Evelyn and Waymond are still holding each other, lit by the colors of infinite worlds, laughing like two people who can’t believe they found each other. Then the lights fade, the music quiets, her fist unclenches — and a long, stretched-out, echoing voice comes through from somewhere else: ooooooh. It’s Jobu, finishing the word “cute,” in a brand new outfit covered in neon, teddy bear sleeves, and a single strand of hair curled on her forehead spelling out her name. She pulls Evelyn into the temple, points at the bagel, says come on. Evelyn walks out of frame — and reappears in the atrium, back beside her husband. Jobu nods. She says: I get it. And then, very deliberately: eventually, that all just goes away.
We spend most of this one on Jobu’s rejection, and why it’s one of the rawest moments a villain gets. She didn’t just lose the argument; she opened herself up in the rock universe and got turned down, and Evelyn choosing happiness is proof that the thing Jobu built her whole philosophy around might not be true. We talk about how rarely a major female villain gets to be devastated in a specifically feminine register rather than being made monstrous by masculinizing her, and compare that to Nurse Ratched, Annie Wilkes, and Cameron Diaz in Vanilla Sky. Plus: three of our barbershop quartet are now Jobu’s guards (armed with pencils, scissors, and a keyboard), why they’re dressed for the New Year’s party, Jobu imposing a fake deadline on an infinite bagel, and a long, unplanned detour into bodkins.
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