anonymous asked:

What do each of you think about the anime (what was right or wrong, etc.)? I really love the fact that Bones gave all the female characters mature and actually realistic voices, even Kyouka sounds realistic for a girl of her stature and age imo.

We know you said ‘each’ of us, but we doubt you want to wait Approximately Forever for your answer, so we’re going to answer, collectively, sorry. XD Since some of us can write Approximately Forever about the anime vs. the manga, we’ve divided things into two basic categories:

Things We Liked:
-The ability “rings” and title screens
-The scene of Fitzgerald’s money rapidly decreasing
-Details from the manga they did include, such as: small baby Moby Dick, the technology/computer screens, Tom and Huck (the last one is plot-related, but they were very cute)
-Season 1 Episode 1
-Dark Era, Odasaku
-Fukuzawa’s guitar riff aka one of the best things tbh
-Opening and ending animation/songs (except for naked Aku in S2 sorry Aku)

Things We Didn’t Like:
-First light novel timeline (Why Was Atsushi There)
-The weird fish eye lens animations and other weird animations in general
-The number of butt shot / orphanage flashbacks / “I killed 35 people”
-Yosano’s stripping
-Why no OST from PV1
-Minor character things: Chuuya’s missing hat chain, Agatha Christie cameo (and Fyodor’s first cameo in that same scene), Lovecraft trying to eat a wall
-Cut/changed details: Akutagawa’s cough, shin soukoku’s combined ability, costume changes, Dazai not laughing at Chuuya’s “turn-in feet,” Atsushi sassing asking Akutagawa during their battle with Fitzgerald if he wanted some tea, Dazai not eating dog treats, Tanizaki and Atsushi’s “east” and “west” idiot scene in the helicopter, Poe sweating at the ADA party while he tries to acquire a drink, Kunikida not showing up to Dazai on the roof with Q’s curse, Dazai’s face when avoiding Mori like the plague as Mori told him to not hang up on him, and last but not least… they cut out our symbol…Dazai’s shifty eye face

what they could’ve done: had a full, coherent episode for musical crossover part one in Supergirl in the Superverse featuring prominently the very talented cast such as Chyler Leigh, Floriana Lima, Sharon Leal, Mehcad Brooks, etc. with maybe Barry and one or two other characters from the Flash in minor roles, and continued the musical crossover with part two of the Flash as a full, coherent episode in the Flashverse featuring prominently the Flash cast and minorly Kara and Winn

what they are doing: not fully utilizing the talent they have and sidelining all the female characters and claiming something a “crossover” even though it’ll only start at the very end of the Supergirl episode. Because that went over so well the first time.

anonymous asked:

In the promo, when Marco says things got all weird between him and Star, I have two questions: 1: Is that after Just Friends and in Face The Music (or Starcrushed). 2. What do you think happened? (I love to hear your predictions because they're always great, sometimes ever better than what the show does).

1. It’s in Starcrushed, at -as the synopsis for the plot says- the end-of-the-school-year Diaz’s party.

2. I’m really sorry, but this time predictions are closed. I’m going to sit back, enjoy this week of episodes, and then plunge myself into the finale with as little expectations as possible. Something is going to happen in Face the Music for sure.

I Want To Break Free: Or How Sherlock got his groove back.

So, did anyone else think that Jim Moriarty’s playlist song - Queen’s “I Want To Break Free” - might have been intentionally introduced as one of the metaphors for The Final Problem? As well as Sherlock and Molly? Honest to God, I never thought, in a bazillion years, I’d end up writing a song meta. I love music, surrounded by musicians & music - but a meta? Who woulda thunk….

There’s some spectacular metas floating around that go into incredible detail about the Sherlock and Molly set-up (excellent reading, btw), but this song, more or less, sums it up in a nutshell. It truly is a mixture of fears, thoughts and feelings that have been exchanged between these two characters since the very beginning, including within themselves. It couldn’t have been more perfectly and surreptitiously placed in this episode. Especially as it’s introduced by a crazy mofo.

The focus of love, unacknowledged and unrequited, has always zeroed in on Molly. As she’s pretty much the only ‘real life’ relatable character in this fictional world (aside from Lestrade), one of her functions has been to humanize everyone in the story, although primarily Sherlock. Yes, I know John’s important, but this isn’t about John, so let’s just save focusing on him for another meta.

From the first episode to the last, Molly’s scenes and dialogue are 99.9999% with Sherlock. And the two scenes that weren’t with Sherlock were directly about him. One of those scenes was to purposely inform the other characters regarding his deeply emotional nature and to pay attention (TSoT). The other scene was to inform the viewing audience on the expanded intimacy of their relationship (HLV). Intimacy, in this particular case, is not demonstrated via romantic attachment, but that of evolved trust and friendship.

Love, romantic or otherwise, can’t exist in a vacuum. At least not forever. That’s not the nature of Love. Eventually it has to be set free and this is something we’ve directly seen Molly struggle with. We’ve witnessed her feelings mocked; we’ve witnessed her innocence broken along with her trust shaken and shattered; we witnessed her attempt to focus her heart elsewhere and when that failed, we even witnessed her use of distancing by focusing on the practical, yet unconditional, elements of love. She has always found a way to pick herself up and move on in the healthiest possible way. Always. But, and this is a big BUT, in our distraction of focusing on Molly, many never really saw (shipper goggles set aside), that Sherlock was stuck in the same vacuum.

Both characters, Molly and Sherlock, have needed to set themselves free. Not only from their respective 'prisons’ that have prevented free expression with one another, but the lies they’ve told themselves, and each other, which sustained emotional bondage.

I really dig this passage from the book, A Course In Miracles:

“The course does not aim at teaching the meaning of love, for that is beyond what can be taught. It does aim, however, at removing the blocks to the awareness of love’s presence, which is your natural inheritance. The opposite of love is fear, but what is all-encompassing can have no opposite.”

Fear, in this case, has been the gatekeeper of the biggest lie. It truly is the final problem. Breaking down all those barriers to love’s presence. But, it’s also the message behind Queen’s “I Want To Break Free.” It can be so easy to look upon another and see their lies, game playing or self-denial. Not so easy with ourselves, however. Life has sorta trained us to look outside of ourselves for the causation of pain, leaving us beret of personal accountability and culpability of our choices.

I could make this strictly about romantic love, but it’s more than that. Romance is just one of the many avenues in which love can be expressed. Love, itself, is profound and indelible. Choosing to allow, express and receive love with another being is so much more than flowers, kisses, midnight pillow talk, and sex. It requires not only the ability to be vulnerable and authentic, but understanding of the Self. Truly, we cannot hope to extend love to another if we have no concept of who we are, what we’re about, or capable of.

Criminally insane and batshit crazy Jim Moriarty gave us two bold clues about the very long game that was being played out via his soundtrack.

The first was about himself: Staying Alive (Bee Gees, 1977). It was tough for him. Suicide has never been a shy theme in the SHERLOCK series and Jim Moriarty sought what he believed was the ultimate freedom: Death.

The second was about Sherlock’s life: I Want To Break Free (Queen, 1984) from lies. The Final Problem showed us that Sherlock, from a very early age (4 yrs old), chose a revisionist history over acceptance and allowance. If he didn’t like something personal to him, he’d re-write the story. In many respects, this is actually a really healthy thing to do. If we want to change a condition or circumstance in our life for the better - telling a new story is a good way to begin. However, when it involves suppression and self-denial - even when it’s roots were justifiably based in trauma or self-protection - it will eventually erode into attrition. Cognitively, the use of this application, over time, will create a sort of dissonance. With Sherlock, it no longer protected him from trauma - the event had long passed. Instead, it created a different kind of trauma by emotional crippling.

Honestly, all of this has been said before, and more eloquently, in other meta’s (go read 'em), but the 'I Love You’ and 'coffin’ scene are clearly represented in 'I Want To Break Free.’

“But life still goes on; I can’t get used to, living without, living without, Living without you by my side, I don’t want to live alone, hey God knows, got to make it on my own, So baby can’t you see I’ve got to break free.”

In ASiP, Mycroft told John Watson that his therapist got it wrong. He instructed John to fire her. John wasn’t traumatized by the war, he missed it. For as brilliant and remarkable as Mycroft is, unfortunately, he got it wrong by misunderstanding the intention and meaning of “I Love You.” It’s perfectly understandable that he would. Love is something he denies himself, even though it’s something he desires. Mycroft thought 'I love you’ was about someone who loves Sherlock. And, in one respect he was right - it was the clue that Sherlock knew would bust open a fixed decision. And what this particular test was about. If you recall, it was “Vivisection” - the opening of Sherlock so he would recognize, as well as those present, how he really works… and expose what’s going on behind that immutable facade he wears. Ouch! Bet he didn’t wake up that morning thinking, “Today’s the day!” No. He was laid bare and vulnerable - all his arrogance and superiority crushed with three little words - because the I Love You wasn’t about who loves him, it was about who he loves. Ironic how he foretold us this in The Lying Detective:

Your life, once it’s over, it’s not you who’ll miss it. Your own death is something that happens to everybody else. Your life is not your own.

Of course, he was talking about suicide (and Mary’s death, which he’s grieving), but the point he makes remains valid. Our death is a long term event that will be experienced through loss and grief by those who love us and miss our physical presence. It will be experienced through memories, possessions shared, voids where our life used to stand - but it will also be missed through - “So many days not lived, so many words unsaid, etc, etc, etc.” It might be a difficult fact to face, but when we’re dead, we’re no longer concerned with all the earthly, mundane affairs. We’re soaring through the clouds, re-emerged with non-physical energy and the Conscious Mind. It’s those we leave behind who will be thinking about all the things they never said, but wished they had. They will be thinking about all the things they wished they did, but never got around to. They will think about all the lost moments, never to be retrieved. That’s what grief is relative to death. Irretrievable loss. It’s what my neighbor is currently going through right now…his wife of 35 years passed away on Christmas day.

As a counselor, I speak with thousands of people - directly and through workshops. The primary questions people ask about their loved ones who’ve re-emerged into non-physical are not about “Why didn’t they leave a will?” Or, “I hope they rot in hell.” Instead, they are always about, “Are they okay? I never got to say good-bye. Do they know how much I love them? I never said I Love You. I never said it enough. I always thought we’d have more time. How do I move on? I don’t think I’ll ever be okay. This isn’t happening, it doesn’t feel real.” These are actual concerns the grieving confront upon the death of someone they love, especially as they move through despondency and depression. The dead don’t place a golden plaque on a coffin that says 'I Love You.’ That’s what their beloved does.

If you’ve ever read Harry Potter, Dumbledore sums it up pretty cool, too:

“Do not pity the dead, Harry. Pity the living, and, above all those who live without love.”

We’ll never actually know exactly how Sherlock and Molly went about resolving this whole thing. That’s what imagination and fanfic is for. But, like Sherlock, Moffat and Gatiss don’t have a problem saying: “We’ll leave you to your own deductions.” Since clues are like gold in this show, Molly’s effervescent smile at the end sums it up nicely: They Broke Free.


I woke up grinning like an idiot. I’m pretty sure I was smiling in my sleep, the little I had after staying up and watching that episode three more times.  I still don’t know what else happened because my mind was a blur.  I think Maggie ran over somebody with a tractor, Sasha and Jesus were dancing to some loud music, and Carl and Enid were roller derbying down the road, lol!  I’m not going to get anything done today because those two have wrecked me for good, and we haven’t even gotten to 7.12 yet which is Richonne heavy.  I’m not gonna make it, y’all *sighs*  

But that look at the end and the forehead rest was the cherry on top of a sundae of Richonne goodness.  Rick needed that kiss like he needed air to breathe and so did we.  If anyone can give Rick Grimes his mojo back, it’s Michonne She’s A Freaking Goddess Grimes!  Rick said thank you for all of us:0 




I had to draw this without ice cream kitty in da way, I love her but shes denying me of Apriltello. I shall hiss lol. Anyways, above is theirs and mine is on the bottom. :)

Its pretty similar, didnt want it to be to similar, if that makes sense ;)


Do you know how much we wanted a musical episode and just seeing these two…Like I dont care if this is like a 3 minute video Ill play that shit up!!!


//My thoughts on the 100th episode of Night Vale!

First of all, an adorable way to tie all the characters talking together, and I loved the way that it slowly became more and more obvious that this was what we all had been hoping for.

The old music that played behind Dana and Josie and Carlos and Cecil’s speeches really gave me nostalgia, I could be wrong but I feel like they don’t play those tracks as much anymore. Either way, it really reminded me of some of the year 1 episodes that I really liked.

The ending was really sweet, I loved that they referenced the Condos ending and A Story About You in Carlos’s speech since those are two of my most favorite things in Welcome to Night Vale.


Here’s the current audition count.
Oscar: 7
Eliza: 4
Barbara: 2
Nora: 0
Becky: 1
WFB: 3
Extras: 2

Almost two weeks in and things are going well! Managed to dig up some more CC music to use in the series, and I’ve more or less gotten the music selection for the first two episodes figured out.

Thanks again to everyone who’s spreading that audition post around! For those looking for it, it can be found (here).

Auditions end on the 31st of December, so there’s still a way to go. :)

I had an aneurysm and reality distorted itself in two separates gashes in front of me just now.

I am watching some Tom and Jerry right now, and one episode ended so I was waiting for the next to start with the usual opening music, right, except I unknowingly pressed something and my playlist, which is open in the background, started playing the Bungou Stray Dogs Season 2 opening, so I was looking at the fucking Tom and Jerry opening sequence with this anime ass song playing and I had this visceral, tangible fight-or-flight reaction full of fear because I couldn’t comprehend what the hell was going on in front of me.

I feel so peaceful now that I understand what happened. I lived through my innermost apocalypse for around the seven longest seconds in all of my lives. I haven’t felt legitimate fear in years.

Tangled: The Series Season 2 Green Lit

The Media Blitz has generated more then I think even DTVA could imagine.  Or could they?  DTVA played this well…  The Tangled fandom has been awoken…   The positive feedback from the trailers, song and music video has been a massive success.  Without a single episode or TV movie, Disney is committing to season two.  Rapunzel’s legacy was overshadowed by the Frozen Phenomenon…    She was the true beginning of Disney’s Animations New Era.  Ending nearly a decade turmoil between the Disney War (Shareholders Revolt) and the reclamation and rebuild from the war.

That was a lot of emotions to shove into a ten minute time frame. It really twisted my expectations at the end.

The music was done masterfully in this episode. It felt like something I would hear in a fantasy video game and framed the mood and imagery perfectly.

An Indirect Kiss gets a 9/10

I’m going to take a 30-40 minute break to collect myself before moving on the next one. My ask reader told me the next two are best watched together, so those will be my last two for today. :)

Reading ClassicaLoid Sugitan and KajiKaji interview...
  • Q: What episode so far leaves you the most impression?
  • Kaji: Mikan zombie, didn't thought a single fruit can make a scene so big. In the end Mozart even became a pineapple. If we calmly think about that episode, it is scary(laugh).
  • Sugita: Episode... rather the scene where the two(BetoMotsu) throws away their music(past) and decides to live forever protecting the matcha fields.
  • ------------------
  • Me: (๑´ㅂ`๑)♡*.+゜*dies*
  • Sugitaaann may I know whyyyy♥♥♥♥♥
  • Oumaigha Beto's seiyuu teasing BetoMotsu fans like this♥♥♥♥♥♥♥
Okay, nobody’s gonna say it?

I noticed it, you… okay, I don’t know how many of you noticed it, because Mike Krol’s music is a fair bit distorted, but the fake credits (and real credits, not that you’d know if you watched on CN) aired to the song “Fifteen Minutes”. Here are the opening lines of that song:

What if I told you that the world was gonna end
And you had fifteen minutes to spend with me or your friends

So we got that instead of “Love Like You”, or the two things we’ve had so far in season 4: crashing waves (4.01-4.03) or ominous sounding music (4.04-4.05). Hey, you know what’s fifteen minutes? An episode of Steven Universe. Well… not quite. So fifteen minutes would take us past “Onion Gang” into the next episode, which I’ve read is possibly “Gem Harvest”.

What if I told you that the world was gonna end and you had fifteen minutes

We got that line over the credits instead of the ominous music which some have theorized may very well be the Diamonds’ Corruption Song.

I’m scared.

150515 Tablo’s Dreaming Radio
  • Topic - Teacher (May 15 is Teacher Day in Korea)
  • Tablo: Who is your teacher?
  • Gray: For me it is a hyung two years older than me. Now we're both doing music. Right now you know Girl's Day right? He wrote a song for Girl's Day.
  • Tablo: Oh! I thought Gray was going to say his teacher was Girl's Day.
  • Gray: No no no no
  • Tablo: I was thinking what kind of teacher would they be.
  • Gray: When I started music, he taught me how to use a music programme..
  • Tablo: Oh really?
  • Gray: Yeah. He was a sunbae in our school club, Choi Dok Wan.
  • Tablo: Choi Dok AN?
  • Gray: Choi-Dok-WAN
  • Tablo: Hmmm, Dokwan-shi!
  • Gray: He's a hyung called Choi Dok Wan
  • Tablo: Dok Wan!
  • Gray: Anyway, that hyung taught me how to use music programmes after coming back from the army at 29 years old.
  • Tablo: He also wrote for who else aside from Girl's Day?
  • Gray: Well... Who else has there been lately? To be honest, these days...
  • Tablo: You don't know?
  • Gray: Yeah I don't know.
  • Tablo: You have no interest?
  • Gray: Nooo! He's also working with someone from an audition programme.
  • Tablo: That's unexpected though, the teacher of hip hop producer Gray worked with Girl's Day.....
  • Gray: Ah, that's because when I was 25 I didn't have the confidence to do hip hop. I was 25 and to debut as a rapper at that age seemed too late. There were also lots of better people like when I listen to Simon D rap, I thought ahh I shouldn't rap.
  • Simon D: Don't be like thaaat
  • Tablo: There's a lot of (talented) people like that.
  • Gray: There is a lot. When I listen to Tablo... ahhh I shouldn't rap. So I thought I should write music instead.
  • Tablo: AHAHAHAHA
  • Gray: I just did it!
  • Tablo: You do well though!
  • Simon D: (laughs)
  • Gray: I'm just enjoying it, just enjoying myself and doing the rap that I can do. I thought about battles and if I'd get dissed as well and what I'd do. It's a scary thing!
  • Tablo: Ahahahahah worrying about disses before you get it
  • Gray: I thought that I wouldn't be able to handle that and producing is my strength anyway. However, I thought just producing would be financially difficult especially in hip hop
  • Tablo: Yeah, it's not easy
  • Gray: That was 5 years ago though, nowadays it's very difficult.
  • Simon D: That's true.
  • Gray: Even just 5 years ago, Shinsadong Tiger or Brave Brothers and those doing idol music earned a lot of money so I wondered if I should do that. Back then I joined a idol composing team with Choi Dok Wan, but back then I still didn't know anything.
  • Tablo: That's where Blink came from?
  • Gray: After that, the team totally failed and dissolved. (Everyone laughs) Dok Wan went on to make 'Expectation' and 'Female President' and I thought that for me I'd be wearing clothes that didn't fit so I returned to hip hop and became Gray. Back then I went by Lee Sung Hwa. Composer Lee Sung Hwa
  • Tablo: And now you're Gray.
  • Gray: I became Gray and 'Blink' happened.
  • Tablo: So there was such a behind story. But from our perspective this is a good thing because Gray can now show his type of music that only he can do. If he kept doing that kind of (idol) music, of course it would have still been good-
  • Gray: It would have failed.
  • Tablo: Nooooo.
  • Tablo: The music would still have been good-
  • Gray: It would have failed.
  • Tablo: AH STOP IT!
  • ---
  • Gray's requested song was GSD's Expectation lol
Gravity Falls two part episodes more like
  • Dreamscapers ending: Oh no, it's the end of Mystery Shack
  • D&M vs. the future ending: OH NO, IT'S THE END OF WORLD!!!
  • Dreamscapers ending: Sad music

My parents just put on a rerun of the first series of Bake Off and it was unsettling. I mean, it was the same loveable presenters, same comforting music, same familiar tent, but it was wrong

- Random guy narrating the entire thing, like to an unnecessary extent, there was almost no Mel and Sue banter because he was too busy telling us that Ruth is sieving her flour
- Random narrator guy explicitly introduces Paul and Mary at the start of the episode because this was filmed in some kind of dark ages when there were actually people who didn’t know who they were
- Two people got kicked out at the end because this was an age of savagery
- The BBC having not yet decided that the show was going to specialise in innuendo, the tent instead moved each week to a location with an appropriate pun, like bread week being filmed near the town of Sandwich 
- Paul and Mary just wandered the tent like some kind of demons openly criticising the bakers and giving mid-challenge updates on who was in danger of leaving

And perhaps most creepily



45 Days of SonnShine: 16x16 December Solstice 

Varnished Eel!! that is all. LOL! 

No but seriously, looking beyond the surface I think this is a really interesting one and I believe we see Sonny change a lot in this episode.  There’s heavy focus on his adoration of a world renowned author who ends up being quite the asshole. Who among us haven’t held someone really high on a pedestal just to find out they were crap human beings? (Two very popular actors with recent issues are coming to mind right now) History is FILLED with art, music, movies, literature, theater, scientific discoveries and advancements all brought to us by people who have done really horrible things…but does that negate the work itself? Now I’m not trying to debate that issue here, that’s not the point. I only bring it up because I found it an interesting argument.  I enjoyed seeing Sonny struggle with this and Peter made it so believable.   Sonny likes to believe in the good in people, it’s who he is. As a young college student, Sonny admired Walter Briggs writing so he wanted to believe there was good in the man himself but as the episode went on he kept getting hit in the face with the facts and you clearly see him like Walter Briggs the person less and less.   His argument was about the work, the work should be respected not the person.  When Nick pointed out that one of the violent incidents in a book was based on real life, you literally see Sonny deflate.  Sonny loved the art, not the man (or his actions) behind it.   Is that possible? We all watch SVU…. ripped from the headlines and appreciate the show for the story. Usually the more tragic and twisted ones are the best….  But that doesn’t mean we agree with or support the real life incidents.  Same with Sonny. In fact, in that final interaction between the two of them at the hospital, the disappointment and sadness in Sonny’s face is really something to see.  Part sadness, part disbelief, part disgust.

On a lighter note, in addition to varnished eel we got this classic:

You know what pisses me off

I just watched a criminal minds episode where a gay man is so badly abused by his father that he ends up going around murdering other gay men

At the end of the episode Morgan hooks up with the spicy latina cop (complete with spicy latina music in the background) and JJ hooks up with bland white man cop

Like ok I appreciate that the real villain is the homophobic dad but then shoving two boring heterosexual relationships in our faces right after that is just fucking depressing. Like hey!!! We just made a sort of lukewarm acknowledgement that homophobia is bad so now we have to reaffirm that the only way to be happy is to be straight!!!!

Jfc I am so sick of having heterosexuality rammed down my throat.

Okay so hear me out.

Season finale.

We see Callie and Penny packing up at Penny’s apartment, boxing up a few last things. Both are slightly sombre, both maybe a little emotional. But there’s also a sense of excitement. They’re leaving, right? It’s a big deal. It’s a big change. The shot pans to two large suitcases sitting by the door with their purses. The music is something kinda remorseful but kinda hopeful and light. Penny says something along the lines of “it’ll be okay, you know. New York is gonna be great.”

The episode goes on. Stuff happens. We see Callie and we see Arizona around the hospital, but we never see them near each other. It’s nothing remarkable. They haven’t been that friendly the last few episodes.

A little later on, toward the end of the episode, we see Arizona at her house. She’s standing in the doorway to Sofia’s bedroom, a stuffed bear in her arms. She looks devastated. Callie’s leaving. Sofia’s leaving. Maybe she wipes at her eyes. Maybe she holds it in - ever the stoic daughter of a marine. But her face shows how heartbroken she is. The music is something slow and sad, something instrumental.

She walks into the bedroom and sets the bear on the perfectly-made bed, and the shot follows her eyes as they land on a framed photo on Sofia’s nightstand. A photo of the three of them. When they were happy.

The doorbell rings.

She sighs, and she goes downstairs to answer.

The music changes. It’s one of those Grey’s acoustic versions of “I Choose You” by Sara Bareilles. (Because goddamn that song is meant for them.)

She opens the door and Callie is standing there looking at her.

Arizona is shocked – Callie and Penny and Sofia were supposed to leave for New York tonight.

Except Callie couldn’t leave.

She felt bad about Penny. She felt awful for what she was doing to her. She was even kinda sad – but she couldn’t leave. She helped Penny with her things and she just put her in a cab to the airport. But they’re over.

And she looks at Arizona. And Arizona looks at her. And the connection is there - like it’s always there. It’s magical. Electrical. The song gets a little louder, the lyrics are prominent.

And Callie says “I’m done fighting.”

Is she done fighting over Sofia? Is she just done fighting with Arizona? Is she tired of fighting her feelings for Arizona that never quite went away?

All of the above. But mostly the last. She chooses Arizona. She chooses this fight – the fight to be together again.

And the scene fades to black.

And the season finale ends.