AU to add to the list of AUs I'll never write: All of the Robins are de-aged to the age they were when they became Robin. Their memories are also reset to that point, and somehow they're in their Robin suits.
So you have a 16 year old Steph, desperately trying to wrangle 4 feral children who look nearly identical and won't tell her their names because "you do know what a secret identity is, don't you Stephanie?"
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I'm aware many people (including myself) are uncomfortable with this framing, but I can't help but love the "sometimes, a little girl grows up to be a man, and sometimes, a little boy grows up to be a woman"
How eloquent, how beautiful is it to describe the growing-up of a trans youth? Something about it feels soft and so unabashedly human.
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Thing to remember about Cat’s magician theme: while yes, it does imply there’s some stuff that we just won’t get to see due to it being hidden, it’s also hinting at something meant to help us:
Don’t get caught up in any misdirection.
One of the big things about this music video in particular is that there’s a lot of stuff thrown at us really fast and quick, multiple times. A bunch of busy, flashy, dramatic sequences that are sure to draw most people’s eye and theorycrafting!
But, just as a magician uses their skills to get the audience to look away from the actual trick that they’re pulling, Kazui is subconsciously pulling the same stuff on us. Like, just in considering what one of the slower sections of Cat showed us:
People have already pointed out that the guy in the wedding audience is the same man who was bartending in Half. But I think there’s even a bit more past that that Kazui’s given to us as context. Which is to say:
Consider the ring on his finger and the woman behind him.
Know what other woman in Kazui’s videos we’ve seen who has brown hair and been right next to this man?
Which actually puts the bar scene from Half into a completely different context.
The picture above wasn’t Kazui cheating on his wife: it was him getting to know the woman his childhood friend was going to marry.
By having their meeting in a casual setting, with both Kazui and her sitting right up next to the bar where the guy was working, all three of them would get to talk and hang out when things weren’t too busy. And when things did get busy, Kazui and this man’s future bride would be easy to check up on via a quick look down the bar counter, with alcohol as an added social relaxant so things would hopefully never get too tense and awkward.
With all this in mind, I think it’s really important we consider the art of misdirection when looking through the rest of Kazui’s Cat video: If our attention is being drawn to something in particular, look at everything else first.
That’s gonna be how we crack through Kazui’s shell and get to the truth.
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It's so emotionally powerful to me that we don't hear any interactions between Minkowski and Eiffel in the finale between the scene when she tries to send him back on the Sol and the scene where she witnesses him losing his memories. That's more than an hour in the middle of the finale with no direct interaction between these two central characters whose dynamic is a core element of the show. For me, this makes both of those dramatic scenes even more moving, because they feel juxtaposed in a way they might not otherwise be if there was a Minkowski & Eiffel interaction inbetween them.
As the Sol prepares to launch, Minkowski tells Eiffel goodbye and she knows it could be the last time she speaks to him. She thinks she might never see him again, but at least he'll be safe. She thinks he might never forgive her for that choice, but at least he will have made it through this.
But his stubborn desperation to fight alongside the rest of the crew defies all her plans to protect him. And the next time she speaks to him - after she's been shot in the stomach during her attempts to reach him, after she's continued to look for him even as she's bleeding out - he is injured in a way she would never have expected. When she first sees him hooked up to Pryce's machine, maybe she thinks for a moment that he's unharmed, that they might all make it through this the way she hoped. Then she learns that his memories are already slipping away from him.
There's her desperate attempt to protect him at all costs, and then there's a life-altering harm that she couldn't protect him from, which she witnesses. Between these two moments, there aren't any scenes with both characters in together to bridge that gap. There's Eiffel yelling "Goddammit, Renée, DON'T DO THIS!", and then there's him telling her "It was an honor to serve under you, Sir." There's him pleading with her and then there's him forgiving her. There's Minkowski saying "Go home, Eiffel. Hug your daughter.[...] Goodbye, Doug.", and there's the desperate heartbroken way she says Eiffel's name after the memory wipe has gone through. There's two very different kinds of goodbyes.
And then, afterwards, there's two very different kinds of introductions.
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