this scene is the absolute worst

The absolute worst part of watching this scene was realizing (with Sana) that there was literally nothing more she could’ve done to make Vilde understand

All of the times she defended Vilde, made Vilde out to be the better woman, put Vilde before herself, explained things to Vilde, literally carried Vilde’s passed out ass to safety….

There is nothing more she could have done. 

Sana shouldn’t have had to give Vilde all of that in the first place. Sana is the greatest friend in this group and she doesn’t deserve this. Not from Vilde, not from Noora, not from anyone. My heart broke with her in this scene.

an au where Bum never gets caught in Sangwoo’s house and continues stalking him but realizes “oh my god this guy is the absolute worst at hiding these bodies??? did he really just throw it away with the trash??” and slowly starts helping him behind the scenes and face palming every single time Sangwoo takes home another victim with similarities to the rest.  Bum just mumbling to himself “Are you trying to get caught, or something?” 

sasuke & c-ptsd: a meta

okay so i talk a lot about this headcanon and i decided to finally do a detailed meta about it.

first and foremost, let’s talk about what c-ptsd is. c-ptsd stands for complex post traumatic stress disorder, a differing disorder from the more common ptsd. it’s worth noting that c-ptsd isn’t an officially recognized disorder in the DSM - it’s been deemed too similar to ptsd and bpd for its own diagnosis, but it’s still used informally and i believe has its merit. i have ptsd, and would describe it more specifically as c-ptsd.

anyway, onto the specifics, and what this means for sasuke himself:

1. the trauma

putting under a cut because this baby is looong and image-heavy. sorry if you’re mobile and it shows the whole thing.

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Do you like Killing Stalking? Then read these!

I promise this is a 99.99% KS content blog, but I want to take a moment to gush about my favorites in the psychological/horror genre (some which might be even more fucked up than KS even).

1. DEAD TUBE (ongoing)
This is one of my all-time favorite ongoing manga. It. Is. BLOODY. There’s gore everywhere and there’s always someone losing some limbs or dying. 
There’s this site called… you guessed it: Dead Tube. It’s like Youtube or Vine but about a million times ‘WTF’. The aim is to create videos that will shock as many people as possible. People will murder, torture, do sexual acts, take unsolicited videos of other people, and pretty much do every single fucked up thing imaginable on the list. Once you’re trapped in the game you can’t get out. If your videos don’t get many views, you get killed. Every single character in the manga is batshit crazy. There’s extreme violence, gore, and nudity every chapter. KS is probably ten times tamer, so if it’s your limit, I suggest you at least tread lightly at first. (NSFW pictures under cut). 

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I’m not a fan of the end reveal because basically I’m not into last minute twists created solely to amp up an already melodramatic season.  It’s just too contrived for my taste. 

That being said, Killian’s reactions and behavior this episode once again demonstrate his character’s evolution. Killian was once a very broken man who cared about nothing and no one. The only thing keeping him alive was his quest for revenge. He didn’t murder David’s father. He murdered a random dude on the street. That’s Captain Hook. Does that excuse his actions? Of course not. He was a straight-up villain back then.  

But the man we saw tonight, who desperately wanted his potential FIL’s approval, that’s Killian Jones. Killian Jones isn’t a man who would willingly take a life and hurt the people he cares about. And Killian does care about people. That’s the difference between Killian Jones and Captain Hook. Killian’s proved that tonight and countless times before. 

That last scene with Killian examining the engagement ring? He’s feeling guilt and remorse. He’s reconsidering proposing now that he realizes what he’s done. He can’t propose with the weight of Emma’s grandfather’s death on his conscience. Would Captain Hook do that? Would he give it a moment’s thought? HELL NO. And that right there is evidence of a changed man. 

There’s a line of philosophical inquiry that says you can’t appreciate happiness, if you never know sadness. You can’t know good, if you haven’t seen evil. If we never saw Killian at his absolute worst–as Captain Hook–we’d never be able to recognize and honor the man he’s evolved into. And that to me, that makes dealing with this nonsense infinitely more tolerable.

anonymous asked:

I've been thinking about what Jen/Colin said when at the Atlanta panel. Jen mentioned again that she loves that a&e don't break up CS, that they work through their problems as a team (don't remember exact wording). At that point they were on 17 I think? Do you think there's anything there? That maybe Emma won't give back the ring? I'd have to imagine that would seem like a break up, at least for a bit. Or maybe they'll work it out quick enough to not seem like a break up like other shows have.

OK I apologize in advance because this might get a little wordy. LOL

There is no doubt in my mind that this is not going to be a standard breakup–even a short term one. And here’s why.

Killian and Emma have never been written as an average couple. They’ve never been staged as as average couple. Their relationship arc has not been that of an average couple. The stakes in their relationship–both on a physical and emotional level–have never been average. 

This isn’t an accident. It’s all been carefully handled since day one. At no point have they ever veered off this path. This isn’t just love, it isn’t just true love, it’s epic true love. 

Of course even epic true love faces bumps in the road just like any other relationship. The difference is how epic true love handles those bumps.

I don’t believe for one second we’ll see Emma give the ring back to Killian in a flouncy “we’re over” type scene. That’s not happening.

Here’s the bottom line. 

In any relationship there are a series of moments when you either trust the other person or you don’t. You either believe in them or you don’t. You either have faith in them or you don’t. These are the moments that define a relationship. 

Emma and Killian have faced every one of those moments unflinchingly. They trust each other not only with their lives but with their hearts. They believe in each other’s vision of not only the present but the future. They each have tptal faith that the other will be there for them in every way imaginable.

You don’t build an epic love story and then damage it with a retread of a plotline we’ve all see 100000000 times. And there is absolutely nothing in what we’ve seen on screen up to this point that shows they have any intention of doing that now.

Speaking from a strictly structural point of view–and those of you who read the bullets know how I love me some structure–the bookend scenes of the proposal were Belle not only understanding but applauding the reason why Gold did the bad thing he did ala the Blue Fairy and Regina wrestling with the idea of reconciling the two sides of herself. I mean seriously–they’re not even being subtle here.

I think anyone preparing themselves for a worst case scenario where Killian and Emma have a big fight, break up, he heads off and they spend several episodes up to their eyeballs in hurt feelings and bad behavior is in for a very pleasant surprise.

And those people hoping for that scenario are going to be sorely disappointed.

Gideon may have something up his sleeve but don’t underestimate Emma. She’s the farthest thing from a brainless little piece of fluff, susceptible to manipulation by a sociopath with training wheels that there is. She’s smart and she’s strong and she loves her man. She’ll behave accordingly.

As for Killian, his only doubt at the moment is in own worthiness. He blames himself for what happened with Robert far more than anyone else will in the end. And yes I include Charming in that.

He’s about to face a test but it won’t have anything to do with Emma. He doesn’t have to prove anything to her. Or convince her of anything. He has to convince himself.

And in an epic love story when one partner is facing a crisis of confidence in themselves the other partner is there to hold them up, to support them, and to love them.

While I don’t think Emma will hurl the ring at Killian in anger I do think at some point it will come off and there will be a second proposal. Because what we see in the sneak peek is Emma realizing that she robbed Killian of his moment. Not intentionally and not with malice but nevertheless she took it from him. 

And at some point we’re going to see her, and the show, give him that moment back.

Get the kleenex.

Off Limits (Skam - Chris x OC) Part 1

Pairing: Chris x OC

Requested by anon. I turned this into an OC thing because I’m trying to distance myself from the reader inserts. But you can just overlook the first name and simply imagine it’s you. I will probably physically describe OC at some point, since you requested she’s William’s sister, I figured they’d look alike.

Synopsis: Mara Magnusson has always had everything she ever wanted in life, except for one thing. The boyish charm of her brother’s childhood friend had wrecked her poor heart and ruined her for any other guy – you can trust her, she has tried. She could see the way he looked at her, though she knew there were rules about not hitting on your best friend’s little sister. Luckily for her, there were no restrictions when it was the other way around.

Word count: 1.4k

A/N: From now on I won’t be able to spend my entire days writing like I did with Play Me, so to make sure you won’t have to wait too long between each chapter I decided to write short chapters (yes, Yours Truly has finally decided to become a reasonable person) Enjoy this little foretaste!

MASTERLIST

>>> Part 2

Other Chris x OC fic: Play Me

Some things are simply not meant to be. Even when people maximized their chances by doing everything in their power to achieve their goal, it wasn’t always enough. Like in this maddening scene in Titanic where Jack can’t get on the floating door, and after everything he has gone through to be with Rose, he just dies. Well, maybe this was a little bit dramatic, chances are you won’t die in real life, you will just be really, really frustrated because all your efforts are thrown into the trash. But she was drifting from the subject.

Somehow, Mara’s brother had befriended the one guy who was simultaneously the absolute worst and the best thing that has ever happened to her. William and Chris were inseparable friends since- since always. As far as her memory goes, Chris has always been in their lives. He was like family to a certain extent – and that was precisely her problem.

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Superman (1978)

This film was both a masterpiece and a trainwreck. There were elements to it that were incredibly brilliant, while others were completely moronic. The movie was filled with plot holes and logical inconsistencies. Many things were not well explained and made little sense. Lex Luthor’s logic that Kryptonite would be a weakness for Superman was such an enormous, baseless leap that it could have come from a Dan Brown novel. The worst part was the climactic scene where Lois Lane dies in the earthquakes caused by Luthor’s missile strike. Superman is so distraught that he flies into space and circles the Earth so fast that it reverses direction and, somehow, reverses time itself. As if the inevitable forward march of time is determined only by the rotation of one insignificant planet in what is already established to be a vast and well-populated universe. That alone makes absolutely no sense, but what was worse was that he only reversed time just enough to save Lois, but not enough to stop the attack in the first place, proving Superman only cares about Lois and not at all about the countless other people who must have died.

Lois herself was another major flaw in this film, though she was played well by Margot Kidder, the characterization of her was terrible. Ordinarily, it would bother me that the main female character serves as nothing more than a damsel in distress, but I recognize that it is important to the Superman mythos that he must routinely rescue Lois. What was wrong about it, though, was the way in which she manages to get herself in trouble. My favorite version of Superman and Lois Lane come from the 1996 Superman the Animated Series. In that series, Lois does regularly need to be rescued, but only because she is a great reporter who, like all good reporters, takes huge risks in order to get at an important story. She is bold, daring, and fearless, and that gets her in trouble, which is when Superman comes in for the rescue. Needing to be saved isn’t her weakness, it’s her strength. This is not the case in the 1978 movie. In the film, Lois is a tragic case of unfulfilled potential. Early on, when she is first introduced to the new reporter, Clark Kent, the two are walking down the street and they get mugged. Instead of handing over her purse, Lois attacks the mugger, causing him to shoot his gun and run off. Clark was able to catch the bullet, but not the bad guy. Provoking the mugger was stupid and reckless, but it was bold, and during the entire situation, Lois stayed calm, collected, and strong. Those traits do not survive the movie. Afterwards, whenever she gets into trouble, it’s either by coincidence or her own stupidity, but not because of any bold or strong action she’s taken, and instead of fighting to help herself, she just sits and screams until Superman saves her. She also turns into a vapid, lovesick child whenever she’s in Superman’s presence, totally losing any semblance of strength of character she had left. When Superman takes her flying through the city, her bizarre, out-of-place internal monologue sounds like the musings from a 13-year-old girl’s diary, not a grown woman.

Jimmy Olsen was another case of wasted potential. In the comics and the show, Jimmy is young, naïve, and inexperienced, but he is also intrepid and clever, and important to Superman as a character because Jimmy keeps him grounded in humanity. In the movie, though, Jimmy has maybe two minutes of screen time, if that, and he serves no purpose in the story. Superman occasionally comments on how much he likes Jimmy, but nothing on-screen holds that up. Jimmy is so insignificant in this film that he may as well not been in it at all.

With all that said, there was a lot this film did very well. The first thing that strikes you about this movie was the score. Of course, you can’t watch a film scored by John Williams without mentioning the music. John Williams knocks it out of the park every single time, and Superman was no exception. The main theme pulls you in right from the start. It’s powerful, heroic, and dramatic. It has the perfect feel of hope and righteousness that every good Superman story needs. Throughout the entire film, the music enhanced the good scenes and redeemed the bad ones. John Williams can take a mediocre movie and make it great just from the power of music.

Also worth noting was the performance of Christopher Reeve. He played Superman the way he was always meant to be played. Many people have commented on how Clark Kent maintains a secret identity with nothing more than a pair of glasses, but it has been established in the comics that he does so much more than that. He changes the way he speaks, the way he holds his body, the way he walks. Clark uses his physical presentation to change the way he appears to other people, even without a mask, and Christopher Reeve does this perfectly. When he is Clark, he stutters and stammers, he slouches and slumps. He is clumsy, awkward, and unassuming. Despite being tall and muscled, he almost disappears into the background. He is nonthreatening, unimposing, and unmemorable. As Superman, he stands tall, he talks clearly, and he dominates any space he’s in. He holds himself with righteous confidence without being arrogant, and he really does become the paragon of Truth, Justice, and the American Way. Without knowing ahead of time, you’d never know they were the same person. 

This film also had a number of other details that really made it great. The art direction and special effects were astounding, especially for the pre-digital era. Superman’s flight scenes were both innovative and effective. The film made great use of miniatures and matte paintings, which should be used more often today. My favorite detail was that every scene Lex Luthor appeared in, he was wearing a different wig. The early scenes on Krypton with Marlon Brando as Jor-El were like a great short sci-fi movie on its own, with great effects and a compelling story. Superman had many issues that kept it from being perfect, and it was goofy and ridiculous at times, but at other times it was masterful. It was the first big-budget feature superhero film, and it created an entire genre that we are still enjoying today, so it deserves a great deal of credit for that. It did something totally new, and despite its flaws, it did it well.

Robbie D.
The Directionless Director 

02x08

wow, that episode was intense, wasn’t it? all those hallucinations showing people’s insecurities and also magnus being the biggest badass. i loved it a lot

- i was actually in tears when alec assured magnus that he wants them to be together, he doesn’t want it to go away, he’s serious about this. and magnus? the happiness on his face? that means everything to me

- when alec sees his mother for the first time, he might be different than in the past. but his body still goes to the ‘perfect soldier form’… this breaks my heart. cause when he’s around her, he’s a soldier first and then a son

- i’m done with shadowhunters calling magnus alec’s friend instead of boyfriend and trying to make their relationship invalid. they can all choke

- i’m still so emotional that max called magnus alec’s boyfriend. and alec’s reaction was just so pure? he was like 'yeah, i do have a warlock boyfriend. he’s amazing’

- ‘traditions change. especially those based on ignorance’
YES! preach it. i’m so proud of alec for saying this because it’s so important. shadowhunters think they’re just better than everyone else… they’re really not

- ‘me and magnus. together.’ & ‘thank magnus’
alec being a protective boyfriend is my everything. this was so beautiful and i definitely need more moments like those

- magnus being obsessed with cats and speaking french to them is my new aesthetic

- i was kind of afraid of that talk between magnus and jace because that 'hurt my brother, i’ll hurt you’ to magnus? just no. so i’m glad jace realised very quickly how serious magnus is and that he didn’t try to continue with it
although i am bitter that this is how we got confirmation that malec actually did have sex. because we deserved at least a conversation between magnus and alec, not something like this

- but magnus’ reaction when he thought he might’ve had an accidental three way with jace was kinda hilarious

- alec was so proud of magnus throwing this amazing party, even though magnus was very insecure. not about his skills to throw a party but that he might not be accepted by maryse or max and he wanted it to be perfect because this means so much to alec
and coming up with the theme and trying not to say too much even though maryse was acting like… well, like she always does. this isn’t something that magnus would do for anyone. and seeing both of them falling in love with each other more and more makes me so so happy

- magnus’ cat eyes are so so beautiful. i’m gonna write this every single time we get a chance to see them
and yes, i’d prefer if magnus and alec were alone for this but i still loved it. magnus felt comfortale enough to show his real eyes in front of max. max who is already becoming important to him because of alec.
magnus doesn’t like shadowhunters but he’s giving alec’s family a chance because he loves alec (yes, he does. fight me on this)
and jace calling magnus their friend? this was so important. it’s not just alec defending his boyfriend. it’s also jace being supportive because he knows magnus is an amazing guy and how much he means to his parabatai
i do wish max apologised for his behaviour… but i really do understand why he did that. yes, it was wrong. but he’s a kid who is constantly forced to watch his family hate each other, being forced to watch your family fall apart when you’re still a child… this isn’t good for him. i just love max so much. and i can relate to him so much.

- alec becoming more confident and speaking his mind is the best view. bit by bit he starts believing in himself and he doesn’t allow people to have power over him, it’s a very slow process but he’s getting there

- ‘this is an elegant affair, not an episode of the real housewives of idris’ has got to be my favourite quote from this episode haha

- magnus was in charge of this huge party, yet he still realised that people were hallucinating and that he needed to help them. honestly, who could ever do something like this? only magnus
everyone kept arguing around him but he stayed calmed and saved everyone’s lives. he is too good for this world
and as soon as his spell book was gone, he put his wards up in a sec without breaking a sweat. we got to see how powerful he is and i need more?
also, he figured out so quickly who the actual thief was. we really don’t appreciate him enough. he’s the most powerful and the smartest being and everyone would be dead without him

- magnus hearing the simple 'alec, no’ and running to actually save alec’s life? i’m just so emotional about this.
alec was ready to jump, he DID jump. yes, it was technically because clary said all those things but it’s so clear that he still blames himself for what happened.
if magnus hadn’t been there… or if he hadn’t cared… i don’t even want to think about this

- also, how incredible was magnus fighting? every hit was precise, his defence was flawless. and when he was finally done, he cast such a powerful spell, iris stood exactly no chance at all.

- fraywood moment left me in tears. i love that they’re becoming friends
even if it breaks my heart that no matter how many times clary says she doesn’t blame him, alec still blames himself for it

- alec supporting maryse… even after all she did, how she never supported him, he’s still there for her… telling her that she can count on him. i cried a lot during this scene

- WE NEVER ASKED luke dragging jace and clary is my everything. shadowhunters always think 'they know better’ or 'they’re doing it for the greater good.’ no, just shut up. listen to downworlders for once because they have a right to know such things
and luke was absolutely the best. true alpha. and also very concerned brother.
luke is the purest character on this show. his sister hated him, said horrible things about him. yet he’s still there, worried about her, trying to save her
we seriously don’t deserve luke

- raphael saving izzy was such a good scene. he really didn’t need to help her, last time they met, she was trying to kill him.
and he believed in her, he was really trying to make her get rid of yin fen out of her system

- and can we just stop with that izzy plot line tho… cause i’m done with it. izzy deserves better than almost dying in some alley trying to score. if it wasn’t for raphael…

- and i absolutely hate that izzy forced raphael to feed on her. he didn’t want this. he fought hard to stop feeding on human blood and shadowhunter blood? this is too much. he didn’t consent to this. this was so wrong.

- raphael telling izzy how magnus saved him left me in tears. he’s one of the very few people that actually feels grateful for magnus being there for him and helping him during the worst times.
i actually don’t have good enough words to describe how much i love magnus

- izzy telling maryse all those things is my aesthetic. she always needed her mum and maryse was never there for her. and yeah, you can explain some of those things but this is still not okay. and izzy was absolutely right to say all of those things

- i really loved a scene between maia and jace. yeah, they may not exactly… like each other but they’re clearly on better terms and their interactions are always interesting 

- i can’t even imagine what jace must’ve felt like when he heard that maryse wanted him dead. sure, she never actually said that but he still heard that and thinking of something like this is one thing. but actually hearing it from someone you consider your mother?

- jace and maryse finally having a talk made me cry a lot. they both really needed this. they mean so much to each other but because everything that happened, it was just too hard and complicated

- max’s ceremony and his oath was one of the most perfect moments in this episode. it was so beautiful

- i absolutely despise climon. just get those unnecessery straight couples from me. especially when they’re basically siblings
although simon trying to find courage was adorable 

- valentine needs to stay away from madzie. magnus is basically already her step dad so ughhh he’d better watch out because he really doesn’t want to piss the high warlock of brooklyn off

Ok, so I’ve only ever watched Man of Steel twice. The first time shortly after it came out and before I really got into DC Comics (and comics in general) and the second time was last week (after I’d received my DC TRASH accreditation). Granted last week’s viewing was dubbed in Bulgarian (b/c in Bulgaria we dub things… ugh) but my dad was watching and I saw what it was and sat my ass down immediately.

Anyway, the point of this post is to discuss the infamous and (for some puzzling reason) “problematic” scene of Superman killing Zod.

When people talk about this scene, specifically when they bitch about it by claiming that “this scene is the most un-superman thing ever omg how dare zack snyder!” they almost always fail to mention (gee I wonder why) the context of the scene itself.

Like in most discussions you see the discourse revolve around the killing, but how many times have you seen it discussed WHY Superman resorted to that? - Not many.

Like… You can’t say that Superman killing Zod is “out of character” and “the worst” when the only reason Superman did that was because Zod was about to barbecue a family of four innocent civillians who were cornered, defenseless, and absolutely fucking terrified. Superman tried to reason with Zod, resulting only in Zod trying harder to kill the family (i.e. actually shooting his laser vision at them, as opposed as just making them targets by looking at their direction as he did at first).

So Superman in a completely selfless Superman-way chose to save civilians rather than save his own species (i.e. something that would have benefited only him - where humans are concerned). He chose to bear the burden of killing because apparently he judged that he’d rather have that than the lives of innocents on his conscience (although, it can be argued that he was already feeling the weight of being responsible for people dying as the Kryptonian invasion started for the simple reason that he, too, is Kryptonian).

Like… What Superman did in this scene is literally what any other protagonist in any other action movie (be it CBM or not) would have done. We’ve seen it done countless times in movies and tv shows and yet Superman is the only person who gets shit for it… and for what? Some outdated, utopian, one-dimensional ideal in people’s head of who Superman is? That he’s the “perfect hero”?

The movie showing Superman’s flaws doesn’t make it a bad movie, it makes these people’s ideology flawed and it highlights that. Which in turn makes them uncomfortable, so rather than facing the idea that maybe there’s more to Superman than this happy-go-lucky nerdy can-do-it-all farmboy who fights crime, gets the girl, and is universally beloved (can you see people self-projecting on him though?) is actually capable of negative emotions and violence (as is every single person/character when pushed in the right way), they shit on the movie, the cast, and the creative minds behind the scenes (directors, script writers, etc).

Then again these are the same kind of people who believe that comics don’t exist outside the Golden/Silver Ages where all characters were funny and happy-go-lucky.

I say all of this as someone who doesn’t even really like Superman. The only version of him that I find interesting is that of the DCEU (or as I call him - SuperCavill) exactly because of this “picture perfect” hero everyone’s trying to sell him as.

There is absolutely nothing wrong with Man of Steel as a movie. It just doesn’t hold your hand through the entirety of the Superman mythos and things make a lot of sense if one knows even the slightest bit of info about the Superman-lore. It can get confusing if you don’t (which was true for me the first time around), but that doesn’t make it a bad movie. Then again, “it doesn’t make sense” is like 98% of the BvS wank too.. when again, not true.

TL;DR:

Anyone who says “Superman killing Zod is character assassination / out of character”, can promptly kiss my DCEU-Loving ass!

Originally posted by supescavilll

anonymous asked:

In chapter 4, Ouma indirectly hints that he has a crush on Saihara, what do you think triggered it? and how do you think Ouma would react if he saw Saihara's corpse? Or if Saihara committed murder? Do you think he would have a much more emotional reaction as compared to the other deaths or do you think he would carry on as usual? wao all these questions

Haha, I wouldn’t call it an “indirect hint” in Chapter 4 so much as an outright confession. Ouma does come outright and call Saihara “the person I fell in love with,” and also proceeds to try and vie for Saihara’s attention as his “partner” with Momota for most of the investigation and Chapter 4 trial.

Considering Ouma’s confession is a non-skippable, entirely plot-related moment which is not limited to either FTEs or bonus mode content. What’s more, since he actually addresses an empty room rather than any of the characters themselves, there’s absolutely no reason to consider it a lie or an act he was putting on for show. His feelings for Saihara are pretty canonical, though certainly he tries to cut ties later on after things reach such a horrible boiling point in the Chapter 4 post-trial.

I’ve talked a little bit about my thoughts on saiouma before, but I think there was a lot leading up to Ouma’s feelings for Saihara, actually! Having actually read through the entire game myself, I can say that it was definitely something foreshadowed and alluded to even long before Chapter 4—as early as Chapter 2, in fact.

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Arrow 5x18 “Disbanded” Review: Bonds of Brotherhood

Oh, boy. I don’t know what’s happening. But Arrow has gone three for three in its latest episodes. That may not seem like a big deal in seasons past but for season five, it’s a huge deal. Let me put it to you this way: The last hiatus we went on I was praising God and thanking Him for His mercifulness. This time around I’m cursing the sky asking why a season that feels like it finally started is taking a break after three episodes. This feels like the show I used to know, focused on the characters I love most. Tonight’s episode was essentially a love song to my Brotp: Quiggle. All the feels.

Originally posted by artlstheweapon

The episode is named “Disbanded” because Oliver has decided to shutdown Team Arrow in light of his time and “secret” confession to Adrian Chase last week. The newbies are all long, “Now what?” and Diggle once again steps up to the plate. No surprise there. Diggle is steadfast. And it was so rewarding to see David Ramsey be given a storyline with some meat on it. I know a lot of was a bit of treading old ground, but Ramsey has a way of delivering it so it didn’t feel like a scratched disc repeating. And I know a lot of it feels tired because this is like the 10282 time that Diggle has had to have these conversations with Oliver. And I do agree. Arrow really needs to retire these old story beats because they’ve been beaten to death.

I think what also helped make these scenes feel a little fresher than normal was the context. Oliver is broken down. He truly believes the worst in himself. It’s not just that he doesn’t feel like there is any goodness in him. It’s that he feels what he believed was goodness was all a lie—a mask to hide this perversion, this aberration in his soul. Oliver is wrapped in shame in this episode. Which is worse: Believing there is nothing good in your life or learning that what you thought was good was all a lie? Either way, this false confession has broken Oliver’s will. The fight has gone out of him. The fire in him dampened. All throughout his five years away, there was always a spark in him—even when he was prepared to die just to escape the insanity of it all—there was always a bit of fire in him to give him the will to carry on.

In “Disbanded,” Diggle fights hard to reignite that will in Oliver. It’s not easy. But as Diggle said, it doesn’t matter how hard Oliver makes it on him, Diggle will never ever give up on him. And that moment made all the difference in the world—just like I said it would last week. I knew it was going to come down Diggle and Felicity. It always does; as it should. They’ve been there the longest and have seen him through the worst. Diggle started it; Felicity’s role will start in a bit.

The Bromance of All Bromances

The Diggle and Oliver scenes truly stole the show. David Ramsey was MVP this week.

There was a lot riding on this episode. First, because it had to keep up the momentum from the last couple of episodes. This kind of energy has been absolutely non-existent in season five and it’s not something that Arrow can afford to lose now that it’s finally gaining traction so late in a season. Second, it had a huge burden to carry from that “revelation” of Oliver’s last week in 5x18. It couldn’t tailspin into making Oliver a serial killing sociopath and it also couldn’t pretend the moment never happened. This episode was successful at both.

In many ways, “Disbanded” was a better episode than it probably should have been. Much of it focused on things we’ve already been through before and been given answers to. Thus there really was no tension in certain parts. Nevertheless, the episode doesn’t falter for this; because this episode is character driven. Oliver leaving the team isn’t a big deal; it’s already proven that it can carry out without him—it’s done it the last two seasons. Not to mention that the team (and this season’s theme) is Oliver’s legacy. That’s the whole point—so naturally it would (and should) carry on long after Oliver (and whatever iteration of his team) is gone. If it could all cave in when he walks away (or, God forbid, dies) then it was never much of a legacy to begin with.

But Oliver has built something to last here. And that matters. Because the team is meant to do good. Thus, not everything Oliver does, or touches, turns bad.

The fact that it held up already disproved Chase’s mind game. The Team was an extension of Oliver’s crusade to save the city. If it was so morally corrupt—a ruse for a sociopath’s killing spree—it would have collapsed like a house of cards when Oliver stepped away. The Team wouldn’t have felt compelled to fight for their leader’s soul.

But Oliver couldn’t see that in this episode. He was in a dark space and he was spiraling. His deal with Anatoly and the Bratva was the last move of a man with nothing left to lose. He believes he has no soul so he’s really bartering nothing away with the Bratva; if he makes this move without the inclusion of his team than he is not risking their souls. Oliver believes he enjoys killing; so what the hell is it if he helps Anatoly steal drugs to pay for a hit on another serial killer? For where Oliver’s head is at right now, it makes perfect sense.

Originally posted by celestial-thoughts

I have to say that I simply love it when I write things up in a review and then in the very next episode Arrow proves my argument. I just love it because it means Arrow and I are on the same page. And I feel like they read my review from last week and then wrote, filmed and aired this episode. (I know it’s not really how it happened but it feels so good to once again be in sync with my show.)

Last week I said that for all Adrian Chase’s boasting he had foolishly underestimated the bonds between Oliver, Diggle and Felicity. They had Oliver say as such to Felicity when he said they needed the one thing Chase didn’t plan for—her.

They even backed me up with the Bratva flashback/present storylines. Love it!

Keep reading

not related to any of my current projects, but i did see a topic on @pinkuboa‘s blog about chase scenes, and while i did reply i do have many more thoughts on the matter that i couldn’t fit into one tumblr reply. so i’m going to try to write them all down here instead.

before adding your chase scene, consider the following:

  • does this chase scene have anything to do with the actual story? is there a reason for the chase to happen at this specific point in the game, or are you adding it for an adrenaline/fear factor? if your chase scene exists only to scare the player, i consider it a little cheap. in my personal experience, one of the scariest things in a horror game is not a chase scene itself, but in fact a game completely absent of them with the constant feeling like a chase could start at any second. when i say that i don’t mean your game needs to not have any chases at all, but create an environment where the chases are tied in with the story and the player’s current spot in the story.
  • are your chase scenes random events? don’t. please. please for the love of god don’t have random chase scenes. it’s incredibly frustrating to be close to solving something or have a hunch, but you end up being chased away from your goal by a random encounter and have to backtrack to where you were going. in addition, sometimes random events can get skewed; one person may encounter a chaser maybe 4 times through their entire game, and someone else might end up unlucky enough to encounter the chase 4 times in a single minute.
  • is the place the player needs to run to clearly indicated? would a player, without a guide, be able to find where they need to go? if your players absolutely require a walkthrough in order to survive a chase scene, you need to make the escape route more clear. one of the worst offenders of this, in my opinion, is the gray garden. a chase scene through a maze is the absolute worst thing you can do to a player in a chase scene, they get very frustrating very fast and may cause your players to give up and denounce your game altogether. mazes are good for other things, but don’t combine them with chasers.
  • ask yourself if you, the developer, are dreading the chase scene’s playtest. if you’ve made the chase scene convoluted or difficult enough to make even you not want to test it, you need to pinpoint the problem and fix it. if you hate your chase scene, why would you force it onto your players? i personally believe nothing you would hate dealing with should be added to your game; if it makes even you, the developer, not want to play your game, just imagine how many other people don’t want to deal with it either. again, this doesn’t mean you have to completely cut chase scenes from your game, but you need to make sure that it’s clear enough how to get through it. if you personally would hate playing it, your other players will probably hate it too. fix it!
  • one of the most important points imo is this: do you have a save location as close to the chase as possible without actually starting it? (disregard if saving from the menu is available in your game) i don’t think i need to mention how absolutely infuriating it is to be miles away from a save point and end up failing a chase only to have to backtrack from the save point all the way to the chase scene again. your save points should be as close to possible failures/death areas as possible. nobody wants to fail a scene over and over and have to tread for 15-20 minutes to the same spot repeatedly.
  • are your chase scenes predictable? as i saw someone mention before, there’s a game where the chase scenes always show up after a specific set of events/steps, and it became easy to predict them and prepare for them. part of the ‘terror’ that comes from chases is not being prepared at all and the panic of not having a way to fight back.
  • in my opinion, these things in general should never be combined with a chase scene: sound puzzles of any kind (your player will be focusing on getting away and probably won’t pick up on little sounds, especially if your player is hard of hearing), total darkness (really… do i even need to explain why chases in the dark are a bad idea), and FRICKIN MAZES

these are just according to my opinions and how i feel as a player. chase scenes in general tend to annoy players, but you can make them work if you do it right!