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One Piece, 792-794 · 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 seven ninety two and through seven
• 0:15
  Speaker 1: ninety four, Mom's assassin Loofy and the Seducing Woods, a
• 0:21
  Speaker 1: seafaring Kingdom, German's King Judge, and a battle between father
• 0:27
  Speaker 1: and son Judge versus Soanjy in these episodes, I don't know, guys,
• 0:37
  Speaker 1: I kind of feel like this might be my favorite
• 0:39
  Speaker 1: arc so far. And I've been saying that a lot,
• 0:42
  Speaker 1: which I think is a really great sign. But like
• 0:47
  Speaker 1: I'm serious, though, I think this might be my favorite
• 0:49
  Speaker 1: arc so far. Welcome to spoil Me, Welcome to the
• 1:12
  Speaker 1: show everyone. I am Natasha. Thank you very much to
• 1:15
  Speaker 1: Florian for commissioning this episode, and thank you to Saraphim,
• 1:20
  Speaker 1: who is in the chat. You guys, I you know
• 1:26
  Speaker 1: the thing that I often bring up in terms of
• 1:32
  Speaker 1: how I decide my level of interest. It's not even
• 1:37
  Speaker 1: exactly like I when I say I decide my level
• 1:45
  Speaker 1: of interest. That makes it sound like it's more of
• 1:47
  Speaker 1: a conscious thing. What I actually mean is when I
• 1:50
  Speaker 1: am looking in my rear view mirror and trying to
• 1:55
  Speaker 1: gauge how much I was into something at the time,
• 2:00
  Speaker 1: I often will go by how many times did I
• 2:05
  Speaker 1: look at my phone or how much attention was I paying,
• 2:11
  Speaker 1: And like, you know, this being my job, I would love,
• 2:16
  Speaker 1: I would love to be able to say I always
• 2:23
  Speaker 1: pay full attention, I'm always on it, I'm always interested,
• 2:28
  Speaker 1: and even if I don't enjoy it, my whole self
• 2:34
  Speaker 1: is fully attentive and involved. But like, let's all be
• 2:38
  Speaker 1: very real, that's just not true. There are times where
• 2:44
  Speaker 1: the pacing or the story or a million other details
• 2:50
  Speaker 1: will lead to me either spacing out without realizing that
• 2:56
  Speaker 1: I'm spacing out, or disengaging purpose because something is like
• 3:01
  Speaker 1: really kind of ichy and I don't like it. This
• 3:04
  Speaker 1: is one of those times where I was just genuinely
• 3:07
  Speaker 1: found this whole trio of episode so compelling that I
• 3:14
  Speaker 1: was like on my shit the whole time as I
• 3:18
  Speaker 1: was watching, I just kept being like, oh shit, oh shit,
• 3:22
  Speaker 1: And each new development was very fun and made sense
• 3:27
  Speaker 1: and was like in keeping with the you know, vibe
• 3:32
  Speaker 1: and esthetic that has been working for me this whole time.
• 3:36
  Speaker 1: And I've got to say, guys, like you know I
• 3:41
  Speaker 1: have and I stand by it. I have talked some
• 3:44
  Speaker 1: shit about Big Mom's overall character design which again I
• 3:50
  Speaker 1: think is completely fair. But what it's beginning to look
• 3:56
  Speaker 1: like is going on with her power is wild and
• 4:03
  Speaker 1: I am really really interested because I thought that I
• 4:10
  Speaker 1: kind of had an idea what she was going to
• 4:13
  Speaker 1: be like. And the more that I'm looking around, getting
• 4:16
  Speaker 1: to see the characters surrounding her, the people working for her,
• 4:21
  Speaker 1: and some of the weirdness about the setting, the more
• 4:26
  Speaker 1: I'm realizing, like, oh, I wasn't fully understanding her deal,
• 4:32
  Speaker 1: And there is something wonderful about the upbeat, exciting, happy
• 4:43
  Speaker 1: aesthetic with the sinister undertones that can be This isn't
• 4:52
  Speaker 1: an unusual approach, right, having that kind of aesthetic matched
• 4:56
  Speaker 1: with a villain. We've seen it done. But what I
• 5:00
  Speaker 1: argue is that oftentimes when we see it done, that happy,
• 5:07
  Speaker 1: cheery esthetic actually is creepy. We pretend that it's happy
• 5:13
  Speaker 1: cheery because we're playing into clearly what's supposed to be
• 5:19
  Speaker 1: the camouflage for the purpose of the plot. But usually
• 5:24
  Speaker 1: as an outside viewer, you'll look at an item that's
• 5:28
  Speaker 1: supposed to be cutesy and it will have an edge
• 5:31
  Speaker 1: to it that you're like, no, no, you should be
• 5:33
  Speaker 1: able to see that that's creepy. That's not cute, that's upsetting,
• 5:37
  Speaker 1: and it makes it difficult because I know, were I
• 5:41
  Speaker 1: in the shoes of the character, I would be put
• 5:44
  Speaker 1: off by it. I would be I would feel like
• 5:48
  Speaker 1: it's foreshadowing. But in this everything does genuinely look cheery
• 5:55
  Speaker 1: and happy. It doesn't have that like Tim Burton kind
• 5:59
  Speaker 1: of twisted edge to it where things are a little distorted,
• 6:04
  Speaker 1: not until stuff starts like moving around and revealing itself,
• 6:08
  Speaker 1: and even then even then not really, it's still very
• 6:13
  Speaker 1: wholesome looking, and it's just the music and the lyrics
• 6:17
  Speaker 1: that give away, no, this is very bad, you know.
• 6:20
  Speaker 1: It's just there is a certain commitment to the bit
• 6:25
  Speaker 1: that I really like, and I feel like we don't
• 6:28
  Speaker 1: get enough because a lot of the whole like, oh,
• 6:32
  Speaker 1: it's a cutesy aesthetic but actually evil. It's done by
• 6:38
  Speaker 1: people who are being like a little hot topic with it,
• 6:42
  Speaker 1: like there's almost like an edge loordy vibe. And this,
• 6:45
  Speaker 1: for me, is what I have wanted for a while
• 6:49
  Speaker 1: is do it sincerely, do it genuinely really cutesy, without
• 6:55
  Speaker 1: any nods or winks or anything. And it's so much
• 7:01
  Speaker 1: creepier to me. It makes it so much more unnerving
• 7:07
  Speaker 1: when this place that looks like heaven turns around and
• 7:12
  Speaker 1: starts singing about playing murder games, like, I mean, this
• 7:17
  Speaker 1: is hitting. I love this so much. Seraphim's in the
• 7:22
  Speaker 1: chat and says, yeah, big Mom really does just like
• 7:25
  Speaker 1: things to be bright and happy and cheery. She's just
• 7:27
  Speaker 1: also a merciless, psychopathic will murder your entire family for
• 7:29
  Speaker 1: the slightest reason. Yeah, and you know what, This is
• 7:33
  Speaker 1: how I imagine where I had to go supervillain. This is
• 7:36
  Speaker 1: how I would be. I would also want things to
• 7:40
  Speaker 1: have a certain look. It would be beautiful. It would
• 7:43
  Speaker 1: not be I'm giving away my bits of madness in
• 7:48
  Speaker 1: my no, no, no, because then how do you lure
• 7:50
  Speaker 1: people in. Again, there's a suspension of disbelief as you're
• 7:54
  Speaker 1: watching a character in something be like, oh, that's cute
• 7:58
  Speaker 1: about a flower with a face on it that clearly
• 8:01
  Speaker 1: wants to bite them in the neck and suck their blood.
• 8:06
  Speaker 1: You just have to be like, Okay, I guess in
• 8:08
  Speaker 1: their universe that isn't utterly freaky looking. I guess here,
• 8:13
  Speaker 1: everybody who falls for it, it's understandable, I get it.
• 8:19
  Speaker 1: It makes sense. Everybody is being fooled because it's actual,
• 8:25
  Speaker 1: real camouflage, and so I can respect all of my
• 8:29
  Speaker 1: characters getting tricked, you know. And that's really part of
• 8:32
  Speaker 1: it as well, is that you don't want to feel
• 8:34
  Speaker 1: like you have to suspend your disbelief on the intelligence
• 8:38
  Speaker 1: of the characters you're watching, and sometimes you do kind
• 8:41
  Speaker 1: of feel like you have to do that if they
• 8:42
  Speaker 1: get tricked by a thing. So, all right, we're gonna
• 8:45
  Speaker 1: start off with episode seven ninety two, Mom's Assassin, and Guys,
• 8:50
  Speaker 1: I'll be real. When I first began this trio of episodes,
• 8:56
  Speaker 1: this one started and I did the you know, skip
• 9:00
  Speaker 1: the intro no this episode, I listened to the whole
• 9:03
  Speaker 1: intro song because I really like yes we can as
• 9:06
  Speaker 1: an intro song, even though it does sound like they're
• 9:07
  Speaker 1: saying yes we go at the end. But when it
• 9:13
  Speaker 1: starts up the uh the title card and it says
• 9:19
  Speaker 1: Mom's Assassin, I was a little annoyed because you guys
• 9:23
  Speaker 1: have warned me about the title cards before, and I've
• 9:26
  Speaker 1: been mostly really good about not reading them or listening,
• 9:29
  Speaker 1: but I was caught off guard this time and when
• 9:35
  Speaker 1: it said Mom's Assassin, when I tell you, I was like, oh,
• 9:42
  Speaker 1: oh my god, duh, I didn't even think of that.
• 9:46
  Speaker 1: I felt so silly, like I knew something was up.
• 9:50
  Speaker 1: And we even have in a previous episode when she's
• 9:54
  Speaker 1: doing her whole evil villain song, Big Mom says like
• 9:59
  Speaker 1: lufy and coming for you, or Loofy, I've got my
• 10:01
  Speaker 1: eye on you know, I'm ready for you, something like that.
• 10:04
  Speaker 1: She knows he's coming their way, She's ready and she
• 10:07
  Speaker 1: says so. But it still didn't occur to me that
• 10:11
  Speaker 1: whatever was going on here with him having a double
• 10:14
  Speaker 1: was part of a plan. I was thinking, this is
• 10:19
  Speaker 1: Loofy wandering into an area that has a naturally occurring
• 10:25
  Speaker 1: like trickster creature. I didn't think it was going to
• 10:29
  Speaker 1: be something that was related directly to Big Mom. So yeah,
• 10:35
  Speaker 1: it was just sort of it was surprising because I
• 10:38
  Speaker 1: just really was I felt very silly for not clocking that,
• 10:44
  Speaker 1: and so the title card, it was simultaneously me being
• 10:48
  Speaker 1: annoyed at getting spoiled, like allowing that to happen, but
• 10:53
  Speaker 1: then you know, also being like, oh, that really shouldn't
• 10:56
  Speaker 1: even be a spoiler. I should have known that. So anyway,
• 11:04
  Speaker 1: the main thing that we're getting in terms of this
• 11:09
  Speaker 1: episode's like when we're with Loofy. When we're with Loofy's group,
• 11:16
  Speaker 1: I'll say not specifically just Loofy, because they've gotten split
• 11:19
  Speaker 1: up here. But what we find out is that all
• 11:25
  Speaker 1: of the trees and flowers, baked goods that are also landmarks,
• 11:32
  Speaker 1: all of them can move. And so the crew other
• 11:37
  Speaker 1: than Lufy is out here chasing after what they thought
• 11:40
  Speaker 1: was Sanjy and they get lost, and they cannot figure out,
• 11:46
  Speaker 1: for the life of them how they could have gotten lost,
• 11:49
  Speaker 1: because this does not seem like a difficult route to navigate.
• 11:54
  Speaker 1: And Nami is looking at her log pose and it's
• 11:58
  Speaker 1: that bracelet that's got three of them on there, so
• 12:02
  Speaker 1: she's like, well, you know, I'll be able to find
• 12:04
  Speaker 1: my way back with this. But when she looks at it,
• 12:06
  Speaker 1: it's going bonkers. All of the little, you know, compass
• 12:10
  Speaker 1: needles so to speak, are all over the place, and
• 12:14
  Speaker 1: she's sort of like, that's weird, but also I don't
• 12:19
  Speaker 1: really need this, because it's like, you know, we just
• 12:22
  Speaker 1: went down a path. It's fine. So she doesn't let
• 12:26
  Speaker 1: that serve as any sort of warning, and I'm not
• 12:30
  Speaker 1: blaming her. I wouldn't either, I don't think. But as
• 12:35
  Speaker 1: we see a bit later, it's a symptom of a
• 12:38
  Speaker 1: larger problem, because the reason it's going bonkers is due
• 12:43
  Speaker 1: to the fact that they are being purposely misled here,
• 12:48
  Speaker 1: and so any method of navigation is cut off. And
• 12:53
  Speaker 1: I really want to know how they are able to
• 12:57
  Speaker 1: do this with a log post. If it's just, you know,
• 13:00
  Speaker 1: as simple as magic. You know it may be, but
• 13:06
  Speaker 1: suffice to say, I'm just the whole thing where they're
• 13:10
  Speaker 1: running after. Soanjy. Eventually Nam kind of comes to her
• 13:17
  Speaker 1: senses and it is like, guys, look, this doesn't really
• 13:22
  Speaker 1: make any sense when you stop and think about it.
• 13:25
  Speaker 1: Why would Sonji be running away? And if he saw us,
• 13:31
  Speaker 1: why wouldn't he say a word? Why would he just
• 13:35
  Speaker 1: stand there and look at us? It just doesn't seem
• 13:40
  Speaker 1: like this is probably Actually Sonjy doesn't and they don't
• 13:47
  Speaker 1: really argue with her. I kind of thought this might
• 13:49
  Speaker 1: go on longer than it does, and I'm relieved that
• 13:52
  Speaker 1: it doesn't. They, like both Carrot and Chopper kind of
• 13:56
  Speaker 1: stop and go yeah, oh, okay, no, I guess you're right.
• 14:03
  Speaker 1: It doesn't make a lot of sense, and they decide
• 14:07
  Speaker 1: that they're going to turn back and see Loofy, who
• 14:09
  Speaker 1: is still fighting the copy of himself. Now there comes
• 14:14
  Speaker 1: a point where this copy decides that it is going
• 14:18
  Speaker 1: to step in and mislead Nami and the rest, and
• 14:24
  Speaker 1: Lufy tries to yell out and warn them because they're,
• 14:27
  Speaker 1: you know, walking away with it. But so this thing
• 14:31
  Speaker 1: is able to talk, and this was something that confused
• 14:34
  Speaker 1: me a little bit. Guys, If this fake Lufy is
• 14:40
  Speaker 1: able to talk, why didn't the Sanji talk? Because that
• 14:46
  Speaker 1: would make it a lot more convincing if you're trying
• 14:48
  Speaker 1: to lead them into a trap. Just have soany actually
• 14:52
  Speaker 1: speak to them and tell them, hey, guys, you know,
• 14:55
  Speaker 1: come with me. It imitates Lufy's voice, really can incingly.
• 15:00
  Speaker 1: It sounds exactly like him. So I don't know if
• 15:03
  Speaker 1: it's like those copies are projections and illusions. And then
• 15:09
  Speaker 1: this loofy copy is the actual witch herself, and I'm
• 15:14
  Speaker 1: calling her a witch for the record. I it's so funny, guys,
• 15:18
  Speaker 1: because like I'm clocking some things, like a little bit.
• 15:23
  Speaker 1: Clocking is the wrong word. When I use that word.
• 15:25
  Speaker 1: What I mean is that I suspect consciously what's coming.
• 15:30
  Speaker 1: And that's not true at all. I am making certain
• 15:35
  Speaker 1: connections mentally that I don't realize as I'm making them.
• 15:41
  Speaker 1: That's the point, and that's what Oda's doing. So, like,
• 15:45
  Speaker 1: you know, when we're looking at all of this candy
• 15:46
  Speaker 1: and chocolate out and we're talking about how like that
• 15:49
  Speaker 1: wouldn't be so great in the real world, I'm thinking
• 15:51
  Speaker 1: to myself, that's how you get ants, and then we
• 15:53
  Speaker 1: have like the battalion of ants coming at them. Well,
• 15:57
  Speaker 1: last episode, I'm looking at this like whole forest full
• 16:01
  Speaker 1: of candy and thinking this is reminding me of Hansel
• 16:04
  Speaker 1: and Gretel and how it's all allure to get these
• 16:07
  Speaker 1: little children. Hello, it's a fucking lure. Like, does that
• 16:10
  Speaker 1: occur to me that this is what's happening here? It doesn't,
• 16:13
  Speaker 1: But you know why because we already went to the
• 16:17
  Speaker 1: other island that's made of chocolate, and it wasn't allure,
• 16:21
  Speaker 1: that was just what the town was like. So it's
• 16:24
  Speaker 1: set up quite well. I think if they had come
• 16:27
  Speaker 1: across this place before we had gone to the chocolate island,
• 16:30
  Speaker 1: I would have very much been like, don't eating these things, guys,
• 16:34
  Speaker 1: don't touch it. It's obviously some kind of trap, some
• 16:38
  Speaker 1: kind of trick. I would have been much more on
• 16:40
  Speaker 1: my guard. But because we already had a place where
• 16:43
  Speaker 1: they were able to literally eat a cafe and it
• 16:47
  Speaker 1: was fine. Well it wasn't fine, but it wound up
• 16:49
  Speaker 1: being fine. I have been like lulled into a false
• 16:55
  Speaker 1: sense of security that like anywhere you go everything is
• 16:59
  Speaker 1: fine to eat, everybody's got the same attitude about it, which,
• 17:04
  Speaker 1: like we know is unlikely due to how many different
• 17:08
  Speaker 1: islands there are and the people like each of them
• 17:10
  Speaker 1: has their own like minister and their own uh product
• 17:16
  Speaker 1: that they produce apparently, so like I shouldn't know that
• 17:21
  Speaker 1: not everything functions the same way, but uh yeah, this
• 17:27
  Speaker 1: is like once we see this lady her name is Breulay,
• 17:34
  Speaker 1: which is so great. You guys like crembrewlay. Crembrewlay for
• 17:40
  Speaker 1: those who don't know, and most of you are going
• 17:42
  Speaker 1: to know. But it's a kremonglaze based custard and you
• 17:47
  Speaker 1: sprinkle a layer of sugar over the top, oftentimes a
• 17:51
  Speaker 1: kind of like raw sugar that's got a bit more
• 17:55
  Speaker 1: of a brown tint to it, just for the look,
• 17:59
  Speaker 1: and then you go over it with either a torch
• 18:03
  Speaker 1: or you can put it under the broiler. I prefer
• 18:06
  Speaker 1: a torch just because a broiler often will heat the
• 18:09
  Speaker 1: custard as well as like because you have to leave
• 18:12
  Speaker 1: it in there a little bit longer, and so it
• 18:14
  Speaker 1: winds up kind of messing up the temperature, and I
• 18:17
  Speaker 1: don't like warm custard. But it creates this like glass
• 18:23
  Speaker 1: like kind of coating on the surface of the custard
• 18:27
  Speaker 1: from the melted sugar that you break through with a spoon,
• 18:31
  Speaker 1: And so as you eat the custard, you're getting this
• 18:34
  Speaker 1: wonderful caramelized, almost burnt sometimes flavor of sugar and the
• 18:41
  Speaker 1: crisp texture of like the breaking sugar pieces mixed in
• 18:45
  Speaker 1: with the smooth, vanilla cold of the custard. It's like
• 18:49
  Speaker 1: one of the most perfect desserts. It's so good when
• 18:52
  Speaker 1: it's done well. And the fact that this witch is
• 18:56
  Speaker 1: called Brulet, it just feels like a really great name
• 19:00
  Speaker 1: for her, specifically because it's something that's like it's lovely underneath,
• 19:09
  Speaker 1: but then you put this veneer over it of something
• 19:12
  Speaker 1: that's like hard and blow torched and kind of intense,
• 19:17
  Speaker 1: and it sort of feels almost like the inverse of
• 19:19
  Speaker 1: what her whole deal is with her illusions. You know,
• 19:24
  Speaker 1: I don't know how much thought you put into these names,
• 19:26
  Speaker 1: so it may just be that I'm very much projecting,
• 19:28
  Speaker 1: but whatever, it's fine. And yeah, she looks like a
• 19:31
  Speaker 1: classic scary witch in the woods. You know, she's got
• 19:36
  Speaker 1: the really long curved, hooked nose with like the mole
• 19:42
  Speaker 1: on it. She's got real long fingernails and fingers and
• 19:46
  Speaker 1: it's sort of hunched over. And granted, we don't see
• 19:49
  Speaker 1: her until a little bit later, so I am getting
• 19:51
  Speaker 1: ahead of myself, but like this whole thing being so
• 19:55
  Speaker 1: that she can kill and eat them, because she's talking
• 19:58
  Speaker 1: about like cutting out their eyes and stuff. It's I
• 20:03
  Speaker 1: should have seen it coming, I really should. I'm very
• 20:07
  Speaker 1: excited about Bruleet. I cannot wait to see more of her.
• 20:10
  Speaker 1: I was so bummed when like we kind of double
• 20:13
  Speaker 1: back away from her back to Lufy, and we don't
• 20:16
  Speaker 1: really see her again after that big reveal in these
• 20:19
  Speaker 1: three episodes. So when we go back to Lufy, you know,
• 20:25
  Speaker 1: he has just watched his friends run off with the
• 20:27
  Speaker 1: fake version of him, and you know, he's not really
• 20:33
  Speaker 1: putting two and two together, which isn't too surprising because
• 20:38
  Speaker 1: it's loofy, but you know, he's seen a double of himself.
• 20:42
  Speaker 1: He's seen that his friends got tricked, and he's not
• 20:45
  Speaker 1: stopping to think about the fact that this may mean
• 20:49
  Speaker 1: I need to consider that I could be getting tricked
• 20:53
  Speaker 1: by a fake version of somebody, And so he just
• 20:57
  Speaker 1: runs after a Chopper. Later we will get to that. First,
• 21:03
  Speaker 1: we need to deal with this giant who has been
• 21:05
  Speaker 1: buried up to his neck. This is so odd. This
• 21:13
  Speaker 1: giant is buried in the woods in a spot that's
• 21:18
  Speaker 1: sort of out of the way a little, it feels like,
• 21:22
  Speaker 1: and is unwilling to really explain to anybody what's fucking
• 21:30
  Speaker 1: going on here, and it's odd. Like at one point,
• 21:34
  Speaker 1: Chopper's just trying to be like, do you need help?
• 21:36
  Speaker 1: And he's not giving Chopper a straight answer. And when
• 21:40
  Speaker 1: Chopper says, well, you're in the ground, that's very bad,
• 21:45
  Speaker 1: his response is is it? Though? I don't know what
• 21:50
  Speaker 1: to do with that. Chopper just keeps insisting, like, I'm
• 21:54
  Speaker 1: trying to do you a favor, Why are you being
• 21:58
  Speaker 1: so difficult? And he isn't. He never really answers Chopper.
• 22:03
  Speaker 1: He just keeps asking for juice. He really likes apple juice,
• 22:09
  Speaker 1: and there is an apple juice waterfall not too far away,
• 22:14
  Speaker 1: and he asks Chopper and Nami and carrot to get
• 22:18
  Speaker 1: him some juice. They are pretty frustrated with the fact
• 22:21
  Speaker 1: that he's like not answering their questions, and so they
• 22:24
  Speaker 1: like to finally just ignore him, which I really you know,
• 22:29
  Speaker 1: I've read a lot of fairy tales. I grew up
• 22:30
  Speaker 1: on them as a kid. And when you meet some
• 22:32
  Speaker 1: random in the woods who's in trouble and is asking
• 22:35
  Speaker 1: you to go on a little quest, you go on
• 22:37
  Speaker 1: your little quest. You do it, you know, like it
• 22:39
  Speaker 1: just it just seemed to me, like just just do
• 22:43
  Speaker 1: it already. It's fine, But but I get it later
• 22:48
  Speaker 1: on after they run off, it's like they're talking to
• 22:51
  Speaker 1: him because they have tried to find their way back
• 22:54
  Speaker 1: to Lufy several times, and they keep turning around and
• 22:58
  Speaker 1: being right by this fucking giant again, and they eventually,
• 23:06
  Speaker 1: when Nami is like talking to him, she looks over
• 23:10
  Speaker 1: her shoulder real quick and actually catches the trees and
• 23:14
  Speaker 1: bushes and baked goods and whatnot in the process of
• 23:19
  Speaker 1: like stepping forward. And they're saying to each other something
• 23:23
  Speaker 1: like like slowly slow, like they're trying to talk each
• 23:28
  Speaker 1: other through, being really careful about it. But they get
• 23:32
  Speaker 1: caught as they're doing it. It's kind of a funny joke.
• 23:37
  Speaker 1: So this dude remains after they again take off, still
• 23:42
  Speaker 1: haven't helped him. And then when Lufy is trying to
• 23:46
  Speaker 1: chase after them, he runs into this guy as well,
• 23:49
  Speaker 1: and the dude has like a spear stuck in him
• 23:52
  Speaker 1: that the others weren't helping him take out. I don't
• 23:56
  Speaker 1: recall if he had the spear stuck in him when
• 24:00
  Speaker 1: they first find him, but he does have it at
• 24:03
  Speaker 1: least the second or third time, and they don't help him.
• 24:07
  Speaker 1: And even here he has to really convince Lufy to
• 24:11
  Speaker 1: help him. He's just kind of like, dude, you know,
• 24:14
  Speaker 1: it's very uncomfortable. Can you please just give me a
• 24:17
  Speaker 1: second of your time and pull this fucking thing out?
• 24:20
  Speaker 1: And he brings up the apple Juice waterfall to Lufy
• 24:26
  Speaker 1: as well. And I don't remember actually if Lufy like
• 24:31
  Speaker 1: agrees to go on this little quest or if he
• 24:35
  Speaker 1: puts this guy off, I don't remember. But the one
• 24:42
  Speaker 1: thing that I wanted to mention was like, you know,
• 24:44
  Speaker 1: when we first find out that this place is going
• 24:48
  Speaker 1: to be not this island specifically, but the you know,
• 24:51
  Speaker 1: Big Man's domain. I guess when we find out that
• 24:58
  Speaker 1: it's going to be all like candy and baked goods
• 25:03
  Speaker 1: based architecture for lack of a better way of putting it.
• 25:07
  Speaker 1: And I was trying to think what else could make rivers.
• 25:13
  Speaker 1: I was thinking like a chocolate river like Willy Wonka,
• 25:16
  Speaker 1: but that's all I could think of. Juice never occurred
• 25:19
  Speaker 1: to me, and I just I know that this isn't
• 25:23
  Speaker 1: like probably interesting to anybody but me. But like, juice
• 25:27
  Speaker 1: is something that I appreciate the show treating like it
• 25:34
  Speaker 1: is kind of a big treat because it's really when
• 25:41
  Speaker 1: you think about what juice is, it's kind of bananas,
• 25:45
  Speaker 1: like how wasteful it can be sometimes granted, the way
• 25:50
  Speaker 1: that we tend to make juice is with the fruit
• 25:53
  Speaker 1: that isn't good enough for sale as is, but also
• 25:57
  Speaker 1: it's like, you know, a hit of pure sugar with
• 26:01
  Speaker 1: there's no fiber or anything to it. It is a
• 26:03
  Speaker 1: huge treat and should be treated as such. But it's
• 26:12
  Speaker 1: weirdly can be talked about, especially in the US, as
• 26:15
  Speaker 1: if it's like a health food thing and juice is
• 26:19
  Speaker 1: just not really very good for you, Like it's one
• 26:22
  Speaker 1: of those marketing things. I feel like, so juice being
• 26:28
  Speaker 1: the bodies of water in like a candy forest. Makes
• 26:34
  Speaker 1: total sense, and I really enjoy that. It's like different
• 26:37
  Speaker 1: types of juices and whatnot as well. My personal favorite
• 26:42
  Speaker 1: juice is grape juice. I love grape juice. It is
• 26:47
  Speaker 1: such a treat. It's just a real punch of flavor,
• 26:50
  Speaker 1: especially if you get like some nice concord. You know.
• 26:54
  Speaker 1: I love also apple cider, but not apple juice as much.
• 27:00
  Speaker 1: So anyway, this giant, we don't know why he's here,
• 27:08
  Speaker 1: what he wants other than juice obviously, And I don't
• 27:12
  Speaker 1: really know what to make of this guy. Like it
• 27:14
  Speaker 1: doesn't seem like he's trying to help trick them. It
• 27:20
  Speaker 1: feels like he just happens to be here while they're
• 27:25
  Speaker 1: struggling with a thing. And I can't tell if this
• 27:28
  Speaker 1: is like partially a curse or if he maybe he's
• 27:33
  Speaker 1: not buried, maybe there's like the bottom half of him
• 27:37
  Speaker 1: has been taken away for some reason. I don't really
• 27:40
  Speaker 1: know how that would even work. Is he something that
• 27:45
  Speaker 1: has been brought to life that didn't you know, he's not.
• 27:52
  Speaker 1: I don't think that he's an illusion, but he could be,
• 27:55
  Speaker 1: I suppose, But why, like to what end? So yeah,
• 27:59
  Speaker 1: I don't know what to make it this guy at all,
• 28:04
  Speaker 1: So I'm going to like you, guys, I really just
• 28:06
  Speaker 1: want to talk to or talk about the murder song
• 28:12
  Speaker 1: with these friggin' spooky trees and flowers and everything. I
• 28:20
  Speaker 1: love this so much, and I am a person who
• 28:24
  Speaker 1: you've really got to like win me over. With the
• 28:27
  Speaker 1: necessity of a sequence where people or things are breaking
• 28:33
  Speaker 1: into song, a lot of the time, I can get
• 28:37
  Speaker 1: very like, all right, Jesus, we get it kind of
• 28:40
  Speaker 1: you know, this was the per like pitch perfect pun
• 28:48
  Speaker 1: intended to me in terms of a decision to have
• 28:52
  Speaker 1: these things behave this way. It wouldn't have been as
• 28:57
  Speaker 1: creepy if you just turn the camera and you see
• 29:02
  Speaker 1: shrubs and trees and whatnot moving around with their little
• 29:07
  Speaker 1: animated faces looking furtive. That would have gotten the thrust
• 29:13
  Speaker 1: of the point across, but it wouldn't have been adequate
• 29:17
  Speaker 1: to like capture the glee that they're feeling at doing this,
• 29:22
  Speaker 1: how excited they seem to be at it about it. Like.
• 29:26
  Speaker 1: That's the thing that I'm finding sort of compelling, is
• 29:28
  Speaker 1: that something about being mom brings creatures around her awake.
• 29:35
  Speaker 1: And that's why I guess her ship is just talking
• 29:37
  Speaker 1: ship ship shippy, shippy shippy, and the door is just
• 29:40
  Speaker 1: saying dory, dory, dory. Apparently this is something that happens
• 29:45
  Speaker 1: with her, and I don't know why, and so I
• 29:49
  Speaker 1: think it's a really important distinction to see that, like,
• 29:52
  Speaker 1: she can bring things to life, and they do things
• 29:54
  Speaker 1: that she orders them to do, but it's not like
• 29:57
  Speaker 1: they're doing them against their will, or if they are,
• 30:01
  Speaker 1: it's not a parent that it's against their will, And
• 30:04
  Speaker 1: it's not like they just become these sort of soulless
• 30:06
  Speaker 1: automatons that just do a thing because they were told
• 30:09
  Speaker 1: without any real like energy or emotion behind it. It
• 30:14
  Speaker 1: appears that when she gives them an order on a
• 30:16
  Speaker 1: way to handle things, they get very excited to do
• 30:21
  Speaker 1: exactly what she asks them to do, and that for
• 30:26
  Speaker 1: me makes them much more dangerous. It makes it feel
• 30:30
  Speaker 1: to me like, well, if they're enjoying this, that's way worse.
• 30:35
  Speaker 1: Like if somebody doesn't really want to follow orders and
• 30:38
  Speaker 1: they're being made to do it, it's possible to dissuade
• 30:42
  Speaker 1: them or make it so difficult that they eventually just
• 30:44
  Speaker 1: give up. But if these things are like enjoying themselves,
• 30:50
  Speaker 1: that sucks. Now, they just they're motivated by something other
• 30:55
  Speaker 1: than the orders. They're motivated for the fun and like,
• 31:00
  Speaker 1: to be real, what else to trees and flowers have
• 31:02
  Speaker 1: to do just sit around? You know? They're probably like
• 31:07
  Speaker 1: getting to explore the island, move from place to place
• 31:10
  Speaker 1: when they don't normally get to do that. It's probably
• 31:13
  Speaker 1: great for them. So this whole song, like, as soon
• 31:18
  Speaker 1: as it begins, it's got this sort of very like
• 31:21
  Speaker 1: haunting minor key. It was really making me think of
• 31:24
  Speaker 1: like the vibes that I was getting during the Thriller
• 31:28
  Speaker 1: Bark arc and yet it's much more upsetting. Thriller Bark
• 31:37
  Speaker 1: was super fun, especially because I started it was a
• 31:40
  Speaker 1: similar time of year. I think I believe that Thriller
• 31:43
  Speaker 1: Bark was begun in like September. It was right around
• 31:48
  Speaker 1: the start of spooky season, and so there was a
• 31:50
  Speaker 1: feeling sort of or maybe I was just wishing it
• 31:53
  Speaker 1: was I can't remember now Diyes, maybe I'm wrong about that,
• 31:56
  Speaker 1: but regardless, I very much felt like this is all
• 32:00
  Speaker 1: of the Halloween like classic monsters, and so the creepy
• 32:06
  Speaker 1: energy of it was very purposeful and kind of I
• 32:11
  Speaker 1: don't want to say generic, because that's not the right
• 32:13
  Speaker 1: word at all, but it felt very much like if
• 32:17
  Speaker 1: you are going to just do a Paine by numbers,
• 32:22
  Speaker 1: scary things are in the forest. Here's a list of
• 32:25
  Speaker 1: creatures that would be at the top of any like,
• 32:28
  Speaker 1: you know, eight year old's choice of creatures. And now
• 32:33
  Speaker 1: we're in another spooky forest and it's spooky for real
• 32:36
  Speaker 1: different reasons. And it feels a little bit more grown
• 32:39
  Speaker 1: up somehow, even though it looks more childlike, and that's
• 32:45
  Speaker 1: part of what makes it feel so much more grown up,
• 32:47
  Speaker 1: you know. So I am really into it. And these
• 32:52
  Speaker 1: trees when they like reach out later for Loofy because
• 32:55
  Speaker 1: they start to attack him, the branch has become these
• 32:58
  Speaker 1: like weird vine I mean looking tendrils, and you guys,
• 33:04
  Speaker 1: it is so funny. It is so funny because they're
• 33:08
  Speaker 1: stalking Loofy and eventually he turns around in spots that
• 33:12
  Speaker 1: they're moving and they're like all like whispering and talking,
• 33:16
  Speaker 1: and he actually says, Okay, trees, I get it. It's
• 33:21
  Speaker 1: really cool that you can talk, but can you just
• 33:24
  Speaker 1: be quiet for a minute. I need to find my friends.
• 33:28
  Speaker 1: And the way that it's just so matter of fact
• 33:31
  Speaker 1: with him like, yeah, you can talk, oh my god, whatever.
• 33:35
  Speaker 1: And then if that weren't already very funny, which it is,
• 33:39
  Speaker 1: the first thing that one of the trees does. They
• 33:41
  Speaker 1: look at him in shock that he's reacting is such
• 33:45
  Speaker 1: a completely unbothered manner. And then one of the trees
• 33:50
  Speaker 1: just goes, hey, you suck, and I fell the fuck out.
• 33:55
  Speaker 1: That tree is just so irritated that Loufy isn't more impressed.
• 33:59
  Speaker 1: And honestly, I feel that you're used to everybody who
• 34:03
  Speaker 1: gets snuck up on having a complete fit at the
• 34:06
  Speaker 1: sight of you, and that you are, you know, you
• 34:10
  Speaker 1: assume that you are very impressive. And then here comes
• 34:13
  Speaker 1: this little shit who could give a fuck, and he's
• 34:20
  Speaker 1: the main person that you're supposed to be like trapping
• 34:22
  Speaker 1: and catching, and he's the one who's the least interested
• 34:26
  Speaker 1: and least frightened. That is extremely fucking funny to me.
• 34:31
  Speaker 1: I just love that so much. So they like keep
• 34:33
  Speaker 1: coming at him, and this is what eventually like drives
• 34:36
  Speaker 1: him toward the giant who is buried. Luserfrem says Oda
• 34:43
  Speaker 1: puts a lot of thought into names. It's just a
• 34:45
  Speaker 1: lot of that is in the forms of wordplay that
• 34:47
  Speaker 1: doesn't translate. Well, I wonder what the translations are for
• 34:51
  Speaker 1: these dessert names, because, like you know, some of these
• 34:56
  Speaker 1: desserts might also be in Japan. I you know, obviously
• 35:03
  Speaker 1: they might not be called like crembru lat is French.
• 35:06
  Speaker 1: They might be called something else, but I don't know,
• 35:09
  Speaker 1: maybe they're called the same thing. Sometimes even when something
• 35:12
  Speaker 1: gets like brought to a different country, you just keep
• 35:14
  Speaker 1: calling it by the same name. So I wonder how
• 35:17
  Speaker 1: many are translated and how many are just you know,
• 35:20
  Speaker 1: using the name that of origin. You know, Lufy is
• 35:25
  Speaker 1: serious right now because he meant something weird that can
• 35:28
  Speaker 1: talk and didn't immediately ask it to join his crew.
• 35:31
  Speaker 1: That's funny. And Seraphim says archetypal spookin is, and I
• 35:35
  Speaker 1: think that's the good like the arc types of monsters that. Yeah,
• 35:40
  Speaker 1: I think you're right. The dessert names are just straight
• 35:43
  Speaker 1: up those names. This is one of the cases of
• 35:45
  Speaker 1: it not needing translation. Okay, that's what I thought, because
• 35:49
  Speaker 1: like you know, like I said, there are certain things
• 35:52
  Speaker 1: that we just wind up not translating, because you know,
• 35:56
  Speaker 1: it's not like there are times where we do. But
• 36:00
  Speaker 1: it feels like with a lot of food stuffs, we
• 36:03
  Speaker 1: keep the original name. We don't usually you know what
• 36:07
  Speaker 1: I'm saying, which makes sense, I think in terms of
• 36:13
  Speaker 1: the way that cooking has learned and passed down and everything.
• 36:17
  Speaker 1: So okay, okay, thirty seven minutes in here, it's time
• 36:22
  Speaker 1: to talk about Soanjy and Sonji's whole deal is pretty
• 36:27
  Speaker 1: much what I was expecting it to be. But I
• 36:32
  Speaker 1: am not saying this in a owing bored kind of way.
• 36:37
  Speaker 1: It's more that I am really sad and hate watching
• 36:42
  Speaker 1: this for his sake. So what we get to see
• 36:48
  Speaker 1: is that he was because he has like an encounter
• 36:52
  Speaker 1: with one of his brothers and his sister and then
• 36:55
  Speaker 1: eventually his father, and he is everybody is expressing great
• 37:06
  Speaker 1: surprise at the fact that he is actually like out
• 37:13
  Speaker 1: there alive in the world, making a name for himself.
• 37:18
  Speaker 1: And so this is what really got me feeling like, Okay,
• 37:21
  Speaker 1: I think I know where this is going. And yeah,
• 37:25
  Speaker 1: eventually we get to see that, like the then Smokes have,
• 37:32
  Speaker 1: they don't have an actual island of their own. They
• 37:39
  Speaker 1: have a series of huge ships that connect to one
• 37:45
  Speaker 1: another to create a country, which I think is actually
• 37:51
  Speaker 1: like such a dope idea, And so like that's their
• 37:57
  Speaker 1: domain and due to this, they are I'm trying to
• 38:05
  Speaker 1: think of the way to describe this, because it feels
• 38:08
  Speaker 1: like they focus so much more on being fighters in
• 38:15
  Speaker 1: part due to the fact that they don't have their
• 38:18
  Speaker 1: own country, and it's like they want a kind of
• 38:21
  Speaker 1: stability for themselves and to take down all of these
• 38:26
  Speaker 1: other nations, but they themselves don't really want to settle.
• 38:31
  Speaker 1: It's kind of giving Viking a little bit in like
• 38:37
  Speaker 1: a very vague broad strokes sort of sense. And I
• 38:41
  Speaker 1: say it like broad stroke because like it's not like
• 38:44
  Speaker 1: Vikings didn't have villages. You know, they had a home
• 38:48
  Speaker 1: base that they were working from, but their like main
• 38:54
  Speaker 1: hobby and source of supplies and whatnot that they were
• 39:00
  Speaker 1: trading with was pill It was due to pillaging and
• 39:04
  Speaker 1: taking down the people around them. And so that's sort
• 39:09
  Speaker 1: of the vibe that I'm getting from the Vince smokes.
• 39:12
  Speaker 1: I can't remember because I know that I don't remember
• 39:15
  Speaker 1: if it was you, Saraphim that there is a uh God,
• 39:24
  Speaker 1: I'm trying to think how exactly to even phrase this.
• 39:27
  Speaker 1: There's a way to say that sixty six that's painted
• 39:31
  Speaker 1: on them that is different than what I was thinking
• 39:35
  Speaker 1: it was I feel like you guys told me the
• 39:39
  Speaker 1: way that it's talked of, and I don't recall Seraphim
• 39:44
  Speaker 1: says double six Okay, that's it. I thought it was
• 39:48
  Speaker 1: something more than that. Okay, that'll be easy. The double
• 39:53
  Speaker 1: sixes are just his siblings, Is that right? Like all
• 39:59
  Speaker 1: of the and smokes aren't double sixes, are they? Or
• 40:04
  Speaker 1: is that the way that they're all referred to. I
• 40:10
  Speaker 1: don't know where the six to six comes from yet.
• 40:14
  Speaker 1: I don't think that we've talked about that yet, but regardless,
• 40:19
  Speaker 1: this is part of what was like kind of difficult
• 40:23
  Speaker 1: for me when we first meet, Like hear about his family,
• 40:27
  Speaker 1: and I was misunderstanding about the way that. I think
• 40:30
  Speaker 1: it was Vito who was telling him, Hey, I you know,
• 40:34
  Speaker 1: these people who are in this comic strip are always
• 40:38
  Speaker 1: up against the Marines and they're supposed to be the
• 40:40
  Speaker 1: bad guys. But I really love them and find them inspiring.
• 40:44
  Speaker 1: And I was sort of surprised because it seemed like, wait,
• 40:48
  Speaker 1: that's like that sounds like they're pirates, with which if
• 40:53
  Speaker 1: they are pirates, I would have expected that Soanji would
• 40:58
  Speaker 1: have stayed with them and they would already be doing
• 41:01
  Speaker 1: the thing, you know, But it turns out that it's
• 41:05
  Speaker 1: like just got a very different sort of colonizing type
• 41:10
  Speaker 1: of energy to it. Not even colonizing, it's more just
• 41:14
  Speaker 1: conquering and subject subjugating, and he wanted no part of that.
• 41:23
  Speaker 1: So the name of the kingdom is Germa double six. Okay,
• 41:28
  Speaker 1: that is a really odd name. Okay, weird. So anyway,
• 41:36
  Speaker 1: the flashbacks that we get this they happen sort of
• 41:42
  Speaker 1: after he winds up seeing his father again. At first,
• 41:46
  Speaker 1: his brother comes to see him, and it's he's weirdly
• 41:49
  Speaker 1: cordial to Sanji and it's just like, hey, it's good
• 41:54
  Speaker 1: to see you again. I can't believe that you're like
• 41:56
  Speaker 1: still out there. And then there's a fight that happens
• 41:59
  Speaker 1: off screen, and later on we get to see his
• 42:02
  Speaker 1: brother being patched up, and he is just very resentful
• 42:06
  Speaker 1: of the fact that he got his ass handed to
• 42:08
  Speaker 1: him by a little brother that he used to bully horrifically.
• 42:12
  Speaker 1: So then when we see him with his sister, she
• 42:17
  Speaker 1: is approaching things in a really different way. The brothers
• 42:21
  Speaker 1: seem much more brute force, and she is trying to
• 42:26
  Speaker 1: persuade and be like, hey, you know, is it so wrong?
• 42:31
  Speaker 1: That weaven smokes have like earned our way into ruling
• 42:37
  Speaker 1: other people because we are just very good at this.
• 42:41
  Speaker 1: This is your lineage, this isn't your blood too, and
• 42:45
  Speaker 1: this is the way that it should be, and then
• 42:48
  Speaker 1: presents him with this like bevy of handmaidens all just
• 42:53
  Speaker 1: like waiting for him to give them orders, and you know,
• 42:56
  Speaker 1: it does definitely make him a woga, but it doesn't
• 43:00
  Speaker 1: actually convince him of anything. And then while he is
• 43:04
  Speaker 1: talking to her is when his father shows up, and
• 43:10
  Speaker 1: he doesn't even want to call Judge his father, which
• 43:13
  Speaker 1: I think is completely fair, and says something about how like,
• 43:17
  Speaker 1: you know the you keep saying I'm your son, but
• 43:23
  Speaker 1: you've never been anything like family to me. And that
• 43:27
  Speaker 1: is when we finally get to see in this extremely
• 43:31
  Speaker 1: military people who take physical prowess and fighting and like
• 43:38
  Speaker 1: any kind of martial art really seriously. When he growing
• 43:44
  Speaker 1: up wasn't talented in that way or inclined to train
• 43:50
  Speaker 1: in that way, and showed much more interest in cooking.
• 43:56
  Speaker 1: Everybody thought it was a joke. He just we get
• 44:04
  Speaker 1: this very cute scene of him like making us a
• 44:07
  Speaker 1: what looked like a souflet, but I think is meant
• 44:10
  Speaker 1: to eventually be a cake actually because he like winds
• 44:12
  Speaker 1: up putting frosting on it, and how excited he is
• 44:17
  Speaker 1: like making this thing for the first time maybe, and
• 44:20
  Speaker 1: like getting peeking through the window of the oven and
• 44:24
  Speaker 1: watching it rise, and how this obviously very much like
• 44:28
  Speaker 1: speaks to something in him. And then his siblings find
• 44:32
  Speaker 1: him and mock him and beat the hell out of him,
• 44:37
  Speaker 1: and then his father comes around, and I, you know,
• 44:41
  Speaker 1: is no surprise to anybody after having seen them in
• 44:45
  Speaker 1: the present day. His father is basically like, oh, you're
• 44:49
  Speaker 1: picking on your brother again, And when Sanji's like, yeah,
• 44:52
  Speaker 1: they are, can you tell them to stop, his dad
• 44:55
  Speaker 1: is like, why should I fucking tell them to stop?
• 44:57
  Speaker 1: If you can't get them to stop, then what good
• 44:59
  Speaker 1: are you to me. You need to be able to
• 45:01
  Speaker 1: put like stand up for yourself, and if you're too
• 45:05
  Speaker 1: pathetic to do that, then you're not even a son
• 45:09
  Speaker 1: of mine. So it's extra funny that in the present
• 45:13
  Speaker 1: he's trying to be like, but you're my son, though,
• 45:15
  Speaker 1: and I'm like, it sounds like he wasn't, and that
• 45:17
  Speaker 1: you didn't even like consider him to be that, And
• 45:20
  Speaker 1: then you kind of get the full intent of what's
• 45:23
  Speaker 1: happening here, which is that Judge wants to get this
• 45:29
  Speaker 1: alliance with Big Mom in order to further their own empire,
• 45:35
  Speaker 1: but he also recognizes that Big Mom is fucking crazy
• 45:39
  Speaker 1: town banana pants and so wouldn't want to offer up
• 45:44
  Speaker 1: one of his prized children to this psychopath. And so Soanji,
• 45:51
  Speaker 1: who is technically his son but not somebody that he
• 45:55
  Speaker 1: actually fucking cares about, is who comes to mind. And
• 46:00
  Speaker 1: he's like, oh, yeah, yeah, yeah, that's what I'll do.
• 46:03
  Speaker 1: And I it's you know, I'm of two minds about this.
• 46:07
  Speaker 1: On the one hand, I'm like, oh, okay, no, I
• 46:09
  Speaker 1: kind of get it. But on the other hand, when
• 46:12
  Speaker 1: they wind up fighting and this dude like, you know,
• 46:17
  Speaker 1: it's it's not like Sonji wins exactly, it's just more
• 46:23
  Speaker 1: that Sanji is able to withstand the punishment this guy
• 46:28
  Speaker 1: is laying out. I would just kind of realize at
• 46:32
  Speaker 1: this point, Oh, I guess my son has reached like
• 46:37
  Speaker 1: a pinnacle of fighting that is so much more impressive
• 46:45
  Speaker 1: than my other sons because the way he's I don't
• 46:48
  Speaker 1: I say more impressive because of the fact that Sanji
• 46:51
  Speaker 1: is able to beat his brother pretty handily. But like
• 46:55
  Speaker 1: if you are going to hand over a son to
• 46:58
  Speaker 1: this lady, You're gonna wanna pick the one that's a
• 47:01
  Speaker 1: little bit more pliant. And obviously Sanji is proving to
• 47:07
  Speaker 1: not be that guy. So probably after this encounter and
• 47:13
  Speaker 1: seeing what he can do, it's time to step back
• 47:17
  Speaker 1: and regroup and rethink your strategy here. But no, so
• 47:25
  Speaker 1: there's a very funny moment where Judge throws Sanji a
• 47:29
  Speaker 1: sword and I this is one of those moments where
• 47:34
  Speaker 1: he throws Sanji the sword and I literally outlawed, just went,
• 47:39
  Speaker 1: what's he gonna do with that? It's just like such
• 47:43
  Speaker 1: a given to me. He doesn't fight with swords? What
• 47:47
  Speaker 1: why'd you give him a What did you do that for?
• 47:49
  Speaker 1: Like it just felt ridiculous. And then yeah, Sonji is
• 47:54
  Speaker 1: just like I don't want this. I don't use this
• 47:57
  Speaker 1: kind of shit. And then he said, my hands are
• 48:01
  Speaker 1: only for cooking, and we do eventually get a flashback
• 48:06
  Speaker 1: between him and what is his name? Guys, I know
• 48:11
  Speaker 1: it starts with a Z. I always forget it. But
• 48:16
  Speaker 1: he said to Sanji, never fight with your hands like
• 48:20
  Speaker 1: you need your hands, and I didn't recall him saying
• 48:25
  Speaker 1: this is this the first time we've actually heard this
• 48:27
  Speaker 1: out loud, or have I just forgotten that this was
• 48:30
  Speaker 1: something he had said to Sanji. Seraphim says, it's not
• 48:36
  Speaker 1: like Sanji would ever be an asset to Judge. He'd
• 48:39
  Speaker 1: just tell the old man to go fuck himself anytime
• 48:41
  Speaker 1: he tries to order him into a fight, while his
• 48:43
  Speaker 1: brothers would obey. Yeah, I guess, but like this sounds
• 48:48
  Speaker 1: like a pretty important alliance. So you want somebody who's
• 48:51
  Speaker 1: going to obey here, I would think, Zef, thank you.
• 48:56
  Speaker 1: I always forget just Jeff with a Z, so I
• 49:03
  Speaker 1: just I if he if that had said this, and
• 49:07
  Speaker 1: we have seen it before, I pure forgot it and
• 49:12
  Speaker 1: did not remember this being part of the thesis behind
• 49:16
  Speaker 1: just fighting with your feet and your legs. And I
• 49:21
  Speaker 1: really enjoy it as an idea. It is something that
• 49:27
  Speaker 1: I often had thought about regarding like boxing and stuff.
• 49:31
  Speaker 1: If you injure your hands, like you really can screw
• 49:34
  Speaker 1: yourself in a number of different parts of your life
• 49:38
  Speaker 1: and not just continuing to fight, but just like getting
• 49:42
  Speaker 1: things done. And it can be pretty easy to do that.
• 49:48
  Speaker 1: If you are not well trained and you hit somebody
• 49:52
  Speaker 1: coming from the wrong place, you can break your hand.
• 49:54
  Speaker 1: You know, and as somebody who is myself really creative
• 50:00
  Speaker 1: and I love making things and cooking and painting and
• 50:04
  Speaker 1: playing with clay and whatever, I have nightmares about not
• 50:09
  Speaker 1: having my hands either. It's never really like I lose
• 50:14
  Speaker 1: my hands, but it's like I lose control over them,
• 50:18
  Speaker 1: which is probably coming. You know. I'm starting to get arthritis,
• 50:21
  Speaker 1: and I'm getting older and it's probably only going to
• 50:23
  Speaker 1: get worse. And I think about it a lot that
• 50:27
  Speaker 1: I need to enjoy being able to have the dexterity
• 50:30
  Speaker 1: and everything that I do now because it may not
• 50:33
  Speaker 1: be there always. And I understand his feelings of protectiveness
• 50:38
  Speaker 1: around his hands, which is why it's diabolical what his
• 50:43
  Speaker 1: father decides to do. He gets these cuffs that are
• 50:52
  Speaker 1: basically operating on the same principles as the callers that
• 50:57
  Speaker 1: the celestial dragons use on their slaves, so they can
• 51:03
  Speaker 1: be technically removed without a key, but they will blow
• 51:09
  Speaker 1: up and blow your hands off. Now, I will say,
• 51:13
  Speaker 1: when he tries to take it off and his sister
• 51:15
  Speaker 1: stops him, there's enough of a beat as it makes
• 51:21
  Speaker 1: this sort of arming sound. I'm trying to think what
• 51:25
  Speaker 1: that sound would be called, because we all know it
• 51:28
  Speaker 1: It's one of those sound effects that's in anything where
• 51:30
  Speaker 1: there's like a technical, like more advanced type of weapon,
• 51:37
  Speaker 1: and it's like this boom, but like much more high pitched.
• 51:41
  Speaker 1: The Iron Man movies use it a ton, But there's
• 51:45
  Speaker 1: enough of a gap between when he undoes the cuff,
• 51:50
  Speaker 1: when you hear that sound, and when his sister comes
• 51:52
  Speaker 1: over and puts her hand on it and restores it
• 51:55
  Speaker 1: where I couldn't help but think, just fling it. If
• 51:59
  Speaker 1: you undo it, just fling it and you'll be out
• 52:02
  Speaker 1: and it'll explode like across the room and you will
• 52:05
  Speaker 1: be fine. But maybe if you open the one, it
• 52:09
  Speaker 1: triggers both and you won't be able to get the
• 52:12
  Speaker 1: second one oftentime, or you know. I don't know, but
• 52:18
  Speaker 1: in any case, it's just a really awful thing that
• 52:21
  Speaker 1: his dad is doing to him. It's so sick and
• 52:24
  Speaker 1: holding his own hands against him. It's a pretty smart tactic, actually,
• 52:30
  Speaker 1: I just really this guy is so in the fight
• 52:35
  Speaker 1: between him and sangy I should you know mention this
• 52:39
  Speaker 1: part as well, because you guys know that there was
• 52:41
  Speaker 1: that scene I think two podcast episodes ago where you're
• 52:47
  Speaker 1: seeing the double sixes on some island securing ingredients for
• 52:51
  Speaker 1: Big Ma, or maybe it's not even securing ingredients. I
• 52:55
  Speaker 1: can't even remember why they were there. I think it
• 52:57
  Speaker 1: had nothing to do. I think she had other troops
• 52:59
  Speaker 1: getting ingredients, but they were doing something unrelated. But they
• 53:03
  Speaker 1: wind up on this island and they're facing off against
• 53:06
  Speaker 1: these rebels and one of the guys is like, you
• 53:10
  Speaker 1: killed my wife and child and comes at one of
• 53:14
  Speaker 1: the double sixes, who says Wall, and a dude steps
• 53:18
  Speaker 1: in front of him, and I was like, I can't
• 53:23
  Speaker 1: tell if this is an ability he has to pull
• 53:26
  Speaker 1: people in front of him by compulsion, or if this
• 53:31
  Speaker 1: person did it voluntarily. And I think that I wasn't
• 53:35
  Speaker 1: meant to totally know, because the guy had a sort
• 53:38
  Speaker 1: of like he had an expression on his face when
• 53:41
  Speaker 1: he got shot that was a little bit what's the word,
• 53:48
  Speaker 1: not ambivalent, but like difficult to decipher. And here we
• 53:53
  Speaker 1: get to see it again, and it turns out there
• 53:57
  Speaker 1: is no superpower beyond just like the brainwashing of a
• 54:02
  Speaker 1: military force that happens this dude, says Wall, and these
• 54:08
  Speaker 1: guys are trained to give up their lives in the
• 54:11
  Speaker 1: most literal way possible to let him do what he
• 54:15
  Speaker 1: needs to do, and so it's like a really awful
• 54:23
  Speaker 1: you know. I look, I am not trying to shit
• 54:29
  Speaker 1: on anybody who gets into the military. I think that
• 54:32
  Speaker 1: the tendency to do that by a lot of people
• 54:35
  Speaker 1: is really classiest and doesn't really like fully reckon with
• 54:42
  Speaker 1: the reality of the limited options to lower income people,
• 54:46
  Speaker 1: or the pressures of family tradition, YadA YadA, or you know,
• 54:51
  Speaker 1: just like there's a number of So I am not
• 54:54
  Speaker 1: somebody who just like shits on the military as individual
• 55:00
  Speaker 1: as a network of control and lies. Yes, yes, absolutely,
• 55:08
  Speaker 1: but not the individual people. However, I will say that
• 55:12
  Speaker 1: the way that we do have to condition people not
• 55:14
  Speaker 1: to value their own lives is extremely troubling and it's
• 55:21
  Speaker 1: something that's On the one hand, I can see how
• 55:25
  Speaker 1: it's kind of inspirational sometimes that a person values a
• 55:31
  Speaker 1: larger goal and a larger value more than their own
• 55:37
  Speaker 1: little individual experience, and so they're willing to sacrifice on
• 55:42
  Speaker 1: behalf of a future they won't get to see, and
• 55:46
  Speaker 1: how that is noble if the thing they're actually fighting
• 55:50
  Speaker 1: for is what they're actually fighting for, which oftentimes unfortunately
• 55:53
  Speaker 1: is not what is going on. But this like watching
• 55:57
  Speaker 1: these guys who are just so willing. This is. It's
• 56:00
  Speaker 1: just a fucking dick measuring contest between a father and
• 56:03
  Speaker 1: a son. That's all it is. There is nothing here
• 56:07
  Speaker 1: really that's like that, you know. And and the fact
• 56:12
  Speaker 1: that this guy had to die because Judge just wanted
• 56:17
  Speaker 1: to slap his son around, which is essentially what this
• 56:20
  Speaker 1: boils down to, is so pathetic. It's just like pathetic.
• 56:27
  Speaker 1: It just really really is. And sorry, saraph him. This
• 56:34
  Speaker 1: is why he's putting Sonji as the groom. He only
• 56:36
  Speaker 1: needs to control Sonjie long enough to get through the
• 56:38
  Speaker 1: wedding and then he's big Mom's problem. Fair. They were
• 56:41
  Speaker 1: just hired as a mercenary force by some random kingdom. Okay, cool.
• 56:45
  Speaker 1: And this isn't quote military training. This is straight cult
• 56:48
  Speaker 1: level brainwashing. The military doesn't want you sacrificing yourself stupidly,
• 56:52
  Speaker 1: if only because of the time and money they put
• 56:54
  Speaker 1: into training you being wasted at that point. Ah, I
• 57:00
  Speaker 1: know what you mean, Seraphem, but I really think cult
• 57:03
  Speaker 1: level brainwashing is like a part of the military and
• 57:06
  Speaker 1: it just has to be. I understand what you're saying
• 57:09
  Speaker 1: about differentiating, but I and I don't think that this
• 57:16
  Speaker 1: kind of cult level brainwashing always works. You know, there
• 57:20
  Speaker 1: are plenty of people who but I think that is
• 57:22
  Speaker 1: their goal. I think they would like this. I think
• 57:26
  Speaker 1: that's what they're attempting. So you know that at least
• 57:31
  Speaker 1: for our country. But uh, it's just I don't know.
• 57:37
  Speaker 1: Seraphim says, no, it really isn't and an asterisk ex
• 57:40
  Speaker 1: navy here. Okay, if you say so if you like,
• 57:48
  Speaker 1: and I do mean that. I'm not saying that as
• 57:50
  Speaker 1: as a dismissive sort of like whatever. If you didn't
• 57:54
  Speaker 1: experience that, that is a relief to hear, to be honest,
• 58:00
  Speaker 1: it's just some of the things that friends of mine
• 58:02
  Speaker 1: have told me that they have gone through have felt
• 58:05
  Speaker 1: like that was the goal. But you know, everybody has
• 58:11
  Speaker 1: their their own experience as well, so there could be
• 58:14
  Speaker 1: it depends where what happens to you and where you
• 58:17
  Speaker 1: go and all that. But but yeah, so this is
• 58:20
  Speaker 1: just a really the training level of all these people,
• 58:24
  Speaker 1: and I just I also I have to acknowledge this, guys,
• 58:27
  Speaker 1: you know, I have to. When we're introduced to this
• 58:30
  Speaker 1: kingdom and how everybody trains every day all the time,
• 58:35
  Speaker 1: it says something about how like every citizen trains all
• 58:38
  Speaker 1: day and then it's just nothing but men as far
• 58:40
  Speaker 1: as the eye can see. The only women we see
• 58:44
  Speaker 1: are Sanji's sister and the handmaids that are offered to
• 58:48
  Speaker 1: him as like a toy to play with, and that's it.
• 58:52
  Speaker 1: And I don't recall seeing a single woman in any
• 58:56
  Speaker 1: of this group of fighters, and I am just like,
• 59:01
  Speaker 1: can we can we ever? Can we ever have women
• 59:07
  Speaker 1: in this show like represented reasonably. It's just just a
• 59:14
  Speaker 1: little annoying, that's all. It's not a big deal. It's
• 59:17
  Speaker 1: just I couldn't help but notice it, because again, if
• 59:21
  Speaker 1: the place doesn't have like it's it's whatever. But all
• 59:26
  Speaker 1: that said, even though I'm ending on a downer note there,
• 59:31
  Speaker 1: the rest of these episodes like were really really fun
• 59:34
  Speaker 1: to watch. And there's one other thing that we touch
• 59:38
  Speaker 1: base with real quick, and that is seeing Brooke and
• 59:43
  Speaker 1: Pedro parking the submarine somewhere and going into the city.
• 59:50
  Speaker 1: And Brooke is really impressed with the whole way that
• 59:55
  Speaker 1: the place like he says, he calls it really lively,
• 59:59
  Speaker 1: I think, and I'm trying to remember, because like they park,
• 1:00:03
  Speaker 1: they have to put the submarine someplace that nobody is
• 1:00:07
  Speaker 1: going to find it, so they leave it sort of
• 1:00:10
  Speaker 1: far out and away from where all of the docs
• 1:00:12
  Speaker 1: are and everything, and I don't know if it's going
• 1:00:18
  Speaker 1: to be found or if it were, what would happen here.
• 1:00:21
  Speaker 1: But they're wandering through the town and somebody is yelling about, like,
• 1:00:26
  Speaker 1: you know, there's news that you've got to read to
• 1:00:30
  Speaker 1: believe something like this, And eventually they go up to
• 1:00:34
  Speaker 1: a guy and grab a newspaper and it's a picture
• 1:00:39
  Speaker 1: of Jimbei on the front of it, the Total Land News.
• 1:00:46
  Speaker 1: And I don't know if it like you. No, it's nothing,
• 1:00:49
  Speaker 1: it's not even in other characters. It's just a sort
• 1:00:51
  Speaker 1: of scribble. But we just see jimbe on the front page,
• 1:00:55
  Speaker 1: and so since the last time we had seen him
• 1:00:57
  Speaker 1: he spun that thing and then we cut. It's definitely
• 1:01:01
  Speaker 1: sort of like setting up that maybe Jim Bay is dead.
• 1:01:05
  Speaker 1: We found out he's dead, and so we're telling everybody
• 1:01:07
  Speaker 1: about it. But uh, I feel like that's not it,
• 1:01:12
  Speaker 1: So we'll have to wait and see. I suppose, all right, guys,
• 1:01:17
  Speaker 1: I appreciate you all so much, thank you for listening,
• 1:01:20
  Speaker 1: and I hope that, uh, the new feed is working
• 1:01:25
  Speaker 1: out for y'all. Let me know until next time to
• 1:01:29
  Speaker 1: the Loom motherfuckers. That was an unspoiled network podcast.