Steven’s healing ability is back and he tries to heal Centipeetle with it. The creature becomes a tad less monstrous because of it but is still angry and unable to speak. Luckily Steven has crayons and through drawings, the truth about Centipeetle and its history is revealed.
This is when the show really stands out as it finds a way to tell a lot of information in a short amount of time. Through just a bit of speculation a lot can be extracted from this episode. Centipeetle was a captain who wasn’t trained to fight but was caught up in the gem war anyways. This helps to show on top of the Homeworld Gems fighting the Crystal Gems, there were others who simply were at the wrong place at the wrong time during the war.
The biggest revelation to take away is the power of the Diamonds. It is made clear they have the ability to corrupt gems they find to be inferior into being monsters. This helps to dispel the idea the different Gems became monstrous because of some other aspects such as just injury during battle or because of some accident. Instead it proves the idea of the Diamonds are in control and are willing to use their power to corrupt anyone they wish into monsters. They are incredible dangerous and so far the fans have only properly been introduced to one of the three of them.
It’s very good to see a character return from a previous episode. Its also nice to see Steven’s healing return but at the same time it seems to be operating on the aspect of plot convenience. It will come and go as needed. Still the crayon drawings of the Centipeetle’s past, it’s time in the war, and the reveal of the power of the Diamonds is more than enough to make this a very worthwhile episode.
managed by the most milk toast insert girl. Having insert girls to parallel insert males is kinda new to me so I’m adjusting. Anyway the first thing I’m thinking is some have to be gay because she doesn’t have nearly enough holes or hands for these ten guys. Sure enough there are four or five guys who immediately come off as capable of swinging for the other team, or bi-sexual in case they wanna switch out to make things interesting for the girl. Either way half of this episode was character introductions and if I didn’t know these were all boys I would have sworn that half of them were girls. I left this show thinking that I’m no where near the strongest guy and I could beat all these pussies up, ripped abs and all.
characters hot childhood friend. I’ve seen better but she’s pretty fine. The second is that it’s a great intro sports anime, because it operates on the most cliché aspects of a sports show. Super eager newb, a passive guy who’s love for the sport has dwindled, and a homoerotic subtext, which is the third thing. The main lead is clearly a self insert for girls who want strong boys to be their senpai and dote over how good they’re trying. Nothing else defines the main characters. His mom is sick or whatever, all I was thinking about was if I banged her would she die. Other than that I thought too many boys blushing at other boys. This may seem like a manly show but it’s as generic and tailored for women as it gets.
rest of this show. But then I remember there are seven seasons of 
vibrant like with B-Project Kodou*Ambitious or its super faded like Hatsukoi Monster or this show. With a show with this kinda title I expected for something ridiculous. What I got was, well I can’t come up with a good punchline. It was just shit. For the majority of this viewing my roommate kept asking me “why are we still watching this?” The only reason I could formulate was my need to see these pretty boys jump in their mechs. Which they don’t even have. It’s basically Digimon Tamers but all the designs look like something a first time cosplayer would cook up. Which is weird because the boys Digimon partners didn’t look half bad. But if we don’t put them in skin-tight gear the Fujoshi couldn’t look at their bulge, and their slender man figure. Oh yeah and the music the main character plays sucks.
I feel like all these shows just rely on the fact that you came for the boys, and don’t even try to execute anything beyond that. We got a vampire cat who just quit Panic at the Disco and a generic boy who does things because he’s a martyr. This show thinks that bad guys always have to be hysterically gay, sort of like Pegasus from Yu-Gi-Oh!. Either way I got to see some cool blood but the master servant dominance and obedience of the vampire made me want to barf. If there’s one thing that bothers me is men who are subservient and don’t really have any ambition. The vampire in this show is basically an insert for both and I hate it.
She somehow knows where Bourne is and gets word to him that they need to meet. Unbeknownst to them, the CIA had tracked Parsons and planned to apprehend her. In the course of the operation to arrest her, they quickly realize that Bourne is nearby. The CIA Director Robert Dewey (Tommy Lee Jones) suddenly makes the call that now Bourne is the target. A chase ensues through the streets of the capital of Greece.
It lacks the same drive and pulp that made the past three installments so electrifying, exciting and terrifically entertaining to watch, providing a disappointingly sleepy return. Damon and Greengrass really needed to bring the lightning, especially after so much time spent away from the franchise. Instead, they merely bring the occasional burst of thunder, in a film that rumbles instead of shakes — even when the camera suggests otherwise. But I’ll get to that more in-depth in a moment.
Damon and Greengrass felt it was important to give Bourne a timely purpose to return, and while Bourne’s relevance in a social media age post-Snowden is interesting, it’s ultimately left mostly unexplored in the service of punching, kicking, smashing, dashing and general action beats, which grow more tiresome over the course of this 123 minute sequel. With the exception of one truly extraordinary Vegas-based car crash, leading to one of the most impressive practical stunts seen on-screen in years, the action feels like a retread of what we’ve already seen before, notably from Greengrass’ trilogy capper. It’s no longer fresh or exhilarating, and it expects us to be thrilled by the same camera tricks and physical feats that we’ve already seen before. But that’s not the only thing that rehashed.
I’ve never been a big shaky cam fan, but the way it was used in Supremacy and Ultimatum felt purposeful and engaging. It brought an intensity and intimacy that wasn’t found in other films prior. But here, it just feels uninspired and dodgy. While it’s stylistically in-sync with the other films, it now comes across sloppy and undefined, especially as other, lamer action films have tried (and often failed) to mimic the style, ad nauseam, throughout the past decade. Which is ultimately kinda indicative of this third sequel as a whole.