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One Piece, 613-615 · Spoil Me! One Piece

• 0:02
  Speaker 1: This is an Unspoiled Network podcast. This is spoil Me,
• 0:09
  Speaker 1: covering One Piece episodes six thirteen through six fifteen, showing
• 0:17
  Speaker 1: off his techniques, Zoro's formidable one sword style to save
• 0:23
  Speaker 1: her friends, Moca runs at the risk of her life,
• 0:27
  Speaker 1: and Brown Beard in grief loofy Land's a furious blow.
• 0:35
  Speaker 1: In these episodes, I know, I keep saying how much
• 0:40
  Speaker 1: I love this arc, and I'm gonna keep saying it.
• 0:43
  Speaker 1: And this section there were so many moments of like
• 0:46
  Speaker 1: that was dope, and then oh no, this is terrible, y'all,
• 0:50
  Speaker 1: this was like. I had such ups and downs throughout
• 0:55
  Speaker 1: these three episodes. I am. I am continually surprised by
• 0:59
  Speaker 1: this show. Welcome to spoil Me, Welcome to the show everyone.
• 1:22
  Speaker 1: I am Natasha. Thank you very much to Florian for
• 1:25
  Speaker 1: commissioning this episode. Florian, appreciate you, everybody. I have been
• 1:32
  Speaker 1: I feel like this year I have been very like
• 1:34
  Speaker 1: mentally messy, and I keep thinking, Okay, now I've got
• 1:39
  Speaker 1: it together, and it keeps being a lie. And I
• 1:42
  Speaker 1: just really appreciate how One Piece y'all are always here
• 1:46
  Speaker 1: from me. You're always there. So let's start with showing
• 1:51
  Speaker 1: off his techniques. Zoro's Formidable Ones. Y'all this episode. First
• 1:59
  Speaker 1: of all, I just want to address something that Saraphim
• 2:03
  Speaker 1: was that you in the discord who pointed this out.
• 2:06
  Speaker 1: I'm gonna go over to it to just read your comment.
• 2:10
  Speaker 1: But Saraphim had left a couple in regard to previous episodes,
• 2:17
  Speaker 1: like information on them that I had intended to mention
• 2:20
  Speaker 1: and had forgotten about. So let's see. There's an older
• 2:27
  Speaker 1: one that is to do with like a previous several episodes,
• 2:31
  Speaker 1: so I'm gonna skip that one. But the most recent one,
• 2:36
  Speaker 1: the swirly hypnotism thing on Monet's glasses, Sarahim says in Japan,
• 2:44
  Speaker 1: that's just visual code for the glasses being really thick,
• 2:49
  Speaker 1: generally used for showing the person wearing them as being
• 2:52
  Speaker 1: smart slash nerdy. Technically it's supposed to be a series
• 2:56
  Speaker 1: of concentric circles, but it's just easier to draw it
• 2:59
  Speaker 1: as a spy. So I thought that was really interesting
• 3:03
  Speaker 1: because you know I, and I say this in the
• 3:05
  Speaker 1: comment response, like how I just assume that, like the
• 3:12
  Speaker 1: visual shorthand in cartoons is universal, and then I have
• 3:17
  Speaker 1: to be reminded that, like other cultures exist and they
• 3:20
  Speaker 1: also have cartoons and they are going to have a
• 3:22
  Speaker 1: totally different thing. And that just keeps happening with anime
• 3:25
  Speaker 1: because I'm just you know, there's there's a kind of
• 3:27
  Speaker 1: language within it that I am not used to and
• 3:30
  Speaker 1: I don't even think about. And then Sarah Fin later
• 3:36
  Speaker 1: said something I got reminded of that relates to the
• 3:38
  Speaker 1: previous episode and trying to figure out what's going on
• 3:41
  Speaker 1: with that devil fruit. For some reason, the anime never
• 3:44
  Speaker 1: actually gives you information. The manga did prior to this
• 3:49
  Speaker 1: that Caesar did give Smiley a devil fruit, the oxalottal zoe,
• 3:55
  Speaker 1: which makes sense why Smiley looks like it looks, so
• 3:59
  Speaker 1: that is, you know. And then Monet is based on
• 4:04
  Speaker 1: a yo kai I hope I'm saying that right, called
• 4:06
  Speaker 1: the yuki ana or snow woman, at least in her behavior,
• 4:10
  Speaker 1: and the whole giant snow monster form. The whole bird
• 4:13
  Speaker 1: woman thing is based on a harpie said to appear
• 4:16
  Speaker 1: as a beautiful woman that would embrace those caught in
• 4:19
  Speaker 1: blizzards as they froze to death, or trick people into
• 4:23
  Speaker 1: situations where they would freeze to death, and being able
• 4:26
  Speaker 1: to turn into a giant monster with fangs and claws
• 4:28
  Speaker 1: of ice if you pissed her off. Also, they tend
• 4:31
  Speaker 1: to be kind of often associated with children, and the
• 4:34
  Speaker 1: whole Momonosuke thing is just Oda loving him some punage.
• 4:39
  Speaker 1: Momo is Japanese for peach, so Momo as a dragon
• 4:43
  Speaker 1: is peach colored. So thank you very much for that,
• 4:47
  Speaker 1: Sarah M. I intended to read all of this, like
• 4:51
  Speaker 1: you know, some of the earlier comments as well, and
• 4:54
  Speaker 1: just appreciate all that background information because there's a lot
• 4:56
  Speaker 1: of stuff that I just don't think about. Oh, Sarah
• 5:00
  Speaker 1: saying that my reaction is oh, excuse me, godish broke
• 5:04
  Speaker 1: right into the mic that my reaction is not common.
• 5:07
  Speaker 1: Usually this arc is one of the least liked, mostly
• 5:11
  Speaker 1: because it's so much set up for what is coming later,
• 5:15
  Speaker 1: you know, like eventually I may reach a point where
• 5:19
  Speaker 1: I'm like, okay enough, you know right now though, I'm
• 5:23
  Speaker 1: having a great time, and I think a lot of
• 5:26
  Speaker 1: that of Caesar Klown is just a good villain like you.
• 5:31
  Speaker 1: But you know, I also kind of felt this way
• 5:33
  Speaker 1: with like uh, Killer Bark where things started off and
• 5:39
  Speaker 1: like I think I did a live with Florian on
• 5:41
  Speaker 1: the episode where we meet Broke for the first time,
• 5:44
  Speaker 1: and Florian was saying that a lot of people don't
• 5:46
  Speaker 1: like the Killer bark Arc and I was mystified because
• 5:49
  Speaker 1: it's so much fun starting off, but then by the
• 5:52
  Speaker 1: time you get to the end of it, I was
• 5:54
  Speaker 1: kind of like, is that it? And maybe maybe it's
• 5:59
  Speaker 1: just I personally am It's so much about the villain
• 6:05
  Speaker 1: for me, and if you don't actually buy who they
• 6:11
  Speaker 1: are and why people follow them, it doesn't work. And
• 6:15
  Speaker 1: that's so part of why Horty was just such a nonsense.
• 6:18
  Speaker 1: You know, everybody following him it was purely because of
• 6:22
  Speaker 1: their hatred for humans, which certainly having a common enemy
• 6:25
  Speaker 1: will bind people together. But Hordy just didn't feel like
• 6:29
  Speaker 1: a leader, and he also wasn't interesting. So all right,
• 6:33
  Speaker 1: let's start at the beginning here with this episode six thirteen.
• 6:41
  Speaker 1: We start things off with all of the men who
• 6:43
  Speaker 1: are running with Sonjy, and what I found interesting about
• 6:46
  Speaker 1: this is how much these guys are basically taking their
• 6:52
  Speaker 1: view on how to behave from Sonjy. I was really
• 6:56
  Speaker 1: expecting that they would be sort of patient with him,
• 7:01
  Speaker 1: and there are a few points where they are, but
• 7:04
  Speaker 1: mostly everything that Sanji says about how to like treat
• 7:09
  Speaker 1: women or what priorities to have in this next move
• 7:12
  Speaker 1: they make, and caring about the women involved. They all
• 7:16
  Speaker 1: are like willing to just shut up and agree with him,
• 7:19
  Speaker 1: and I just thought it was kind of funny, and
• 7:23
  Speaker 1: considering how often other characters seem to get irritated and
• 7:28
  Speaker 1: impatient with him, having a bunch of dudes be like, yeah,
• 7:32
  Speaker 1: I agree. It's not like I love it, because the
• 7:36
  Speaker 1: whole thing is very gross in a larger sense, but
• 7:40
  Speaker 1: it was sort of fun to watch. They ask him,
• 7:45
  Speaker 1: like about hitting a woman, and he says like, if
• 7:47
  Speaker 1: it were a matter of life or death, I'd choose death.
• 7:51
  Speaker 1: And one of the other guys is like, they seem
• 7:55
  Speaker 1: like all of these straw hats. They're on the same team,
• 7:58
  Speaker 1: but they're all real different from one another. And one
• 8:03
  Speaker 1: of them points out, like, yeah, that Zoro guy would
• 8:06
  Speaker 1: chop you to bits if you even looked at him. Funny,
• 8:10
  Speaker 1: And I thought that Sanji would sort of say something
• 8:14
  Speaker 1: cutting about how like Zoro is nothing to worry about,
• 8:18
  Speaker 1: you know, just they don't like each other, and I
• 8:21
  Speaker 1: thought that he would take this moment to sort of
• 8:23
  Speaker 1: disparage him, but he says, well, he's got a sensitive
• 8:27
  Speaker 1: side too. Don't worry about him. He'll find a way out.
• 8:30
  Speaker 1: And the same thing goes for Tashigi. All that matters
• 8:34
  Speaker 1: now is tracking down that group of rugrats. So Naomi,
• 8:37
  Speaker 1: Robin and Tashigi will tell us we did a good job.
• 8:40
  Speaker 1: And as he says this, the whole hallway fills with hearts.
• 8:45
  Speaker 1: He says, anything for a lady, And then we see
• 8:48
  Speaker 1: all of the Marines who are like pumping their fists
• 8:51
  Speaker 1: going wooho with heart eyes themselves, and again I just
• 8:55
  Speaker 1: I was like, oh, this is the energy we're rocking with.
• 8:58
  Speaker 1: I mean, okay, the thing about the Marines I believe
• 9:01
  Speaker 1: is that what we're meant to see with them. I
• 9:06
  Speaker 1: think this is going to sound really like mean, and
• 9:10
  Speaker 1: I don't quite mean it to be, but also maybe
• 9:13
  Speaker 1: I do is that they are kind of the meatheads
• 9:19
  Speaker 1: that we have been told they are by Virgo. You know, Like,
• 9:28
  Speaker 1: I just think that maybe what it is whoever's in charge,
• 9:32
  Speaker 1: they will emulate whatever that person says, for better or worse,
• 9:35
  Speaker 1: often worse, And to a degree, that's what you want
• 9:40
  Speaker 1: in soldiers. You want people who are going to take direction,
• 9:42
  Speaker 1: who are going to do what they're told who are
• 9:45
  Speaker 1: going to reflect the values of the person in charge.
• 9:49
  Speaker 1: But you know, there's a point where it starts to
• 9:52
  Speaker 1: be like, do you even have your own personality or
• 9:55
  Speaker 1: moral code, integrity, any of the above, And apparently the
• 10:00
  Speaker 1: answer is often no. So we go back to the
• 10:06
  Speaker 1: biscuit room and we have Zorro into Shigi fighting over
• 10:11
  Speaker 1: who is going to fight Monet. Now, I really do
• 10:17
  Speaker 1: enjoy and this is a word or not a word,
• 10:21
  Speaker 1: a phrase that I have to remember in future, because
• 10:25
  Speaker 1: he's telling to Shigi to go back to her soldiers,
• 10:31
  Speaker 1: and she basically says, I do what the fuck I want,
• 10:35
  Speaker 1: so don't try and order me around. He says, I
• 10:40
  Speaker 1: don't need your help, and her response is you are
• 10:47
  Speaker 1: entitled to your opinion. I absolutely fell out laughing. You guys,
• 10:56
  Speaker 1: I don't know what it was. It was just like
• 11:01
  Speaker 1: it was such a beautiful way of being like, I
• 11:05
  Speaker 1: hear what you're saying. I do not take it seriously,
• 11:10
  Speaker 1: but I will address it if I need to ensure
• 11:14
  Speaker 1: to you that you have been heard. And now I
• 11:17
  Speaker 1: will utterly dismiss it. And you and I love it.
• 11:22
  Speaker 1: It was just so brutal. It was the best. It
• 11:25
  Speaker 1: was the best Tashigi has not been, you guys know,
• 11:28
  Speaker 1: like one of my favorites. She has frustrated me and
• 11:31
  Speaker 1: been kind of boring. But I in that one response
• 11:37
  Speaker 1: was so golden that she earned back like fifty percent
• 11:41
  Speaker 1: of her points from me. So he explains to her like,
• 11:48
  Speaker 1: you're a navy captain and I'm a pirate. And she says,
• 11:53
  Speaker 1: you won't put a scratch on me or her for
• 11:57
  Speaker 1: that matter, And he said you think, so what do
• 12:01
  Speaker 1: you know? Monette takes flight and says, I was thinking
• 12:06
  Speaker 1: the same thing. Am I wrong? Now? This was sort
• 12:11
  Speaker 1: of weird and I may be wrong about this, So Saraphim,
• 12:16
  Speaker 1: I'm sure. Oh, Saraphim says that Tashigi line is actually
• 12:21
  Speaker 1: a dub Win. Well, look at you, dub Go Go
• 12:27
  Speaker 1: as much as Urnsanji will go at each other when
• 12:29
  Speaker 1: it's important, they are on the same team and will
• 12:31
  Speaker 1: very grudgingly trust the other to handle things. Saraphim, the
• 12:34
  Speaker 1: thing is, when it's important, they have been known to
• 12:37
  Speaker 1: fight each other instead of the person they are supposed
• 12:39
  Speaker 1: to be fighting. So I can't agree with you. I'm sorry,
• 12:42
  Speaker 1: but I have seen it too many times, them actively
• 12:45
  Speaker 1: being in front of a foe and ignoring said foe
• 12:51
  Speaker 1: in order to beat each other up. However, the thing
• 12:56
  Speaker 1: that I wanted to ask was the assumption that they're
• 13:01
  Speaker 1: both making here about how he's not going to harm
• 13:06
  Speaker 1: me because I'm a woman. I was a little bit
• 13:10
  Speaker 1: confused because I could have sworn that we have seen
• 13:14
  Speaker 1: Zoro fight women before, and I don't know if it's
• 13:20
  Speaker 1: supposed to be that, like, well, yeah, we have, but
• 13:24
  Speaker 1: those circumstances were supposed to be a little bit different
• 13:28
  Speaker 1: in some way, or like, I just felt as if
• 13:34
  Speaker 1: both of them are drawing this conclusion and I'm not
• 13:38
  Speaker 1: entirely sure why where they're getting this from, and they
• 13:43
  Speaker 1: seem so certain of it. That was part of the
• 13:46
  Speaker 1: thing that kind of made me go, why do you
• 13:49
  Speaker 1: believe this so deeply that you're willing to literally kind
• 13:53
  Speaker 1: of stake your life on it, you know what I'm saying.
• 13:57
  Speaker 1: So because I just thought that we had seen before.
• 14:01
  Speaker 1: But we'll get back to that. Because we do these episodes,
• 14:05
  Speaker 1: in particular, you jump around a whole lot. We have
• 14:09
  Speaker 1: a flashback to Zoro meeting to Shigi on the street
• 14:13
  Speaker 1: and the fight that they had where he just walks
• 14:15
  Speaker 1: away from her and she assumes that he isn't fighting
• 14:19
  Speaker 1: her because she's a girl, and he explains, and by explains,
• 14:25
  Speaker 1: I mean yells at her in the middle of the street.
• 14:31
  Speaker 1: You've got the exact same face as some chick I
• 14:33
  Speaker 1: knew who died, So I can't stand the sight of you.
• 14:37
  Speaker 1: On top of that, I don't know a thing about you,
• 14:40
  Speaker 1: and you're already talking just like her. Why the hell
• 14:43
  Speaker 1: are you copying her? Just try to be yourself. And
• 14:50
  Speaker 1: I had forgotten a little bit about how this went down,
• 14:55
  Speaker 1: and it has really made me wonder, like, is what
• 14:59
  Speaker 1: we're going to find out that is it going to
• 15:03
  Speaker 1: be that this is the girl that he knew growing up?
• 15:07
  Speaker 1: That this is going to turn out to be her
• 15:09
  Speaker 1: after all? And if it is, do I care? That's
• 15:15
  Speaker 1: the main question. I'm gonna be real with you. I'm
• 15:20
  Speaker 1: not sure if I care, Like it has just been
• 15:25
  Speaker 1: so long since I learned any of that. It was
• 15:28
  Speaker 1: a really good episode seeing his past, but you guys
• 15:32
  Speaker 1: know that it was also sort of weird for me
• 15:34
  Speaker 1: how he just like walks into this town out of
• 15:36
  Speaker 1: nowhere and we don't know who his parents are or
• 15:38
  Speaker 1: where he comes from, Like he's sprung fully formed from
• 15:41
  Speaker 1: the ground like a cabbage patch doll. So I just
• 15:46
  Speaker 1: I'm so distracted by some of the other circumstances surrounding
• 15:50
  Speaker 1: who Zora was when he was little that this thing
• 15:55
  Speaker 1: actually doesn't occupy much of my mind really. But all
• 16:01
  Speaker 1: I said, you know, if you're listening and you're like, well,
• 16:06
  Speaker 1: I care, that's fair, and maybe when we get there,
• 16:09
  Speaker 1: I will care. But I'm just saying, like, as of
• 16:12
  Speaker 1: right now, I don't find this that compelling. And if
• 16:18
  Speaker 1: I'm if I have been supposed to like think over
• 16:21
  Speaker 1: this and consider, I haven't been, so I hope that
• 16:26
  Speaker 1: isn't what has been expected of me. But for all
• 16:30
  Speaker 1: I know, there are people out there who are totally
• 16:32
  Speaker 1: obsessed with this particular storyline. I don't know. So yeah,
• 16:40
  Speaker 1: we go from there back to the present and to
• 16:46
  Speaker 1: she says. She turns and looks at him. She says,
• 16:50
  Speaker 1: you think that women aren't as strong. You'll hold back
• 16:53
  Speaker 1: in a fight so you can't kill or can you
• 16:56
  Speaker 1: You're never going to succeed that way. That's why I stayed,
• 17:00
  Speaker 1: because you're not up to the task with the powers
• 17:03
  Speaker 1: that she's got. If she gets near my men, I
• 17:05
  Speaker 1: know it won't be pretty. And I mean considering what
• 17:11
  Speaker 1: what we just heard being said to her men and
• 17:15
  Speaker 1: then fully agreeing with she is correct, so Lonee, she
• 17:22
  Speaker 1: is just so sure that she knows exactly how this
• 17:24
  Speaker 1: is going to go. We see Zorro putting both of
• 17:27
  Speaker 1: his swords away, sitting down and telling to Shigi, all right, fine,
• 17:34
  Speaker 1: go for it. I mean, the whole point is to
• 17:37
  Speaker 1: like keep her busy so that she doesn't go after
• 17:40
  Speaker 1: my friends. And if you decide you're going to keep
• 17:43
  Speaker 1: her busy, then I guess that's something you're still accomplishing
• 17:46
  Speaker 1: the task. And I'll just chill and watch you chill
• 17:51
  Speaker 1: pun intended looel and to Shigi is like, well maybe
• 17:55
  Speaker 1: you should run, because he literally sits down as her
• 18:02
  Speaker 1: back is turned. Monee transforms and comes at ta Shigi,
• 18:06
  Speaker 1: who seems to totally not notice, and Monete sinks her
• 18:12
  Speaker 1: teeth into Tashigi, and we have that flashback of her
• 18:16
  Speaker 1: like seeing that man with his shoulder ripped out and
• 18:20
  Speaker 1: remembering like what exactly it is that this woman can do,
• 18:24
  Speaker 1: and she is determined not to try and break away
• 18:29
  Speaker 1: or let Monee rip her shoulder off, so she holds
• 18:34
  Speaker 1: onto her which I thought was really fun because the
• 18:37
  Speaker 1: whole way that Monete is meant to like freeze you
• 18:39
  Speaker 1: to death is embracing you. So she's doing it back
• 18:41
  Speaker 1: and Money is like, God damn it. But you guys,
• 18:46
  Speaker 1: I just want to say how unfair it is because
• 18:49
  Speaker 1: like the way that monetue comes at her here she says,
• 18:56
  Speaker 1: he just exposed your weakness because her back is to
• 19:01
  Speaker 1: Monet at the time, and I was just like, that's
• 19:06
  Speaker 1: just this is just not fair. She is arguing. Now, look,
• 19:10
  Speaker 1: here's the thing. Really, I guess that's true because she
• 19:15
  Speaker 1: shouldn't have been arguing with him. She should have had
• 19:17
  Speaker 1: her eyes on her opponent instead of getting distracted by
• 19:21
  Speaker 1: fucking Zoro. She fully turns her back on Monette, and
• 19:26
  Speaker 1: that is a bad call. So I guess it's just
• 19:30
  Speaker 1: hard for me to like blame her because she's so
• 19:32
  Speaker 1: obviously being provoked. And I guess the thing is that, like, yeah,
• 19:39
  Speaker 1: so what somebody can provoke you? You're meant to not
• 19:43
  Speaker 1: stoop and take the bait, and you did so sucks
• 19:47
  Speaker 1: to suck, but you do. I just want to defend
• 19:51
  Speaker 1: her because in this scene, I wanted her to be
• 19:56
  Speaker 1: a little bit all Right, I'm gonna finish this because
• 20:00
  Speaker 1: finish the scene, because it's you, guys, know how I've
• 20:03
  Speaker 1: been feeling about this whole thing. So money is sort
• 20:06
  Speaker 1: of like basically toying with Tashi initially and pretending like,
• 20:12
  Speaker 1: I don't have it, have to worry about you at all.
• 20:15
  Speaker 1: I'd rather fight Zoro. Like it's almost like she's saying,
• 20:19
  Speaker 1: you aren't the genuine challenge, you aren't the reason that
• 20:23
  Speaker 1: I'm interested in this fight. She eventually says something about
• 20:29
  Speaker 1: like maybe I underestimated you, but it doesn't feel like
• 20:32
  Speaker 1: at first that she is actually seeing this woman as
• 20:36
  Speaker 1: a genuine opponent. So yeah, the two thing happens. I'm
• 20:43
  Speaker 1: gonna jump for a moment over to Oosop, who for
• 20:48
  Speaker 1: some reason thinks that gas can't climb stairs. You guys,
• 20:54
  Speaker 1: Oh you are such a ding dong babe. It's it's
• 21:03
  Speaker 1: reminded me of a line from Community when somebody yells
• 21:08
  Speaker 1: about how the fire is going to spread, and I
• 21:12
  Speaker 1: believe that it is Chang who yells back, fire can't
• 21:15
  Speaker 1: go through doors, stupid, it's not a ghost. And that
• 21:19
  Speaker 1: is really what I was getting here, was just like, oh,
• 21:22
  Speaker 1: it can't climb stairs. It's like gas is It's literally like,
• 21:26
  Speaker 1: got no substance to it, right, it can go literally anywhere.
• 21:31
  Speaker 1: So he runs into this room and he closes the
• 21:34
  Speaker 1: door behind him, and he's like, well, that was close.
• 21:38
  Speaker 1: What's in this room? It's really cold and dark. I
• 21:42
  Speaker 1: can't see anything. I sure hope there aren't any monsters
• 21:47
  Speaker 1: in here. And as he says this, the camera pans
• 21:51
  Speaker 1: around and we see all of these different animals that
• 21:54
  Speaker 1: have like these glowing red eyes. I wasn't sure what
• 21:57
  Speaker 1: to make of this because, like you know, we've seen
• 22:01
  Speaker 1: a lot of people with different parts that have been
• 22:03
  Speaker 1: replaced with animal parts, So I wasn't sure if that
• 22:08
  Speaker 1: if these are supposed to be that you know, they're
• 22:13
  Speaker 1: like the source of the parts that people get replaced,
• 22:17
  Speaker 1: or if they are their own creations that have been
• 22:22
  Speaker 1: made from scratch. I don't know how much better one
• 22:27
  Speaker 1: is than the other, to be honest. But and the
• 22:31
  Speaker 1: fact that their eyes are glowing red, all of them,
• 22:34
  Speaker 1: like maybe they are animals that were captured and then
• 22:38
  Speaker 1: something was done to them and they weren't created whole cloth,
• 22:41
  Speaker 1: but they I don't know. I don't know, but the
• 22:45
  Speaker 1: whole vibe of this, I was just like, oh, I
• 22:48
  Speaker 1: really hope that USAP doesn't spot any of these guys,
• 22:51
  Speaker 1: because he is. He kind of shrieks to himself, and
• 22:54
  Speaker 1: he hasn't even really seen anything yet. So we go
• 22:59
  Speaker 1: back to Samurai, who he overhears the little kids like
• 23:02
  Speaker 1: playing in the hall, and he runs over to them.
• 23:07
  Speaker 1: And I was a little bit unclear on this because
• 23:11
  Speaker 1: he hears them playing, he sees a ball bouncing, and
• 23:14
  Speaker 1: he follows the ball. Brooke goes with him, and you know, understandably,
• 23:21
  Speaker 1: the children get quite freaked out at the sight of Brook. Now,
• 23:26
  Speaker 1: you guys, I don't really get who these kids are
• 23:31
  Speaker 1: that he is asking, like, where's my son? Because I
• 23:35
  Speaker 1: was under the impression that our friends were with all
• 23:39
  Speaker 1: of the children that were being experimented on, and that
• 23:43
  Speaker 1: all of those children are suffering from this withdrawal. But
• 23:50
  Speaker 1: this makes it look like we've got a couple different
• 23:55
  Speaker 1: groups of kids and this is a whole separate crew.
• 24:00
  Speaker 1: I had assumed that, like his son was one of
• 24:03
  Speaker 1: the outliers because he had run off by himself. There
• 24:07
  Speaker 1: was that one little girl, I guess, so I suppose
• 24:10
  Speaker 1: it's already been like we've already seen some children who
• 24:14
  Speaker 1: are separate from the big group, but this is like
• 24:17
  Speaker 1: a cluster of them, so and they're playing like nothing's wrong.
• 24:23
  Speaker 1: Where are they meant to be staying like they're not
• 24:26
  Speaker 1: in the biscuit room, which is a full blown snowstorm
• 24:29
  Speaker 1: at this point. The setup of this is a little
• 24:32
  Speaker 1: bit like confusing for me. Saraphim says. They are the
• 24:39
  Speaker 1: most recent group of kids that came in the ones
• 24:41
  Speaker 1: momost stowed away on, so likely still being put through
• 24:45
  Speaker 1: processing or something. At least that's how I took it.
• 24:49
  Speaker 1: Oh okay, all right, Well, suffice to say, he demands
• 24:54
  Speaker 1: like to find where his son is. The kids are
• 24:56
  Speaker 1: scared of him, and then Brooke comes in to try
• 24:59
  Speaker 1: and play back up, and he is even scarier and
• 25:01
  Speaker 1: all of the children are freaking out. He tries to
• 25:05
  Speaker 1: then be like, well, you know, I guess it makes
• 25:09
  Speaker 1: sense that you're scared, but also you still have to
• 25:11
  Speaker 1: just come with us because you're in great danger. This
• 25:14
  Speaker 1: is when the little girl comes forward and she's like, wait,
• 25:17
  Speaker 1: were you saying that you were looking for? And she's
• 25:20
  Speaker 1: the one who saw him turn into a dragon. So
• 25:23
  Speaker 1: hopefully he can find a way to turn back because
• 25:26
  Speaker 1: we've had a whole thing later about the way that
• 25:29
  Speaker 1: these devil fruits are being made, and I'm like wondering
• 25:34
  Speaker 1: if they work the same way, if they're like man made,
• 25:36
  Speaker 1: I don't know if that's going to be normal performance.
• 25:40
  Speaker 1: But all right, let's deal with Chopper, Mocha, Robin, and Nammy.
• 25:50
  Speaker 1: We still have this crowd of kids who are all
• 25:52
  Speaker 1: chasing after Mocha, trying to get the candy away from her.
• 25:57
  Speaker 1: Robin uses her abilities to stuck a bunch of the
• 26:00
  Speaker 1: children by grabbing them around the ankle so that Chopper
• 26:03
  Speaker 1: can administer the sedative to all of them. It was
• 26:08
  Speaker 1: sort of like, I didn't really understand why she couldn't
• 26:13
  Speaker 1: grab all the children. We saw how much Robin is
• 26:17
  Speaker 1: capable of in the past, and the idea that she
• 26:19
  Speaker 1: wasn't able to grasp all of them just I don't
• 26:23
  Speaker 1: buy it. They absolutely shouldn't have stood any chance against her,
• 26:28
  Speaker 1: but whatever, So Mocha is really starting to panic. These
• 26:34
  Speaker 1: kids are relentless. No me tries to like run interference,
• 26:40
  Speaker 1: and these kids are just fucking determined. So eventually, what
• 26:47
  Speaker 1: Mocha does is she just eats all the candy herself.
• 26:54
  Speaker 1: And I gotta admit did not even consider that as
• 26:58
  Speaker 1: an option, and I was genuinely like moved by this choice.
• 27:07
  Speaker 1: I think ultimately, as always, she will be fine, but
• 27:13
  Speaker 1: for now I definitely had a moment of just like,
• 27:16
  Speaker 1: oh God, because you know, I can see that she
• 27:19
  Speaker 1: will be fine as a viewer. I do not think
• 27:22
  Speaker 1: she knows that she will be fine as a character.
• 27:27
  Speaker 1: So she is still making a massive sacrifice here, even if, like,
• 27:34
  Speaker 1: even if it doesn't wind up being she thinks that's
• 27:38
  Speaker 1: what she's doing, and that's really the important thing here,
• 27:40
  Speaker 1: that she was willing to do it. So when she
• 27:44
  Speaker 1: eats all of that candy at once, I was just
• 27:47
  Speaker 1: not ready and the look on Chopper's face because he understands,
• 27:52
  Speaker 1: and we wind up finally getting that flashback because you guys,
• 27:56
  Speaker 1: remember how I was sort of weirded it out by
• 27:59
  Speaker 1: the fact that when she asks what's wrong with the candy,
• 28:02
  Speaker 1: like why is it bad for us? Chopper just says
• 28:04
  Speaker 1: it just is. And I was like, why wouldn't you
• 28:08
  Speaker 1: just tell her, like it almost sounds like you're lying
• 28:11
  Speaker 1: when you refuse to reply like that, And then we
• 28:17
  Speaker 1: see that Chopper did reply actually, and the camera just
• 28:21
  Speaker 1: cut it away and Chopper said that you have been
• 28:28
  Speaker 1: experimented on and like, haven't you wondered why you have
• 28:33
  Speaker 1: such a huge body now? And you're not going to
• 28:37
  Speaker 1: live for very long based on what he is doing,
• 28:40
  Speaker 1: Like you guys are not going to be able to
• 28:42
  Speaker 1: grow up. It's what he's doing isn't working. And the
• 28:51
  Speaker 1: whole way that this is delivered, I feel like it
• 28:54
  Speaker 1: could have been done in such a way that like
• 28:59
  Speaker 1: a part of me kind of initially wanted to feel
• 29:03
  Speaker 1: frustrated that we don't see the scene where Chopper tells
• 29:08
  Speaker 1: her this, but I couldn't because I really liked getting
• 29:13
  Speaker 1: to have this scene after she has sacrificed and she
• 29:18
  Speaker 1: has gone on this like mission, I guess is the
• 29:22
  Speaker 1: word I want, because she just the sadness, the profound
• 29:28
  Speaker 1: sadness of her beginning to understand the extent to which
• 29:33
  Speaker 1: she has been tricked. I just felt so so sad
• 29:38
  Speaker 1: for her. I was so surprised at how much emotionally
• 29:46
  Speaker 1: I responded to this, considering that I didn't really love
• 29:51
  Speaker 1: Mocha as a character. I've complained about her crying the
• 29:55
  Speaker 1: voice actor so many times because I'm pretty sure it's
• 29:58
  Speaker 1: the same voice actor as Chopper. I may be wrong
• 30:01
  Speaker 1: about that, but there have been a couple moments where
• 30:06
  Speaker 1: I've just been like, oh my god, I can't wait
• 30:08
  Speaker 1: for this character to not be a thing, because I'm
• 30:10
  Speaker 1: finding her very frustrating. But this is a real it's
• 30:18
  Speaker 1: just a real, like character moment that I wasn't expecting,
• 30:22
  Speaker 1: so I just wanted to give that the moment of
• 30:25
  Speaker 1: respect that it deserved. I'm gonna jump back again now
• 30:29
  Speaker 1: to the fight between Monette and Ta Shighi. Eventually, after
• 30:36
  Speaker 1: biting her shoulder because Money knocks the sword out of
• 30:39
  Speaker 1: Toi's hands, turns into this fucking awesome snow demon. I
• 30:44
  Speaker 1: love this creature. The way that she looks, this design
• 30:48
  Speaker 1: is so cool, and I am really sad that she
• 30:50
  Speaker 1: is not going to just continue to be a thing
• 30:52
  Speaker 1: because she's so badass and such a an so much
• 30:58
  Speaker 1: more intimidating a female character than the ones that we
• 31:03
  Speaker 1: have often seen in the past. And I have been
• 31:07
  Speaker 1: savoring every moment because these teeth and everything terrifying, absolutely terrifying.
• 31:15
  Speaker 1: So once she is got, then Zoro stands up and
• 31:21
  Speaker 1: is like, all right, let's do this, and he does
• 31:25
  Speaker 1: his slow stroll and says, I'm busy, so let's make
• 31:30
  Speaker 1: this quick and Monette is looking at him, thinking I
• 31:35
  Speaker 1: could have sworn he wouldn't cut a woman, but he
• 31:40
  Speaker 1: just swung at me, so I guess I'm wrong about that,
• 31:45
  Speaker 1: and she begins to back away from him. He does
• 31:49
  Speaker 1: some smack talk about how if you thought you were
• 31:53
  Speaker 1: only gonna win because I wasn't going to be able
• 31:56
  Speaker 1: to take a swipe at you, and not because you
• 31:58
  Speaker 1: were confident you could actually beat me in a fight,
• 32:02
  Speaker 1: you should have run away, he says. When you're face
• 32:08
  Speaker 1: to face with an animal that can rip you to shreds,
• 32:10
  Speaker 1: you don't take any chances, do you. You get the hell
• 32:13
  Speaker 1: out of there. So they both stop stare at him.
• 32:17
  Speaker 1: You have this like light that travels down his blade.
• 32:21
  Speaker 1: His eye has this sort of red tint to the iris.
• 32:25
  Speaker 1: And she suddenly can't run away, her feet won't move,
• 32:32
  Speaker 1: and he slices her right down the middle. Now it
• 32:38
  Speaker 1: turns out that she is still alive, but for whatever reason,
• 32:44
  Speaker 1: it's like she can't control her body anymore. She's moving
• 32:47
  Speaker 1: and like the coloring keeps going in and out like
• 32:52
  Speaker 1: the because her hair is that really bright kind of
• 32:55
  Speaker 1: grass green, and it's like when she moves to put
• 33:00
  Speaker 1: herself together she briefly turns bright green again, her coloring
• 33:06
  Speaker 1: goes back to normal, but then she'll suddenly turn blue
• 33:11
  Speaker 1: and white like she does when she's snow, and she
• 33:14
  Speaker 1: dissipates into snow, and it's so it's almost like she
• 33:19
  Speaker 1: is stuck in a zoin form only and can't fully
• 33:24
  Speaker 1: re reconstitute herself into a regular body. I'm not fully
• 33:30
  Speaker 1: sure how this works. Because she's thrashing around on the
• 33:34
  Speaker 1: ground and Tashiki says something about how he didn't even
• 33:37
  Speaker 1: use hockey on her, and I was like, didn't he?
• 33:40
  Speaker 1: I thought that's what it was. When he made her
• 33:43
  Speaker 1: freeze so that she couldn't run away, I thought that
• 33:45
  Speaker 1: was hockey. Sorry, let's see, Uh we have a loose,
• 33:53
  Speaker 1: a doub lose. Sorry, Saraphim says. The real line is,
• 33:56
  Speaker 1: have you ever met a wild animal you were sure
• 33:59
  Speaker 1: wouldn't bite? Because I haven't. Yeah, that's a better line,
• 34:06
  Speaker 1: I agree, Saraphim. Interesting, okay, but yeah, So she's like
• 34:13
  Speaker 1: just sort of on the ground, heaving in two halves,
• 34:17
  Speaker 1: and I'll tell you, look, guys, I've seen a lot
• 34:19
  Speaker 1: of stuff where a person has been cut in half
• 34:21
  Speaker 1: down the middle, and it's always really gruesome and grim,
• 34:25
  Speaker 1: don't get me wrong, but having it be that she
• 34:29
  Speaker 1: is cut down the middle and then loses control of
• 34:32
  Speaker 1: her body and is just like kind of flailing that
• 34:37
  Speaker 1: was way more upsetting in a way than the gruesomeness was.
• 34:46
  Speaker 1: So this is when Tashiki's wondering to herself, like, Okay,
• 34:53
  Speaker 1: these straw hats are actually a lot stronger than I
• 34:56
  Speaker 1: was expecting. They must have been up to something in
• 35:00
  Speaker 1: those two years when they had disappeared, because they are
• 35:03
  Speaker 1: a lot stronger now. So Monet gets up finally goes
• 35:11
  Speaker 1: after Zorro, and Tashigi just lifts her sword. It's so
• 35:17
  Speaker 1: funny she slices Monette. After all of this, it's still
• 35:23
  Speaker 1: her that winds up killing Monee and she says, sorry,
• 35:29
  Speaker 1: but you're finished. And then the rest of this episode
• 35:35
  Speaker 1: pretty much is her and Zorro fighting over whether or
• 35:38
  Speaker 1: not he actually would have killed her, whether or not
• 35:42
  Speaker 1: he needed her help at all, YadA, YadA, YadA. I
• 35:46
  Speaker 1: personally think that the fact that we don't have him
• 35:51
  Speaker 1: finishing her off is kind of like the author not
• 35:55
  Speaker 1: wanting to do that, but I may be wrong about it.
• 35:59
  Speaker 1: And then we have a watching all of this from
• 36:01
  Speaker 1: his little layer because he's, you know, got cameras everywhere,
• 36:06
  Speaker 1: so he sees Monet lose this fight, and he just
• 36:10
  Speaker 1: doesn't really seem to care. I thought he was going
• 36:12
  Speaker 1: to be a little bit more upset about it, and
• 36:15
  Speaker 1: it doesn't seem like it's really of any consequence to
• 36:19
  Speaker 1: him at all, considering how loyal she was to him.
• 36:23
  Speaker 1: I was disgusted, but I shouldn't be surprised at all. So, Okay,
• 36:29
  Speaker 1: I'm trying to find the next because I already talked
• 36:32
  Speaker 1: about Mocha eating all of these candies and the let's see, Yeah,
• 36:39
  Speaker 1: here it is Chopper telling her Caesar's experiment is doomed too.
• 36:43
  Speaker 1: He knows that it's going to fail. My guess is
• 36:46
  Speaker 1: he's just collecting data for his next experiment. And Mocha says, so,
• 36:53
  Speaker 1: what's going to happen to us? And Charper clearly does
• 36:56
  Speaker 1: not want to answer, but he finally said as death,
• 37:01
  Speaker 1: which I thought was like pretty brutal a way to
• 37:05
  Speaker 1: phrase it, none of you will ever live to see
• 37:08
  Speaker 1: home again. That delicious candy is a fatal toxin. It
• 37:12
  Speaker 1: tastes sweet, but the truth is it's destroying your body
• 37:15
  Speaker 1: and as soon as you eat one, you start to
• 37:17
  Speaker 1: crave another. The more you eat, the more control Caesar
• 37:20
  Speaker 1: has over you. Before long, you'll do anything for another piece,
• 37:25
  Speaker 1: just like those kids be there. So yeah, she fully
• 37:30
  Speaker 1: understands like the risk when she decides that she's going
• 37:34
  Speaker 1: to eat all of them herself. And I'm gonna jump
• 37:42
  Speaker 1: ahead here, but her friends kind of begin to sort
• 37:45
  Speaker 1: of like, I won't say they come out of the
• 37:48
  Speaker 1: fugue state, but I feel like they as they see
• 37:54
  Speaker 1: that she is having this strong reaction to the candy,
• 37:59
  Speaker 1: it begins to stink in a little bit that they
• 38:06
  Speaker 1: that something is wrong with it, that it's having an
• 38:08
  Speaker 1: effect on her, and maybe this means something that they
• 38:11
  Speaker 1: should pay attention to. It doesn't seem like they're fully
• 38:15
  Speaker 1: grasping it yet. It's like almost initially the thought is
• 38:21
  Speaker 1: is there, did eating it all at once have some
• 38:25
  Speaker 1: sort of effect on her? And not the fact that
• 38:29
  Speaker 1: the candy itself is like the problem. It's the amount
• 38:33
  Speaker 1: that she ate that's the problem. But I and again
• 38:38
  Speaker 1: they don't quite come out of the state that they're in.
• 38:40
  Speaker 1: Their eyes are still white, but they they have paused
• 38:46
  Speaker 1: and they are talking in a much more reasonable tone
• 38:50
  Speaker 1: than they have been up to now there's like thoughtfulness
• 38:55
  Speaker 1: when there hasn't been any of that at all. So
• 38:58
  Speaker 1: the eating of all of the candy, it's like a
• 39:00
  Speaker 1: combo effect where they don't have it to access and
• 39:05
  Speaker 1: eat themselves anymore, which is great, and also it makes
• 39:08
  Speaker 1: them question what is going on and stop and consider,
• 39:12
  Speaker 1: which is also really really important. And Chopper comes over
• 39:17
  Speaker 1: and is just yelling for her, like, stay with me,
• 39:20
  Speaker 1: And this is what eating the candy really does to you.
• 39:24
  Speaker 1: Do you get it? Mocha sacrificed herself for you to
• 39:29
  Speaker 1: save you, and Nami says Chopper, if you want us
• 39:35
  Speaker 1: to date them, now is your best chance. Chopper tries
• 39:39
  Speaker 1: to argue, I have to treat Mocha, and Robin is like,
• 39:42
  Speaker 1: you don't have time, you know, you gotta do it
• 39:46
  Speaker 1: there finally standing still. So as this is all being debated,
• 39:56
  Speaker 1: Sanji and the Marines come flying in to subdue the
• 40:02
  Speaker 1: children with like, I mean it really is. I appreciate
• 40:11
  Speaker 1: the effort and obviously this is important, but also their
• 40:19
  Speaker 1: children and the enthusiasm here just feels a little bit misplaced,
• 40:23
  Speaker 1: That's all I'm saying. And somebody's like, you know, he says,
• 40:28
  Speaker 1: subdue them only no violence if you can help it,
• 40:31
  Speaker 1: and one of them asks is kicking them in the balls.
• 40:35
  Speaker 1: Considered violence, and Sanji says, hmm a close call, but yes, yeah,
• 40:48
  Speaker 1: once again, I would like to reiterate that these are children.
• 40:51
  Speaker 1: But these dudes take on the task of subduing these kids.
• 40:57
  Speaker 1: And the group of them carry Mocha down the hallway
• 41:03
  Speaker 1: so that she can be treated. I'm not exactly sure
• 41:06
  Speaker 1: where they're taking her or like where they think they
• 41:09
  Speaker 1: can go that they will be able to be away
• 41:12
  Speaker 1: from the gas and she will be able to recover
• 41:14
  Speaker 1: because like again, Caesar can see them all everywhere they go.
• 41:20
  Speaker 1: So that's the part that I keep getting hung up on,
• 41:22
  Speaker 1: is that it doesn't feel like anywhere is exactly safe
• 41:26
  Speaker 1: right now. Maybe they're just carrying her toward the exit.
• 41:30
  Speaker 1: I don't know, but yeah. So she wakes up momentarily
• 41:36
  Speaker 1: and Mocha is just like I did it for them,
• 41:39
  Speaker 1: and you know, Chopper is promising, I am going to
• 41:44
  Speaker 1: save you too, I swear I will. He's got his
• 41:48
  Speaker 1: like little watery face on, crying Chopper it's too much,
• 41:53
  Speaker 1: and he says, you are going to grow up. So
• 41:57
  Speaker 1: the main the last scene of this episode, which is
• 41:59
  Speaker 1: a bunch of the dudes that had been in hazmat suits.
• 42:02
  Speaker 1: They don't have their helmets on right now, they're inside
• 42:04
  Speaker 1: and they see this like shadow, and then out of
• 42:07
  Speaker 1: nowhere here comes Loofy. He's got the dragon draped around
• 42:11
  Speaker 1: his shoulders. It's actually genuinely adorable. And these dudes start
• 42:17
  Speaker 1: to fire at Loofy, but he uses his hockey to
• 42:20
  Speaker 1: just knock all of them down except for one guy,
• 42:25
  Speaker 1: and he demands to know where Caesar is, and dude
• 42:28
  Speaker 1: is just so taken aback it tastes in a second
• 42:31
  Speaker 1: to reply and tell him where, and Movie just says good,
• 42:34
  Speaker 1: and he's got that look on his face that he
• 42:36
  Speaker 1: gets when he is in no fucking mood, and he
• 42:40
  Speaker 1: means business. Ooh, Sarah, I'm left a bunch of other
• 42:47
  Speaker 1: Zoro hit her with what would be a killing blow
• 42:50
  Speaker 1: if he'd been using hockey, but held back and being
• 42:53
  Speaker 1: so close to death and only spared because Zoro didn't
• 42:56
  Speaker 1: see her as worth killing. It completely overwhelmed her fear
• 43:00
  Speaker 1: and terror. Huh not being worth killing? Though? Like why not?
• 43:09
  Speaker 1: I get what you're saying, and I believe that in
• 43:12
  Speaker 1: terms of like the way his character works, but I
• 43:14
  Speaker 1: don't understand the logic of that she's an enemy and
• 43:17
  Speaker 1: she's gonna just get her shit back together and keep
• 43:19
  Speaker 1: coming at you. You don't really get the luxury of
• 43:23
  Speaker 1: making that sort of choice right now, my guy, you
• 43:25
  Speaker 1: know what I'm saying. I don't know. But anyway, when
• 43:32
  Speaker 1: we start the next episode, he is carrying Tashigi over
• 43:35
  Speaker 1: his shoulder and the gas is catching up with them.
• 43:38
  Speaker 1: He is very irritated at the fact that this gas
• 43:40
  Speaker 1: seems to be outpacing him. We keep getting this sort
• 43:43
  Speaker 1: of overhead map of the lab and where everybody is,
• 43:46
  Speaker 1: and I really appreciated this. This was the same thing
• 43:49
  Speaker 1: as when we were at I think impelled down and
• 43:52
  Speaker 1: I think there was one other location, but we had
• 43:54
  Speaker 1: these little sort of recaps of like where everybody is,
• 44:00
  Speaker 1: and I need it, I really do. I need to
• 44:02
  Speaker 1: be able to like place where the fuck I am
• 44:05
  Speaker 1: in the midst of all this. So we then have
• 44:10
  Speaker 1: brown Beard turning up on the cameras and all of
• 44:15
  Speaker 1: his men that are in that main lab room with
• 44:18
  Speaker 1: Caesar are relieved to see him and they're like, oh,
• 44:22
  Speaker 1: it looks like he's doing okay. I'm glad he made
• 44:25
  Speaker 1: it YadA YadA. Well, brown Beard comes across the R
• 44:30
  Speaker 1: sixty six door and he sees the transponder snail that
• 44:36
  Speaker 1: is like on the lintel of the door, and he
• 44:38
  Speaker 1: begins to blow up Caesar's whole spot on camera, telling
• 44:43
  Speaker 1: these men that he has been lying to you this
• 44:46
  Speaker 1: whole time, it's all bullshit, and he tries to explain
• 44:52
  Speaker 1: what's really going on, So what Caesar. First of all,
• 44:56
  Speaker 1: by Caesar just tries to buy some time by being like,
• 44:59
  Speaker 1: I'm going to meet him at out there and that
• 45:01
  Speaker 1: way we can talk in person. And I definitely when
• 45:08
  Speaker 1: Caesar is near to brown Beard, I was like, oh,
• 45:13
  Speaker 1: brown Beard, you shouldn't even let him get close to you,
• 45:16
  Speaker 1: like the amount of the number of weapons that he
• 45:23
  Speaker 1: has at his disposal that wouldn't even need to touch
• 45:26
  Speaker 1: you to affect you. I just you got to back up.
• 45:32
  Speaker 1: And unfortunately, poor brown Beard, he is not that smart,
• 45:37
  Speaker 1: so he isn't putting it together and he starts trying
• 45:40
  Speaker 1: to explain to these dudes what was really going on.
• 45:44
  Speaker 1: And he's trying to say, he called you guinea pigs,
• 45:49
  Speaker 1: and he can't get the words out. And you guys,
• 45:55
  Speaker 1: this was like a nightmare. It turns out he has been,
• 46:00
  Speaker 1: you know, injected with a muscle relaxer, and I can't
• 46:06
  Speaker 1: help it anytime that there's like a muscle relaxer that
• 46:08
  Speaker 1: affects how people talk. All I can think of is
• 46:11
  Speaker 1: that episode of Seinfeld where Elaine takes too much and
• 46:16
  Speaker 1: she goes to that party and just starts yelling stella.
• 46:21
  Speaker 1: So this poor dude, he keeps mispronouncing the word and
• 46:27
  Speaker 1: just saying kind of nonsense as if he's drunk, and
• 46:31
  Speaker 1: all of these men are just like laughing at him.
• 46:35
  Speaker 1: Understandably to a degree, but I did want to be like, guys,
• 46:40
  Speaker 1: he is like clearly desperately upset, Please don't laugh at
• 46:46
  Speaker 1: the pronunciation, even like I just I got so frustrated
• 46:50
  Speaker 1: with them, and I felt so bad for brown Beard.
• 46:55
  Speaker 1: You know, he has been very annoying in some ways, granted,
• 47:01
  Speaker 1: but this scene of him trying to communicate this and
• 47:06
  Speaker 1: not only not being believed, but then like being made
• 47:09
  Speaker 1: a fool of like this, it was too much. I
• 47:13
  Speaker 1: felt so sorry for him. He's so he's so saddened
• 47:17
  Speaker 1: and embarrassed, and he turns and looks at Caesar Clown
• 47:23
  Speaker 1: and is like finally realizing, Oh my God, he did
• 47:26
  Speaker 1: something to me, and Caesar just grins at him and
• 47:29
  Speaker 1: points at the fucking syringe in his hand because yes, indeed,
• 47:33
  Speaker 1: I'm just gonna completely show you what I did. Brown
• 47:37
  Speaker 1: Beard collapses, and again all of these dudes are just
• 47:43
  Speaker 1: laughing at him, like, guys, he's trying to tell you
• 47:47
  Speaker 1: something about this man that is not good for him
• 47:51
  Speaker 1: if it's true, and he collapsed in the middle of it,
• 47:55
  Speaker 1: and you're laughing like this is not probably of it
• 48:00
  Speaker 1: that this guy is doing the exact thing he's accusing
• 48:04
  Speaker 1: him of. You don't think it's suspicious that, like, as
• 48:07
  Speaker 1: soon as he begins to tell you a thing down,
• 48:09
  Speaker 1: he goes, Now, these men do not have brains in
• 48:12
  Speaker 1: their heads. I you know, I expect too much of them.
• 48:17
  Speaker 1: So then we have this moment where he Caesar Klow
• 48:23
  Speaker 1: is like, before we lose you completely, there's one more
• 48:27
  Speaker 1: thing that I think you should know, and he grinned.
• 48:31
  Speaker 1: I don't know why he's doing this. I'm sure you're
• 48:34
  Speaker 1: familiar with the chemical explosion that devastated this island four
• 48:37
  Speaker 1: years ago, nearly killing all of these men. Well, basically
• 48:44
  Speaker 1: that was me and brown Beard just absolutely freaks out
• 48:50
  Speaker 1: and is like wait what and he is trying to
• 48:55
  Speaker 1: get it together. He manages to stand up and get
• 48:58
  Speaker 1: his sword out, and I was like, oh shit, maybe
• 49:02
  Speaker 1: maybe he's taking the swings at Caesar. Now, I don't
• 49:05
  Speaker 1: you know, he's not going to be able to do
• 49:06
  Speaker 1: anything to Caesar. This dude has so much power and
• 49:10
  Speaker 1: can turn into a straight up gas. A regular old
• 49:12
  Speaker 1: sword not going to do the job. Caesar starts yelling
• 49:16
  Speaker 1: about how he's gone out of his mind, and Brown
• 49:20
  Speaker 1: Beard is like, this is sick. Get out of here,
• 49:24
  Speaker 1: guys while there's still time. He's a demon disguised as
• 49:27
  Speaker 1: a human. And eventually I hated this so much. Caesar
• 49:36
  Speaker 1: tells his men to shoot him and they all do.
• 49:39
  Speaker 1: Now we know guns just don't kill people in this universe,
• 49:42
  Speaker 1: so guess that's you know. But Caesar says he'll finish him,
• 49:47
  Speaker 1: and this is when Loofy shows up and we only
• 49:52
  Speaker 1: get like the beginnings of this fight. I love the
• 49:56
  Speaker 1: fact that he was the one who got them out
• 49:58
  Speaker 1: of the pit, and Little Drag doesn't wake up until like,
• 50:01
  Speaker 1: you know, half an hour later and is like, oh,
• 50:04
  Speaker 1: you were able to get us out. Oh that's nice.
• 50:07
  Speaker 1: So he walks in justice Caesar is saying I'll finish him,
• 50:11
  Speaker 1: and Lufy says, you stay here, and he goes into
• 50:15
  Speaker 1: I think second year and punches Caesar clown. Caesar says,
• 50:21
  Speaker 1: it almost got me. His nose is bleeding those so
• 50:24
  Speaker 1: something connected, And this is when we get this like
• 50:29
  Speaker 1: monologue from him where he explains a bunch of what's
• 50:35
  Speaker 1: going on with his connection to Joker. Lufy's like, you know,
• 50:43
  Speaker 1: demanding how many people have you brought to this island?
• 50:45
  Speaker 1: YadA YadA, and he explains, like, yeah, this is the epicenter.
• 50:53
  Speaker 1: He calls it black science. I can perform all the
• 50:57
  Speaker 1: hidden experiments I want and gather test subjects. And the
• 51:02
  Speaker 1: way that we're like operating here with creating this sad
• 51:07
  Speaker 1: is this makes artificial devil fruits, and we can only
• 51:13
  Speaker 1: make zoan type apparently at this point, but this is
• 51:20
  Speaker 1: an exclusive item that we are selling to the emperors
• 51:25
  Speaker 1: who are creating private armies of zoan type devil fruit eaters.
• 51:32
  Speaker 1: So we then see all of those animals with the
• 51:35
  Speaker 1: red eyes, and they look like the ones that were
• 51:40
  Speaker 1: in the lab. So I'm assuming that there is something
• 51:43
  Speaker 1: happening where they're taking like the DNA out of these
• 51:46
  Speaker 1: animals to make them into the zoan devil fruit, or
• 51:50
  Speaker 1: maybe the animals are the actual devil fruit eaters that
• 51:53
  Speaker 1: are like under observation or something. I don't know, but yeah,
• 52:00
  Speaker 1: he says, he's calling it smile because that's the substance
• 52:05
  Speaker 1: that they used to make it. So that's why that
• 52:07
  Speaker 1: devil fruit was created out in the Land of the Dead.
• 52:11
  Speaker 1: When that gas crosses the wheelbarrow, I think it was
• 52:15
  Speaker 1: or a wagon or something, that there was a fruit
• 52:17
  Speaker 1: in there that looked like it turned into a devil fruit,
• 52:20
  Speaker 1: and that is why. Evidently that's what it does. So
• 52:26
  Speaker 1: Caesar says, so you're beginning to understand what you're dealing with.
• 52:29
  Speaker 1: Just by coming here. You've interfered with do Flamingo's business.
• 52:32
  Speaker 1: That's going to anger a lot of powerful people, and
• 52:35
  Speaker 1: you are playing with fire, and do you truly have
• 52:42
  Speaker 1: the guts to pick a fight with them? And the
• 52:45
  Speaker 1: episode ends with Loofy saying, pick a fight. That's all
• 52:52
  Speaker 1: I've been doing my entire life, which has to be
• 52:59
  Speaker 1: like one of the best lines of Loofy's in the
• 53:02
  Speaker 1: whole series, because that is the truest shit. And then
• 53:06
  Speaker 1: he uses armament hockey and decks Caesar across the face
• 53:12
  Speaker 1: and sends him fucking flying, and Caesar is genuinely like,
• 53:16
  Speaker 1: I can't believe that I'm monologue that whole time, and
• 53:19
  Speaker 1: he still had the nerve to hit me, Like, Caesar,
• 53:22
  Speaker 1: I am going to need you to understand the people
• 53:25
  Speaker 1: that you are up against right now. So yeah, that's
• 53:31
  Speaker 1: the end of the episode. So I'm enjoying this one.
• 53:33
  Speaker 1: I really am this. This arc has been super fun
• 53:35
  Speaker 1: to me. I'm looking forward to continuing on with it
• 53:38
  Speaker 1: and seeing where we go. So I'm gonna wrap it up.
• 53:42
  Speaker 1: Thank you again so much to all of you for listening.
• 53:45
  Speaker 1: Thank you to saraph him for not for commissioning, for
• 53:47
  Speaker 1: being here and giving me a bunch of information and
• 53:49
  Speaker 1: also going into the discord spoiler non spoiler chat, although
• 53:54
  Speaker 1: there is a spoiler channel if anybody listening is interested.
• 53:58
  Speaker 1: Thank you for all of that, and take you to
• 54:00
  Speaker 1: Florian for commissioning. I hope that y'all are enjoying the coverage.
• 54:04
  Speaker 1: Until next time, to the lou motherfuckers. That was an
• 54:36
  Speaker 1: unspoiled Network podcast.