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Galap
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All I have to say is that I think this moment of animation, where Sayaka and Kyouko turn into the blue and red swirl that mixes together is one of the most beautiful things I've seen. |
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Akane the Catgirl
Posts: 1091 Location: LA, Baby! |
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Now that I have escaped the ninja assassins, it's time for another Akane Analyzes post! Before I can begin, I have a long list of people to thank! (Sorry, I haven't been crediting you guys recently!) A big shout out to *gasp* willag, Souther, nobahn, errinundra, Chiibi, yuna49, keichitsu0305, GeminiDS85, and Galap! Thank you all for your contributions to my thread! I'm glad I was able to generate discussion with you! You're all amazing!
Now, today, I'm going to be talking about feminism- 
[Huh, wonder what that's doing here...] Anyway, today I'm going to be doing a feminist analysis on my favorite anime of all time, Puella Magi Madoka Magica! You've waited long enough, and let's get right to it. Here there doth be spoilers! This post will be spoiling almost the entirety of Madoka Magica. I will assume at this point that you have seen the show, in which case, you're all good. With this particular post also comes a trigger warning. This post will be mentioning sexual assault and rape. If you are uncomfortable with either topic, you don't have to stay. Everyone else? Please continue! So, let's begin with a common argument for why this show IS sexist: "The girls suffer!" First of all, the implication of that sentence is that female characters aren't allowed to be in emotional or physical pain, even for the sake of character development or the plot. Next, Gen Urobuchi (the creator of this story) also wrote Fate Zero and Psycho-Pass, where the men suffer just as much as the women (and in the case of the latter show, more male characters DIE or go through bad things than their female companions). What I'm saying is that everyone in Urobuchi Land suffers. With that out of the way, let me explain why this anime IS feminist. Kyubey as a Stand-In for Patriarchy 
[Don't mind me, I'm just a metaphor for systematic misogyny!] As you all might recall, everything that goes wrong for our main characters always go back to Kyubey. After all, he is the one who created the Magical Girls and the Witches, all for the sake of using his clients as a living battery for the universe. When you think about, Kyubey is pretty much an abusive lover/pickup artist. He tricks young girls into thinking they're special or appreciated, then abandons them when he gets everything he needs from them. You may recall that in one of my first analysis posts, I explained how the egg motif applied to the entire Incubator race. I also discussed how Ms. Saotome's rant on eggs was really about how to avoid men who abuse their girlfriends. With that in mind, the entire magical girl system is portrayed as horribly abusive and awful, but also like a hand grenade. You can't get rid of sexism so easily since it's been hardwired into society, so all you can do is wait until you find a way to put the pin back inside. (Fun Fact: In the original Japanese, Kyubey uses the "boku" pronoun in relation to himself. "Boku" is traditionally used by young boys, though in anime, tomboyish girls and gender-neutral characters also use it.) Mami Tomoe as a Yamato Nadeshiko 
[How much would one sacrifice to be the perfect woman?] For those of you who don't know, the Yamato Nadeshiko is the Japanese equivalent to the Proper Lady of Western society. A Yamato Nadeshiko must: *Behave in ways that are considered feminine *Be loyal to their husbands and family *Good with feminine tasks such as cooking and cleaning *Most importantly, HAVE A SPINE. Mami fills several of the requirements for being a Yamato Nadeshiko. She's far from a doormat, as she willingly heads into battle against deadly monsters. She's a kind, polite young lady who dresses in girly clothes and is good at baking. Madoka and Sayaka admire her dearly, and initially, she seems to be the perfect magical girl. Then Episode Three comes along and tears that idealization apart. We learn that Mami is terribly lonely, as being a magical girl means having no time for socializing. In the drive for perfection, she has driven everyone out of her life and almost regrets choosing that path. At the same time, however, she is portrayed sympathetically, as she really does want a friend by her side. What this moment says to me is this; there's nothing wrong with trying to be a Yamato Nadeshiko, but that shouldn't be the only option for young girls and women. Sex and Madoka Magica 
[No, you aren't!] Let's get the obvious out of the way; the removal of Soul Gems is a stand-in for losing your virginity. With that said, Madoka Magica features plenty of sexual subtext between the Incubators and Magical Girls. None of this is played for fanservice. Rather, it's more disturbing and relates to how we as a society tell women about sex. In Episode Seven, Sayaka stops going to school after finding out just what exactly a Soul Gem is. When confronting Kyubey about this at the beginning, he demonstrates why her Soul Gem needed to exist by putting Sayaka through excruciating pain through stimulation of said Soul Gem. Throughout the scene, Kyubey casually blames Sayaka for everything that happened to her. Just before the Witch battle that concludes the episode, Sayaka says this: Sayaka: (crying) I'm going to lose Kyousuke to Hitomi, and there's nothing I can do about it now! Because I'm...I'm already dead! I'm a zombie! I can't ask him to hold me if I'm like this! I can't ever ask him to kiss me! (Not-so-fun-fact: Sarah William's delivery of these lines in the dub is just heartbreaking. It sounds like she's barely holding it together.) Now swap in a few choice words, and you get this horrifying subtext. A young girl has been manipulated, abused, and raped by someone she trusted. Afterwords, she blames herself for the sexual assault. Because nobody wants damaged goods like her, right? Through it all, the narrative points out how unfair and awful the stuff that happened to Sayaka is, and what Kyubey did to her was terrible and a d**k move on his part. Junko Kaname as a Working Woman 
[Best. Mom. Ever.] Now, before we begin with this section, allow me to briefly explain Japanese views on gender. In Japan, a boy is a boy and a girl is a girl and THAT'S IT. Additionally, men are expected to be the breadwinners of the household while women are expected to quit their jobs as soon as they find A Man to get married to. (This is why we have the sexist trope of "female teacher who can't get laid", which this anime deconstructs with Kazuko Saotome.) In Madoka, Junko Kaname is the parent who goes to work, and her husband Tomohisa stays with the kids and does the household chores. This is all presented as perfectly normal thing, with no special attention brought to this unusual dynamic. What's even better is that Junko isn't an Office Lady (which is basically a position where women who are hired do menial tasks and look pretty). No, it's heavily implied that she's a businesswoman who has a high ranking in her company. At the same time, however, Junko is not presented as an idealized super-woman. She's a functioning alcohol addict who doesn't always know the answers. Her advice in Episode Six even leads to the climactic bridge scene and Big Reveal at the very end. This doesn't make her a bad person, however. Rather, it rounds her out and makes her a fully realized character with flaws and strengths. Conclusion I have seen Madoka Magica about six or seven times. Each time feels like the first time I've seen it, which is very impressive when you think about it. It doesn't just have a great story and visuals, though. It also has some of the most positive representations of women, as well as one of the strongest feminist messages I've seen in a long time. It's right up there with Mad Max: Fury Road as one of the great feminist-friendly series. Next time on Akane Analyzes: 
I explain why everyone in Japan is a responsibility ducking w***e. Before I can conclude today's post, I have an important announcement! Next Saturday, I'm going to be at a bar mitzvah, so my Paranoia Agent analysis will actually be in January. Next update will be on Friday, and also, please leave a comment. See you soon! *** 
Welcome to Akane's Abode! What's that? Christmas is almost here? That's great, but, I'm not Christian. Heck, I'm more of an agnostic atheist! Still, that doesn't mean I have to rain all over your seasonal parade! I usually watch a bunch of holiday specials, and I've developed a particular love for The Nightmare Before Christmas and How the Grinch Stole Christmas. What are your favorite holiday specials and why? Happy holidays! |
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nobahn
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Favorite Christmas special? For me, that's easy: Christmas Eve on Sesame Street. One of my favorite parts is when Bert and Ernie sing "Have Yourself a Merry Little Christmas." Watch it here.
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Jose Cruz
 Posts: 1778 Location: South America |
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Mad Max is a feminist-friendly series? Also, I never got that idea of Sayaka being raped by Kyubey gem but it makes perfect sense now. This series is so amazing indeed. |
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Akane the Catgirl
Posts: 1091 Location: LA, Baby! |
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Happy holidays everyone! So, as I may have explained, my Madoka post will be my final post of the year. Today is Christmas Day, which means there's not a lot of time left until the end of the year. So, what do I think about 2015?
Admittedly, this was a pretty tough year from me. I've had plenty of issues with my family, school, and even some people on the forum. The point is, I felt stressed and burned out and ready to just pull the plug on anime in general. That's how bad things had gotten both in the real world and on ANN. But then I got an idea. I like to analyze things. I like media. I like to write. So I thought to myself, "I should analyze my favorite anime to see why they work so well". That's how this thread got started. I will say that starting Akane Analyzes helped me a lot during a time where everything seemed so hopeless and confusing. What was my favorite posts to write this year? Well, the answer is quite complicated. Personally, I loved writing on Madoka, Princess Tutu, and Berserk. I'm also quite proud with my Haruhi post because it generated the most discussion. So overall, it was a good start. What anime will I write on next? I'd like to do some more Princess Tutu and Madoka. I want to do an analysis on Casca from Berserk. I'll definitely write on Fate zero and more Psycho-Pass. Ghost in the Shell SAC and Tokyo Ghoul are also on the list. The short answer is I have a lot I want to do. So, thank you. Your kind thoughts and comments make me very happy. I appreciate hearing your feedback and knowing that at least one person will always be reading. Thank you, and have a merry Christmas and a happy new year, all of you. I'll see you next Saturday with my analysis of Paranoia Agent. Take care. |
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Souther
 Posts: 603 |
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I was waiting on that Berserk post and thought you hadn't posted it.....when it was actually on the 2nd page all this time LOL. I completely missed it.
Like you said, Guts was his best weapon, someone Griffith knew he could always count on to survive and win, and someone he could confide in (see when he asked if Guts thought he was cruel). Griffith appeared to be unflappable, but he was a man with doubts about his goals and very much tried to push them down in order to reach them and fulfil everyone else's expectations of him (the rest of the Hawks saw Griffith's dream as a pathway to their own dreams). Guts was a reassuring figure for Griffith, and despite his words to Charlotte about what he considered to be a friend, his feelings for Guts were intense in comparison to the rest of the Hawks. He came to use Guts as a crutch, to a degree. Griffith gradually realised he had lost everything that he could use to achieve his dream during and after his rescue. He could no longer effectively lead his men and they now pitied him, something which hit him hard. He attempts to force himself on Casca, which I think was a desperate attempt to reassert himself and prove he was still charismatic. He knew how Casca idolised him, something he took for granted. But even she pitied him too, which was another blow. Then came the dream, where he imagined a mundane life and it's clearly not something he wants. He couldn't even kill himself. Which is what I think played a part in why he did what he did to Casca and Guts after he became Femto. It was a way to sever his humanity, weaknesses and bonds to demonstrate he was above them and that he was once again in control. Happy Holidays to you as well. |
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TRNielson
Posts: 182 |
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I'll be completely honest: I'm one of those guys who usually laughs at feminists. Not because I think what they protest and argue for is funny, but because of that small minority who makes them all appear like crazy cat ladies or view all men as being the worst scum on Earth (even though a decent number of us are).
That said, I found your review of Madoka very fair and well reasoned. Madoka quickly earned a spot in my favorite anime list after watching it for the first time a few months back (probably seen it four or five times now). Seeing certain aspects of it from a different perspective made this an interesting read for me and makes me want to watch it again now.
Thanks for bringing this scene up. Now I feel like I have to go re-watch it then punch the wall a few times till I stop wanting to tear up. Not only a powerfully emotional scene but the voice acting (fun fact: I know a Sarah Williams) was spot on for this scene. Overall, excellent review. Respect. |
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Akane the Catgirl
Posts: 1091 Location: LA, Baby! |
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Hello, everyone, and welcome back to Akane Analyzes! Happy new year, everyone! Before we begin, I'd like to thank nobahn, Jose Cruz, Souther, and TRNielson for their kind thoughts and comments. Once again, I'll also thank everyone who stopped by to read my weekly posts. Thank you all.
Too bad I have to shame you all now. 
[As Kon-sensei across the Sanzu would say :"You f***ing people."] That's because today's topic is going to be about why the Japanese need to start taking responsibility for their actions, as detailed by Paranoia Agent. Spoilers ga arimasu! This post will be spoiling several parts of Paranoia Agent, up to and including the ending. Beware if you haven't seen the show or have only just started. Let's begin with the very first scene. We start the series with a montage of Tokyoites making all sorts of excuses. On their cell phones, they weasel their way out of responsibility with "I'm sorry"s and "I didn't want to do this"s and even "Not my fault"s. They'll even stoop to lying just so they won't have to do that one thing they're avoiding. This scene sets up one of the major themes of Paranoia Agent. You have a responsibility. It doesn't matter how trivial you think it is or how much you dread fulfilling it. YOU HAVE TO GROW UP AND DEAL WITH IT. Honestly, I'm impressed with how much finesse the show pulls off this message, given that it easily could have become this: 
Escapism plays a huge part in the show's narrative, of course. The early episodes (and some of the later ones) examine how someone deals with a problem without actually dealing with the problem. Whether it be through blaming someone else like Episode Two's Yuuichi Taira, pretending the problem isn't there like the next episode's Harumi Chouno, or entering a delusional period like impostor Makoto Kozuka, the victims of Lil' Slugger all wanted to get away from their troubles. At least one of them dies horribly (and even there, it's all but said that's what he wanted). Now, I'll go into a bit more detail on some of the characters: Tsukiko Sagi 
[She ain't from Osaka, that's for certain.] You could say that everything that happened in the main plot of the show all goes back to a certain incident that happened in Tsukiko's childhood. At the age of twelve, Tsukiko finally got the puppy she wanted. However, while taking little Maromi out for a walk, she gets distracted by her first period, (which, for you male forum-goers out there, is infinitely more painful than you think it is), drops the leash. Maromi wanders into the street, and is immediately run over by a car and killed. Afraid of her strict father's reaction, Tsukiko makes up a story about a boy with rollerblades and a golden baseball bat that kills puppies. Mr. Sagi plays along and agrees to help her look for the perpretator, all the while knowing what really happened. As time goes on, Tsukiko develops several psychological issues, one of which is a bad case of schizophrenia. In the very first episode, we see her have a hallucinated conversation with Mellow Maromi, a mascot based on her dead puppy and born from the guilt of not saving him. Keiichi Ikari 
[Also known as Mr. Detective.] Detective Ikari is an old soul with the stubborness of a boar. At the beginning of the plot, he is a respected detective who has taken newbie Mitsuhiro Maniwa under his wing. However, as time goes on, he is unable to catch Lil' Slugger and is fired from the police station. With a nonexistant homelife and a low-paying construction job, it's no wonder that Ikari wanted to just escape from it all. And he does. Sort of. Towards the end, Ikari finds himself in a quaint, 2D suburban neighborhood straight of his childhood. What's wrong with running away if life sucks that much, Ikari thinks, and he initially chooses to stay in his own little paradise. Tsukiko eventually finds herself in Ikari's fantasy, and ends up playing the role of the daughter that the old detective always wanted, but could never have. He only chooses to break out when his dying wife encourages him to leave before passing on. Too bad the same can't be said for his younger partner... Mitsuhiro Maniwa 
[Oh, he may look sane now, but just you wait...] Maniwa is new to the police force, and admires Ikari deeply. While naive, he is good at heart and believes justice will prevail. This can best be seen in his approach towards Makoto while interrogating him in Episode Five. While Ikari wants to get straight to the point, Maniwa plays along with Makoto's chuunibyou delusions. All seems well, until Maniwa starts to go crazy himself. As he discovers the common connection all the victims had, the young detective finds his grasp on reality becoming looser and looser. Soon, he creates a persona called Radar Man, an ideal hero that beats Lil' Slugger at his own game and saves the day. On the outside, however, he is nothing more than a fantasy and a pathetic delusion Maniwa made to deal with the stress of the case. The end sees him hospitalized, now driven to insanity and with no hope that the kind detective we saw at the beginning will ever return. Maromi 
[THE POWER OF CHRIST COMPELS YOU! THE POWER OF CHRIST COMPELS YOU!] Maromi plays the role of Mephistopheles to Tsukiko's Faust. He is a Tarepanda-esque mascot that Tsukiko made, existing to make merchandise and be cute and cuddly. He is an instant success, shooting Tsukiko to national fame and proving to be quite the money-maker. He even gets his own anime. But behind that adorable facade lies a sinister background. The Maromi we see with Tsukiko is a delusion that encourages her to ignore her problems and "take a rest". This only serves to make Tsukiko's life more of a living hell than ever, isolating her from her peers at work and even gaining hatred from some of them. In a chilling scene towards the end, a once cheerful coworker threatens Tsukiko, then dies in a car crash caused by a darker aspect of Maromi... Lil' Slugger 
[He comes for those who are desperate...] Lil' Slugger exists to be a living excuse. Can't get your work done? Lil' Slugger attacked you, so sorry about that! Want attention? Poor you, you've been hit in the head and injured. Angry and want to forget about your troubles? With a smack to the hippocampus, Lil' Slugger can make that happen literally. In the end, though, Lil' Slugger grows too powerful for Tsukiko to control. He goes on a rampage, destroying the city as he searches for Tsukiko. There is only one way to defeat him, and it all goes back to his creator. Thankfully, after acknowledging that the death of the original Maromi was her own fault, Lil' Slugger bids Tsukiko farewall and leaves peacefully. Conclusion Ah, Paranoia Agent. It's been over ten years since this mini-series aired, and it holds up tremendously well. When I first saw this show, I thought it was "weird, but okay". It wasn't until I rewatched this that I was able to appreciate the themes and intricate story-telling. Sure, it may get a but unsubtle, but the anti-escapism message is something that needs to be shown and heard. Thanks, Kon-sensei. Next time: 
I discuss TETSUOOOOOOOOOOO from Akira. (It's amazing that I haven't done an analysis from that movie sooner). Thank you all for reading, and remember to leave a comment afterwards! That's all for today (no Akane's Abode this time), and I'll see you next week! |
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nobahn
Subscriber Posts: 5120 |
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I seem to recall reading somewhere here on ANN the interpretation that that the main characters of Paranoia Agent are all spoiler[dead].
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Akane the Catgirl
Posts: 1091 Location: LA, Baby! |
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@nobahn
Interesting. I have to say that I disagree with it, especially factoring in the events of Episode Eight: "Happy Family Planning", spoiler[what with the three main characters of that particular episode being Dead All Along and all.] @ TRNielson Sorry it took so long to respond! I originally wanted to use one of Kate Beaton's "Sexism is Over" comics for my feminist analysis of Madoka, but in the end, I decided it was too NSFW and didn't go through with it. I brought it up because your comic reminded me a lot of those strips. |
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Akane the Catgirl
Posts: 1091 Location: LA, Baby! |
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Hey, everyone! I'm still working on my Akira analysis! In the meantime, ask me anything!
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nobahn
Subscriber Posts: 5120 |
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Are you currently dating anyone? (Well, you did write, "ask me anything!"  )
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Akane the Catgirl
Posts: 1091 Location: LA, Baby! |
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@nobahn
Only in my dreams. 
[Pictured: One of my husbandos.] |
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Akane the Catgirl
Posts: 1091 Location: LA, Baby! |
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Hello, and welcome to another installment of Akane Analyzes! God, I love Akira. If you know me well enough, you might be surprised. But wow, this movie is just fantastic! Is it perfect? Nah. Does that stop it from being one of my favorite films of all time? HELL NO!
[I thought I smelled anger and hormones somewhere...] Today, I'll be taking a look at Tetsuo Shima and the many aspects of his character! SPOOOIIIILERS! SPOIIIILEEERS! This post will be featuring heavy spoilers for the Akira film. No, I will not be including manga spoilers because I haven't read it. So for those of you who've only seen the film, you are good. Personality 
[Take that, authority!] Like most delinquents, Tetsuo is kind of a...what's the word...jerkass. He and his friends in Kaneda's gang spend their nights participating in drag races, getting high on drugs, and disturbing the public in general. During the day, they're lazing about in their reform school, picking up girls, and not caring about their futures. Tetsuo and pals are THIS CLOSE to ending up in prison, as made clear by the principal's rant the day after Tetsuo's encounter. When it comes to other people, the only two that Tetsuo really cares about are Kaneda and Kaori, and even then, not always. So when he gains incredibly destructive powers, the film's bodycount rises exponentially. And if anyone dares try to harm him or question his authority, he'll simply squish them like a bug. (see the fate of Yamagata or the bartender for more details) Yet at the same time, I do feel pity for our antagonist. How much of his personality was shaped by his upbringing and environment? The film suggests that Tetsuo was a lot nicer as a child, and that while he is a little sh*t, society is partially to blame. Considering how corrupt Neo-Tokyo's government is and the fact that his school isn't that much better off, one can only wonder how Tetsuo would have turned out in a happier home life. Relationship to Kaneda 
[Two people, once friends, become enemies.] At the beginning of the film, we see Tetsuo as someone who's very insecure. It's obvious he admires Kaneda greatly, as he was one of his only friends growing up in a state home. It's interesting that while Kaneda refers to Tetsuo by his first name, the latter never does the same, despite them knowing each other the longest out of the gang. I think this subtle gesture indicates exactly what our protagonist and eventual antagonist think of each other. At the same time, Tetsuo is insanely jealous of Kaneda. Kaneda was always the one to rescue him, always the one who told him what to do. Anything Tetsuo could do, Kaneda could do infinitely better. So when our villain gains Super Awesome Psychic Powers, it shouldn't be surprising that one of the first people he goes after personally is his former best friend. Throughout the movie, Tetsuo often finds himself coming to blows with Kaneda over the former's authority over the latter. He'll say things such as this: Tetsuo: Why do you always have to try and save me? I could handle it on my own. Yeah, I admit I've gotten beaten before, but I won't always be on the receiving end, you hear that? YOU UNDERSTAND?!?! Then, at the end of the movie, during the infamous mutation scene, Tetsuo calls out for Kaneda as his abilities take him over. No matter how hard he tries, he can never really be free from his once close friend. Relationship to Kaori 
[Pictured: Kaori's last moments before her life goes to hell.] Poor, POOR Kaori. She's probably the most sympathetic character in the entirety of the film. Why? Everything bad that happens to her during the narrative is because she fell in love with the wrong boy. Like I already explained, Kaori is one of the few people that Tetsuo truly cares for, even more than Kaneda. Even when angry, his treatment of the poor girl is nowhere near as bad as everyone else in the plot. When deciding to run away, who does he choose to go with him first? Kaori, of course. Then we have Kaori's infamous death scene. Shortly before that, the girl watches in horror as Tetsuo crumbles to the ground and mutates. Unable to escape from her boyfriend's amoebic body in time, she is crushed/squeezed like a grape. All the while, Tetsuo sounds utterly destroyed, as he can feel all the pain that he has caused her. Overall Arc Tetsuo's life is defined by being ordered around by others. Whether it be his teachers, his doctors, or his childhood friend, Tetsuo has had very little control over his life. When the authority in question has very little interest in your personal being, you want to strike back. Even at the beginning, Tetsuo and his friends rebel through various illegal means that I already covered. Following his escape from the hospital, Tetsuo decides to run away with Kaori. When that doesn't work out (and boy does. It. NOT.), he is reprimanded by Kaneda, whose bike he stole. Enough is enough, and Tetsuo snaps at his friends. And that's when things get trippy. 
[Drugs are bad, mmmkay?] So Tetsuo awakens as an ESPer. Quick, what would you do if you were a teenage boy who was suddenly gifted with God-like abilities? Why, abuse them and get revenge on everyone you felt has wronged you! Shortly after a failed attempt from the Numbers to kill him, Tetsuo goes on a rampage, blowing up anyone and everyone who tries to stop him. He's going to be Number One, dammit! Tetsuo quickly makes his authority known to everyone he crosses. When the bartender at Harukiya doesn't get him his capsules fast enough, he kills him. Then, when Yamagata mouths off, he dies in a way that's implied to be so horrifying that we never get to see the actual death scene. Then he proceeds to blow up the military, with little regard to whether his followers live or not. The death toll only gets bigger as the movie goes on. During the climatic confrontation, we get to see that despite Tetsuo's overly confident front, he's really just a scared child who can't handle the powers he's gained. Despite his desire to be seen as a man, he's acted and behaved like a little boy the entire time. Think about it; weren't all those senseless deaths ultimately a result of a psychically-powered temper tantrum? In the end, Tetsuo's story revolves around what happens when you give an entitled and spoiled brat the means to have everyone bow to his very whims. Next time: 
It's Nunnally VS. Rolo, both from Code Geass! Thank you all for reading this shorter than usual analysis (it is from a movie, after all). Please remember to leave a comment and tell me what you thought about today's topic. See you next time! ***
And now, Akane's Abode. Okay, supercell, you win. First, it was Love is War. Then, it was your work on Psycho-Pass and Noragami. Now, it's Kimi no Shiranai Monogatari. You may now consider me a fan of your music. Hell, I'd even watch the trainwreck called Guilty Crown just because of you! Happy!? |
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nobahn
Subscriber Posts: 5120 |
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I've seen Akira twice now and never understood it; I guess I'll have to watch it a third time.....
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