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Arc 25: Scarab - Dissecting Worm
382 Plays5 months ago
This story isn’t intended for young or sensitive readers. Readers who are on the lookout for trigger warnings are advised to give Worm a pass.
Complete list of potential triggers: here
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Dissecting Worm: The sister podcast to Brockton Bay Book Club where our hosts Jacob and Allan discuss adapting Worm for television.
Episode Description:
Status: Behemoth is dead. Timeskip: A new threat emerges, status: Khonsu wreaks havoc, timeskip: 2 years. The world prepares and Jack awakes. Status: Dissection.
Get in contact with us @brocktonbaybc
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Timestamps:
(00:00) - Introduction
(01:10) - Dissecting Begins
Recommended
Transcript
Introduction to Worm
00:00:00
Speaker
Worm is a web serial by J.C. McCray, also known as Wildbo. You can read Worm in its original format by visiting parahumans dot.wordpress dot.com or donate to Wildbo's Patreon at patreon dot.com slash wildbo. This story isn't intended for young or sensitive readers. Readers who are on the lookout for trigger warnings are advised to give Worm a pass. For a complete list, check the description for all of Worm's trigger warnings.
Season Four Ending Discussion
00:01:08
Speaker
Take that, you worms. We're back dissecting arc 25 of this incredible series, web serial. I mean, our series is also incredible, but c incredible was describing the stories. And we are at this point, Alan, where we have to make a decision Where the hell do we end season four of this show? I mean, I'm going to retrospect it. I think this is, I i mean, I, it's just, you know, five, five and five. So this is the first episode of the last season. First episode this of season five. Yep.
00:02:01
Speaker
Yeah, it's a good, like it's a good lead into the status quo of what is going on kind of. Yeah. And with a few adjustments, I think we ride our win that we have off of last season who into this season to then set up for the downfall.
00:02:29
Speaker
if you're a yeah yeah yeah I think I agree with most of that. i Where I've landed, and we'll get we'll get to the the actual time skip and kind of handle it, how to handle things. I do think I was trying to think of ways to, like, what what's the end of the season, right? What's the end of of season four? What does that look like? ah You know, kind of trying to piece that together.
Cliffhanger Proposal and New Threat
00:02:58
Speaker
i am I've been contemplating ending the season on, would this would be rearranging arc 25 a bit, just timeline of things, but ending season four,
00:03:10
Speaker
with just a newscast of Konsu's arrival or something like that. um Just ending on this cliffhanger that they've beaten Behemoth, he's been destroyed for the first time ever. There's like this hint that these things can be killed and then another one takes his place. And it's just the,
00:03:35
Speaker
solemn dread of having, of realizing that it's like a Hydra. You can't, for whatever reason, these things will just keep coming. Yeah, okay. um i Which I like as a, I don't know, a breaking point kind of. um i ah here's Here's my issue. I don't,
00:04:04
Speaker
ah I don't want the end bringers to take away from all the other things that we will be dealing with. So I don't want them to take up space when we could be dealing with the slaughterhouse 9000 and our our boy, ah Jack.
Character Development: Jack and Slaughterhouse 9000
00:04:30
Speaker
And I certainly don't want to take away from Scion.
00:04:34
Speaker
Right, and that and that is the and that is the issue. Now, ah see, and again, we'll see what happens when I reread ARCS 26, 27, 20, et cetera. I would prefer cutting the Slaughterhouse 9000 or drastically reducing it and focusing more on Jack for that portion. Yes, yes, definitely.
00:05:00
Speaker
it's It's hard because we're building towards a revelation, because like, again, full spoilers for the series for those who aren't aware, this is full worm spoilers, but we are, ah you can't ignore the end bringers and yet there lies this this like tension that we have that we haven't really addressed, which is that the revelation of what they are is really subtle.
00:05:30
Speaker
And it was subtle for book readers where people are being like, wait, wait, wait, okay, hold on. We got to back up, we got to think about this. And it's something I don't, it's not something I want to change. I think it should absolutely stay exactly as it's written. But if it's not done well, it's very unsatisfying. And and we'll cross that bridge when we get to that chapter in a couple arcs. But like, that's just been nagging at me in the back of my head, where we're going to have to address that at some point and we want to make it impactful. And so I don't i don't want to remove the end bringers, but I don't know, it's it's tricky. it's it's
00:06:17
Speaker
I'm fine with, adjusting these sort of the new end ringers, the Kansu. Yeah. but and Like I'm okay. I think at the very least to unclutter, I think we take out Boho and Toho, we just leave Kansu. Yeah, that could work.
00:06:39
Speaker
um
00:06:41
Speaker
yeah The other thing is is that there's it does give us a really a really easy ah ah gap filler for the time skip, which if you just assume, and we and we've talked before about about various ways we can handle the time skip, and I'm sure we'll be talking forever on it, but you could very easily assume that Oh, for the last six months, they've been flying around dealing with three new end bringers in addition to the two originals. Yeah, you know, that's that's very easy to say and sell to an audience, especially if you if there's like a season in between. Right. You know,
00:07:23
Speaker
Yeah. I, I, when I worry about that, because I think we should, we've talked about how to deal with the time skip. We've talked about our, in the other episode about our feelings on the time skip. And, um, ultimately I think, uh, and we even read out what, what, um, while Bill had to say on it, um, in terms of like, it's a judder in pace. And I think really,
00:07:50
Speaker
Our a plan is in between every season, ah at least a month is going to take you like pass for us. So if we do, you know, if, if, because in real time we are moving, this is part of the reason why worm in the moment of reading it, especially work is you are reading day to day occurrences basically for, you know, these two years.
00:08:19
Speaker
where very few times advances more than like what? Oh, a week. Maybe, maybe. Yeah. Like, which which, you know, reading in real time is sometimes just how long it took to for the next chapter to come out. Right. So yeah, exactly.
Time Jumps and Story Continuity
00:08:38
Speaker
You have, uh, uh, the, the medium media, the medium, uh, that you're going through to like,
00:08:47
Speaker
engage with that is similar to real life. And so of course, when you read from one chapter and you know, two or three days later, the next chapter comes out and it skips two years, you know, or year and nine months or however, like that's very jarring.
00:09:09
Speaker
But if you're watching a television show and we are going roughly, you know, five episode or five arcs, you know, 10 episodes a season and then you have. You know, probably a year until the next season comes out, saying that six months has passed since the last season, not really going to be that jarring to an audience. Yes, completely agree.
00:09:37
Speaker
you know, going back and re, you know, rewatching and binge watching it even, um, like as we're binge reading in a sense worm, just if you aren't reading it literally week to week, you are reading just in a whole arc at a time. That's the, you know, not how it was intended. Like if you are binge watching this show, I really don't think because if you just have a nice, good,
00:10:08
Speaker
season beginning in cap, people are going to be familiar with the, the format. So it's not going to be out of hand for stuff to happen in between seasons. Um, so I think we've discussed just the time skip just doesn't need to happen by the time we get to Taylor's 18th birthday. That's just how it is. Um, you know, that's just where it is. It's just, Oh,
00:10:38
Speaker
You know, that's the, I don't know if we want to make that the epilogue or the beginning of this one, but my gut says we finish, like we talked about the last one, you finish on a high, we beat behemoth. You know, we have a little bit of extra talking and in this one we kick off with the routine. This is what we're doing. And part of that, you know,
00:11:04
Speaker
Is Taylor working towards, you know, she's finally getting inducted to the protectorate. You know, that can be episode two or something like that. Mm hmm. Yeah.
00:11:17
Speaker
i really like I really like the idea of just sort of naturally stretching out time and then you know having this final jump between seasons four and five theoretically. I think that works very well. I think that's going to be an easy sell to audiences, especially if you're not dwelling on how long things you're taking especially as over the course of season four it'd be very easy to interject smaller little jumps in time as she is training with the chicago wards you know uh all these kinds of things um very easy to sort of to space time within all of that as well so like maybe they get to the behemoth fight and you know
00:12:04
Speaker
yeah deacon she can what she means, the undersiders again, just as casual. It's been a wild conversation. And the um implication can be that it has been a while. It can be you know six, seven, eight months since they last saw each other or something like that. A lot of easy ways to sort of space time in there and then just fill in the rest of the jump with the gap between seasons.
00:12:29
Speaker
And again, this is we are we are ah we are operating on the you know idea that we are keeping to the two year prophecy that ah is given by Dinah and that Jack gives you know two years to Theo. um Of course, we could just change that too. i say like We make it whatever we need it to be. Exactly. you know Oh, it's a one year. It's a you know it's a three year. It's a six months, yeah you know whatever. ah I'll see you in five seasons. I'll see you in six seasons for the movie. Yeah, exactly. Um, my, my only fear about keeping the reveal of Kansu, if we do want to keep the other end bringers to the start of season five, it's just going to feel like, uh, like a huge rehash, you know, death star 2.0 star killer base, kind of what I was feeling, but emotionally the whole point of them showing up.
00:13:25
Speaker
is that it immediately breaks the momentum. Like we were feeling good, we were riding this high. And then that happens. And then, you know, Tohu and Bo who show up. And it just, it sucks. Like, yeah, we're we're back in this depressed honestly, the world is depressed, essentially. And we can keep getting sucked back into this.
00:13:53
Speaker
The world is going to end vibe and it's, you know, at this point it feels like the end of bringers then bringers are just going to slowly kill out everybody. And if you have that yeah at the beginning of the season, like it just doesn't feel like, what are you doing climbing parallel to the rock bottom? Like you want to come out on a strong note, building up to this thing.
00:14:21
Speaker
and then failing that, yeah. Well, I think it's important too that we don't end seasons on a good note. um Every season should end on a bit of a downer, whether it's tension or an obstacle or a fight or something like that, because that is just a major theme in the story, is this this build, this uneasiness, this inability to win and relax, because that's what's happening.
00:14:53
Speaker
And because ultimately, we're going to get to Taylor's final moments in the forest. or I forget where she ends up at the very end. um Yeah. And for like the first time since getting her powers and the first time for the audience, she will be at peace. And like that moment needs to hit.
00:15:15
Speaker
And i don't I don't want to to like take away from that climactic moment by giving Taylor like a victory to sleep on for a season or a gap between a season and giving the audience that as well. like that That conflict needs to always be present. Yeah, I i think you could, are you,
00:15:44
Speaker
with the especially with her relationship with Theo and pushing towards getting Jack. I think you could still make it felt that. Like say like sans any conflict going at all, Taylor does not relax. Like, right. Like, even even if there's no end bringers, even if there's no bad guys like Taylor doesn't know how to relax.
00:16:13
Speaker
And in this case, we have an excuse it's Jack. So like all her attention has gone into, and I think this is how basically we open with this, all our attention goes into training Theo and getting her crew ready to take out, um, take out Jack. If that's the goal.
00:16:36
Speaker
Um, and, and you can see that to the, maybe it's not the rest of her team. Maybe she just focuses on Theo and that leads to like, Hey, like don't forget you're part of a team. We really, you know, we really appreciate all you do, but. Like there are other people that could have used that mentorship and she's like, yeah, well, they aren't fighting Jack slash who's going to end the world and, you know, two months or whatever our timeline is.
00:17:04
Speaker
Yeah, know I mean, you're right. It's easy it's easy to to keep Taylor in that ah sort of perpetual ah sea of of troubles.
TV Pacing and Story Arcs
00:17:15
Speaker
but But I'm speaking more towards just thematically how the show should be felt. And I i i think it would i think it would best serve the sort of overarching narrative and story if the audience doesn't get to relax. If the audience is like constantly feeling that tension throughout the entire show.
00:17:39
Speaker
um because I was thinking about the way we end all of our all of our seasons so far, and they all kind of have that. Like season one ends with a lot of uncertainty in the death a destruction of Brockton Bay. ah Season two ends with the further destruction of Brockton Bay and the and the slaughterhouse nine escaping and all that whole mess. Season three ends with Echidna and, ah you know, ah Taylor and the and the conflicts with Cauldron and all of that. And so now we get to season four,
00:18:10
Speaker
Like we just, we haven't been doing that. And so I feel like if we got to the point where things felt too optimistic, one would feel a little odd, but two, it just, and it invokes that like, well, so like, I'm i'm thinking of someone who's like, if i'm if I'm watching the show and I have no idea what's coming next. Sion just kills Behemoth, things look good.
00:18:35
Speaker
Okay, it's good season. We've had a nice ending. Where do things go from here? And if then if the start of season five is ah you know playing the playing the old classics and the slaughterhouse line comes back and the end bringers come back, it feels a bit like, oh, they don't really have anything else. They don't really know what else to give them, which isn't true. We know that. We know that there's more going on here, but
00:19:04
Speaker
I don't want the audience to to think we're just sort of falling back on old ideas because there's nothing new to tell. Yeah. Well, that's where I think I disagree with you. I think we have ended on a, uh, a melancholy, but you know, a winning note, if you will, at the end, they drive back Leviathan, like,
00:19:30
Speaker
Is it, are they all Pyrrhic victories? Absolutely. But they are victories. So like we end with that. We even end the, you know, Colin, uh, argument you meant with them being like, yo, he's a bitch and he gets, you know, he gets suspended because of it. Like all of that ends up well. Um, but rough, like she ends up, you know, without the team, she ends up uh, you know, an uncertain for sure. But like that's a win end of season two slaughterhouse nine, uh, which we've talked about being kind of awkward. They just kind of get away. But once again, like they won essentially.
Bittersweet Victories in Worm
00:20:18
Speaker
Like did a lot of people get hurt? Absolutely. But they won. And then season three, they beat Echidna.
00:20:27
Speaker
And for us, at least the way we've been writing it, you know, Dinah goes home at the end. Does it suck that she's, you know, been in trouble that, you know, everybody's arguing about Colton in the background. Yeah. But in the end they, they won, but you know, and the question should be, but at what cost? Like every time, which it has been season four, you know, we beat behemoth, but we also lost region and we can talk about how many capes we lost and right on the back of that, you know, if we've timed this, while we say like, I mean, we've got Jack ending the world right around the corner, especially if we keep hammering that home, like, okay, we've done this, you know, there's a win, but we know there's something around the corner. And I think you can still start this, ah you know, not on a,
00:21:25
Speaker
Not on a high note, but you can still start this with what I would like to call setting the tone, which is she's in her groove. She's in, you know, this is start of a start of its own arc, if you will, you know, she's in her groove. This is how the things have been going for the past couple months. We are about to encounter the end of the world.
00:21:48
Speaker
We are ramping up to that, but this has been the training regimen. This has been how Taylor interacts with the team. This has been, you know, this is what it looks like getting ready for the end of the world. And I still think you can keep that, that tension, but without, I don't know, detracting from the fact that they, they beat, they beat behemoth.
00:22:16
Speaker
And they saw, so essentially Sion beat Behemoth at the end, you know? um But like all of this is kind of also ramped up. This shows that like, you know, Taylor has beaten some, but Sion has also done a lot. Like we we saw Sion, you know, fight back Leviathan essentially, and then beat, you know, finish off Behemoth. So like we're reinforcing that with each season. And then we get to this last season where you're right, we are playing a greatest hits kind of, but, um,
00:22:47
Speaker
Yeah, I just, I think that we, I think we've already set the tone in all the others for this. So like, why not have behemoth BR win and to start this off at ground level again, this is the barbecue. This is, you know, abducting Sophia. This is, I don't feel like this is really out of place for our audience with what we'd be doing on an opening episode.
00:23:12
Speaker
Yeah, maybe I'm overthinking it. i I do. It just it sits too strongly in my mind to to open on another end bringer. But I mean, we could, you know, you could cut all three of the new end bringers if you wanted to and just open on, uh, on the slaughterhouse nine or something to that effect. Maybe, maybe the ending of the season is not Taylor focused. Maybe it's a little passing kind of touching on the interlude for 25. Um, you know, maybe we, so but maybe we see Jack awake, you know, or something to that effect. Um, you know,
00:23:49
Speaker
You could do it that way too. and maybe just kind of the I'm getting kind of stuck on the end bringers because i I really, really like the undertones for what they represent and why they exist in the first place. um and i And I've been theorizing in ways to sort of sell that throughout the series. We haven't really touched on too much.
00:24:09
Speaker
um So I want that to, if we, depending on how we want to do that, I want to make sure we we give it the attention it needs, because there's this, essentially throughout Worm, Taylor gets to see herself, we've talked about this, paralleled in a lot of other characters, namely ah Amy, ah Colin,
00:24:32
Speaker
a clock blocker, the the the wards in general, but like clock blockers. She compares herself and draws on inspiration from Bakata and Long and Jack Slash. Right, but I'm talking more like ah characters that parallel aspects of her individual arc and journey and like essentially different branches of things she could have done, could have ended up this way, could have gone this way. She sees in herself like elements of these characters um And a big one is Eidolon, both thematically, the fact that they they have the same shard from from the entities. um And just being like this concept that that they have to be the ones to save the day is is evident in both of them.
00:25:20
Speaker
um And this builds beautifully to Eidolon's failure, right? And I want that to hit, like in my mind, it is just this gorgeous, beautiful moment. ah I worry that it would ever come across that well on television as a skeptic in me.
00:25:39
Speaker
um yeah But if it can, then we need to make sure we we do the end bringers correctly. um And so I am getting hung up on that a bit, but I'm fine to sort of revisit that as we come back and tweak it. um I don't think I'll be a little persistent. I don't think we should start a new season with a new end bringer if they're not hinted at in the last one. It feels it just feels like It just feels way too much like, okay, we're just doing the end bringers again. And now this one's got a new gimmick. Yeah. yeah i I think, I think if the goal is to show how tired, you know, not just Taylor, but everybody is, I think we could still do that, but I don't think that we are going to be able to
00:26:34
Speaker
ah I don't think that fits thematically where where we are going with the show. Um, and I, do just because of pacing, um, I don't think you'd be able, unless we did worm as a mini series. Cause I think of, you know, other shows that are like this would be band of brothers. Like unless you kind of did a band of brother style where it's one long arc. I don't really see this having the.
00:27:06
Speaker
Uh, you can't go from one season to the other showing that exhaustion continuously.
Depicting Exhaustion and Tension
00:27:13
Speaker
Like just by the fact that even the audience gets a chance to breathe in between. yeah Um, even if you left it with, you know, on the last season being like, Oh my gosh, you know, a new end bringer has shown up, bump, bump, bump. And that's the end of the season.
00:27:32
Speaker
And then you start season the next season with them just exhausted from fighting all these new Edinburgh. Just kind of feels weird. um That you would leave off on that and start the next one with that.
00:27:47
Speaker
It's definitely tricky, but I i do think that is, because like it in my opinion, that that is a brilliant story. So one thing that I hate about modern television, a lot of modern television right now, especially post streaming revolution, is that television shows are being shot and filmed and released as if each season is a full-contained story and the next season is its own full-contained story because everything is is only is only renewed a season at a time. So the directors and writers are working under the constraints that, oh, this could be canceled next season.
00:28:29
Speaker
It's gonna be three years, we might have new actors, contracts might be rewritten, who knows? And we were left with this really, really awkward pacing issue in television these days where ah seasons have to be essentially fully contained and and they'll have cliffhangers and stuff right in case they get renewed. But for the most part, audiences are now expecting 10 episodes every two to three years of their favorite show.
00:28:58
Speaker
And they're getting comfortable with if we don't get another season, it's going to suck. But hey, at least I had seasons one and two or maybe just one. Right. And I i really, really hate that because I think back to a lot of like the old pinnacles of television.
Overarching Narratives in TV Series
00:29:16
Speaker
that ah that really wrote for series long arcs. And my go-to example, I brought it up before, regardless of what you think of the ending, um but Lost I think does this beautifully. There is this undercurrent in Lost,
00:29:34
Speaker
pun intended, that is just um evident and prevails through all six seasons. And you are not happy until, or you know mad if you didn't if you didn't like the ending, I like the ending, but you're not happy you're not you're not satisfied until the series ends. And I think this is true of of really good television. Breaking Bad, I think i think does this very well.
00:29:58
Speaker
um I was the other one I was just thinking of the other day. um Oh, slip in my mind. I had a a list of of old shows that I really liked. Breaking Bad's not old, but you get my point. Yeah. I mean, I'm going back to, like, I'm, I'm thinking of right now, uh, you know, the difference in terms of how you talk about things are written now as the difference between, uh, Avatar and Korra. Great example. Yeah, great, great, great example. Um, and obviously,
00:30:29
Speaker
you know, avatar overall has just yeah such better, uh, such a better story because it's three seasons that were given upfront. Um, yeah and for it, you know, season one,
00:30:48
Speaker
I honestly, it's if we're, you know, comparing it to the way we we're pacing this season ones, then the Leviathan fight, you know, we get all the way to the big, you know, water battle. They're invading. Oh, they push them back, but we know they're going to continue their journey, but that's sort of a happy ending. It's a victory. You know, you know that the fire nation is still out there. You know, their troubles aren't over, but I still got to go. Then you have the second one.
00:31:17
Speaker
Uh, which is a little bit different because it is very much the, uh, the middle story in a trilogy. We'll say, you know, it's your two towers. It's your empire strikes back a much bigger cliffhanger ending where the bad guys essentially when, um, yeah. And, you know, not too far off from.
00:31:38
Speaker
Uh, the slaughterhouse nine where, you know, a lot of bad stuff happens, but you know, this would be if the slaughterhouse nine stuck around and all the heroes, then everybody had to go in hiding, I guess. Um, which, you know, to be fair, this is actually probably closer to if we ended a season with coil dying and him being like, ah, but you've got a kid that a deal with.
00:32:04
Speaker
You know, and then her screaming in the background like that actually would probably be a closer parallel. um But then, you know, it's. While that does prompt a lot more because it is a cliffhanger ending. um I don't know, I just I don't think that just because something has its arc makes itself contained.
00:32:32
Speaker
um
00:32:35
Speaker
Well, just to, just to use a couple more examples of, of specifically in this case, we're talking about like ending on wins versus losses and you know a sense of hope or, or dread, you know? Yeah. Also, I think ending on a definitive win and a definitive loss is more to my point rather than Kansu showing up and then like, this would be, Oh, we, we fought, uh,
00:33:03
Speaker
We fought, but honestly, if we fought Behemoth to a standstill here again, like at this point in the story, yeah, that would be okay. But like, you'd have to play that up in some way that makes it feel like a win still. Like, we can't be pulling that like Leviathan, like we did in season one. It just wouldn't sit right for people.
00:33:30
Speaker
Yeah. I mean, well, they destroy him. I mean, the, the win is that behemoth is dead. that That's what I'm saying is, but we couldn't put, if we did it to a standstill again, we're like, oh, he was tunneled underground and you know, we just got to pick up the pieces. Like while that would be par for the course, you know, in terms of, uh, fighting because truthfully the only definitive win they've ever had is against Echidna.
00:33:58
Speaker
Yeah. You know, cause Leviathan flees slaughterhouse nine gets away, you know, the core members get away. Um, you know, yeah and then we, you know, we come to deal with behemoth and behemoth, you know, we finally kill. If behemoth had gotten away, it wouldn't feel out of place. Um, but I think if you're in a fourth season of a show,
00:34:24
Speaker
Actually, now that I'm thinking about it, other than, other than I think the important thing is to show, number one, there is a slight blip of hope if they work together foreshadowing Taylor and, uh, the.
00:34:42
Speaker
Like Sion absolutely blasting behemoth away showing Sion's power. Um, other than that being a great setup for the next season showdown.
00:34:56
Speaker
ah You could have Behemoth get away and make this feel you know kind of shitty, but we survived, at least most of us. Yeah, no, I really like Behemoth dying. I think this is, because here's the thing. Remember, they're not expecting to kill him. They're like throwing everything they have at him. This massive blast that can level continents. And he's still standing a bit, skeletonly. Like they're fucked. Like they're not expecting to win. Even getting as much damage as they did was, you know, unexpected.
00:35:34
Speaker
They're just, it's this desperation. It's this final, final attempt, like, you know, screaming into the void and trying to draw some blood. And then Sion comes in, saves the day as normal, except this time, Sion destroys Behemoth. And it's like this moment of shock.
00:35:58
Speaker
It's you know kind of like the whole Joker is like a dog chasing cars. We don't know what to do when you caught it. like you know it's It's this really crazy moment where we do get this, I mean, a lot of death, a lot of destruction as part for the course, but it's this incredible moment where for once the good guys, quote unquote, win and the evil thing is destroyed.
00:36:28
Speaker
But that's not what the shards want. That's not what the entities want. This was not supposed to happen. And we get a taste of that as the season ends with, if i I like the idea of constancy if you don't like that, that's fine, but it has to be something. It has to be Jack waking up. It has to be something there that's reminding everybody that victory is not an option. Yeah. Yeah. Also as a quick correction for those of you, I know it's been a while and people have already commented, but just to let people know, I'm sure Jacob knew the Taylor and, uh, Eidolon do not have the exact same shard. They just have the comparable shards from the two entities. So I'd have to look it up again. Well, right. Cause I mean, Eidolon has, has Eden's shard and yes, yes. Eidolon has Eden's
00:37:26
Speaker
high priest. Well, uh, glass to you when he calls, calls him the, uh, yeah, the high priest or something like that priest and Taylor's queen administrator, queen and mr which are the same. It's the same shard, uh, or it's the same shard fragment, essentially the same role That's the same role I was gonna say it's not the same shard fragments just the same role is the same role that the shard plays in the respective entity or the whatever the warrior and. the
00:38:00
Speaker
i forget when It's not I know Eden is the defender what yeah forget what what her entity name is. and Yeah. Thank you. Yeah. Comments. I'm sure have already been e been posted. and Yeah. I thought about that. Then I was like, no, he's cooking. Got to let him cook. yeah Yeah. But also I know that. No, I mean, this is this is the tricky stuff. This is where and we're really kind of getting into the weeds of of where I think.
00:38:26
Speaker
why I think this adaptation is so much fun to talk about, because you're talking about where the strengths of of worm can shine, what the limitations of of a television series ah means for the story. That's the thing, it's sort of understood, but just to sort of state it out loud, adaptations are not about expanding on the story, it's about limiting the story. An adaptation is a limited version of the story.
00:38:56
Speaker
that you are telling and you are limited by the medium in which you're telling it. And so it's taking the story saying, Hey, we want to put these constraints on the story. How does that change? What happens? Um, so yeah, it's, it's, how would be I would, make it shine I would say that this is like, this is like taking a, a jug, a gallon jug,
00:39:23
Speaker
which is very you know very nice and very full and pouring it into a beaker. um It's a different shape entirely and it can only hold so much until it overflows. But um in my in my head, it's not a beaker. It's like one of those yard sticks you know with the big bendy straw where the potential for this because it's a completely different shape than the gallon jug and it can't hold a full gallon. It can only hold, you know, half a gallon, but ah it's still, it's going to be a completely different shape and you know, it has the potential to be taller. Whatever that represents. Like it has, it has the ability to exceed the original story in ways that
00:40:18
Speaker
the you know a serial could never, because it's a serial, you know, whether that's just the visual aspect, you know, the, yeah ah but you know, when you're seeing things, when you're hearing the character say them, there are elements to it that it, like, you just can't get because it's words on a screen.
00:40:41
Speaker
You know, it's character as opposed to live actors or even animation, you know, showing just brilliant colors. Like, but at the same time, it's, it's a different volume metric as well. It's not going to be able to hold all of that. Um, some of it's going to spill over and it's going to get a little bit messy, but the hope is that you're pouring it into a shape that is interesting.
00:41:11
Speaker
and fun and does exceed the height of the other one ah because it's not going to be able to exceed its volume. Yeah, no, I like that analogy. I think that works pretty well.
00:41:23
Speaker
i I like the idea, so and an adapted story is a different story. And I don't think we know that to put ourselves up on this pedestal. um No, but I think a lot of people expect an adaptation to be like a one for one retelling of their story, just in a different framing, right? Movie, television.
00:41:51
Speaker
But everybody said that is that is my dad for every ah comic book movie. Right. It's not true to like Golden Age comics. Yeah. And then absolutely. not yeah He just will not have it.
00:42:06
Speaker
um And that's just as its just not true. That's not what it is. An adaptation is not a retelling of a story. An adaptation is a new story. It is a new story ah rooted in an existing story and building off of that. And ah and and a good adaptation does not forget that.
00:42:24
Speaker
you know a good adaptation is going to know where it's coming from and use the strengths of what it's coming from to to look at like a recent really bad adaptation.
Adaptation Critiques - Halo Example
00:42:34
Speaker
Anyone who suffered through the Halo TV series on Paramount Plus, um i couldn't I barely made it through the first season.
00:42:42
Speaker
but Really bad adaptation and the creators were very upfront that they were said, hey, we wanted to tell a different story. We didn't want to tell a story. We didn't really like the original Halo story. We're going to tell our own story. And when that's the attitude, what you get is dog shit because You could tell a fine sci-fi story. In fact, strip the Halo you know imagery from their series. And it's probably decent. I don't i still don't think it was great, but like it's probably received better if it was like an original written story. yeah no There's tons of those where they're just like, why did you call this?
00:43:21
Speaker
exactly Well, why did you call it this? And I mean, ah the obvious answer is it's recognizable IP, which is why they did it. Yeah. Yeah. It's the money grab. But yeah, no, there's a ton of stories. I'm trying to think of another one. It's actually a little ah behind the scenes for anyone who wants to know how Hollywood works. So you have the, uh, it's called the blacklist.
00:43:40
Speaker
which is the Blacklist is in Hollywood is the is the script sort of list of all potential screenplays. And if your script makes the Blacklist, that's a big freaking deal because that's the list that all every all the studios pull from for the movies they want to make.
00:43:55
Speaker
The exception being if you're ah you know Christopher Nolan or you know who writes your own scripts, that's the only only difference. But for the most part, list makes that your script makes that list, good sign. However, what studios will do is they'll pull a script and then say... Because once you sell it... like What's on the blacklist? it's It's up for market. It's not yours anymore. Hands off.
00:44:14
Speaker
They'll pull the script and say, oh, this script is good. ah But no one's going to watch this sci-fi thriller. Let's slap the Halo logo on it and see what happens. And then bada boom, bada bing. You get your your terrible ripoff. That's how a lot of these shows are made. And it's super sad. The the I was going to say I was just ah learning about the opposite of that, which was um the you know from I finished a video game shout out to that channel talking about how ah they were making another Prince of Persia game way back in the day but um they felt like you know the series was kind of not didn't have its star power and they were like you know what we're just gonna kind of go off and instead of making a
00:45:02
Speaker
Prince of Persia Assassin, we will make our own separate thing away from that world. And that's how we got Assassin's Creed. Oh, yeah. Sort of cool. Sort of that, that which, you know, of course, massive gang massive gangbusters ah and.
00:45:19
Speaker
And yeah, I just think that that's that in reverse. Yeah, yeah, pretty much. You know, I don't blame people who want who, you know,
00:45:30
Speaker
throw the IP on top of an existing script. um I think that's fine because that's what you have, like, that's just what you have to do to get those made sometimes. The point that you need to do is just make sure that it's written well. Yeah. I mean, obviously if it it falls back on, which she gets sometimes ah from what I have heard from people in the industry, it's producers that fuck that up.
00:46:01
Speaker
It is, man, this is a great script. ah We're going with this direction. And one of the producers goes, Hmm, we need to have this in there. And you go, Oh, that doesn't make any sense. Yeah. And, you know, one of my big gripes is I think the Mario movie that came out recently was soulless. And while there's a lot of good stuff to be had in it, one of which would have been that there is an entire original soundtrack made for that movie. And as far as I am aware, at the last moment, they pulled half of those songs out and replaced them with like pop songs.
00:46:47
Speaker
You know, it was like thunderstruck at the beginning. But that movie had an entire had an entire soundtrack that was original that was, you know, kind of used the old Mario songs and incorporated them into the movie. And they scrapped about half of those. Yeah. Even though they were already made, even though the movie was already made, scrapped it in favor of. Other stuff.
00:47:13
Speaker
Yeah, and oftentimes it is producer interference that's going to get in the way. Oftentimes it is just a, it is um it's a missed cast, if you want to use the term, team of writers. I think Witcher got a lot of flack for this when you had a couple of the writers come out and just say that they straight up did not like the books or the games. And it's like, well, but no wonder your script's going to suck. you Like, what are you doing?
00:47:36
Speaker
you're yeah You're writing an an adaptation of a story you don't like. You think they're not going to make changes? you know so like is It's very much a ah you know it's a whole effort to to make something good. um and We've gotten a bit off track. but you know i think i mean I think this is good to talk about because like I for the past couple of things, I have approximately one, two notes for this entire chapter and the rest is big
Big-Picture Planning in Story Progression
00:48:02
Speaker
picture. Because I think that we're just at that point that ah this is This is all big picture stuff. We are coming to the end and we have our rhythm for how we're talking about this. I enjoy talking about these things, just the products process of adaptation. Because I think most people who listen to this have considered how they would change things in worm um and to talk about why certain things don't work specifically for the adaptation of television and
00:48:32
Speaker
ah film is what makes this a unique podcast. And that's why we keep you around Jacob and pay you all the the big Patreon bucks because yeah they all go right to me. Yep. Right to the pizza account from because you have that special insight.
00:48:54
Speaker
Yeah, no, I mean, I love adaptation. That's why we started this whole thing was like, and we were like, I just love talking about adaptations. And I credit that to my love for theater, ah musical theater, and and straight plays alike. um Because theater is the ultimate adaptation test, in my opinion. It is the most constrictive medium uh you're dealing with a stage you got one set one angle live performances uh no cgi no animation you're it's like as bare bones as you can get and if you can adapt a story to the stage and make it work then it was a goddamn good fucking story and uh
00:49:38
Speaker
I cannot wait, there's a Lord of the Rings musical that's about to make its way over here stateside from England. what And I am so excited. I mean, without going too much into that, like, of course there's so much music into it. And all they would have to do is remake Rankin Bass's Hobbit.
00:49:57
Speaker
Like they're supposed to. that is that That's kind of the vibe they go for. It's a it's a very, very condensed. The little bit of... I better hear a beards a wagon and tra-la-la-lally going on. I don't hear the greatest venture open up.
00:50:14
Speaker
Yeah, but exactly. like And it's just fun. it's just I love seeing how things are adapted to stage. And I think that's kind of always sparked my interest in adaptations in general. um Because i I love telling stories. I think it's really fun to see stories told in unique ways. and seeing You and I, of course, will eventually have the musical slash stage production adaptation talk.
00:50:37
Speaker
on this podcast, you know, maybe actually but I'm already thinking like, man, you just have all the battles off stage or the stage being them hiding behind something and talking real quick and then running back off stage to do whatever their plan was like.
00:51:01
Speaker
Oh, I mean, we are so, I've watched so many shows, I've seen so much professional theater, and I am still blown away by the amount of creativity that these teams have. Let's go, I'm gonna go a little tangent. Enjoy it, I don't care. Go off. It's our podcast. So I've recently, a few months ago. Go off, Queen Administrator. Actually, this is like last year, I saw Back to the Future on Broadway.
00:51:28
Speaker
Let me ask you a question. If you're not familiar with the show, how do you think they do the DeLorean? How do you think they do the time travel on stage? Okay. ah Honest to God, since I have seen the Jenny Nicholson video where that one Canadian church does their Easter play.
00:51:47
Speaker
there y' ah So, so already ah they bring a DeLorean onto the stage. They have the pyrotechnic tracks and they just roll the car across and light those tracks on fire. And that is just how you do it. Or, or, um, do you have a background that can, you are, you are, uh, column A and column B here. So it's because i'm about to say if there's a background, the car faces forward.
00:52:19
Speaker
or a car set of some kind faces forward and you have a bunch of people with streamers on a like a bluish blackish background, you know, a black background like like blue and white streamers yeah that like shake them so that it's like going into hyperspace, but facing the audience.
00:52:36
Speaker
Right. I see. I like that. That's that's good. that's your good i That's pretty good. Like low budget option. I think that worked pretty well. as I was wondering like how, uh, effect heavy. I guess I should ask. Yeah. They go a little effect heavy more than, more than a lot of shows I do, but you seen, but you've, um, but you've kind of hinted at it. It's a, it's a RC car.
00:52:59
Speaker
almost full size, it's not quite, comes out, they get in, the car starts ah car starts driving, the background goes into a projection, a rear projection of like the street. And it's time to match with the car. So that as the car is, quote, speeding up, even though it's just driving in place, the background is moving to give the illusion that the car is driving.
00:53:24
Speaker
And then as the lights are flashing, fire pyrotechnics across the floor and the car is gone, like that kind of thing. Oh, it is. It is the coolest thing. The music kind of it's whatever the car effects are phenomenal. And then, of course, at the end, right, where we're going roads, where we're going, we don't need roads.
00:53:46
Speaker
They just freaking robo-armed the car up into the air. It's flipping around. like The fact that they made it work, all this to say, it was incredible seeing Back to the Future brought to stage convincingly. and it's like it was It was incredible. I have no doubt that a talented team of Broadway artists and set designers could absolutely bring you like Leviathan sinking Brockton Bay and it would look amazing. I don't know how they do it. I have no idea how they do it, but they could.
00:54:22
Speaker
Those guys are, are in in a league of their own. They want you to go see some theater. my play Yeah. We need that. We need, we really do need to talk about this in its own special podcast you so do separate. We'll get to that. How about we come back to this episode? yeah This is let's, let's start kind of as is off of the back of them defeating the behemoth.
00:54:50
Speaker
That is our win for the end of the season. You know, with a little bit of epilogue, we are moving into this chapter by chapter. What are your thoughts?
00:55:02
Speaker
I mean, a lot of this I would want to just keep ah with maybe just a few small tweaks, but a lot of the little things here, I really like these. There's a few moments that I but i certainly would want to keep.
Taylor and Theo's Training
00:55:13
Speaker
I really like her bit with the Chicago wards. We've talked about expanding them a bit ah in season four in general, which I think is good, but it would be kind of nice if if you know by this point we keep that we keep like her initiation in some form. ah you know I like that moment.
00:55:31
Speaker
Obviously the training with Taylor and Theo, I think is really important. um Not like a training montage, but that you're showing ah you know just them working together as like they're the only two people in the room that knows what's coming, that kind of thing. um I think that kind of stuff is pretty important. ah Moving through the chapters,
00:55:53
Speaker
obviously depends on what we want to do with Kansu that could work a little differently. Um, and then, Oh, Oh, this is my only, only big note I have is on the interlude. Do you want to just kind of you mind if I go jump to there or do you want to fill in some gaps there? No, no, no, no. Uh, you jump into it. Cause I'll give my quick thoughts on this after you're done. Um, so I had a thought about the interlude. We have kind of,
00:56:18
Speaker
kind of drifted away from talking about the Slaughterhouse Nine, while also saying that, oh, we'd want them a bit more present throughout these seasons. Like we've talked about, ah you know, um Defiant and Dragon hunting them down during season three, that kind of thing, right? Highlighting, like killing Manton, killing all, you know, all that kind of stuff.
00:56:39
Speaker
i I really like that. And I think that season three ends with this interlude, part of this interlude, ah especially just putting Jack in stasis at the end of yeah season three. I think that's a great idea. Yeah.
00:56:54
Speaker
and then so that kind of that kind of wraps a little bow on the slaughterhouse nine for the time being but obviously everybody's aware that stuff is coming up and then at the end of season four or beginning of season five wherever you want you want to place it um you revisit that now, and the obvious time that's passed, and then you have Jack waking up. But you keep most of the interlude as is, you're just sort of splitting it and placing it in different parts of the series. Yeah, yeah. No, I like that you put the, I like what you said, you put it at the end of what, season season three?
Splitting Interludes Across Seasons
00:57:33
Speaker
I think it's three. So you put at the end of season three, goes into stasis, sees in the middle of season four,
00:57:40
Speaker
Or no, no, just we'll do the end of season for the post credit scene, if you will. Yeah, sure. Is bone saw working. And then we just see all the tubes or something like that. Yeah. Or yeah. Yeah. We see all the tubes season. And then then this opens with if we wanted to split it into different things, we could even do it in the first episode.
00:58:07
Speaker
ah Would be the ideal place to do it is you just split up the first episode with a lot of her doing her daily in and outs Because well I would kind of be skipping a little bit of time here as well um yeah, you know not a not a whole thing but ah showing Yeah, just showing her do her little thing and then you know and the episode with them waking up. I I like I man okay this is what i talk like There's so much to play around with here. There's so many things I could talk about. in the mic just a little like i'm getting I'm getting excited. got excited yeah yeah yeah That's what happens. There's so many ways to to talk about this and and ideas to work through. like You could even cold open season five with Bonesaw.
00:58:57
Speaker
doing like a passage of time, ah watching over the nine, creating clones. You do a little like speed up time lapse thing, right? Of her like running around, ah you know, little bits here and there visibly getting older, um that kind of thing. You could easily do that. And there is your time skip. And you just play the time skip through bone saw, essentially. ah And then end with,
00:59:25
Speaker
you know, either if you want to kind of put it there or put it maybe somewhere else in the episode and the episode with her waking up, Jack, you know? Yeah. Yeah. The ways you could get around that. That's all I got. I don't have a lot of notes for the arc itself because I really like a lot of the moments in the arc. I wouldn't, and it would, it's just kind of like, where do you place them? You know? Yeah. I okay. So here's, here's what I'm thinking. Like I said, we set this, we start this off with, um,
00:59:55
Speaker
ah kind of these are the same things but jumbled up. So I think we start this with ah Taylor we kind of skip Taylor broadcasting the meeting. We just have her you know, so maybe still in jail or maybe we just jump. I kind of like the idea of just jumping to straight with her working out with the Chicago wards, her running like we open with her running with Theo. Working out doing the training. Other people watching them and Taylor just kind of being this hard ass to you know versus everyone else as much as I would love to show the initiation.
01:00:42
Speaker
um
01:00:45
Speaker
It feels and And we could absolutely do it. Um, but, and I think would that be a perfect time to break it up with bone. So, but I like the idea of sure, starting off training with Theo, um, maybe going into the stakeout. Uh, and then, and, and obviously I think this would be ah other good points to bring up would be maybe cutting back to the undersiders. Um, yeah.
01:01:17
Speaker
a little bit because they're going to come up in the next arc. So, um, yeah no, that's a really good idea. So cutting back, you know, we've got bone saw, we've got the undersiders, heck, we can always go back to weld. We can always go, back yeah we can always go to Yamada, you know, uh, Taylor on her stakeout. Um, Taylor, uh, you know, them doing the, the yeah, the stakeout fight. I think that's perfect, especially showing her like,
01:01:46
Speaker
ah maybe make that less of an, in you know, a fight to show off Taylor, uh, her, her abilities to start. And more so that she has worked with this team long enough that she has coached them to an effective fighting force. Like don't have her team fuck this up in any way. Like they ruin these people. Um,
01:02:15
Speaker
Which I mean, which they do, but it's, you know, there's a little bit of the, her pulling up stuff out of her ass on the fly. And I think we just show her and her crew, you know, beat them basically no contact almost, you know, they just get them out in the cold. Yeah. Yeah.
01:02:34
Speaker
That's him just to show she's been working with them. She's working with Theo. She's been working with these wards. She's good and have we we can have the conversations with her and Theo about him being nervous about this fight. And she's like, like, if you think you're fighting him alone, you're going to lose your mind. Like you're not the only one with a score to settle. um And.
01:02:55
Speaker
Uh, and also have, you know, conversations with other people have the conversations where like she's constantly being dragged in to talk with the directors, you know, um, you know, the, the TV, the TV spotlight, uh, you know, where they have to go on the daytime talk show. That's another perfect one. Um,
01:03:19
Speaker
ah You know, you just change what the conversation is about, you know, it doesn't have to be about the behemoth thing necessarily. Or if they do talk about the behemoth thing, we talk that that was like a month ago, you know, or however long.
01:03:33
Speaker
um
01:03:36
Speaker
I think. eventual I do think that even with Kansu, the sudden like Contessa showing up is oddly jarring.
01:03:50
Speaker
Um, oh, right. But I think would be a great ending to this episode that yeah, we don't make it about fighting. And once again, this all hinges on what is the battle. And I think if we make the battle Jack slash instead of the new end bringers, I think it makes sense as to the lack of urgency, maybe, but we have Taylor, you know, we're kind of skipping weeks, months in this episode as everybody's catching up. What are they doing with their daily lives? And at the end of the episode, Taylor gets inducted into the protectorate.
01:04:45
Speaker
Um, and even honestly, this, if you wanted to do her getting inducted to the protectorate with a couple of heroes that she hasn't met yet and have them do the prank. Like who that'd be a perfect time, especially, especially, and this wouldn't make any sense. So, you know, just hear me out. Um, especially if you have like clock blocker there, cause I'm a sucker for clock blocker, but more so that he's a prankster type.
01:05:14
Speaker
that like, you know, obviously you keep Campanile or somebody, pick somebody she hasn't met yet in person. yeah And, you know, she's just looking at the massive dong and then she gets in there and there's, you know, whose idea was it? It was Dennis's idea. Yeah. Yeah. Cause of course it would be. Uh, no, it's funny. And then of course maybe some of the older protectorate come in and they, you know, everybody's like,
01:05:41
Speaker
you know, throwing stuff in drawers real quick. And they're like, Oh, Hey, you know, Hey, miss militia. How's it going? Right. Right. How's it? How's it hanging? Oh, and somebody punches Dennis in the shoulder. Yeah. Um, yeah. Uh, but you know, welcome, you know, now you're up from the wards, you know, you are, you'll still be working with them obviously, but you know, you're protectorate now. She's like, yeah, I get it. Like,
01:06:10
Speaker
ah And then she goes to sleep and her like that's the end of the episode. As she lays down to go to sleep, she wakes up and the Contessa is over her. And that's the end of the episode. End of the episode, i I do like that. I like that ending. Yeah, it essentially Contessa black bagging her or however you want to have it.
Cauldron's Methods and Moral Dilemmas
01:06:31
Speaker
And then then you can open up the next episode with them essentially stressing Hey, the end of the world is coming up. yeah and And Taylor having this moment where she's like, i've you know I've never had a personal beef against Cauldron, but I do have a personal beef against anybody that I don't like.
01:06:55
Speaker
you know yeah yeah Anybody that I feel is a bad guy and I feel like you guys are a bad guy. um But to have her get dragged into that,
01:07:06
Speaker
Uh, and to have her have the conversation where like the car, ah what is it? Not Ash beast, um, more nog, um, that the conversation there is, Hey, when the end comes, can we count on you for support? And of course there goes the bargaining of like, I'm going to need 50,000 lives. And they're like, done. And, you know, Chevalier's like, whoa, that's, you know,
01:07:33
Speaker
ah We can't be a part of this. And like Taylor sitting there like, Oh, that is my boss. But I'm standing over here with the undersiders and I get what they're doing. Like, yeah. yeah and But anyways, but, but at the same time, like she doesn't like being part of cauldron. But she comes to realize like, Oh, what is cauldron about? Cauldron is about doing whatever's necessary to win, which is a great thesis for the, you know, for the season, what does it take to survive? You know, what does it take to win? Um, and especially if we put her in, she's conflicted about working with Cauldron. She doesn't like it, but she kind of gets it to ultimately, Oh, she would have very easily done everything that Cauldron did it, you know, o and more as we say.
01:08:35
Speaker
Yeah. Yeah. Yeah. I like it. I agree. Trying to think of what else we would move around here. there I mean, there's a lot to put in an episode or two.
01:08:51
Speaker
Mm hmm. I mean, yeah, you i mean this stuff can stretch a lot. We can move stuff to the next episode. um yeah Yeah, I think especially because we are putting this this is what most of this is likely going to be the start of season five and we're still kind of I'm like, at least me, I'm mentally kind of wrapping up season four. So it's a lot of it's a little bit of like, OK, I definitely want to read the next arc and figure out kind of where these pieces are going to fall.
01:09:17
Speaker
Exactly. But I think like most of this is just going to be first first two episodes of season of season five. Yeah. Another thing that I'd like to do is if we do take out the other endbringers, I think having.
01:09:34
Speaker
Uh, showing like they, they talk about, you know, watching the Simmerg attack an airplane and there's nothing that they can really do. I think that's a great point to show Taylor watching that happen. And, you know, the leg bouncing up and down of like, you can't do everything. And her being like the end bringer attacks have only gotten more aggressive, but now they don't hang around the like hit and run. They're like smaller targets, but it's, you know,
01:10:03
Speaker
they're still killing, they're killing more non-powered people and we're just not able to keep up with them now. you know we We're not driving them back, they're choosing to retreat like before we can even get there, like to show that the end bringers aren't a finished threat. If anything, the Simurg has gotten way more aggressive And the Leviathan, it seems to have gotten way more smart about picking targets. um You know, we could have like, oh, yeah, it came in, hit like a, ah you know, a nuclear power plant, essentially, like flooded way inland, hit a nuclear power plant and knocked out power to an entire seaboard. Like, yeah. um Yeah, I think I think you could keep up with the. At the very least, Taylor's feeling of
01:10:59
Speaker
we beat them, but this hasn't gotten better. who And, and with the amount of time that's passed and how quickly ah they do, like, this would also make sense as to why Taylor's still alive, even though she likes to go to all the Underbringer events. Yeah. Right. Yeah. So. um No, this is good. This is good stuff. A lot of, um, I think I have a feeling this will be,
01:11:30
Speaker
A bit of ah of an ending and and beginning that we'll revisit a bit. I think this is probably the hardest one we've had to do so far. A lot of the other season endings kind of fall into place. The first three really do sort of fall into place kind of neatly, even if we are adjusting some smaller things. but But this one is a bit harder to sort of just nail down because it's the penultimate ending. We want this to work well so that going into the final season, the audience is on board. And that's hard to do. So I feel like we'll probably revisit it a bit. We'll kind of get things settled in. I have a feeling a lot of people are going to have some pretty good thoughts. I'm really looking forward to hearing what people
01:12:11
Speaker
have to say what they think about it in terms of ah their ideas for for changes and things like that. It'd be a fun one. Let us know, please. And then obviously we'll have to touch base with Nick and Hannah during our season four recap, see if they have any final thoughts. Yeah. Yeah.
01:12:33
Speaker
Yes, indeed. I'll give you the floral more time, Alan, if you got anything. I think I'm all done, but if you got anything else to add. I think I'm all done too. I think we've gone over, I think a lot of this, like you said, hinges on the next arc. Yeah. And a bit. We're going to work on that. All right. Well, with that being said, thanks to everyone for listening. This has been A lot of fun. This was a good episode. A lot of back and forth. We're not seeing as eye-to-eye as we often do, so that's always fun. Let us know your thoughts. How would you end Season 4? How would you fit in Arc 25 to the rest of the series that we're kind of building here? um What do you think of the endbringers? Do you think that's too much? Too many endbringers? Not enough endbringers? Should we double them? Are you pro Slaughterhouse 9000 or anti Slaughterhouse 9000? What about this time skip?
01:13:22
Speaker
Man, there's a lot to work with. Give us your thoughts. Let us know. Leave some comments. We absolutely love reading them. And if you want to reach out to us ah more personally, join our Patreon and join our Discord. Our patrons get some fun channels. They get to ask us questions directly, interact with us on a bit more consistent basis, and share some dope ass memes that they make along the way.
01:13:45
Speaker
ah We have a lot of fun over there. ah So if that's interesting interesting to you and you want to continue these conversations of adaptations, that is the best way to do it because we are ah interacting frequently over there. So come on by, do a lot of fun. We enjoy having some pizza parties with everybody and we'd love for you to join us.
01:14:03
Speaker
And until next time, stay tuned for the regular episodes for Brockton Bay Book Club. We're going into Arc 26. And the next episode of Dissecting Worm will be our season four recap with guest stars Nick and Hannah. So stay tuned for that. That's going to be a lot of fun. A lot to get into. And until next time, as always, thank you, Alan. Thank you, Michael. But take that, you worms.