A Singularly Important Job: Saga, Issue 24

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haha, check out this big nerd, point and laugh at the nerd 

(Spoilers!)

Saga is full of assets; it’s clever, diverse, gorgeous, and made by two of the best creators in the business. But one of my favorites of all them is its unpredictability. That’s not to say that it hasn’t had character beats that one could call, or that it hasn’t gone for the obvious route every once and awhile, but when push comes to shove, Saga has never done anything huge without it feeling like something new. Sure, this entire arc was spoiled to us right from the top when Hazel told us that her parents were going to split up, but I think very few readers predicted exactly how that would happen, or what the consequences seem to be. But after the emotional whirlwind #23 put us through, Issue #24 pulls back a bit. We’ve spent the last five issues focusing only on Marko and Alana’s family, but it’s time to get back to the rest of our cast- more specifically, The Will’s now extended family unit.

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A Way for Us to Forget: Gravity Falls 2.07, “Society of the Blind Eye”

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I’ve never quite liked it when a smart cartoon is considered “not a kid’s show anymore”. Sure, those shows might do something a bit darker than one would expect, and sure, those shows may have plots and character arcs. But those things don’t inherently make a show stop being a show kids can watch; to me, that severely underestimates the intelligence of kids, especially speaking as someone whose elementary school aged cousins consider this their favorite thing on TV. Rather, the creators of shows like Gravity Falls have made a successful cartoon because they don’t talk down to the kids who are watching, and give them things to expect and to reward them like any other show would. That’s what makes shows like this and Adventure Time (which has become the go-to example of this kind of cartoon) good for adults, too- it’s because they respect their viewers, old and young. “Society of the Blind Eye” is one of those episodes that really shows us how well Gravity Falls has become at hitting that sweet spot, as we come as close as we ever have to finding out who wrote the journals.

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God On The Run: Person of Interest 4.05, “Prophets”

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It’s been two seasons since we discovered Harold Finch would kill The Machine, his figurative child, every night. It was almost Oedipian (not in the incest way)- the father punishes his child to prevent them from becoming more powerful than him, only for the child to find a way to overtake him anyway. “Prophets” takes that to a whole new level, with the revelation that not only was The Machine killed time and time again, but they had siblings- forty-two of them, all killed when Harold found he hadn’t made them empathetic enough. On a level of logic and rationality, Harold’s decision makes painful sense; we don’t want something hostile taking humanity over, and most of these children actually attempted to kill him in desperate attempts to be free. But when you view those children are more than just artificial intelligences, the way Root sees them, it’s easy to see why The Machine ran off the first chance they got, and why Root so long wanted them to be free.

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