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butterflyFirst off, to be filed under 'yes, I am that petty':
Read an article about Wonderfalls, after being undecided about catching the show tomorrow. Said article dissed S7 Buffy (not the show in general, Buffy herself). All interest in seeing Wonderfalls is now gone. I just can't imagine watching it now. It's outside of the realm of possibility.
Back to the post currently in progress:
Every so often, I feel like I need to restate what I'm about -- for new people to my journal, mostly (also because these are good things to remind myself of).
When it comes to fandoms, canon rules with me. I will always fall on the side of canon. Doesn't mean that I don't disagree with some messages that canon sends or that I like everything that I see. It just means that I never invalidate any part of canon. I embrace every new element and shape my fandom feelings around the new canon. For me, it's about the cohesive world of the BtVS/AtS universe, so even the parts that I'm not a fan of matter to me, because it's part of that universe.
That is the attitude that I approach reviewing the show with -- everything is part of the whole. For me, there are no throw-away episodes. Everything is part of the story arc. Every little detail is part of the whole.
Everything is arc.
None of these are reviews as such. They're rambles inspired by the episode in question. The actual format for how I'm writing is this: I think about the episode and write for a while, then I start rewatching the episode and make more detailed notes and adjustments. Then I reread the whole thing, correcting minor details and expanding some segments.
Hellbound is such an incredibly important Angel episode. Continuing in a thread from last week, we once again have an Angel-echo in the episode but this time it isn't victim-monster (as Nina was) but rather an Angelus parallel found in the (long dead) person of Pavayne. Pavayne tortured and destroyed lost souls -- a more literal interpretation of what Angelus used to do.
Angel, even more so than Buffy, is fond of showing us the same situation from a different viewpoint. We see the same types of acts over and over, but each situation stands apart because of the interpretations and reactions of the characters doing or feeling the acts. This year, they're showing us Angel, over and over, showing us what he could do in a different situation and how he could be if things (and he) were slightly different. It's all about choices and consequences. And the first always leads to the second, because a consequence is just an effect.
I've maintained from the first (or possibly second, as I was probably too devastated to actually think during the first viewing) that, in Home, Angel made the wrong decision for the right reason. Every decision has consequences, and every consequence leads to a new decision. This pattern determines the shape of a life. But Angel disrupted that pattern when he did the reality-shift. The world knows what it should be (witness the effects of Buffy's mediative spell in No Place Like Home -- the room knows that Dawn's things don't exist, just as the universe knows that she doesn't exist -- also, see Superstar). The consequences remain, but the decisions that caused them have shifted and this causes a fundamental disconnect between the viewer (in this case, the Fang Gang) and the viewed (the universe as it appears).
"Nothing in this world is the way it should be." When Angel spoke those words, he was wrong -- the world was the only way that it could be, and there's no use imposing moral guidelines on a world. What he meant, of course, is that people didn't behave in a way that made the world a safe and enjoyable place. The world isn't how he wants it to be. Of course, the only way to change the world is decision by decision -- unfortunately, Angel didn't have the heart to do that when it came to Connor. Instead, he forced the world into a shape that it wasn't meant to be. And slowly, it's shifting back. He refused to let the story play to its conclusion last time, but that only made it build up momentum.
He believes himself to be damned. Condemned to eternal punishment. He is, at this point in the season, continuing his slow sink into the murky mentality that colors everything at Wolfram and Hart. He'll continue to sink until Soul Purpose, when he finally starts fighting the weights chained to his ankles (dreams often lead us to the truth). Each episode after Soul Purpose has shown an Angel regaining his sense of morality and his faith in himself.
This is the first episode that I felt the Eve-Darla connection -- I didn't realize it at the time, of course, but in retrospect, her Darla-like tendencies are part of why I like her (though she's certainly not as ruthless and tough as Darla). But this is the episode where Eve stands with Angel and helps him, guides him, in condemning a person to eternal torment. Again, a more literal interpretation of what Darla did with him. Of course, once we find out about Lindsey, that makes sense. He did care about Darla great deal.
But this episode starts with an altogether different woman -- Winifred Burkle, playing along. She walks along, pretending to be unaware of Spike's presence, in order to make him feel better. We see in the scene that follows both the warmth and the curiosity that are mentioned in Shells.
This is also the beginning of the Shanshu mini-arc, which spans from Hellbound to Destiny.
Fred isn't in red with Spike, which implicitly foreshadows that she's not going to succeed in recorporealizing him. Wesley is the only person in Hellbound who shows personal concern and caring for Fred -- telling her to get some food and rest. Angel is concerned about her actions, while Wesley is concerned about her. In her scene with Angel, she's not playing heart, but conscience -- as implied by the light brown/grey that she's wearing (I don't look so much for what colors mean as what they imply, what they bring to mind).
"It's about doing what's right."
Brought to mind Lawson -- "You win a war by doing what's right."
"Some people can't be saved."
In this case, he meant that more metaphorically, but later, he will decide that Fred can't be saved -- that saving her isn't a decision he can make. But this is a central conflict -- it is about doing what's right, but Angel (and Spike, his twin) have set lines about when people can't be saved. Angel's lines are draw further back than Spike's, but they do exist. He's decided at this point that he can't be saved and he knows that he couldn't save Connor. But, just as with Fred/Illyria, Angel decided that he couldn't save Connor. He made a choice.
"Why the bother? Try to do the right thing, make a difference..."
This episode is also a big step in the reconciliation of Angel and Spike. Angel actually admits to liking something about Spike.
There are five primary images (they aren't ghosts) -- finger-chopper, armless, glass-in-eye, hanged man, and burnt lawyer. All concocted by Pavayne to creep Spike out and to convince him of the power that Pavayne holds. Chopping off fingers, no touch, no fire leaping from fingertips. Armless, no comforting hugs ("Hold me..."). Half-blind -- makes me and possibly Spike think of Xander. The hanged man -- Angel all the way, even without taking Are You Now or Have You Ever Been...?. Burnt lawyer -- burning up in the fires of the Hellmouth is what connected him to W&H in the first place.
"Had to be the basement."
Spike's pain, like Xander's, lives in a basement. But where Xander's pain was always found in his own basement, Spike's was always in other's, as other people's dirty little secret. Later in the season, Spike will lose his hands in a basement, as he learns what collateral damage means, when he truly realizes that pain lingers past the point it is applied (he's always known that in regards to himself, but hasn't ever really put it into perspective when it comes to people not him). Spike has been put into basements three times on Angel so far - W&H's, Lindsey's, and Dana's. Each time, it's been a lie -- Pavayne couldn't really send him to hell, Lindsey wasn't getting visions from the powers, and Dana was wrong about him hurting her and her family. Before, he was in basements because of things he was and things he had done, but now it's because of what isn't true.
The only character in Hellbound to wear red is our doomed psychic. The one who, you may recalled, spits blood onto Fred much like Fred will later do with Wes.
One of my favorite things about this episode is that Spike shows absolutely no interest in checking out Fred in the shower. He has much more pressing matters at hand, thanks much.
"But first, I get to play."
Now that's an Angelus-y thing to say. Like Angelus, Pavayne is all about torturing the souls -- he doesn't have to, it seems to be the feeding of them into the... thing that saves him, so he's doing just because he enjoys it.
"Reality bends... my desire... the way it was meant to."
And that sounds chillingly like Angel. Angel, who bent reality for the sake of giving his son the life that he deserved. It's all about what Angel wants -- as Cordy says, he let Wolfram and Hart rape the memory of his friends for Connor's sake. And he believes the evil lawfirm when they say they'll take care of his son.
This is also the episode where Gunn asks a personal favor from the Senior Partner ("Oh yeah, they are not here for your convenience."), thus giving them a reason to be less than pleased with him. This is where Angel's subconcious learns to associate Gunn with a snarling cat.
"The soul that blesses you damns you to suffer, forever."
This echoes "No matter how good a boy you are, God doesn't want you."
Fred and Wes finish each other's technological/mystical thoughts -- connected on the same wavelength. Even with Gunn's new abilities, he could never do that, because he and Fred just never had that level of mental connection -- it isn't about intelligence, it's about inclination. Gunn was never dumb, he just wasn't the same kind of smart as Fred, still isn't. Wesley is. That's why they worked for me -- I like couples that have similar basic temperments, with differences created by experiences and situations. That's also a huge part of why I enjoyed Buffy and Xander -- they have the same kind of brave. John and Chiana have similiar kinds of crazy. Clark and Lex will one day be the two most powerful men in the world. Harry and Draco are continually compared to each other (though Draco consistently comes out second). It's my Thing, I think. Complementing yet overlapping personalities.
Read an article about Wonderfalls, after being undecided about catching the show tomorrow. Said article dissed S7 Buffy (not the show in general, Buffy herself). All interest in seeing Wonderfalls is now gone. I just can't imagine watching it now. It's outside of the realm of possibility.
Back to the post currently in progress:
Every so often, I feel like I need to restate what I'm about -- for new people to my journal, mostly (also because these are good things to remind myself of).
When it comes to fandoms, canon rules with me. I will always fall on the side of canon. Doesn't mean that I don't disagree with some messages that canon sends or that I like everything that I see. It just means that I never invalidate any part of canon. I embrace every new element and shape my fandom feelings around the new canon. For me, it's about the cohesive world of the BtVS/AtS universe, so even the parts that I'm not a fan of matter to me, because it's part of that universe.
That is the attitude that I approach reviewing the show with -- everything is part of the whole. For me, there are no throw-away episodes. Everything is part of the story arc. Every little detail is part of the whole.
Everything is arc.
None of these are reviews as such. They're rambles inspired by the episode in question. The actual format for how I'm writing is this: I think about the episode and write for a while, then I start rewatching the episode and make more detailed notes and adjustments. Then I reread the whole thing, correcting minor details and expanding some segments.
Hellbound is such an incredibly important Angel episode. Continuing in a thread from last week, we once again have an Angel-echo in the episode but this time it isn't victim-monster (as Nina was) but rather an Angelus parallel found in the (long dead) person of Pavayne. Pavayne tortured and destroyed lost souls -- a more literal interpretation of what Angelus used to do.
Angel, even more so than Buffy, is fond of showing us the same situation from a different viewpoint. We see the same types of acts over and over, but each situation stands apart because of the interpretations and reactions of the characters doing or feeling the acts. This year, they're showing us Angel, over and over, showing us what he could do in a different situation and how he could be if things (and he) were slightly different. It's all about choices and consequences. And the first always leads to the second, because a consequence is just an effect.
I've maintained from the first (or possibly second, as I was probably too devastated to actually think during the first viewing) that, in Home, Angel made the wrong decision for the right reason. Every decision has consequences, and every consequence leads to a new decision. This pattern determines the shape of a life. But Angel disrupted that pattern when he did the reality-shift. The world knows what it should be (witness the effects of Buffy's mediative spell in No Place Like Home -- the room knows that Dawn's things don't exist, just as the universe knows that she doesn't exist -- also, see Superstar). The consequences remain, but the decisions that caused them have shifted and this causes a fundamental disconnect between the viewer (in this case, the Fang Gang) and the viewed (the universe as it appears).
"Nothing in this world is the way it should be." When Angel spoke those words, he was wrong -- the world was the only way that it could be, and there's no use imposing moral guidelines on a world. What he meant, of course, is that people didn't behave in a way that made the world a safe and enjoyable place. The world isn't how he wants it to be. Of course, the only way to change the world is decision by decision -- unfortunately, Angel didn't have the heart to do that when it came to Connor. Instead, he forced the world into a shape that it wasn't meant to be. And slowly, it's shifting back. He refused to let the story play to its conclusion last time, but that only made it build up momentum.
He believes himself to be damned. Condemned to eternal punishment. He is, at this point in the season, continuing his slow sink into the murky mentality that colors everything at Wolfram and Hart. He'll continue to sink until Soul Purpose, when he finally starts fighting the weights chained to his ankles (dreams often lead us to the truth). Each episode after Soul Purpose has shown an Angel regaining his sense of morality and his faith in himself.
This is the first episode that I felt the Eve-Darla connection -- I didn't realize it at the time, of course, but in retrospect, her Darla-like tendencies are part of why I like her (though she's certainly not as ruthless and tough as Darla). But this is the episode where Eve stands with Angel and helps him, guides him, in condemning a person to eternal torment. Again, a more literal interpretation of what Darla did with him. Of course, once we find out about Lindsey, that makes sense. He did care about Darla great deal.
But this episode starts with an altogether different woman -- Winifred Burkle, playing along. She walks along, pretending to be unaware of Spike's presence, in order to make him feel better. We see in the scene that follows both the warmth and the curiosity that are mentioned in Shells.
This is also the beginning of the Shanshu mini-arc, which spans from Hellbound to Destiny.
Fred isn't in red with Spike, which implicitly foreshadows that she's not going to succeed in recorporealizing him. Wesley is the only person in Hellbound who shows personal concern and caring for Fred -- telling her to get some food and rest. Angel is concerned about her actions, while Wesley is concerned about her. In her scene with Angel, she's not playing heart, but conscience -- as implied by the light brown/grey that she's wearing (I don't look so much for what colors mean as what they imply, what they bring to mind).
"It's about doing what's right."
Brought to mind Lawson -- "You win a war by doing what's right."
"Some people can't be saved."
In this case, he meant that more metaphorically, but later, he will decide that Fred can't be saved -- that saving her isn't a decision he can make. But this is a central conflict -- it is about doing what's right, but Angel (and Spike, his twin) have set lines about when people can't be saved. Angel's lines are draw further back than Spike's, but they do exist. He's decided at this point that he can't be saved and he knows that he couldn't save Connor. But, just as with Fred/Illyria, Angel decided that he couldn't save Connor. He made a choice.
"Why the bother? Try to do the right thing, make a difference..."
This episode is also a big step in the reconciliation of Angel and Spike. Angel actually admits to liking something about Spike.
There are five primary images (they aren't ghosts) -- finger-chopper, armless, glass-in-eye, hanged man, and burnt lawyer. All concocted by Pavayne to creep Spike out and to convince him of the power that Pavayne holds. Chopping off fingers, no touch, no fire leaping from fingertips. Armless, no comforting hugs ("Hold me..."). Half-blind -- makes me and possibly Spike think of Xander. The hanged man -- Angel all the way, even without taking Are You Now or Have You Ever Been...?. Burnt lawyer -- burning up in the fires of the Hellmouth is what connected him to W&H in the first place.
"Had to be the basement."
Spike's pain, like Xander's, lives in a basement. But where Xander's pain was always found in his own basement, Spike's was always in other's, as other people's dirty little secret. Later in the season, Spike will lose his hands in a basement, as he learns what collateral damage means, when he truly realizes that pain lingers past the point it is applied (he's always known that in regards to himself, but hasn't ever really put it into perspective when it comes to people not him). Spike has been put into basements three times on Angel so far - W&H's, Lindsey's, and Dana's. Each time, it's been a lie -- Pavayne couldn't really send him to hell, Lindsey wasn't getting visions from the powers, and Dana was wrong about him hurting her and her family. Before, he was in basements because of things he was and things he had done, but now it's because of what isn't true.
The only character in Hellbound to wear red is our doomed psychic. The one who, you may recalled, spits blood onto Fred much like Fred will later do with Wes.
One of my favorite things about this episode is that Spike shows absolutely no interest in checking out Fred in the shower. He has much more pressing matters at hand, thanks much.
"But first, I get to play."
Now that's an Angelus-y thing to say. Like Angelus, Pavayne is all about torturing the souls -- he doesn't have to, it seems to be the feeding of them into the... thing that saves him, so he's doing just because he enjoys it.
"Reality bends... my desire... the way it was meant to."
And that sounds chillingly like Angel. Angel, who bent reality for the sake of giving his son the life that he deserved. It's all about what Angel wants -- as Cordy says, he let Wolfram and Hart rape the memory of his friends for Connor's sake. And he believes the evil lawfirm when they say they'll take care of his son.
This is also the episode where Gunn asks a personal favor from the Senior Partner ("Oh yeah, they are not here for your convenience."), thus giving them a reason to be less than pleased with him. This is where Angel's subconcious learns to associate Gunn with a snarling cat.
"The soul that blesses you damns you to suffer, forever."
This echoes "No matter how good a boy you are, God doesn't want you."
Fred and Wes finish each other's technological/mystical thoughts -- connected on the same wavelength. Even with Gunn's new abilities, he could never do that, because he and Fred just never had that level of mental connection -- it isn't about intelligence, it's about inclination. Gunn was never dumb, he just wasn't the same kind of smart as Fred, still isn't. Wesley is. That's why they worked for me -- I like couples that have similar basic temperments, with differences created by experiences and situations. That's also a huge part of why I enjoyed Buffy and Xander -- they have the same kind of brave. John and Chiana have similiar kinds of crazy. Clark and Lex will one day be the two most powerful men in the world. Harry and Draco are continually compared to each other (though Draco consistently comes out second). It's my Thing, I think. Complementing yet overlapping personalities.
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(no subject)
Date: 2004-03-11 11:21 pm (UTC)And the possible future home for unemployed Angel writers, too.
(And Jaye? Would NOT slip any money to the First to trip Buffy up. She'd convince Buffy to go off on a bender with her, and they'd talk about fearing they'd gone completely off the deep end. They're both my girls.)
Err, sorry. Irrational show love as a result of seeing it. I want to pet it and love it and call it George.
If I ever have time, I have this long post I want to make on compatibility, similarity, and relationships, using a wonderful mash of fiction and life experience as examples. It's such a fine line. There are types of compatibility, and I don't think people give them enough thought in writing or analysis. Or we just don't talk about them enough. So I fear you're about to get a brain dump.
Re: types. I break them down to physical, emotional, intellectual, and ethical.
In terms of import, I'd rank them ethical, emotional, physical, and intellectual. Either of the first two are deal-breakers for most people, when push comes to shove, but the other two seem to have more flex. I wonder how much of this is because the latter two seem more learned than innate, or at least more mutable. Ethically and intellectually, Wes and Fred are compatible. Physically, we'll never know. Emotionally, though, they're an accident waiting to happen; best-case-scenario, no demons taking over physical form, they'd date, have a slightly messy break up, and remain friends (or, they'd turn into my in-laws, which is a frightening thought). It's hard to explain why I think this is so, except that Fred's form of emotional attack is too similar to the indications we've had of what Roger Wyndam-Pryce's were like. He wouldn't have been able to give as good as he got, and they'd have both wound up miserable.
Wes was emotionally compatible with Lilah, as well as intellectually and physically, but on an ethics level? Not so much. This seems to get glossed over a lot, but I know from ethical compatibility issues, and glossing them over doesn't fix the flaw.
Fred, I think, was emotionally most compatible with Gunn, but for him, the intellectual was a deal-breaker because it tied into his own issues of self-esteem. (Cordelia and Gunn, circa early S2, were a near-perfect match. Shh. You didn't hear me say that.)
(no subject)
Date: 2004-03-11 11:26 pm (UTC)(no subject)
Date: 2004-03-17 03:20 pm (UTC)(no subject)
Date: 2004-03-12 01:55 am (UTC)I mean, there's actually a fairly damning argument to be made about Wes re: his treatment of Lilah. If one is to believe her when she says she wouldn't have played him if she'd realized it was unacceptable to use the relationship for business purposes...and there's no reason to disbelieve her...then what killed the relationship is Wes being unable to think of Lilah as much more than Whore and Unable to Be Saved. I buy that Wesley's emotional problems and Lilah's emotional problems screwed them up and that their circumstances were absolutely impossible to solve with love GIVEN THEIR PERSONALITIES. Mainly Wesley's complete condemnation for Lilah's choice of life with the catch-22 of Wesley having *no interest* in helping Lilah onto the path of redemption (or understanding how Lilah got to where she was) even when it was clear she would have gone with him, and Lilah's sense of honor that had her walk away from him when he refused to help her in the sewer instead of doing what a sane person would have and pointing out she was bleeding to death and needed help and loved him enough to need someone -- but yeah. The ruthless pragmatists believing the myth that "love can't solve all our problems" and that wrecking their relationship is problematic and probably impossible to work out. But I'm not buying it as ethical incompatibility except insofar that Wes is a delusional prick who borrows Angel's cloak of righteousness to cover up his multitude of sins.
I mean, I think Fred and Wes are ethically incompatible, but their hypocrisies covered that up. Both of them have a fetish for pure white good. But Fred is an idealist and Wes is a realist, ethically. (Though oddly, Fred is an romantic realist in a way I think Wes is an romantic idealist.) When Fred goes to kill Seidel, it's a post-traumatic reaction. She's angry...she's blinded by rage -- which is why she is so upset when Gunn kills Seidel. When Wes kills Knox, it's absolutely cold. He's not blinded by rage. He knows killing Knox is a wrong act; he doesn't care, because he's decided that Knox should die. I mean, for me the basic incompatibility between Wes and Fred is cemented by the end of Lineage. Fred figures that Wes knew on a subconscious level it wasn't his father, she figures he did what he did out of a panic reaction (which is what she would have done). Wesley (and the audience) knows better. He thought it was his daddy, he had decided Daddy didn't deserve to live, and he popped a cap in his ass execution style. (The other 8 shots? Sure, trauma reaction. But that first shot was deliberate and cold.)
So yeah. Wes can tell me his ethics are so much different from Lilah's until he's capped every mofo in the room, but it doesn't make it true in a crunch situation.
(no subject)
Date: 2004-03-12 02:05 am (UTC)(no subject)
Date: 2004-03-12 06:37 am (UTC)Where, yeah, an external viewer would go, "Excuse me? Ummm, have you *looked* in the motherfucking mirror?" to him, and he'd look, and see someone who has committed all sorts of sins, but who still ought not to be with someone from The Other Team, never once quite getting what the external viewer was getting at.
(no subject)
Date: 2004-03-17 03:26 pm (UTC)It's a Watcher mind-frame -- the end justfies the means.
(no subject)
Date: 2004-03-12 07:03 am (UTC)In the tense, passive-agressive, elephant in the room sort of way, IMHO. I don't think it's best case - I thought that would be most likely case...
Cordelia and Gunn, circa early S2, were a near-perfect match.
Yep. Gunn & Cordy. Did they ever even think of going there? Because it would have worked for me if they did.
(no subject)
Date: 2004-03-12 07:55 am (UTC)Sigh.
The elephant in the room, in my experience and that of my friends, only lasts for the first few years (unless you make the stupid mistake of entering into a yo-yo relationship). Then the rest of the time, it's long conversations over coffee or in email "Am I an asshole?" "Well, DUH, but that's cool." "Aww. So sweet of you to say so." (Hmm. Thinking on it, the elephant turns into snark about two post-relationship relationships down the line. Or two years, whichever comes first.)
(no subject)
Date: 2004-03-12 08:00 am (UTC)(no subject)
Date: 2004-03-12 08:57 am (UTC)Break up.
One person starts dating. Other person, not yet dating, feels betrayed and perhaps like chopped liver.
Other person starts dating. At some point, first person hits the rocky patch in new relationship. Old relationship tinged with nostalgia. Second person now seen through rose-tinted glasses, leading to awkward mooning.
Second person hits rocky patch around the time that first person has either smoothed things out, or found a Shiny New Love Object. Second person mildly irked about timing, as a result of false hopes brought about by the mooning about of the first person.
First person and second person both mildly appalled to realise they've segued into a sibling-like relationship. But they get over it.
(This pattern, or close variations, has been observed in several people close to me, including myself. The only real conclusion is that you can't be comfortable friends until you are well and truly over each other, after which, you're like family.)
(no subject)
Date: 2004-03-12 12:00 pm (UTC)(no subject)
Date: 2004-03-12 12:06 pm (UTC)Buffy/Gunn would have worked for me fine, as the comfortable, friendly, casual pair. ME doesn't write it, but I could have seen it.
(no subject)
Date: 2004-03-12 04:33 pm (UTC)If I get home in time, I'll try to watch (if I can get over the name 'Jaye', which I keep thinking is 'Jayne' and then I get disappointed).
Irrational show love as a result of seeing it.
If it's from seeing it, then doesn't that make it rational show love? You've got the best reason of all -- you've seen and know you like it.
All the compatibility stuff is very intriguing -- can't talk much now because I have work again in a few, but briefly --
I'm unsure about Fred being compatible with Gunn at all. It's the protectiveness thing that bugs me, I think. Like Angel, Gunn is overprotective -- in Supersymmetry, where he overrode Fred, completely disregarding her choice and thus causing their break-up? Fred will not be Gunn's damsel in distress. She's not willing to be Wesley's either. The difference is that Wesley takes that desire seriously. Gunn idealized Fred as an innocent young woman, Wes idealized her as The Reason to Fight the Good Fight. Both idealizations, but they take totally different forms.
(no subject)
Date: 2004-03-11 11:22 pm (UTC)I was thinking of rewatching the entire Season during the hiatus. Your analysis has convinced me that there is a lot of foreshadowing to look for. :-)
(no subject)
Date: 2004-03-12 04:22 pm (UTC)I suspect that much of it isn't foreshadowing so much as them writing the later episodes to fit with the earlier stuff, but I have no problem with that.