So, Nimbus. Goddamned Sub-Mariner wrecking homes and, uh, having his own solution to surface cops. So, are cops fish in this? Fish was a cop, so why not… Casual reference to "destroying mermaid puss" from the Ricklantis Mixup episode, which has never made sense since human-top mermaids don't have… anyway.
But what I want to point at is the two visual uses of The Fountain, and Jessica's journey there.
The Fountain is Aronofsky's only great-film-but-badly-edited. Pi and Requiem for a Dream are perfect as they are (tho I'll never watch Requiem again, fuck you, man). But all his other films are kinda trashy. The Fountain should be his best work, but jumping back and forth in time wrecks the message, halfway thru you know where it's all going, just have to wait it out.
If The Fountain was edited correctly, say 3/4 of each story in linear order, and then a coda for each in the same order, with the future part LAST, you might actually follow the character's enlightenment. As it is, I just get drunk and yell at the screen. And that's about how Jessica's enlightenment goes.
Morty's enemy culture in this is a good development. Like every D&D party picks a fight with some stupid NPCs, and ends up razing their village and getting enemies for life (I know it's not just me, the Knights of the Dinner Table do it all the time… which is maybe a bad sign). The progression from a family of barbarian idiots who don't understand the consequences of a magic door, to medieval civilization built around hating Morty, to increasingly technical and apocalyptic focus on the one horrible thing that keeps happening to them. I want these to keep showing up, tho that's the kind of continuity they don't really do.
It's been a long damned time since S4.