Definitely one of the best season finales of the whole series.
Tell me why they grouped season 1 and 2 together in TMDB? Anime is no different than a TV show with multiple SEASONS, for anyone who is editing the database, stop trying to be different, please
That was a great episode, but not a good black mirror episode
This episode is genuinely one of the best of the entire show. Overrall this season was a great ride.
Why do all of the best episodes happen in dingy dinners ? Loved it !
Damn, one of the best episodes in the entire series.
Loved this episode. Would take nothing away
The artstyle is great, beautiful scenaries hand-drawn, and the world is quite interesting, but the main characters (mainly Akuma) are so boring and weak
[8.1/10] I’m a believer in the idea that television shows should die the way they lived. And “Come Along With Me” pretty much does that. Sure, there’s some special things that Adventure Time pulls out of its hat to signify that this is its series finale, but this show was never shy about having climactic battles and bouts of elliptical symbolism and poignant bits to tug at your heartstrings. Putting a capstone on a series this wide in scope, this versatile in terms of tone, this...well...adventurous, is a big task, but for the most part “Come Along With Me” rises to the challenge in a way that feels true to the spirit of the show.
The episode begins with Shermy and Beth, a pair of Finn and Jake-like adventurers in some distant future, tracking down the fabled King of Ooo about Finn’s robot arm. The King of Ooo turns out to be BMO, and the explosive events of the series finale are mostly told through his eyes, as he recounts the Great Gum War and the fight with Golb to the pair of adventurers. This frame story is packed with easter eggs and teases, but mostly serves as a nice way to bookend the episode and deliver some exposition in a cute and unobtrusive way.
When we get to actually live through those events, the show occasionally tries to pack too much in, but still manages to hit the major themes of the show and the characters, which is ultimately satisfying, if not jaw-dropping.
“Come Along With Me” puts a capstone on Finn the pacifist. From the moment that young Finn refused to destroy an “unaligned” ant, he’s been on a journey of learning that there’s more to heroing than just puncha-ing yo buns. Now, on the brink of war, he does everything in his power to keep the forces of Princess Bubblegum and the Uncle Gumbald from coming to blows. He enveigels them into a dreamland, forcing to confront their common ground. And he does the same for himself and Fern, trying to show them as two sides of the same coin, and refusing to fight.
I like that Finn’s final adventure in this show is one to stop violence and foster understanding, even when he has every opportunity to thrive in glorious battle. For a sometimes wacky cartoon show, Finn has grown a great deal over the course of ten seasons, and his noble commitment to stopping his misunderstood foes without resorting to violence, to ending a war before it stops, and to loving his enemy as much as himself are a tribute to the laudable place that Finn has reached at the end of the series.
There’s also a sense of empathy to all of his, another trademark of the show. After some characteristically loopy and engaging dream scenes, Jake retrieves Finn’s vault, which is enough to show both him and Fern that they’re fighting the same fears, having to confront the darkness head-on, and it’s only then that they can free Fern of the grass curse. It united the two of them, even if leads to a tragic but poignant departure for Fern.
At the same time, Princess Bubblegum, who’s pragmatic to a fault, develops some empathy too. She gets to experience what it was like for Gumbald to be reduced to a brainless candy person, while Gumbald experiences PB’s anxieties over protecting her kingdom. Sure, Gumbald seems poised to doublecross her anyway, but it’s enough to convince the war-hungry PB to stand down after understanding where her opponents were coming from. It’s the sort of war-averting swerve, founded on pacifism and empathy, that feels true to form and to the values of the show.
But it wouldn’t be a series finale if there were no fireworks, so we get the surprise appearance of Golb, the god of chaos whom we saw for the first time (I think) in the Pillow World episode. A combination of Betty, Normal (nee Magic) Man, and Maja the Sky Witch have summoned him to Ooo, and he creates a pair of eldritch monsters who have the creative, colorful, and mildly disturbing designs that you would expect for this show and its climactic battle between the good guys and bad guys.
“Come Along With Me” uses Golb to tie up a few loose ends that have been running through the show for a long time. A close call with one of Golb’s minions makes it seem like Princess Bubblegum has been crushed to death, causing Marceline to spring into action and defeat the creature in a fit of fury. When PB recovers (thanks to some magic/scientific armor), Marceline expresses her concern and feelings for Bubblegum, and the two of them kiss on screen for the first time in the series. (Rejoice Bubbleline fans!) It’s all kind of rushed, but the dynamic is right, and the moment is earned after all we’ve seen previously, so it’s a nice sop to the fans at the end of the series.
It also uses Finn, Ice King, and Betty being swallowed up by Golb (after a failed attempted by Ice King to use fan fiction to reach Betty’s heart and snap her out of her trance) to turn Ice King back into Simon. It has something to do with Golb “digesting” them, by peeling away their layers. As with PB and Marcy, it’s all a little quick and a little convenient, but developments always did come fast and furiously on this show, and having a brief moment of lucidity between Betty and Simon, plus the neat claustrophobic design of the trio being caught in an ever-shrinking cube which creates a sense of urgency to thing, helps cover for some of the rapidity of all of this.
After all, Adventure Time is a show that has always run on its out of the box creativity and heart more than any consistent logic. Sure, there’s continuity nods and character development, but even its more byzantine and intricate plots have the flavor of an eleven-year-old’s playtime imagination, even when suffused with far deeper and more adult themes.
But one of the core themes of Adventure Time has been harmony -- of these disparate and often weird individuals coming together to do things both great and silly (and sometimes both at the same time). It’s fitting then that the show literalizes that idea, with BMO’s stirring song, meant to comfort Jake, becoming a weapon against the discord of Golb, especially when all of our favorite characters join in the melody, and free the heroes trapped inside his belly.
It’s the content of the song, however, that poses the most potent theme in “Come Along With Me.” While the series finale is certainly about tying up all those loose ends and putting a semicolon, if not quite a period on the adventures of Finn and Jake and all their pals, it’s just as much about coming to terms with the end of things.
That is, in the great Adventure Time fashion, literal, meta, and more than a little philosophical. The episode has both Finn and Jake fearing that this will be the end of the road for them in the midst of Golb’s attack. Finn believes his capture in Golb’s gullet to mean curtains for him, remarking that he envisioned himself dying in the process of saving someone. Simon reassures him that no one gets to choose how things end, and it’s a small moment of shared comfort in the face of tragedy, of a piece with Toy Story 3, in wrestling something deep and affecting out of what is nominally children’s entertainment.
Naturally, there’s a last minute reprieve for everyone but Betty. She remains behind to use the crown’s power to try to defeat Golb, and when that’s beyond its capabilities, she asks for the power to keep Simon safe. The result is that she melds with Golb, becoming a part of him and losing herself in the process. There’s the sense that Betty couldn’t accept that her time with Simon had ended, couldn’t accept that there would never be a permanent end to those threats, and couldn’t accept that it wouldn’t erase the time they’d shared together, becoming part of a monster in her denial.
BMO -- ironically the one character we know survives until the unspecified future that makes up the episode’s frame story -- does accept that though. Her song is an effort to comfort Jake, to remind him that even though something ends, that doesn't mean it goes away. Their “happening happened.” Their piece of the timeline will always be there.
That lesson fits for a series finale. There may be no more new Adventure Time episodes to come, but we’ll always have these 283 stories, etched in ones and zeroes if not quite etched in stone. In a way, “Come Along With Me” is meant as a gentle easing into that, a reassurance that it’s okay for one of your favorite shows to come to an end. All the old stories will still be there, and they still mean just as much, even after they’ve come to an end.
There is a force to that beyond the meta-notion of a television series playing its final episode. Adventure Time’s finale contemplates, without seeing through, the notion of all of our heroes dying. But it offers the same comfort to them that it does to us -- that the relationships we make, the friendships we build, the experiences we have, are still sewn into the fabric of the universe.
The opening lines of BMO’s song, suggesting that time is just an illusion to help us make sense of things, and that the whole of our existence is all still there, can’t help but call to mind similar ideas posited in Slaughterhouse 5. There is reassurance in it, in the very notion of endings, that the marks we have left, the lives we have touched and that have touched ours, cannot and will not be erased, no matter what happens after.
That’s the trick. There are no endings. This may be the last episode of Adventure Time, but there is a startling but refreshing lack of finality. Sure, the show loops back around to its closing theme, given new poignance by the episode’s demonstration of the literal power of music. And there’s a montage full of hints about where our heroes’ lives lead them in the future. But that’s all we get -- hints and suggestions, more to show us that the story continues than to put a firm “The End” on one.
To put it differently, everything stays, but it still changes. There’s reassurance in that too, in the frame story that tells us that Finn and Jake and PB and Marceline and more simply “lived their lives” after the curtain falls on our glimpse into Ooo. And the adventure continues. We know, from the remade treehouse born of Fern, from a lumbering Sweetpea, from a denizen who looks a lot like a rainicorn pup, that the characters we’ve come to know and love over the course of Adventure Time have left a legacy, echoes that still reverberate a millennium later.
The episode ends with that sense of cotninuity and continuation, with Shermy and Beth following in the footsteps of Finn and Jake in a world still rife with adventures, striking a familiar pose in a fashion that suggests their spirit lives on. Television shows should die as they lived, and this finale accomplishes that.
Adventure Time is a show that became so much broader in scope than a story about a boy and his dog rescuing a princess from an evil wizard. It expanded to cover trauma, parenthood, growing up, politics, community, spirituality, horror, music, and straight up goofy humor. It had a soul that could not be contained, by the bounds of expected children’s television or even the bounds of time. This finale is just as ambitious in scope, expanding to fill the space, and reassuring its fans that Finn and Jake may depart, the show may leave the airwaves, but what it accomplished, the ways it touched us, moved us, and surprised us, never will, even if it has to come to an end.
I was really pleasantly surprised by this one after the first one was such a schlockbuster. Much more thoughtful, much more character-driven. Could have been a bit shorter, the pacing bogs down around the lunar crisis in particular, that whole act would really have benefited from tighter editing. And it's sometimes hard to follow due to a combination of the subs translation not being perfect and some scenes moving too quickly to allow you time to figure out what said opaque subs actually mean. But once you get your head past the scientific absurdity of the premise, which is a dumb basis on which to criticise a film anyway, it's very enjoyable.
This episode has been incorrectly labelled. It is episode 8 of Season 1, not episode 5 of Season 2.
EDIT: You can disregard this comment now. It has been fixed.
i really don't know why the votes here are so low for the series.
i just finished the first episode and thought it was freakin excellent. astounding worldbuilding in the Pilot, which isn't an easy feat to accomplish.
i am VERY excited to watch more and i cannot wait for next week
Will this show be updated any time soon? I would really appreciate it, thanks
Kids are into anime, and Airbender, so we checked this out one evening. Entire family enjoyed it, including mom & dad. Creative, well done, great dialogue, cool characters. Surprised us all, and can't wait for the next season.
This movie shows in a very good way how the next virus outbreak that will be just as big or maybe even bigger as the Spanish Flu is gonna happen in the 21th century. And believe me, sooner or later IT WILL HAPPEN.
I liked the electronic music that was playing at the beginning of the movie. It had sort of an panicked tone to it that together with the people who where getting sick and dying set a thrilling tone to the first part of the movie.
I found the movie to be very realistic. Jude Law character was spot-on. When there is gonna be an outbreak we will see people on the internet (who have no medical training whatsoever) who think they have found the cure and millions of people will listen to them. There will be millions of people who stop going to work, who stay at home and avoid contact with anyone. Others will do whatever they can to get their hands on a vaccination, even if that means killing someone else.
I liked the fact that we got to see the story from so many different angles. It really gave an overview of the entire situation and what the virus had for an impact on all the people involved.
The end of the movie was a bit disappointing. In my opinion that could have been a lot better. But overall i find this movie to be really good.
Someone move this episode to special instead of season 1
The movie might be showing its age, or maybe I'm showing mine. The structure just felt off. The pacing was much too slow until the last quarter. There's something grating about Maverick's character—there's supposed to be, but I couldn't really find anything to like about him. And of course the romance is entirely unnecessary, but that's been a Hollywood problem since long before this movie (and still is).
Mia Isaac (Rowan) absolutely nailed it she was the best thing in this movie! Her speeches were so moving and inspiring. Zoey and Dylan were great also. The story was good overall and I liked the conclusion. The comedy doesn't work at all though I think this would of been better off as a drama. Didn't really feel like I wanted to laugh anyway sinse this has some serious topics and the main character is unlikable.
Like gravedigging, you have to dig deep if you want to get the payoff.
Alex Garland's film about the abuse of women succeeds thanks to its rich tapestry of jarring images. While fans of traditional horror may feel disappointed by its lack of jump scares, those who appreciate the more cerebral psychology of neo-horror (à la Hereditary) will find what they are looking for here.
The film is largely a success thanks to its strong cast and rampant symbolism, though Garland's choice to focus more on the women as victims rather than the titular men as aggressors means the movie misses its mark when it comes to demanding receipts.
My interpretation of the symbolism:
:rotating_light::construction::octagonal_sign::warning:MAJOR SPOILERS FROM HERE ON OUT:warning::octagonal_sign::construction::rotating_light:
The film, obviously, is on a mission to portray women (or at least one woman) as a victim to the male gender. That the director wants to paint all men with this broad stroke is evident in the choice to have the same actor (Rory Kinnear) play all of the aggressors, saying, in essence, that deep down all men are the same man: a being that's driven to hurt women.
Of course, her abusive husband, James, isn’t played by Rory Kinnear. Does this mean he’s somehow different than the other men who appear later in the film? Absolutely not, and proof of that is Jame’s injuries. After he falls / jumps from the building, we see that a gate post splits his right arm from his elbow to his hand, and that his left ankle is broken. Later on in the film, all of the men in the town who besiege Harper are shown to share these exact same injuries, illustrating that they are the same man as the abusive estranged husband.
This point is also reinforced by the presence of 'the naked man'. 'The naked man' is the personification of "The Green Man" (who is also symbolized in the stone carving on the church altar). According to Wikipedia, “The Green Man is a legendary being primarily interpreted as a symbol of rebirth, representing the cycle of new growth that occurs every spring,” which indicates that, as violence breeds violence, the cycle of violent men will continue with no end in sight. This is also what’s meant by the endless cycle of men birthing men that we witness in the film’s climax.
A quick glance at the film’s characters shows us several types of abusers that exist in society.
First, her husband, who starts off emotionally abusing his wife -- “If you leave me, I’ll kill myself” -- before graduating to physical abuse.
Then there’s Geoffrey, the man who rents her the mansion. He represents the “nice guy” who imposes his generosity on women and, when he’s later rebuffed, hurls insults at the women who aren’t interested in him.
The priest represents the patriarchy of religion and the structure put in place to perpetuate male domination and abuse.
Samuel is the young man 'frat bro' who feels he’s entitled to his ‘bit of fun’ and rebukes women who dare refuse him what he considers to be his due.
The police officer represents authority because, when he arrives at Harper’s rental property the night of the home invasion, he stands in her front yard yet neither says nor does anything. He’s as useless and impotent as the police and other authorities women might turn to when they seek assistance.
All of this is not to say that Jessie doesn’t have her allies. There is her best friend Riley (Gayle Rankin) who provides moral support throughout the film, and the kind policewoman who speaks with Harper when the police initially arrest the naked man. Garland’s point here is that the best place for a woman to get the support and assistance she needs is with other women.
This concept is driven home by the second figure etched into the altar (on the opposite face of The Green Man), that of the sheela na gig. The sheela na gig is a carving of a woman with an exaggerated vulva and is used to symbolize fertility and protection against evil.
That’s a brief rundown of the symbolism in Men, and also serves to illustrate what I appreciate about the film: it’s not because it’s horror that I have to turn off my brain. [/spoiler]
This film won't be for everyone, even those that are Garland fans. For those that do enjoy it, I believe a re-watch will be beneficial.
As always, Jessie Buckley completely knocks it out of the park. Sound design, lighting, and cinematography are all top of its class, ESPECIALLY sound design which serves as its own character.
Unreal. A piece of pure creativity. This movie is a masterpiece that doenst fear of trying something new and weird, 2 hours of a masterful crafted story that engages you not only to understand whats going on with the characters, but yourself too.
Pretty bland and uninteresting, didn’t live up to the hype
Concept and visuals were the only intriguing elements and for me this movie was a letdown.
It has a lot of sex but I’m not sure it sees love in any other way. I’m not convinced it is a good movie. I give this film a 6 (fair) out of 10 [First love?]
These kinds of movies definitely weren't made for me. I simply cannot keep up with how fast and "old" they talk. Poetry is not for me.
I think I got the gist of it, but that's not enough to come up with a reasonable score, so it stays scoreless. I'll probably not watch it again.
Visually tho, it looked incredible.
I don't get it, why are people being so damn critical about the movie ? Ya gotta understand that it was just a catalyst so that the MCU franchise could grow on it; the movie was purely made to introduce Captain America, the cosmic cube and Agent Carter, nothing more nothing less, and it did a good job at that.
Cameron getting jealous plot is now getting annoying..
Does anyone know why the episodes listed here are out of order?
