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rappaccini · 4 years

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tua 1x02 rewatch:

now in twitter thread form.

the title: ‘run boy run.’ a reference to the song played in the episode, which is where we see five leap into the future. and five leaping into the future really got this shitshow in motion, because had he stayed would the apocalypse have even happened?

0:01: the record the children are listening to is herr carlson’s ‘a swedish field army manual to mountaineering’

0:02: grace’s outfits are her own kind of uniform. she’s clearly heavily inspired by the stepford wives in all of her clothing, and this specific dress is an exaggeration of the 50s housewife look. like, look at how rigid the skirt is: do you think she got stuck in a doorway because of it.

also ugh the architecture UGH

also i think there’s a 100% chance that the kids swung on that chandelier at least once. it is the perfect grabby-child-hands height.

0:06: i think it’s funny how in a house as big as the hargreeves mansion is, they’re all immediately there when grace rings that dinky little bell, which means that they probably like. sit on the staircase, smelling the food, hovering around waiting to be allowed to eat it. vanya is the last to show up.

0:40: the kids have to stand at attention and wait for reginald to show up and give them permission to sit and eat.

it is really funny that while even five has his hands folded behind his back (he’s the only sibling to do it, everyone else has their hands on their chairs) and his posture straight, ben’s just... leaning on his chair, looking real annoyed. he wants his damn food dad can u get ur geriatric ass DOWN here he is hungry???

0:50: i’m not exactly sure if the seating arrangement was assigned by reginald or if the kids just kind of unofficially decided where they wanted to sit or not, but it’s definitely interesting that at the other head of the table sits vanya, and not, say, luther. vanya has to stare directly at him during mealtimes, which is probably very intimidating for her; either she was put there deliberately so reg could keep an eye on her, or she ended up there because none of the other siblings wanted to risk making eye contact with dad.

she also has a.... very. resentful look at him.

the academy’s like a posh rich family in a carnival funhouse. everything’s backwards. the kids are in love with each other, they’re being raised by a monkey and a wire mother, and in this instance: no one’s allowed to talk at the dinner table.

0:55: there are ten spaces at the table. from left to right there’s vanya, with five her left and ben on her right, then diego to five’s left opposite klaus, then luther to diego’s left opposite allison, and then reginald on the other end.

but the entire row closest to reginald is kept empty. either he didn’t want even his golden children to be closest to him, or even the golden children didn’t want to be near him. (which shifts the weight of the table towards vanya, and suggests that the siblings’ affiliation is in reality closer to her than to reginald)

also the placement of the chain, and the lighting casting reginald in total shadow while the rest of the kids are in at least partial light is a great subtle way of making even more distance between them.

1:00: if the kids chose their placement, luther and allison chose to sit opposite each other so they could make goo goo eyes, and near reginald because they want him to notice them, and the other siblings to be aware of their status. if reginald chose it, he did it because he wants that hierarchy clear, and to keep his most valuable followers closest, and because he knew they would be looking at each other (... he knows what they’re doing, and he’s fine with it, as long as it doesn’t cross lines that’ll lead to their loyalty to each other superseding their loyalty to him).

if the kids chose their placement, diego being in the middle of the pack and not at the far end, where the Bad Kids sit, or the end nearest to reginald, where the Good Kids sit, is indicative of his sense of place within the house (it’s middling, like klaus’s). if reginald chose it, it was to make diego feel insecure.

also, diego carving into expensive furniture is hilarious. makes you wonder how many nice chairs around the house have little scratchings in them. and reginald clearly being able to see it and doing nothing about it shows how little he cares.

plus, klaus rolling blunts at the table is the same principle: everyone knows and reg does not care.

also. klaus has been doing drugs since he was 13. and probably much younger than that, given how he’s literally rolling a blunt in front of his dad.

ben and klaus sitting side by side, suggesting they hung out together as kids.

and on the far end, with ben, five and vanya. again, if the kids chose their placement, these three get along well, and they also want to be as far from dad as possible.

plus, five being opposite ben, and diego being opposite klaus, suggesting they’d want to look at/talk to each other.

ben reading a book by anton chekhov, a russian playwright who coined the term ‘chekhov’s gun’--- which ben himself is, as he’ll take a massive role in the finale fight. nice foreshadowing and nice character moment: ben’s a bookworm.

1:21: five making pointed eye contact with reginald, and vanya staring at five. she knows what he’s about to do and her expression just screams ‘oh shit, here we go again.’

stabbing the table like the dramatic little fuck he is. and everyone else giving him that Look too (allison’s especially livid). he’s done this before.

diego glancing across the table; he and klaus are sharing a look.

2:00: reginald is right about One Thing and that thing is that five’s ass was not ready to time travel.

2:18: vanya giving him that shake of the head, and five hesitating for a beat. he was going to go, that’s clear. but he considered her opinion next to reginald’s and that’s kind of huge. hers is the one he cares about the most, outside of reginald’s.

2:23: five runs out, and aside from reginald being upset at being disobeyed, only vanya really blinks at this. the other kids just keep eating. they don’t think he’ll do it, and she knows he will.

2:40: the gates to the hargreeves mansion have ‘u a’ engraved on them.

also, ‘run boy run.’ great song on its own, and applied beautifully here.

aside from it being a reference to the comics incarnation of five, who’s nicknamed ‘the boy,’ it’s lyrics cheer a kid on as he’s running, warning that someone’s trying to stop him, that his journey is a ‘prophecy’ (i mean. look at what happened. because he leaves the world ends.), and that someday in the future, he won’t have to hide anymore and will be able to grow up. all pretty relevant to five as a character.

2:49: five jumps in time three times (but not in place. he’s still on the same street). once, into a spring/summer day, once in the middle of a winter snowstorm, and once into the apocalypse, right after it’s happened (it’s daytime, and the apocalypse occurs at night, so it’s probably april 2nd).

he was also probably moving forward in time from 2002 as well. it’d be easier for him to just keep skipping ahead.

i also love the way the scene’s acted. this dumb, egotistical, excited kid leaping ahead in time, so excited that he’s right about something, and it all of a sudden coming crashing down on him.

3:04: the way he just freezes up, skids in his tracks, and goes ‘oh shit’ with no dialogue at all. stumbling slackjawed back to his family with his tail between his legs, only to find them gone. love it.

3:35: five calling vanya’s name first. she’s the first thing on his mind. and she was right, he shouldn’t have gone.

and then ben’s, meaning that the two were close as well.

and then dad’s.

and then ‘anyone.’ he doesn’t single out diego, klaus, luther or allison. he probably didn’t have a very strong relationship with them.

3:51: five stumbled into how to skip ahead in time, but he doesn’t totally get how to jump back. plus, his powers have a limit; if he spams them too much, they run out of juice.

GOD. watching him just start to break down in tears as he kneels in front of his ruined home.

4:27: the kooky thing tua does where the title card pops onto an umbrella in every episode is so fun.

4:30: five just comes out and tells vanya all the shit that happened to him when everyone else has to pry it out of him.

vanya: “we?” ---- she keeps picking up on five alluding to delores, and he keeps dancing away from it, but only with her. gee, i wonder why five doesn’t want to admit to vanya that he was With Another Woman.

5:00: vanya doesn’t hesitate to pour five heavy alcohol. she can tell that he’s not a literal kid, even if she’s not totally put it together yet.

5:09: five and vanya fight. it’s not that she doesn’t believe that five is being genuine, it’s that what he’s saying is hard to wrap her mind around. and exactly one scene earlier, we had young vanya listening to reg tell five time travel fucks up your mind. it’s very possible that this is what she’s worried happened to him.

“you think i didn’t try everything to get back to my family?” -- she nods. she does think that. and why would he, given what kind of family they are?

he’s probably especially upset because this is vanya, who’s supposed to understand him best, and somehow she doesn’t get it.

“i haven’t seen you in a long time, and i don’t want to lose you again [beat] that’s all.” i cryyyyyyyyyyyyyyyyyyyyyyyyy-- and man. he feels that too.

“and you know what, it’s getting late, and i have lessons early, and i need to sleep, and i’m sure you do too” -- five’s real surprised at this. he didn’t expect that she’d just... carry on as normal.

vanya’s ‘i think i’m only ordinary’ thing fucked up all aspects of her life. she has no confidence, she prevents herself from getting good at the violin because ordinary people can’t do that, she can’t keep friends or boyfriends. and ordinary people can’t process something as massive as the apocalypse, and they certainly can’t help stop it. so she just shuts down, reboots, and tries to make what she heard as normal as possible.

also she wants him to stay, but she’s also banishing him to the couch. i see you.

6:30: she immediately goes to take another pill.

and he sits, and thinks it over, and waits until she’s out of sight, before he leaves. he can’t do it in front of her.

had he just fucking stayed put, everything would have been fine.

7:30: hazel and cha-cha’s storyline is just filled with salt at working corporate and i love it. literally if the commission just paid their workers well, gave them benefits, and created a more efficient system for the briefcases, they’d have won.

love the seedy design of the luna motor motel.

also, love how they’re like ‘@god pls don’t make us Share A Bed.’ they know their fanfic tropes.

9:07: i also think it’s interesting how the commission delivers your package of weapons, contact information, etc. when you get to the location.

11:00: eudora patch i’m so sorry the writers just decided to kill you for no real reason.

also i like that the cops aren’t cartoonishly stupid, and that the writers made agnes’s witnessing the massacre make sense given the situation.

12:50: something that gets really missed out in discussions of diego as a character are that he does have the capacity to be incredibly sneaky and he can slip into situations really well. he was able to walk into a crowded crime scene crawling with detectives, forensics and cops, interrogate the witness everyone was looking at, and walk out without being noticed. like, he’s walking out the back entrance when eudora finds him; he was just there.

... wait. did the cops just let him, a civilian who was kicked out of the academy for being too much for even the cops... trample around a crime scene he shouldn’t have been on. fuck.

13:00: and eudora does have a point. diego vigilante-ing around isn’t good, and just makes complicated situations more complicated. he genuinely isn’t helping much and is making everyone’s job more difficult.

eudora is the Good Cop who cares about rules and due process. hm. okay. we’ll see.

we learn that diego was almost a cop, at one point in time. and he didn’t drop out, given that he’s carrying a badge and is still crimefighting. it’s mentioned later this ep that he was kicked out. he was too much for even the cops. that’s another thing that gets left out of discussions about d as a character.

the implication that they used to date is immediately followed by: they don’t agree on much, had a kinky sex life, and... diego keeps hitting on her. he’s not over their relationship ending, but he’s also not taking her request that he at least be professional to her when she’s doing her job. great job, d.

and genuinely. if he had just listened to her and backed off, they wouldn’t have solved the case, but eudora would’ve still been alive at the end of the season. she was right. he should’ve just stayed away from her.

also, eudora tazing diego. i get that he was being pushy and his presence was unwanted, but too far. even the Good Cop goes too far.

14:20: i think it’s hilarious that hazel and cha-cha, who clearly stand out, are just hanging out at the crime scene, and that they went for ice cream before going there.

14:30: the way luther wakes up in his bedroom parallels the way he woke up in the station: same alarm clock, same clunking around, same covering himself up. mentally, he’s still on the moon. that’s why he says ‘shit’ when he looks down the hallway; he forgot he was back.

15:00: allison, in even brighter clothes, again not at all sad that dad’s dust now. already packing for the airport.

that soft chiming music seems to be their motif. i love it. it’s quiet, it’s sweet, it’s sad, and it’s very innocent.

“i’ve had the same routine for the last four years. now that i’m back down here, i’m not sure what to do with myself” -- luther’s adrift. that’s why he acts the way he does. he has no idea what to do.

allison sincerely misses her daughter, but isn’t allowed to see her yet. given that we know at this point that she probably rumored her, it’s another layer of yikes.

allison wants luther to meet claire; he hasn’t yet. he was probably on the moon the entire time, given that he thinks she might not even know he exists.

“when you left, it seemed like all you wanted to do was forget this place ever existed” -- so allison left angry.

“this place. not you.” --- she looooves him.

and allison, telling baby claire stories about brave uncle luther living up on the moon keeping them safe... i CRY.

also to all the ppl whining about ~but claire thinks luther is her Uncle what will she think if allison dates him~~~ ..... so many super young kids are taught to refer to every single adult in their lives that isn’t their parent or teacher... as an ‘aunt’ or ‘uncle.’

aaand “dad’s monocle is missing”-- so even dead, dad’s still cockblocking alluther. diabolical motherfucker.

“don’t turn his death into a mission” --- yep. it’s a mission. and it’s one that dad literally made for them. luther is right: they are supposed to Figure Out How He Died.

16:50: luther slurping from his hargreeves-branded astronaut-ready juice pouch. he’s still up on that moon, mentally.

17:00: the first time the audience really learns how frightening it is for klaus to be sober. also, nice underwear.

also, ben’s reading a book. is it floating? is it a ghost book?

17:30 ben’s hood slowly creeping back from his head, and ben himself becoming more than just a shadow creeping after klaus, able to talk to him and emote, as klaus gets more sober. love that detail.

ben, sitting next to five’s portrait. chilling with his bro.

ben’s quest to drag klaus kicking and screaming into sobriety begins here, with begging him to just eat some real fucking food please.

17:40: that jump to ben on a different seat, still reading, while klaus is scurrying around looking for family heirlooms to pawn for drug money implies that they’ve been at this for a while.

17:56: you think justin was just crouched behind that bar with the photo of reginald and terrifying portrait of five while rob filmed klaus talking to pogo?

18:10: klaus’s stealing-the-book sequence is so much fun. love the immediate cut to him doing exactly what he said he wasn’t going to do. it’s the easiest trick in the book and it’s sooo fun.

‘goody two shoes.’ fun song for a fun sequence. love the drums. also, the el lyric analysis hat is on and the song’s about pretending to be happy when you’re heartbroken, and you’re going too far to hide it. it being over a sequence where klaus gets high isn’t a coincidence.

... so. if klaus had not stolen that damn box to sell for drug money. harold wouldn’t have been able to get to vanya. whoops.

19:08: no one seems to realize ben’s with klaus. which... i mean. klaus being constantly high would mean that he’d have a lot of erratic behavior, and the kids and pogo would be so used to it that they’d tune it out. i buy it.

“if [the box] were to be brought back, whoever took it would be absolved of any blame or consequences” -- pogo’s talking to klaus like he’s a kid, because he is a big overgrown kid. all of the hargs are.

19:45: vanya sure did sleep in her clothes huh.

and she goes out to realize that five ghosted her. five you idiot.

20:10: five trying to take the eye back and find its owner... god this is so fucking funny. he has No patience.

21:45: eudora’s turtleneck here contrasts with diego’s black one; same interests, opposite perspectives.

and it also just made me immediately think of comic-white violin vanya. esp given that eudora seems to have inherited her belligerent sexual tension with diego. also, looks like the first team of people sent to kill five were mercenaries from the current timeline. the commission either recruited people from 2019 or outsourced. probably the latter given how cheap they are.

fives fingerprints being matched to a cold case from 1938 = he assassinated someone in ‘38. would be neat to hear that story.

also, in this au, fingerprinting was a thing in 1938. probably just an oversight on the writers’ part.

22:30: fucking hilarious how diego’s chill with all the cops in the precinct but eudora. dude probably goes to cop bars.

also lowkey yikes that is definitely unintentional: the cops like and tolerate diego, and let him off easy, because they all wish they could do what he does.

and eudora’s right. he really does need to lay off. and her specifically mentioning that he stay away from her cases... means he goes after hers in particular. not cool.

23:35 diego doesn’t care about due process or getting convictions. he cares about the ‘fantasy.’ he cares about beating people up and getting patted on the head for it, and making his vigilantism as a kid feel like it means something (because if it doesn’t, then he has to process What He Did). he does not care about justice.

“recess is over. it’s grown up time.” another hargreeves is another overgrown kid.

even diego can’t get a word in on that, so he tries to lean in for a kiss. and eudora is not happy with it.

24:10: luther heading to diego’s gym, on his mission to find the monocle. he’s probably never gone out on his own much at all before.

more info on diego: he mops the gym and sleeps in the back.

25:00: and in that back room, it’s packed with targets, images of fighting, an embroidered little monogram of diego’s name with his knives and mask. these are the things he cares most about. his life is empty, and filled up with nothing but violence.

25:12: luther making himself slip into diego’s reflection. trying to imagine what it would be like to be him.

25:20: luther finds diego’s alibi: he was fighting the night dad died.

25:30: the mansion is fucking massive. it’s 8-9+ buildings hollowed out and made into one big house. i love seeing the greenhouse where alluther have their date, and the dip down where the courtyard is. also, the rooftop garden and observatory looks neat! hope we get to see it sometime.

25:40: vanya goes back to the house, where she knows there’s no place for her, and where she isn’t welcome, because she’s worried about five. she’s dwarfed in this shot where she enters, because that’s how she feels.

26:08: vanya makes immediately for five’s room, which is off in a corner isolated from everyone else’s. she knows exactly where he’ll be. but she’s still a bit surprised to see him there; she’s worried something happened to him, and his being back at all is so sudden that she might wonder if she’s dreamed it all up.

26:10: “sorry i left without saying goodbye.” yep. two times, now. and you’re about to do it again.

26:24: “i didn’t know how to process what you were saying” -- there we go. it wasn’t dismissiveness or disbelief. she just can’t process it.

five plays along with vanya, saying maybe he is out of it. he’s either lying to placate her, or he does sincerely worry that he might be losing it.

also, five’s room has the same architecture as reginald’s; they’re on the same floor. it’s isolated from everyone else’s, and also elevated. probably went into that superiority complex he has.

all these robot posters: kid five liked robots. he also played with trucks.

and that good ol hargreeves murder indoctrination wallpaper is there too.

26:40: vanya thinks she’s the wrong person for five to talk to, offers five her therapist. and good god therapy is what these kids neeeeed. vanya is RIGHT.

..... also vanya ‘used to’ see the therapist, so at some point she parted ways with them. it didn’t work out.

he lies to get her to leave, with promising he’ll rest. he wants her to think he’s taking care of himself.... and then he goes after her.

27:10: klaus jumps out of the wardrobe (... coming out of the closet) stops five from going after her. what was he going to say? was he going to include her in his meritech mission redo as well as klaus? (... if he had done that then vanya wouldn’t have met leonard. oops.)

klaus: “i’m moist.” hm. hell of a choice there, given who was just talking.

27:26: also, klaus is already in the wardrobe, and has been recruited in five’s plan. five probably shoved him in there when he heard vanya coming.

five’s paying klaus to take part in it. odds are, klaus is going to use that money for drugs, and five knows that.

i completely buy that five’s an old dude stuck in a kid’s body. the fucking acting what the fuck.

28:38: rip syd tow truck driver. rip his nipples especially.

.... what WAS the london job in ‘66?

29:40: also notable how cha-cha’s doing all the torturing, while hazel changes the subject, and looks away.

syd gave five the address of the department store where delores is. five always wanted to go grab his apocalypse obsession comfort teddy bear.

30:31: pretty sure allison’s powers don’t work via telephones. otherwise, patrick would never speak to her over one.

and patrick is painted as the unreasonable one here, for being upset at allison for missing one therapy session to go to her dad’s funeral. and that is an irrational thing to be mad about, but... i mean. look at what she did to him. i get why he’s angry at her.

31:14: vanya tries to take allison’s side with no information on what the fight’s even about. she wants allison to like her, and when allison does not bite, she immediately retreats. she’s used to being given much bitchier comebacks.

“you’ve never even been in a relationship” -- “that’s not true” -- ...... she’s talking about five, right?

“so you know what it’s like to love someone like this? like, when you’re apart from her, you can’t breathe?” (... oh like what happens to vanya in episode 9?) “like you would die, and i mean, actually die, to know that she’s okay and happy?” ......... like how vanya felt waiting for five to come back?

allison thinks vanya chose to separate herself from the family from day 1. she thinks it’s Her Fault.

“you’re an adult now vanya. you don’t get to blame your problems on anyone but yourself.” oh fuuuuuuuuuck. i love bitchy allison. wish she’d stuck around for more than this episode.

32:58: klaus and five ineptly trying to interrogate this man is hilarious. they were Not good at this at all and the only reason why they got away with it was because klaus fucked himself up and clumsily blackmailed him. esp funny bc if they’d gone with diego they probably would’ve gotten the info in 30 seconds.

35:00: the audience first learns that someone who loses an eye causes the apocalypse. or, that five assumes they do.

35:20: and five refuses to pay klaus, even though he said he would. and he does know what klaus was going to use the money for.

five has also told klaus offscreen that the apocalypse is coming. it did not process.

“you must be horny as hell!” ..... well. he does immediately go to grab his life-sized fleshlight so. klaus is right.

36:00: five insisting he wasn’t alone, because he was with delores, a mannequin whose personality was projected by five so he wouldn’t lose his mind. so yeah, he absolutely was alone for thirty years.

also five’s down to talk about delores to klaus, but not vanya. we know why.

klaus was with someone for three weeks at the most, and mostly because he wanted to not be homeless for a minute.

and as soon as klaus opens up about that, five ditches him.

37:00: not gonna bullshit, i thought leonard was an old version of five for a split second. the resemblance is fucking uncanny. they have the same haircut exactly. i really doubt no one caught that. so... vanya has a type, and her type is guys who look like five.

leonard’s a fucking dork jesus. and i do think this interaction is quite sweet. in other circumstances (one where he isn’t manipulating her) they could’ve made a good pair.

39:00: diego has booby traps set in place so he can keep an eye on where he sleeps. he’s worried someone might try and find where he lives. unsurprising, given the life he lives.

and diego’s knife powers extend to literally whipping them in supernatural paths that shouldn’t be possible. when diego cut luther in the pilot, he meant to hurt him.

luther’s trying to reach out to him, albeit not well, and diego kicks him out.

41:00: vanya’s so insecure that she’s convinced her students are better than her.

and leonard knows all the words to say to get vanya to eat out of his hands. ‘i’m not a prodigy.... my dad and i didn’t get along... i want to do music for him... family complicated’

“monet didn’t really start painting until his forties. i think he did alright for himself” = more of that it takes time motif. you’re not gonna get good at something, or even get better from something, right away. neither are any of they.

43:00: leonard’s a woodworker. hell of a partner for a violinist. and relevant given that he starts to shape her under his influence.

43:30: i really, really love this shot of allison sitting in her attic window smoking.

allison smokes. allison, a woman whose power (and therefore, entire sense of self worth and the means through which she obtained a career, a social life, a husband and a family) is dependent on her ability to use her voice... is doing something that is going to fuck it up. i love the implications this has re: her own guilt. especially since she’s smoking right after that fight with patrick, who got out of her rumor and made her realize what the fuck she’d done.

44:00: and when pogo finds her, she quickly puts it out. she’s ashamed to be seen doing it.

allison changed into a different outfit: thin black capris, hot pink sweater, white scarf, that we’ll see in the next episode. was this scene originally filmed for a diff episode? or does allison just wear multiple chic outfits a day?

44:10: allison always hid in the attic when she was upset. vanya knew that, and even after allison snapped at her, she was still worried.

... and i think allison did mean those things she said to vanya, unlike what pogo thinks. she immediately leaps back onto that ‘but why is she isolating herself’ train.

it’s been “almost 13 years” since the whole academy was together. so, they were about 17 when they split up. or, at least, when allison left.

“one grows used to things, even if sometimes, one shouldn’t.” this. shit. takes. time. to. grow. out. of. thank you.

(also.... flowers in the attic....)

45:00: pogo, encouraging allison to come see the videos of them as kids, knowing she’ll find the tape of reginald’s death. and knowing that she’ll miss her flight. he’s complicit in reg’s plan to get the family back together.

45:45: “most families have home movies to look back upon, and we have surveillance footage.” yep. the hargs are a family in a funhouse.

the kids were constantly aware that what they were doing and what they were saying was being recorded.

the surveillance footage: klaus (11-14) drinking from the bar, allison and luther teasing each other and eating together in the basement hangout area, ben and allison together, the boys sprinting up the stairs playing catch in their tracksuits, vanya playing violin alone.

snippets of audio: laughter, allison playfully telling luther to quit teasing her, one of the boys who isn’t five snapping “that’s not true” and then proceeding to mention something about mary poppins, allison calling vanya’s name and then saying “oh my gooood” in that sarcastic way preteen girls do, probably teasing her in a not-nice way, a brother snapping “you’re not dad,” and another brother saying “fine, i’m going, but only for mom.”

allison is only able to understand how shitty it was to exclude and bully vanya because she has claire. it’s great growth,,,, but honestly i think she needed another minute to really let it click.

“i’m not a child anymore, and neither is she” -- allison now gets that she has no excuse to treat vanya badly... but she’s also building in this little excuse for herself, that now vanya has no excuse to want to stay away from her.

47:20: that tape of reginald’s death was left on top of the vcr so allison would find it.

the tape room looks like it should be on the same level of the house as five and reg’s rooms. makes sense that reg would want it close to him.

48:00: five finds delores in the gimbel bros’ department store, and here’s where the audience first realizes, oh, ‘she’s’ a mannequin, and five’s insane.

the ‘seniors’ tuesdays’ sign is a gag= five’s old.

49:17: delores was found in the rubble by past-five... wearing a wig that looks like vanya’s old hairstyle. hm.

also i love how cleanly the music switches from the ost’s ‘goodbye delores’ theme to ‘don’t stop me now.’

‘don’t stop me now’ = fun song. great for an action sequence. and... yeah. between two parties determined to complete their missions at all costs. and cha-cha in particular actually likes this job, so it applies especially to her.

five’s absolute horror at watching his mannequin vanya replacement goldfish... dang they lucked out casting this kid to play him.

49:22: also the funny head masks are fantastic. i also doubt you can see shit out of them.

50:49: if the commission just took care of its workers, hazel wouldn’t stop for a wrist splint, and he and cha-cha would’ve killed five.

51:00 the splitscreen shit they do in this scene is so much fun.

51:30: and again: like with the beginning of the ep, we see five overexert his powers and burn them out.

52:16: five, crouching, alone and upset. ouch.

53:00: diego, listening in on the cops, real excited to interfere.

53:18: luther is ready to give up on the dad’s death plot. he’s genuinely ready to do it. “i should be the one trying to get us back together, not trying to tear us apart” -- said by luther.

and then in comes allison with the news, and that becomes that.

53:40: that scene everyone ~~loves to cite where Luther Reaches Out To Punch Poor Innocent Baby Five What A Monster... is just luther reaching out to five in concern because he and allison see that five’s upset, sweaty and bloody. and five snatching his hand away because he refuses to admit his own vulnerability.

and that “there’s nothing that any of you can do” because...

53:54: five’s remembering the last time he held luther’s hand: when he was dead. he’s literally getting a vicious flashback to that moment when he found the family dead.

cut to: kid five, stumbling through the apocalypse, on the same day he arrived, with delores, who he’d just found at the department store.

luther’s hand, sticking out of the rubble, with the eye in it, blood still wet.

‘never tear us apart’ is playing: about... finding someone, and realizing nothing can separate you. ironic, given that young five was torn apart forever from his family when he found them dead, and that he thinks he’s looking at the academy as adults, standing together at the end of the world and fighting to save it (when they weren’t united at all and couldn’t stand each other, and when this mess happened because they isolated vanya). and relevant to the theme of the hargs reconciling, because by the end of the show, nothing will be able to get between them again.

54:30: in the background are the pillars we see in the icarus theatre: the hargreeves didn’t die in the mansion in the original timeline. they went to stop vanya at the icarus, as before. leonard was with her, luther ripped his eye out, so there was a fight, and vanya probably lost it and blew the world up.

54:50: and five, finding diego, then allison, then klaus. and the reason why five lingers on klaus in particular is because he can see klaus’s tattoo: he knows now, without a shadow of a doubt, that he’s looking at his dead family.

55:09: there’s... a blackened corpse, just beyond diego and just in front of klaus. it’s not leonard’s, since he’d be back by luther, and the simplest answer is often the right one. so... that’s vanya.

wow.

101 | x | 103 | 104 | 105 | 106 | 107 | 108 | 109 | 110 | overall | looking forward

#tua #tua s1 rewatch #tua s1 liveblog #tua tv

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