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[S2E1] House On The Rock _HOT_
Wednesday: In the good old USA, people still heed the call of the transcendent void but they respond to it by building a model out of beer bottles of somewhere they've never visited or by erecting a giant bat house in some part of the country that bats have traditionally declined to visit.Shadow: Or they sell t-shirts and hot dogs.Wednesday: Roadside attractions! Where they buy that hot dog and they buy that t-shirt. Then they wander around, feeling satisfied on a level that they cannot truly describe and profoundly dissatisfied on a level beneath that.
[S2E1] House on the Rock
Call-Back: While Ostara has agreed to side with the Old Gods, she refuses to be there at the House on the Rock because Mr. Wednesday had run over her rabbits on the way to her house.
The Cameo: Some of the Old Gods who appear during the meeting with Wednesday (ones that are named in the credits, at least) are Ame-no-Uzume, Ahura Mazda, and Frau Holle.
Category Traitor: Bilquis is the only Old God that Mr. Wednesday didn't invite, it being public knowledge that she has willingly joined the New Gods. Bilquis: You invited the Old Gods to your party. I was old in the desert before they sacrificed the first horse to you. I will be heard... unless you're afraid? Mr. Wednesday: The weight and wisdom of Queen Bilquis defeated King Solomon.
Died in Your Arms Tonight: Zorya Vechernyaya dies in Wednesday's arms after being shot through the chest. Czernobog declares vengeance on whoever killed her and curses them.
Downer Ending: The New Gods managed to ambush and kill some of the Old Gods (including Wednesday's Love Interest, Zorya Vechernyaya), and abduct Shadow after he defeats the sniper that ambushed them, while Laura can only watch.
Drives Like Crazy: The episode starts with Technical Boy driving his limo through a golf course, running down a random old man as he does so. Even Mr. World is horrified. Mr. World: You could have killed m-me.
Early-Bird Cameo: Mr. Town's name is mentioned but he is otherwise not seen (he would later appear in the very next episode). He is ordered by Mr. World via email to send the ambush on the Old Gods.
Gratuitous Latin: The bullets used to kill the Old Gods have the phrase "DEUS MORTUORUM"note "GOD IS DEAD" inscribed on them.
Journey to the Center of the Mind: When Shadow and the Old Gods meet "backstage" to discuss the matter of war with the New Gods, the world takes the form of a Viking Longhouse along a Nordic beach, Bilquis claiming that it is all taking place within Mr. Wednesday's mind.
Landmark of Lore: The titular House on the Rock, a real-life Wisconsin tourist attraction, is the place where the Old Gods gather to discuss their plans.
Nice Job Fixing It, Villain: By sending an assassin to mow down the Old Gods at the restaurant, all Mr. World did was validate Mr. Wednesday's argument. It also did not help that one of the casualties was Zorya Vechernyaya, spurring her cousin Czernobog (who was only there after losing a bet and having no personal reasons to be involved), now adamant to kill the New Gods for revenge.
Orphaned Setup: When the Fortune Telling Machine gives Mr. Wednesday his fortune, he apparently finds it very amusing. When Shadow asks him what it is, Mr. Wednesday tells him that "a man's fortune is his own business."
Place of Power: Wednesday explains that there have always been places around the world that people are naturally drawn to, where they then decided to build houses of worship, landmarks, or even tourist attractions on. Mr. Wednesday: So, over the centuries, people in other countries felt called to places of power. They knew there was an energy there, a focus point, a channel, a window to the imminent, and they built churches, cathedrals, or they'd erect a stone circle. Well, you get the idea.
Rousing Speech: Shadow gives one in the middle of the Old Gods' meeting, encouraging them to trust in Mr. Wednesday and help him regain humanity's faith in them that they've lost over the years.
Screw the Rules, I Make Them!: When the Caretaker tries to deny Mr. World access to their surveillance system, citing that only the President of the United States is allowed to use it, Mr. World cites that he is above the President. Mr. World: The President is a cardboard cutout. I am the man, behind the man, behind the man. Operation Paperclip, the Moon Landing, Roswell, the Compton Crack Wars; you work for me. You have always worked for me. So when I say "I need to see through the Eyes of Argus", you make the connection.
Slow Transformation: While "backstage", the various gods progressively look more and more like their traditional, mythological selves.
Tranquil Fury: Mr. World is successfully able to intimidate both Technical Boy and the Caretaker without so much as raising his voice.
Vanity License Plate: The car belonging to the golfer at the beginning of the episode has the very on-the-nose license plate that says "PAR TEE"; "par" and "tee" being golfing terms.
Wham Line: Mr. World: You need to find her. Find Media.
Once again, the focus in the main bedroom was to optimize the views of the lake and add more natural light into the room. By replacing the existing window with a set of french doors, we created a perfect space for a private balcony for Troy and Melode right off of their bedroom. We also took out the closet entrance from the bedroom and were able to steal some space from the existing full bathroom in the front of the house (because we made it into a smaller powder bath for guests) in order to give the Wards a large main bathroom and walk-in closet.
The House on the Rock is a genuine tourist attraction that can be found near the town of Spring Green, WI. Alex Jordan reportedly built the house itself to spite the famous architect Frank Lloyd Wright, who also lived in the area and refused to work with him. It also houses tens of thousands of items from Jordan's personal collections (consisting of both genuine and forged items) in a number of eclectically-themed rooms, and a carousel that's often billed as the "world's largest."
We then find everyone gathered at a very large house with a whole lot of loud music, women in tight clothing, booze and of course, at least a few women with their boobs out. Spencer and Joe are there having themselves a fine time, and Ricky cuts up an ice sculpture with a chainsaw. So that was fun. But then T-Sizzle shows up. The tension is palpable, especially when Spencer hands Joe his watch and goes over to chat, or fight. We aren't sure which one. Cooler heads prevailed though, as Spencer decided to strategically squash his beef with Mr. Suggs. Was it just because he was being the bigger man? Nope! The show leaves us on a bit of a cliffhanger as Spencer returns to Joe and Jason, who then reveals that he intends to sign T-Sizzle as a client, and plans to steal the rest of Andre's clients as well. Spencer, you sly bastard!
Relieved to find it was only a harmless, frightened girl, the couple calmed themselves and took her in. The passenger led them to a house by Oak Cliff. It took them past winding roads of soggy clay before they finally arrived at her house. The kind couple turned to say their farewells to their little ridealong. To their shock and horror, there was no girl in the back seat.
KAY: Thirsty for more, are ya? Well, like a Red Tang Cream Soda on a parched throat, allow me to quench ya. The couple, it turns out, arrived at a house exactly like the one their ghostly hitchhiker specified and found an old, sad man on the front porch.
Why not spread it out? No additional material, just a few subtitles and wardrobe changes so that breakfast happens on day one, the house cleaning on day two, Mr. O dropping by on day three, and so on.
The episode begins with Marceline and Finn hanging out at her house inside the cave. She asks Finn to help her lay down a sweet track, but to remain non-judgmental as to the extremely personal nature of the song. Finn agrees, but upon hearing the song, a mournful tale of parental estrangement and french fry theft, Finn asks Marceline why she does not reconcile with her father, as the song suggests is her desire. Marceline explains that not only do they have longstanding difficulties in the father/daughter department, but also that he is trapped in a fiery dimension known as the Nightosphere. The only way to free him is to draw a happy face, douse it with bug milk, and chant a fell incantation in Latin. Finn immediately does so while she says this, and succeeds in releasing Marceline's dad from the Nightosphere.
Without sleep or sex to take her mind off things (she says she's celibate), Robin focuses on drinking beer and tracking down her child. Her biological daughter Mary (Alice Englert), now seventeen, was adopted by a liberal, upper middle class couple named Julia (Nicole Kidman) and Pyke (Ewen Leslie). Julia has come out as a lesbian later in life and Pyke is dealing with it calmly and kindly (a little too calmly and kindly). She has moved out of the house they once shared and has a new partner. Mary, your stereotypical teenage asshole, is angry at her mother and instead of talking to her about her feelings, calls her a "dyke" and is a total shithead.
While all this is happening, there's a suitcase with a body in it floating in the Pacific Ocean. From the opening montage and a later conversation between a bunch of nerds in a coffee shop, we can guess it contains Cinnamon, a young sex worker who has gone missing. We also know that Puss is connected to this prostitution operation. He lives in the same building as the girls and they often come to his house, asking for English lessons. See what I mean when I say Campion doesn't really care about plot? It's pretty obvious at this point that Puss, Robin's biological daughter's boyfriend, is Cinnamon's killer. It's like something you'd see on "Passions," but Campion is at the helm, so just trust that she'll take you to good places. 041b061a72