Showing posts with label theory. Show all posts
Showing posts with label theory. Show all posts

Saturday, April 07, 2018

ATLANTA: "Teddy Perkins": What the faduck?

I'm gonna outline how I think the mechanics of this amazing slice of gothic horror worked. A (hopefully) straightforward-ish explanation of what people did when and why. If you haven't watched the episode yet, stop reading now, for beyond this paragraph, there be spoilers!~



My take is based on two big asks, the true identities and relationship between "Teddy" and "Benny."

1. The man who introduces himself as Theodore "Teddy" Perkins is actually Benny Hope. There has never been a "Teddy" apart from this alias of Benny's. Darius is basically correct that Benny created the "Teddy" persona to cover up/deny what he did to himself—and what happened to him—as Benny. Sometimes, Benny himself forgets that he's Benny, turning his cover into a genuine delusion.

2. "Benny," the man in the wheelchair who shows up at the end of the episode, is actually Benny's father. I like to think that he's actually Benny, Sr. and "Teddy" is Benny, Jr., which helps explain why "Teddy" without hesitation says, "Benny! You're alive!" when he rolls out of the elevator.
Of course, it could simply be the delusion.


What happened…

1. "Teddy" kills "Benny" a short time before Darius arrives. Benny stabs his father in the gut while he's in his wheelchair in the upstairs piano room. Darius's arrival apparently interrupts his clean-up of the scene. 
2. When "Teddy" explains to Darius that he doesn't have a butler, he plays back his reminders. "Wash your hands…immediately," is a reminder to clean his father's blood from them. 
3. When "Teddy" goes wandering off after that, Darius can't stand to remain in the room with the crack'd Owl's Casket. So he goes wandering as well. We then see that "Teddy" has the mansion wired for video, and can see and track a visitor's movements throughout his home. 
4. Eventually Darius follows the sound of piano music upstairs to the piano room. "Teddy" keeps him from entering, but Darius can see a wheelchair set in front of the upright with colored keys. This clicks for Darius as matching the progression of photos in the hallway, which show Benny as he ages, the last one depicting him in a wheelchair and covered up against the sunlight.
Why was "Teddy" playing the piano when he should be focused on covering up his father's murder? Probably cuz he's bonkers. He doesn't record reminders for himself for nothing. =) 
5. "Teddy" shoos Darius away from the piano room, explaining that he'll see him downstairs with his glass of water, promising a mix of brands. This gives "Teddy" time to finish cleaning up the Piano room. 
5.a. This might be when "Teddy" moves his car. See also 7.a. 
6. After meeting up again in the gift shop, "Teddy" leads Darius to what will be his prized exhibit, a room dedicated to "Great Fathers." Featured center stage is a manakin or tailor's dummy dressed in a suit whom he calls his own father. This is when "Teddy" explains how his dad set he and his brother on a regimen at an early age to become not just good at piano, but good at life. 
6.a. I think that in "Teddy's" completed version of this exhibit, that manakin would be upholstered with his father's skin, or perhaps completely taxidermically replaced. =) 

 7. When Darius suggests they finally cut to the chase and close the colored keys deal, They return to the upstairs piano room. The wheelchair we saw earlier is gone. After "Teddy" leaves to turn on the elevator, Darius notices a drop of blood on one of the keys. "Teddy" missed a spot when cleaning up. 
7.a. This might be when "Teddy" moves his car. See also 5.a. 
8. Darius loads the piano onto the elevator and presses the button for the first floor. However, he ends up in the basement—"Fine, destiny." There he encounters "Benny" who is actually "Teddy," dressed exactly as we last saw him, but with the addition of a black hat, wrap, gloves, and a blue face mask/bandage that covers everything but his eyes and mouth. Darius sees through this charade, but plays along because, bonkers, remember? Without speaking, "Benny" communicates to Darius that Teddy will kill them both and that he needs Darius to get him a gun from the attic to protect himself. Darius plays along and tells "Benny" that once he moves his piano into his car, he'll be back with his gun. 
9. Darius rolls the piano out the front door only to find that his U-Haul has been blocked in by the Hopemobile. He goes back into the mansion to find "Teddy." He finds him reviewing some home movies of one of Benny's piano session with his abusive drill sergeant of a father. Darius explains that he's been blocked in. "Teddy" says that he'll move the car. I think at this point, "Teddy" might be fine letting Darius leave with the piano. However, Darius then asks to use the bathroom, which to "Teddy" sounds like an excuse to move around the house. "Teddy" was the one who chalked to Darius in the basement that a gun was in the attic, so he assumes that that is where Darius is heading. Now Darius is a potential evildoer-slash-enemy, whether he believes it was "Teddy" or Benny he spoke to in the wheelchair.
You can see the flick of the switch in "Teddy's" face when Darius asks about the bathroom. 
10. "Teddy" has Darius cuff himself to a chair in the foyer. This allows him to put down the gun and have some last words with Darius. His plan seems to be to kill Darius and stage things to frame him as a home invader who killed "Benny," his father. 
11. Darius may be the best possible person to stop this gothic clockwork. But even his grace is not enough. Just as "Teddy" denies Darius's beautiful notion of Stevie Wonder's seeing through music, the elevator arrives, revealing the real "Benny."
Donald Glover's "Teddy's" look of shock through the mask of his face is amazing.
"Benny" picks up the shotgun and kills "Teddy."
We know this is the real "Benny" and that he's been attacked by "Teddy" because although he does seem to be wearing exactly what "Teddy" was wearing when he appeared to Darius in the basement, his white shirt is soaked with blood over his belly and otherwise blood-spattered, too. 
12. "Benny" motions to the still handcuffed Darius to give him the fireplace poker. In shock and perhaps gratitude, Darius complies, too late realizing that "Benny" needs it to push the trigger with the gun pointed at himself.
I *think* that explanation of events works out pretty well. We only ever see photos and film of *one* child, and that is Benny Hope. There is no Theodore Perkins. "Teddy's" story of how his father trained Benny for greatness is supported by the home movie clip we get to see. It's not hard to imagine that at some point, Benny, perhaps already a caregiver for his father, snapped, and began returning abuse on the man, physically turning his father into a copy of himself, and ultimately killed him…

…planning to turn him into a prized museum exhibit. =)

Also, I don't think that "Teddy" was planning to frame and kill Darius the whole time. That exchange they have in the screening room felt to me like a (bonkers) test, and when Darius asks about the bathroom, he fails it.

Question: Did anyone catch what message board Darius learned about the piano on? Sounds something like "Buy-something-King," but not tight/short enough to be "biking."

However, The Girl came up with an even more satisfying take. After watching with her—her first, my third viewing—she suggested that I might have the "Teddy" and "Benny" thing reversed. So, "Teddy" is the father, and "Benny" is actually Benny Hope. I *really* like this idea. That makes the father's name Teddy, and he's the one who's speaking to Darius throughout the story. Benny is Teddy's son, and he's the one in the wheelchair who shows up at the end. If you watch again, keep this possibility in mind when "Teddy" speaks about his father and reacts to Darius's comments about abuse and sacrifice. Also at the pride implied in the conversion of the home into a museum.

This also adds even more chill to "Teddy's" hope early on that at the end of "Benny's" suffering they might get a masterpiece.

The Girl also explained to me that the Jacksons' parents had cosmetic surgery to match the surgically altered noses of their children. I'd never heard this before. This hints to me at a backstory of father Teddy seeing Benny altering himself, perhaps to the point of illness, and doing the same to himself, so that they would appear very alike to anyone who didn't know really know them.


I kind of wish that the episode had ended with "Benny" unlocking Darius's cuffs before killing himself. Then Darius could hightail it out of there on his own, before the cops or anyone else shows up, and the entire episode could be framed as a kind of haunting, an interaction with ghosts, a projection of a dark "what if?" from Darius's own life. Crazy talk, I know.

Alas, not to be. It all (sur)really happened. And, man, I really hope later episodes refer back to this one somehow. Maybe musically? Perhaps they've already played music by "Benny Hope" in season 2 episodes and we just didn't know.

I *really* hope that Darius doesn't count the outcome of his f'd up day out as one of his two life regrets. He did everything he could to get that piano, as well as curb "Teddy's" madness. Part of me does hope that we get to meet his agent of regret-death, tho.

Darius should be able to get that piano out of impound. After all, he signed the papers, right? And he sure as faduck deserves it.

Keep on keepin' on~

Wednesday, December 13, 2017

MR ROBOT: Season 3: Mandela Effect & a Day Off…

Hello, friend.

Collecting some bits and pieces that connect to the so-called Mandela Effect and M-Effect adjacent phenomena in the universe of MR. ROBOT. Note that this is no doubt far from comprehensive. As any watcher knows, this show goes deep. =)

Elliot’s employee ID number…


072391. As a date, this is July 23, 1991. The date on which Nelson Mandela died as reported in a non-non-fiction essay published in South Africa in 1991. Before the essay was identified as non-non-fiction, this was passed around as a possible artifact/proof of the Mandela Effect. The ME explains that the phenomena of a great many people remembering hearing that he died in the 80s when in fact he passed away in 2013 is the side effect of a manipulation of the past of our timeline (somehow imperfectly allowing for some people to remember the original, or earlier timeline’s history) or the memory/history of an alternate timeline somehow psychically bleeding into ours.

This Esmail Egg is not strictly speaking evidence on which to build a logical theory about the MR. ROBOT universe, but a wink and a nod for us, the audience, a hint, but, y’know, possibly a misleading one.

Project Berenstain…


The FBI runs an illegal surveillance initiative dubbed “Project Berenstain.” Within the world of MR. ROBOT, we’re not given a reason for this code name, but the first reference that comes to mind is the children’s book series, the Berenstain Bears. Why that would be associated with surveillance, I do not know, but maybe that’s the point in choosing a project name for the FBI. Not to be clever about it, but to name it according to some agnostic system or order—children’s book characters in alphabetical order?—and so, give nothing away about the nature of the program in the name, right?

However, in *our* universe, “Berenstain” is another collective memory glitch of the Mandela Effect. Many—including myself—remember the bears’ family name being spelled with an “e,” “Berenstein.” Seriously, I pronounced the name like “Einstein.”

Darlene’s a Sinbad fan!



In an episode this season we got a glimpse of Darlene’s monitor which showed her torrenting SHAZAAM (1996), a movie that I believe was manufactured by the Internet (as Photoshopped posters, cases, fake trailers) in response to another Mandela Effect glitch—a memory of Sinbad playing a genie in a kids movie. The movie that seems to have inspired that mismemory, or overwritten it, is KAZAAM (1996), which starred Shaq.

What does this mean?



I’m sure there are more Mandela Effect droppings in the world of MR. ROBOT, but this is all I’ve got in my head just now, sorry. Still, in a story with BACK TO THE FUTURE REFERENCES, discussions of alternate timelines, and a cameo by what appears to be a particle accelerator, I don’t (want to =) believe they’re insignificant.

Assuming these facts of the reality of MR. ROBOT matter, they tell me that what we’re watching on the show is an earlier iteration of our own reality. So, when we examine the world and history and people in MR. ROBOT, we are seeing the source of the apparent aberrations we are now pointing to as evidence of the Mandela Effect. In the universe of MR. ROBOT, the bear family was named Berenstein, Sinbad starred in Shazaam, and Nelson Mandela passed away in the 20th century (I don’t believe that last event was reported in the show in any way, but please allow me the zany extrapolation). Then *something* altered the history of that universe, maybe once, maybe multiple times, ultimate resulting in *our* universe, one in which the bears are the Berenstains, Shaq played Kazaam, and Nelson Mandela died in 2013.

Could that *something* be WhiteRose and the Washington Township project (transferred, recreated, or completed in the Congo)? Has WhiteRose worked out the psychohistorical math to send information back in time to alter history so that the Washington Township leak never happens, Edward Alderson and Emily Moss never get sick and die, their kids grow up with their parents to be very different people, and WhiteRose herself is reborn as B.D. Wong, star of stage and screen, as she’s always truly wanted to be? =)

I go on about this rewriting of reality in this post: Some Pre-finale Big Picture Theories…

Note that this bothers my brain a bit because in changing reality to change herself, WhiteRose may alter events so much that she will never acquire the resources to create and use a time travel device in the new reality (not that B.D. Wong couldn’t make it happen, I did say “may alter” =). If MR. ROBOT only allows for one precious universe/timeline, then that could result in a paradox (that may or may not be resolved by the universe itself somehow), but if it allows for multiple timelines, then she will have created a new reality (possibly ours), but not overwritten her current one. Sad.

If you like this idea, here’s a fun thought… Think of the universe of MR. ROBOT as the first, original timeline. If WhiteRose’s machinations lead to the creation of *our* universe and our Mandela Effect is real, then the Elliot and Angela and Dom and Tyrell that we’re watching have no equivalent to the Mandela Effect in their world. There are no memories or history of a previous iteration of reality to leak into theirs.

Also, if the universe is as good as a simulation and hackable, then something something something… =)


Take the day off!




Something I’ve noticed that I consider ME-adjacent, in that it reinforces for me the experience of MR. ROBOT as an alternate reality…

When you compare the dates in MR. ROBOT to the days of the week they should fall on in our world, when it’s noted, they appear to be one day off. Someone pointed this out to me in season 1 or 2 but I can’t remember the details. I think it must have been about 5/9. In season 3, I noticed it when several people refer to the execution of Stage 2. They give the date as September 29 (2015) and refer to it as a Monday. On our calendars, 9/29 fell on a Tuesday.

I also found this little rabbit hole…Dom’s badge number: 22958. At least, I think that’s what it is. She identifies herself by it when she calls OpCenter for help. As a date, it becomes February 29, 1958. A leap day, but one that never actually happened! And the title—as ”Feb 29, 1958″—of a poem by Allen Ginsberg about a dream he had “last night” of meeting T. S. Elliot (aka Terribly Sexy Elliot). I’m no poemologist, but I take the the poem to be Ginsberg recounting a dream of himself dreaming of an evening spent with an imagined version of his hero. MR. ROBOT-y enough for you?

Be seeing you.

Keep on keepin’ on~

Monday, December 11, 2017

MR. ROBOT: Season 3: Some Pre-finale Big Picture Theories…

Hello, Friend.

Gonna ramble on some Big Ideas that might explain what’s going on in the WhiteRosey sectors of MR. ROBOT…

WHITEROSE CAN HACK REALITY.


The universe is a simulation, or at least effectively functions and exists as one, and WhiteRose is able to hack it. Currently only to a degree. She can copy and paste elements that exist and have existed in the universe. She can edit them, but only in certain ways. She currently has limited write permissions.

We've seen her do this when she copied a young Angela from the past and pasted her into the present to interview the adult Angela.








We also saw *someone* do this when Trenton's brother (who actually left town with his parents) was copied and pasted onto the beach next to Elliot. Each of these instances was edited, tailored to accomplish a certain task. This is the kind of "undo" that WhiteRose has promised and tantalized Irving and Angela with.

However, he cannot yet deliver what Angela wishes for—the return of her mother and Elliot's father, hale and hearty. Editing them to the degree that they would be cured and healthy is currently beyond WhiteRose's power. She needs to proceed with her Congo project in order to gain that ability. WhiteRose's ultimate goal is to be able to edit the universe so that she can make lasting and stable changes, for herself, and to herself. In order to achieve that, anyone and everyone may be expendable, but also revivable.

WHITEROSE HAS A TIME MACHINE.






WhiteRose already possesses time travel capability, and she's used it countless times, each time tweaking events to get closer to an ultimate desired result. She doesn't believe in coincidence because when it occurs around her, she's had a hand in manufacturing it. In the events and timeline we see unfolding on the show, Elliot Alderson is the right person with the right connections and experiences in the right place at the right time for what WhiteRose needs to be done. I do not think that WhiteRose's time travel allows for a person to get into a DeLorean in 2015 and step out of it in 1985. Instead, what she can do is send herself (and maybe others) information. Maybe it's "psychic," a la PRINCE OF DARKNESS, but I prefer to think it's electronic, a la STEIN'S GATE. An email with an attached document sent from her personal server in 2015 to her AOL address in 1990.





How would this help WhiteRose? I'm gonna run thru a couple of *hypothetical* loops to demonstrate…

Let's say that in a previous iteration of the universe, WhiteRose identified Edward Alderson, Elliot's dad, as a useful tool in a takedown of ECorp and the global economy. He was poisoned by ECorp and had the coding/hacking chops to damage them. WhiteRose could have used her resources to encourage him to make the attempt. It fails. Edward can only do so much damage to ECorp in the 90s before he dies. However, his son grows up to be an accomplished hacker at a time when ECorp is committed to digital records and vulnerable to a catastrophic attack. But for whatever reason, this Elliot doesn't have the drive to pursue such a course. At the same time WhiteRose, Zhang, and the Dark Army try many paths to sink the economy and gain leverage for acquiring the Congo, but none pan out.

When WhiteRose believes she's exhausted her options in that iteration, she assembles an information payload—added to the one she received from her previous older self—for her younger self. ZIPs it, attaches it to her Chronomail, and hits [SEND]. The next iteration begins. This time, WhiteRose tweaks details at the Washington Township plant so that Edward dies earlier (perhaps by stepping up the timeline of her pet project there?). In the wake of his father's death, this Elliot makes toppling ECorp his lifelong goal. He grows up and assemble the fsociety team, but he's too reckless, and he gets himself caught or killed. His aggression needs to be tempered. He needs to be introduced to some already available channels instead of brute forcing his way every step of the way. Again, WhiteRose has many irons in the fire, but none prove successful. She assembles a new payload, updated with this iteration's edits and outcomes, and clicks [SEND] again.

The next iteration begins. This time, WhiteRose engineers events so that Elliot has a sister and a best friend who share his interests and motivation. Darlene is another hacker, naturally more reckless than Elliot, enough so that Elliot has to step up his responsible side. Angela is another victim of ECorp, whose shared orbit guides Elliot to a position beside her at AllSafe. This Elliot wants to take down ECorp, has the skills and access, and is levelheaded enough to accomplish it. However, when he does the math and comes up with an unavoidable body count, he cannot go through the hack, at least not 100%. WhiteRose takes notes and launches the next payload into the next iteration.

This time, WhiteRose somehow gets Edward to reveal his illness to Elliot in secret, leading to the first time Edward pushes his son out the window, and so, the introduction of Mr. Robot. Everything goes nearly perfectly, but the hack is thwarted. There's one piece missing, and WhiteRose thinks she's located the raw material from which to carve it. She adds her new experiences and insights to the next payload and begins the next iteration.





This is the one we're watching. The one in which Elliot breaks his father's trust, angering him enough to push him out a second story window, creating Mr. Robot. The one in which Mr. Robot recruits fsociety and plans the hack. The one in which Angela's influence gets Elliot to the place he needs to be—Allsafe—to enable Mr. Robot's hack. The one in which they both meet Tyrell Wellick, the final (perhaps) piece of the puzzle, and low and behold, a bloodless 5/9—well, y'know, not counting the aftermath—and leverage enough for WhiteRose/Zhang to acquire the Congo!

If this is the furthest that WhiteRose has gotten, then she is in truly uncharted territory. We've seen how she has numerous strategies in play (influencing the media to pump up a certain pompous buffoon's Q rating), and I think it's in that same vein that she turns to Grant for his advice in light of Elliot's proposal of Stage 3, something that would not have come up in any previous iteration of events. WhiteRose has the coltan mines of the Congo now. Maybe Elliot *has* outlived his usefulness. No doubt she's already made notes for her younger self to take steps to quell the unrest in the Congo so that her pet project can be transported there hassle-free in the next iteration.

And what is her pet project? Her ultimate goal? Y'know, assuming she's already got this method of time travel? What could top that?

What about the ability to run these iterations as simulations, allowing her to not have to *live* each iteration? Not that she feels it, but intellectually, for a hacker of time, that's got to be aggravating, right? Of course, each of those simulations is an iteration, too, so a subjective, paradoxical advance.

How about hacking reality? Basically, the ability I discuss in my first theory. I feel like WhiteRose's ultimate goal involves taming cosmic forces to perhaps selfishly right a personal (cosmic) wrong. Did Zhang ever have a sister? Do Zhang and WhiteRose each wish to live as two separate beings? Or is WhiteRose her true self, and Zhang a mask? Would WhiteRose wish to recode herself as a biological woman? Or somehow able to transform at will? Perhaps her pet project, once complete, can realize these wishes.

This would also make her promise to Angela a deliverable one, as I describe above.

TIME TRAVEL AND STUFF…






I would *love* for WhiteRose to have or be working toward, classic pulpy scifi time travel, but I just don't see it working out. Assuming that's the goal, and that she achieves it, she can't use time travel to go back and change or fix anything without endangering the machinations she engineered to enable it in the first place. Which logically means she can only go forward in time, and aside from hoverboards and gambling, where's the fun in that, right?

Huh. Something (zany) just occurred to me. Maybe she wants to go *all the way* forward, to the Singularity and/or Omega Point. Sorry, "and/or" because I forget if they're mutually exclusive. I’m fuzzy on the details of each. In any case, once then-there, assuming there isn't some fascist super villain who's somehow able to dominate the state, WhiteRose can live or relive any life she would want…or something. Right?

Yeah, like I said, that *just* occurred to me.

Multiverse-hopping also sounds like fun, but I'm not seeing the upside to that, either.

Maybe WhiteRose has been contacted by an alternate version of herself and given instructions on how to bridge and cross 'verses, but to what end? A Council of Cross-Time WhiteRoses who manipulate markets and technology across timelines? I'd *love* that, but it seems incongruous with the fabric and feel of the MR. ROBOT we've watched for three seasons.

Maybe WhiteRose speaks of these things in earnest with certain parties in order to manipulate them, as dramatically seen with Angela. Irving has mentioned that he doesn't find the possibility of some kind of undo (Angela and Irving never name it) completely unbelievable, and I love the idea that such a promise is part of Irving's motivation, but just as likely is the notion that Irving is toeing the line with Angela, saying what he's supposed to say to keep her motivated.

But you *know* Irving wants WhiteRose to deliver a reality in which BEACH TOWEL is a huge best seller and optioned for an HBO series, right? =)

Some last bits of crazy talk…

  • Washington Township has been the home of WhiteRose’s project for a very long time. If time travel is in play, maybe it’s only available for the lifetime of the functioning core of that project. How the heck is she having that “packed up” and moved to the Congo? Or is she having a second/newer facility assembled there?
  • What properties of the DRC region and/or coltan would be so valuable to the presumably exotic science involved in WhiteRose’s project? EM radiation? Magnetism? Radioactivity?
  • The Mandela Effect is visible everywhere in the show—and I *love* it—but maybe that's just the reality that this show lives in.
  • I'd like for there to be an opposing force to WhiteRose, someone we haven't met yet, who's playing the game at her level, or maybe even one level above, unknown to WhiteRose. Maybe it's a future Elliot. Or someone we've been told is dead. Or an alternate WhiteRose. Maybe Elliot's landlord (is that Guillermo del Toro or G. G. Martin? =) is the Yoda to WhiteRose's Emperor?
  • I think that someone or organization has repurposed Flipper's chip and is using him to track or spy or spoof Elliot and Mr. Robot. Krista's dick ex returning Flipper to Elliot as a curse on him was just a bit too dramatic for me to be legitimate.
  • Does WhiteRose know that Elliot shares his body with Mr. Robot? Does she *recognize* this dual persona existence because she does the same with Minister Zhang? Were WhiteRose's parents exposed to the same poison cocktail that killed Elliot and Angela's parents, but under different circumstances?

I know I've got more crazy talk in my rusty innards, but it's not coming to me just now. Hopefully events and revelations in this week's episode will rule some of it out. Just as likely, tho, it will inspire more. =)

Be seeing you.

Keep on keepin' on~

Friday, December 08, 2017

MR. ROBOT: 03x09: Eps.3.8_Stage3.Torrent: Angela and Phillip…

Hello, friend.

Several moments from this week's ep have gotten some fleeting ROBOT-y thoughts to coalesce into almost-theories…
MR. and MS. ROBOT?

When Angela discovers Leon waiting for Elliot in his apartment, she freaks, believing them to be in cahootz against WhiteRose's plans, which she believes will bring back her mom and Elliot's dad. We see her packing up her life into a cart and hitting the street, all the while apparently verbally checking in with herself, and possibly Qwerty. Of course this gets me thinking…





Angela is experiencing a second persona the way Elliot has been. Maybe we're witnessing a relapse or reversion, and she's had this second self—Ms. Robot?—since she was a kid, around the time Elliot's and her parents died.

How would this be possible? Whatever killed their mother and father in the Washington Township power plant also affected them. I'm unclear on the nature of the carcinogenic exposure, as well as when it occurred and over how long a time, but for the sake of this crazy talk theory, let's say that exposure happened/began before Elliot and Angela were born (and before the reported *leak*). So, their parents were already exposed when the kids were conceived. The power plant contaminant affected Edward Alderson's and Emily Moss's physiology in some way and these changes were passed on to the children. After they were born, it manifested in this potential for bifurcation of personality. So, they're mutants, and their mutation allows their single brains to be hosts to more than one mind.

Or…Angela is just talking to the fish. =)





The fish who spoke to Elliot in his withdrawal visions.

GRANDPA PHILLIP?

At the first meeting between EvilCorp and Allsafe, Phillip Price seems to recognize Angela. Sure, it could be from the Washington Township class action suit, somehow, but I'm thinking that he might have been reacting to her resemblance to someone that he does know—Angela's mother.





Remember Emily Moss's living funeral shindig? Lawyer Antara Nayar mentions an anonymous would-be benefactor (again) to Angela's mom, and she refuses the offer (again).

I'm suggesting that Phillip Price is Emily's biological father and Emily is his illegitimate/estranged daughter. This blood tie is a family secret kept from Angela. It's possible that Emily doesn't know, but there was something in the way she reacted and turned down the offer that has me thinking she knows who made it. Angela's father might know—he walked away from the convo when the offer to cover Emily's treatment came up—and is respecting Emily's wish, or perhaps honoring some legally binding contract, by keeping schtum about it.
PHILLIP ON THE SIDE?

Could Phillip's reaction to Angela and the medical care offer be explained by Phillip being *Angela's* bio-dad and Emily's one or sometime affair? Emily worked for EvilCorp at the Washington Township power plant (doing what?). From what position with what duties was Phillip Price promoted to CEO? Maybe his pre-CEO responsibilities included administration of or visits to the Washington Township facility, where he and Emily became familiar and then began an affair.





Perhaps Emily broke it off once she got pregnant, and uncertain of the paternity, or played it that way with Phillip. Or maybe Phillip broke it off when he started angling for CEO and got himself into a position that took him away from Washington Township? Yeah, that might make things a little…smoother. Maybe he ghosted before Emily even knew she was pregnant. Only after the leak and Emily's illness (and Angela's birth) did Phillip re-enter her life, but only as this anonymous benefactor.

Hrm…Maybe paternity isn't "necessary" at all here—just an affair…or dalliance. Who knows? Maybe they shared was some simple, singular, Christmas Miracle-ish moment of kindness once? Y’know, like accidentally killing someone together and burying the body. The usual. =)

How about Phillip takes a shine to Angela (and so, Allsafe) to kinda-sorta-honor Emily? Could Phillip ever have been—or actually still be, under his crusty layers of greed and villainy—the kind of man Emily would actually fall for? Did Emily make Phillip a better man? For a time?

Some show facts/history may easily bust these ideas—I readily admit my MR. ROBOT memory could definitely use an upgrade—but I do like riffing on theories and connections like these, almost as much as I enjoy considering the multiple choice options the show's given us for WhiteRose's Undo device or project… Time travel, parallel worlds, cosmic (re)programming…

I do so dig this show. =)

Keep on keepin' on~

Sunday, July 02, 2017

BABY DRIVER: What's in a name?

What’s in a name? When it comes to Edgar Wright’s movies, a lot! I’m gonna go thru BABY DRIVER’s major and minor players and quick-ish-ly discuss the significance of their names, nick- and -real. Note that I may be using the word “significance” somewhat generously… =)
SPOILERS follow!

Baby—Miles.

Well, I don’t think the significance is all that deep or mysterious on either name front for our wheelman. “Baby” describes his youth, his naiveté, and perhaps a degree of arrested development. “Miles” is a literal reference to his driving skills—miles of road covered—as well as a figurative one—a comparison of his talent behind the wheel to that of a certain jazz great on the horn. Given his mother’s pursuit of a singing career, I feel a pretty satisfying “click” at the thought of his being named after Miles Davis.

Jonathan—Debora.

I feel like I’m missing something when it comes to connections for both names given to Baby’s girl. We do get a fun discussion and revelation of the significance of “Debora” in the realm of songs with one’s name. I imagine Edgar Wright’s been walking around with some late night discussions of these names and stats in his head since high school. Could it be that cross referencing those numbers with actual lovable songs might have been all the calculus needed to decide on her name?

And what about “Jonathan?” I feel like I may have missed a piece of a phrase in the exchange between Baby and Debora about her name tag. I think the punch line, as much as it was one, went something like—So, you’re the new Jonathan? Or maybe it was her telling him—I’m the Jonathan…? Frack. There’s gotta be another layer to this mix-up, right?

Joe—Joseph.

Baby’s foster dad. Did the movie reveal his full name at some point and I missed it? On paperwork somewhere in their apartment? Well, I didn’t pick up on a last name, so I’m just gonna tackle “Joseph,” and I gotta say, my take is a bit thin and simplistic. You can probably guess what it is—Who’s the most famous Joseph you can think of? And what is BABY DRIVER’s Joseph to Baby?
Yeah, it’s kind of a reach identifying Baby with Jesus, but if you do, then his Joseph does line up with the savior’s, right? Basically, Joseph is the man who steps in to raise a boy in place of his absent(ee) father.

Buddy—Jason Van Horn.

There’s a hilarious exchange between Bats, No-Nose, and J.D. about the disguises J.D. has picked up for the Perimeter armored car heist.
EDDIE NO-NOSE: Doc said Michael Myers!
JD: This *is* Mike Myers.
BATS: This should be the HALLOWEEN mask.
JD: This is a Halloween mask!
BATS: No—the killer dude from HALLOWEEN!
JD: Oh, you mean Jason…
BATS/EDDIE: No!
This conversation by itself is a nugget of fried gold, but would you believe it’s even moreso for being a set-up for the revelation that Buddy’s real name is Jason? Jason, as in the FRIDAY THE 13TH killer who just won’t die and keeps coming back!
Also—Jason VAN HORN! =)
I love the simple punniness of it—van horn!—but wonder if there is some specific association with van horns I’m unaware of? Maybe a particularly British take or insight?

Darling—Monica Costello.

In the car after taking care of the Butcher & company, the crew presses each other about their names and Buddy explains that they only know each other by nicknames, codenames, monickers. With punny timing, Darling then reveals that her real name is Monica.
If I dig a little into “Monica” in a musical way, I find that it’s the title of a track on THE KINKS ARE THE VILLAGE GREEN PRESERVATION SOCIETY, which of course sets off my HOT FUZZ detector. The singer of the song proclaims his love for Monica, who is—altho the song never explicitly says so—the town prostitute. A rude but perhaps not unfair comparison to Darling’s character (if we take Bats’s “educated guess” to be fairly accurate), and a shameless declaration that seems to fit Buddy’s love for her.
Later, we find out her last name is Costello from a breaking news bulletin. Monica Costello… My mind always jumps to Abbott-and- but I don’t think that applies here. =)

Griff—short for Griffin.

We never get his real name, but that doesn’t matter so much here. We do get Griffin, as in the legendary eagle-lion mashup beast. Depending on the culture and time in which you ask, the Griffin is supposedly supernaturally wise and partial to golden treasure and testing humans with riddles.
Frack, am I confusing the Griffin with the Sphinx? Hrm…I’m gonna go with it. Please feel free to comment with a correction or confirmation.
After the first heist, Griff takes it upon himself to find out what makes Baby tick, believing his quiet and aloofness to be signs that he considers himself better than the rest of the crew. He explains to Baby—You can’t be in crime without being a little criminal…One day, you’re gonna get blood on your hands. He also comments on how Baby doesn’t seem to scare, saying something like—You’re either brave as shit or scared shitless…Which one is it?
Regardless of whether the name and significance of Griffin isn’t a perfect connect, he still plays a Cassandra-like Wrightian soothsayer in the shape of a bank robber.
I wish I could remember more/all of what he says to Baby, but I’d bet all of it is or comes true by the end of the film. Don’t forget what he says to the crew when he makes leaves them, stepping off the elevator…
GRIFF: If you don’t see me again, it’s because I’m dead.
That story will be an a-MA-zing extra on the dvd. =)
Huh…Damn, was there something about his death in a newspaper, TV news bulletin, or over the police band in the background later in the film?

Doc.

I don’t think we get any clue as to his alter ego, if he has one. All we know is he’s a heist mastermind with impressive resources and a line on people with nasal troubles. We do see him sharing drinks w/Big Boi and Killer Mike at Bacchanalia… Hrm…Perhaps he’s an actual doctor? ENT to Atlanta’s entertainment elite? One who was once in love…I love that sentimental soft spot revealed when Debra enters. Just kinda ridiculously hard boiled romantically perfect. =)
Beyond choosing the name for being short for “Doctor,” a title which would, with those who don’t know him, instantly imbue him w/intelligence, precision, and authority, I don’t have a great connect for the nickname. Although Doc himself would not think it flattering at all, perhaps the best that comes to my mind is Doc of Snow White’s seven dwarfs. While his manner is not a match for Spacey’s Doc (although his apparent soft spot for Baby might be compared to the dwarf’s paternal treatment of Snow and the other dwarfs), he *is* considered the leader.

Bats—Leon Jefferson III.

Leon, for lion? Hrm…The batty lion, crazy king of the jungle? That certainly works. When we first meet him, he’s sporting that playing card King sweater. =)
Doc reveals Bats’s first name when Bats explains that the Atlanta PD are gonna need a Ouija board to Id them for their massacre at the farmer’s market. Doc tells him that won’t take long as his name is only four letters. Bats tries to be smart by saying “Bats” isn’t his real name and Doc hits back with something like “I know that, LEON.”
We get his full name in the same bulletin on the telly at Bo’s that gives us Darling’s. Leon Jefferson the third. I feel like I’ve found a great and fun Wrightian match/inspiration—Leon Jefferson Mohammed. That’s the name of the drug dealer played by Mykelti Williamson in the pilot of Michael Mann’s MIAMI VICE! I was a huge fan of the show, and I really wish I could say that I knew that name off the top of my head, but no, I’m just not that encyclopedic with my fanboy knowledge. I will say that I do still have dozens of eps on betamax tapes at my parents’ place. =)
Also, Jamie Foxx played Tubbs in the big screen MIAMI VICE.

Eddie No-Nose—formerly Eddie the Nose.

Do not ask what happened to Eddie’s nose. That’s a No-Nose no-no, page 1.

J.D.—He puts the “Asian” in “home invasion.”

I didn’t catch any hint as to his real name. Maybe J.D. as his nickname is a technical/filmmaking reference, like R2-D2? Perhaps specific to something or someone disposable or temporary? Or maybe it’s a clue as to his fate, for when or if he’s ever discovered, post-sunset, whatever’s left of him would surely be tagged as a John Doe, right? I feel like it’s a long shot that it would connect to “James Dean,” dying so young in his car…?

The Butcher—never get his name, but the actor? OMG! Paul freakin’ Williams! =)

Crazy amazing casting and a damn impressive delivery of a pig-themed bad cop sales pitch! Perhaps PHANTOM holds a special place in Wright’s heart? I know it does in mine. Or perhaps it’s the man’s extensive and inspiring musical oeuvre as a whole. Did he write any of the songs that appear in the movie? In any case, a joyous experience seeing him in the BABY DRIVER world, if only for a short and final time.
And…that’s all I’ve got. This time, at least. I took a first crack at BABY DRIVER names in an earlier post. The rambling in this post (above) is an updated version of those thoughts.
All you need is one killer track!~
Keep on keepin’ on~

Saturday, May 20, 2017

12 MONKEYS: 3x02: Guardians: Catching up w/Jennifer Goines…

A transcript—so, y’know, *SPOILERS*—of the opening to season 3 episode 2 of 12 MONKEYS. Our hero, Jennifer Goines, finds herself in 1920s Paris, having survived being dropped into the trenches of WWI four or five years earlier…


image
Where am I right now? Somewhere warm? Safe? With people who care about me? Nope. Not me! Some of us got left behind. So, what do you do when you're stranded in the wrong place…? The wrong time…?
JENNIFER: Just take these and mail them to America in 95 years.
PRIEST: We'll all be dead in 95 years.
JENNIFER: Then get God to do it.
PRIEST: You're insane.
What do you do when not even God will help? You accept that the only one you can rely on is yourself.

How do you send a message to the future? How does ET phone home?

You need a venue. You gotta make a splash big enough to hit ‘em a hundered years from now.

Make ‘em laugh!
[ CHAPLIN ]

image
Make ‘em cry!
[ E.T. ]

Give ‘em what they want!
[ ALIEN (a masterful production =) ]

Just when you've got ‘em right in the palm of your hand…
[ JAWS ]

…you hit ‘em w/the goods!

Your message—your piece de resistance! The story you were born to tell!
GODDESS: People of Earth…I am the Goddess of Time. I have traveled many centuries to vanquish my enemy…the Witness.
WITNESS: Never! Despite your mesmerizing beauty and your luxurious hair, my army will destroy all of time!
GODDESS: No, you won't! [Thrusts sword.]
WITNESS: [Gags.] Blood! Blood! Blood! [Croaks.]
GODDESS: The Army of the 12 Monkeys is no more! Now, I must travel back to my own time!
Je Splinter! (I splinter!) The end.
[ Francois tears up the poster for L’ARMEE DE 12 SINGES. ]
JENNIFER: But Francois, give it a chance! If you don’t advertise, how will I build an audience?
FRANCOIS: No one understands “time travel”!
JENNIFER: Uh, the smart ones do.
FRANCOIS: Do the space one! Or something with magic. People love magic.
JENNIFER: But I need this to be a hit! For the history books! So I can be discovered!


I do believe that Sean and/or Terry have just revealed their true purpose behind 12 MONKEYS (and perhaps a version of the show’s behind-the-scenes struggles?). They've created the show—and its audience—as a message in a bottle, tossed into the timestream, to be recovered by *their* Lasky, Adler, and Jones. I do hope that their Team Splinter finds this post and comes back for them!

But, y’know, maybe not til they fix the mess that we call reality—*cough*2016election!

And/or finish up season 4. =)

Unmake history!

Keep on keepin’ on~

Wednesday, May 17, 2017

12 MONKEYS: Season 3 pre-binge thoughts…

Some last-minute SEASON 3 thoughts and wishful thinking…

TUNING FORK/TEMPORAL FENCE?

I still like my previous thoughts on this device as something that helps James focus his abilities, or as a piece of appropriated Witness/Black Hat tech that he psychometrically reads.


However, over the weekend I caught an ad on Syfy that shows James apparently planting the/a fork in the ground, like a flag. Maybe he just needed to support his weight on a trek or climb, but it really had the feel of a claim or border staking, y'know? Makes me think that it may be used to set up a spacetime perimeter, perhaps to protect a region of time and space around 2044 and the Splinter Facility. Or maybe a temporal roadblock, to protect the past from further interference from the future. The idea would be that wherever and whenever these forks are planted some kind of temporal interference wave would be generated, causing time traveling and time scanning tech originating from the future to read only noise. Maybe only one needs to be placed, maybe a set of them, to define a fence, wall, or ring.

Hrm…Maybe it's a temporal perimeter alarm, a tripwire for an early warning system for Cole and Team Splinter?


THE BLACK HATS.

Are the hats functional? A component that's paired with the vests? And matching shoes and gloves? Is there a lot of rain (or too much sun?) in the far future? Or in the red tea zone? The rain always HAS washed away most of the blood, right?


What about the style/design? We look at the Witness in Titan, and his followers all wear uniforms based on his garb. So, just for the heck of it, let's assume the Black Hats are doing the same, dressing to honor and identify with their leader. Who do we know that kind of owns that silhouette?

Tall Man! Possibly and/or Tall Dad, now that we've seen him.

So, I'm predict-o-hoping that we'll see Tall Man stage a coup in Titan, having recruited a chunk of the Witness's followers to his own brand of Time-entology, and scarper off to some hidden Time fortress or zone of his own. Could there be a second Titan? Why build one when you can have two for twice the price, right? From there he did/can/will launch his attacks on our Team Splinter and the Witness in order to ensure some cosmic outcome or order—or chaos, he seems to like that—of his own.

I really do like that option. He gets to throw off the rigid fate-itude of the Witness's machinations. He gets to kick the Witness in the pants for deceiving his Messenger mother (Mantis/Vivian/Mother). And with a Time force of his own, he will get the chance to "set things right." Remember what she told Tall Boy on her death bed in 1971…
MOTHER: Have faith that the Witness has spoken, and that one day you, my son, will set things right…
And he can launch his coup while the Witness is weak, a child or adolescent, still learning the Witness trade. Remember, he's *safe* in Titan. No one's saying he's *powerful* in Titan. Maybe Tall Man's schism is history to the Witness's personal timeline, but (intentionally?) hidden from him since he was a child or youth at the time and required/requires TM's apparently faithful service in the late 20th and early 21st centuries.

In any case, if Tall Man does break away with his own Time-tech-savvy army, he becomes a perfect greater enemy to both Team Splinter and the Witness.


JENNIFER + DEACON!

DEACON: See something you like, Granny?
JENN: Not yet.
Jennifer 2044 recognizes Deacon and we think the "not yet" refers only to the scar on his face. I think and hope now that it means Deacon himself, whom Jennifer 2016 will eventually fall for. They have the clever/snarky pop culture common ground and "self preservation was never my thing" could probably apply to both of them at the right time. Also, crazy as it seems, Deacon killing her was kind of the ultimate ice breaker. A testament to the talents of the creators and writers.

I love it when Deacon nods in approval at…
JENN: It's better to have a hen today…then an egg tomorrow.
What's the best "ship" tag for them? #Jenncon? #Deanifer? #Teddifer? #Jennodore?

And of course Deacon survived the attack on Titan! He's safe under that dumpster—duh! =)

Seriously, tho. He definitely survived. He's f@cking Deacon! Captured, maybe, scarred, definitely, but not dead. I like him for an unlikely knight of Time. I saw some fan art that evoked for me the Hound of GAME OF THRONES—Deacon Clegane. I so want that. Protector of one Mother (of the Witness) and partner of another (of the Daughters)?


FURTHER (PAST) ADVENTURES OF AGENT GALE.

I really need the S-Files ("S" for "Splinter" =) of Agent Robert Gale revealed this season. At least ONE of them, pretty pleez?
GALE: Y'know, Cole. I've known you a long time…
COLE: Whaddyamean? We met once, in 44, right?
GALE: Right…
And I *so* want his granddaughter to be staking out the Emerson in the hopes of meeting, and helping, Cole and company. Remember, there was an empty TaB can in room 607.


TITAN ICON/SIGN OF THE WITNESS.

I'm really hoping we'll see a meaningful origin or explanation of the Titan icon. It evokes a figure and an arrow. Seeing an arrow in the world of 12 MONKEYS, I think of Time. So it makes sense that it would be a representation of the Witness himself—a being of Time. Who first makes the mark, tho? I know the teaser showed us the icon painted in red (blood?) on a wall, with Jennifer and probably young W gazing at it, but I'm not convinced that's the moment of its creation. Does it create itself? Copied from one of the pendants? Perhaps it originates with the Druze, once they learn what the Witness is and can do. It's their sign for him, glazed into their centuries-old pottery time capsules.

Other ways to read the glyph? It could be two figures, defining the arrow with the space between them. Cassie and Cole? Back-to-back step dancing? =)

I wonder if it tessellates interestingly. I think the result would give us a kind of a mask, not Witness/plague doctor shaped, tho. Maybe its first inscription is in a different orientation, as an arrow pointing to something.


THAT KID.

Remember that time when Whitley, Deacon, and company were on patrol while the red skies were moving in? They run into a kid whom they assume came from a closeby refugee settlement…
KID: They're all gone…
WHITLEY: Your parents…They get caught in it?
KID nods, then walks back into time storm…
Think we'll get to see the other side of that storm this season? See where and when that kid came from as well as who his parents are?

Of course I *want* him to be young Witness, and his parents, "caught in it," would be Cassie and James. Maybe little Hot Pocket is being put through some tests or training by Tall Man using the splinter tunnels of Titan, or experiencing the onset of his temporal abilities in an unexpected and uncontrolled way.


Only two days til the 3-night event! Guess we'll get some answers soon enough =)

Unmake history!

Keep on keepin' on~

Saturday, April 29, 2017

12 MONKEYS: Season 3 Teaser: Updated thoughts…



********************

My third installment of trailer breakdown crazy talk. If you’ve got the time, please check out the first ramble (covering the trailer bits from start to finish).

This post is going to include some more thoughts on the first clips of Cole in the post-apoc, the meaning of one of Cole's line that seems to be about passing on some undesirable traits to his son, a description of how to Kat and James can back at/to the future, a connection between the Witness's ensemble and the Black Hats' Time Vests, and—surprise surprise—probably a few tangents.

********************

James and the Giant Fork

Early in the trailer, we see James standing outside the Splinter facility, time tuning fork in hand, the camera moving around him just a bit. The trailer then cuts to him standing in what looks to be a post-apoc Times Square. The camera is behind him in this shot, but still moving around him just a bit.



I rambled a bit about the possible functionality of the Time Fork—that it enhances his “James Cole doesn’t need a time machine” abilities, allowing him to induce and better navigate red-leaf-tea zone visits at will—but didn’t realize that we were being shown proof of it in those clips.

What if those clips are part of the same camera move around Cole, and what’s happening is that he is scrolling through time and space, similar to how 2044 Jennifer guided Katarina through spacetime during their mad red tea party. So, the full scene would start w/the camera in front of Cole, with the lab behind him. Then the camera moves in a circle with Cole its focus in the center while time and space change around him, showing us what he sees as he messes w/the 4-way rocker switch on his Time Fork controller, attempting to dial in a specific moment and location.

I suspect that this ability may only be a form of mental/astral projection, allowing him to see and hear what happens at a certain time and place, but not actually physically visit. MAYbe with some practice he can possess someone other than himself, tho, and affect things via a host body, the way the Witness can and has.

Time Fork? Time Trident? Time Bident? Timedent? Time Tongs? Chrono-prong?

COLE: If there's something wrong with him, he got it from me…


Cole apparently wants to take responsibility for his son’s darkness or wrongness…

As Hank Hill would say—That boy ain’t right.

However, I want to believe that line of Cole’s about his son getting something wrong from his side of the family isn’t be about guilt or self-hate or a darkness within him, but an actual physiological issue. Cole’s pretty literally a freak of nature right now. The oldest Splinter-based time traveler around, known to Primaries of several generations, only known survivor of a personal physical paradox, and mental time traveler.

What if he’s concerned about passing on some dangerous condition to his boy? Hrm…When we’ve seen the Witness in his tricked out Plague Doctor get-up, there’s been…machinery, right? Possibly something along the lines of a respirator or life support. Maybe that’s exactly what it is. Maybe the child of two time skippers is fated to be formidable in the mental and temporal planes, but frail in the physical one?

Or better/worse yet, what if he’s worried about passing on special abilities?

What if what’s important about little Hot Pocket is not that he *is* the Witness, or grows up to be the Witness, but that he’s the ideal *vessel* for the Witness. As the offspring of two Splinternauts, one of them uniquely favored by Time (as Lillian put it—James Cole don’t need no stinkin’ time machine!), it would come as no surprise if Jimmy, Jr. exhibited abilities similar to his parents, the Messengers, and even Primaries, and perhaps some beyond them.

Back to the 80s =)


I like to think so many things about this. I’m really hoping it’s not just 15 seconds out of a 2 minute montage that shows Team Splinter walking thru the Emerson in eight different eras wearing eight sets of characteristic wardrobe.

I love that James is basically dressed as Marty McFly, a callback to season 1…
COLE: Still don't believe me, do you?
AARON: I believe this cult is real, but no, I don't think you're Marty McFly.
COLE: Who?
Is there any way they’re doing a 21 JUMP STREET, infiltrating a high school dance or prom at the hotel? Please o please? =)

What would the prom theme or song be—”Time After Time?” “The Time to Remember?” “We’ve Got Tonight?” “The Power of Love?” =)

What are the odds that Jennifer Goines put together everyone’s ensembles for this particular mission?

If they’re stuck in the 80s for a while, with some downtime, Jennifer should really be taking them on field trips to the movies. If not for simple entertainment value, then as educational resources, so that the rest of Team Splinter can better understand Primary Jennifer’s eccentric way of expressing herself.

The clock on the mantel in room 607 is also frozen on 10:04, right? Will we get to see the moment/reason that stopped the Emerson’s clocks? In my earlier post, I wondered if we might meet Agent Gale’s granddaughter, Roberta…

Maybe she’s inspired by the Emerson’s clocks to add that detail to her screenplay for BACK TO THE FUTURE? =)

Getting Back at/to the Future!

I’ve got a good scenario to go with this moment…

At the end of season 2, we see Cole get into the chair and splinter away. The splinter beam is blue-white, same as it’s always been when Jones sends someone to the *past.” I imagine that what Jones does next is get in the chair herself after setting the controls to splinter her to the same coordinates as Cole—Raritan National Laboratory, sometime between 2015 and 2040, let’s say 2024, just for the heck of it.

The image above is what greets them…Project: Splinter…mothballed. Remember, after Ramse’s henchman is found dead in the lab, Elliot Jones’s project is shut down (thus freeing him up to work on Titan). In the wake of the spreading plague, the facility would be shut down, secured, but unmanned.

Why would Kat and James jump back to a time when Splinter was shut down? So that they could use the machine to splinter into the future! Remember, Elliot Jones’s machine succeeded in sending Cassandra Railly (and English ivy) decades into the future. Note that the splinter beam for those events appeared gold, not blue. We see a golden splinter seconds later in the teaser…

Remember…

GOLD : to the future

BLUE : to the past

GREEN: to the present (time travel without the time =)

RED: failure/malfunction?

I suggest that when Katarina and the rest of her team revived the Beast in the 2040s, and configured it for travel into the past, they disabled its to-the-future capability. Perhaps it’s still possible in 2044, but would require significant mechanical and electronic overhaul, practically impossible for Jones without her team.

So, in order for James to make a jump ahead to catch Titan in the future, he needs to jump back to 2024, so that he can jump forward to 2163.

And in that shot of the cloaked Beast, we’re seeing Katarina first arriving in 2024.

At least, that’s my theory. It could also be that 2163, or some other year, post-2044, after she and Team Splinter have had to leave the temporal facility for an extended time, maybe even before it happens in her personal timeline.

But I really like the idea of one step backward, two steps forward to get to the future. =)

From the Witness’s Suit to the Black Hats’ Vests…

Somewhere in my 12 MONKEYS ramblings, I wondered about the Witness’s need for a life support apparatus. The first few times we see him on the show, the mask seemed like it might decorative, serving to hide his identity while instilling fear in those who see him, as well as associate him with plague doctors, and so, plagues.

In later appearances, we see that the mask seems to be sealed, its sockets holding eyepieces/lenses, and its “beak” connected via hoses to a breathing apparatus under his robe, attached to his body. So, the Witness wears some kind of life support or encounter suit. Why?



I had several thoughts…

1. His travels thru time have taken a physical toll on his health and body. Also in line with that, he may be extremely long lived, and although he may be aging slowly, he’s lived long enough that even the serum-enhanced metabolism passed down to him from his parents can only do so much in the face of centuries of life.

2. The suit and mask provide enhancements to his natural or scientifically augmented time-associated abilities—mental and physical time travel as well as some kind of vision. Maybe it provides him a controllable dose of red leaf extract on demand to activate and/or supe up those powers. Like Time-Bane.

3. The suit and mask provide protection from paradox exposure and reality rewrites. This is the most game-changing possibility, so of course, it’s the one I really love. =)

This would mean that he could interact with himself in other moments of his personal timeline without any danger of pain or paradox. The suit completely contains his…essence, so that when he is in the same room with himself at a different age, the universe doesn’t detect two of him in the same place, and so doesn’t “know” to trigger a paradox event.

This might lead to some perilous narrative knots, but knowing Terry and company, those knots would only lead to amazing ways of resolving them. I won’t go down those rabbit holes just now. Maybe in another post.

What does the Witness’s spacetimesuit have to do with the Time Vests we see on the Black Hats (Time Shadows?) and Evil Annie Lennox? Well, I’m thinking that these vests are the next generation version of the Witness’s gear, allowing the wearer to travel thru time and affect changes without altering his or her personal history or any danger of paradox. I think this is also a clue that we’ll be dealing with a new player in the Time War in season 3—a faction/society/culture from a future farther off than 2163—
OLIVIA: …the very edge of time…an inch from falling over…
—possibly even an alternate, or earlier, timeline (a longshot, I think), or a kind of limbo, outside of time (not as much of a long shot). They would be the great grandchildren of time travel and a threat to both the Witness’s Army and Team Splinter.

Wacky fun ensues! =)

********************

The Witness is coming…

But so is Team Splinter! =)

Keep on keepin’ on~