Casino Movie Quotes Funny. QuotesGram

IF YOU’RE LOOKING for a place where misadventure could begin, you can’t go past Mbargo. The nightclub’s streetfront is painted a purple so bright you’ll see it in your dreams. Strings of giant sequins shimmer in the breeze. Its phonically inventive name is spelt in silver letters that climb its three-storey terrace facade. Inside are strips of burning neon, a few booths, floorboards so marinated in drink that they have an ingredients list. Bristol is a student city on England’s south coast crowded with music and nightlife and street art. This is Banksy’s home town, and the tourism board suggests in rather strong terms that ‘you would be a fool not to see his amazing work firsthand’. The same organisation describes Mbargo as ‘intimate’, which is fair for a place where you can catch an STI standing up. Students cram into its modest dimensions while people with names like DJ Klaud battle for billing with £1.50 drink deals over seven sloppy nights a week. To get a sense of the story about to come, consider that it’s the kind of place open until two o’clock on a Monday morning, and that at two o’clock on a Monday morning, Ben Stokes still thought it had closed too early.
The Ashes of 2017–18 had disciplinary bookends. It was after that series that Australia’s two leaders went off the rails in South Africa. It was a few weeks before that Ashes tour that England’s biggest star windmilled his way into his own disaster.
In the early hours of 25 September 2017, Stokes and teammate Alex Hales were barred from re-entering Mbargo after a night out on the piss. A Sunday thrashing of an abject West Indies in an ignored series at the fag-end of the season apparently required ample celebration. After arguing with the bouncer and hanging about at the door for a while, they wandered off to find a casino in the hope of more drinking. They’d barely made it around the corner before getting in the middle of a conflict between four locals. As is said on the internet, it escalated quickly.
The 26 September reporting was bloodless. Withholding names, police stated that a man ‘was arrested on suspicion of causing actual bodily harm’ while another went to hospital with facial injuries. England’s director of cricket Andrew Strauss separately confirmed that Stokes was the arrestee, adding that he had been released without charge and that Hales had gamely offered to ‘help police with their enquiries’. Administrators had a good chance of hiding behind that investigation, and the next day Stokes was named in the upcoming Ashes squad as expected. But that night the video emerged.
Bristol student Max Wilson had shot it on his phone, then offered it to The Sun. What he thought was playing hardball was actually lowball: his opening price of £3000 was snapped up by a tabloid that would have paid ten times that. The Sun went on to make a mint by syndicating the rights worldwide. From a window above the fray, the vision showed six men on the street below performing the muddled choreography of a melee. One was right at the centre of it. One was waving a bottle, one dipped in and out, one tried to calm it. Two others floated around the edges. The central figure was unmistakable: red hair burning even in the streetlight as he launched into a series of blows against two of the men, falling to grapple with them on the ground, then following both across the street, swinging punches the whole way. Hales trailed behind, repeatedly and impotently shouting ‘Stokes! Stop! Stokes! Enough!’ The ECB could fudge issues that existed only in thickets of legalese, but not those captured in moving colour. Stokes was stood down from the next West Indies match, then suspended indefinitely. It emerged that he had broken his hand during the fight, something he’d done twice before while punching objects in dressing rooms.
The response in Australia was fierce: Stokes was a thug, a lowlife, a selection that would disgrace England. It was not entirely coincidental that a ban for England’s best player would be handy for the Aussie team, but there was also a cultural split. In England, plenty of people still minimise pub fights as lads letting off steam. In Australia, heavy media coverage as a succession of young men were killed had inverted that tolerance. The discourse now saw any punch as potentially deadly and accordingly reckless. This was more poignant in a cricket context given that David Hookes, the dashing Test batsman and state coach, was killed in 2004 by a pub bouncer’s fist.
The PR situation was bad for Stokes as details emerged of the injuries to the men he’d hit, and that one was a young war veteran and father. Stokes wasn’t officially removed from the Ashes squad through October but stayed behind when his teammates left, hoping for police to dismiss the matter in time for a late dash to Australia. His annual contract was renewed on the due date in case that came to pass. Then 29 October brought a twist in the tale.
‘Ben Stokes praised by gay couple after defending them from homophobic thugs,’ ran the headline. Kai Barry and Billy O’Connell had emerged. Not entirely out of nowhere: while Stokes had made no public comment, this story in his defence had initially been leaked to TV host Piers Morgan after the fight, as soon as the video appeared. Police body-camera footage played in court would later show that Stokes had given the same story to the arresting officer on the night. But no-one knew the identities of the fifth and sixth men in the video, and police appeals had turned up nothing.
It was The Sun again with the breakthrough. Kai and Billy were perfect for a readership not keen on nuance. ‘We couldn’t believe it when we found out they were famous cricketers. I just thought Ben and Alex were quite hot, fit guys,’ said Kai, who was memorably described as a ‘former House of Fraser sales assistant’. The paper had the pair do a full photo shoot: layering the fake tan, showing off chest waxes, mixing Ralph Lauren and Louis Vuitton into a range of outfits. Their best shot had them standing back to back, heads turned to the camera, in a mirror-image Zoolander moment.
Suddenly The Sun was the England team’s best friend. ‘Their claims could lead to the all-rounder being cleared over the punch-up and freed to play in the First Test in Australia next month,’ it gushed, then gave a tasting platter of quotes: ‘We were so grateful to Ben for stepping in to help. He was a real hero.’ ‘If Ben hadn’t intervened it could have been a lot worse for us.’ ‘We could’ve been in real trouble. Ben was a real gentleman.’ Would it be known forever as Kai and Billy’s Ashes? No. While the Bristol boys provided spin for Stokes’ reputation they didn’t influence the police. With charges still pending there was little choice – not given Strauss had previously sacked Kevin Pietersen for being annoying. Stokes remained suspended through the Ashes and a one-day series in Australia, and lost the vice-captaincy. It was January 2018 before the Crown Prosecution Service laid a charge.
That charge surprisingly came in as affray, a crime that can carry prison time but is classified as ‘a breach of the peace as a result of disorderly conduct’. The men he had punched, Ryan Ali and Ryan Hale, faced the same count, charged as equal participants in a fight rather than Stokes being charged with assaulting them. Alex Hales was not charged, despite being seen in the video to aim several kicks when Ryan Ali was lying on the ground. Given the underwhelming standing of the offence, Stokes was cleared by the ECB to tour New Zealand, and kept playing until his trial in August 2018, which he missed a Test to attend. None of the three defendants would be convicted.
The reasoning behind the charges was never released and was attributed vaguely to ‘CPS lawyers’. The service gave the case to Alison Morgan, a prosecutor of a class known as Treasury Counsel who usually handle serious criminal matters. Morgan had a scheduling clash and never ended up court for the case, but in 2018 and 2019 she would go on to win damages and admissions of libel from The Daily Mail, The Times and The Daily Telegraph variously for incorrectly reporting that she had been responsible for the inadequate and inconsistent charging decisions.
Morgan’s successor on the case was Nicholas Corsellis QC, who on the first day of trial was permitted by the CPS to request two assault charges be added against Stokes. ‘Upon further review,’ claimed a CPS statement, ‘we considered that additional assault charges would also be appropriate.’ This was patent nonsense from the service that eight months earlier had chosen the lesser charge. Any lawyer knows that no judge will allow new charges once a trial has begun, because the defence hasn’t had time to prepare. But such a request could deflect criticism of the prosecution service by technically making the judge the one who disallows the charge.
Working through the story from the trial and the tape is complicated. You had a Ryan and a Ryan, a Hale and a Hales, a Billy and a Barry and a Ben. You had several versions of events as to who knew whom, who was drinking with whom, who had insulted whom and who had merely engaged in ‘banter’, a word that in modern Britain has to do an unconscionable amount of lifting. The reporting had constantly mixed up the Ryans as to who had which injury, who was in hospital, who had played which part in the fight, and whose mum had which stern words to say about it.
Let’s agree that from now Ryan Ali is Ryan One, the firefighter who ended up with a fractured eye socket and a cracked tooth. Ryan Two can be Ryan Hale, the soldier who scored concussion and facial lacerations. Mr Barry and Mr O’Connell are best known per The Sun as Kai and Billy. In scorecard parlance we’ll leave the cricketers as Stokes and Hales.
Amid the confusion, Stokes and his lawyers built his case in a straightforward way. The UK legal definition of affray is ‘if a person threatens or uses unlawful violence or force towards another person, which causes another person of reasonable firmness present at the scene to fear for their safety’. That means it doesn’t account for violence that harms a target, but violence that might frighten a theoretical bystander. The wiggle room for Stokes was with ‘unlawful’, because the charge excuses violence in defending oneself or others.
This interpretation hinged on the beginning of the video, where Ryan One waves a beer bottle about and takes a swing at Kai. The version from Stokes was that he was minding his own business walking down the street when he heard homophobic abuse. He intervened verbally and was threatened verbally by Ryan One – something that Ryan One denied but that couldn’t be proved or disproved. In fear for his safety Stokes had to nullify that threat by bashing Ryan One before it went the other way. He registered Ryan Two in his peripheral vision as another possible threat, and again had only one recourse.
Stokes also had to convince the jury to disregard testimony from Mbargo’s bouncer that he had been looking for a fight. A solid lump of a man, Andrew Cunningham had not enjoyed his patron’s attempts to get back into the club after the bouncer declined an offer of a bribe. ‘He got a bit verbally abusive towards myself. He mentioned my gold teeth and he said I looked like a cunt and I replied, “Thank you very much.” He just looked at me and told me my tattoos were shit and to look at my job.’ Cunningham described these words as coming in ‘a spiteful tone, quite an angry tone’, and said that Stokes still seemed angry as he walked away.
These were details the doorman had nothing to gain by inventing, but each of them Stokes denied. By his own accounting he had drunk a beer at the game and three pints at his hotel, then ‘potentially had some Jägerbombs’ along with half a dozen vodkas at the club. He insisted that after all of this he was not drunk.
If I may take a moment here to call upon the wisdom of experience – a person who cannot definitively say whether they have had any Jägerbombs has definitely had some Jägerbombs. A Jägerbomb is an experience that does not pass one by. Further to that, a person who says they have ‘potentially’ done something has definitely done that thing and doesn’t want to admit it. A person who has had between 15 and 24 standard drinks in one evening is shitfaced. A person who tries to bribe a bouncer £300 – three hundred quid! – to get into Mbargo – Mbargo! – is beyond shitfaced.
If Stokes admitted that he was drunk then the prosecution could say he was out of control. He claimed clear recall of assessing a threat, feeling fear and deciding to protect himself with force. He confidently denied details from the bouncer’s testimony, like using the word ‘cunt’ or mentioning gold teeth. Yet on other details he claimed a ‘significant memory blackout’. He didn’t remember the punch that saw Ryan One taken away by ambulance. He didn’t remember what the Ryans had said to Kai and Billy, only that those words were homophobic. With no head injury, as one of the few people who hadn’t been hit, he had supposedly suffered this memory loss despite being sober.
The version from Kai and Billy was compatible but vague: they had been walking along, they ‘heard … shouts’ of abuse from an unspecified source, then Stokes ‘stepped in’ and thus they avoided possible harm. They claimed to have been bought a drink by Stokes at Mbargo, although CCTV showed them meeting outside. The overall implication from both accounts was that the cricketers had been pals with Kai and Billy, while the Ryans as per The Sun’s headline were a roving band of thugs.
The reality though is that the Ryans were the ones hanging out with Kai and Billy at Mbargo. Police discussed CCTV from inside the club in questioning and at trial. On that footage the four Bristolians bought drinks for one another, danced together, and Kai was noted to have variously touched Ryan Two’s crotch and Ryan One’s buttock. Ryan One told police that all of this was taken lightheartedly and wasn’t a problem. Indeed, when the Ryans called it a night the other two left with them.
This much is clear from footage out the front of Mbargo, which shows Kai and Billy exit the club and start talking with a subdued Hales and a demonstrative Stokes, who are stuck outside. The vision was played in court to determine whether Stokes was antagonistic towards Kai and Billy, as he appears to impersonate them and to throw a lit cigarette their way. More interesting is that after a few minutes the Ryans emerge, and all six actors in the fight video briefly form a prequel in the one frame.
Ryan Two pats Billy on the chest in friendly fashion with his right hand before clapping him on the back with his left. He moves past and does the same to Kai before leaving the shot. Ryan One stops to speak to Kai. They lean in for a moment, talking, then Kai turns and they walk out of frame together. Billy hangs around for a few seconds at the door and then looks after them and races to catch up. Stokes and Hales remain outside the club to remonstrate further with the bouncers. Whatever discord develops around the corner is between four men who left amicably together minutes earlier.
There’s no way to know what caused that friction. If Ryan One did use homophobic slurs, he might have been drunkenly obnoxious for no reason. He might have had an insecure macho response to some extra flirtation. He might have thought unkindness was funny – ‘banter’ once again. Or he might have said something that was misunderstood, as both Ryans insisted in court that they had not used nor had the impulse to use any abusive language.
What clearly didn’t happen was an attack by bigots on random passers-by. This kind of crime is regular enough that an audience understands the horror of it, and this is what was evoked by the public accounts of Stokes, Billy and Kai. All we know is that there was some verbal dispute among the Bristol locals, and that Stokes came along behind them and put himself in the middle of it. Ryan One responded to the interference aggressively and away they went. There are plenty of reasons to look sideways at the idea that Stokes was a saviour. Foremost, neither Kai nor Billy was called upon as witnesses in court. You’d think it would be ideal to have Stokes’ story backed up by those who benefited from his selflessness. But his defence team had developed the impression that the pair had shown a changeable recall of events amid a hard-partying lifestyle, and would be dismantled by the prosecution on the stand.
That raises the question of whether The Sun coached their quotes for the 2017 interview. Despite missing court, Kai and Billy clearly enjoyed the attention. In 2018 after the trial they did a follow-up spread in the same paper about how poor Ben had been mistreated. They got a television spot on Good Morning Britain and glowed about his heroism. In 2019 The Sun wheeled them out once more to say that Stokes should get a knighthood. In 2017 they had ‘never watched cricket’ but by 2019 were supposedly volunteering sentences like, ‘He saved us, now he’s saved the Ashes.’ Whether they were paid for these appearances is not known, but the chance to be famous for a day can be lure enough.
If you find this cynical, consider that on the night in question, the Bristol boys were so deeply moved and thankful for Ben’s intervention that they left him to be arrested and never attempted to find out who he was. Seconds after the video ended, an off-duty policeman reached the scene. You might think that someone grateful to a saviour would speak on his behalf. Instead, said Kai, ‘it all got a bit scary so we walked off. It was too much for me and we went to Quigley’s takeaway for chicken burgers and cheesy chips.’ They didn’t give their hero a thought for over a month while police issued multiple appeals for witnesses.
As for Stokes, he told his arresting officer that ‘his friends’ had been attacked. After three minutes of chat outside a nightclub, these friends were so dear to him that he has never contacted them again: not after the newspaper piece, not after the verdict. He didn’t want to see how they were or thank them for their support. He didn’t mention them by name in his solicitor’s statement after the trial.
The Stokes defence rested on Ryan One’s bottle, which he had carried out of Mbargo to finish a beer, not to use in a Sharks versus Jets amateur production. But once he turned it over to hold it by the neck it became a weapon. Intent and interpretation can change the material nature of things. Part of Stokes’ justification in court was that the bottle implied that the two Ryans might have ‘other weapons’ hidden away. You can understand how a jury could decide that created doubt.
Not being convicted, though, doesn’t give the contents of the video a big green tick. It does not, as his lawyer claimed, vindicate Stokes. Looking in detail, Ryan One is belligerent but his movements telegraph a bluff. Hales is the person he’s gesturing at, but they’re several metres apart when Ryan One cocks his arm ostentatiously, showing off the bottle rather than bracing to swing. He skips forward but Hales skips back and Ryan One doesn’t follow. Kai stretches out an arm to impede Ryan One, who has a drunken stumble, nearly eats pavement, then staggers towards Kai and hits him in the back. That hand is still holding the bottle, but his strike is a side-arm cuff on a soft part of the body. It’s all pretty tame.
This is where Stokes gets involved. Having moved across to protect Hales, he now takes three large steps to run around Kai and booms his first punch at Ryan One. They fall to the ground and the bottle clinks away. Stokes gets to his feet to punch down at the fallen man, while Hales arrives to kick him ineffectively then runs off across the street for some unknown reason. Ice-cream van? Stokes is soon back in the grapple having his shirt pulled up to show off his Durham tan. Ryan Two steps in for the first time to pull Stokes away, prompting a couple more random punches at this new target, then Stokes trips backwards over Ryan One and sprawls in the street. Hales chooses this moment to return and aim some solid kicks at the head of the man on the ground. Nothing so far is a triumph of moral philosophy or the pugilistic arts. But if it all stopped here, perhaps you could say it was somewhere approaching fair. Ryan One has behaved like a turnip and it’s not an entirely unjust world that would give him a whack across the chops. The antagonists have disentangled, Stokes has some distance, it’s time to dust off and go home. Ryan Two steps forward for this purpose with his palm raised in conciliatory style and says, ‘Settle down, stop.’
So Stokes punches him.
It’s roughly his fifth punch overall, and he really winds up into this one. He misses so hard that he stumbles away into the shadows of the shop awnings along the road.
Hales starts shouting for him to stop. Ryan Two backs into the street, still holding his palm up. Stokes closes on him from about five metres away, six large steps, to where Ryan Two is standing on his own. Stokes pushes him a couple of times, as Ryan Two keeps trying to placate him and saying ‘Stop.’ Stokes throws his sixth punch, largely missing as his target ducks.
Ryan Two keeps pulling away and reversing, into the middle of the street now. Stokes follows him, grabbing his sleeve to drag him back. By this point Ryan One has found his feet and walked around behind his friend. Both of them are in the same line of sight for Stokes, and both are backing away. Stokes aims his seventh and his eighth punches, which Ryan Two tries to deflect, as Hales walks up behind Stokes to grab him.
Stokes yanks away from his friend and switches to Ryan One instead, taking seven paces to grab him before throwing his ninth punch of the night. He grabs again; Ryan One blocks that arm and pushes himself back away from Stokes. Ryan Two again intercedes, putting himself between the two with his palms up and his arm extended.
Stokes throws his tenth punch, a right-hander at the face of Ryan Two, then shoves him backwards. Ryan Two backs away once more, four paces. Stokes follows, steadies, lines up, then launches his strongest punch yet, his eleventh, a proper right hook from a solid base, one that cracks across the man’s head and gives him concussion. Ryan Two ends up flat on his back in the middle of the street, his hands still outstretched for a moment in useless protest until they twitch and drop to the blacktop.
Stokes isn’t done. He once more shoves away the restraining Hales and follows Ryan One, who keeps backing away saying, ‘Alright, alright, alright.’ Five more paces from Stokes before another blow at the man’s head. Kai and Billy are now standing over the poleaxed Ryan Two. The video ends, but seconds later Stokes will punch Ryan One hard enough to knock him out too, before off-duty cop Andrew Spure arrives on the scene to bring down the curtain. When the body-camera footage kicks in some minutes later, Stokes is in handcuffs but Ryan One is still laid out in the street. Ryan Two has regained consciousness, folded his shirt under his friend’s head and is asking police for an ambulance.
‘At this point, I felt vulnerable and frightened. I was concerned for myself and others.’ This was how Stokes described that sequence to the court. An elite athlete with years of gym work and training to snap a bat through the line of a ball with astounding power and precision, swinging fists as hard as he can at men with none of those advantages. Punching so hard that he breaks his hand, and repeatedly shoving away a friend so he can punch some more. Frightened and threatened by two targets shouting ‘Get back!’ and ‘Stop!’
The off-duty officer testified that Stokes ‘seemed to be the main aggressor or was progressing forward trying to get to’ Ryan One, who was ‘trying to back away or get away from the situation’. The student who filmed the video can be heard on the tape at one stage exclaiming ‘Fuck!’ and testified that it was because ‘I felt a little bit sorry about the lad that had been punched and it looked like he had his hands up’. That tallied with the prosecutor’s depiction of ‘a sustained episode of significant violence that left onlookers shocked at what was taking place’.
The defendant stuck to his strategy. ‘No, my sole focus was to protect myself.’ All up, in the 33 seconds of footage after he falls over, Stokes takes 35 steps forward to keep hitting two men who keep trying to get away. Not once is he hit back.
After the verdict, Stokes’ solicitor positioned him as the victim. It had been ‘an eleven-month ordeal for Ben … The jury’s decision fairly reflects the truth of what happened that night … He was minding his own business … It was only when others came under threat that Ben became physically engaged. The steps that he took were solely aimed at ensuring the safety of himself and the others present …’ The statement was impossibly self-righteous and self-absorbed.
If there was anyone to feel sorry for it was Ryan Hale, the second of our two Ryans. He’s the one who emerged from the club with a friendly arm around the shoulder for Kai and Billy. He’s the one who interposed himself to end the fight, then kept putting himself back in the firing line, trying to calm an intimidating stranger while dodging blows. For his show of restraint he got laid out regardless, concussed in the street, then was issued a criminal charge equal to that of the man who hit him, and described in national media as a violent bigot in an untested story to support that man’s defence.
Lawyers for Ryan Two made a more convincing post-trial statement, noting that Kai and Billy, ‘neither of whom were relied upon by the prosecution or the defence team for Mr Stokes, have taken the opportunity to speak with various media outlets about the alleged homophobic abuse that they received in the early hours of September 25. Mr Hale has passionately denied this allegation throughout the course of this case,’ it continued.
‘It is upsetting to Mr Hale that although he was acquitted, the accusation that he was the author of such abuse remains. Both Mr Hale and Mr Ali were knocked unconscious by Mr Stokes, and although Mr Stokes has been acquitted of an affray, Mr Hale struggles with the reasons why the Crown Prosecution Service did not treat him as a victim of an unlawful assault.’Good question. Avon and Somerset police were the investigating force, and they were frustrated by the decision. Ryan Two was filmed clearly not hurting anyone, but police were instructed by the CPS to proceed with a charge. Hales (the cricketer) was filmed fighting but ‘a decision was made at a senior level of the CPS’ not to proceed. Police expected Stokes to be charged with assault but the CPS declined. It doesn’t take a wild cynic to think that placing the same lukewarm charge on three men for vastly divergent behaviour might ensure that none would be convicted, even as the trial would maintain the pretence that a defendant of influential standing had not been given a free pass.
A couple of years down the line, the original interview with Kai and Billy has disappeared. All traces have been scrubbed from The Sun website, its social media history, and even from the Wayback Machine internet archive. Given its headline of ‘homophobic thugs’ and text that names Ryan Two but not Ryan One, the libel liability isn’t hard to spot. Later interviews with Kai and Billy take the passive voice – they ‘suffered homophobic slurs outside a Bristol nightclub’.
The article that was once claimed to exonerate brave Ben Stokes now links only to a missing content page, with a picture of a dropped ice-cream cone and the phrase ‘legal removal’ inserted into the web URL. In terms of consequences, Stokes missed one tour. When he resumed his career in January 2018, the Australians hadn’t yet ruined theirs. Their year-long bans looked much more stringent. But the Stokes case dragged on in other ways. With no criminal liability, the Australians confessed promptly enough for the sporting world to give them the full length of the lash. Their situation was ugly but there was closure. Stokes got stuck in legal stasis, unable to be fully backed or condemned. Instead his issue was always present, a browser full of open tabs that the ECB swore they would read any day now.
Through 2018 Stokes was back but he wasn’t back, in the sunglasses and finger-guns sense. In his return one-day series he nearly cost England a match with 39 from 73 balls in Wellington. His first Test hit was a duck as England got rolled in Auckland for 58. At Trent Bridge while Stokes was injured, England posted a world record 481 against Australia. With Stokes three weeks later at the same ground they made 268. He crawled to 50 from 103, the second-slowest any Englishman had reached that milestone in 20 years. That span covered Alastair Cook’s whole career. It was apologetic batting, acting out responsibility via the scorecard. Stokes was creeping back into the team like he’d been kicked out in a blazing row and was hoping to tip-toe to the sofa.
It was December 2018 before the ECB disciplinary committee ruled on him and Hales. In a ‘remarkable coincidence’, wrote Simon Heffer in The Telegraph, ‘the punishment both players faced in terms of bans from playing at international level was covered by the amount of games they had already missed when dropped by England’s selectors, in the furore that followed the incident’. The verdict compounded the omissions around the case by not addressing the violence at its heart. Nor did Stokes, apologising only ‘to my team-mates, coaches and support staff’, and then ‘to England supporters and to the public for bringing the game into disrepute’.
The implicit next step was to rebuild that reputation. It might have been easier had his court defence not meant that he wasn’t game to admit any fault at all. It might have been easier if he or his advisers had been willing to change tack once the trial was done. Imagine a world where Stokes had stood outside court and apologised for overreacting, for the injuries he’d caused, and for the time and energy he had sucked out of other people’s lives. That would have been a show of responsibility beyond a scorecard. When the time came around to assess forgiveness, it might have meant forgiveness was deserved.

Dave Meltzer and Bryan Alvarez interviewing with Tony Khan No need to make 20+ threads of quotes from an interview I've got you covered

• Tony is really excited about Full Gear
  
• Tony had an idea based from an episode of South Park (Wendy breaking up with Stan) that had a song "Don't know what you got till it's gone" as a video package for Kenny/Hangman in the lead up to Full Gear, Kenny liked it whilst Hangman hated the idea but when he saw it he loved it.
  
• Tony talks about Cody being really high on signing Darby Allin when AEW was formed
  
• Orange Cassidy was brought in at the 2019 Double or Nothing Casino Royale due to Brian Cage, saw the reaction he got when he appeared and was interested right away
  
• Before signing Orange Cassidy there was a few things he was interested and some things uninterested (wasn't specific but you can probably guess), Bucks went to bat for OC, Tony became more interested when Matt brought up that OC used to be known as 'Fireant' (a stable from Chikara)
  
• Tony planned to have PAC wrestle against OC at Revolution, got PAC to say 'what is this a joke?!' when OC appeared and knew that the crowd was gonna chant 'His gonna try' and when it worked it was happiest moments
  
• Dave asks about the PAC situation, "The only people that know it's me and him" Tony replies "The problem is not getting him here it's getting him home"
  
• Dave praises Tony about keeping adhere to the stipulation rule with Cody never getting a shot at the AEW World Title, talks about promoters in the past always keeping adhere to the stipulation an example Dave brings up was Paul Heyman booking Axl vs Ian Rotten in ECW as the 'Last Ever' fans wanted to see another match, Paul stuck to his words then fast forward to now fans become sensitised to seeing stipulations being made but end up being forgotten after two weeks
  
• One of the head scratchers for Tony Khan was a match from Dominion (Funny enough it's not Evil vs Naito, the title change he felt was strange), appreciates Gedo as a booker (understands the stuff that happens behind the scenes so let's not get it twisted that this is a burial on Gedo okay? it was a match that Tony Khan didn't agree about) was Taichi/ZSJ vs Ibushi/Tanahashi, "why humiliate your top two best wrestlers" Tony says when Ibushi/Tana being put in the 69 position by Taichi/ZSJ as they clang the titles
  
• When Covid-19 occurred the first month was really weird, felt like the first day of school with everyone coming back, implementing Covid protocols, filmed a live Dynamite on April 1st, next day taped the whole month of April (operated at about 29% of the AEW Roster), went through the whole month without everyone getting together which was hard, May 6th episode was when they got back together which helped build up Double or Nothing (Cultivation of FTW stable, Jungle Boy/MJF, Moxley/Lee)
  

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TL;DR: The Sopranos was ultimately about suffering and the search for Enlightenment.
So during my current rewatch I have been pondering about the fundmental role of mysticism, mainly Buddhism, in this thing of ours. I should say beforehand: despite the fancy title of this, I have no particular knowledge about buddhism bar the essentials (or any spiritual tradition for that matter) so I hope that people who can contribute more than I can feel encouraged to talk about it in this thread.
Also, I haven't seen season 6, where the most visible connection is, for a long time so I'm sure I have misremembered things. Nevertheless I feel like this perspective on the story and ending isn't nearly talked about enough (if at all) espcially when you consider that some of the main actors were and are buddhists. Also David Chase, altough I'm not sure if he is a buddhist, has talked in interviews about mystics and its relation to the show and the many mystical and paranormal experiences in The Sopranos shows that he is definitely open to it.
I've noticed that Eastern mysticism is a very recurrent theme in this show. There are multiple (Western) spiritual and philosohical traditions clearly visible in the story such as catholicism and existentialism, but I have always found all the references to eastern spirituality somewhat out of place for a late 90s mobster environment. From the top of my head from the first five seasons: Father Phil gives a book to Carmela about buddhism for her to read, Dr. Melfi mentions it regulary and seems quite aware of it, Richie Aprile's new perspective on life and his yoga, obviously Janice a.k.a fucking Parvati, Paulie and Sun Tazoo, Gloria was a buddhist, Tony uses multiple buddhist phrases (wrongly) from Gloria and Melfi, etc.
I think, which becomes especially clear in season 6, that the story of Tony is that of a man looking to get rid of his suffering (which is the inevitable consequence of being human according to the Buddha) by searching for lasting and real hapiness, freedom and peace (the infinte nature of Enlightenment, the 'goal' of buddhism and all mystical traditions). Apart from finding out that enlightenment is everyones true nature, by meditation and living according to its implication, most spiritual traditions usually state it is possible to get a glimpse of the infinite, or to 'see behind the veil' of the finite mind, in the living realm by near-death experiences and by the use of sacred (psychedelic) plants.
I would argue that Tony glimpses the infinite freedom and peace (Enlightenment) in season 6 on two occations, during his coma (near-death experience) and at the end of his peyote trip. In his coma dreams we see another direct reference to eastern spirituality: the buddhist monks and Tony's name, Kevin Finnity. In his dream, his subconcious is looking for Kevin Finnity, or if you remove the -Kev, in Finnity. In this scene, Tony says to the monks that he "came here [to the monks and monastry] to find Kevin Finnity." When he says how he has his wallet and his briefcase, but that he is not Him, the monks start to laugh. He is saying that he is not Infinnity, and that is funny to them, because the buddhist view is that everyones essence is that of the same and only enlightened and infinite Self. 'A man named Kevin Finnity walks into a monastry and says that he can't find Kevin Finnity' sounds like the beginning of a buddhist joke or Zen koan.
It is worth noting that after waking up from his coma, Tony feels very happy and free from his psychological burdens for a short period of time (I forgot exactly how long this was, maybe a few days or an episode?) He doesn't know why, but he seems joyful and aprreciative of the small things in life. However, the hapiness quickly slips out of his hands and the weight of his human life proves to be to much: he 'relapses' as old routines and psychological habits come back in his life and they are worse than before because of the added frustration of his unability to catch and preserve the hapiness and peace he felt in the wake of his coma. As a result, Tony is doing worse than ever.
Now to the peyote trip. Peyote has been a sacred plant since forever in shamanistic socieites and is seen as a way to communicate with God. The connection with the coma dream is established by the light of the lamp in the room where he does peyote, which is the same as the view he had in the hospital room. A bright and clear light represents in many traditions the light of the one Conciousness, or our God or Buddha-nature, or whatever words are used for THAT. Over the course of the season after the coma, we've seen Tony slowly and than quickly move away from the light. By taking Peyote, he enters back again. In the casino it is already established he ponders the nature of the Universe, by comparing the roulette table to the solar system. In the afterglow of the trip, the great scene in the dessert, he has a great insight; he GETS IT. Now we could argue what it is exactly he gets, but if the narrative I'm trying to create here holds any truth at all, it would make sense he has a revelation about the nature of himself and the universe. As you probably know, 'Ego Death' is a very common experience on psychedelics: the dissolution of seperation between subject ('me'; or Ego) and object (the 'outside' world). Everything simply 'is' and there is a true feeling of oneness with everything. Now, this experience is practically impossible to verbalise and conceptionalize to your peers; the best you could come up with is something like: ".....and the sun....... came up....." (OH YEAHH??)
No worries, I'm coming to some sort of end as I'm getting hungry, but in this season we have seen two moments where Tony found what he truly longs for the most: two 'spiritual' experience that lead him to feel happy and at peace, but that quickly deteriorates because he, nor anyone in his environment, understands them and he feels like he has no-one to talk about it. Thus, old habitual ways of thinking, feeling, perceiving and behaving come back- and of course worse than ever before.
We have seen the failed quest for enlightenment from Tony in this series. He longs, searches, finds, grasps and loses it over the course of the seasons. The only way he has been able to find it, is by diying. David Chase said the following when asked about the ending:

After a brief pause, Chase then said that he’d come across a quote from author Carlos Castaneda that came the closest to summing up everything that had been going through his head as he wrote the final sequence: “Warriors don’t venture into the unknown out of greed…to venture into that terifying loneliness of the unknown, one must have something greater than greed: love.” He then mentioned another quote from the finale that he felt was equally appropriate to the ending: Paulie Walnuts’ declaration that “even in the midst of death, we are in life. Or is that vice versa? Either way, you’re halfway up the ass.”

The cut to black is not a visualisation of death, but a representation of that what is written in the buddhist teachings as the essence of Tony, you, me and the entire universe: the Emptiness, Void, or primordal Awareness in which everything exist and ultimately out of which everything is made; including the cycles of life and death. The black screen is neither death or life: it points to that what contains both, our infinite awareness.
I've been yapping worse than six barbers here so I would be impressed if people actually read it, but wha ya gonna do huh

Ah, the art of making a traditional Western film just for the sake of it. Honestly, given how irrelevant the traditional style has become, I'm not surprised people don't mention this all too much when looking back at 1994. (Then again, it’s usually at most two dozen movies anyone cares about from then. What, you mean to tell me this is in a different league than Pulp Fiction?) I’m pretty sure the selling point of Maverick was that it's cool to be a regular Western film and not something as revolutionary as, say, Unforgiven, but nowadays that's not particularly inviting. Especially when it overshadows other points like its appealing cast. Even if such a movie is well-liked (which it is), why bother to watch a new movie that tries to be charming in an old-fashioned way when there are already countless movies of its class? The most inviting time to watch this was when it came out, and with each passing year it gets less interesting to consider watching.
Perhaps that's why it's taken me so long to get around to watching Maverick. That, and the fact I don’t really like Richard Donner as a director. In his later years, anyway. That guy has talent to spare, but his best days were well behind him at this point and while he was always a fair choice for a visually striking but precisely broad scope for handling plenty different ranges of material, a lot of his later work seemed to see him lack a real grasp on the material he was given and turned the stuff he made ranging from middling to godawful. My hopes were that if he gave this material the right level of energy, we had something good here.
And wouldn't you know it, I was right. For the most part. But the fact that I can relax knowing Donner made an overall better movie than Radio Flyer in the 90s is good enough for me.
Sure, it's a pretty lightweight endeavour, meaning if you don't like anything here then all bets are off, but this TV adaptation (knew about the original 50s show but never watched it) is quite a fun, feel-good sort of entertainment. Of course, given its lavish $75M-and-it-sure-looks-like-it budget (correct me if I'm wrong, as I was wrong before I watched this movie since I thought the title went to the cheap looking $70M film Wolf, but isn't this the second most expensive film of 1994 behind True Lies?) the look of the film is splendid. Donner's reliably marvellous sense of cinematography and set design are all aces, as are the Academy-recognised costumes. Randy Newman's score adds a nice touch, pretty great in occasional scenes. But really, this movie wouldn't be even half as fun if it weren't for the cast. Especially Mel Gibson as the titular Bret "Bert" Maverick.
Gibson and Co bring a much needed sense of energy and humour to the script, keeping plenty of the colourful characterisations in check as we travel around the map. The cast are all game, from prime con men to bank robbers to Indians to people of all travels like the Russian leader. They're great, if a bit too lightweight and underutilised--potential implications of her character notwithstanding, I kept forgetting Jodie Foster was in the movie until she would make her reappearance. Thankfully, Gibson is plenty enough of a hero to anchor and carry the film; he's charming as all get-out, funny, and quite talented in plenty methods, especially in balancing out getting on top and being a nice guy. Sympathise with him as he goes from a coward to a brave man willing to sacrifice himself for those around him, relying on his father's quotes and quick wits to survive. And magic, apparently. All leading up to the big poker game on the river. Ah, the old days of looking forward to seeing a new Gibson film...
For a movie that lends itself to the legacy of being a Western by being one for the 90s, it's a good effort for the most part. Do wish it was a bit more...fun, to be honest. And a bit broader in establishing the aspects of a poker game. And not so aimless towards the end. (What, you thought this was Casino Royale before Casino Royale? At least Martin Campbell can claim to have a steady hand on his material in his movies on any point in his career.) Donner is a bit of a letdown in staging plenty of the big showdown scenes--they're fine, but you'd expect to let the film do some of the workmanship in providing entertainment value rather than being all showy and hoping the light material and cast did all the work. Scenes like Maverick taking over the reins on a horse-powered journey gone wrong tend to succeed more on the charms of its cast than the spectacle of seeing him try to hang on for dear life. Not to mention such an anticlimactic scene where Maverick has to escape his bedroom on the boat. Typical 90s Donner, but despite my quibbles, it's great the movie is already entertaining enough as it is. It’s just that those quibbles could be brushed aside to make this a pretty great blockbuster for rediscovering rather than sheer adequacy. Great that it’s pretty spectacular in its lavish look, too (hard to think of someone better than Donner to make this as broadly beautiful as it is). Also pretty hilarious.
Seriously, I didn't expect this to be so funny. Then again, it's a Gibson/Donner collaboration, and if they want to do Lethal Weapon any way they can, so be it. (Unless it’s Conspiracy Theory, in which case I’ll order the gravy and go back to watching JFK.) Hilarious Danny Glover cameo included. ("I'm getting too old for this...") Likely the film's greatest asset in maintaining a steady level of quality, and it goes far enough to be some good fluff. Sure, it’s not the best thing you could ask for, but it’s always nice to kick back and relax to such entertaining fluffy stuff, no? Especially for those more into Westerns than I am.
Sorry if I rambled quite a bit, but I found this pretty fun to write about the way everyone seemed while making this.
7/10
P.S. Anyone down for a Top Gun/Maverick hybrid? Just for the sake of it?

Okay, I want to start this by saying that while Endless Summer is my favorite book due to emotional attachment ^{(Yeah, this is no longer the case as of October 31st, ROD GOAT}) I still think that Ride or Die comfortably surpasses it and every other Choices story when it comes to writing quality. I've been consuming some truly kino media like Steins;Gate, The Last of Us Part II and Better Call Saul in the past few months but seeing that the tumblr side of the fandom was having a ROD Appreciation Week made me have the book constantly wrestling for time in my mind along all those other things that I greatly enjoyed (Obviously, I'm not trying to imply this is anywhere near the same level of quality as these other pieces, cause that'd just be stupid) but yeah, I've been wanting to talk in depth about why I hold Ride or Die in such high regard for a long time now, so this post is for me, for anyone else that might be big fans of the book or even for people that didn't like it and don't understand why it's a fan favorite. It's also my late, not proofread contribution to the appreciation week since I can't really draw for shit.
PREMISE AND THEMES
Quick summary, it’s a story about growing up and finding oneself that focuses on an 18 year old girl in her last weeks of high school that joins a criminal crew without even realizing it due to her sheltered life making her feel like she missed out on her teenage years for the past 5 years since, after her mother’s death, her dad became incredibly protective of her. As she grows attached to the crew she gets deeply immersed in their world until she realizes what the pursue of freedom, fast cars and bad boys/girls truly entails. Of course, you all know that.
So, themes. Most Choices stories don’t have any big, noticeable theme that encompasses the entire story they’re trying to tell, which is completely fine since you can still write a good, compelling story without it ^{(Unless you’re David Benioff}). Of course, while not necessary, overarching themes elevate a story a lot more in my eyes if executed properly and I feel like Ride or Die excels at it. And what are these themes? Well, obviously, it’s up to every individual’s interpretation but to me the three biggest stand outs are freedom, obviously; the choice between someone’s own past and future; and how the typical Bad Boy Romance is not always the cheesy, idealized life most of us are used to. I’ll explain how the story presents these themes in the following segments.
ELLIE WHEELER, aka THE MC
I’ve raved about her at almost every chance I get because I feel like I can make a pretty compelling argument as to why she’s the best MC and one of the best characters PB’s ever written, but it’s about time I finally sat down to properly explain this stance. I might refer to her as Ellie at times instead of MC since I just don’t like having an essay this big and introspective and just referring to her as MC, even if I didn’t actually keep her default name myself.
So, let’s start from what most of the ROD MC masterrace knows about, she’s different from 95% of the MCs. She has a clear goal, a clear personality and, one of the most rare traits in MCs, her dad’s an actual character and he has an actual relationship with her. She’s also far from perfect, she’s an incredibly smart young woman that lacks “street” knowledge and as she gets in deeper and deeper with the MPC, her previous and new relationships suffer because of it, because she doesn’t know how to juggle both sides of her life. The hardships Ellie has to face are both products of the environment she lives in and a product of her mistakes, which acts as a nice balance so that she doesn’t come of as a bumbling idiot that fucks up everything for everyone and an overly perfect protagonist who’s only flaw is that the world just plots against her so that there can be a story to tell.
Her goal is a pretty simple one, she wants to go to Langston university, her dream school. The thing that stands out to me is how she never betrays her dream and it’s always present in the back of her mind, well, technically you can choose to skip out on all of her classes but that always seemed really out of character to me, so I’m not really taking that into account, since she expresses that she loves to learn and she sees it as a challenge to be better than herself from yesterday. She manages to involve Logan into her school life so she isn’t fully distracted from her studies and even when she’s living on the Gramercy Garage, she still finds time to study for her finals. Even when everything goes to shit and she starts losing sight of who she is, Logan, Colt and Mona know that being a criminal is not the life she’s meant to live and it isn’t until after prom that she realizes who she really is. There’s so many choices throughout the story that, while ultimately not relevant to the outcome, I feel can add a lot of character to her if you’re willing to “headcanon” a bit, so minor things such as picking the color of her car due to it being the same as Logan’s or the one Colt or Mona suggested, choosing to listen to rap music as she’s driving the MPC around since it can be seen as a rebellious sort of music that her dad probably wouldn’t have approved of, treating Brent’s party invitation as something of no importance to her, getting a tattoo… wait this one’s supposed to be big, why does no one acknowledge it dammit? Then there’s also some bigger choices such as her being able to tell Riya that she’s most excited about being able to leave LA on the first chapter or being able to choose to stay with Logan and help him fight Salazar, choosing to focus on her studies even when living with the MPC, and so on.
Now, how is she tied to the themes I mentioned above? Well, it’s clear that her desire for freedom and independence is what initially leads her to want to be a part of the MPC’s life, when Kaneko brought her to the garage for the first time she didn’t quite see them as criminals, but as people that lived as they wanted and were still, well, humans. She’s constantly seeking her own freedom from her dad’s overbearing presence and from her own boring life and she achieves it twice, one is the fake freedom she got when she ran away after her dad found out about her involvement with the MPC and the second one is what I like to think of as her true freedom. The definition of true freedom is tied to the second theme I mentioned, the choice between past and future, after the Brotherhood attacks her and her LI after prom she realizes that she can no longer try to keep on living both lives, the nerdy valedictorian girl and the criminal that gets a thrill by being behind the wheel, the inability to choose between one and the other is what initially landed her into that mess and it’s only by finally choosing that she’s able to get herself and everyone else from the MPC out. It’s a very unique way of showing a character being strong, she got herself out of the mess she herself helped cause and she did it without the conventional strengths of MCs such as being a warrior queen, a part of an alien entity that transcends time or a literal vampire.
Ultimately, she chose to embrace her future (And her past, in a roundabout way), her long time dream, which meant letting go of the life and people that once made her feel so free and alive and by doing so, she got the freedom she desired so much while also finding who she truly was and what she valued in life. That’s also tied to the third main theme I mentioned, in the end she couldn’t keep on living an idealized version of the bad boy romance where you get to keep a good life out of living on the wrong side of the law and while I could definitely go more in depth about how she embodies this theme, I’ll do that when I talk about other characters, since I’ve already talked about about Ellie a lot.
LOGAN
The cover boy, the boy with the car, the “bad boy”, the mandatory “good boi” LI, the only Love Interest that has managed to rival Quinn Kelly in terms of how much I love them. I feel like the love for all 3 LIs is mostly evenly distributed on this sub but I’ve definitely seen some people say that Logan is kinda boring compared to Colt and Mona and honestly, that just couldn’t be further from the truth in my mind. Prepare for another long ass analysis.
Being a fan of the anime/manga series Attack on Titan has made me gain a great, great appreciation for story recontextualization and that narrative element is exactly what Logan brings to the story at the end of Chapter 10 and boy, did Luke and the team knock that shit out of the park with how they implemented that tool into their story. ROD Ch. 10 is notorious for being the chapter that officially turned the book from an initially hated book that people were slowly warming up to, to a current fan favorite as far as online communities are concerned, seriously, you can look up the discussion for that chapter in the search bar and the first comment you’ll see if someone taking back everything negative they said about the book and then it’s just constant praising for the next 6 weeks. Why did all of that happen? Because of how much starts making sense or becoming clearer because of the reveal that Logan initially started dating (?) MC because he was trying to get whatever intel her dad had on them from her, seriously, everything becomes so clear after the end of the chapter, everything starts falling into place like a carefully crafted Lego build, be it for the stories’ themes or for characterization of characters like Colt, Mona, Kaneko, Jason and Logan himself.
Let’s focus on Logan for now though. A couple of chapters in, as we start learning more about his life, we can see that Logan is someone that’s never truly had someone in his life that could show him true human love and bonds, the closest he has to that prior to Ellie is his “cousin” Vaughn. Initially, it seems like a weak attempt at making the titular bad boy seem like a layered character, specially since he seemingly just fell for a random girl that literally stumbled upon him on a high school parking lot, but in reality the reason his fake interest in Ellie started to become reality was exactly because of the lack of proper, meaningful connections, which we couldn’t have known until after Colt reveals the truth. As we know, Logan always had the mentality that, no matter how good a crew might be, he should always be ready to bail when the heat is too much, that’s a philosophy that he adopted and he knows that any criminal that’s as good as him will share the same sentiment, which proves to be the case when the MPC immediately disbands after Kaneko’s death... but Ellie isn’t a hardened, professional criminal, she’s a girl that, while certainly enamored by the allure of their life, still sees them as people, not as mere means to an end that are just fun to hang out with, which is why she doesn’t run away after the escape from the mall or the encounter with Salazar’s crew at the drive-in cinema, that’s not something Logan thinks people are capable of, why would such a saint of a girl not get away from them after things like that?
That’s when Logan’s guilt enters the scene. He tries to undo what he now considers to have been a great mistake since he’s slowly catching real feelings for the girl that was just supposed to spill all of Detective Wheeler’s info and leave them as soon as she realized how dangerous their life was, but how is he supposed to do that now when doing so would mean losing this person that’s so incredibly unique in his world? We see how his guilt starts weighing on him more and more as the story progresses, until he almost does something very stupid by almost revealing the truth right before the stadium job, so he probably wouldn’t have lasted much without revealing it but, for better or worse, Colt was the one that did it for him and once again Logan turns Ellie’s whole world upside down. For the rest of the book, he does everything in his power to show her that, while he was lying in the beginning, he actually did come to care for her a lot (even if his actions might’ve pushed her into the arms of Colt or Mona, or at least acted as the final push in their routes).
After the MPC disbanded there was only one person I could see appearing on Riya’s doorstep when I played through ROD during release and that was Logan, because it just made all the sense in the world in my mind. Backtracking a bit, we know from his two diamond scenes on the early chapters that Logan dropped out of high school but he always liked to learn about random stuff, hence him reading while on the road, and that he always toyed with the idea of going back (He also says that he’d probably be graduating that year if he hadn’t dropped out, which tells us that he’s the youngest of the 3 LIs, which is a neat detail), so I always saw that as him showing up not just for Ellie’s sake but also for himself in a way, since it’d be a good way to live out the life he never had, even if just for a few hours. Speaking of prom night, I absolutely adore how when he tells Ellie he loves her, she can reply with “Logan… no you don’t.” since it’s only natural she wouldn’t believe him 100% since not only did they get together through a web of lies spun by him and Kaneko, but because as far as she knows, Logan can’t possibly know what real love feels like.
Fast forward to the final chapter and it’s time for the MPC to go their own ways, for real this time, to avoid getting entangled with the FBI and, even if Logan wasn’t your actual LI he still shows that he’s completely accepting of the fact that he isn’t the one Ellie loves, and on both cases he shows that he also grew to truly love her by deciding to not be a part of her life any more, because it just isn’t feasible for her to pursue her dreams while also being involved with potential suspects on the FBI watch list, so he chooses her future over his because he can’t and he won’t let her risk her future for something as small as a space rock lucky enough to burn up in her atmosphere for a moment and with that, a heartfelt kiss, an explicit and tacit declaration of love, a request for Troublemaker to give ‘em hell and a brief but tense showdown with Detective Wheeler, Logan speeds off into the night.
COLT KANEKO
The actual leather wearing bad boy of the story that sauntered his way into the hearts of many fans, both as a character and a love interest, he’s sarcastic, he’s funny, he’s soft-ish only with the MC and he’s also a multilayered character, how could he not be liked? I want to preface this section by saying that, just like with really popular LIs such as Jake Mackenzie, Damien Nazario or Ethan Ramsey, I could never bring myself to like Colt in a romantic way, even though I can certainly see the appeal of their route but even then, just like the aforementioned gentlemen, he’s still one of my favorite characters of the series regardless of that, simply because of how much he brings to the table. So without further ado, let’s get started with Mr. “Christ, who caaares?” Kaneko’s unnecessarily long essay.
Right off the bat we can see that Colt has a bone to pick with Logan due to their relationship with Kaneko, he’s always butting heads with Logan and Kaneko at the beginning because he resents both, the latter for sending him away to college and not being willing to let him in on the family business and the former for, in his eyes, being the son Kaneko always wanted, not knowing that the only reason his dad kept him away from the business and seemingly replaced him with Logan was because if Jason actually harmed the MPC he could live with the loss of Logan on his conscience, but not Colt’s. As time goes on Colt finds himself slowly warming up to Ellie, even if he initially just thinks of her as one of his dad’s mistakes waiting to blow up in their faces, and even if he does relentlessly teases/annoys her it’s very obvious that he can connect with her because of her complicated relationship with her dad and she can understand him, they both love their dads immensely but they severely disagree on the view they have of their respective child. And against Colt’s predictions, Ellie proves herself as a valuable asset to the crew (Not knowing until later on just how deep that rang true) and he eventually starts falling for her as well, which is what sets the Chapter 10 plot twist in motion.
After the MPC manages to steal the super cars for the Brotherhood, Kaneko opens up to the idea of letting Colt into the business, since it’s clear he won’t just pack up and leave for college anymore, especially after Kaneko is shot and threatened by the Brotherhood and he has to rely on Colt’s plan of kidnapping one of their members and at some point he reveals the truth about their current situation to his son, where Colt finds out about the truth behind Logan and Ellie but it isn’t until after the stadium heist that he makes shit hit the fan by starting a fight with Logan and spilling his secret. That always seemed to me that it came from a place that’s equal parts being mad at Logan for using Ellie like that but also him seeing it as a petty opportunity to sow discord between them, which is why she later has the choice to unload on Colt for deliberately keeping the truth to himself until the right moment. This also marks the moment where the somewhat toxic, somewhat supportive, somewhat wholesome and entirely complicated romantic relationship between them can start to flourish, since Ellie obviously doesn’t see Logan in the exact same way she did 24 hours before and depending on the player, she could’ve actually started to develop her relationship with Colt (Or Mona) prior to the reveal.
Something I haven’t seen being mentioned about Colt’s arc is how him being misjudged and misunderstood by both Ellie and Kaneko plays a huge role in it. After Ellie leaves the MPC, he decides to put the rest of his plan in motion, luring The Brotherhood into an illegal casino’s vault using the member they kidnapped and kill them via gassing. Toby completely disagrees with their actions and decides to recruit Ellie to help him stop the crew from crossing a line that they seemingly haven’t crossed yet, yes they’re criminals but much like Ellie’s initial impression of them, they’re not psychos and much less murderers, they’re still good people; so she sets out to stop them with the help of Toby and a Logan that’s desperate for atonement, but her biggest mistake was assuming that Colt isn’t the kind of person that can kill another person if it means protecting those he cares about. This is where it gets incredibly interesting and compelling to me, since not only does her misjudge of character ruin Colt’s entire plan but there’s also the possibility that she had been working for Jason and the Brotherhood the whole time, so in some cases they might’ve actually escaped the trap directly because of her and it doesn’t stop there, since as a result the MPC lose their entire advantage and are once again being targeted by The Brotherhood and that directly leads to not only another huge reveal from Kaneko’s part but also his death, him sacrificing himself so that the crew could escape as he let’s Colt know that he wishes for him to just let go of this life and do something better for himself. Before the rest of the MPC reunites at Gramercy Park, Colt tells Ellie how he plans to kill them all, to rebuild the garage and kill them all before finally breaking down on her arms as his loss catches up to him, right before the Mercy Park Crew splits up after their loss against Jason.
In the end, the two people Colt cared about the most failed at truly understanding him, his dad kept him at an arm’s length for a long time, missing out on time with his son because he never considered the fact that what he wanted for Colt was not what he wanted for himself, despite of all the risks it might entail, and Ellie played a part in Kaneko’s death by not realizing that Colt would be willing to cross such a fucked up line if it meant protecting the people and legacy he cared about so much. Those two factors play a huge role in the rest of the book since they’re the reasons why Colt is pushed dangerously close to a downward spiral that will most definitely only bring him more pain at the end of the book. After Jason is dealt with, he laments the fact that he and Ellie met under such circumstances and not in a classroom where they could annoy each other and become friends and/or significant others but he doesn’t lament his current situation, he’s dead set on becoming the king of LA, on carrying on his father’s legacy, now more than ever. I’d argue Colt Kaneko is the biggest cautionary tale in this book about the dangers of the often glorified life of the bad boys and fast cars and how it can consume you, he was very special to Ellie and Kaneko but they didn’t fully understand who he was, how he was shaped by his ideal future and they couldn’t see how the most important thing for him was his past, his legacy and as a result, he’s alone against a dangerous world, but that’s a danger that he very much welcomes.
If any of you have done Colt’s romance route and feel like I missed out on anything, do let me know in the comments, I feel like my appreciation for him only grew more as I wrote his section.
MONA
The bad girl, the loner, what even is her real name? I’m also going to dedicate an analysis to her but I also want to direct you to a post from a few months ago by user u/elbenji who has reviewed ROD from a WLW perspective that I think you should also check out if you’ve got the time. Anyway, Mona’s turn.
So, who’s Mona? Well, she’s kind of the Drake Walker of the book, which is a role that you don’t usually see being filled by a female LI. She doesn’t seem to like anyone, she’s pessimistic, she rarely misses the chance to mock people, she’s damn good at her job and she’s loyal to no one but herself, to some she might actually be the worse person of the 3 LIs during the early chapters but as everything else in this book, the layers to her start to show the more the story advances. She shares Logan’s worldview of everyone only being out for themselves but unlike Logan, she knows that not everyone is necessarily like that but in her eyes those people are in for a rude awakening from the world at some point for being dumb enough to think that they can count on someone else and that’s why she’s borderline condescending towards Ellie when the topic of interpersonal relationships comes up between them.
If Colt is shaped by his future, Mona is shaped by her past. Once upon a time she used to be little Miss Perfect like Ellie, honor roll, on the path to valedictorian, the whole thing, until she met a girl that she fell in love with, a criminal that made her enjoy life to its fullest and ended up becoming her whole world until one day they got caught and were taken to interrogation separately where Mona, fully trusting of her partner, lied about their involvement but was still arrested because her girlfriend ended up giving her up in exchange of freedom. That event shaped Mona’s entire philosophy, when it came down to it, people would always put themselves above everyone else and after Kaneko gave her back her freedom that’s the only code she stuck by, her own personal freedom and survival became the most important thing in Mona’s life, even when the man that saved her was in danger she considered multiple times to just leave the MPC to their luck. That is, until she met Ellie Wheeler.
Obviously, in typical Pixelberry fashion, Mona doesn’t have as much screen time as her male counterparts but what she lacks in screen time she more than makes up in both narrative and thematic relevancy. As mentioned previously, Mona’s always reminding Ellie how out of her depth she is and treating her like a dumb girl that doesn’t know what she’s doing (Which, to a certain extent, is true) but when shit goes south after the stadium heist it turns out that she’s the only LI that never actually played with Ellie’s feelings and was always straight (Heh) with her. It's things like this that I love immensely about ROD, the 3 love interests have so many layers to them, they do good and bad things and they feel like actual people that exist in this fictional Los Angeles, their actions are a product of what’s established as their characters, not just as stuff that happens because the plot needs it to. Back on track, just like with Colt, this is the point where Ellie and Mona’s relationship really takes off if the player chooses to and unlike Colt, her going after Ellie feels like it comes off from a place of actual concern since she understands what she’s going through, regardless of whether their relationship is platonic or not at that point, she still sees a girl that feels like she’s got no one left that she can trust in, so she takes it upon herself to be there for her, slowly shedding her walls that she’s put up for so long, probably without even realizing it.
After the failed job at the casino, Mona once again contemplates leaving the MPC in the middle of the shit storm but Ellie manages to get her to help since she owes Kaneko that much at the very least, only for her to find out a few minutes later that Kaneko knew The Brotherhood were corrupt cops from the beginning and never confided in them with that information and, in another cruel twist of fate, Kaneko ends up sacrificing himself so that Ellie, Logan, Colt and Mona could run away, once again, giving Mona her freedom even after completely betraying her trust. As the MPC discuss their course of action after that, she breaks and let’s out what’s probably my favorite quote in Choices: ”You wanted freedom? The fast cars, the bad boy, that whole life? This is it… and it’s not for you. Go home, for everyone’s sake.”, in that moment she let’s the entire pressure of the situation get to her and unleashes on Ellie, the main reason why they’re all in that whole mess. It’s an incredibly cathartic quote that perfectly encapsulates what ROD is all about, the criminal life is not something one can just juggle as if it were a part time job that’s there for the thrills, it can only lead to a life that most people, if presented with the choice, would never want for themselves. When I read that for the first time I completely forgot that I was just reading a story on a free Visual Novel app where you’d never expect to find writing of such quality. I can perfectly feel Mona’s anguish and anger in that quote, the whole weight of the events of the book finally come crashing down on us after we read those words and it’s just such a great feeling that I’ll never stop praising.
Let’s get to prom night though, much like Mona going after Ellie on Chapter 11, I feel like her showing up for her prom is still really fitting and the diamond scene that follows after is arguably the best wlw dirty thirty in the app, the dialogue during it is just top tier to be honest. But even better than it to me is the scene after that, where she decides to join The Brotherhood if it means Ellie gets to run away from them since they’re obviously looking to tie up lose ends, it is especially hard hitting if she’s your LI but the version with Colt or Logan is still amazing and I especially love how she uses the hot wiring skills Mona taught her to run away. After the Mercy Park Crew’s last ride together, Mona ends up taking a bullet for the girl that reminded her so much of herself and as Ellie drives her to the hospital she talks about how hard she’s going to be to forget, before reaching the hospital and walking herself inside, knowing that she’d be imprisoned once again before the day is over. I’ve seen a fair share of people that were unhappy with Mona having to deal with such harsh consequences but I personally love, love the end of her route since Mona’s always been about self preservation and only being there for herself but meeting Ellie gets her to slip, she starts caring for her and in the end chooses to give up on her freedom if it means Ellie gets to walk away with hers, in a way being for Ellie the complete opposite of what her ex-girlfriend was to her all those years ago (The dramatic irony can be turned to 11 if you choose the options that show her slowly adopting Mona’s philosophy during the final chapters, so she can slowly become more cynical as Mona slowly sheds her cynicism). In the end, Mona might not be free but she’s still on her element, she’ll be on a place where she’d have to count only on herself and while she’ll definitely have to face some time for her crimes, I’m pretty sure she’d thrive in prison.
End of Part 1
Okay, I initially wanted to talk about the supporting characters as well but this shit is truly living up to its title at almost 5K words, that’s already a decently sized one shot, so I’ll stop here since I still want to post it close to the appreciation week, though I might make some edits here and there as I reread it later on but I'm too lazy to do that right now. If I see there’s a good reception for a stupidly long post like this I’ll probably get to work on the second part where I talk about Kaneko, Jason, Detective Wheeler, Toby, Ximena and Riya and Darius, as well as maybe analysis for other books that I hold in really high regard such as the Endless Summer trilogy, Open Heart or It Lives Beneath. If you actually made it all the way here, I just want to thank you for taking the time of your day for reading my semi-coherent thoughts and definitely let me know what you think, if you agree, if you disagree, if you think I should go outside, etc. Thank you for your attention.

So in April, I decided to watch every Bond film from "From Russia with Love" to "Spectre". I had already seen Dr. No for a english assignment last year and while I enjoyed the film didn't feel the need to rewatch it. So here are my thoughts:
Dr. No - A great start to the Bond franchise that is introduces a lot of the classic elements, including "Bond, James Bond", Girls and cold kills. The film is quite quaint by modern standards but is still fun to watch. I will say the second half of the opening is just plain odd though, why after the James Bidn theme am I hearing bongos?. I will say that I wish we saw more of Dr. No than we do in the actual film, as, but otherwise Jospeh Wiseman gives a great performance. Overall 7.5/10
From Russia with Love - Okay this one just got better as it went along. While the pre-title sequence isn't bad we don't actually get to bond for a bit of the film and it does drag a bit. I also love that in the second movie we're already trying to play with the fact that Bond loves to sleep with women. I also find it funny that Robert Shaw looks awfully similar to Daniel Craig. Even with that though Red Grant still delievrs a codl performance that leads to one of the best fight scenes in cinema Overall 8.5/10
Goldfinger - I love this one so much. From a great villain to the DB5 to the iconic imagery and the brilliant henchman in Oddjob. This film gets nearly everything right and I have very few problems with the film as a whole. My only qualm is the barn scene where it appears that Bond may have raped Pussy galore, but that really didn't hinder my enjoyment very much as all. Where my love for the films was truly cemented for the film was for this quote "Did you expect to me to Live?" "No Mr. Bond, I expect you to die".Also my favourite character is introduced in this film: Q. The way Desmond Lleweyn plays this character is perfect and I really did not want anyone to replace him. Goldfinger is almsot flawless 9/10
Thunderball - This is where the franchise really went downhill for me. What really annoys me about this film is the first half hour is a complete waste of time that we didn't need. We could have easily started just at scene where Bond is meeting with leaders of the world and M and it still wouldn't affect your understanding of the film. Even after that, so much of the film just feels like wasted potential. The only good part of the film are probably about half the girls, Sean Connery and the one Q scene. The Underwater scenes are just boring and I didn't care. Altough this film does have on e the best title sequences. This will seem harsh to some but honestly this film gets a 4/10
Casino Royale(1967) - Yes I made sure to watch "every" James Bond film (although that wasn't really worth it in the end). What the fuck happened in this film. Honeslty this film is just random scenes together stuck together with a plotline. I remeber David Niven playing some game with Ursula Andress( If I remember correctly). I remember Bond's daughter stuck in a mze like berlin in the cold war. I remember peter sellers going up against Le Chiffre. But the films comes together like a Sandwhich made of Jello and Glue. It's awful. But it's also hilarious to think about. Honestly the story behind the film is more interesting than the actual film. Oh and how lazy is that ending, my God. 3.5/10
You Only live Twice - Alright I knew going in to this some of the films would be dated but I thought that was going to eb about the attitudes towards Women. I did not expect Sean Connery to be badly put in makeup to make him "look Asian". Also the final "Blofeld" reveal is somewhat disappointing, not necessarily bad just somewhat disappointing considering how he was bulit up in From Russia with Love and Thunderball. Although I honeslty didn't have a problem with Connery's performance that much. While it's not great, it wasn't enough to have an impact on my feelings towards the films. Overall not bad. 7/10
On Her Majesty's Secret Service - Alright this one is hard for me. I didn't enjoy the film very much but it's clearly great. Why is it great? Well it gave me Captain America: Civil War which is a film I sometimes don't enjoy but know it is a great film regardless. I was probably just in the wrong mood for this film. As for Lazenby, he's not bad but I think he might have just needed a bit more direction on what to do. Although while it's a gutpunch I love the ending. I'll just give it a 7 now, but I might come back to this one.
Diamonds are Forever - This one is quite weird. From Blofeld to drag to having scenes set in Vegas to Connery weirdly looking too old depsite only being in his 40s. But it can also be a sort of fun weird as well. But then it's not great either. Also I blame this film for the stupid moon landing conspiracy theories. 6.5/10
Live and Let Die - This is a decent start to the Roger Moore Era. Moore feels like Bond but not like Connery which I think was a slight problem with Lazneby trying to be a little too much like Connery. Dr. Kananga is a good villian and Jane Seymour as Solitaire is one the best bond girls. Also Sherriff J.W Pepper is silly but helps us understand how the Roger Moore Era will feel. Overall 7.5/10
The Man with the Golden Gun - "THAT FUCKING SLIDE WHISTLE". Seriously though the slidew whistle over the car flip represents the whole film. Good Idea that were unfortunately done wrong due to horrid execution. However, this makes the film one of the best to enjoy ironically. Scaramnage and Nick Nack are probably the only things done well in the film. Just for ironic enjoyment I'm willing to give this film a 6/10
The Spy Who Loved Me - For the longest time this was my favourite Bond Film. It had my favourite Bond girl in Anya, One the best henchmen in Jaws, Moore at the top of his game, and one the best ending scenes battles in all of Bond. My only problem comes from Stromberg, who's just a bit one note. Overall 9.5/10
Moonraker - I had bad experience watching this one. I was expecting all of it to be set in Space but only the 3rd act actually is. This meant that during the first 2 acts I was just waiting for them to go to space and when they did, I wanted them back on Earth. I really didn't like the space scenes because the blasters reminded me too much of Star Wars. The film itself is probably the most over the top it's ever been and hell, looking back I realise while it was incredibly stupid it was fun seeing a double taking pigeon and the other nonsensical happenings in this film. Honeslty I'll give this a 6.5.
For Your Eyes Only - What happened in this one? This isn't like Casino Royale '67 where it's incredibly confusing but it's more just boring. I really don't remember much at all. I don't remember many of the stunts or any of the bond girls really. Hell, I have no idea who the villain actually was. The only thing I remember is the brilliant opening sequence. 4/10
Octopussy - This one's similar to FYEO for me only stupider. unfortunately though unlike Moonraker where it jump the shark fairly soon to get you ready for the sillier scenes later on, the clown scene at the end I was completely unprepared for looked and just came off as incredibly dumb. Also Octopussy could've been a great villain but no, it's someone else who I didn't care about. 3/10
Never Say Never Again - The first act is weird in that it can't decide if it wants to be classic Bond or a spoof like CR '67. The second act is classic Bond(although they play videogames at some point. What?). I don't remember the 3rd act at all and I got completely lost which really ruined the film for me. 4.5/10
A View To a Kill - This is like TMTWGG for me. The only real good parts are Mayday and Christopher Walken as Zorin. We really should've had Dalton by this point. In fact I think Dalton should've started with For Your Eyes Only. Moore I don't think gives a bad performance but he was clealry too old for the role by this point. As a film it's one of the sillier ones, but at least it wasn't too boring 5/10
The Living Daylights - What a breath of fresh air. It was nice to have a bond film I enjoyed again after some many I didn't like. I love the 3rd act with the both Bond hanging on for his life with the plane and the end fight (although it could give you a seizure if you're epileptic). Timothy Dalton is James Bond. All the other actors were playing a version of James Bond. Dalton is that character personified to a T. The Living Daylights gets a 7/10
Licence to Kill - This was very different. What is easily the darkest bond film (maybe except, Casino Royale '06) is also one of the better bond films. While I enjoyed TLD dalton's bond fits better in this sort of film. I love the plot is literally Bond on a revenge mission rather than just filling out M's orders. Also Q in more than just one scene, is bliss. I Love Q, not only for Desmons Lleweyn, but also because his warmth helps to say "Yes it's dark, but it's still Bond and we can still have fun with it". However the film does almost crumble under all of the different plotlines but unlike NSNA I was still able to get back into the film despite that. Also, It annoyed me that Felix survived the film. It would've been better and more believable if both Felix and his wife had died. LTK gets a 7.5/10
Goldeneye - I don't have a lot to say about this one. Just a great Bond film in it's own right with a great villain and some of the best Bond girls. Although I wasn't big on Brosnan at first though. To me he seemed too generic and didn't really have his own spin to Bond. But he grew on my over time. Besides Goldeneye is still a great film otherwise. 9/10
Tomorrow Never Dies - Again, not a lot to say about this one. Decent Bond flick, that while not as good as Goldeneye is still worth your time and worth checking out at least once. The best part of this film is the villain by far, being a version of Rupert Murdoch(hate that slimy bugger). 7/10
The World is Not Enough - Man I don't have a lot to say about the Brosnan films. I really don't know what to think of this film. The opening scene is great but otherwise I find the film to be another average Bond flick that is a little worse than TND. 6/10
Die Another Day - This one's similar to TMWTGG and AVTAK for me where's it's incrediby stupid but you can have a laugh at it. John Cleese is decent as Q but not as good as desmond lleyweyn. Unlike otehr silly bond films some of the stupid shit can be seen as downright offensive and taking the piss such as the parasailing on waves scene and the end villain literally being Robocop. But the film is somewhat saved by incredibly silly dialogue that is easy to laugh at. Overall 5/10
Casino Royale - First Act is good. The second act is one the best scenes in cinema I have ever seen. I was just invested in that Poker Scene as I was in the Portals scene in Avengers: Endgame if nor more so in the Poker scene. The torture scene is brutal but works perfectly. However once Mr White shows up the films kind of falls apart. This because you could easily assume that Mr White was CIA(Like I did) and just though that was that. While Mathis still had to be dealt with, (whihc QoS messes with for some reason) the film could've just ended with Bond and Vesper. But no we had to have this silly third act which feels like it was only there to kill Vesper. But since the first two acts are still really good and the third act doesn't ruin the movie I'm still willing to look a the film positively. Overall 8/10
Quantum of Solace - I saw this one fairly recently and I still don't remember what happened. I think Greene was the villain and Bond was on the run from MI6 but honeslty that's about it. I will say that in the first half however, Daniel Craig somehow managed to not be Bond and instead come off as top Gear host. The ending really ruins this film however. Well more the gunbarrel itslef. YOU MAKE WAIT THE ENTRIE MOVIE FOR THE GUNBARREL ONLY FOR IT TO THE BE THE WORST GUNBARREL EVER DONE" Ugh. 4.5/10
Skyfall - What a stroke of genius this film was after QoS. One the best Villians in Bond history,Daniel Craig on top of his game, some stunts that are a bit silly but still keep the realims in check and making M the central focus was brilliant . Also while Desmond Lleweyn Will always be my favourite, Ben Whishaw is a great Q. I know this film has some silly plot holes the film is so damn good you just learn to not care about them. I could gush on and on about this film, but this has gone long enough as it has. 10/10 Best Bond film
Spectre - So I'm listening to Bon Jovi's "You give Love a bad Name" and it has the lyric "You Promised me Heaven and gave me Hell". That sums up my feeling towards the films perfectly so I'll just leave at that. 3/10
TLDR Ranking
1.Skyfall

1. The Spy Who Loved Me
   
2. Goldfinger
   
3. Goldeneye
   
4. From Russia With Love
   
5. Casino Royale
   
6. Live and let die
   
7. Dr. No
   
8. Licence to Kill
   
9. The Living Daylights
   
10. You Only Live twice
    
11. On Her Majesty's Secret Service
    
12. Tomorrow Never Dies
    
13. Moonraker
    
14. Diamonds are Forever
    
15. The World is Not Enough
    
16. The man with the Golden Gun
    
17. Die Another Day
    
18. A View to A Kill
    
19. Quantum of Solace
    
20. Never say Never Again
    
21. For Your Eyes Only
    
22. Thunderball
    
23. Casino Royale(1967)
    
24. Octopussy
    
25. Spectre
    

Slothrop's Hawaiian Shirt by Zak Smith (2006).
I just want to begin by thanking u/Bloomsdayclock for coordinating this endeavor, for all of the previous posts thus far, and for the enthusiastic interaction and scholarship that’s been happening in the comments for each post. This group read has rekindled my love for this book and is helping me understand it in so many different ways and in such greater depth that it's honestly like I’m reading a different book at this point. Also, kudos to each previous poster for creating a coherent post! The book is complex enough on its own but once you start going down the rabbit hole, sussing out the references, reading through some of the scholarship, etc., I almost found myself paralyzed by information overload (kinda feeling a bit like Charlie Kelly trying to figure out who “Pepe Silvia” is :) ). When this reading group started, I was like, “damn, I’m trying to read this insanely complex novel and the group posts are just as long, dense, and complex” and now I’ve gone and written some super long and dense post, too. To paraphrase either Blaise Pascal or Mark Twain (or Woodrow Wilson or apparently a rather large number of dead white guys from history): I would have written a shorter post if I’d had the time! Apologies in advance!
Anyways, this post will (attempt to) cover the start of the second section of the novel, Un Perm’ au Casino Hermann Goering. The events that transpire are zany and sinister, titillating and deeply sad. There is a mix of images both gorgeous and disgusting and much of the planning and plotting that took place at “The White Visitation” during the first section are starting to come to fruition in part deux. For each “Episode”, I will provide a general summary of the “action” and then some commentary and we’ll finish this post up with a few discussion questions. Let’s begin!
Episode 22
Summary
Slothrop is on furlough/leave at a casino in Monaco (from what I’ve read...I thought it was France before, still not completely sure) that’s been renamed in honor of the big fat slob that led Hitler’s air force during the war. He’s in paradise but wakes up “...[waiting] for a sudden noise to begin his day, a first rocket” (p. 181). His friend Tantivy Mucker-Maffick and a somewhat suspicious friend of his, Teddy Bloat (“[there’s] something about the way he talks to Slothrop, patronizing? Maybe nervous…” (p. 182)), are staying down the hall. They’re talking about meeting some girls but, as the first song of the section reminds us, Englishmen can be very shy. Slothrop is happy to help his “buddies” out, but tells them not to “expect [him] to put it in for [them]” (p. 183). Classic Slothrop!
Slothrop decides to wear a hideous (or amazing, depending on your sensibilities) genuine Hawaiian shirt that he received from his brother Hogan in the Pacific. The shirt seems to emit a glow (once he steps into the sun, it “blazes into a refulgent life of its own” (!) (p. 184), so Tantivy, “friend” that he is, tries to convince Slothrop to cover it up with scratchy Savile Row coat.
The trio hit the beach and the ladies are on them already. They’ve got food and booze and are ready for a nice day on the beach. The morning seems too good even for a bit of the “early paranoia”. And then Bloat ruins everything by drawing Slothrop’s attention to the woman down the beach being attacked by “the biggest fucking octopus Slothrop has ever seen outside of the movies”. Slothrop rushes off to intervene and, left without recourse, starts trying to bash the cephalopod on the head with a wine bottle to no avail. Thankfully, Bloat just happens to have a big, tasty crab on his person, which he tosses to Slothrop with the advice, “It’s hungry, it’ll go for the crab. Don’t kill it, Slothrop.” Slothrop uses the crab to bait away the animal from its current prey, noticing that it does not seem to be in good mental health. He eventually tosses the crab, like a discus, into the sea, and the octopus follows. The damsel has been saved, Slothrop is championed as a brave hero and his first thought is where in the fuck did that crab come from.
The exchange:
“Tantivy smiles and flips a small salute. “Good show!” cheers Teddy Bloat. “I wouldn’t have wanted to try that myself!”
“Why not? You had that crab. Saaay-where’d you get that crab?”
“Found it,” replies Bloat with a straight face. Slothrop stares at this bird but can’t get eye contact. What th’ fuck is going on?” (p. 187).
The damsel thanks Slothrop. Her ID bracelet identifies her as Katje Borgesius. Slothrop feels like he knows her and “...voices begin to take on a touch of metal, each word a hard-edged clap, and the light, though as bright as before, is less able to illuminate….it’s a Puritan reflex of seeking other orders behind the visible, also known as paranoia, filtering in…” (p. 188). How does Slothrop deal with this? By dividing up his present company into a dichotomy: the increasingly drunk Tantivy, “a messenger from Slothrop’s innocent, pre-octopus past” flirting with the girls and Bloat, “perfectly sober, mustache unruffled, regulation uniform [on the fucking beach!], watching [him] closely” (p. 188). And then there’s Katje, who, with her glance, makes Slothrop think she knows something (what?), asking him “Did you know all the time about the octopus? I thought so because it was so like a dance-all of you” (p. 188). Well, fuck me! Katje then tells “Little Tyrone” to be “very careful” and that “Perhaps, after all, we were meant to meet…” (p. 189). Now that’s a “meet cute” for ya!
Commentary/Questions

1. Is the casino fully owned and controlled by Them at this point (is César Flebótomo (Spanish for “sandfly”) a(n) (un)willing patsy in Their employ?). Is it the “lab” for this “phase” of the Slothrop experiment. Or is it just secured enough to ensure the results of the experiment aren’t tainted by some unforeseen variable/interference?
2. Teddy Bloat seems like a purposeful pun in reference to the bureaucracy of government/intel agencies
3. Tantivy Mucker-Maffick’s name is also filled with meaning
4. Songs are one way that Pynchon fills his book with “the language of the preterite”, a term from Weisenburger used to describe the “slang, underworld cant, songs, games, folk-genres, and material culture” used by Pynchon to pit “open, unsanctioned, and “low” languages” against the “closed, orthodox, privileged language of a culture”. This idea is expanded on by literary critic/philosopher Mikhail Bakhtin who notes that the “heteroglossic” aspect of novels allows them to be radical, open-ended artworks filled with a variety of voices that each embody a particular time and place (his term for this idea is a “chronotope”).
5. The whole episode is just soaked in paranoia, from beginning to end. Whatever Slothrop thought he thought he was feeling in Section 1 has been taken up a notch. He senses a plot but keeps playing along.
6. Is “Borgesius” a tribute to J.L. Borges?
7. “Little Tyrone” echoes “Baby Tyrone” from Jamf’s experiments and maybe is supposed to make us realize that while the antics in this episode could possibly be construed as a “loss” of Slothrop’s “innocence” that was actually taken from him as a baby.

Episode 23
Summary
Dr. Porkyevitch (“Porky the pig”?) and “Grisha” (“[frisking] happily in his special enclosure”) stare back at the “blazing bijou” of the Casino from their ship, contemplating their future now that they may no longer be of use to Pointsman, yearning for traces of the Russia they’ve been exiled from.
To the casino: Katje is a vision in shades of green and is escorted by a two-star general and a brigadier. Is it Pudding? RHIP :) Slothrop and Tantivy in the dining room. Slothrop raises the “The Ballad of Tantivy Mucker-Maffic” to get the room singing of his friend’s drunken exploits so that he can speak to Katje who uses the cacophony to invite him to her room after midnight!
Slothrop then probes his buddy to see if he notices anything funny going on. Tantivy brushes him off a bit (“there’s always, you know, an element of Slothropian paranoia to contend with…”(p. 192)) but then concedes that the bastard Bloat is receiving coded messages. Ha! And it turns out Bloat has become a bit of a different man over the last few years, something more than being “Blitz rattled”. He’s also warned Tantivy away from Katje (“I’d stay clear of that one if I were you” (p. 193)) and Tantivy feels used by Bloat (“being tolerated for as long as he can use me” (p. 193)). The encounter ends with Tantivy telling Slothrop to be careful and, should he need help, he’ll be there for him.
At midnight, Slothrop leaves for his rendezvous with Ms. Borgesius, “ascending flights of red-carpeted stairway (Welcome Mister Slothrop Welcome To Our Structure We Hope You Will Enjoy Your Visit Here)” (p. 194). Arriving, he teases her about her date at dinner and then about their slightly sinister “meet cute” while examining her closet which is absolutely filled to the brim with a variety of outfits. The “Too Soon To Know (Fox-Trot)” before they get down to it. As he is undressing her, he notices “...the moonlight only whitens her back, and there is a still a dark side, her ventral side, her face, than he can no longer see, a terrible beastlike change coming over muzzle and lower jaw, black pupils growing to cover the entire eye space till whites are gone and there’s only the red animal reflection when the light comes to strike no telling when the light-” (p. 196). Yikes! As they fuck, she wonders if his “careful technique” is for her or “wired into the Slothropian Run-together they briefed her on”. Either way, “she will move him, she will not be mounted by a plastic shell” (p. 196-197).
Then, a slapstick fight with a seltzer bottle (planted by Them?) that has Slothrop looking for a banana cream pie to toss (classic!) after which they fall asleep, lying like two Ss. In the morning, their post-coital bliss is interrupted as Little Tyrone is rudely awakened by the sound of someone robbing his pants in the room next door. He chases after the thief, first naked, then dressed in a purple satin bedsheet. As he’s chasing, from way down the hallway, “a tiny head appears around a corner, a tiny hand comes out and gives Slothrop the tiny finger” (p. 199). Haha! He chases the thief up a tree only to have the tree cut down while he’s in it. The thief escapes and Bloat and some general find Slothrop a mess.
Bloat takes Slothrop to his room where, “every stitch of clothing he owns is gone, including his Hawaiian shirt. What the fuck. Groaning, he rummages in the desk. Empty. Closets empty. Leave papers, ID, everything, taken… Hogan’s shirt bothers him most of all” (p. 201). Nobody knows where Tantivy’s gone off to. Bloat gives Slothrop a uniform (“a piece of Whitehall on the Riviera” (p. 201)) which doesn’t fit but the book advises, “Live wi’ the way it feels mate, you’ll be in it for a while” (p. 201). Slothrop ponders the meaning of the architecture and design of his surrounds, but “shortly, unpleasantly so, it will come to him that everything in this room [The Himmer-Spielsaal, no less] is being used from something different. Meaning things to Them it has never meant to us. Never. Two orders of being, looking identical….but, but….” (p. 202). THE WORLD OVER THERE. Against this realization Slothrop issues the only spell he knows, a defiant “Fuck You”. Walking, rainstorm, entertainment at the casino, no one has seen the dancing girls from the drunken breakfast, Slothrop is “finding only strangers where he looks” before freaking out in the casino, then getting wet in the rain, then returning to Katje, the only place he knew to come.
Commentary

1. I love “The Ballad of Tantivy Mucker-Maffic” and would like to write a similar tune about the inebriated shenanigans committed by my best friend and I during college.
2. The bit about Oxford and Harvard not really existing to educate was a nice touch (p. 193)
3. “Snazzy” is an “Americanism” in the 40s! (p. 195).
4. Slothrop ponders an impending loss of innocence (but, again, it seems like that has already happened). He has nothing and no one in a foreign country and the sensation that his life is being purposefully, possibly nefariously influenced by forces he can vaguely perceive. “It’s here that saturation hits him, it’s all this playing games, too much of it, too many games: the nasal, obsessive voice of a croupier he can’t see...is suddenly speaking out of the Forbidden Wing directly to him, and about what Slothrop has been playing against the invisible House, perhaps after all for his soul, all day - terrified, he turns, turns out into the rain again where the electric lights of the Casino, in full holocaust, are glaring off the glazed cobbles.” And then, “How did this all turn against him so fast? His friends old and new, every last bit of paper and clothing connecting him to what he’s been, have just, fucking, vanished. How can he meet this with any kind of grace?” (p. 205)
5. The word “holocaust” is used quite a bit in this story
6. Setting this all in the casino is a nice touch: there is the illusion of chance and luck in a casino but the house always wins.
7. The juxtaposition of the comic (seltzer fight) with the tragic (Slothrop alone, trying to understand what’s happening) heightens both effects.

Episode 24
Summary
They wake up with Katje calling slothrop a pig, which responds to by oinking. At breakfast, he is taking a refresher course in technical German and learning about The Rocket. His tutor, Sir Stephen Dodson-Truck (who speaks 33 languages!) aiding his understanding of German circuit schematics by way of ancient German runes. Slothrop understands immediately that Dodson-Truck is in on the plot but not sure how (“There are times when Slothrop can actually find a clutch mechanism between him and Their iron-cased engine far away up a power train whose shape and design he has to guess at, a clutch he can disengage, feeling then all his inertia of motion, his real helplessness… it is not exactly unpleasant, either. Odd thing. He is almost sure that whatever They want, it won’t mean risking his life, or even too much of his comfort. But he can’t fit any of it into a pattern, there’s no way to connect somebody like Dodson-Truck with somebody like Katje…. The real enemy’s somewhere back in that London anyways” (p. 207).
Back in the Himmler-Spielsaal: “in the twisted gilt playing-room his secret motions clarify for him, some. The odds They played here belonged to the past, the past only. Their odds were never probabilities, but frequencies already observed. It’s the past that makes demands here. It whispers, and reaches after, and sneering disagreeably, gooses its victims.
When they choose numbers, red, black, odd, even, what did They mean it? What Wheel did They set in motion?
Back in a room, early in Slothrop’s life, a room forbidden to him now, is something very bad. Something was done to him and it may be that Katje knows what. Hasn’t he, in her “futureless look,” found some link to his own past, something that connects them closely as lovers?” (p. 208-209). “It is a curve each of them feels, unmistakably. It is the parabola.”
No more news from London or Achtung. Bloat is gone now, too. Sir Stephen and Katje with their identical Corporate Smiles to dazzle him while they rob his identity. But! “He lets it happen” (p. 210).
Slothrop is getting hardons after his rocket study sessions and then goes looking for relief with Katje. Sir Stephen appears to be timing these erections! So, Slothrop gets the smart idea to get him drunk via a drinking game and many, many people end up getting sloshed on some high class bubbly. Half the room is singing the “Vulgar Song”. Slothrop and Sir Steve get pretty hammered and start walking through a nice sunset, where Slothrop sees robed figures, hundreds of miles tall, on the horizon. Sir Stephen informs Slothrop that he’s got “potency issues” (which makes him the perfect observer for Slothrop’s sexual misadventures… “no nasty jissom getting all over their reports, you know” (p. 216)). He’s about to tell Slothrop the secret of “The Penis He Thought Was His Own”...
...but then starts waxing nostalgic about Sir Stephen’s son and his wife, Nora and her “Ideology of the Zero”. An interlude with Eventyr, Sachsa, Leni… “but where will Leni be now? Either we didn’t mean to lose her - either it was an ellipsis in our care, in what some of us even swear is our love, or someone has taken her, deliberately, for reasons being kept secret, and Sachsa’s death is part of it too” (p. 218). More on Sachsa’s death.
Then, Sir Stephen vanishes (“but not before telling Slothrop that his erections of high interest to Fitzmaurice House”). Katje is pissed that Slothy got Sir Steve drunk enough to dish on the plot. They fight and then fuck. More rocket study sessions. The rocket taking off looks like a peacock, def pfau. Slothrop pressing for more information, Katje rebuffing, warning/advising“Oh, Slothrop… You don’t want me. What they’re after may, but you don’t. No more than A4 wants London. But I don’t think they know...about other selves...yours or the Rocket’s. No more than you do. If you can’t understand it now, at least remember. That’s all I can do for you” (p. 224).
Then, “They go back up to her room again: cock, cunt, the Monday rain at the windows” (p. 224) (Oh, Tom, you romantic!). And finally, a bit of kazoo music, a final night together, and Katje disappears, too.
Commentary

1. Slothrop makes an important connection to his childhood and wonders if Katje knows about it/whether she’s with him because of it (ol’ Pynch even manages to work in the rocket, too!): “You were in London while they were coming down. I was in ‘s Gravenhage while they were going up. Between you and me is not only a rocket trajectory but also a life. You will come to understand that between the two points, in the five minutes, it lives an entire life. You haven’t even learned the data on our side of the flight profile, the visible or trackable. Beyond them there’s so much more, so much none of us know” (p. 209).
2. More on the import of setting the action in the Casino: “The Forbidden Wing. Oh, the hand of a terrible croupier is that touch on the sleeves of his dreams: all his life of what has looked free or random, is discovered to’ve been under some Control, all the time, the same as a fixed roulette wheel-where only destinations are important, attention is to long-term statistics, not individuals: and where the House does, of course, keep turning a profit…” (p. 209).
3. A beautiful passage: “‘Holy shit.” This is the kind of sunset you hardly see any more, a 19th-century wilderness sunset...this anachronism in primal red, in yellow purer than can be found anywhere today, a purity begging to be polluted...of course Empire took its way westward, what other way was there but into those virgin sunsets to penetrate and to foul” (p. 214). Always dualities in this book.
4. “A pornography of blueprints” (p. 224). is a nice turn of phrase.
5. Foreshadowing: “She has her hair combed high today in a pompadour, her fair eyebrows, plucked to wings, darkened, eyes rimmed in black, only the outboard few lashes missed and left blond.
6. Connection to Nabokov: I really do think “Signs and Symbols” influenced this novel. Lines like this, “Here it is again, that identical-looking Other World - is he gonna have this to worry about, now? What th’ - lookit these trees - each long frond hanging, stuny, dizzying, in laborious dry point against the sky, each so perfectly placed…” (p. 225) remind me so much of the atmosphere in the story (itself about paranoia (“referential mania”)). This is a key excerpt from the Nabokov ditty: “In these very rare cases the patient imagines that everything happening around him is a veiled reference to his personality and existence. He excludes real people from the conspiracy - because he considers himself to be so much more intelligent than other men. Phenomenal nature shadows him wherever he goes. Clouds in the staring sky transmit to one another, by means of slow signs, incredibly detailed information regarding him. His inmost thoughts are discussed at nightfall, in manual alphabet, by darkly gesticulating trees. Pebbles or stains or sun flecks form patterns representing in some awful way messages which he must intercept. Everything is a cipher and of everything he is the theme.” Obviously this guy is, uh, slightly more clinical, but I still think the atmosphere/tone is similar between the two.

Episode 25
Summary
We begin this episode with a Pavlov lecture about the physiological symptoms of hysteria and one of Pointsman’s poems (which he never shows to anyone). Then to the “White Visitation” chaps (Pointsman, Grunton, Throwster, Groast) rumor-mongering about their future. Things are looking bleak. Pudding might cut off funding, “Slothrop’s knocked out Dodson-Truck and the girl in one day” (p. 227), and Sir Steven’s got the P.M.’s son-in-law making embarrassing inquiries. But Pointsman is calm. Very calm. In fact, “[b]y facing squarely the extinction of his program, he has gained a great bit of Wisdom: that if there is a life force operating in Nature, still there is nothing so analogous in bureaucracy. Nothing so mystical. It all comes down, as it must, to the desires of individual men. Oh, and women too, of course, bless their empty little heads. But survival depends on having strong enough desires - on knowing the System better than the other chap, and how to use it. It’s work, that’s all it is, and there’s no room for any extrahuman activities - they only weaken, effeminize the will: a man either indulges them, or fights to win, und so weiter” (p. 230). And then we find out that Pointman’s figured out how to play Pudding to keep his support (more on that in a bit…) as he’s figured out Treacle, Groast, and Throwster, how to use them and manipulate them to get what he wants. What a fucking devious guy!
Webley Silvernail sticks around after the meeting and imagines the lab animals putting on a beguine performance of a song called “Pavlovia” (right after this realization by Silvernail: “From overhead, from a German camera-angle, it occurs to Webley Silvernail, this lab here is also a maze...but who watches from above, who notes their reponses?” (p. 229)). And it’s all song and dance for a bit but since it’s Pynchon, it’s followed by an incredible poignant/tragic moment of clarity: “They have had their moment of freedom. Webley has only been a guest start. Now it’s back to the cages and the rationalized forms of death-death in the service of the one species cursed with the knowledge that it will die…. “I would set you free, if I knew how. But it isn’t free out here. All the animals, the plants, the minerals, even other kinds of men, are being broken and reassembled every day, to preserve an elite few, who are the loudest to theorize on freedom, but the least free of all. I can’t even give you hope that it will be different someday - that They’ll come out, and forget death, and lose Their technology’s elaborate terror, and stop using every other form of life without mercy to keep what haunts men down to a tolerable level - and be like you instead, simply here, simply alive….” The guest star retires down the corridors” (p. 230). What a soliloquy. [Tangent: almost 50 years later, how prescient is this passage?! This little monologue filled me with so many conflicting emotions: hope (because humans like Pynchon exist to dream this stuff up) and also dread because this paragraph describes a fundamental aspect and egregious flaw (or flaws) in human nature. Reading and re-reading this passage depresses me a little (hence my question about mental health below).
Now Pudding is sneaking about the bowels of “The White Visitation”. He heads past the cells of loonies on his way to a secret rendezvous. It seems like Pointsman may have drugged him at some point to get at hidden desires. We watch as our dear old Brigadier putters from room-to-room, finding items left for him by Pointsman that mock him and describe his descent into a personal hell (for info on the symbolism, the Weisenburger book is quite helpful).
In the final room, Pudding drops to his knees at the feet of his Domina Nocturna (with “her blond hair...tucked and pinned beneath a thick black wig”... “naked except for a long sable cape and black boots with court heels” (p. 233)). Pudding is thinking of the night they first met. He saw “her” “...through the periscope, underneath a star shell that hung in the sky, he saw her….and though he was hidden, she saw Pudding. Her face was pale, she was dressed all in black, she stood in No-man’s Land, the machine guns raked their patterns all around her, but she needed no protection. “They knew you, Mistress. They were your own.
And so were you” (p. 233).
And then he offers her a “nice” memory of a legion of Franco’s troops killing and getting killed at a massacre at Badajoz for which he is “rewarded” with her beating and then pissing and shitting in his mouth… … … …
However off-putting this may be for some (most), it does something for Pudding. He needs pain. “They have stuffed paper illusions and military euphemisms between him and this truth, this rare decency, this moment at her scrupulous feet….no it’s not guilt here, not so much as amazement - that he could have listened to so many years of ministers, scientists, doctors each with his specialized lies to tell, when she was here all the time, sure in her ownership of his failing body, his true body: undisguised by uniform, uncluttered by drugs to keep from him her communiqués of vertigo, nausea and pain. Above all, pain. The clearest poetry, the endearment of greatest worth…” (p. 234-235).
Munching down on a hot turd makes Pudding think of the horrible smells of his service during WWI: putrid mud, rot, death, “...the sovereign smell of their first meeting, and her emblem” (p. 235). After eating her shit, he jerks off (his release), in a style that Domina Nocturna has learned from watching Captain Blicero and Gottfriend (at this point, it is safe to say, Domina Nocturna is Katje. Will we ever be able to look at her the same?).
Pudding is then dismissed to “...a late-night cup of broth, routine papers to sign, a dose of penicillin that Pointsman has ordered him to take, to combat the effects of E. Coli” (p. 236). So thoughtful, that Pointsman...
Commentary

1. The Silvernail hallucination/phantasmagoria seems like something straight out of “The Big Lebowski” had Jodorowsky had a bit of influence over the Coen Bros. art direction. Many of the songs in this section feel “Lebowski-esque” but this one especially so to me. Maybe its the detailed choreographic notes: “They dance in flowing skeins. The rats and mice form circles, curl their tails in and out to make chrysanthemum and sunburst patterns, eventually all form into the shape of a single giant mouse, at whole eye Silvernail poses with a smile” (p. 230).
2. The Franco bit is a nice way of linking facism and death worship
3. Pudding eating Domina Nocturna’s shit really, to quote an earlier passage, gave “de wrinkles in mah brain a process!”. There is so much symbolism there! Instead of ascending to heaven, Pudding heads down to hell. We have so many dualities linked in the act: between young and old, sacred and profane, pleasure and pain, pleasure through pain, WWI and WW2, man and woman, life and death, the general as a slave, even the food transformed through Katje into waste, all linked through the act of eating shit. For a moment they are linked so intimately, so delicately. No parabolas, a circle. And, of course, there’s also the diabolical Pointsman in the background, pulling the strings and manipulating to keep Pudding in line. I remember reading this for the first time and just being shocked and confused and now reading it again and finding so much meaning. That ol’ Pynchon is a devious bastard, hiding such loaded symbolism in such an obscene encounter. The Pulitzer committee had no idea what was coming for them!

So, if you’ve reached this point, congratulations and I am sorry! Here are my discussion questions. Looking forward to future posts!
Discussion Questions Both On Topic and Tangential

1. Why is paranoia described as a “Puritan reflex” in Episode 22?
2. In Episode 23, as Slothrop peruses Katje’s extensive wardrobe, what is the significance of the line, “Aha! wait a minute, the operational scent in here is carbon tet, Jackson, and this wardrobe here’s mostly props” (p. 195)?
3. In Episode 24, what’s the significance of “the watchmen of world’s edge”? Is this an intrusion of the spirit world? Is Slothrop just hallucinating?
4. In Episode 24, when Peter Sachsa gets the blow to the temple from Schutzmann Jöche, why is his last thought, “How beautiful!” (p. 220)
5. In Episode 25, there’s a line in the part where Pudding is sneaking around: “A voice from some cell too distant for us to locate intones:...” (p. 231). Why us here? Why the change in perspective?
6. How’s this book affecting everyone’s mental health (you know, given that we’re in the end times right now)? Seriously, though, there are times when this book makes me so happy to be alive and proud of humanity and also times where it depresses the everloving shit out of me and makes me think that, as a species, we’re doomed to continue making the same mistakes, over and over again, until we end up destroying ourselves.
7. In a similar vein, do you think people as prodigiously talented and brilliant as Pynchon have any responsibility to counter the evil they see in the world? Is writing books enough or should they do more (lead, teach, etc.) to fight against the awful things they are able to see before the rest of us do?

Resources

• GR Wiki & Annotations - here
• Some Things That “Happen” (More or less) in “Gravity’s Rainbow” - here
• Larry Daw’s reading notes - here
• Weisenberger’s Book at the Internet Archive - here; Zak Smith’s book - here (gotta “rent”/ “borrow” both).
• Notes from a class on GR at Swathmore College - here
• How Pynchon Avoids Cultural Appropriation - here
• “History & Fiction: The Narrative Voices of Pynchon’s “Gravity’s Rainbow” (2004) by Paul A. Bové
• “A Supernatural History of Destruction; or, Thomas Pynchon’s Berlin” (2010) by Eric Bulson