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frogboy0 · 3 years

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Amphibia season 1 rewatch + notes :)

So I just finished rewatching the ENTIRE season 1 of Amphibia and I have some notes on the episodes that stood out to me! There are some quick notes, a couple lengthy analyses and even some headcanons sprinkled in! It's like a written stew of season 1! I'll be doing a written Amphiba stew for season 2 too!!

It's kinda long so you could just skip this or hit the keep reading button and give it a read!

S1: E2 Cane Crazy

Anne shows general disregard over other people's things

(Mimicking Hop Pop and breaking his cane, throwing all the wood carving things that Loggle made, even a coo coo clock that she even said was nice (And for him to say it took 20 years to make right after she broke it))

S1: E2 Flood, Sweat and Tears

Anne would be the WORST during sleepovers and I LOVE IT!!! My girl is just being a tween, staying up late, playing would you rather and keeping everyone else up. I think that's ADORABLE and now I'm thinking about how sleepovers might've been back home with her, Sasha and Marcy…

She also just stays up late in general?? She reads dumb magazines and eats CRUNCHY snacks. She is really just 13,,,

And it looks like Sprig does it too, not as much as Anne (probably because he is younger than her) but it seems like it has to be in his terms. Before, he looked to be annoyed with it when he was trying to sleep. But, if he was awake, like in the beginning or at the end of the episode, he had no problem staying up playing would you rather!!!

S1: E3 Hop Luck

Anne: Old things are dumb!

And

Anne:* violently GRABS Sprig and shoves him against the wall* don't you DARE talk about pineapple in my pizza… Ever…

Anne:

Sprig:

Anne: Okay! Let's go get these ingredients!

HHHH ANNE!!! I love this funky little child SO MUCH!!!

Hop Pop loves these kids so much that he was willing to put aside his old, traditional family recipes in exchange for making pizza with them. My heart is gonna explode I'm-

Anne please don't make your surrogate frog brother get married just to get some pizza dough I'M BEGGING YOU-

S1: E3 Stakeout

Hop Pop: I'm a crisp 68!

Is Hop Pop actually 68 or does he mean more of 68 going on 80 68? Either way he looks great!

Anne has Blam Berry Blitz ("the drink that punches you in the face and doesn't stop") in her bag along with all the OTHER stuff we already saw (air pump, toe nail clipper, pencils, cat toys, bath bombs, etc)

Anne is officially those friends that have EVERYTHING in their bag no matter what.

I really like the relationship between Anne and Hop Pop, how they both in some way yearn for what was but in different ways (Anne wanting to go home and Hop Pop's olden ways when he was a little pollywog) but are still similar in how they try to remember. They try and try and try to keep what little family/friends they have safe and protected. They love the relationships they've formed with other people (And with each other) and would go great lengths to help and protect them!

Also I MAY be looking way too into it buuuut was Boulder-Tron (that rock dude that Polly hallucinated at the end) supposed to foreshadow Frobo??

S1: E4 Taking Charge

Okay quick one, Anne nearly having a whole ass panic attack when her phone dies because she couldn't look at her photos or videos of home actually made me sad. This girl is only a CHILD and her entire home and everything is gone and she for real thought she couldn't ever get it back,,,

Hop Pop: I mean, the part where the island itself is revealed to actually be…!

Sprig: No!

Polly: Don't!

Anne: Spoilers

I dunno why and again, I MIGHT BE LOOKING TOO DEEPLY INTO THIS, but maybe this is foreshadowing something with the land of Amphibia? That maybe there is more to this crazy land than we know? Maybe even a reason it, along with all the other universes even exists???

S1: E5 Breakout Star

AHSBWJOA ONLY EPISODE 5 AND ANNE ALREADY HAS HER PHONE'S LOCK SCREEN OF THE PLANTER FAMILY I'M-

S1: E7 Dating Season

Anne said that ⅔ of ALL soul mates start out as "just friends"

…

I'm looking at you, team Sashannarcy

S1: E7 Anne vs. Wild

Hop Pop's behavior at the end of the episode when Anne finally shows them the calamity box is awfully sus…

He doesn't say anything but "may I?" To inspect the box and then is like "Nope, never seen it" I just feel like he knows something and then adding onto it with the whole burying it to protect his family just sounds like… he definitely knows something, maybe not a lot but there is something he's not telling the others

Also, why would a book that HE has have information on the Calamity box??

(I fully support the Dr. P was a Planter and also possibly the pink frog who was friends with King Andrias theory)

S1: E10 Toad Tax

At this point, Anne said that she has already been in Amphibia for over a month now.

(And damn, Sasha's been in prison for like a month,,, yikes)

Also Hop Pop teaching Anne how to pay taxes is so adorable, she really is part of this family now guys,,,

And I love how Anne was able to win over the Wartwood people by being her natural, charming and not to mention caring self. Anne, like Marcy and Sasha, can be selfish because honestly what kid, especially a 13 year old, isn't.

But what matters is that she always tries to make up for it.

Yes she did join the arguably sketchy toads into getting the taxes from everyone in order to feel somewhat included in ANYTHING, but while she was doing it, she knew it was wrong. Anne knew it was wrong and tried to give back some of the stolen stuff. Hell, even at the end she risked her safety to protect people she felt didn't even LIKE her, like, Anne literally broke her arm from them because that's just how Anne is.

S1: E10 Prison Break

I always forget how like,,, SUPER cunning Sasha is. I mean, she was able to talk FIVE toads into quitting within a WEEK as a PRISONER. Like??

Grime: That's not a bird. It's a heron, a murderous predator that happens to love the taste of flesh

Sasha: Cute

The lines in this show I'M-

So Anne was a varsity tennis player and Sasha was a cheerleader and did Tai Chi. I still can't believe they were both jocks,,,

(Well, Sasha I get but Anne? Sweet ol' lil baby with the lanky limbs Anne???)

Hey um, why the FUCK does Grime have acid spit?

Sasha: *looking at photo of her, Anne, and Marcy* Hold on for a little longer, girls. I'm coming for you. And when I find you, we're gonna get home. But first, I think we're gonna have some fun with this place

Okay so this line right here. Now I may not be even remotely correct but this line, this last piece of dialogue spoken by Sasha right before the episode ends leads me to believe that she… doesn't take this world seriously.

At least not yet.

I think the 3 girls all see Amphibia differently: Anne as more of an obstacle, a wall preventing her from being home, Marcy sees it as an escape from her life with constant stimuli, and Sasha, she sees it as just really another thing to control. Everyone and their mothers know that Sasha can be a little more than controlling and we all know that she liked being lieutenant just a little too much.

This world is interesting to Sasha, not in the interesting that Anne sees it (who is interesting in the new people and the relationships she's formed) or Marcy (who is also interested in the relationships she's formed along with the thirst for knowledge and again, the constant stimuli in an environment where she isn't stifled and allowed to flourish).

No, Sasha sees Amphibia as interesting because it gives her something to control. In a world that is not your own, a world that you will leave eventually, who would actually FOLLOW the rules put in place there? Especially a 13 year old who is basically like a war commander who, even if she does do something wrong or breaks a rule or two, the only person who might even dare to stop her is Grime, and even then, he might just encourage it because it is season 1 and they aren't that close and he doesn't really care for Sasha at this point.

She also is actually very logical. Everything she does in Amphibia, all the morally questionable things she does, it is always for the same reason (or at least at first), to get her and her girls home. Wanting to sacrifice and kill Hop Pop at the end of season 1? Well The toads had promised if she helped, they'll help her find Marcy and bring the 3 of them home. She cares for Anne and Marcy SO MUCH that she is willing to go great lengths to help keep them safe.

But even though Sasha didn't really care about anyone in Amphibia besides Anne and Marcy at first, it doesn't mean she won't ever. We see countless times throughout season 2 of Sasha caring. She feels regret with her impending betrayal on Anne and Marcy, she cares enough to try and warn Anne about King Andrias' evil plans. Hell, even in the season 3 intro we see her and Grime at Wartwood and it looks like they're gonna be starting another rebellion against the king to help all the amphibians in Amphibia.

I just really like watching Sasha's appearance and knowing what will happen in the future with her character.

S1: E13 Trip to the Archives

Anne: I get this place. It's like a library from my world. Zoo books and manga, here I come!

So whenever Anne goes to the library, presumably with Sasha and Marcy, she'd go straight to books on animals and manga probably while Marcy did whatever work they needed (if Anne's dialogue in season 2 with Marcy always doing the work for their group projects was anything to go off on)

I dunno, I think that's kinda cute that Anne liked reading books on animals and probably reading all the manga that Marcy recommended.

Maybe Anne and Sasha would sit right next to each other while Marcy worked and read fun manga together and cackle with each other while Marcy tried SO HARD to concentrate and NOT infodump to them because she's read that specific manga 20 times and HAVE YOU GOTTEN TO THAT ONE PART WHERE THE MAIN CHARACTER GOES-

S1: E15 Wally and Anne

MOSS MAN!!

When Anne wakes up in the middle of the night and goes to grab Wally at town square, her hood is up and it's dark. The only thing we can make out of her face are…

Glowing blue eyes.

Glowing eyes that share an uncanny resemblance to the moss men.

And Anne loves doing elaborate, silly handshakes? That's so CUTE! Too bad none of her friends liked them as much as she did :(

When they finally reached the foggy mountain place, Anne noticed glowing blue butterflies and started to follow them, which led her right to the moss man.

WAIT ANNE ALSO DID ROCK CLIMBING BACK HOME?? FUCKING JOCK!!!

S1 E20 Reunion

Okay I WAS about to say that there wasn't anything to say about this last episode that hasn't already been said before BUT

The last couple moments, when Anne is holding Sasha off the cliff and trying to pull her up with the Planters, there's a couple interesting shots that I would like to talk about.

While the Planters were holding onto Anne, they say things like "Hang on, Anne! We got you no matter what!"

And even when the stone cliff starts to chip and break, none of the frogs back off, they don't loosen their grips, they just keep holding onto Anne.

And they will never let go.

Because they love her. Because in only 3 months, Anne was able to get a surrogate frog family and dozens of other frog friends in Wortwood. Because Anne has this amazing support system both literally and metaphorically. Because Anne is Anne. And Sasha...

Isn't like Anne.

Matt Bradly himself even said that both Sasha and Anne are different from Anne, Anne is the heart, the emotional connection in their logical worlds. Anne can make so many friends so easily and Sasha… Sasha became a war genral, she lost a fight against the one person who she thought would never fight back.

Sasha doesn't have what Anne has. She doesn't have the kind of skills to make such strong relationships, the kind where you risk your life for the other, in such a short amount of time.

Hell, they even play a song called "Lean on Me", Anne has people to lean on and they would lean on her just the same. She found these people, made these friends, formed amazing relationships, in only THREE months.

"Maybe you're better off without me"

And Sasha was only dragging her down.

Sasha loves Anne, she cares for her and would do anything to protect her. That's why she let go. She didn't want to drag Anne down, to hurt her more than she already has.

Sasha would do anything for Anne, even die.

Over all notes:

Season 1 is SUPER FUNNY!! The lines hit and they don't rely on toilet humor to get the audience to laugh. They use great one liners and physical humor that isn't fart or butt jokes. They do an excellent job on showing how crazy the world of Amphibia is through humor like how the animals are always eating each other.

I really like how the characters were crafted so carefully! And the storyline!!! You could notice things that get explored in season 2 and I can't WAIT to see how many bread crumbs were left to lead up to season 3!

HOW DOES ANNE KEEP SO MANY THINGS IN HER BOOK BAG???

That stuff is in her SCHOOL BAG, why would she bring it to school??? So far I've got an air pump, toe nail clippers, pencils, cat toys, bath bombs and an energy drink. WHY??? I wonder if she held on to any of Sasha or Marcy's things too or ever forgot to give them back

Also again, I'M STILL IN SHOCK OF ANNE BEING A JOCK. I don't even know why I am, I knew she played sports and stuff it's just,,, she's so lanky,,,

Her and Sasha are jock buddies and WILL shove other jocks in lockers if they ever pick on their nerd Marcy.

I also am in LOVE with Hop Pop's screams lmao

Be ready for an analysis of season 2!

#amphibia #anne boonchuy #hopadiah plantar #hop pop #sprig planter #polly planter #sasha waybright #Marcy wu #season 1 #analysis #my ramblings

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cookiecutterwrites · 5 years

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The Curious Case of John Smith - How to Save the World in 12 Easy Steps, S1E6

There have been John Smith episodes, but this one’s THE John Smith episode.

Genre: Fantasy/Sci-Fi Kitchen Sink, Slice of Life

Wordcount: ~2400.

Because the continuity gags, pilot characters, and little bits of world building are really starting to compound: WIP Intro, Pilot, E1, E2, E3, E4, E5

INT. CLASSROOM - DAY

JOHN SMITH sits at his desk, brows furrowed. He scribbles notes on the indistinct lecture.

His phone's on the desk. He scrolls through grades and past assignments. In the corner of his notepad, he constructs a table: MEDIAN | WHAT I GOT

A 96 under both headings. 71. 56. 84. It dawns on him: he's hit the median every single time. His leg bounces restlessly, he grimaces, buries his face in the crook of his arm, sinks down into the desk, shuts his eyes. It all becomes too much -

The light directly above him EXPLODES!

He's showered with glass, stumbles out of his seat, trips, lands on all fours, staggers for the door. EVERYONE stares.

MR. PISCOLI turns, sniffling into his pine-bristle frost mustache, chalk still suspended at board-writing height. He's a monocled history teacher who looks like he very well could've lived through everything he teaches. Left on the board behind him: "WE CONCLUDE HIS ALIAS WAS 'MOON MOON'"

John Smith makes it out to the hall, collapses, scrabbles to his feet, gasps. His hat slips off and he abandons it.

Heads swivel in flawless synchrony to the seat by the window, three rows back. JAIDYN snoozes at the Protagonist Seat, cheek propped up in his palm. His head slips, face SLAMS against the desk. He snaps awake, blinks, rubs his nose, casts an accusatory glance around the room.

JAIDYN What?

Everyone tips their head toward the door. Outside, John Smith stumbles down the hall. Lights FLICKER above him. All swivel back in vacant anticipation.

Jaidyn groans. He stands, everyone sucks in air through their teeth. Jaidyn sighs and sits back down.

JAIDYN Can I -

The class collectively sucks in air through their teeth.

JAIDYN - May I. Go to the bathroom -

Mr. Piscoli flourishes a yellow neckerchief with HALL PASS sharpie'd on it.

JAIDYN - Have a bathroom pass.

MR. PISCOLI Yes you may.

INT. HALLWAY - DAY

John Smith enters the frame, hand to the wall, hand to his chest. He's trembling, struggling to breathe, fighting to stay on his feet. He screws his eyes shut -

Lights EXPLODE.

He looks, his EYES ARE BOLT-WHITE. He lurches out of frame.

Moments later, another door BURSTS open and MARLEY sprints out, dragging TETRA in tow.

TETRA We can't just leave in the middle of class, we don't have -

MARLEY Hall passes are for the feeble-minded! We think for ourselves! You saw that John Smith guy, didn't you? He's not who he says he is -

Tetra sighs as she's lugged past rows upon rows of lockers.

TETRA (under her breath) No duh. (normally) Why are you really doing this?

MARLEY You're catching on quick, grasshopper.

TETRA That doesn't answer my question.

MARLEY If he's destructive, I can use him.

TETRA Is that all?

Marley forges on, unfazed. Tetra casts her gaze downward.

They approach an open door leading to a dark underground. Marley pivots Tetra to stand in front of her.

MARLEY You see well in the dark, right?

Tetra nods uneasily. Marley gives her a little push and she tiptoes toward the inky, definitely-have-killed-a-few-people steps. Her pupils dilate, adjusting to the dark.

A BOLT TEARS THROUGH THE DARK, ZAPPING HER SHOULDER! Tetra falls back, hissing and gripping her blistered arm.

Marley clicks her tongue, hand held thoughtfully to her chin. She skirts around Tetra and flips a light switch in the stairwell. Sterile fluorescents illuminate the stairs.

Marley starts, turns, suddenly remembering she's not alone.

MARLEY Are you alright?

TETRA I'm fine.

Marley nods, makes for the staircase, squeezes up against the wall as she descends.

Another bolt WHIPS out of the depths and ELECTROCUTES Tetra IN THE FACE! She collapses, twitching and crying weakly.

Marley acknowledges this tragedy for but a second, turns, descends.

INT. BOILER ROOM - DAY

Marley's footfalls echo off the walls.

In the distance, a dim light sputters. It’s distinctly alive. It moves, grows in size, it’s coming straight for her -

Marley flicks on a light.

It’s only Jaidyn gripping tight to a faintly glowing stalk of bamboo. A yellow neckerchief sticks out of his pocket. At first, he’s all bewilderment and apprehension. And then, recognition. Then a muffled smirk.

Marley surveys him as if he were something stuck to the bottom of her spotless Mary Janes.

JAIDYN Have we met?

MARLEY Oh, shut up.

LIGHTS RATTLE and FLICKER. SPARKS run along the pipes. Jaidyn raises Hoover a little higher, Marley reaches for her watch.

The electrical spasm dies down and John Smith groans from somewhere further down in the dark.

MARLEY Let’s get formalities out of the way.

She throws her backpack down and whips out a thick glove. She slips it on and extends her hand.

MARLEY Marley Benson.

Jaidyn’s eyes dart from Marley’s face to her outstretched hand and back. He subtly turns away, refusing her offer.

JAIDYN Jaidyn.

Another CRASH, roar, rattle. Marley raises her brows.

MARLEY Well, what are you standing around for?

INT. BASEMENT - DAY

Marley and Jaidyn take slow and measured steps toward John Smith, who's collapsed on the floor, hacking for breath, eyes flashing between blinding white and stale brown. There's a palpable thrum in the air, a heartstring's strained and bound to snap. He throws a hand up but can't bring himself to meet their eyes.

JOHN SMITH Stay back!

He passes out, faceplanting in the dust-carpeted concrete.

THE LIGHTS GO WILD, crackling, sparking, bursting -

Jaidyn hops back, wincing.

Then all at once, it ceases. Darkness. Silence.

Then -

Lights are back. Marley's stood by the fuse box, having plunged a sparking lever back to restore electricity. The only thing keeping her from being electrocuted is that inordinately thick electrician's glove.

Lightning BLASTS from the ceiling, hitting John Smith in the back. He bolts upright. His eyes are frozen-lightning white.

Marley tosses her glove to the ground, casually flips her hair, storms up to him -

JAIDYN You're not seriously going to kick him while he's down, are you?

Marley shoots him a 'Who exactly do you think I am?' look and pointedly kicks John Smith in the side of the head without breaking eye contact with Jaidyn, who hastily looks away. She presses her heel to John Smith's chest.

MARLEY I never believed you were human for a second. I was right to pressure you...

TETRA (O.S.) Wait!

Tetra rushes in, TACKLES Marley. Both girls eat dust. Tetra HOISTS Marley into the air. She's much stronger than her tiny frame betrays.

TETRA What's he ever done to you?!

She HURLS Marley, who BOWLS into Jaidyn, who in turn makes no attempt to move out of the way, having already accepted his fate. Marley winds up on top of Jaidyn but not a moment is wasted on blushing and sentimentality. She springs back to her feet, fists balled.

Tetra moves to put a hand on John Smith's shoulder -

JOHN SMITH Don't touch me! Please. I don't want to hurt anyone.

She retracts her hand, kneels to his level, never once taking her violet-drenched eyes off him -- a chaos-feeder in action.

TETRA It's okay. Everything's gonna be okay.

JOHN SMITH I don't - we -

He clamps his hands over his mouth, trembles, convulses of the electricity skating over his skin.

MARLEY I'm sorry, did he just say 'we' -

TETRA Marlene! I got this! (back to John Smith) I'm sorry, did you just say 'we' and shut your mouth right after?

He nods though he's unsure. He's tearing up.

TETRA Can you tell me a little more about that? It's okay, it's just us. And Marley and Jaidyn. But just pretend they're not here.

Marley scoffs, crosses her arms, turns away. Jaidyn tosses Hoover to the ground. He clangs hollowly off the concrete.

Tetra takes John Smith's hand. He cringes but doesn't shock her.

TETRA See? It's okay.

He takes a deep, ragged breath.

JOHN SMITH My name... isn't John Smith.

MARLEY (under her breath) No duh.

TETRA MARLENE!

Marley throws her hands up in surrender, starts pacing. Jaidyn plops down, cheek in hand, eager to nap.

TETRA (back to John Smith) Please continue.

JOHN SMITH It's Keh - K-Kay - Ep -Ked -

He screams and grips his head in agony. Lights RATTLE and FLICKER. He can only speak through gritted teeth.

JOHN SMITH - Shut it! That's our name -- that isn't it -- What?! Let us say -- that's our original - it's not that -- been so long -- you all are - yeah, well, we're not the ones screaming -

Tetra grips his hand harder.

TETRA Khep, was it?

JOHN SMITH (quieting down) Yeah, that's. Really close, actually.

TETRA I'm glad it is.

From now on, John Smith will be referred to as Khep. They sit together until the protesting, knocking lights die down to just a static electric hum.

When he finally opens his mouth, it's like he's disintegrating just to speak:

KHEP We're not from here...

FLASHBACK START:

EXT. CLOUD FOREST - NIGHT

A young HIKER wanders through a fog-suffused forest, his hiking stick stabbing the ground at regular intervals. CRACK -- a twig's snapped. He turns, looks -

ZAP! A bolt of LIGHTNING strikes him on the head, killing him instantly.

Dark clouds swirl and rumble. Lightning jitters across the vast expanse of the grey-cast sky.

KHEP (V.O.) We don't know where we came from or what we really are.

The clouds animate, gliding through the air with living mass.

KHEP (V.O.) But we know we were the reason those who entered the woods never returned. We collected lives. Memories mostly. We made new friends. And then...

A SLASH materializes in the very fabric of the sky. Space warps, thunder claps, people point and scream. Through the portal, ANOTHER EARTH can be seen. It's speeding up, drifting closer, it's going to hit -

KHEP (V.O.) We did the only thing we could think of -

EXT. CITY PLAZA - NIGHT

It's crowded. People murmur, point at the growing hole in the sky. Suddenly -

SOMEONE COLLAPSES. The corpse smokes.

LIGHTNING.

More people collapse. Khep works through the whole crowd.

EXT. SPACE

The two planets collide. At the point of contact between dimensions, a wispy cloud leeches from one world to another, carrying a spark with it.

FLASHBACK END.

Tetra holds a sullen Khep gently, pity in her quartz-marble eyes. In the back, Jaidyn's sealed his gaze to the floor, not quite awake and yet somehow ashamed.

KHEP A while later we figured out how to spare and even inhabit hosts. We've been growing in numbers ever since.

TETRA How many people am I talking to?

KHEP (sighing) ... 11 million. And some aren't even human.

TETRA How is that possible?

They smile gently.

KHEP Memories are just electrical information.

Marley grunts in exasperation, points an accusatory finger.

MARLEY First of all, that's not how that works, at all -

KHEP We're several ten thousand lifetimes, cumulative. If you really want to talk what does and doesn't work, we could be here a while -

MARLEY - Second of all! All that knowledge and you choose to go back to school?! You fry your own brain or something -

Khep screeches and two lights SHATTER!

KHEP We did all the traveling and teaching and learning already! We just missed being normal! We knew we could pull it off, crunch the numbers and act perfectly average, pick the most common first and last names -

TETRA So what went wrong?

KHEP Nothing! It's just... everyone wants to be special, but average can't be special! We're all screaming in here but we can't afford to lose this host.

TETRA But Khep, no one's forcing you to be average! You are all so special and you need to know that!

KHEP Really?

TETRA Yes! You're amazing and you should be proud of who you are!

She offhandedly brushes shards of glass from her hair.

KHEP You really think so?

Tetra nods vigorously. Khep shuts their eyes for a moment. When they open them, they're vanilla-brown, back to normal. Tetra pats their hand. Khep smiles weakly.

Tetra turns to Jaidyn and Marley.

TETRA We're the only ones who know.

She sticks her hand out.

TETRA Hands in. All together now. This stays between us.

KHEP No.

All turn to them.

KHEP I - we, we wanna show the world who we really are. It's about time.

Their eyes glow, fill with light, turning completely white.

INT. HALLWAY - DAY

Khep struts down the hall, dignified, elegant, awash with sunlight streaming in from an open window. Their eyes glow, they crackle with electricity.

STUDENTS turn and stare. Marley, Jaidyn, and Tetra watch them go.

SOME EXTRA Is that John Smith?

MARLEY They clean up nicely, don't they?

JAIDYN They're wearing the exact same -

TETRA I'm proud of them. They're happy in their fragile, perishable host, and that's what matters.

Jaidyn ties his hall pass around Tetra's singed arm. She smiles and nods appreciatively.

CARTER KENETT watches Khep go and WHIPS his thick plastic-rimmed glasses off his face to wipe the lenses on his shirt, as if that'd help him see better. He's a beryl-eyed platinum blonde jock who blithely carries himself with just a tad too much self-importance and the confidence of say, a superhero.

SOME OTHER EXTRA Am I crazy or did I just see Attesservate here?

Carter starts and shoves his glasses back on.

CARTER No way! You must have just imagined it.

Jaidyn hands Khep their mesh cap and they put it on backwards with a self-assured smile as if nothing had changed at all. They blink, eyes returning to familiar brown.

KHEP That went so much better than we imagined. But we think we prefer to be inconspicuous. We were just starting to get used to it.

Tetra throws her arms around Marley and Khep, pulling them close to each side of her. She grins between the both of them. Khep catches on and yanks Jaidyn toward the slowly-yet-surely forming human wall. Jaidyn sighs and leans into Khep, having already accepted his fate.

Thanks for reading this slightly longer-than-usual episode!!!

This episode’s shoutout goes to @esoteric-eclectic-eccentric for ‘Moon Moon’.

HTSTW tag list (ask to be added/removed!): @maxbeewriting @eyelessfatdragon @glacizata @maple-writes@theforgottencoolkid @delerious-wordsmith @leskinggoddesskittycat@klywrites @aslanwrites @chaosandtrickery @deepestbelieverstranger @izzuniiwrites @managingmymuse @livingthelovelylife @piratequeenofpixies @jynecca @wordofthedey @loopyhoopydrabbles @beatlesandbards @mysterysiria @penicilliums

Next time on How to Save the World, dining hall food and puppies!

#s1e6 #wip #htstw #cookie's writing #cookie's stuff #script #screenplay #screenwriting #amwriting #fantasy kitchen sink #slice of life #comedy #writers on tumblr #tetra #john smith #khep #sorry i took so long with this one #and that its so long

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papermoonloveslucy · 6 years

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KIM MOVES OUT

S4;E20 ~ January 24, 1972

Directed by Coby Ruskin ~ Written by Bob Carroll Jr. and Madelyn Davis

Synopsis

Lucy is concerned when Kim is dating a bearded writer (Tim Matheson). Deciding she's tired of her mother's hovering, Kim moves into a nearby apartment above a garage. Of course, Lucy can't help being a ‘helicopter’ mother and visits her daughter at every opportunity.

Regular Cast

Lucille Ball (Lucy Carter), Gale Gordon (Harrison Otis Carter), Lucie Arnaz (Kim Carter)

Guest Cast

Tim Matheson (Peter Sullivan) began acting on screen when he was just 14 years old. He is probably best known as Eric Stratton in the 1978 film Animal House, although he also received two Emmy nominations for his work on “The West Wing” (1999-2006). Matheson first worked with Lucille Ball in the film Yours, Mine and Ours (1968, inset photo) where he played her step-son Mike. It was then that he also met his first wife, Jennifer Leak, who played Lucy's daughter Colleen in the film.

Peter's father is a doctor. He hopes to become a writer. He plays piano. In a fit of anger, Lucy calls him a “fuzzy-faced pencil pusher”!

This is one of two episodes where Kim's name is in the title, while Lucy's is not. This is part of the ill-fated attempt to spin the character off into her own series at the end of season 4.

The day this episode originally aired, actor James Cowan died at age 74. Cowan had appeared with Lucille Ball in The Fuller Brush Girl (1950) and Critic’s Choice (1963). He appeared on “The Lucy Show” in 1966 and as Mr. Gary in “Lucy the Crusader” (S3;E5, above) in 1970.

Lucy says that Kim wants to be a teacher and that Craig wants to be a musician. This is the third mention of Craig in the past three episodes, after 14 weeks of not hearing anything about him. This is also the first time we've heard that Kim's career path is to be a teacher.

Kim moves over the Thompson's garage next door to her mother!

For a housewarming gift, Uncle Harry brings Kim goldfish named Bertha and Sam.

Kim is hoping to be cast by Jack Foley in a college musical revue. Jack Foley (1891-1967) was the developer of many sound effects techniques used in film and TV. To this day, those who work in sound effects creation are called Foley Artists.

The zodiac poster that decorates Kim’s closet door was issued in July 1968 by Portal Publications. The artwork is by California artist Jane Oka (inset). Each astrological sign was also available as a separate poster. During her tenure at Portal, Oka also designed Kitchen Charts, Gourmet Guides, and Proverbs, many of which were made into calendars. Her work was seen decorating the bedroom walls on Lucille Ball’s favorite sitcom, “Three’s Company” and were also seen in the 1973 Woody Allen movie, Sleeper.

When Lucy opens Kim’s overstuffed closet to try to hide, the dress hanging in on the door is one worn by Kaye Ballard in “Lucy and Harry’s Italian Bombshell” (S4;E3) earlier in the season. There are also a few Saks Fifth Avenue hatboxes in storage. These would have been at home in the Ricardo closet in 1955, but seem out of place in the closet of a 20 year-old in 1972!

With her mother stuffed in the chimney hiding, Kim rehearses the song “I Got Love” with Peter playing the piano. The song was written by Gary Geld and Peter Udell for the Broadway musical Purlie (1970) and was introduced by Melba Moore. It was also the title of Moore's first solo album, on which it also appeared. In her DVD introduction to the episode, Lucie Arnaz remembers singing the song live on the set with just piano accompaniment.

Note: Tim Matheson did not actually play the piano. It was likely Marl Young who generally provided piano accompaniment, sometime on camera. Actually, if you listen closely, there is also a snare drum added in!

To teach Lucy a lesson and prolong her stay in the flue, Kim and Harry sing a few hours of old standards. First up is “Ma, He's Making Eyes at Me,” which was written by Con Conrad and Sidney Clare in 1921 and was covered by many artists.

Finally, Kim and Harry end their punitive jam session with "When the Red, Red Robin (Comes Bob Bob Bobbin’ Along).” The song was previously sung in “Lucy and Ethel Buy the Same Dress” (ILL S3;E3). The song’s title was mentioned (but not sung) in “Mertz and Kurtz” (ILL S4;E2). Written in 1926 by Harry Woods, the song was popularized by Al Jolson, with whom William Frawley (Fred Mertz) had a long-standing rivalry. That same year (1957) it was recorded by Doris Day, who, coincidentally, had a television show that followed “Here's Lucy” on CBS!

Kim tells Uncle Harry (within earshot of her mother, who is hiding in the fireplace) that she got a job offer to be a ‘bunny.’ Kim doesn't say the words ‘Playboy Bunny’ but that is what she is referring to. Bunnies were female staff members at the Playboy Clubs, which were in business between 1960 and 1988. Based on Hugh Hefner's Playboy magazine mascot, they wore abbreviated costumes that showed off their legs and cleavage while also featuring rabbit ears and a large fluffy tail. “Here's Lucy” has previously made reference to Playboy magazine (above), the bunny costume, and even top-less waitresses (which the Playboy bunnies were not!)

This episode is partially inspired by the very first episode of “The Lucy Show” “Lucy Waits Up For Chris” (TLS S1;E1), in which Lucy Carmichael waits up for her teenage daughter Chris after her first date with a boy named Tom, resulting in Lucy getting locked out of her own home!

Lucy Carmichael had trouble saying goodbye to her son Jerry in “Lucy and the Military Academy” (TLS S2;E10). Although Lucy thought it was best for him to go away to school, she found she missed him too much and he came home. Ironically, Jerry eventually was sent away to a military academy when the Carmichaels moved to California.

Although “The Lucy Show” featured an episode titled “Viv Moves Out” (TLS S2;E22) the title is the only thing these two episodes have in common. Lucy Carmichael rented out Viv's room to a singer and her drummer son (!) who rehearse loudly at all hours. The plot was necessitated when Vivian Vance wanted to work less due to her commute to Connecticut.

The first part of the episode featuring Lucy not knowing if Kim came home or stayed out all night, was inspired by “Don Juan and the Starlets” (ILL S4;E17) in which Lucy Ricardo thinks Ricky stayed out all night at a premiere. He has an alibi thanks to an efficient hotel maid.

FAST FORWARD

In 2006, the HBO series “Lucky Louie” also produced an episode titled “Kim Moves Out”, the series’ finale. In this case, however, the character of Kim is the lead’s wife, not daughter. Coincidentally, the cast also included a character named Lucy and an actress named Kim!

Ground Plan Goof! As usual with TV show apartments, the room above the Thompson's garage is unrealistically spacious. It also features a fireplace, something unlikely to be found in an over-the-garage flat. In addition, Kim's new place has a spinet piano, despite the fact that she doesn't play. Kim will also have a spinet piano in her apartment when she moves to Marina Del Rey in “Kim Finally Cuts You-Know-Whose Apron String” (S4;E24) at the end of the season.

What Color is Her Parachute? This is the first we hear about Kim wanting to be a teacher. In future episodes, she works as an administrative assistant in an entertainment agency.

“Kim Moves Out” rates 3 Paper Hearts out of 5

Some nice moments between mother and daughter, but not enough to merit a spin-off, despite the fact that Lucie Arnaz is talented and funny in her own right. She will get another chance at her own series in 1985, but that show, too, did not catch on with viewers and was cancelled after just six episodes.

#Here's Lucy #Kim Moves Out #Lucille Ball #Lucie Arnaz #Gale Gordon #Tim Matheson #Coby Ruskin #Bob Carroll Jr.#Madelyn Davis #James Cowan #Jack Foley #Purlie #I Got Love #Ma He's Making Eyes at Me #When the Red Red Robin #Playboy Bunny #1972 #CBS #TV

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billyagogo · 5 years

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<em>The Blacklist</em> boss on Katarina's next move and why she became the spy next door

New Post has been published on https://newsprofixpro.com/moxie/2019/10/12/the-blacklist-boss-on-katarinas-next-move-and-why-she-became-the-spy-next-door/

The Blacklist boss on Katarina's next move and why she became the spy next door

Fall TV

Team Red to the rescue! While Reddington (James Spader) was rescued by the end of the second episode of The Blacklist season 7, it’s clear that his kidnapper, Katarina Rostova (Laila Robins), is just getting started. After Reddington escaped, she descended on Dom’s (Brian Dennehy) secluded cabin with her men ready to kill in order to figure out a “big secret” Reddington is keeping. Red won the day after Liz (Megan Boone) and the task force came to his rescue, but Dom ended up in bad shape in the hospital and Katarina vanished. She did turn up in the episode’s final moments… across the hall from Liz and Agnes, posing as their new neighbor.

We spoke to executive producer Jon Bokenkamp about Katarina’s motivations, how Cooper will deal with learning the truth about Reddington, and what’s in store for The Blacklist’s endgame. ENTERTAINMENT WEEKLY: What can you tells us about the Townsend Directive? JON BOKENKAMP: The Townsend Directive, which we did hear about last season and is very present in the line of questions that Katarina is asking Red, is basically a bounty on Katarina Rostova’s head. If you can imagine a group of enemies who have bound together and pooled their resources and put their money in the kitty. And so the Townsend Directive is sort of this standing order in the criminal community to bring her in, and she knows that she can hopefully unravel or defeat or defuse this directive with information that only Reddington has. And as we saw in the opening two episodes, he is not eager or interested in helping her in any way, despite their history.

Red won’t help Katarina, but he lies to Liz about her being back, and that puts everyone in more danger. What’s behind that choice, and how is that going impact things moving forward? Well, it obviously gives us a big secret with the task force. The audience and Red are one step ahead of Liz and the task force. Does it put them in danger? Probably, but as Red told Liz at the end of episode 2, this is because she and Ressler started overturning rocks and looking into Katarina last season. Just the very whisper of her name brings danger, and I think that the way Reddington would justify it is the less people know, the better. I don’t think he thinks he’s lying to Liz, he’s simply perhaps withholding important information. He would probably see it as protecting both Liz and the task force. It may not work out that way, but I think that’s how he would he would justify it.

Liz may have gotten over this revelation about Reddington’s true identity, but it doesn’t seem like the same can be said for Cooper. How will this discovery, Liz sharing the truth about Red’s identity with the task force, shape Cooper’s story line this season and impact his dealings with Reddington? It’s going to impact the show in a meaningful way, and quite soon. We have a great Cooper story that we’re telling this season. Even all the way back to the first season, we talked about Red and Cooper having a little secret about Kuwait. We’re going to revisit Kuwait very soon, and the nefarious things that happened between Reddington and Cooper back in Kuwait are going to bubble back up and influence how Cooper is feeling about Red not being Red and the task force moving forward with this stranger, this Russsian operative. Cooper is the guy who does the right thing. He’s a moral figure, and he is going to be saddled quite soon with making a decision about what to do with the task force. Cooper and his past are going to get dragged into that decision-making process in a really emotional and personal way.

Katarina’s return also brings Don back into the action. What can you tease about what happens to him? Will he have a larger presence this season? Dom is still alive, barely. And we love Brian Dennehy, so any chance we get to get him onto the show is a blessing. But Don is clinging to life, and with him lives a secret, lives the truth. Yes, we will likely see more of Dom. His story line is not finished. In fact, I would even suggest if Katarina could find him, that would probably not bode well for Red. Don is sort of a loose thread that is dangling out there, posing both a threat to Red in terms of answers that he has and also this big emotional hole for Liz and Agnes, because this is her grandfather.

How does Agnes being back with Liz figure into this season’s story? The table is set for a very strange and unusual familial dynamic. You know Katarina is living across the hall. Daughter is reunited with mom, and Reddington isn’t aware of this. I think we’re we are certainly aware of the fact that Agnes is home and it’s a new dynamic for Liz. She’s a working mom who is juggling all the all the jobs that a working mother does, and yet her super-spy mother is living across the hall looking for answers. Well, that could go in any number of strange and unexpected directions. So, yes, I don’t want to say Agnes is in jeopardy, but I think her story line in coming home presents the show with some really unique opportunities.

The episode ends with the reveal that Katarina is posing as Liz’s neighbor. What does she want specifically from Liz? And what can you tease about what she’ll do next? It’s a little tricky because the search that she’s on, the questions that she’s asking are somewhat enigmatic. It’s not super-clear what it is that she’s asking Reddington for other than this deep-buried truth, and it is something that really only Reddington can tell her. There are other people in his world with the answers, but Reddington is playing this very close. What Katarina is after, the core answers she is searching for, if she were to find them, it would pull at a thread in the fabric of Red’s mythology and unravel things in really the most important way possible. It could unravel everything he’s been doing for the past six and now seven years.

Liz is her access point to Red’s orbit. Katarina living next to Liz and the promise of her inserting herself into Liz’s life is less about Liz becoming a target, although that very well may happen. It’s more about using Liz to try to get information and trying to get answers about Reddington. So Liz, and therefore Agnes, are sort of in the crosshairs. They’re not necessarily her target, but I think we’ve done a nice job of demonstrating just how diabolical this woman is. And on top of that, I think it gives us a lot of really interesting familial territory to cover, and it gives the show a unique way to explore those relationships without being overt about it.

We’re now seven seasons in and Katarina is here, so are you working toward a specific endgame? Do you have a sense of when and how you’d like to end the series? We’ve been concerned about where this series ends from day one. We’ve always been working toward a sort of singular answer to the riddle of why did Raymond Reddington surrendered himself to Elizabeth Keen all these years ago. And it’s something that we talk about almost daily. I feel like with our show specifically, I think it would be impossible to tell the sort of stories that are deeply intertwined, and hopefully still adding up in terms of answers, if we didn’t know where we were going. So we feel that in the room, we sometimes move things along, we sometimes slow things up, but we’re definitely working toward a resolution to this giant enigmatic question that I think is going to be incredibly satisfying and surprising.

The Blacklist airs Fridays at 8 p.m. ET on NBC. Related content: Katarina Rostova’s presence will have a ‘deep impact’ on everything Liz believes in season 7 of The Blacklist Reddington is Katarina’s captive in first Blacklist season 7 photos

Episode Recaps

S7 E2 Recap

The Blacklist recap: Katarina Rostova would like to be excluded from this narrative

By Jodi Walker

S7 E1 Recap

The Blacklist recap: The grand illusion of Katarina Rostova

By Jodi Walker

S6 E22 Recap

The Blacklist finale recap: Will the real Katarina Rostova please stand up?

By Jodi Walker

S6 E21 Recap

The Blacklist recap: A presidential plot

By Jodi Walker

S6 E20 Recap

The Blacklist recap: The very bad doctor

By Jodi Walker

S6 E18 Recap

‘The Blacklist’ recap: The death and birth of Raymond Reddington

By Jodi Walker

S6 E17 Recap

‘The Blacklist’ recap: Never trust a rich Robin Hood

By Jodi Walker

S6 E16 Recap

The Blacklist recap: Luck be a (literal) lady tonight

By Jodi Walker

S6 E14 Recap

The Blacklist recap: Ooh, purgatory is a place on earth

By Jodi Walker

S6 E12 Recap

The Blacklist recap: Reddington narrowly escapes death… again

By Jodi Walker

S6 E12 Recap

‘The Blacklist’ recap: Samar says a heartbreaking goodbye to the Task Force

By Jodi Walker

S6 E11 Recap

The Blacklist recap: Reddington only has 10 minutes left

By Jodi Walker

S6 E10 Recap

The Blacklist recap: Reddington attempts his great escape

By Jodi Walker

S6 E9 Recap

The Blacklist recap: ‘Minister D’

By Jodi Walker

S6 E8 Recap

The Blacklist recap: ‘Marko Jankowics’

By Jodi Walker

S6 E7 Recap

The Blacklist recap: Bugs makes an already bad criminal even worse

By Jodi Walker

S6 E6 Recap

The Blacklist recap: Liz finds a Blacklister of her own

By Jodi Walker

S6 E5 Recap

The Blacklist recap: Raymond Reddington faces his fate

By Jodi Walker

S6 E4 Recap

The Blacklist recap: The Pawnbrokers

By Jodi Walker

S6 E3 Recap

The Blacklist recap: Two Lies & a Truth with Raymond Reddington

By Jodi Walker

S6 E2 Recap

The Blacklist recap: Liz drops a bomb of betrayal

By Jodi Walker

S6 E1 Recap

The Blacklist premiere recap: Raymond Reddington’s still got it

By Jodi Walker

S5 E22 Recap

The Blacklist finale recap: ‘Drop Dead Fred’

By Jodi Walker

James Spader returns as Raymond ‘Red’ Reddington, a mastermind criminal who teams up with the FBI.

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