneasy deference.

And that's what she thinks of as courage wells in her chest. Her brave, steadfast partner, the other half of their unstoppable team, the boy with terrible timing who can still make her laugh, her best friend whom she loves so fiercely, should never feel he has to approach her in fear.

"Oh, Minou," she breathes. "Of course, go ahead. I...I already know."

He nods and stands a little straighter, and with a whisper and a flash of green, Chat's magical leather is replaced with denim and cotton poplin.

Predictably, her brain is short-circuiting, hollering in panic and terror, but even as her heart pounds wildly in her chest, it whispers quietly, gently, that this is her partner. Her silly kitty. Her dearest friend. He just happens to look like Adrien Agreste at the moment.

(Okay, this is going to take some getting used to.)

Tikki flies off to join Plagg nearby, while Marinette sits down on the roof with her knees pulled to her chest. She pats the space to her right and Adrien settles in cross-legged next to her.

He's the first to break the silence. "I'm sorry, Marinette. I shouldn't have gotten hit. I shouldn't have let you get hit. I know this wasn't what you wanted, and-"

"No, no, don't apologize," she interrupts, shaking her head. "It happens. It's...not the first time." Marinette sighs and closes her eyes, suddenly feeling a lot less courageous in the face of this world-bending change now that they're in their civilian clothes and it's Adrien apologizing to her. She presses her forehead to her knees and tries to imagine the boy beside her in magical leather and cat ears. It only helps a little, but it's enough. "We, um-" she pauses, licks her lips. "We have a lot to talk about. I just don't know if I'm ready for...all of it."

Adrien is silent for an uncomfortably long moment. "Yeah. We do." She hears him take a deep breath that shakes a bit on the exhale and turns her head a fraction to peek at him. His eyes are on the distant horizon. "I...think I understand some things now."

Abruptly, he turns toward her, a little smile tilting the corners of his mouth when he his eyes meet hers. Fear tells her to look away, but she tamps it down and holds his gaze. His smile widens.

"May I ask you something, Marinette?"

She nods.

"When you came up to me at lunch today, were you...planning to ask me on a date?"

Her pulse pounds in her ears. She could give in to fear, say no and brush it off like Chat had misheard her when she was under the akuma's spell. But suddenly her heartbeat seems to drum, "be bold, be kind, be brave," over and over again, and just as the smile begins to slip from his face, she finds the nerve to nod again.

Just like on the other rooftop a few minutes ago, his face lights up like the first rays of sun after a week of rain, shining splendid even in the early afternoon light.

"Am I--" he whispers, his breath hitching though his joy never dims, "Am I the boy?"

Be bold, be kind, be brave.

She calls on her Ladybug courage and nods once more.

His breath catches again and his eyes fill with tears that he brushes away quickly.

Clarity dawns all of a sudden, sweeping her fears to the corners of her mind to be dealt with later. She understood Chat Noir being happy to know his partner's identity, his excitement in finding out his Lady was his friend, too. But this is so much more. Beside her sits Adrien, wiping tears of joy from his eyes at the knowledge that Marinette is in love with him. This might just be a dream coming true on a random rooftop on a random Thursday afternoon.

"Chaton," she breathes, stretching her legs in front of her and placing a hand on his knee.

His hand covers hers, and she meets his gaze, words caught in her throat at the intensity in his eyes.

"I have a confession to make." He rubs the back of his neck with his free hand and takes a deep breath. "I think everyone in Paris knows that Chat Noir is in love with Ladybug. I...know you know." He shrugs as his smile turns a little helpless. "But no one knows that I might have a little tiny bit of a huge crush on Marinette Dupain-Cheng, too."

"Kid, don't lie to your girlfriend. You know very well that I knew, because I've been telling you forever!" Plagg calls from somewhere behind them. Tikki hushes him loudly.

"Okay, he's not wrong," Adrien says, huffing out a combination of a laugh and a sigh. I'm just very stupid, apparently."

"Hey, don't talk that way about my partner." Marinette bumps his shoulder with hers. "I have a teeny, tiny, huge crush on him, too, you know, and I don't appreciate your tone."

Adrien's surprised laugh rings out across the rooftop, filling her heart with so much love she can barely breathe with the force of it. She could listen to that laugh for the rest of her life. She hopes she'll have that chance.

He brushes tears from his eyes again as his laughter subsides, his grin still shining bright. "I'm so happy it's you, Marinette. Beyond happy." He turns her hand beneath his and threads his fingers through hers. "Honestly, there's no one else I would rather have as my partner."

"Me too, Minou," she murmurs, squeezing his hand lightly as incredulous joy sings through her veins.

Tikki's little voice pipes up nearby. "I'm sorry to interrupt, but it's almost time to go back to class."

Adrien lets go of her hand to fish for his phone and curses under his breath when he sees the time. "She's right, My Lady. Could we meet up this evening? I know we have, um...a lot of things to talk about."

Marinette nods. It feels like she's done a lot of that in the last few minutes.

When Adrien stands, he offers his hand to help her up. Just like in the courtyard at lunch, his eyes are patient and kind, but now they shine with something more. She lets him pull her to her feet, then wraps her arms around his waist in a tight hug.

His soft exhale at her ear as he melts against her makes her smile, scrunching up his white overshirt under her cheek. Her senses are filled with him, and she's surprised to realize that it's a feeling of comfort and safety instead of the usual panic.

Maybe loving Adrien and being loved in return will be easier than it seemed all this time. Her fears seem so silly when his arms are wrapped around her shoulders and his head rests on top of hers - a perfect fit.

Even the nightmarish terror of Chat Blanc is diminished. Adrien never told anyone her identity; he knew because he himself was Chat Noir, and there's no way in the world that Chat would hurt his Lady, nor would Adrien ever harm Marinette on purpose. She must have misunderstood. He must have misunderstood. He was an akuma, after all. She sighs into Adrien's shirt. She can never allow that terrible timeline to occur, but whatever happens after this, they'll face it together. Stronger. She'll make sure of it.

"Do you think my father will let me go to Nino's gig in real life?" he asks quietly.

The sad note in his voice breaks her heart. She squeezes him tighter.

"I don't know, Kitty. Do you think we'll be having a movie date on Saturday?"

He leans back abruptly, though his hands still grip her shoulders. "Of course! I'll be there if I have to sneak out!"

Marinette boops his nose, laughing when his eyes cross. "I think that's your answer for Friday night, too."

Suddenly she's in his arms again, this time lifted off the ground and spinning. She can't help but giggle.

"I knew I was in love with a genius!" he cries, jubilant. He sets her down and plants a kiss in the middle of her forehead before calling for Plagg to transform him.

When he turns his masked face back to her, it's like the world is different. She can easily see the brilliant green of Adrien's eyes in Chat's glowing sclerae. The blending of two of her favorite people into one extraordinary boy who - oh my goodness - just said he loves her gives her a shot of courage even before she suits up again.

"You missed, beau gosse."

His eyes widen comically. "I....what?"

Marinette smiles and calls for her transformation, then taps her lips with her gloved fingers. "You kissed me, but you missed."

The sly gleam in his eyes makes her breathing speed up.

"First of all, I would ask before I did that," Chat says, sticking out his thumb before raising his clawed index finger. "Second, I thought I'd save our first kiss for Saturday. Seems like a great way to end our first date, doesn't it?"

Our first date. A tingle runs down her spine. She likes the sound of that.

"I guess I can wait." Her smile turns cheeky. "But it'll be our third--"

"Ah, ah, ah," Chat cuts her off with a grin. He extends his thumb again. "First of all, I don't remember either of those."

Ladybug rolls her eyes, still smiling.

"And second," he says, his voice pitching lower and making her heart skip a beat, "it will be Marinette and Adrien's first kiss."

Oh, this boy, she thinks as her heart soars.

She bites her lip to keep from giggling. "I suppose you're right, even though we both know we're the same people."

Chat gives her a deadpan look. "Just let me have this, Bug."

She bursts into laughter and reaches for her yo-yo, delighting in watching a grin light her partner's face.

"I really am looking forward to Saturday," he says, unhooking his baton from his back. He reaches for her hand and gives it a gentle squeeze. "We'll talk about it later today, okay?"

She nods and watches him vault off toward home.

The wind against her face is exhilarating as she swings back to the bakery. It's amazing how one revelation seems to have changed everything. Even the zip of her yo-yo through the air sounds different to her ears now that she knows, now that he knows.

Marinette detransforms as she touches down on the terrace and sinks into her pink-striped chair while Tikki phases through the hatch into her room in search of food. A quick check of her phone tells her that she has ten minutes before she has to go back to school.

School. One more thing that's going to be different.

Before nerves can creep in, she thinks of Chat Noir and his beaming joy at learning the identity of his beloved partner. That was Adrien. She thinks of the comfort of being wrapped in Adrien's arms, his scent, his warmth. That was Chat Noir.

And when she sits down in class behind him in a few short minutes, that boy with the soft smile and shining eyes will look like Adrien, but now he's so much more.

Marinette stands up from her chair with a lighter heart than she can remember having in a long, long time. She's suddenly looking forward to the second half of the day, even more excited for Nino's event tomorrow night, and positively thrilled that she has a date with Adrien - who is Chat Noir! - on Saturday.

There's so much to experience, so many memories to be made. It feels a bit like a dream. It feels more than a bit scary. But it's going to be great.

It's just going to take a little courage.

She's got this.

[itsclydebitches]

RWBY Recaps: Volume 8 “Divide”

Hello, everyone, and welcome back! It feels good to be doing some normal RWBY-ing in this strange world of ours. First, some supplementary materials.

Number One: In response to any (valid) questions along the lines of, “Hey Clyde, it’s now been a full year since Volume 7 was airing and you still haven’t answered my ask about it. Or the ones about Volume 6… what’s up with that?” I’ve created what I hope is an informative video detailing the problem:

(I assure you, the Earth, Wind & Fire was a happy accident during the screen recording.)

Needless to say, there’s a lot and I’ve known for some time now that I will LITERALLY never get through all my asks. Which doesn’t mean I don’t want you to send future thoughts in! Just know that as we head into Volume 8 territory I’ll most likely prioritize those, as well as any Volume 7 asks that aren’t woefully out of date. But I do want everyone to know that I read all the asks I receive, appreciate them immensely, and think too much about hypothetical answers, even if I don’t have time to actually write them out ��

Number Two: There’s a bingo board this year!

Jury’s out on whether I’ll remember to update it, but at the very least this serves as a decent glimpse into my — and others’ — expectations going into this volume.

Number Three: I’ve collected a list of things I’ve heard about Volume 8 from what seem to be reputable sources. I did this because RT is developing a tendency to talk up certain points and then fail to deliver, either because something was taken out of a volume/moved to another, or because RT apparently has radically different ideas about what including something means. So this might be handy to keep on file and ask ourselves two months from now, “Did RT actually deliver on what they promised?”

Emphasis on Ruby’s leadership and how Summer’s death has impacted her

Insight into Ren and Nora’s flaws

May Merigold will supposedly have a larger part

More information about The Long Memory (Ozpin’s cane)

Theme of the volume is that you can respect someone but that doesn’t necessarily mean you agree with them

Very short timeline (supposedly just two days)

Yang in particular is very suspicious and distrustful

I was also going to include a list of all the threads that need to be continued/wrapped up, but honestly that would have taken too large a chunk off my life. Let’s just throw out the highlights:

Are we really going to have Qrow gunning for Ironwood?

Clover is dead regardless. Press ‘F’ to pay respects

Oscar bb you got shot please acknowledge this

Ozpin bb you got done dirty please acknowledge this

Penny is a Maiden now. I feel like the fandom has been sleeping on this (myself included)

Queer baiting, queer baiting… you’re on thin ice at this point, RWBY. Just skate on over to the queer snack bar before you fall straight into the lake.  

Ren spill your deep dark secret already and it had better be something more than just ‘Oh no Nora might someday die :( ’

Salem is here so how the actual fuck is the cast surviving this?

Will Ironwood likewise survive his descent into antagonism? Yes or please yes no?

I think that’s all the biggies. I strive to keep lists like this in mind while analyzing, but honestly RWBY has a hundred moving parts that are abandoned or changed or simply retconned at the drop of a hat. So an attempt will be made.

Number Four (last one I promise!): Normal disclaimers and reminders for Recaps apply:

Please don’t fill up the already full inbox with flames. It’s still 2020. No one has time for that nonsense.

There will absolutely be typos and wonky parts because I try to get these out the same day an episode premieres. I have now been working on this for ten hours, nearly straight, and have no more energy for edits. Apologies in advance and RIP to my Saturdays.

I reserve the right to use stupid GIFs and memes at my discretion.

I strive to keep my focus on recapping/analyzing but salt tends to worm its way in… If you’re a die-hard RWBY fan with little patience for criticism, let alone (at times) snarky criticism, please proceed with caution.

No wait I lied, this is the last thing:

Okay, got that out of my system LET’S DO THIS!

We start not with the episode itself but rather Rooster Teeth’s (RT’s) strange non-promotion of it. If you follow my blog you may have caught the post where I pointed out that there was nothing on RT’s website to suggest that one of their most popular shows—if not the most popular show—was premiering today. Nothing on the main page. Nothing on the RWBY page either, not unless you count the Volume 8 poster background (easily mistaken for the Volume 7 poster) and the trailer buried all the way down past Episodes, past Merch, in the Bonus Features section along with videos like Live From Remnant and the volume intros. RT… the promotion of your feature show is not a bonus. This should be front and center! Honest to god, five minutes before the episode dropped I was checking the website for a Volume 8 section, a countdown, anything that would tell me the episode was imminent without relying on fans on tumblr to keep me in the loop. We got nada, zilch. I’m not sure whether that speaks more to RT’s iffy management of the series or simply the website’s horrible design—RIP losing RWBY on Youtube—but I was surprised when I saw the episode a few minutes after 11:00am. At that point I honestly expected to hear about a dely.

So that’s the mood I entered the premiere in, but truly? We start off strong. Things take a pretty severe nosedive later on, we’ll get to that, but I was impressed with our beginning and that probably has a lot to do with the fact that we start with our villains.

We open on a Cinderella character, Cinder, and thus I’m immediately pleased that we’re getting something about her backstory after all this time. Seven years! She appeared in episode one, folks! To say we’re overdue is an understatement. There isn’t a whole lot to go on, just a younger Cinder sadly scrubbing the floor, poised under a spotlight. What we learn, or potentially learn, is based far more in cultural knowledge than this scene. We know Cinderella’s story, which includes the abusive family, the longing for more, the eventual escape, and thus we’re able to read all of that in this image, despite the image itself not telling us any of this overtly. That means we could be wrong in our interpretation, but if we’re not it’s an easy shorthand in an already packed story.

What I’m really impressed with is the sound bridge between the scrubbing and her nails on the back of Neo’s chair. Fantastic way to confirm that this is Cinder as well as showcasing just how far she’s come. The sound of her labor has been replaced with the sound of her power and given that Cinder’s power is stolen, tied to a grimm arm, the property of a genocidal maniac… that’s messed up. It’s a Cinderella story gone wrong.

So yeah, Cinder tells Neo to head straight into the creepy, grimm infested blood cloud to see Salem and Neo is like, ‘Uh… no thank you?’ lol.

RT does a good job this episode with her expressions, ensuring we know exactly what she’s thinking despite an unwillingness/inability to speak.

Poor Neo might be in too deep, but I quite like the overall atmosphere of this opening. Say what we will about Salem’s awful characterization, at least she has style. This woman knows how to make an entrance and, piggybacking off of the Apathy, RT knows how to infuse horror elements into their fantasy. The red and purple coloring of the clouds, spiked whale teeth peeking through, bright orange in the background looking like explosions… that’s all 👌 Including the intro card.

The only thing I want to gripe about is this:

I’m sorry, why does the whale grimm have landing pads? Or something like it?? The whale otherwise works because it’s poised between the natural and the fantasy synthetic. It looks like a real grimm whale on the outside, but is sporting a throne room, a control panel, and other unnatural elements on the inside. It’s a visual indicator of Salem’s ability to control and change grimm. Now though, the additions are wrong, infringing on the line between organic and tech, the line between what helps the grimm individually (giving monkeys wings) and what just helps Salem. Every other aspect of the whale straddles that line wonderfully, adding to the creep factor, like a grimm version of the Uncanny Valley: it’s not quite a whale anymore… but landing pads? That looks ridiculous. Why does Salem even have that? How many ships are her people feasibly using? Why are there five?

Take it away, please.

Cinder waltzes in like this is a normal home visit, but Neo has an appropriate ‘What the actual fuck?’ face going on.

They approach Salem on her throne where Cinder immediately kneels, greeting her with, “My queen.” I mentioned during my trailer breakdown that I think Cinder is lying her ass off here, and I still think that based on a line we’ll get in a minute, but now at least we have a sense of how she can pull this off. A woman who started out as a (presumed) servant is going to know how to mimic subservience, even if her heart isn’t in it. Salem is very good at playing the girl who will still kneel and scrub the floor for you. She will scrub the floor, she’ll do everything you want, she’ll just be plotting her own rise to power while she does it.

There’s quite a bit of interesting cinematography in this episode, not all of it good, and I think one of the mistakes is here when we get a closeup on Salem’s mouth as she greets Cinder. A closeup like that should be reserved for more significant dialogue—“Rosebud”—and yet we get this shot again when Cinder tells Emerald to be quiet. It’s awkward and coupled with the numerous eye closeups we got in the trailer, I think RT is playing a little fast and loose with the camera. Each shot should add something to the scene, not distract from it. If you don’t have a reason for including a technique like that then leave it be.

Back to the actual dialogue though. We knew that Salem knew Cinder was alive and now it seems that she just expected her to come back? I’m slightly lost. It feels like we’re missing something here. Cinder goes off to secure the lamp, fails, nearly dies, wanders on her own for months, and then randomly shows back up on Salem’s whale doorstep, yet Salem isn’t angry at all? Did she have faith that Cinder would return when she has something to offer? Did she just not care about Cinder, considering her return an unnecessary but otherwise welcome surprise? That would make the least sense given that she holds the key to accessing Beacon’s relic… but that circles right back around to why Salem is seemingly indifferent to Cinder’s comings and goings. Surely she can’t actually believe that Cinder is loyal?

“So I trust you wouldn’t return to me empty handed,” she says. Yeah, trust means nothing in this show, Salem, didn’t you watch Volumes 6 and 7? Again, I simply don’t know. I suppose I’ll just chalk it up to confidence, that if Cinder did bail Salem knew she could track her down again. Deciphering her motivations and beliefs is a lost cause when the show continually gives us so little.

The important thing now is that Cinder does indeed have an offering and you can see that Salem is somewhat surprised at being handed the relic.

Cinder, of course, takes credit for the victory and we’re given another wonderful shot of Neo. ‘YOU took it?’

Oh, Neo. Best get out while you still can.

Tyrian appears having obviously made his way to Salem’s ship sometime between her arrival and now. The exchange is pretty standard for this group. He insults Cinder for failing and needing this victory to make amends, talks about how any win against Ironwood says more about his lack of intelligence than her skill, and Cinder… doesn’t have a whole lot of comebacks, actually. I’d say Tyrian won that verbal spar, enhanced by a better use of the camera when we get his tail looming menacingly towards Cinder and Neo.

He goes on to say that Watts was a “necessary sacrifice” so, uh… I’m just going to toss out the ask I answered yesterday. Based on our intro I’d say Watts is still significant to the volume—hacking Penny is my guess—but by the end? He could be in trouble.

(As a side note: I plan to analyze the intro next week. It’s just easier when it comes first.)

Tyrian also calls Neo “little one” which I just found absolutely hilarious. In an on brand creepy manner, that is. Not that Neo couldn’t kick his ass, but there’s something wonderfully chilling about having the serial killer use an endearment towards a potential victim, one that comments on her size while he’s looming.

In contrast, Cinder refers to Neo as a “valuable asset” and we get our third mood of the episode.

Who’s going to start a Neo reaction image collection?

It’s true enough on the surface—who wouldn’t want an ally who can turn into anyone else?—but we’re still bumping up against question of why Salem needs this. She’s immortal! She has an endless army! Magic! This scene works well with a villain who needs a skillset like Neo’s to succeed, but Salem doesn’t. RT is doing a great job writing a story thus far, just not the story we’ve previously been given. This isn’t the story they set up.

This will come back up when we reach the RWBYJNOR group. Just wait.

Before that though, the gang’s all here as Emerald, Mercury, and Hazel show up, all in new outfits.

I think I like everything except for the weird Xs on Emerald’s jacket—it’s way too distracting and frankly makes an otherwise good look ugly—and the fact that she’s showing her midriff in Atlas. Hazel doesn’t have any sleeves! Oh my god, why doesn’t anyone dress for the weather in this show?

Frankly, I found their reunion to be kind of lackluster. I mean, there was nothing wrong with it. Emerald does sound briefly excited, she does run, and it’s in character for Cinder to cut her off… it just didn’t resonate with me emotionally. I thought after two volumes of thinking she’s dead, then working through the knowledge that she’s alive, that I would feel Emerald’s shock and relief more, but I didn’t. And I’m not entirely sure why. I don’t want to level any accusations at the voice acting because frankly I know next to nothing about that skill (and from what I’ve seen it’s usually praised in the fandom), but I will say that throughout the premiere I was noticing it more than I ever have before. The lack of emotion here and some awkward deliveries later, like when Yang goes, “Ruby, there is no way Ironwood will cooperate with us” and I immediately thought, “Wow, that came out stilted.” These observations stick with me because, as said, voice acting usually isn’t on my radar. It’s not something I’ve studied or had practice analyzing. If you’d never told me that Ren or Qrow’s VA changed then after a year hiatus I literally wouldn’t notice… but there’s something about this episode that didn’t sit right. Anyone else get that sense, or was it just me?

Regardless, the arrival of our other three villains really doesn’t amount to much, though I’m happy for all the Emerald and Mercury fans who get to see them in new outfits. The focus is still on Cinder as she delivers a line indicative of her true motivations: “That power will be mine.” Yeah, she’s not loyal to Salem, she’s just power hungry. Of course, Salem immediately takes note of this and raises her hand, in another nice use of the foreground, reminding her that she hasn’t given that order.

Cinder is shocked, angry even, but quickly covers it up with her “Without you I am nothing” line. If I caught it right I think she also calls Salem “Ma’am”? Hilarious. Again, skilled at playing the servant.

Also, before I forget, it’s worth noting that almost everything from our trailer appeared in this episode. Yeah, there are a few details like Nora attacking some tech and the group on their bikes, but on the whole we’ve already seen the majority of our promo material and will likely get most of the rest next week. It makes me both interested and nervous for what another twelve episodes are going to hold.

Salem opens her whale, or opens a portal type view in it, something that gives us a long-distance look at Atlas. I don’t know what exactly is going on here, but it’s pretty so I’ll take it.

She also delivers the frankly badass line, “Just because you’re more valuable to me than a pawn does not make you a player.”

She waves them all away with perfect ‘You mean nothing to me’ attitude and we sadly leave our villains.

Sad not because I don’t love my farm boy, but because things are about to get a whole lot messier.

Oscar has made his way to a camp of civilian survivors… all of whom are just hanging out in the supposedly deadly cold. Yeah, there’s a single fire, but at least four of them aren’t anywhere near it. Three of them also aren’t wearing gloves. What was that survival rate again?

A nice if gruff dude gives Oscar soup—water?—while showing off his… badger claws? I don’t know what kind of faunus he’s supposed to be, but he feels like the sort of two second, minor character who could easily become a meme lol.

Oscar thanks him (my polite son!) and hands the bowl back after a single sip. Which is impressive because I would have assumed the guy was giving me the whole bowl and just taken it. Hell, I’ve done that even when I didn’t assume it’s all for me. A Starbucks barista once approached me with a tray and a plate of samples, I knew I was supposed to take just one, yet for some reason my hand went to take the whole goddamn plate. He had to tell me off, then I was trying to explain that I didn’t actually want or think I should have eight shots of cappuccino all to myself, I don’t even like coffee, he clearly didn’t believe me… it was awkward. So good job, Oscar. You’re less awkward than me (though that’s not saying much).

Now a question, Oscar. Darling. Brilliant boy who has been through too much: why the fuck aren’t you talking to Ozpin? This will be A Thing later when he presents a lack of time to talk as justification for keeping more secrets (we’ll get to that too…) yet here is time! You’re just sitting there for who knows how long, with plenty of privacy to hide a supposedly one-sided conversation so the Mantle citizens don’t get weirded out or suspicious. Talk to Ozpin. Our headmaster gets two lines in this episode, utterly inconsequential lines like his airship scene, lines that feel like they exist to say, “See? He’s still included in the story!” even though he absolutely is not. Two volumes of mostly silence, a perfect setup to start the reconciliation process, but we’re going to put it off again?

Instead Ruby randomly and conveniently appears. I want to know how she found him. Oscar isn’t wearing a tracker. He clearly didn’t call them because he’s surprised when Ruby shows up. He fell alllllllll the way back down to Mantle and then wandered to a random part of the slums. You’re telling me they flew over the entire city—after beginning this search thinking he was in Atlas—and somehow managed to spot him from up in the air? C’mon. I would have rather had a beginning where Oscar makes his way back to the group himself, giving him and Ozpin time to hash things out.

“Need a lift?” Ruby says, eliminating that potential. Sigh.

Oscar immediately starts beating himself up when he gets onboard, saying that he “was stupid to think the General would listen.” Nah, you were stupid to buy into Ruby’s nonsensical confidence and for telling Ironwood he’s as bad as Salem. Sorry, Oscar, but everyone is written badly these days. I will, however, say that I am THRILLED at the group’s reaction to his return. Ruby says that she’s “just glad you’re alright.” Nora has a wonderfully tender moment where she hugs him gently rather than her usual glomp.

That? That added a year to my life. Everyone else seems relieved that he’s okay too, so kudos there. After four years of Oscar being an outsider in the group, this is one of the few moments that feel like he’s 100% accepted. Really glad to see it.

Now let’s see if it sticks after they learn Ozpin is back...

They fly to the Happy Huntresses’ base and I again feel like I’ve missed something crucial. When did they team up? I mean, RWBYJNOR was working directly under Ironwood up until the last hour and Robyn ran off to fight Tyrian/Clover in the last couple episodes. When did she have time to explain her (briefly) changed allegiance and why would the Happy Huntresses trust the group without that? Did Robyn share that Blake and Yang went behind Ironwood’s back for her? Do the Huntresses instinctively trust them because they’re now wanted by the military? How did they even run into each other?

Again, I think we would have been better served to have an episode before all this. Let Oscar make his way back and let the group struggle with the magnitude of their situation on the airship, before they find new allies. Transferring directly to, “They have help and a secret base and a plan in the works!” makes me feel like I missed the real premiere last week. You know, the one where Salem unexpectedly arrived and we left the group like this.

This is where we’ve ended up though. The group is cozy in this hideout, getting info from Joanna, and my only other thought is, “Why is she giving all this exposition?”  

Shouldn’t it be May? I mean, we were told that she was going to play more of a role this volume, a promise that’s pretty important imo given her status as a (so far off screen) trans character, so why not put her in the role of mediator between the Happy Huntresses and RWBYJNR? Giving her that setup as a leader among her people as well as lots of lines would be meaningful. A trans character just existing and being a part of this fight! May could obviously still fill that role—I’m well aware that we’re only one episode in—but it just seems like a missed opportunity to me. Out of all the undeveloped Happy Huntresses, our premiere focuses on the one who has the least importance to the fandom.

As said, Joanna talks a fair bit but what it basically boils down to is trying to get everyone to the crater below Atlas. It’s apparently not safe, but it’s warm, which is what matters right now.

So… let me get this straight. You want to gather everyone into a not safe crater, by leading them through an army of grimm, so that they can wait there in case someone moves the Staff, thus dropping an entire city on top of their heads? That’s the plan? Which admittedly isn’t Joanna’s fault. This is another instance of RWBYJNOR having information that a leader does not and they should really consider speaking up about it. But of course they don’t.

Also, how long does everyone have in regards to the cold? Shouldn’t there be dead civilians by now? The time it would take to find the Happy Huntresses, team up with them, get settled in the base, and find Oscar says that things should be pretty grim right now (pardon the pun), yet every non-aura user in this city seems content to just hang out in the snow. Either the cold is deadly enough to justify moving everyone to the crater, or it’s mild enough to let everyone survive this long, not both.

After hugs are given everyone obviously wants to know what happened to Oscar. His response?

“It’s a… long story. I get the feeling there’s been a few of those tonight.”

That’s a check for the bingo card! We’re halfway through the first episode and we’ve already got another secret. Yes, this is a secret. Oscar actively chooses not to tell anyone that Ozpin is back—something Ozpin himself comments on—and then skillfully draws attention away from himself with “I get the feeling there’s been a few of those tonight.” Indeed, all eyes go to Penny. Oscar’s plight is forgotten, which is what he wanted. His justification?

Ozpin: “You’re not going to tell them?”

Oscar: “You and I aren’t done talking yet.”

Along with this look.

Oscar no. There’s so much wrong with this I don’t even know where to begin. Let’s create a list.

As said, you had plenty of time to talk to Ozpin and chose not to. Miss me with this excuse.

You are now doing to your friends exactly what you and your friends did to Ironwood, which in turn is what Ozpin did to you! I can’t believe we’ve got Oscar critically side-eyeing him when they are still—still—repeating the behavior they drove Ozpin away for.

What is there to even talk about now? Oscar didn’t punch himself/Ozpin (lol) but he did steal Jinn’s name from Ozpin in the first place. You got what you wanted, drove him away, and have been lying and keeping secrets ever since. The only thing they should be talking about involves apologizing. Any further criticism—which is what Oscar’s expression and curt reply suggests—is beyond hypocritical.

Seriously, what needs to be discussed? There’s no reason not to tell the group unless Oscar wants to talk about whether they should tell them. There’s no good ending here...

Don’t you think it would be nice to know that Ozpin is back and you’ve got super magic powers while making plans to save the entire world?

This is all especially stupid given Oscar’s “Salem wants to divide us” reminder to Ruby in a moment. Oscar, you are doing the most to divide the group right now. By not forgiving Ozpin. By refusing to work with him. By keeping him secret from everyone else.

This is bad, friends, I worry for what the rest of the volume will bring…

The story is done with Ozpin for now so I guess I will be too. The group continues filling Oscar in and we get some shots of the base, including a rather prominent poster of what I assume are two Happy Huntresses. Did they die in battle perhaps?

It’s a little strange.

Oscar: “Where’s Qrow?”

Me: “Likely still making bad decisions.”

No one knows so they just drop it. Which I kind of get, only so much you can do to find him if he’s not out on the streets like Oscar, but it still reads as kind of iffy that two nieces look down at the ground for a hot second and then move on with their plans, content to leave Qrow to whatever fate befell him. In a minute we’ll see Yang firmly take Ren’s side regarding helping the people they can in Mantle, which frankly comes out of nowhere for her. I think an easy motivation would have been Qrow. Ruby wants to save the world, Yang wants to find and save their uncle, and that just happens to align with Ren’s desire to save the civilians who need immediate grimm and cold help. Don’t get me wrong, I like that there’s finally some division between the sisters, I just wish it hadn’t come about so abruptly. Ren had setup for standing up to Ruby. Yang did not.

But I’m getting a little ahead of myself. Joanna lists the grimm horde and no heat as the major threats to everyone. The group agrees.

Me: What about Salem?

Joanna says that this is all doubly dangerous because there’s “no more military protection.”

Me: Oh, so now you want the military?

This is all so disjointed. Even more-so when Joanna mentions that Ironwood has stopped all evacuations to Atlas, likely due to the “hard light shields” that are the only thing standing between Salem and the city. Thing is, the show never makes this connection, I just did it myself based on this scene and the one that comes later. The show presents Joanna’s line as a pure condemnation. Ironwood won’t let more evacuees in because… he’s just evil, I guess. Yet there is a justification here, namely that continuing the evacuations even while he’s stuck without Penny leaves him wide open to a Salem attack, the death of everyone currently safe, but that argument is never presented to the viewer. I don’t need people to agree with Ironwood’s perspective, I just wish that perspective was offered as an option. The show is very good about acting like RWBYJNOR’s opinion is the only justified opinion, or simply the only opinion at all.

After everything is laid out Weiss goes, “We’re never going to sleep again, I just know it.”

I could make a crack about the lack of continuity and how the group should be collapsing right now… but that was a funny line. It can stay.

What is far more of a problem is the fact that no one is talking about Salem. Okay, that’s a lie. They do talk about her, but in a roundabout way like her presence isn’t impacting every decision they make. That’s the real issue. They’re acting as if Salem isn’t here right now, like she’s off far away, maybe approaching slowly, and they’re arguing over how best to prep the world for her eventual attack. There’s no emotion here—let alone action—to reflect that the series’ Big Bad has arrived and is poised to murder them all. Literally what is this? Ruby is yelling about warning the world and, ignoring the continued question of why that’s a good thing when the world can do nothing to stop Salem and knowledge of her continually drives people to horrible acts, she has yet to acknowledge that… she’s the world? Ruby is the world in this conflict. She, Mantle, and Atlas. Salem is here for you all. Right now. You are, this instant, in the situation you want to warn others about, so why don’t you try to do something about it? Or at least acknowledge it. Ruby wants to warn the neighborhood about a potential fire while her house is actively ablaze, and the fire could have totally killed her by now but decided not to for… reasons.

“Ruby’s right,” Nora says. They have to tell the world so “they can prepare.” How? How are they supposed to prepare for this? The story cannot continue ignoring Salem’s immortality.

“Ruby’s right,” is all Blake says and I’m starting to thinks that’s why her character exists now, to agree with Ruby. It’s great that she’s getting a little distance from Yang, but man.

As Ruby asks whether Pietro can get Amity up and running despite it not being finished (called it) we start an incredibly odd sequence of flashforwards to their individual missions. I’ve seen a lot of praise for this already and though I agree that, in theory, it’s a good way to save time, I found the actual execution to be jarring. Upon thinking back through our timeline, it became clear they were flashforwards, but while watching I thought they might be flashbacks (especially since that’s more common).

Some of the shots, like Nora’s, just look awkward when you’ve got the exact expression and pose transplanted from one scene to another, like she’s a cardboard cutout behind a green screen. To say nothing of how the flashforwards ruin any suspense (I use that word loosely) in the conversation itself. If the question is, “Will they decide to go to the military compound?” then that question is answered when we see Ruby scoping out the compound, not when the group actually decides on the course of action.

It just made an already muddled scene worse for me, so I hope this trend doesn’t continue.

And of course, Amity can be used despite all the info last volume claiming that it wasn’t finished. Pietro suddenly acts like it is finished and the only thing standing in their way is Ironwood providing access. If that were the case, he would have used Amity weeks or days ago like he wanted to! When was it finished? Not after Watts commented on how incomplete it was. When did they get back the resources they needed from Robyn? It’s as ridiculous and retcon-y as I thought it would be.

Yang points out that Ironwood will never listen to them and Ruby counters that “he doesn’t have to.” They’ll just take the access from him. Because why wouldn’t they in a series where they’ve already stolen two airships? Stealing from the super evil military that Joanna wishes were helping them right now is just the group’s go-to plan nowadays.

Pietro isn’t sold on this plan though. He lists at least three obstacles they’d need to get through “and then… oh boy, I might need to think about this some more.” “And just to clarify,” Oscar says, “This is the easy option?” Um...no it’s not? We also know there’s an access point in Ironwood’s office so… why not go there instead? They really think the Academy is less guarded than the military base? There’s a potential justification here along the lines of, “After Neo and Cinder broke into his office Ironwood will have the place on high alert,” but unless I missed it the group doesn’t assume anything like that. They just listen to Pietro point out all the ways they can’t get into the military base and jump straight to that being the best option. It feels like a transparent way to create conflict for the group. We’ll just have them taking the most dangerous route despite an easy route being offered alongside it. Why bother mentioning his office at all? Just have the access in the military base. Boom, done.

It’s that conflict and the fact that Ruby tends to hear “You can’t” and digs in her heels. You can’t go to Atlas. I’ll just steal a ship then. You can’t defeat Salem. Watch me. You can’t break into this base. Guess what I’m doing! She’s dangerous in her fairy tale, meta-driven insistence that everything will turn out her way because she wants it to.

Speaking of, we finally—FINALLY—get someone challenging Ruby. Sort of. Not actually but it’s the closest we’ve ever gotten:

Yang: “Ruby, when we came here we said we’d follow your lead… but things haven’t exactly worked out.”

Now, there are two things to take away from this moment. The first is how utterly shocked Ruby and the others are. I mean, take a look at these expressions.

Ruby straight up can’t believe what she’s hearing. Weiss put her hand to her mouth like this is the most dramatic thing to ever happen to her. Oscar looks down in a ‘Yeah, I agree but please don’t look at me and make me admit that’ way. And Nora looks indifferent in the screenshot but animated she goes sort of stern, likely pissed that Yang would dare say that given her own agreement with Ruby. This not only reiterates that Yang’s challenge came out of nowhere—seriously, how did we move from following Ruby no matter what to this? Last volume she asked a single question along the lines of, ‘You sure?’ and when Ruby said ‘Yes’ Yang was entirely on board—but also demonstrates that no one has EVER said no to her before. Ruby is amazed that someone would challenge her. The act of challenging Ruby is, in and of itself, shocking. This group has gotten so used to following Ruby blindly that the teensiest little pushback is greeted with this.

Because it is teensy. This is the second takeaway: Yang barely challenges her and that challenge leads nowhere. She doesn’t accuse Ruby of anything, she doesn’t question her continued authority, she just broadly implies that things could be better. We followed you, now things are bad, take from that what you will. It’s incredibly mild as far as criticism goes, making the shock all the more, well, shocking, but it also amounts to—wait for it—nothing! Because Yang didn’t truly challenge Ruby’s leadership. She’s still in charge, she’s still calling the shots, and they’re still listening to her. We might have gotten some change if this division had been allowed to play out, but instead Jaune comes in with a, “Let’s go for both!” solution. It let’s both groups get what they want which, in turn, releases them from the need to grapple with whether they’ll listen to Ruby when she’s advocating for something they don’t agree with. We have now lost the chance to see whether, when push comes to shove, Ren and Yang will cave to Ruby’s will or stick by their own beliefs.

Don’t get me wrong, it’s more conflict than we’ve gotten in years, but that doesn’t mean it’s particularly compelling conflict. It’s good by RWBY’s standards, which doesn’t necessarily make it good. The actual issues at hand—Ruby’s dangerous arrogance, the group’s loyalty, her choices up until now—are just swept under the rug. For all the visuals we get insisting that there’s this great divide in the group… there’s really not. Not in any way that matters.

Also, Ruby is an idiot. Okay, that was mean, but she really is in this scene. She’s actually not an idiot overall because she was written as wonderfully intelligent in the early volumes, but now? Lately? She makes me want to bang my head against a wall.

“But that’s how Salem got this far,” she cries. “By dividing us!”

Ruby… oh my god, Ruby. No one should have to explain to you that dividing people means turning them against each other, not literally dividing your team to complete separate tasks. This girl honestly thought that because there was this teensy disagreement and that half the team would complete Plan A while she and the other half completed Plan B, both of which notably work towards the goal of, “Protect people from Salem,” that this was somehow what Salem wanted. That is was dangerous. Honestly, it’s a scary look at her view of leadership too: If everyone doesn’t 100% agree with me and do what I say, that’s an objectively bad thing that the grimm queen wants, right? Does Ruby think that unification means following a single person (her) without question or variation? That would explain a lot...

The fact that Oscar needs to explain the difference to her is not good. It really doesn’t say great things about this version of Ruby. Though he was comparing Ironwood to Salem last volume, so really they should all be wearing dunce hats.

Penny offers to take the relic directly to Salem in exchange for her leaving the kingdom alone. I honestly didn’t expect that. If anyone took that risk I would have put my money on Ozpin (but of course, during all this talk of the women he knows best, he’s kept quiet). Oscar is again the voice of wisdom, pointing out that they have no reassurance that Salem will keep her word. At least Penny is thinking about Salem as a threat though, so kudos for that. When this plan is shot down she volunteers to get Ruby past the military security instead and, uh, she’s a little intense about it.

I’m not entirely sure what is going on with Penny. She disagreed with Winter but then seemed to come around to her point of view, enough to help anyway. They had another (stupid) disagreement about the value of individual lives, so that helps to explain why she’s teaming up with RWBYJNOR (if you ignore that Ironwood is also trying to save individual lives...). Did watching Fria die shake her up? Is it being the Winter Maiden that’s not sitting right? Does Penny have lingering feelings about the framing that haven’t shown up until now? Her status as a ‘real girl’? We’ve got a lot of reasons that could definitely explain this sudden need to fight, but we’re not told which—if any of these—is the driving force.  

We’re then given a lot of little details. Someone points out that if Salem gets the staff and “create[s] anything else” then Atlas will fall (so yeah, let’s move the people underneath it). We still don’t know what exactly the Staff does because “creation” is kind of broad and “powering a city to float” doesn’t seem to sit within that category at all. Pietro gives Yang the keys to his lab so they can get the bikes. We see the group dividing in the flashforwards, something I do like, especially since the show has gone out of its way to break up most of the usual duos. Nora in particular is pissed at Ren for his choice.

“Oh, I’m saving Mantle because I actually believe we can do this.”

#yikes. Well, I did say I wanted a conflict other than ‘Oh no, one of us might die’ and it looks like I got it. But Nora, the only reason you can do this is because the plot is in your corner: none of you are collapsing from two major fights, you didn’t lose your aura so the cold isn’t a danger, the military is barely a threat all of a sudden, Salem is helpfully hanging out in her whale instead of killing you, and the story decided that Amity can function so long as you all are the ones who get to use it. That’s why you can do this. Ren, who follows in-world logic and doesn’t want to risk a whole kingdom’s worth of lives on a pipe dream, thinks differently, oddly enough.

As they leave though Penny gets a call from Ironwood. I know precisely what the fandom is going to say here: “This evil man is just trying to use Penny to open the vault!” Of course he is. He needs it open to save everyone he can, Penny included. Plus the concept of “using” her is a double-edged sword. What do we think the group is doing right now? Using her to get past the security. Penny’s power is a tool any way you slice it. Granted, Penny volunteers to help the group, but notably here Ruby speaks for her. Penny seems torn and Ruby takes the scroll away with, “She’s not going anywhere until you change your mind about Mantle.”

Sorry, Ruby, but coming from you that sounds less like a reassurance for Penny and more like just an order for Ironwood. Remember Harriet? We’ll stop attacking you provided you do what we want. Ruby has yet to learn about compromises, let alone acknowledge that she might be wrong. How about you let Penny decide where she goes, especially since by all logic she should have a lot of loyalty to Ironwood. She knew him before she ever met you. She’s worked with him since she was rebuild post-Volume 3. Despite what Penny has said, if the story would just let her think about his actions for a hot second—making her the protector of Mantle, sticking up for her after the framing, sending her to the party, teaming her up with Ruby, etc.—she might realize that the ‘He doesn’t want me to have friends’ and ‘He just treats me like a tool’ assumptions are just that, unfounded assumptions. But no, Ruby speaks for them both because Ironwood is evil now.

“If she makes it through our defenses,” Ironwood says, “everything that follows will be on your hands.”

That’s true! Kind of like how it’s own Qrow’s hands that Clover died. When you insist on making a bad situation worse you hold responsibility when the shit hits the fan. You know though that Salem won’t get through their defenses now, somehow, so that there’s no chance RWBYJNOR will be blamed for it. Or, by that point Ironwood will be so crazed that anything coming out of his mouth is dismissed, no matter how accurate it might be.

We then transfer to the Ace Ops who are, despite what the fandom theorized for many months, clearly upset about Clover. Also pissed. Which they have every right to be. Their friend and leader was killed. Imagine for a moment that Ruby had been murdered by Tyrian with an allies’ help. Exactly what do you think the group would do? Swallow it quietly and get over it? Ha.

I’ve already seen some speculation that Clover survived due to details like showing us the bandage and his room being listed as for a “Patient,” but he looks pretty dead to me.

He got gutted through the chest and left out in the snow for who knows how long. We saw him slip away. Qrow screamed over his dead body. He’s not breathing now. If RWBY suddenly claims he survived this, I’m calling BS.

Most of the other visuals we get here were already dropped in the trailer. Winter is pretty injured from her encounter with Cinder, likely permanently based on her new outfit. Ironwood had to replace his arm—and I am calling BS on that “Losing his arm is reflective of him losing his humanity” commentary from RT. Please go read up on a couple decades worth of ableism in media and then get back to me.

We get Ironwood’s line about the light shields and, notably, a whole lot of empathy. Regardless of what he might want Penny for, he still called her with compassion. He’s watching the Ace Ops mourn their friend. He’s talking about protecting his kingdom. The first thing he says to Winter is, “Thank you, Winter. I don’t know what I would do without you.” Ironwood has a heart! It’s always on display, which makes this scene utterly ridiculous.

I literally don’t know how to respond to this. The gunshot made me jump, both because it’s a gunshot and because, again, what the fuck? I know I said that next volume RT might just have Ironwood descend into full villainy, shooting whoever he pleases now that he’s shot Oscar, but I didn’t actually expect them to do it. Because he never should have shot Oscar in the first place! I wanted the story to let Oscar grapple with it a bit and then quietly backtrack, acknowledging it as the mistake it was. The concept that Ironwood, empathetic Ironwood, rational Ironwood, always thinks before he acts Ironwood, let’s kids yell at him Ironwood, tried to team up with Robyn Ironwood, did everything Ruby wanted Ironwood, won’t kill Watts after he destroyed his arm Ironwood would shoot this guy just to shut him up is absurd. It was absurd then, it’s absurd now.

That being said, there’s a possibility he didn’t actually shoot the council member, but rather just (“just”) gave a warning shot down the hallway. I say this because the reactions to this are pretty tame. Everyone looks startled, yeah, but after the initial shot there’s nothing that I would expect if there was now a guy bleeding out on the floor. The council woman doesn’t scream. Winter doesn’t seem overly shocked. No one is running to try and help him. Basically, if Ironwood had just killed a political figure in front of six witnesses, entirely unprovoked, I would expect a bit more of a reaction than this. This feels far more like a, “Damn he’s not joking around, letting off warning shots to get people to leave him alone” not “WOW, our general just killed someone in cold blood!”

What I really hate though—beyond just assassinating his character—is how many fans think my friends and I are delusional for calling it character assassination at all. I hopped onto the RWBY tag for five minutes this morning and was bombarded with posts about how Ironwood needs to be murdered horrifically, anyone who likes him is sick, the Ironwood stans are as bad as Adam stans, you’re an idiot if you want him redeemed… because apparently the concept of a story writing a character badly doesn’t compute. I’m not here to argue that Ironwood didn’t do these awful things (regardless of whether he actually killed the guy or not). I’m not here to argue that they’re not awful. I’m just here to say that we never should have gotten these scenes in the first place, or if we were going to get them, we deserved an actual descent into murder at the drop of a hat territory. I’ve already explained extensively on this blog how early Ironwood was not accurate foreshadowing for this, and Volume 7 certainly wasn’t setup, but it looks like the majority of fans aren’t interested in examining whether any of this adds up. Which makes my job, as someone trying to examine this series somewhat objectively—in as much as that’s possible for any single viewer—as well as simply enjoy it as a show, really hard. It’s bad enough when a story keeps taking the characters you love and villainizing them, and doing that badly, but then when you turn to the community and see them rallying around the idea that you’re awful for being dissatisfied—you’re the bootlicker, you’re the blind stan, you can’t see what’s ‘really’ going on here… that sucks. For those of you happy and satisfied with Ironwood’s arc, that’s great! I’ve also seen a lot of posts hyping up the complexity of his character now. There’s nothing wrong with enjoying what we’ve been given and I’d never want to imply that just because it’s not what I wanted it’s somehow wrong. I’m honestly thrilled that after a year of worry so many people have adored our premiere, including this scene. I just wish that I could say RWBY had given me something I didn’t want in a persuasive manner and that the fandom as a whole was a bit more welcoming of differing criticisms.

Not that I didn’t already know the RWBY fandom had its flaws, but still lol.

That’s basically it for our premiere. Nice note to end on, huh? Our final scene is of Salem using the lamp to set her bloodhound grimm on the city. Why doesn’t she just go herself? What was she planning to do here in Atlas in the first place, considering that getting the relic was a surprise? Who knows. Little about this holds together. But we do end with another awesome shot, so small favors.

It’s always strange concluding a recap, but even more-so when it’s a premiere, during a historical moment in the U.S., amidst all the nonsense that is 2020. So for now I’ll just conclude with three quick things:

The updated bingo board will be listed at the end of each recap, provided I don’t forget about it lol. Today I’m checking off tone (not nearly enough freaking out about Salem), the team keeping secrets (Oscar), and major plot point dropped (Amity is suddenly finished). I could also probably check off the cold not killing civilians and getting Amity up and running, but we’ll see if any changes with those.

I’m including my Ko-Fi link at the end of recaps now. Not with any expectations. Not with anything resembling pressure. I thought long and hard over whether to include it at all—let alone mention it here—because I love doing these and never want anyone to feel like it comes with strings attached. But life is a little harder and weirder than it was last year, so I figure it can’t hurt. Feel free to pass on by and I won’t be bringing it up past this note.

Far more importantly: thank you for reading! :D

(Bonus 4. Editing this was an absolute nightmare — damn you, tumblr!  — so I apologize if anything is super wonky when I finally post.)

See you next week! 💜

[Ko-Fi]

[talesofafangirlwithadvr]

Jan/Feb 2021 Picks

HELLO! It’s been a while, but I’M BACK!! Life has gotten a lot busier as I started Grad School this January. So, I feel it may be tough being on time with future Monthly Wraps like I’ve done in the past with working on my MFA, and my job. I’m going to probably do more seasonal wrap ups when I get the time. I also think I’ll be posting more individual posts as I watch an episode. Because even with a busier schedule, there is always time for TV and there’s so much I want to talk about!

You know the drill. Spoilers are coming.....

You’ve been warned :)

WANDAVISION

I want to start off by mentioning that I have not watched this week’s episode yet. So the last one I saw was EPISODE  6 with Halloween in the late 90s/early 2000s.

THIS SHOW! OMG.

I didn’t know what I was signing up for when I watched the first episode and I have been blown away. It is such a cool concept and I love the fact that everyone who watches it is confused. There have been so many interesting theories out there and I am so curious what is going to wind up being true. I love all the nods to old sitcoms and TV shows as well as all the MCU Easter Eggs. (I mean they got X-men’s Quicksilver-like WOW.) It feels really Black Mirror at times with the breaking of the fourth wall. I will never be able to shake the feeling I got in Episode 3, when Vision reversed. (And then I saw a bunch of videos with him looking at the camera as Wanda looks at the TV. Eww I don’t like it, but it’s such a good move on their point.) I love the outside plot as well and the characters who were previously side characters in other MARVEL movies. The love for Jimmy Woo is astounding and I’m here for it. I’m glad it’s Friday, so I can watch the next episode. I’m just upset that we’re so close to the show ending. The next Disney Plus Marvel shows better be just as good. Wandavision set the bar high.  

NANCY DREW

If you’ve visited this page recently, you know I have a very strong love for this show. It is the only one I am still watching religiously on the CW and I am tuning in the night it airs. (That is HUGE for me.) IT IS JUST SO GOOD AND I DON’T KNOW WHERE TO START....

2x05 just aired, which would have been the season 1 finale before COVID and I have it saved on my DVR to watch again. There’s just so much I want to relive and catch that I missed the first watch through. It would have been SUCH A GOOD FINALE, but I’m happy that we can continue with new episodes starting next week. And with the way it ended...there’s so much I need to know!! I’m just curious how fast they’re going to develop certain plots. I love the Drew Crew and how they are a family. Each character is so well developed and their chemistry is great. I love learning more about each of them and watching them develop. My favorite character is definitely Ace. I love all his witty lines and how he is opening up more to the group as well as to us, the audience, as we get more of a look into his personal life. I enjoy all of his scenes with his dad and specifically liked when they were celebrating Shabbat. (I am also here for the Nancy and Ace content. I gush more about this on my other blog: lydia-whogowith-stiles. Check it out if you want to hear more.)

THE WATCH

When I watched the Christmas special (or was it New Years? and why does that feel so long ago) of Doctor Who, BBC America kept advertising a new show called the Watch. Due to the extensive amount of commercials, I decided to tape the first two episodes (which premiered back to back) to see what it was all about. I was unaware that this series is based on the book series created by Terry Pratchett. When I came to see if people were talking about it on Tumblr, I saw that a lot of people didn’t like it because of how drastically different it was. As I was unfamiliar with the original, I can’t compare. The TV show was eight episodes and I just watched the last one that aired this past Sunday. I definitely liked the first half of the season more (I noticed my mind start to drift as I watched later ones), but thought the finale was good. I really enjoyed how they incorporated the theme song. I didn’t realize the connection earlier and now can’t stop humming it. (I don’t know if there will be another season or not.) I enjoyed the characters and how it was like nothing I’ve seen on TV before. It got me thinking a lot about blending genres. I would still recommend checking it out.  

ZOEY’S EXTRORDINARY PLAYLIST

I was VERY excited for this show to come back. I loved the first season so much. It’s just such a heartfelt show and it helped me survive the early parts of quarantine. So far, this season I am noticing how detailed the musical performances are. Mandy Moore is doing an AMAZING job. The choreography is *chefs kiss* I also feel like the song choices have been great and not always the ones I think that would be picked. We are getting to learn more about each character and watch Zoey and her family as they continue life after losing Mitch. I am here for Mo and Max’s restaurant. I think the concept would be so cool in real life. Who knows maybe we’ll see one now. (Max’s rendition of ‘Numb’ was amazing. I’ve never heard the song like that and I think it might be one of my favorites of the season so far.) I hope Max and Zoey get back together by the end of the season. It did feel fast, so I do understand why they had to break up, but it still makes me sad that we watched them get together and then it was taken away from us. The last episode before the break was so powerful and I think the show did an amazing job applying real world issues into their plot. It did not feel forced at all and brought so much awareness. Upset we have to wait so long for a new episode. 

SECRETS OF SULPHUR SPRINGS

Are you looking for a good mystery, but don’t think Disney Channel can provide it? Think again. I have to say, when I started watching I was not expecting this show to be a part of my monthly picks. It pleasantly surprised me. The show involves the mystery of a young girl, Savannah, who went mysteriously missing at camp back in the 90s. Apparently, her ghost still haunts the hotel that was on the camp grounds to this day. Then Griffin and his family buy the hotel with intent of fixing it up and reopening it after all these years. The people in the town think they’re crazy because of its past. But there’s something more going on with Griffin’s dad as well as some of the other adults in the town. They know something about Savannah’s disappearance, but aren’t saying anything about it. While this is a kid’s show (and only half hour episodes) it has been interesting to see where the story will go. I’m sure I am imagining much more intense things for her disappearance than what actually happened. It’s also not super cheesy or have bad acting, which is refreshing. (I really feel Disney Channel has gone down.) Either way, I don’t know how many episodes are left to air, but I think we’re pretty close to the end. If you’re looking for a quick, entertaining mystery I would highly recommend.  

MISS SCARLET AND THE DUKE

And here come my period pieces (ironically both from Masterpiece/PBS this time). I know last year I felt like I watched a lot of historical watches at the beginning of the year. We’ll see if that continues to happen this year too. It does serve as a nice escape. Plus, these are some really good stories. 

Miss Scarlet and the Duke is a part of Masterpiece Mystery on PBS, although it aired on a different network in the UK. It is (another) mystery series (shocking I know with that title!) It follows Eliza Scarlet who has a nose for mystery, but as a woman living in the Victorian era does not have any rights except for being a wife and mother (two things she would rather not be). When her father dies (apparently from a heart attack...emphasis on apparently), she takes over his Private Investigator business. Much to the dismay of long time family friend William “The Duke” who is a Detective Inspector for Scotland Yard. Eliza is often in his office as she gets arrested for being places she shouldn’t or trying to get information out of him. This element of Eliza having to work in a very male dominated Victorian society is one that I feel I haven’t really seen on a TV show. I really like her dynamic with William. There’s always that feeling of “will they won’t they,” but I don’t feel the show just focuses on that. The mystery is the heart of it all. This last week’s episode was REALLY GOOD. As we got to find out more regarding her father’s death. I hear a lot of people want a season 2 and I am right there with them. This show deserves it. 

ALL CREATURES GREAT AND SMALL

Another PBS Masterpiece watch. I love this show, so much more than I was anticipating. It is so heartfelt and makes me so happy and in a good mood after watching it. It follows James Herriot who has recently graduated from veterinary school, but is struggling finding a job. Then he gets a call from Siegfried Farnon’s veterinary practice in Yorkshire. Siegfried is known for having a harsh demeanor and temper, so the assistants he hires don’t often last long. Spoiler alert, that should be pretty obvious, James does. The cast of characters are so lovely and I like all their relationships with one another. The show takes places in the 1930s and I realized I don’t often watch things in this era, so that has been fun to explore. The sets and locations are BEAUTIFUL. In the episodes, we often get these amazing shots that sweep over the exterior and I want to travel to Yorkshire like tomorrow. (See more escapism, it’s great.) The main plot follows everyone interact in the town and watching James become a more confident and experienced veterinarian (which I decided I could never do after watching). I heard that it has been renewed for a second season so that is so fantastic. 

FATE: THE WINX SAGA

The first things I heard about this show was how disappointed everyone was in how they decided to adapt the Winx Club show from their childhood. On this I can agree, but I decided to watch the show anyway. I pretended that it was something new entirely and I have to say I enjoyed it. Of course, there were parts that bothered me and then I had to remember it was a teen show, so angst would be annoying. I think overall it was too short (and should have at least 8 or 10 episodes), but I’m happy that they were able to conclude the main plot well. (Although we did get that cliffhanger, but it is exciting that it was released the show just got renewed for a second season the other day.) I really liked Silva-mainly because it was great seeing Thomas from Downton Abbey in something else. I also enjoyed seeing Jacob Duchman in more things. It was a surprise to see him in Medici and I am just happy he is adding more to his IMDB. 

Quick and addicting watch. Add it to your queue. Just forget it’s supposed to be based on something else. 

BLOWN AWAY SEASON 2

Continuing with the Netflix picks, one of my FAVORITE picks from 2020 got a season 2 and it is already on Netflix! That’s right Blown Away season 2 is now available. I seriously loved the first season of this show SO MUCH! Glass blowing is such a magical process and I am mesmerized every time I watch it. It felt weird starting this show with all new contestants, but then Alex came back as a guest judge and I was so happy. It is just as addicting and I cannot wait to see who wins this season. I am just trying not to rush the episodes. 

VIOLETTA SEASON 3 UPDATE

I know you were all dying to know...

After taking a hiatus from watching during the holidays, I have gotten back into watching the Disney Channel telenovela on Disney Plus. I am now on episode 68. Things are really starting to happen and I am finding myself getting sucked in again, which makes me happy. Episode 60 (pictured above) had A LOT happen and really was a turning point for the second half of the show. Can’t wait to keep watching. Some really awesome songs from these last set of episodes. 

AND NOW FOR MY NOT LOVING IT PICK:

LEGACIES

This third season has really disappointed me so far. As I’ve previously discussed on this page, it feels like they are just reusing previous plots from the last two seasons when there is so much more they can do. There was so much promise for this show and I loved the Vampire Diaries and Originals so much, that it’s sad to see Legacies miss the mark. I wish they gave Hope more storylines that didn’t revolve around Landon. She is such a strong character and is SO POWERFUL. This is something we rarely see and it shouldn’t only be shown to save a guy (multiple times). Their couple plot is continually doing the same thing. I want to see a lot more development with this show over this season to keep me watching. I am actually happy that there isn’t a new episode until March 11th. (That’s saying something...) 

[pinelife3]

An investigation: if supermodels are so dumb and vapid, how do they pull artistic geniuses?

This is a picture of Nick Cave and his wife leaving the inquest into their son’s death. Their 15 year old boy fell from a cliff after taking acid and becoming disoriented. 

I cannot even conceive of how terrible it must be to lose a child. The drugs and the cliff make it an episode of Skins (or Euphoria for the zoomers) but that’s your little boy. It was a stupid accident and now you never get to see him again. A teenaged tragedy. Unendingly unfair. 

Ghosteen, the 2019 album from Nick Cave & The Bad Seeds, is a complex, existential album in conversation with the death of Nick’s son and his feelings of loss and grief. Nick Cave is an artist - his life’s work is to share how he feels and what he thinks. What he’s expressing with Ghosteen is sorrow and longing - and some larger angst about the purpose of existence.

Through all this tragedy, I’m sure you couldn’t help but notice... who’s the babe with the shiny hair and the fabulous gazongas? That’s Nick’s wife, man! Susie Bick - or sometimes Susie Cave. She was a major model in the 80s and 90s. A model and an artist - it’s actually fitting. 

And what’s more, Susie is the founder of The Vampire’s Wife - a label which has become super popular in the last couple of years. (Fashion people eyeroll The Vampire’s Wife because every dress has the same silhouette, but that’s out of the scope of this blog.)

There is a perception that models are are vapid and unserious. Their job is to look good, keep their mouth shut, and move merchandise. They cannot offer anything profound because their value is surface level. Men and women both push this way of thinking. 

For example, when Brad Pitt was recently revealed to be dating 27 year old model Nicole Poturalski, people were disappointed. Brad Pitt has been a cultural fixture for decades - after all this time, people still find him fascinating. And they expect him to date someone who is equally compelling. Clooney married a human rights lawyer - why is Brad dating someone who makes posts like this on Instagram...

This was Lainey Gossip’s take on the new girlfriend: 

A model, younger, it’s so predictable it’s almost boring.

Nice! I guess we’re all feminists until the woman in question is young and hot. 

It's easy to assume the worst of a person who is unknown to us, but is beautiful and hooking up with someone famous. A million mean thoughts spring to mind. “A model, younger”. That’s scorn. You know exactly what she’s saying: hot but dumb. An uninteresting person. We know what Brad really wants her for... 

If Brad Pitt is compelling to you, how compelling must Nicole Poturalski be to have won and held his attention? Brad Pitt has not been celibate in the four years since he separated from Angelina Jolie, but not until Nicole did we have confirmation of someone who he was definitely seeing. He allowed himself to be photographed with her en route to his French chateau. And what ensued was a weird story - she’s in an open relationship with some old German restaurateur and she has a son? She’s a sugar baby? Why would Brad fucking Pitt get publicly involved with someone who has a messy personal life: why hook up with a married 27 year old and weather months of stories about her open marriage if he didn’t actually like her? Why even be seen with her? The relationship is a little weird - but the reporting on it has been nasty. The new sugar baby angle which has emerged in the last week (late October 2020) is basically calling her a whore. This is the level of suspicion and derision directed at a model dating a public fixture like Brad Pitt. The notion that Brad Pitt would pay for female company or sex is patently absurd. 

If our assumptions about models are correct, why do so many models end up with artistic geniuses? I don’t care about the Victoria’s Secret models who hooked up with the bassist from Kings of Leon. I’m talking about beautiful women who made it with icons, the premier humans of the past century:

MUSICIANS

Nick Cave and Susie Bick

David Bowie and Iman

Kanye West and Amber Rose

Bob Dylan and Sara Lownds

Mick Jagger and Jerry Hall

Mick Jagger and Carla Bruni

Serge Gainsbourg and Jane Birkin

Eric Clapton and Pattie Boyd

George Harrison and Pattie Boyd

Madonna and Jesus Luz

MISC. POWERFUL PEOPLE

Salman Rushdie and Padma Lakshmi

Donald Trump and Melania (lol)

Nicolas Sarkozy and Carla Bruni

Evan Spiegel and Miranda Kerr 

Hitler and Eva Braun (What?! She had a brief career an artist’s model...)

Michael Jordan and Yvette Prieto

Rupert Murdoch and Jerry Hall 

ACTORS (perhaps not artistic icons... but still creative and interesting)

Matthew McConaughey and Camila Alves

Johnny Depp and Kate Moss

Bradley Cooper and Irina Shayk

Bradley Cooper and Suki Waterhouse

Robert Pattinson and Suki Waterhouse

Vincent Cassel and Tina Kunakey

Halle Berry and Gabriel Aubrey

Leonardo DiCaprio and half the VS roster

Huge congrats to all the models with more than one entry on the list. You’ll note that there is a dearth of female icon/male model pairings - this is kind of interesting but not something I feel like getting into.

To some extent, the prevalence of the artist and model pairing makes sense. Men like good looking women. Rich, powerful men are high status and have access to good looking women. Plus, an artist needs a muse.

Many of the models in the list above are actually iconic in their own right. Like, when someone is having a great day on RuPaul’s Drag Race and looking sleek and skinny and flawless RuPaul might compare them to Iman. People pay $10,000 USD for handbags named after Jane Birkin. 

Conversely, in the case of Amber Rose, she became the most desired woman in the hip hop industry c. 2010 because she was with Kanye. And most especially because she broke Kanye’s heart. Everyone wanted the girl from “Hell of a Life”. People point to that song as being about Kim - it was prophetic, yes, but not written about her.

Anyway. Could an icon, a legend, a genius, make it work with someone who had nothing to offer but a fast metabolism and a beautiful face? Do poreless skin and puffy lips make up for never finishing high school? 

Wouldn’t being with someone superficial or unserious mean the artist was fundamentally boring in some way too? This is increasingly the assumption about Leonardo DiCaprio - seen above photographing his 23 year old model gf for her Instagram. Even Reddit mocks him for his age gap relationships with models.

And here’s where I try to make my point: 

Kate Moss’ daughter, Lila, recently had her modelling debut during Paris Fashion Week. It was big news because she’s celebrity spawn - and of course her mother is one of the most iconic models ever. She was eviscerated. 

On The Daily Mail, the comparisons to her mother flowed. What’s interesting is that Daily Mail readers do not like Kate Moss but they will defend her 90s modelling career with their life. They laud her bone structure, her waifish figure. An irresistible, undeniable face. 

It seems silly to praise someone for the shape of their head and the way their skin fits over it... it’s not a talent, is it? Maybe it is! There is no shortage of hot girls in the world - but there may be a shortage of girls with preternatural charismatic beauty. Lila Moss (left above) is attractive - she even looks quite a bit like her mum. Perhaps in the pic above she even looks hotter than her mum (right above). But Kate Moss is more interesting: less perfect - half her eyebrow is missing, she’s less manicured. She exudes some kind of darkness, newness. Lottie Moss, Kate’s younger half-sister, is a similar story. Obviously attractive, obviously interested in modelling - but she’s lacking something. 

Bella Hadid came from a similar-ish background to Lila Moss (Bravoleb parents, frequent appearances on Real Housewives of Beverley Hills in her teen years, groomed by her ex-model mother) but Bella Hadid has it. She may have risen through the ranks due to nepotism and cosmetic surgery but she is someone people want to look at. She is sought after - not foisted upon us. Again, it’s not because she’s the hottest woman on the planet. She is gorgeous, but on top of that, there’s something beguiling about the angles of her face.

What’s this thing that clicks in your head telling you that Kate Moss’s face is more interesting than her daughter’s? It’s an intrusive thought: her skull shape is pleasing, let your eyes linger. A command: you will not forget that face. 

Iman has it. Look at her. On meeting Iman, Bowie said: "I was naming the children the night we met... it was absolutely immediate." How many beautiful women had Bowie met in his life? How many had this effect?

Can you imagine trying to keep David Bowie or Bob Dylan interested in what you’re saying? Or Madonna? Or Michael Jordan? Most of us do not have a single thought in our head which would be of interest to these people. The models I listed earlier transfixed them. Mick Jagger could have romanced every woman on the planet - but he only wanted Jerry Hall (pls disregard affairs so I can make my point). 

When a model hooks up with an artistic genius, it’s illogical to assume she’s vapid or that the icon is with her for shallow reasons. What we should assume is that she is the most interesting woman that icon has crossed paths with in a long time - which would make her very interesting indeed.

[irondad-not-ironsad]

WandaVision Episode 1 Reaction

Spoilers below!!

I enjoy the music over the marvel logo

But also a 43 second logo feels kinda long for a 29 minute episode- is it just for the premier or is this gonna happen before each ep?

Also I’m pretty sure I’ve heard that there is a title sequence, which will probably be similar in length. Combine that with the lengthy credits people have been complaining about, it seems that the percentage of the thirty minutes that is actually the story is lower than it should be

not that I don’t love a good title sequence! But I’ll take a well fleshed out episode over fancy logos, title sequences and credits any day

now that I’ve got that of my chest, on to the actual show

I like how they have the frame shaped like that of an old timey tv, combined with the black and white it really adds to the old timey sit come vibe

I like these bells

Ok I know I complained about to much time being wasted with logos and such, but i LOVE how cheesy this theme song is and I love them showing vision and Wanda driving tp there house in wedding attire

“A regular husband and wife” 2 seconds late *vision disappears into a cloud of sparkles*.... 1 minute 8 seconds in and I love this 

Even there acting is reminiscent of an old timey sit com this is amazing

feel like I should note he title sequence ends at the 1.36 mark approximately, which may not seem like a lot but again the show is less than thirty minutes so it adds up

Wanda talks with a fifties accent: I already love this show

Also I wish I had magic I could use to clean, I’m moving back into my dorm right now and Wanda’s powers would be SO helpful

Also I LOVE the laugh track

Also Wanda’s short curly hair is so cute

I love how neither of them knows what the heart means so they play it off by being like “yeah of course I know what it means, how could I forget? Do YOU remember what it means

Also Vision is literally part computer shouldn’t he have a photographic memory? 

Also how old is Wanda? I could have sworn someone said she was 19 in civil war, which would make her like 21 here? I think?? Idk tho, as a 19 year old I don’t think she has ever looked 19 in the movies, even back in Ultron she looked at least in her mid twenties

The face Vision makes when he makes himself human is so funny

Also Vision blowing Wanda a kiss and her reaching back to grab it is the perfect amount of corny that makes it still cute

Also I wonder what vision’s job is

The backing music is so funny

I can already tell Agnes is going to be some great comic relief in a show that’s already hilarious

“I assure you, I’m married. To a man. A HUMAN one!” I know I’ve said before that I was never the biggest fan of Wanda or Vision but I love Wanda in this show

Obv there is something clearly off here, but I feel like I need to mention that it’s clear this is some warped reality. If I had never seen any of the MCU before, I may believe it was just  witch and her robot husband living in the fifties, but the little details really make it clear to the audience (the majority of whom I am sure are familiar with the mcu) that something is off. This scene is one of those, where Wanda cannot seem to recall how long her and Vision have been together and plays it off by saying “It feels like we always have been together”

Is Agnes giving Wanda advice for the bedroom? is this really what I’m watching? Or have I wildly misinterpreted this?

Love the old timey lingo

Vision working a desk job is so funny

Love that vision doesn’t even know what they do at his job, I know it’s part of the false reality thing but also lowkey relatable

“you’re like a walking computer” “I most certainly am not! I’m a regular carbon-based employee made entirely of organic matter”

I started this like twenty minutes ago and have only gotten 7 minutes in because I keep stopping to type my reactions. I am going to try to shut up and watch, and stop screaming about every little detail for a bit 😂

Real quick though does Vision just go by Vision at work?

Ope apparently he does. 

I wonder if Vision took Wanda’s last name

Or is he Vision Stark-Banner since it was Tony and Bruce who made him??

He probably isn’t called that but I think it would be funny if he was

Love that instead of writing “dinner with boss” or “Dinner w/ Harts” or even just “Harts” he drew a freaking heart like im dying

if my lack of emojis seems weird I’m typing this on a computer which I never normally do and I’m to lazy to pull up the emoji keyboard, so basically imagine there’s a cry laughing emoji after everything funny

“No skeletons in the closet?’ “I don’t have a skeleton sir.”

Yup I was right, Agnes is giving her sexy time advice

“you should stumble when you walk in a room so he can catch you. It’s romantic!” that is the only way I will be flirting from now on

Also I got to say, I'm guessing it’s a fifties thing but those pointy bras don’t look comfortable

So she answers the phone “Vision Residence” Is Vision also their last name now? Does he go by Vision Vision??

They make the best facial expressions

This phone conversation where Wanda think they’re having a date night whereas Vision is talking about his boss coming for dinner is comedy GOLD

also I love the fact that they’re giving us stereotypical sitcom drama while keeping it clear that there are bigger problems than dinner with the boss

Fake commercial break is at 9.56 (these time stamps are for myself I want to calculate how much of the episode is actually the story)

I do love the fake commercials tho! And I suppose in a way they ARE part of the show

They missed the chance to make it the toastmate three thousand and make every ironman fan cry

The beeping toaster sounds like a ticking bomb..... also the little red light is the only color we’ve seen this episode I think

Commercial ends at 10.46

Also love that it was an SI toaster, still wish they had made it 3000 instead of 2000

How did Wanda confuse Mr. Hart with her husband? Not that I’m complaining, her coming out in a robe and covering Vis’ Boss’ eyes is HILARIOUS

“This is the traditional Sokovian greeting? Didn’t I tell you my wife is from Europe?” “How exotic!” “We don’t break bread with Bolsheviks”

Visions pants are SO high waisted

“It’s our anniversary!” “Our anniversary of WHAT?” “WELL IF YOU DON”T KNOW I”M NOT GONNA TELL YOU”

Poor Vision is trying to figure out what kind of company he works for this is sooo funny

Agnes coming in clutch with a full meal

So Wanda needs the ingredients in order to magic a meal she can’t just make one appear

Vision breaking into song was amazing

How did one chicken turn into like 30 eggs

Vision is singing old McDonald with his bosses wife this is great

“Diane!” “That must be my wife summoning me!” “She calls you Diane?” “Yes... it’s her pet name for me” “I’m coming... Fred”

So many clichés in this show but it’s done in such a purposeful way that it’s still funny

Also we have only seen three rooms: the kitchen, the living room and Vision’s workplace

“Well I think tonight’s going SWIMMINGLY”

Mrs. Hart is SO NOSY

But I love that they don’t know the answers

Wanda looks SO disturbed when Mr. Hart is demanding her and visions story, you can tell her mind is fighting itself and it’s so sad

Mr. Hart is choking, is it bad that I think he deserves it?

Mrs. Hart keeps cheerily repeating stop it, and gone is the stereotypical sitcom camera angles and and the backing music is switched for something eery

This is lowkey scary, Mr. Hart Dying while his wife keeps cheerily saying Stop It and it just feels creepier the more she repeats

Wanda looks distressed and vision is just looking to her for what to do, her old timey accent is gone and she sounds nearly robotic as she tells Vision to help

Poor Wanda, she is so clearly going through it mentally right now

Laugh track is back, and just like that the Harts are leaving, despite only having one bite of food

And somehow Mr. Hart is impressed? Was Wanda rewriting reality to make them so?

I know that this is clearly some alternate reality and nothing is right, but wanda and vision deciding to choose that day as there anniversary and this little convo here is soooooo cute

Aw her making them rings and them both saying I do is soooo cute

And vision saying “and they lived happily ever after’ is so sweet but also so sad in context

What is that little remote vision is holding meant to be?

And love the hexagon closing in on them with the cute music playing to end the episode

Are the people in these credits real? Because it lists the start as Wanda Maximoff and Vision but are the rest actual people?

So there is some sketchy dude watching the maybe fake credits so there's something going on there

The actual credits start with 7.13 left and I’ve been told there's no mid or post credits scene. I’ll let them play while I finish this up anyways

8 minutes and 49 seconds of this show is the logo, title sequence and credits. Out of 29.36 total this means only 20 minutes and 47 seconds is the show, which I suppose is standard for a sitcom but I think I felt deceived by it showing as 29 minutes

Also 50 seconds of “commercial takes the show time down to 19.57 if anyone was wondering

I swear tho I’m not all that bothered by the length, just did the math in case anyone was curious like I am. 

I thought I was going to really enjoy this going it, but it still really surpassed my expectations and I can’t wait for episode 2!

This is my raw reactions, but I’m sure that as I mull it over more I’ll be posting more about the show

This is somehow a perfect combo of lighthearted comedy and mild horror

I wanna let this episode stew for a while, so I prob won’t watch episode 2 for at least a day

Also what are your guys’ thoughts on this format of reaction? Did I write to much?

Also what did y’all think of this episode? Feel free to let me know what you think of my reaction, and whether you agree or disagree. I’d love to hear your thoughts!

[jazy3]

Thoughts on Grey’s Anatomy: 17X5

SPOILERS AHEAD!

I’m going to go right ahead and say it. This episode felt like a PSA to me, but it was well done. It was emotional and impactful and the storyline about Bailey’s Mom made me tear up, but at the same time the episode felt very stagnant and I feel like the lives of the other characters didn’t really move forward or go anywhere. It felt like they were all standing still. I liked the conversations between Jackson and Richard and Bailey and Maggie about how COVID has impacted black and brown people more than other races and how unfair that is and how politicians and decision makers need to pay more attention to that.

I loved the conversation between Bailey and Maggie. I liked that they addressed what happened with Maggie’s Mom because that storyline bothered the heck out of me. Maggie treated Meredith and everyone else horribly when all they did was try and help and then she forced her mother to undergo treatments she didn’t want because Maggie couldn’t handle the fact that she was dying and then they just dropped it. I’m glad to see that make a comeback and that Maggie has recognized that what she did and the way she behaved was wrong and is now using that experience to help others.

I loved their comments about guidance counsellors and others assume black people aren’t as bright or as capable as white folks and how insidious that is. It’s not something I’ve experienced myself as a white person, but I’m glad they’re highlighting it. This episode was written by Zoanne Clack who is a black woman and a former E.R. Physician. The previous episode was written by Julie Wong who is an Asian woman and I think it’s great they are utilizing the talent that they have so that people of colour can share their stories and their experiences on a global scale. 

By telling these stories through the lives of characters we know and love and can empathize with it allows people who will never have these experiences understand a little bit more. Representation is important and this show has always done a really good job in my opinion of highlighting important topics and social issues in a sensitive and thoughtful manner. These characters are fictional, but their stories are taken from the lives of real people and I think an important step in the process of creating a better fairer world is creating media that reflects people’s realities in order to cultivate empathy so that people who might not otherwise understand or get it have a window into that experience.

Maybe it changes their mind. Maybe it doesn’t. But the point is that it opens people’s minds to the possibility of seeing a side that they didn’t before and that is half the battle when trying to get people to understand someone else’s experience or point of view. I’m going to be seeing my family this holiday season virtually and in small groups from a safe distance. As is the case for many visiting with relatives over the holidays means having to listen to a lot of ignorant opinions, frustrating statements, and in some cases racial slurs and inappropriate remarks. 

So I’ve been thinking a lot about how I’m going to handle that this year because my tolerance for that crap has gone out the window. All this to say it’s nice to see good people fighting the good fight to get these stories out there to a global audience so that maybe some people will get it and maybe some good will come of it. And even if it doesn’t seeing characters and stories that represent you on screen is powerful and moving and wonderful and we all deserve that. I teared up watching Bailey suffer with the deterioration and death of her Mom.

The end scene where Bailey describes the patients she’s lost to COVID in the voice over while her and Richard sing ‘My Girl’ to give her Mom that moment of peace and a death with dignity got me. It really put a face on the disease. Watching her and her Dad struggle with it was so hard. I loved Bailey’s voice over where she shared info about the COVID patients she’d lost so far and who they were not just their disease. That was well done. Made me tear up.

I loved the talk between Meredith and Bailey at the hospital and on the beach. This episode wasn’t as shocking as the previous ones, but it was still good. I’m glad Meredith is getting better. I will miss the beach, but I’m excited to see her wake up, get better, and hopefully spend some time with Hayes. Which brings me to my chief complaint with this episode which is where the heck was Hayes?!?! This is the second episode he’s been absent from for no discernable reason and no explanation has been given as to where he is.

I did not sign up for this. A big part of the joy I felt when they announced that he was being upped to a main character was the implication that he was going to be given his own storylines and character development outside of Meredith and his relationships with Abigail, Liam, and Austin. But Hayes being absent when Meredith’s not awake robs of him that. Don’t get me wrong. I love Meredith and Hayes together and all I want is for them to be together and live happily ever after.

But, Hayes has such a rich and interesting backstory and there’s so much to explore there. Richard Flood who plays him brings such a wonderful depth to the character and he deserves to have his own story apart from Meredith and I really want to see him interact with the other characters more. We’ve seen him interact significantly with Jo and Bailey, but I’d love to see him interact with Maggie, Amelia, Jackson, and Owen more. His absence this episode reminds me of the episode after the Conference Episode last season where he was suddenly missing for no reason and they didn’t explain where he was.

I’m confused because he was upped to a main character just before this season started so he should be in every episode or almost every episode like the other characters are. I’m starting to get concerned that the actor who plays him has fallen ill or tested positive for COVID-19 or that he’s dealing with some kind of family emergency and so they had to cut him out of the episode last minute. I hope I’m wrong, but I honestly can’t think of another reason the actor would be missing for upwards of 2 to 4 weeks when these episodes were filmed.

I can’t see his absence being a story choice because it doesn’t make any sense and they haven’t addressed it on screen as they usually do when an actor has departed or needs time off and they have time to write that in. He also doesn't appear to be in the promo for next week’s episode which is strange considering it shows another meeting being held by Richard where some of the other department heads can be seen and we get shots of most of the other characters. After the Premiere aired he appeared in the promo for Episode 3 standing outside Meredith’s window and in that episode we saw them have a heart to heart that I thought was really beautiful and lovely.

At this point it’s unclear if Meredith even knows that Hayes is the one that found her and got her help and is distraught over her condition. He’s the head of Peds which is a pretty important department. Where the heck is he? They can gladly write off other characters in the second half of the season to give him more screen time in my opinion. I really hope the actor and his family are okay.  I’d also hate for his sudden absence to wreck Meredith’s storyline.

I love their friendship and flirtations and I’d hate to see her wind up alone or with someone that clearly isn’t right for her and that she doesn’t really love because something unexpected happened with the actor. I really really hope he’s in the mid-season finale next week! Jo suddenly declaring that she wants to quit general surgery to become an OBGYN came out of nowhere and makes no sense to me.

She spent years being with and then married to the Head of Pediatric Surgery and was decidedly lukewarm on the idea of having kids or even being near them. So her and Alex split and in the wake of that she randomly decides she wants to be an OBGYN and deliver babies? What the heck? I’m also confused because I feel like Hayes should have been there because it was a Peds case and he wasn’t and if Jo wants to re-specialize it would make sense for her to talk to Carina or Hayes.

Carina’s a main character on Station 19 and is still reoccurring on Grey’s so she can talk to her for an episode or two, but anymore than that and I think that would fall under Hayes perview because he’s a main character. But he’s currently MIA and we don’t know why. I did love Jo’s scenes with Levi though. They’re always hilarious and I think they bounce off of each other really well. I’m glad that Tom improved and apparently isn’t dying.

I like him with Teddy and I hope they get back together at some point. I’m glad they are choosing to be friends again. More than anything I want Teddy to pick a lane here. Owen or Tom. Pick one and go with it. Stop flip flopping all over the place like a fish out of water. Teddy’s a hot mess these days. I liked Amelia’s speech to Teddy. She has feelings about what Teddy did and didn’t do, but as she says she herself has done horrible things, some of them involving Owen, so she’s not in any place to judge, but she also doesn’t want to be friends with Teddy or really talk to her. And that’s fair. I have to say I love Amelia post-tumour. She’s great.

Also what happened to Casey Parker the resident from last season who was transgender and former military? I really liked him! Where did he go? I’d much rather see him that DeLuca or Nico on screen. Based on what I caught of next week’s promo it looks the COVID situation at Grey Sloan is about to get worse. We see Richard addressing staff in the cafeteria saying that they need to prepare for a surge of patients and that their patient load could double. We’re in May in the current Grey’s timeline so that fits.

It’s apparently also a cross over. I don’t want another cross over. I want to know where the hell Hayes is! And it looks like Amelia is back in the OR and the doctors are treating two teenagers who were kidnapped and held captive. Yikes! And we see Meredith smiling at someone on the beach before suddenly waking up. My guess is that it’s Derek and we are finally going to get to see them embrace and then Meredith is going to return to the land of the living. And hopefully interact with Hayes.

Until next time!

[ilovesamheughan]

Herself is fun like no other! 😂

Diana Gabaldon's Foreword to Clanlands Reveals Behind-the-Scenes Stories from the Outlander Set

Here's your first look at the introduction to Sam Heughan and Graham McTavish's new book.

BY DIANA GABALDON

NOV 3, 2020

outlander season 2 2016ED MILLER / STARZ

Well, in The Beginning . . . there was a man in a kilt.

I’ve always figured that if there’s something you want to do, you should start doing it, and if it’s the right thing, the universe kind of comes out to meet you. So, I started writing a novel about a man in a kilt, and the universe brought me a television show.

I’ve been indirectly responsible for a lot of strange things since I wrote Outlander – from:

. . . five seasons (so far) of a hit TV series

. . . the names of dozens of purebred dogs, racehorses and housing developments

. . . thousands of babies named Brianna or Jamie (no one has ever, to my knowledge, named a child ‘Murtagh’, which is puzzling . . .)

. . . Lord John Grey’s Tea

. . . symphonic band compositions

. . . a musical

. . . a Scottish woolen mill specialising in tartan

. . . a marvelous pair of cookbooks

. . . three million knitted cowls

. . . dozens of female fans who lower their trousers at book signings to show me ‘Da mi basia mille’ tattooed on their tailbones (as my husband remarked to me, ‘Well, how many people can say,“Kiss my ass” in classical Latin?’)

. . . a 72% increase in Scottish tourism (as Visit Scotland was kind enough to tell me), and

. . . an excellent whisky called ‘Sassenach’

But this book may be one of the strangest, and definitely one of the best!

I’m deeply honoured that Sam and Graham have asked me to write the foreword to one of the most interesting, unusual (to put it mildly . . .) and hilarious books I’ve read in a long time. I’m not quite sure what you’d call it, but then I’m used to not being able to describe my own books in twenty-five words or less, so this is probably not a problem.

To start with, it’s a buddy book. Two good friends banter (and bicker) their way across the Scottish Highlands, risking life and limb in that casual way that makes men attractive. Why? Well, because they’re both Scottish and they have both been a large part of Outlander (not just the television show, but the whole weird phenomenon), have realised that they are Scottish (wearing a kilt every day for two years will do that to you), and want to find out where their heritage came from and what being Scottish actually means (aside from being born liking whisky)

It’s also a road book. (Think Jack Kerouac, but with fewer drugs, more paragraphs and no sex. Well, almost no sex . . .).

Our two friends are in fact making a television series about several historical locations in the Highlands. Accompanied by a small film crew – including a talented makeup artist and a drone operator – they visit spectacular historical locations in the Scottish Highlands to learn the true history of some of the best-known massacres, fights, betrayals, beheadings, and other typically Scottish recreational activities. This is the story of that journey, accomplished via an aged Fiat camper van, tandem bike, kayak and any number of other improbable modes of transport that only make sense to people suffering from testosterone poisoning.

And on their way, they talk. Not only to each other, but to themselves. In some of its phases, the book is a twin memoir. Each man recalls his life as an actor – in bits – because every actor (like every writer) pretty much makes it up as they go along. Which means a lot of the stories are of the kind that are only funny to the protagonists with twenty years’ perspective, but are endlessly entertaining to the spectators.

These reminiscences include a good many stories from the Outlander set, as well. I’m only on set myself intermittently, but I do recall the day in Season Two when Sam’s horse – which he was preparing to mount – decided to take its mother’s advice and relieve itself before setting out (there’s reason why most costumes are made in multiples). And another occasion during Season Two wherein Graham was required to ride a mechanical horse (as the director said to me, ‘It looks like shit, but you won’t be able to actually see it on film’)

The mechanical horse was carried on the back of a truck, followed by another truck with a camera, and Graham was supposed to leap into the mechanical horse’s saddle while moving (supposedly jump-ing from another horse). This being television, they filmed the scene many, many times to ensure enough footage to get the effect they were after. When they finally stopped, Graham staggered downhill from the road where they’d been doing this, pausing by me and Anne Kenney (brilliant writer of the other episode in that block of filming) to say, ‘I’ve just been having a conversation with my balls. They said, “We’d really rather you didn’t do that again”’. And staggered on, muttering, ‘I knew I should have worn a cup this morning . . .’.

And finally, there’s the actual history of the ‘clan lands’, woven through this tale of a journey. The travelers reach the most interesting/famous/relevant Highland locations, where they do learn what their history and heritage are, assisted by some of the most colorful inhabitants of those places.

So, you’re actually getting four books in one! (A real bargain . . .).

But the most important part of this book is the friendship between its authors, that colours and illuminates every page.

I was both intrigued and immensely entertained by the story, but also touched on a personal level. One of the most unexpected aspects of the whole ‘Outlander phenomenon’ is the amazing way in which it seems to draw people together. People read the books and watch the show – and they want to talk about it. So, they form fan groups and book clubs and Facebook forums, and deep, lasting friendships, all because of a shared love of a story.

I will always recall one woman who brought me a book at a signing, who told me that she lived alone, had been alone for many years, seldom got out and had no family – but that she’d become attracted to the story, found others who felt likewise, and who invited her to go with them to book-signings, premieres and conventions. ‘Now I have friends!’, she said. She cried, and so did I.

I hope you’ll feel that sense of friendship in these pages.

A final word, since this book is all about returning to one’s roots: Some years ago, one of my novels won the Corine International Prize for Fiction, and I was invited to go to Germany to accept the award. This was rather a Big Deal for the German publisher, and they took advantage of my presence to have me interviewed by the entire German press corps; newspapers, magazines, radio, television, literary journals, you name it. By the end of the week I was sleep deprived and a bit glazed over when I met a nice gentleman from one of the literary journals.

Delightful man, he went on at great (and flattering) length about the books. He loved my narrative drive, my characters were tremendous, my imagery transcendent!

So I’m sitting there in a pleasant daze, thinking, ‘Yes, yes, go on . . .’, when he suddenly said, ‘There is just one thing I wonder: can you explain to me, what is the appeal of a man in a kilt?’.

Well, had I been totally conscious, I might not have said it (then again . . .). Anyway, I looked at him for a moment and said, ‘Well . . .I suppose it’s the idea that you could be up against a wall with him in a moment.’

<ahem>

A few weeks later, home again in Arizona, I get a packet of interview clippings from the German publisher, and on the top is the interview from that journal. The publisher had attached a Post-it note, saying, ‘I don’t know what you said to this man, but I think he is in love with you!’.

A man in a kilt. A very powerful and compelling image, yes . . . And now you have two of them . . .

Pour yourself a good dram, open the covers and enjoy yourself!

Slàinte mhath!

Diana Gabaldon

Scottsdale, Arizona

August, 2020

[lucidpantone]

I really hate the crew of wtfock for what they did to me. I was such a fan of the show since s1, I found happiness in every clips, every posts on insta, I found amazing people on tumblr, twitter, but everything went downhill in s4, I could not accept Kato as a main, I'm a proud black girl and this season broke my heart to the max. The inexcusable racism, the hidden hate towards POCs on social medias, the silencing voices... I even started to dislike some actors for being friends with Romi when she was the one who accepted to take away the role of a POC, to accept to play a racist girl and have discriminatory behaviour in 2020 of all that, and to even joke on her insta just because her friend said it was ok and she didn't even apologise when we called her out for it. Yeah they ruined my happiness and I can't even be happy when I see a wtfock post now. To even have Nora do a live and defend the season, saying that it's a prejudice based one ? Hurts me so much. And not even one excuses coming from the crew, nothing, it hurts deeply. I can't even enjoy anymore the beautiful fanfics that the fandom write. I read every zoenne and sobbe fics but now I don't even bother checking if there is new fic. I hate them for taking my happiness off me. They're starting to go downhill too with the lack of insta posts from their characters and only die hard fans of sobbe are here now let's be honest. Yasmina's season can't be saved if there is still Kato but a glimpse of sobbe will make the fandom shut up and they know it. It's sad and I'm so upset about it. Sorry for the rant but I so badly wanted to talk.

This is insanely long but these words are for my anon

Oh dear.....well am happy you told me and the looney tunes. I can’t say I blame you because s4 is so toxic and cruel on so many levels. You know some people will say its just a show “let it go” but I think what people don’t realize is what this show that you clearly loved tells you about the world at large. That even shows, brands, movements and celebrities can harbor questionable morality towards issues of race. S4 ended up being an exercise in showing [us/the audience] how morally corrupt the bosses of wtfock truly are and how at end of the day all those black boxes on instagram mean nothing when it comes to money. Because guess what? Platforming racist ideology does have a price and wtfock made it very clear that they got paid. Look am gonna tell you something that my anons have been saying in a coded way but havent said directly but lets just put it all on the table. 

S4 when Romi took the role it was not pitched as a season exploring interracial relationships or white privilege. It was never meant to be that. So Romi had no way in knowing what it would turn into. After the premiere night production panicked because they saw everyones disappointment towards the main(it should have been Moyo & everyone knows it even they do now) and took a hard left. Noa was meant to be Romi’s co-star but it was never meant to have all these racial undertones or not as extreme. The reason the script changed is because wtfock wanted to keep this whole “small engine that could” rapport going that they literally made the last minute call to try to tackle race relations. I mean to you and I we are probably like are these people for real? They are just gonna try to tackle race and white privilege as a story arc without having done the sufficient research and or had the man power in the writing room concerning writers with lived experienced on the topic. Yea, they did that. So anyways they “just decided” on a whim to tackle race *facepalm*. Now that decision in itself is an embodiment of white privilege. A bunch of white dudes wanted woke points and thought “race” yea we can totally do that topic unprepared. Hence why episode 2/3 were so damn repetitive and also literally made no sense. Am sure they pitched this to Romi as some super intellectual and thoughtful narrative that would hold deeper meaning. So I am not defending her instagram actions but I want to give her situation a bit of context. Also am pretty sure she tried to tell us in a round about way. Her insta post was just a display in lacking any awareness towards the importance and pain of BLM because she obviously just lacks race education or common sense but she is a 22 year old brand model so am not really looking for her to set an example. To me wtfock became in some weird way so high on fandom validation that they were egotistical enough to think they could try to tackle this insanely complex topic on a whim and with a 1st time screenwriter at that. S4 was doomed to fail from the start because it was a literal embodiment of unconscious bias that then turned into conscious bias because at one point they knew it was terrible while filming but they were too deep in to pull the plug. You are so in your right to be upset at them because to me the most hurtful thing is that THEY KNOW IT WAS BAD and they won’t address it and now they are going to use their token queer couple to try and fix this. Leave the gays out of it. You can’t fix racism with queerness it doesn’t work that way buddy(am looking at you Rutgers) especially for those who are part of both parties. Do I think a large part of the fan base will “forgive” wtfock for what they did? Probably, but its weird since technically wtfock should be asking their fans who are poc for forgiveness above anyone else. I guess I am not as pissy about the whole situation because am either cynical or emotionally numb to this type of fuckery. I would say concerning the cast and the crew it really isnt their fault. I hear from good sources a lot of them tried to say something and they were shut down. Look if you cant let this go then try to find some semblance of resolve over this. You’re allowed to be mad but at the same time this is the world we live in and this will happen to you again and again (trust me I speak from experience). I do hope you can try to find some comfort in Zoenne and Sobbe and try not to see the cronies of wtfock in their love stories but if you can’t then pack all their shit up and throw it in the attic. Maybe one day you can reopen that box. Last words of advice, happiness is a moving target because in reality it’s a compilation of moments that continuously mutate to accommodate other moments. So don't let s4 taint what moments you had with wtfock and try to remember the things you loved and if you need to walk then walk away. I wish I could give you the biggest hug right now but trust me when I say what you feel is so valid and am so happy you spoke to me about it.

[aion-rsa]

Lucy Lawless On My Favorite Murder: “It’s Not Exactly Miss Marple”

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Lucy Lawless’ legion of fans have watched her search for redemption as an ancient Greek warrior princess in Xena, deceive and seduce her way to power as Lucretia in Spartacus, witch her way through Salem as Countess Marburg, and hunting down Ash in Ash vs. the Evil Dead. But while she may be best known for her roles in science fiction and fantasy, she’s also excellent at bringing murders to justice in My Life Is Murder as Alexa Crowe, a retired police officer who continues solving mysteries. 

Despite Alexa’s former profession, the show shares more with Murder, She Wrote than police procedurals. Or, perhaps “Murder She Wrote crossed with something a bit sassy, because Alexa actually gets laid on occasion, so it’s not exactly Miss Marple,” Lucy Lawless says of the show. In contrast to the more historical and fantastic roles Lawless has played in the past, Alexa is “a modern urban woman who can wear elastic and use zips instead of being laced and hammered into an outfit every morning.” Her modernity and her sexuality are unapologetically part of the narrative of the story—as are her relationships, despite the character professing that she doesn’t work in teams. 

In fact, relationships are core to the storytelling, which is another factor Lawless believes is a clear contrast to the police procedural format. “We’re not cleaving to the world of police or the justice system,” she says. “It’s justice in the real world, and it has different payoff. It’s more emotional.”

Discussing the series with Den of Geek, Lawless explains the feeling of having a compact with the viewer that some things will be the same every week, and viewers and depend on that. “Our show is full of color,” she describes. “The city is a beautiful character that you’re going to fall in love with. There’s people you want to hang out with. And at the end of the day, goodness and justice win. That’s our deal.” That sense of justice, and that feeling that as each episode ends all is right with the world, is something that Lawless embraces as a contrast to the the news and a world facing ongoing complications of the pandemic. “I think we’re all exhausted,” she says. The show is “a little bit of balm for a moment—a psychic holiday.”

The show itself did face some complications due to COVID, which led to the second season being moved to Auckland, New Zealand, where both Lawless and Alexa are from. Melbourne, the setting for the first season, was hit very hard by the pandemic. When Lawless initially pitched the idea of moving the series to Auckland, she worried they wouldn’t be able to tonally deliver the same show, especially with an all new crew and different producers. “But we obviously migrated some key players—the head writer, the executive producers, and Ebony Vagulans, my beloved, extraordinary co-star,” Lawless describes. “The rest just fell into place, so it very much feels like the first season, but in a new, glittering environment.” In fact, it worked so well that she says confidently, “We could film every season in a different location!” But while it might be fun to continue moving locations, Lawless also comments, “I love to be able to shoot in my city and show our fans that. It’s a bit of armchair tourism for people.”

Aside from Vagulans—a newcomer in the first season about whom Lawless says enthusiastically, “What a discovery!”—viewers of My Life Is Murder can prepare for a full slate of big names to appear in season two. William Shatner, Martin Henderson from Virgin River, Michelle Ang of Fear the Walking Dead, and others are all on the guest star roster. Lawless hopes that viewers will be excited “seeing these people pop up in unexpected places. It’s part of the DNA of the show that you have this. It’s quite a tall order if you’re in a little country at the bottom of the world–how do we find people that Americans and Brits and people in Finland will recognize? It was kind of a magical synchronicity allowed that to happen.”

One guest star is likely to have huge appeal for Xena fans, especially as hopes of a rumored reboot of the series were dashed several years ago. The season two finale of My Life Is Murder features Renée O’Connor, “my dear friend and colleague … who played Gabrielle on Xena for all those years,” Lawless reminisces. “That was so blessed, because at the end of a season, you’re really burnt out. You’ve been there every single day, from morning til night, and to have the comfort and the excitement of your beloved oldest friend in the business come on—it was good for my soul. We’ve been wanting to do this [reunion] for the longest time,” Lawless says.

One co-star who isn’t returning for season two is Captain Thunderbolt, Alexa’s cat, who—in addition to appearing on the live action series—had his own animated spinoff. Series creator Claire Tomkin “knew that cats are important,” Lawless reveals. The cartoon “was a way of making the show bigger without more stress on my schedule.” The cat who played Captain Thunderbolt also had a misadventure during the filming of season one. As Lawless recounts:

Claire rang me one day in Australia [and said], “Oh my God, Lucy, I hate to tell you this, but they’ve lost the cat.” I just cracked up laughing. It’s one of those times when the world is … in a tough situation generally, and we could never have foreseen that the cat wranglers would take the cat on holiday with them. In Australia you stop to go to the bathroom on this 400 km road from watering hole to watering hole across the desert, and the cat will jump out, and you’ve lost the cat.

With the first season still filming, it could have been a disaster, but miraculously the handlers, “these uber cat ladies” as Lawless describes them, were able to return to the same place three days later with a little dog, who located poor Captain Thuderbolt. 

Lawless didn’t participate in the casting process for her feline costar—“Unlike with humans, I feel like if I’m there, the cats get way too nervous and can’t do their bit,” she says—but she is a cat person. (She’s also a dog owner; currently, she’s down from four pets to one German Shepherd. “I’ve become a dog lady,” she says. “Who knew?”) After a number of auditions, the cast welcomed a cat named Zeppelin as Alexa’s cat for season two.

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While viewers will be able to tour Auckland in the series premier of My Life Is Murder season two on August 30, Lawless won’t be able to return home from Los Angles for a bit, due to New Zealand’s recent lockdown. But she’s not worried. “I’m busy,” she professes. “If I get home before Christmas that would be a miracle. If I get home by March, that would be a win.” And if she gets homesick, she can always tune in to see Alexa Crowe’s adventures in her hometown.

The post Lucy Lawless On My Favorite Murder: “It’s Not Exactly Miss Marple” appeared first on Den of Geek.

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[aspiestvmusings]

ZEP PARALLELS: S2 vs S1

POSSIBLE SPOILERS?

WARNING: Super long post. 

Parallels & Similarities (and differences) between S1 & S2

Includes episodes 2x01, 2x02, 2x03: 

2x01 Zoeys Extraordinary Return

Wake-up songs/Zoey & Mo: Opening the season with Zoey being woken up by Mo singing "in real life" & waking her up. "Rise up" in 2x01 AND "Angel of the Morning/Wake Me Up Before You Go-Go" in 1x01. We first see Zoey in her bedroom. And the first two characters we meet are Zoey & Mo.

Zoey + baby: In both premieres Zoey has an encounter with a baby. In 2x01 we see her interact with her brother's son (the new baby, Miles) VS in 1x01 she encounters  new mom with a baby on the cable car during the first ever big musical number she experiences (Help!) #whenwillshestarttohearthebabysheartsongs 

Clarkeman & Coffee: The first Zoey/Max scene/interactions happens over "coffee break before work". In 2x01 we see them meting up for a coffee on a park bench before she heads over to work VS in 1x01 we see them getting coffee at the cofee bar on their way to work. In both scenes Max, her best friend, encourages/supports her (you will get the promotion VS it's a shield...to shield you from the world when you need it").

Jumping to conclusions: In 2x01 Zoey assumes that Max giving her the small jewelry box means he's proposing ("Relax, I'm not proposing") VS In 1x02 Zoey assumes that Max is asking her on a romantic dinner date, when he tells her he won the lottery to the restaurant they both love. ("Thursday night. Is it a date?" / "Is it a date?" "No! I just mean like can you go?")

Legs up!: Peoples legs getting close to Zoey's face during big musicals numbers: Leif's & Simon's during "Hello Dolly" in 2x01 at the 4th floor bullpen VS Joan's during "Satisfaction" in the elevator in 1x03. 

Promotion: In 1x01 Zoey wants the promotion & has an "interview" with Joan to get it VS in 2x01 she does not want the new job (added responsibility, when she jsut wants to "lay low") but Joan just asks her to take it. And by the end of the episode she gets the promotion/accepts the promotion, and we see her "first day at work on the new job". And in both episodes she has a competitor - Leif, who is also interested in a promotion. 

Interesting: In 2x01 Mo tells Zoey "So the powers are back - you're interesting again!" VS 1x01 when she tells him about her new superpower Mo tells Zoey: "This is the 1st thing I find remotely interesting about you". 

Mo is the honest friend: In 2x01 Mo speaks the honest truth... which is what Zoey actually needs to hear JUST LIKE he has been doing throughout S1. He might not always say the nicest things, but he's alwyas honest. And its what Zoey's character needs. (eg. Mo knows that she just lost her dad & it's a hard time for her, but her problems are still not bigger than everyone elses. Or like he calls her out on her chase/hesitation over the two teams in S1)

Tech-savvy Zoey to the rescue: In 2x01 Zoey uses her tech skills to "hack into Mitch's e-mail account" when her mom can't find the password & access it for info she needs (that dad left them) VS in1x03 Zoey comes up with a way to communicate with Mitch... (after David comes up with the Yes/No buzzer) & creates a computer program which allows him to type his answers using a mouse. 

Etsy: In 2x01 Joan tells Zoey "I like your sweater, its cute that you shop at Etsy" VS in 1x01 Tobin tells Zoey: "I thought you would be doing each others nails & buying matching tote-bags off Etsy in there."

Blessing or curse? In 1x12 Zoey told her dad that she has chosen to look at her musical power more like a "gift/blessing" (it allowed her to communicate with dad, helped her form bonds with others, help people...) and she said she's not minding the big musical numbers the way she used to. She even considers they're helpin g her instead. VS in 2x01 she tells Mo that she hopes the power won't return & when it does, she finds it "overwhelming" & cannot deal with any of it. 

Bottling it up: In 2x01 George sings "Don't cry out loud. Just keep it inside. And learn how to hide your feelings."  That song is as much about George's feelings about being the new guy, as it is another reference to Zoey's state of mind VS in 1x01 we learn that both Zoey & Simon keep their grief emotions bottled up (and they should not). As the dilogue from the Pilot already told us: Zoey: "Are you talking to anyone about this?" Simon: "Other than you? No. I've become a real expert of bottling my shame & pain, and hiding it from the world." Zoey: "I'm not an expert on this or anything, but you cant just keep it in."

Family & Grief: The Clarke family all singing "Carry on" & sitting down the table to eat dinner together at the end of 2x01... with a happy note about the future in their minds VS The Clarke family all singing "American Pie" on the funeral day at the end of 1x12, and all sitting at the living room (on the coach, chairs)...with a sad note about the present in their minds. 

The premiere episodes end with a "surprise" Max (and Zoey) "twist": ep 1x01 ends with a surprise heart song from Max which makes Zoey & the viewers aware of his feelings for her VS 2x01 ends with a surprise decision from Zoey where she "chooses Max". Also parallels to 1x12: in both 2x01 & 1x12 Zoey comes onto/kisses Max as he's telling her about his new outlook on life & business ideas. In both cases she's (partly) trying to forget grieving her dad, and needs him for the distraction. Both endings were "sudden" & "unexpected"

Family picture wall: In 2x01 Maggie is holding baby Miles (her grandson) & "showing him" the family photos on the wall VS in 1x01 Zoey sees her & dad's reflection on the picture on the wall...as Mitch first communictes with her... by singing his first heart song to her.  

Move forward: Zoey's words to Max about the business plans & their relationship actually apply as much to herself and her grief as they do for this situation: "You should absolutely move forward with it" & "You always have to move forward" 

2x02 Zoeys Extraordinary Distraction [+ (base)balls]

Hooking up: In 2x02 Zoey says to Max "we have been hooking up for the last 5 minutes" VS in 1x12 she tells her dad "I just hooked up with my best friend". In both cases Zoey makes the first move & kisses Max. In both hooking up scenes the popcorn is forgotten...

She/They both want to believe she's feeling the moment & is ready, but it is mostly just one coping mechanism... her way of distracting herself from the grief. Cause in no way has she shown signs of actually choosing him. [what dawned on the characters only 2 weeks later was obvious to viewers before they "got together" aka the moment she "chose him"] 

We saw her pick a team, but there have been no actual reasons or feelings expressed  by her why she chose him (the reasons she gave in "act five"  were about her needing him at the moment, not about why or how she really feels about him). The writing has still not included her POV & her sharing her feelings (cause she’s not ready for that...yet) They gave small glimpses during few scenes, but no real look into it. 

Get out!: Tobin being kicked out of the meeting by DMD/Zoey - "Get out, Tobin"/"Would you like to get out, Tobin?" AND Zoey getting kicked out from the makeover night by Mo - "Get out!" / "Girl, I don't care that you look like Rafiki. Get out!"

That came out wrong: Zoey told Simon in 2x02 about making his job not so easy "I am gonna ride you so...hard... Nope, that came out wrong"...She adds the last part as she hears herself say the words. VS Tobin was talking about being commited to work in 1x08 by saying "Hardworking, committed, serious. Watch how fast I nail this. Speaking of nailing... Nope, not gonna make the joke.." He adds the last part as he hears himself say the words

Food stealer: Zoey "I steal food from my best friends plate/bowl" Clarke. She ate from his plate during their dinner date at her place. And then she ate from his cereal bowl during the Clarke family breakfast "the morning after".

Older siblings: Jenna's is the less successful older sibling/sister (2x02) just like Leif is the less successful older sibling/brother (1x05). They both feel like "not enough" compared to their younger sibling(s), who they feel are more "perfect". 

Cardigan buddies: Leif & Zoey: cardigan buddies! Interestingly these two are the two 4th Floor Team members, who are most similar: both have a bike/like cycling (Leif often hs his bicyle helmet on his desk, so he rides a bike to work & Zoey has a bike in her apartment). Both love to wear cardigans, and the wardrobe department often has them in matching outfits/colours...Same this week. Both were/are the team members, who are in many ways "biggest messes" (most awkward), but both had/have the most ambition...they wanted and got the promotions. Both struggled in their new manager position..at first (and got help and good advice from their boss).

Team Leaders: Leif doing all the work alone (and exhausting himself...because he wants to be liked & hasn't yet settled into his new role as team leader... He has to learn to be their boss,  ot just their buddy...to get the team listen & for there to be teamwork) VS Zoey doing all the work alone (pre-S1 when she wanted the promotion +) during S1 when she had just become the boss: sending everyone home, cause they "didn't try hard enough", and fixing all the issues alone... VS Mo wanting to do it all alone in his early 20s (when he took over the project he had been working on with his best friend, cause "he's too good at goobyes") Both struggled with the new job, both got help/advice from their boss (Zoey from Joan & Leif from Zoey)

Sleeping at work:  Lief  being woken up by Zoey in 2x03 after he falls asleep when pulling an all-night at work (working  all night) VS Simon waking up Zoey in 1x02 after she falls asleep at work (behind her desk) after pulling an all-nighter alone. 

Leif's pants: In 2x02 Zoey tells Leif "Dust off your slim-fitting chinos" VS in S1 Joan makes a comment on Leif's pants. [I cannot remember the ep number right now] 

Go big or go home!: We found out Mitch's/Zoey’s dads motto in S1. It's "bigger moments, bigger memories" AND In 2x02 Zoey goes for the "bigger moment" - she tailors their first time together to suit Max's wishes (it should be special: the swan & rose petals are more for him than her) VS In 1x07 Max organizes a flash mob to confess his love for Zoey (something she as her dad's daughter secretly appreciates). She calls it unexpected & amazing & while she runs, its not cause she does not appreciate the "big gesture". The only reason she is overwhelmed & runs is because she is doing everything in her power to bottle up her feelings towards Max (1x06 ending proved she has feelings for him) & she did not want to deal with them at the moment. (the flashmob is more his style, but she is not opposed to it)

Come here: Max saying "Come here" to Zoey in the 2x02 dinner date scene at her place & during act five bedroom scene AND Max saying the same line "Come here" to Zoey in 1x12 during the "All of me/Pitbull" scene. 

Mix of songs: In 2x02 during the Z/M bedroom scene the scene switched between different songs & tones (romantic/ballad vs comic/neutral baseball song VS romantic mutual duet) VS in 1x12 during the Z/M movie night turned more scene the scene switched between different songs & tones (romantic/ballad vs comic/fast song) 

Dueting: In 2x02 Zoey joins Max for "A Moment Like This" during Act 5. She chooses to duet with him, becuase she feels the same way as he does. VS in 1x08 Max joins Zoey for "Pressure" at the CHIRP meeting... salvaging the presentation, when she involuntarely sings the songs (cause of the "glitch"). 

Opera songs + Sex: In 2x02 Zoey & Max are distracted by Mo singing opera & it's ruining the specialness of them trying to "do the nasty" VS in 1x04 Max sings opera the morning after he & Autumn "make their first love"

It’s a very not next-level move: In 2x02 during the morning after Max & Zoey are "caught" by her mom/family, and though it is awkward for a moment (because they seem to be surprised by the sudden change), meeting the family/parents does not seem such a next-level move, because Max has been kind-of part of the family for a while already. VS 1x05 where Max tells Zoey that meeting Autum's parents (he was dating her at the time) seems like such a next-level move, and she was not ready for any of it. VS all the times we saw Max interact with Zoeys family... in 1x02 with Mitch, in 1x06 helping the family with Mitch, in 1x12 with Maggie...

2x03 Zoeys Extraordinary Dreams [+ eggs]

NASA/Space theme: Zoey's NASA/space themed PJs and Tees + all the space references in both her childhood bedroom and her current apartment (telescope, posters, etc) 

Musical nightmares/Dreams: In 2x03 Zoey is having a recurring nightmare where in the end she faces herself while the song "Nowhere to Run" plays #allbymyself VS in 1x02 Zoey was having a much happier weird dream...with a twist ending while the song "I've Got the Music in Me" plays

A sad Emma Stone Halloween costume: Black PJs Zoey wears in the nightmare in 2x03 are the same ones she wears in 2x01 on the last day of her time off. The look Mo calls "a sad Emma Stone Halloween costume" (as he suggests she put on some colours instead)

Coach & Photo on the wall: Basically the only items in the empty Clarke house during Zoeys nightmare are the coach (where Mitch used to sit all the time & where Zoey/the family sat in S1 finale...the day the music died) & the picture on the wall (where she saw Mitch reflection the first time he sang to her/communicated with her). Her nightmare/dance are directed at those objects. 

Breaking glass: In 2x03 George breaks the glass wall/window of Zoey's/The bosses office when the team plays baseball at the office VS in 1x02 Zoey breaks the glass award/throphy in Simons office when she throws the american football ball. George & Zoey aka "I'm terrible around glass" people 

On repeat: Zoey being hunted by the same nightmare/dream throughout the episode in 2x03... until she stopped trying to avoid them and talked about them/did something about it VS Zoey being haunted by the same song "(I Can't get no) Satisfaction" thoughtout episode 1x03... until she  stopped avoiding it and helped Joan. 

I can't get no sleep: Zoey not sleeping because of the nigtmares she's having VS David/Emily not getting any sleep because of the baby (most new parents are sleep-deprived, because babies don't always have the same sleep-schedule as adults do) 

Mitch's/Zoey's spot on the coach: Zoey sitting on the coach with a blank look on her face at the end of "Nowhere to Run" nightmare VS Zoey sitting on the coach with a sad look on her face at the end of "American Pie" in 1x12 [in the nightmare shes sitting at MItch's spot, in s1 finale she's looking at the empty spot next to her] 

Red dress: The red dress the OTHER Zoey is wearing in her nightmare as she opens her door VS The (same) red dress Zoey is wearing as she & her dad dance as instrumental version of "True Colours" is playing in 1x12 (as he's dying). Same dress. 

Too much on her plate: Zoey taking on too many responsibilities and not being able to handle it. In S2 she is living the post-loss stage of grief + she's taken the new promotion and added jobs and responsibilities + she is avoiding dealing with her issues + she has started a new relationship (she is not ready for, actually) + she keeps hearing heart songs which kinda help her with knowing what others feel, but it's also distracting and overwhelming to her "reducing stress is a little tricky since I've taken over the 4th floor & have 10-times the respnsibility now"]  VS in S1 she is dealing with losing her father soon + she's taken the new promotion and added job responsibilities + she is avoiding dealing with her own issues ("face her father") + she is helping people whose heart songs she hears. In S2 it kinda culminates in ep 3, in S1 it kinda culminated  in ep 8. when she says "How do I do that? Because helping myself would mean taking a vacation from Sprk Point, or curing my father's disease."

Manager advice: In 2x03 Zoey asks Simon advice about how to manage all the extra work & he tells her about delegating work (sharing responsibiities) VS in 1x02  Zoey asks/gets help from Simon on how to manage the team (and still get to go home on time/get all the work done on time) 

Not the right person to help: In 2x03 Zoey wants to hep her mom, but she feels like she's not the right person to do that, because she has no insight into the topic (does not know anything about landscaping & art) + she would probbly not have the time or energy right now, cause she has so much other things going on... VS in 1x11 she wants to help her mom, but feels since she has no personal experience (has not lost a husband of 4-years), she is not the right person to help her. Both times a heart-song heps her find the right person (in her opinion) for the job. In 2x03 it's Jenna, in 1x11 it was Deb. 

No communication: In S2 & 2x03 Zoey is not really opening up to Max, but she is communicating her feelings to him...somewhat. Telling him about her nightmares/dreams, and that they're affecting her. Though not really going too much into the experience (because she hopes they will magically disappear if she wishes they will...) VS In S1 Zoey avoided opening up to Max & sharing her feelings with him more. Though she still uses the same tactics - trying to keep it all inside, and avoid dealing with her feelings and grief and everything related to it (hoping that if she avoids it then it doesn't exist...even if she probably knows that this is not how any of it works). She's trying to share a bit more with him, her best friend, but at the same time she is still bottling it all up inside...

My heart song does not mean what you think it means: In 2x03 Max says to Zoey after she hears a heart song from him (which he assumes might be that he is "jealous" that she talks to Simon, her grief-buddy at work about her personal life & nightmares) that "People can have a lot of thoughts in their heads without meaning them. / You can't read into it." VS Zoey's quote: "I don't know what that song is saying exactly what we think its saying" & "You can't be mad at me for singing a song I didn't mean to sing" in 1x08. 

Dinner Date gone wrong: In 2x03 Max tries to cook a home-made dinner for Zoey (at her mom's place), but when she hears him singing a heart song it leads to an "argument" between the two and he leaves VS in 1x10 Simon tries to cook a home-made dinner for Zoey (at his new place), but when she hears him singing a heart song it leads to an "argument" and her leaving. 

PS. Based on Zoey's reaction the song is either "Say Something" (because a person sings theei song until Zoey responds/helps..and she only did at the end of the episode) OR it's a reprise of a certain song fro S1 (but if I'm right not a song you'd expect) OR ... it's a completely different song... that we would not expect. And based on Zoeys reaction & the shows choice not to show/tell us the song... it has to be a "surprise", and if it would be simply "he's feeling jealous over Z/S grief connection" or if it was "Say Something"...that would  not be a twist, but since I expect this to be setting up a future story, it'd be not very creative writing if it was one of these options. Which is why I have a theory... (I'm not sure about the song... I'm not even sure the showrunner/writer has decided yet... but I have a guess on the "theme/feelings")

Timing is off: In 2x03 Zoey & Max decide to put their new relationship on hold until she is ready...to give her time to grieve and work through the emotions VS in 1x10 Zoey & Simon decide to put breaks on their relationshop-to-be until he is ready... to give him time to work through his emotions.

Say Something/Happier: In S2/2x03 Zoey & Max are in a relationhip, but they do  not communicate well. Because she does not open up to him about her grief & "he does  not know how to help cause he has not had the same experience" VS in S1/1x05-1x09 Simon & Jessica are in a relationship, but they do not communicate well. Because he does not open up to her about his grief & she does not know how to help cause she has not had the same experience. 

While there are similarieties in the storylines, there are also differences. S/J let the third party in the relationship, grief, get between them and it drove them apart, cause they stayed together until it broke them apart. Z/M came to a mature decision to not let the third party in the relationship defy them, they took a break so the grief would not end up breaking them apart. 

PS. While we've ony seen the start of this storyline, I do believe that this is where it's going. They're not gonna repeat S/Js mistake, but instead they will "learn from it", and by deciding to take some time now they will be ready to continue where they left off once she's ready. Cause they both made the false assumption in 2x01 that she was ready. They were heading toward S/J, but theyre kinda trying to avoid that by the decisoon in 2x03.

Grief therapist: In S2 Simon is Zoey's grief councelor/therapist... he gives solid advice to her about her grief and how to deal with her feelings/emotions VS In S1 Zoey was Simon's grief councelor/therapist...she gave him often pretty solid advice about grief and how to deal with the situations. The roles have reversed.

   Mind-reader: In 2x03 Max brings up the topic that he is unconfortable how Zoey can just "read his mind" and know everything he thinks & feels (have insight into how he feels...also about her), while he has no idea what she thinks/how she feels...because she won't really share. VS 2x02 When in Act 5 he says he'd like to know what she's thinking/feeling & she tells him what she's feeling VS 1x07 when Max bring up the fact that he is uncomfortable with her knowing how he thinks while he has no insight into her mind (after which she promises 100% honesty to him.... that she'll be open with him... which to this day she has not been able to really do) VS 1x04 when Mo expresses concern that she can read other people thoughts & he's not okay with her having insight into his private thoughts & feelings. 

Time apart: In 2x03 Zoey puts some space between herself & Max, when they agree to take a break, cause she's not done grieving/not ready for a relationship VS In 1x02 Zoey puts space between her & Max when she sets him up with their barista in the previous episode (because she is not ready to let herself even consider  romantic path between them, so she "fixes it")

THE END...for now

[world-of-ryan]

When COVID-19 shut down production last March, it especially hit hard for NBC’s New Amsterdam. The show not only films at several real-life hospitals, including Bellevue Hospital in Manhattan, Kings County Hospital in Brooklyn and Metropolitan Hospital in Harlem, but it also had a pandemic storyline planned. Of course, not the coronavirus specifically.

“There was so much fear and anxiety at that time around the pandemic, we didn’t want to air an episode where people were getting sick left and right and further scare people,” says series star Ryan Eggold, who plays medical director Dr. Max Goodwin, in this exclusive interview.

But New Amsterdam will touch on the COVID-19 pandemic in its Season 3 premiere. It will feature a very powerful montage showing the doctors and nurses at work trying to save lives, working until they are exhausted, showing people getting vaccinated, and then moving into post-pandemic stories.

“Working on a hospital show, post-pandemic, our first responsibility is to tell the stories of the nurses and doctors who have worked so tirelessly to try to keep people safe and healthy,” Eggold continues. “Peter Horton directed that episode. And I think his and [executive producer] David [Schulner]’s intention was to honor the healthcare workers and what they’ve been through and start in that place of, this has been Ground Zero of fighting the pandemic, and it has taken its toll on everybody.”

From there, the story continues with Dr. Vijay Kapour’s (Anupam Kher) life hanging in the balance due to COVID, Dr. Helen Sharpe (Freema Agyeman) unable to touch people as a result of lingering anxieties, Dr. Iggy Frome (Tyler Labine) facing his eating disorder/body issues and Dr. Lauren Bloom (Janet Montgomery) unable to give up her patients to their special-care physicians.

“It’s kind of like that wartime mentality with soldiers coming back and having trouble adjusting to civilian life,” Eggold says. “These doctors were so overwhelmed with patients, not enough beds and trying to keep up. What are the ramifications on their personal life and their psyche? And how do they get back to the new normal?”

Also, viewers will get a long-awaited moment between Max and Helen. Expect some resolution regarding their feelings for each other, despite the fact that Helen has moved on with new head trauma surgeon Dr. Cassian Shin (Daniel Dae Kim).

“I will say that I think Max and Helen have a unique relationship that they are forced to confront this season and figure out what it means for better or for worse, and finally name what has been unspoken for a while,” Eggold adds.

For more scoop on season 3 of New Amsterdam, read more of the interview with Eggold.

How did the New Amsterdam pandemic episode compare to what actually happened?

I haven’t seen that episode because it didn’t air, which is usually how I see them, so I would be curious to know myself. It’s pretty wild. It’s happened to the writers a few times where they’ve written something and then it happens later. But nobody could have predicted COVID was going to happen.

I saw the first two episodes and it feels like a sadder show this year. Will that continue?

No. There’s a lot of humor. I was saying to David, “Is Max getting too broad?” There has been a lot of humor on the show lately, which is nice. I think it’s important to find humor and joy amid a pandemic because we have to remind ourselves what we’re fighting for. The intention is not to make it super heavy and sad, but certainly in the beginning to discuss it; it is a heavy, overwhelming, larger-than-life situation that we’ve all been through.

Max also seems to have lost his “How can I help?” attitude–which is what inspired him to take the job and kept him going when he lost his wife. Will he get that back?

Yeah. I think it’s evolved from how can I help, or how can I fix the system and make it better, to how do we begin again? And how do we build from the ground up because we weren’t prepared for this and it changed a lot of things. I think his perspective has widened in a good way and he will see things differently this season.

What will be the new challenges for Max this season?

One thing is he’s a single dad who is trying to get his hospital through this pandemic. And he has left his daughter Luna with [late wife] Georgia’s parents in an effort to protect her and keep her safe as he is going to the hospital every day. But I think there’s a lot of guilt like, “Am I doing the right thing? Am I being a bad father by not being there? Am I neglecting her?” So, that’s something that he wrestles with.

Then the question of romance. Is there a partner for him to find and is he ready to start a relationship with someone after losing his wife? In the back of his mind, I think it’s something he wants, not only for himself but for his daughter.

(Photo by: Virginia Sherwood/NBC)

There’s a moment where Max realizes that some of his great, crazy ideas aren’t always the right way to do things. Is he growing?

Absolutely. He’s a character who’s full of ambition to change things and to make things better. And he’s very headstrong and optimistic. He’s certainly overly idealistic about how to make those changes happen. The show is about finding out the reality of how that change happens. You have these lofty ideas of, “I want to make everything better, I want to do X, Y and Z,” and you can’t do that overnight, so what does it look like on a daily basis? How does change occur on a systemic level, which is certainly bigger than the individual?

To your point about admitting fault, I think he’s learning that he can’t do this on his own and he can’t change the world overnight and that you need other people. You can’t be a one-man band, so I think he’s going through a lot of change and evolving a lot.

What was it like filming in the hospital in March 2020?

Our last day of filming we were at Kings County Hospital in Brooklyn, and it was weird. People were starting to get nervous, “Should we be filming in a hospital?” We didn’t know a lot about it. Is this real? Is this really growing the way people say it’s going to grow? And very quickly, the world changed overnight.

It’s the right decision not to film in the hospital right now, not for our show, but to get out of the way of the hospitals and to let them function to the best of their capacity when there are so many serious things that need to be addressed. And, then for the show, to keep everybody safe, of course. But I hope we can get back to that once this pandemic is behind us because there’s always this wonderful authenticity to be found when we can shoot in those places because you are near the reality of healthcare so it helps you reflect that story.

Did it take New Amsterdam longer to come back because you had to change your filming locations?

We had to build a lot of sets. We had to build a lot of the hospital locations that we use, and we had to add more sets and locations we could film in. Then everybody was just making sure it was safe and making sure we had the practices and protocols in place to do our job, be safe and not put anybody at risk. To everyone’s credit, it feels really safe. We’re tested every day and we have a lot of protocols in place that keep the set running efficiently and safely. It’s a good place to be.

How did you handle the pandemic?

I look back and that was so much time that we had. I feel like I should have written a novel, climbed a mountain, or something. But, no, I slowly went crazy and did all the usual, like slept. I did do a fair amount of writing. I wrote a screenplay, trying to put my brain to work a little bit. I was in denial like, “This will only last a month of weird whatever.” Then a month goes by and you’re like, “I guess it’s still going.” Seven months go by and it was crazy. It was nice to slow down and catch up with family and unplug for a minute. I wish it had been under better circumstances and people’s lives weren’t at risk, but, yeah, there were some positives.

[carolinesiede]

Reflecting on 2020

The strangest thing about 2020 was how familiar much of it felt: Working from home, extended periods of isolation, weeks and months blending together. To a much lesser degree, those are things I experience each year as a freelancer. And while I suspect it will take awhile before the full extent of the trauma we’ve all lived through this year fully sets in, right now I’m mostly focused on gratitude. I’m grateful for the health of my loved ones. Grateful I already had a work-from-home routine to maintain during the pandemic. And grateful that I was able to quarantine with my family for much of the year—which had its challenges but also its rewards too.

In my 2019 year-end post I wrote about feeling like my career was finally on an upward trajectory after several years of plateauing. This year obviously offered some new wrinkles in that regard. I made significantly less money and felt familiar fears about how sustainable this career actually is. But having less work also gave me more time to focus on the actual craft of writing. I feel like I reached a new level in terms of voice, clarity, and the ability to self-edit. I'm the sort of person who constantly (arguably, obsessively) strives to be better, and it’s rewarding to feel like that hard work is finally slowly starting to pay off.

In addition to devoting my quarantine time to mastering a favorite curry recipe, getting really into the Enneagram, finally learning to French braid hair, and rewatching all of New Girl, I also had some really cool opportunities scattered throughout the year. I interviewed John Barrowman about his surprise return to Doctor Who, which felt like a real milestone for me. I also contributed to the Los Angeles Times’ list of TV shows to binge-watch during quarantine, which appeared both online and in print. And thanks to everything going virtual this year, I was able to attend a press panel for the fifth season of This Is Us, which is the sort of thing I’m not usually able to do as a Chicago-based critic. 

My career is always a juggling act between film and TV, and this year made me appreciate how valuable it is to be able to move seamlessly between both worlds. I took on new TV assignments covering the first season of Stargirl and the second season of The Umbrella Academy, both of which were a blast to write about. And while I didn’t watch quite as many films as I did in my insane catch-up year last year, I did fill in some more major blindspots. I also contributed to The A.V. Club’s list of the best films of 2000 and shared my own ballot over on Letterboxd. Oh, and I set up a Letterboxd this year too!

Elsewhere, I made my debut on Bustle and The Takeout, and ended the year with a Polygon article about “Kind Movies” that pretty much sums up my entire ethos on storytelling. I was also named a Top Critic by Rotten Tomatoes, which was a real honor. But the pride and joy of my career remains my rom-com column, When Romance Met Comedy. I devoted a whopping 49,000 words to analyzing 25 different romantic comedies this year. And I’m really pleased with how the column has grown and with the positive feedback I’ve received.

I have to admit, I sometimes worry that year-end highlight reels like this one can make my life seem easy or glamorous in a way that doesn’t reflect what it’s like to actually live through it. I'm tremendously lucky to get to do what I do, but I also struggle a lot—both with the logistics of this career and with bigger questions about what value it brings to the world. My goal is to approach 2021 with a greater sense of intentionality. I want to be more thoughtful in my career choices, more purposeful in how I use social media, and more active in my activism and politics. I’d also like to do 20 push-ups a day everyday for the whole year, but we’ll see how long that resolution actually lasts.

Finally, on a sadder note, one other defining experience of the year was the loss of my dear internet friend Seb Patrick, who I’ve known for years through the Cinematic Universe podcast. Seb created a wonderfully positive nerd space online, and was a big part of my early quarantine experience thanks to the Avengers watchalongs I did with the CU gang in the spring. I’m so grateful for all the fun pop culture chats we got to have throughout the years, several of which are linked below. Seb is tremendously missed, and there’s a fund for his family here.

As we head into 2021, I’ll leave you with wishes for a Happy New Year and a roundup of all the major writing and podcasts I did in 2020. If you enjoyed my work, you can support me on Kofi or PayPal. Or you can just share some of your favorite pieces with your friends! That really means a lot.

My 15 favorite films of 2020

My 15 favorite TV shows of 2020

Op-eds, Features, and Interviews

Women Pioneered The Film Industry 100 Years Ago. Why Aren’t We Talking About Them? [Bustle]

2020 is the year of the Kind Movie — and it couldn’t have come at a better time [Polygon]

Make a grocery store game plan for stress-free shopping [The Takeout]

What’s Going On: A primer on the call to defund the police [Medium]

Doctor Who’s John Barrowman on the return of Captain Jack Harkness [The A.V. Club]

Episodic TV Coverage

Doctor Who S12

This Is Us S4 and S5

Supergirl S5

Stargirl S1

The Umbrella Academy S2

The Crown S4

NBC’s Dr. Seuss’ The Grinch Musical!

When Romance Met Comedy

Is The Ugly Truth the worst romantic comedy ever made?

Working Girl’s message is timeless, even if the hair and the shoulder pads aren’t

You’ve Got Mail and the power of the written (well, typed) word

Love & Basketball was a romantic slam dunk

How did My Big Fat Greek Wedding make so much money?

America eased into the ’60s with the bedroom comedies of Doris Day and Rock Hudson

I can’t stop watching Made Of Honor

Notting Hill brought two rom-com titans together

It’s time to rediscover one of Denzel Washington’s loveliest and most under-seen romances

Something’s Gotta Give is the ultimate quarantine rom-com

20 years ago, But I’m A Cheerleader reclaimed camp for queer women

On its 60th anniversary, Billy Wilder’s The Apartment looks like an indictment of toxic masculinity

The Wedding Planner made rom-com stars out of Jennifer Lopez and Matthew McConaughey

After 25 years, Clueless is still our cleverest Jane Austen adaptation

William Shakespeare invented every romantic comedy trope we love today

Edward Norton made his directorial debut by walking a priest, a rabbi, and a Dharma into a Y2K rom-com

The forgotten 1970s romantic comedy that raged against our broken, racist system

His Girl Friday redefined the screwball comedy at 240 words per minute

Before Wonder Woman soared into theaters, the hacky My Super Ex-Girlfriend plummeted to Earth

Dirty Dancing spoke its conscience with its hips

The rise of Practical Magic as a spooky season classic

In a dire decade for the genre, Queen Latifah became a new kind of rom-com star

Years before Elsa and Anna, Tangled reinvigorated the Disney princess tradition

Palm Springs is the definitive 2020 rom-com

Celebrate Christmas with the subversive 1940s rom-com that turned gender roles on their head

The A.V. Club Film & TV Reviews

Netflix’s To All The Boys sequel charms, though not quite as much as the original

The Photograph only occasionally snaps into focus

Jane Austen's Emma gets an oddball, sumptuous, and smart new adaptation

Pete Davidson delivers small-time charms in Big Time Adolescence

Council Of Dads crams a season of schmaltzy storytelling into its premiere

In Belgravia, Downton Abbey’s creator emulates Dickens to limited success

Netflix’s Love Wedding Repeat adds some cringe to the rom-com

Netflix takes another shot at Cyrano de Bergerac with queer love triangle The Half Of It

We Are Freestyle Love Supreme is a feel-good origin story for Lin-Manuel Miranda’s first troupe

Sara Bareilles’ melodic Apple TV+ series Little Voice is still finding itself

Netflix’s sexist rom-com sensation gets a minor upgrade in The Kissing Booth 2

With Howard, Disney+ movingly honors the lyricist who gave the Little Mermaid her voice

The Broken Hearts Gallery tries to find catharsis in heartbreak

Netflix’s ghostly musical series Julie And The Phantoms hits some charming tween high notes

After We Collided slides toward R-rated camp—but not far enough

Holidate is a bawdy start to Netflix’s holiday rom-com slate

Kristen Stewart celebrates the Happiest Season in a pioneering queer Christmas rom-com

Isla Fisher gets her own Enchanted in the Disney Plus fairy tale Godmothered

Podcast Appearances

Debating Doctor Who: “Orphan 55”

It Pod To Be You: The Wedding Singer

Reality Bomb: Defending Doctor Who’s “Closing Time”

The Televerse: Spotlight on Doctor Who Season 12

You Should See The Other Guy: The Ugly Truth

Only Stupid Answers: Stargirl’s season finale

Motherfoclóir: Ireland and the Hollywood Rom-Com

Called in to Nerdette’s Clueless retrospective episode

Cinematic Universe Appearances

Cinematic Universe: Superman IV: The Quest For Peace

Cinematic Universe: Birds of Prey

Cinematic Universe: Infinity War watchalong

Cinematic Universe: Endgame watchalong

Cinematic Universe: Terminator 2

Cinematic Universe: Josie and the Pussycats

Cinematic Universe: The Cuppies 2020 (Cuppies of Cuppies)

And here are similar year-end wrap-ups I did in 2019, 2018, 2017, 2016, 2015, 2014, and 2013.

[discordisagoodnoodle]

If you don't mind going into detail, I'd love to hear why you dislike Starlight. I didn't watch her episodes besides her first appearance, so I don't have a strong opinion. She does come off as Twilight 2.0 and kinda OP from what I've seen though. I mean, she oneshot Discord in a fight. Yeah he came back 10 minutes later, but that seems extremely strong for a unicorn

Ok so here's my official Starlight hate post I guess. Long post warning ahead

REASONS I'M NOT VERY FOND OF STARLIGHT:

ONE: I actually didn't hate her as a villain. Like, she wasn't my favorite but I didn't hate her and then- we find out the reason that she is an ACTUAL CULT LEADER (and like I know people compared her more to a communist which if you're not thinking too hard the equal sign makes it seem like that, but her actual actions parallel a cult more) and the fact that she literally tried to erase a whole ass timeline is because her friend had to move away??? Like really??? It was...very bad. Kind of a shame, because with better writers a cultist villain could have been a lot more interesting. In fact, her premiere episode on it's own was,,,fine, and if Starlight was simply defeated and never showed up again I wouldn't have a problem with her.

I'm actually gonna go on a side rant here because I really reaally REALLY hate how they made a villain like Starlight and redeemed her. The fact that her actions as a villain so closely resemble a cultist on its own wouldn't be an issue, *but then they had the audacity to act like her being sad MATTERS when she destroyed people's lives in a much more realistic, much more uncomfortable way than guy who wanted to take over world lol and fucking redeemed her* Can I just say how discomforting it is when people write redemptions like that? Watching the pony villain equivalent of somebody who's committed horrible acts of abuse and indoctrination to others get redeemed is UNCOMFORTABLE. IT'S VERY UNCOMFORTABLE. DO NOT LIKE.

TWO: She feeeels sad and that's enough for her to be labelled Deserves Sympathy And Redemption. See, this on it's own wouldn't be as big a deal if...again, she wasn't made to parallel real world bad people? Like, if Starlight was just a run of the mill dickwad in charge of the town doing run of the mill dickwad things, we'd be having an entirely different discussion. OR if she wasn't the cult LEADER, but a member of the cult who was groomed to fully believe in it, and slowly had to be unindoctrinated. But, as it stands, no.

THREE: Her power level. In the premiere, Starlight in shown to be a stronger than the average unicorn with some niche knowledge that's helpful to her. In the finale and onwards, she's...on the same power level as Twilight, an alicorn princess who's main field of study is magic itself. This is kind of an issue in power scaling that the show has had in general, but it was compounded onto Starlight in a very intense way in which she's basically always the strongest person in the room, hooray Starlight! (And despite the fact that Discord being blasted was intended by the writer to be Discord letting Starlight hurt him, you can kind of see it with him winking, that scene wasn't very obvious about it and made it look like Discord, literally the most OP character in the whole show, was suddenly less powerful than Starlight? Lmfao ok.)

FOUR: Starlight always has to be the strongest, smartest creature in the room. You remember the season six finale where Starlight was labelled leader (despite the fact that she really shouldn't have been, hot take I guess.) of everybody and also she was the only person who ever had any ideas and also all of her ideas worked basically, and she figured out the Plot Weapon of the day? That happens in the show far too often, and it's boring. Plus the fact that it too often stupidifies other characters in order to make her look better, makes me very annoyed!

FIVE: Her personality consists of, feels bad, anxiety, and being the best all the time. I'm bored just thinking about it quite frankly. It is absolutely not fun watching Pony Cult Leader remind me she was a cult leader and also how bad she feels about it! I don't care!

SIX: The show acts like she's super amazeballs at friendship, and she's not. (Also, the whole...friendship as some sort of tangible skill you can achieve and Be The Best At instead of just learning interpersonal skills? No thanks fam.) Like...Starlight should not have been a guidance counselor, one, because being The Good Friend ABSOLUTELY does not make you qualified for responsibility of the mental health of actual children, two, even if it did, she's not that amazing at being the Good Friend! She...still does a lot of shitty things. Or before that, when she got a """friendship medal""" for saving Equestria and suddenly deemed a Friendship Master? WHAT?! Those things have ZERO CORRELATION. Very bad.

SEVEN: the fact that she'll get treated better than other reformed villains (cough cough Discord) by everybody around her despite...also doing shitty things is really annoying and a huge double standard! Stop that!

THINGS THAT ON THEIR OWN I WOULDN'T CARE ABOUT BUT SINCE I'M ALREADY NOT FOND OF HER JUST ANNOY ME:

-She's rich. Eat the rich.

-I'm actually not fond of her design. It's not the worst...but I don't love it...

-The fact that she's another Twilight clone not clone like with Sunset. Especially because they kept making jokes about how Starlight and Twilight are so similar haha! Like,,,god just stop it's so boring.

I uh. I think that's it. Maybe.

[loquaciousquark]

Talks Machina Highlights - Critical Role C2E83 (Nov. 5, 2019)

A day late and many dollars short, but we’re here! Tonight’s preroll: minifigs & what I assume are tonight’s guests of Liam & Matt:

which is followed by lazy susan rotating the D&D minis from eldritch-foundry.com for the rest of the cast. Cute! Anyway, Dani is back and ready to rumble! Brian is briefly lambasted for only getting through mumblemumble questions last week, but it’s all smoothed over soon enough and we move right along.

Tonight’s announcements: Undeadwood finale is delayed one week due to some post-production tech issues. Should premiere Friday, Nov. 15. Brian marvels over Matt’s speech about God being just as feral as what he creates. Matt is also surprised. Marisha is apparently the living dice Snitch of both campaign 2 and Undeadwood - everyone wonders if it’s the seat, the chair, the floor, or some innate karmic sense Marisha herself creates. CR is also partnering with Operation Supply Drop for the month of November to support veterans. Matt announces (re-announces?) that they are partnering with Amazon to create a full second animated season, as well as two more episodes to the original season one. All backers will be able to still watch the full season one for free. Everyone is so excited & I’m excited for them. Good job, tiny D&D friend group. More details on the CR Kickstarter Updates page.

And now! Episode 83: Dark Bargains

CR Stats: Liam poured wine for 49 seconds. Brief sidebar as Liam expresses genuine nervousness being on the couch beside Matt; he normally talks behind his back on TM, since he’s not sure if Matt ever watches it, but now he has to watch what he says. Caleb’s smell has been mentioned 60 times. Matt acknowledges that he is clean and washed. [doubt] Nott’s death was the 60th knockout and 8th player death of C2. Half of those deaths were Frumpkin. Liam calls Frumpkin a magic fart with a weak wifi signal.

Our first question (23 minutes in, NOT THAT ANYONE’S COUNTING), reveals that Matt did design the HFB with some “big red buttons” for the characters to press, or want to press. He expected more group approval before some of them were pressed, though (the dreadnought). Liam wanted to clear all the corners of the Baldur’s Gate map. 

Caleb fears Halas because he’s one of the most powerful mages ever, he fears the lab setup/experimentation angle, he still fears the siren song, and is scared of the grains of similarity he sees between the two of them.

Liam knows they’ve continually seen fun stuff come from shitty situations, but Caleb sees the story of the HFB as “you’re not welcome here; this is going to suck for YOU! You thought you were going to have fun here? Fuck you!”

Matt loves those climactic moments though, because he loves it when the dice tell the story. Liam loves that there was a day where Matt rolled terribly in Undeadwood and played it as being embarrassed to be around all these amazing people.

Matt enjoyed getting to dig into the backstory of his world. He’s had references to pre-divergence stuff before, and it was a big joy to give more context to some of the things the M9 have been encountering.

Liam: “[Caleb] is gambling big when he thinks there’s something of worth to gain.“ He’d heard of a long-vanished mage who was messing with time stuff, and thought there might be a chance this was him. Then, once they found the gem, he started feeling this might be the real chance he needed to start messing with the crazy stuff he wants to do with time.

The bound devil was a general temptation, but in hindsight he can see why Jester was drawn to him. Matt often builds scenarios and has no idea how they will react to them (and acknowledges that the M9 did not fully read the poem that would have given them more info here), and sometimes he’s right and sometimes he’s very wrong.

Caleb is very distrustful of other arcanists and always assesses their level of threat to the group. Liam does think Caleb has come a long way since the start of the campaign. “A lot is changing for him. He’s very reactive in a lot of ways. Whatever is laid out for him in the moment that he can take advantage of, or that he cares about...I don’t know. The Betrayer Gods coming back is so much more important, and I don’t know if it’s going to make him let go of that stuff. He has to re-evaluate. He has to. He’s like an addict who has a weak day.”

Brian comments that Caleb seems to be a clinic in self-forgiveness. He wants him to do well, but at the end of the day he wants him to forgive himself. He also points out that it’s possible to get addicted to grief, and he sees that in Caleb; he’s choosing to stay in that space, and we are watching what that does to a person. Brian feels that he forms an attachment to the grief because it is the only emotional connection he has to the family he lost.

Liam nods and says these are things he’s been thinking about for months and months. He does not and did not have the answers when he created the character, and is looking forward to seeing where he ends up. He is not railroading his character; he’s letting the other players affect his character so that Caleb can remain malleable.

Matt loves how it reflects how real people inform the lives and actions of their friends in real life.

Cosplay of the Week: @suchamantis on twitter for a Caleb/spellbook cosplay. It’s gorgeous work!

Brief derailment into Liam pulling a Bane out of his mug and Matt hypersensually smelling the winner’s dice vault. I don’t even know what’s happening.

Revivify in this campaign is being used as a CPR/AED type thing. If they fail, the DC goes up and a longer-form raise dead spell must be used out of combat.

It did occur to Liam that this is the second time his bestie has been killed by a treasure box. Would Caleb make the same sacrifice? Liam says in a spooky voice that nothing is as strong as the twin bond...but when Caleb goes into full-on survival mode where all emotions are pushed to the side, he doesn’t know what would happen. He knew he was with two very magical people who could work miracles and was focused on just getting her up the steps to them. Matt was sure everyone would figure it out and was shocked when no one checked it for traps.

The effect of the diamond on Nott being different from the diamond on Cad was flavor related to the Power Word Kill trap that was on the chest. He built the revivify around that imagery in the moment. A lot of Matt’s flavor text around spells is built around the moment, the characters themselves, their gods, etc. as much as possible.

Caleb is glad to find the signs of magic that may be able to return Nott to a halfling, but was way too concerned about the gem to think about anything else at that time.

Fanart of the Week: @acemasters4 on twitter for a beautiful pastel stylized portrait of Caduceus and mushrooms.

Ashley is almost here! Brian allllmost tells us how many days but refrains. COME BACK ASHLEY.

The Angel of Irons thread has been planned since the very beginning: everything with chains and hunger was planned. He pulled it together with Yasha when he realized they would mesh well. She had created her backstory, and as the campaign proceeded he was able to marry some threads together to make story points. Liam compliments Matt’s ability to weave character & world backstory together; specifically, the crystals in Caleb’s arms were Matt’s idea after Liam sent the first draft of his backstory to Matt. Liam loved it and ran with it.

Everyone is so excited that she is coming back and Matt won’t have to plan for her to be suddenly absent again.

In a moment that shakes my world, Matt is discovered to be wrong about what class of magic Cure Wounds is in 5e. The question is about how Halas’s comment on healing being necromantic is a throwback to older editions of D&D where CW was a necromancy spell, and Dani reveals to us all that in 5e it is now Invocation. Matt chooses to accept this as a deliberate throwback to older editions to emphasize that “man out of time” feel.

Chris Perkins apparently once described BWF’s personality as “Power Word Kill for someone’s joy.” He also apparently did MMA & figure skating, because why not.

Caleb’s reference to Jester suffering in the ruby was purely coincidental regarding her mother. He didn’t realize until it popped out of his mouth.

BWF talks about how he likes where the campaign is at. He has a weird gut feeling that something exciting is about to happen. “I’m finally invested in this campaign after 83 episodes.”

Everyone pauses to talk about how beautiful Matt’s hair is blowing in the wind. BWF tells a story about how based on how they were sitting in Undeadwood filming, Matt’s hair would blow ever-so-slightly in the A/C and people thought they did it on purpose.

Matt had a good time at Blizzcon! He was glad to see people gathering for the Hong Kong protests; he understands it’s a very complicated situation where the initial punishment was way too harsh and caused a ripple effect, but he was glad to see the space where the activism was welcomed in response.

Matt enjoyed cosplaying again for the first time in a long time, both at Blizzcon and as McCree for the Halloween episode. When he was buying adhesive a shop worker upsold him on an inferior product, which is why his beard started falling off during the show. Sad times, Matt. :(

And that’s all! Is it Thursday yet?

[gra-sonas]

I am not sure if you have been asked already if you have you can link to your answer if not what would you say you are most excited for in season 2? and then what would you say you are least excited for?

Hi nonnie!

I talked about some of it  in this post, but now that we’re closer to the S2 premiere (62 days), I tried to write down a little more (esp. about other characters than Alex *ahem*). THIS GOT LONG

Liz

Liz will have A LOT on her plate this season. She’s lost Max and got Rosa back in return. That’s some grade A emotional whiplash! It’ll be interesting to see how the new dynamic  between the sisters will be (Liz is the younger sister, but she’s the  older one now, that should be interesting!). We know from several BTS pics/vids this year (thanks, Trevino!), that Liz will work at the  Crashdown quite a bit (I wonder what that means in regards to a job in the field of biomedical engineering?). I also expect her to figure out a way to bring Max back (does she have/get a lab, will there be another underground bunker, will she work at Michael’s bunker???).

In the trailer Liz was seen with Jenna (😍) who showed her how to use a weapon. WHY IS LIZ LEARNING HOW TO SHOOT??? 😱 How is her relationship with her dad, will she tell him about Rosa (not just that she’s back, but also the bit about where Jim Valenti is Rosa’s biological dad? Or does Arturo already know???).  And what role does Liz’s mom play when she comes to visit? Oh, and how/when does she figure out how to bring back Max? So many questions, and I can’t wait to find out.

Rosa

Rosa’s return is one of very, VERY few things I liked about 1x13. I’m so excited she’s back and can’t wait to get to know her properly in S2. She’ll have a lot to deal with (”I’m a ghost.” is what she says in the trailer, that implies that she has to stay hidden, at least early on!). She’s still a recovering alcoholic and addict, and then there’s this whole thing of being alive again after a decade of… well, a decade of what? Noah put her in his pod, the same pod he said didn’t keep him in stasis properly. What does that mean for Rosa? Noah’s in a scene with Rosa in the trailer, is that a flashback? Was she ‘alive’ in the pod, or was she actually dead and didn’t feel a thing? How will her dad react? How’s her relationship with Liz going to develop? How ‘delighted’ will she be to interact with Kyle, her half-brother? I can’t wait to find out about all of that!

Isobel

My girl Isobel! She’s gonna have a lot to deal with in S2. First and foremost there’s Max’s death, which - given that they are sharing a very special psychic bond - I would imagine will be super hard for her to handle. In 1x13 we also saw her ‘unlock’ a new (new to her) power. Is that something she’ll try to develop further in the hopes of bringing Max back? Will she work with Liz? Will she unlock other powers? How will she approach dealing with the severe trauma of Noah betraying and (ab)using her? Will she go to therapy? Pretend like  everything is okay and try to figure it out on her own? Go to Kyle and talk to him? Go to Alex (PLEASE, LET HER GO TO ALEX)? Is she the one who’ll identify as ‘not straight’ at the end of S2? I’m absolutely STOKED for Isobel’s journey, especially bc Lily’s the coolest who also gives Carina ideas and talks to her about Isobel a lot. This is going to be so good!!!

Maria

Maria’s the character that had the least development in S1. She didn’t have  much of a storyline of her own, and mostly served as a catalyst for other character’s stories. I hope that will fundamentally change in S2. Carina’s said that they’ll dive into Maria’s family history this season, meaning that we’ll hopefully find out more about the necklace she’s wearing, its powers, and what part her family played after the UFO crash in 1947. What’s the DeLuca family legacy, and what do they know about aliens? When will Maria find out about aliens, and how will she react - not just about the fact that aliens exist, but that everyone close to her kept it from her for so long? Will be interesting to see what they’re doing with Maria this season. 

Max

Will probably stay dead for at least some of S2, he’ll probably be brought back halfway through S2? The when and how of bringing him back is one thing, interesting will also be, how Max is. Is he the same as before? Or did the use of that much power to bring Rosa back cost him. A part of his soul? His memories? Something else? Some people mentioned dark!Max could be an option, that could be really cool.

Kyle

My boo Kyle!!! I want nothing but good things to happen to Dr. McSexy. I hope his friendship with Alex continues to blossom and grow, I can’t wait for more brilliant and hilarious one-liners and quips (Kyle had the best lines in S1, and Trevino delivered every single one to perfection!), there’s at least one Kyliz kiss in his future, and while I know they’ll never be endgame (😢), I’ll enjoy it while it lasts (here’s me shallowly hoping for some good recreational s e x for the good doctor, though I do hope he doesn’t get his heart broken.

Michael

It’ll be SO hard to see Michael spiral. :( He’s got so many things to deal with, and I’m worried how long his ‘free fall’ will last before he’s able to stabilize? Caulfield and Max’s death will be super hard on him, Iz will be busy getting her own life in order, and while I hope Liz and Michael will work together to bring Max back, it remains to be seen if Michael’s even up for it. I’m just glad to know that Alex is around, solid as a rock, not going anywhere, and I hope Michael will allow him to be there for him. ‘Only’ as a friend for now, but that’s what S2′s supposed to be about, Alex and Michael becoming friends. They still love each other (SO MUCH 🥺), they still have this cosmic bond, and I hope that despite them not being together (as ‘in a relationship), they’ll steadily move towards getting back together.

Special wish: should the ‘Alex gets kidnapped’ story line happen, I can’t WAIT for tornado!Michael to do everything in his power(s) to bring him back. And should there be a reason for Michael to put a handprint on Alex, I WANT IT!!!

Alex

Unsurprisingly, I’m most looking forward to all things Alex next season. And I really mean ALL things. Just seeing him will spark joy. I’m also prepared to worry about him. A LOT. First of all, he’ll re-enlist again. Staying in the Air Force enables him to get access to important information, which hopefully helps to keep Michael, Iz and Max safe, but what a price to pay… :/

I’m looking forward to the developing friendship between Alex and Michael, for the friendship between Alex and Kyle to grow, and I want a friendship between Alex and Isobel like almost nothing else in S2! I’m looking forward to BAMF!Alex who left nice in the Middle East and is ready to take on the fight with his father. I’m looking forward to interactions between Alex and his brothers (soooo curious about all things Manes Brothers!). I’m anxious to see how he’ll react to M/M (I really hope they won’t make him pretend it’s no big deal, or ‘forgive’ like it’s nothing that Maria went behind his back…), I hope to see Alex’s disability be more ‘visible’ again than during the latter half of S1. I wish his PTSD and what it means for him would be more visible and addressed but that might not happen. And then there’s of course BUFFYYYY! I’m prepared to sob my way through their first encounter. I’m so, so happy he gets to have her! ❤️

Buffy

I CANNOT WAIT TO MEET THIS VERY GOOD GIRL!!!!! 😍

What I hope for

A season that expands the RNM universe without losing focus of our main characters. Reveals of important alien history. Friendships developing. I hope that the influence of the large number of queer, POC, and female people working in the writers room and behind the camera will have a really positive influence on how S2 comes together.

I also hope for S2 to end on a positive/hopeful note for Malex. I hope they won’t be in relationships with other people going into S3, and I hope there’ll be a real chance for them to get back together in S3.

Despite them not being together in S2, I still hope for a kiss (OR SEVERAL, DON’T HOLD BACK ON MY ACCOUNT). I can’t go an entire season without them kissing 🥺🥺🥺

More characters  + some DNWs below the cut

Jenna

My girl Jenna! Gosh, I love her, and I can’t wait to see her again. I’m also hoping she’ll be in more than one episode. I want to know more about Charlie, I want to see more of my favorite sleuthing trio Jenna/Alex/Kyle. Just… give me aaaaaall the Jenna content!

Mimi

I hope we’ll learn more about her, her history with Jesse, and her potential history with aliens. What does Mimi know, did an alien ‘give’ her dementia? Is there a cure?

Steph

Steph (played by Justina Adorno) is a new character we haven’t met yet. According to Justina, “Steph is sassy. She is the Head of Surgery’s daughter. She’s a smart educated girl with a little sass“. So we don’t have much to work with yet, but ‘Head of Surgery’s daughter’ implies, that she might meet Kyle first (at the hospital)? Will she be in on the alien secret, or play a different role? Either way, I’m always excited for more female characters!

Grace Powell

I couldn’t be more excited about Jamie Clayton in Roswell, she’s brilliant and I want her around for more than just 2-3 episode. Hope she’s one of the good guys!

Mara & Louise

Mara (Michael’s mom) and Louise (likely Isobel’s and Max’s mom) are two characters we’ll meet in flashbacks to 1947. I’m excited to find out more about the aliens who crashed, where they are from, I hope the flashbacks will fill out some blanks. I’m also very curious to find out how they’ll incoroprate the flashbacks in general. Are these memories Isobel and Michael manage to unlock? Are there videos in the Caulfield files? Do they find old diaries in 2018 and they play out on screen?

Jesse

May he get what he deserves in S2 (AND I WANT ALEX TO BE THE LAST THING HE EVER SEES, PREFERABLY ALEX KISSING MICHAEL)

Arturo

No one, and I mean really absolutely NO ONE is allowed to mess with Papi Ortecho. (ง︡’-‘︠)ง  (ง︡’-‘︠)-o  (ง︡’-‘︠)ง Liz needs him, Rosa needs him,I need him. He better be healthy and well by the end of S2!

Jason Behr’s character

No idea who he’s going to play, probably someone from the 1947 timeline? Or someone who could be dangerous for the Pod Squad in 2018?

Wyatt Long

He’ll be in at least one episode, maybe more? What is he going to do if he ever finds out Rosa’s back???

For[r]est

Hopefully a good guy, and good for Alex. Still not eager to see this unfold on screen tho…

Manes Brothers

Ahhhhh, I’m actually super excited for Gregory Manes, and also for more Flint! I hope we’ll find out more about them, about their dynamics, who’s older/younger, how it was when they were little, and even though we won’t meet their mom this season, I hope we’ll hear sth about her (and why she left). I also hope that at least one of them will be in Alex’s corner, I’d also be in favor of a redemption arc for Flint, just putting that out there.

DNW

Any and all M/M & A/F “love” triangle stuff. I don’t want it and I wish it wasn’t part of S2. Alas, it will be and I just hope M/M will end quickly, and A/F is nothing but a fling. Ugh, I don’t want any of this 😩 My absolute nightmare would be for both ‘relationships’ to last into S3.

Extensive flashbacks to 1947 that take away precious screen time I’d rather see dedicated to characters in 2018.

Episodes that had to be edited extensively to fit 42 minutes (still mourning every little scene they had to cut from S1 episodes, even though we’ll never know what and how much got cut from each ep, it just was A LOT for some episodes)

Too much focus on the overall ‘murder mystery’ plot (or whatever we’ll get this year) . I’d much rather see the characters grow and interact with each other (more group scenes would be nice).

Another trash fire of a final episode like 1x13. Of course there will be a cliffhanger, and this time we know that we’ll definitely get another season, but still. Another season finale leaving the characters - and therefore us - in such a bad place would be the absolute worst. We’ve barely made it through this hiatus, I don’t think this fandom could handle another one with so much uncertainty, heartbreak, and dread of what’s to come in S3.

In case you’ve made it until the very end of this post, thank you, and thanks for your ask!!! Hope you’re having a great day, nonnie!  ✨💚👽

[aion-rsa]

Did The Dark Knight Really Influence the Marvel Cinematic Universe?

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In 2008, there were two seismic events in the superhero movie genre so close together that you’d be forgiven for thinking they signaled the same thing. Over the span of a few months, Marvel Studios launched the Marvel Cinematic Universe (MCU) via Iron Man, and director Christopher Nolan changed the perception of how seriously to take these movies with The Dark Knight. Both are credited as watershed moments for how audiences and (more importantly) the industry approached such stories; and The Dark Knight is specifically singled out as the gold standard by which all other masked crimefighter films are measured.

However, was Nolan’s haunting vision—one in which a lone avenger is the last, best hope for a major American city on the verge of collapse—really that influential on its genre? The Dark Knight certainly had a monumental impact on the culture, then and now. You saw it when Heath Ledger’s searing interpretation of the Joker made him only the second actor to win a posthumous Oscar, as well as when the film’s exclusion from the Best Picture race changed the way the Academy Awards handled its top prize. And just last year, The Dark Knight became only the second superhero movie inducted into the National Film Registry.

Yet when a friend watching last week’s The Falcon and the Winter Soldier premiere told me Marvel was returning to the “realistic” approach of Captain America: The Winter Soldier, and by extension The Dark Knight, I couldn’t help but disagree. The new Disney+ series may have a slightly more grounded aesthetic than the last time we saw these characters (back when they were fighting space aliens over magic stones in Avengers: Endgame), but the medium-blending existence of the series belies the idea that Marvel took anything significant from the insular and self-contained Dark Knight Trilogy.

The Dark Knight vs. Iron Man

It’s interesting to look back at just those 2008 films since at face value they bore minor similarities. They both were focused on fantastically wealthy billionaires using their fortunes to fight wrongdoing on a potentially global scale; each movie was directed by filmmakers with indie cred thanks to Nolan helming Memento (2000) and Jon Favreau writing and starring in Swingers (1996); and each starred unexpected casting choices with Ledger as the Joker and Robert Downey Jr. jumpstarting a career comeback as Tony Stark.

But their goals and approaches were worlds apart. The obvious thing to note, besides The Dark Knight being a sequel to Batman Begins (2005) and Iron Man being an origin movie, is that Iron Man had an slyly hilarious sensibility, and The Dark Knight fancied itself an allegory about post-9/11 America. The former’s success was engineered in large part by Downey’s gift for comedic improvisation and freestyle. Indeed, co-star Jeff Bridges said in 2009 that he, Downey, and Favreau were essentially improvising their scenes from scratch every day during primitive rehearsals. “They had no script, man,” Bridges lightly complained with his Dude diction.

By contrast, The Dark Knight appears at a glance to be an exercise in self-seriousness and lofty ambition. Every scene, written by Nolan and his brother Jonathan Nolan, appears like a chess move, and each character a pawn or knight who’s been positioned to put contemporary audiences in a state of pure anxiety with War on Terror imagery and dialogue. Of course this clocklike presentation is itself another Nolan illusion, as smaller players like Michael Jai White, who portrayed gangster Gambol in the movie, have been quite candid about. As with almost every film, there is still a level of fluidity and workshopping on Nolan’s set.

Ultimately, the bigger difference between the Nolan and eventual Marvel approach is what each is hoping to accomplish with the film they’re currently making. More than just offering a “realistic” vision of Batman, The Dark Knight attempted to tell a sweeping crime drama epic that would stand alone, separate from its status as a Batman Begins sequel. Rather than being “the next chapter,” The Dark Knight was meant to be a cinematic distillation of Batman and Joker’s primal appeals writ large. With this approach, the film also broke away from the superhero movie template Batman Begins followed three years earlier, and which nearly all superhero films still walk through the paces of.

In essence, The Dark Knight showed that superhero movies could be dark and mature, yes, but they can also be subversive, unexpected, and genuinely surprising. Nolan’s previous superhero movie, as good as it is, followed the beats set down by Richard Donner’s Superman: The Movie nearly 30 years earlier. They’re the same beats trod by Iron Man and pretty much every other superhero origin movie, including a large bulk of Marvel Studios’ output. The Dark Knight, by contrast, reached for a cinematic vernacular separate from its specific genre. The movie’s not subtle about it either. The opening scene of Nolan’s epic wears its homages to Michael Mann’s Heat on its sleeves, and the story’s structure has more to do with Jaws than Jor-El.

The approach shook audiences in 2008 after they’d come to expect a certain type of movie from masked do-gooders. In The Dark Knight, superhero conventions could be subverted or obliterated when love interest Rachel Dawes is brutally killed off mid-sentence, or stalwart Batman is forced to claim a pyrrhic victory over the villain by entering into a criminal conspiracy and cover-up with the cops. The thrill of novelty was as breathtaking as the movie’s allegorical elements about a society on edge.

And even with The Dark Knight’s open-ended finale, it stood as a singular cinematic experience, complete with then-groundbreaking emphasis on IMAX photography. Nolan was so adamant about making this as self-contained an experience as possible that he jettisoned his co-story creator David Goyer’s idea of setting up Harvey Dent’s fall from grace for a third movie. Dent’s fate, as that of everyone else’s, would be tied strictly to the events of the movie you’re now watching.

“We Have a Hulk”

In Iron Man, and then more forcefully in Iron Man 2 (2010) and the rest of its “Phase One” era, Marvel Studios demonstrated a wholly different set of priorities. Similar to how Batman Begins paved the way for Nolan to do what he really wanted with that material, Iron Man 2 came to encapsulate Marvel Studios President Kevin Feige’s grander designs for the type of movies he was making. Where The Dark Knight was singular, unconventional, and two steps closer to our world than its comic book origins, Iron Man 2 was episodic, entirely crafted around audience expectations for a sequel, and even more like a comic book world than our own.

In other words, the first Iron Man gently submerged audiences into the fantasy by beginning with contemporary images of Tony Stark in a Middle Eastern desert; Iron Man 2 then made sweeping strides in defining what that MCU fantasy is as quickly as possible: Natasha Romanoff, aka Black Widow (Scarlett Johansson) is introduced solely to establish the superspy who will be vital to The Avengers two years down the road, and the central narrative about Tony Stark fighting an old rival is put on pause to reintroduce the character Nick Fury (Samuel L. Jackson) as a supporting, and superfluous, side character. The post-credit scene even arbitrarily introduces literal magic with a glowing hammer that has absolutely nothing to do with the story you just watched. Still, it’s a hell of a teaser for Thor which was due in theaters a year later.

With the release of Iron Man 2, Marvel Studios’ emphasis became diametrically opposed to the driving concept behind The Dark Knight Trilogy. Rather than each film being an insulated, standalone cinematic experience like the Hollywood epics of old, Marvel’s movies would be interconnected episodes in an ongoing narrative saga that spanned multiple franchises and countless sequels. This isn’t necessarily a bad thing. Unlike Nolan after The Dark Knight, Feige and his stable of writers always know where the next movie (or five) is going, and have a better idea of what the overall vision is than any single director working within this system. Ironically, this returns power to the studio and producer as the seeming authorial voice of each movie. Like in the Golden Age of Hollywood, directors are more often hired hands than influential auteurs.

However, this means the aspects Nolan really valued on The Dark Knight beyond a gritty “realism”—elements like spontaneity, subversion, and a distancing from superhero tropes—became antithetical to the type of movies produced by the MCU. For at least the first decade of its existence, the Marvel Cinematic Universe flourished by creating a formula and house style that is as predictable for audiences as the contents in a Big Mac.

When you go to a Marvel movie, you more or less you’ll get: an ironic, self-deprecating tone, a story that often revolves around a CG MacGuffin that must be taken from the villain, and a narrative in which disparate heroic characters come together after some amusing, disagreeable banter. In fact, more than Iron Man, it was Joss Whedon’s The Avengers (2012) which refined the Marvel formula into what it is today.

There are of course exceptions to this rule. Black Panther became the first Marvel movie since Iron Man to arguably tackle themes significant to the real world, in this case specifically the legacy of African diaspora. It also became the first superhero film nominated for an Oscar for Best Picture as a result; James Gunn’s Guardians of the Galaxy movies might follow the narrative formula of most MCU movies, but they’re embedded with a cheeky and idiosyncratic personality that is distinctly Gunn’s; and in Captain America: The Winter Soldier (2014) and Captain America: Civil War (2016), directors Joe and Anthony Russo, as well as screenwriters Christopher Markus and Stephen McFeely, attempted to inject a little bit of that “realistic” aesthetic from The Dark Knight. But only to a point.

Particularly in the 2014 effort, there was a push by the Russos to rely on in-camera special effects and cultivate what they often described in the press as a “1970s spy thriller” style. Ostensibly, the hope may have been to make The Winter Soldier as much a spy thriller as The Dark Knight was a crime epic. In this vein, there were even attempts to graft onto the story very timely concerns about the overreach of a government surveillance state, which had only grown in the decade since the U.S. PATRIOT Act was passed, despite a change in White House administrations. However, all of these ambitions had an invisible ceiling hovering above them.

Despite having overtones about the danger of reactionary if well-intentioned government leaders, like the kind personified by Robert Redford’s SHIELD director in the movie, Captain America: The Winter Soldier couldn’t become too focused on the espionage elements or too far removed from the Marvel house style. The story still needed to interconnect with other Marvel films, hence Redford’s character turning out to be a secret HYDRA double agent, and it still needed to give audiences what they expected from a Marvel movie. Thus how this “1970s spy thriller” ends in a giant CGI battle with citywide destruction as Captain America inserts MacGuffins into machines that will blow up HYDRA’s latest weapon for world domination.

It’s easy to wonder if the movie was developed a little longer, and didn’t have to play by a certain set of rules and expectations, that instead of backpedaling into comic book motivations, Redford’s character would’ve been a well-intentioned patriot amassing power “to keep us safe,” and in the process destabilized the institutions he claimed to revere.

Read more

Movies

What Did Batman Do Between The Dark Knight and The Dark Knight Rises?

By David Crow

TV

WandaVision: The Unanswered Questions From the Marvel Series

By Gavin Jasper

A Universe Without End

The Marvel method breeds a heavy need for familiarity and comfortable predictability, as opposed to disorientation and discomfort. Yet both methods are valid. While Nolan achieved near universal praise for The Dark Knight, his attempt to replicate it with the even more ambitious The Dark Knight Rises—an unabashed David Lean-inspired epic that took more from A Tale of Two Cities and Doctor Zhivago than DC Comics—left fans divided. It also was a narrative dead end for the corporate/fanbase need of an ongoing franchise. Nolan instead reached a final, artistic, and emphatic period for his cinematic interpretation of Batman mythology. By comparison, Marvel Studios has created a new cinematic vernacular that only ever uses dashes, semicolons, and commas. There is always more to tell.

Nolan reflected on these changing circumstances for superhero movies in 2017 when he said, “That’s a privilege and a luxury that filmmakers aren’t afforded anymore. I think it was the last time that anyone was able to say to a studio, ‘I might do another one, but it will be four years.’ There’s too much pressure on release schedules to let people do that now, but creatively it’s a huge advantage.”

This lines up with what Jeff Bridges said about the evolution of the Marvel method way back in ’09 after the first Iron Man: “You would think with a $200 million movie you’d have the shit together, but it was just the opposite. And the reason for that is because they get ahead of themselves. They have a release date before the script [and they think], ‘Oh, we’ll have the script before that time,’ and they don’t have their shit together.”

Bridges’ unhappiness with the new process notwithstanding, Marvel was rewriting the playbook about how these types of movies were made. Nolan’s approach of one at a time and years-long development processes created three distinctly different and relatively standalone Batman movies. But Marvel has shifted the idea of not just what a franchise can be, but also what cinematic storytelling means.

Instead of three movies, their rules and structures have generated dozens of well-received and adored entertainments, that when combined can produce experiences as unique as Avengers: Infinity War (2018) and Avengers: Endgame (2019): two movies that were more like a two-part season finale on TV than individual stories. And the latter became the highest grossing film of all time.

The success of this approach is further underlined when one considers competitors that tried to emulate both Marvel and Nolan’s approaches, relying on a lone auteur to build a shared cinematic universe—while also arguably taking the wrong lessons from the “dark” in The Dark Knight title. In the case of the DC Extended Universe, that approach collapsed on itself after three movies, leaving the interconnected “shared” part of its universe in tatters, and fans and studio hands alike divided on how to proceed with the franchise.The Marvel Cinematic Universe took a narrower road than that of The Dark Knight. But it turned out to be a lot smoother and much, much longer.

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