#I wonder what plot contrivances we got this go around

[raven-at-the-writing-desk]

You wanna know what I just realized....You know how in chapters 1-4 MC/Yu kept asking Crowley to go home. But Once Chapter 5-7 they stopped asking to go home and gave up. Why? Did they just change their minds once they got friends or did they just give up on trying completely until Orthro put it back in their brain? Or Did they just gave up on asking adults period?

Oooh, interesting topic 🤔 I went back in each book to see when instances of Yuu asking about going home were brought up and (shockingly) this actually happens very little, maybe a few times max in the main story (not counting the prologue):

***Main story spoilers (INCLUDING book 7) below the cut!!***

In 1-19, Yuu does NOT ask Crowley; Crowley is the one who brings the topic up. He claims he is in the library to research a way to send Yuu home, and definitely is not reading the latest edition to a new novel before anyone else (which, come on, we all know Crowley is just giving a convenient excuse for himself). Crowley's presence here is then used to inform us of a way to dethrone Riddle via duel.

In 2-4, Yuu DOES ask Crowley when summoned to his office. Crowly then says he is busy preparing for an inter-dorm Magift/Spelldrive tournament, so he hasn't made any progress for Yuu. In 2-14, Yuu also wonders about when they will be able to go home while talking around the campus at night, but does not discuss it further with others.

In 3-6, Yuu does NOT ask Crowley; again, Crowley is the one to bring up the topic when trying to get Yuu to convince Azul to stop his shady dealings. He uses their rising food bills and all that "effort" he's putting into researching as a means to guilt trip Yuu into agreeing.

In 4-2, Yuu DOES ask Crowley if he's actually researching. This occurs because Crowley is all decked out for vacationing in a tropical destination, so Yuu of course questions whether he's doing any real work. Crowley defends himself by saying "When in Rome, do as the Romans do!" and that he's broadening his knowledge base by researching in a southern region.

After book 4, there are no new explicit or even implied scenes of Yuu asking Crowley anything about home. However, 5-33 does feature a flashback to the prologue in which Crowley is struggling to find Yuu's home on a map.

There isn't really a strong mention of Yuu going home in book 6, unless you want to count Yuu talking to Mickey through the mirror and wondering what's on the other side.

7-10 and 7-11 has Ortho to concluding that the mirror with Mickey could be a "connection" to Yuu's original world, and can thus serve as a route home.

Most discussion of Yuu going home is concentrated in the prologue (as it is an important piece of the set-up and explanation for Yuu's presence in Twisted Wonderland), as well as book 7, when the issue becomes very relevant again. There is the occasional instance of Crowley using "oh, there might be information here about a potential way home" as an excuse to rope Yuu into an event's story (ie Glorious Masquerade), but nothing meaningful ever comes from it. These are just contrivances to bring Yuu and Grim along for a more immersive self-insert experience.

If you want a boring answer as to why Yuu asks/seems to care so little about going home and stops completely by the start of book 5, I would wager it's the metacontext. Even in books 1 through 4, Yuu going home is mentioned like maybe once and then is dismissed for the rest of the book. You’ll also notice that in these instances where Yuu going home is mentioned, they are almost immediately then used as a springboard to propel the problem of the week onto them to resolve. Yuu going home isn’t a plot point for most of the main story, it’s a plot device to force Yuu into an OB boy’s path.

There is very little urgency granted to finding a way home because you, the player, WANTS to be in this magical world even if Yuu, the actual in-game character, may be uneasy being away from their friends, family, and home world. Yuu's unease is most likely not depicted or not frequently brought up because it would interfere with the player's enjoyment of the escapism to another world. These desires very obviously clash with one another. However, because the game itself is trying to tell you its story, it has to provide a reason (no matter how nonsensical it is) for there to be no progress made in the search (thus keeping Yuu in Twisted Wonderland), and that reason often happens to be Crowley's incompetence. This is not true of all iterations of Yuu (as the light novel has a strong focus on Yuuya’s anxieties about being in a new world), but it must be this way specifically for in-game Yuu since they are the most easy one for players to project into.

If you're looking for a meatier answer, consider this: book 5 is the turning point in the main story. Before book 5, Yuu seems to defer to Crowley for finding a way home. They don't really wonder or investigate into this area on their own. By the start of VDC/SDC training, it's mid to late winter, or about halfway through the year. Given that Yuu is incentivized by the promise of renovations to let the NRC Tribe boys use Ramshackle as their base of operations, I get the impression that maybe Yuu thinks they'll be stuck in Twisted Wonderland for longer than initially anticipated. Rather than an "I give up", it feels like a "boy, this is taking a while so might as well upgrade the accommodations and make myself as comfy as possible while I wait it out" This thought is helped by the fact that book 5 is also the first time when both Yuu and Crowley don't mention them going home, but also nothing disparaging or hopeless is referenced. As I've said before, we still get a flashback from Yuu which is centered on them going home, so it's clearly still a topic on their mind. It's just not consistently shown to us so as to not interfere with players self-inserting or to avoid making the gaming experience not fun by focusing on Yuu's distress or worries.

Many other significant things happen in book 5 which makes it the "turning point": Malleus reveals his true identity to Yuu, Grim finally going a little feral from the blot stones, and Yuu seeing and speaking with Mickey clearly. From there, Yuu starts thinking about the mirror and how it could lead into another world. They begin to take more agency in their own return, later confiding in their friends about Mickey and what he means for them.

Book 6 mostly glosses over Yuu going home because... well, let's be honest, there's a lot more immediately at stake with six students being kidnapped and experimented on. Yuu's focus and concern is on getting them (and especially Grim) back safely. They weren't thinking about themselves or their own situation back then, they were thinking of others.

Going home returns in book 7 because it has story significance once again. Yuu going back to their own world adds to the growing dread and sense of loneliness that our OB boy for the evening, Malleus, feels over Lilia's departure. It helps to push him closer to the brink of snapping. What's more, this contributes to the overall themes and questions that book 7 poses: those of farewells, change, and leaving friends behind. These are sentiments that Ace, Deuce, and Grim discuss in 7-17, and they parallel Malleus's own anxious thoughts. In all previous books, Yuu's own quest to get home is not closely tied to the themes of a particular book, or it simply was not relevant to mention (it would disrupt the ongoing conflict or pacing).

Finally, to more address each of the specific things asked by the asker (since I know the information in this post is sort of all over the place and might be hard to match up to each question):

[Yuu] stopped asking to go home and gave up. Why?

Yuu did not frequently ask about going home to begin with. (Again, likely because on a metatextual level, the story needs an excuse for Yuu, ie the player, being present in Twisted Wonderland and experiencing its happenings.)

At that point, it comes down to individual interpretation as to why, but personally I believe Yuu realized that the solution was more complicated than just poofing up a portal home, so they decided to make themselves comfortable while they waited for updates rather than keep asking only to be constantly disappointed. Later on, events going on around Yuu become too hectic for them to focus on their own wants.

Did [Yuu] just change their mind once they got friends?

Wouldn’t this imply that Yuu didn’t consider Adeuce and Grim “real” friends until the start of book 5??? I just don’t think that’s true; they were friends way before this point, not hanging out with each other for convenience’s sake. Why would they sit together at lunch every day? Why would Yuu try to help Ace make amends with Riddle? And why would Ace defend Yuu when Riddle insults their upbringing? Why would Yuu try to free the idiots of their anemones at the risk of going homeless themselves? Why would Adeuce use public transportation to go all the way from the Queendom of Roses to Sage’s Island because of a SOS text from Yuu? The same logic goes for the Ramshackle Ghosts, who are very friendly with Yuu and Grim. They play games with them, tell them about the school, and even do Yuu’s chores for them while they’re held hostage in Scarabia.

I also think gaining friends isn’t necessarily a strong enough reason for Yuu to renounce their old life and suddenly be committed to staying. Yes, it can be said that this could change depending on individual interpretation of Yuu—but assuming a very basic backstory, a regular person would not be so quick to forgo their old friends, family, etc. I don’t think new friendships are a significant motivator for Yuu no longer asking about home.

Or did they just give up on trying completely until Orthro put it back in their brain?

Yuu didn’t stop thinking about going home just because they stopped asking about it. Post book 4, they are shown to have flashbacks to earlier discussions of going home. Yuu hardly ever expresses thoughts about their original world or wanting to go back (most likely to not break the self-insert immersion of their character), so it’s easy to perceive this as “Yuu gave up completely/Yuu forgot about it until book 7”.

Or did they just gave up on asking adults period?

I believe Crowley is the only adult Yuu really asks about finding a way back. I doubt Yuu actually thinks all adults are as useless in this endeavor as Crowley is, but we aren’t ever shown Yuu communicating in this manner to other adults. Crowley is the only “required” adult to interact with on account of being the headmaster typically forcing you into the plot anyway. In conclusion (I know I keep bringing this point up, but it’s because I truly believe in it), this is all probably done for convenience and/or to allow the player to fantasize and imagine themselves or their own Yuusonas navigating these circumstances. They don't want to constantly keep the story gloomy by having Yuu angst about how they miss home or how badly they want to go back. They want you, the player, to enjoy the world and the people of Twisted Wonderland and never want to leave, even if it may be contradictory to what Yuu themselves fails to express in the narrative. This is 100% intentional, and it's made clear because it ties in very deeply with the themes in book 7, which is when the idea of Yuu going home becomes extremely relevant again. Book 7 creates an analogy between a digital pet that Malleus owns and how sad he is that its lifespan has to end, that the digital pet is just "fiction designed to amuse". This is also true of what Twisted Wonderland (the game) is. The player is in the same circumstances as Malleus, who is too attached to his fiction and doesn't want to let it go.

As much as the game's structure encourages self-inserting, it cannot be denied that, ultimately, the perspective of the player ≠ the perspective of Yuu. The player does not actually have to worry about never returning home or being stuck in a foreign world, at the mercy of strangers (which, if not for entertainment purposes, would be something truly terrifying to deal with). The player is glimpsing into this other world for fun and can step away whenever they want. Yuu can't.

askhdvasoydvuealalf I know this was a lot, but I hope it made sense and properly communicated my thoughts ^^

[randomfoggytiger]

React: A Late-Canon Reviler Gives the Revival a Try (This), Part VI

Part I (My Struggle I), Part II (Founder's Mutation), and Part III (Weremonster), Part IV (Home Again), and Part V (Babylon).

I got a temporary student laptop so I can typity type type up these reacts! Hooray!

No more dillydallying-- let's get to the first episode of Season 11 (yes, I did skip the Struggles. You can't make me watch them.)

Let's gooooooooooooooooooo.~ 

‘Kaaaaaaay, I already see an improvement in quality. Nice set design. Nice set up. 

Mulder and Scully asleep on the couch. 

Oh, yeah. They’re already back together. (Canon’s gonna be reaaaaaally inconsistent about that, huh?)

Oh, I see that pic all the time on Tumblr. Thought it happened at the end of the episode, huh. 

Oh, look, there’s A.I. Langly. …’Kay. 

(Imagine if Mulder had slept through this and just… woke to some rando guys bonking him over the head for information.)  

Okay, there was already an establishing shot of TLG’s pic, we don’t need to go back and focus on it. If you must, Director, I’d suggest that Mulder twists his head around so we can follow his line of sight as the camera's focus shifts from his him to the picture. Instead of, y’know, an unnecessary cut away. 

Sooooo, if Langly’s dead-- "they know that he knows"--  why aren’t the other Lone Gunmen part of this problem? 

And what a parting gift for his living buddy pals, huh. 

Action scene’s okaaaa-- wait. 

Al but the last bad gunmen guys shoot at Scully, get hit, and collapse; but the last one just keeps shooting at the table, assumes she’s incapacitated, and makes a break for the stairs where Mulder ran....

There’s no guarantee Scully’s down. 

How did he know Mulder ran up the stairs?

If the answers to these questions are A. he just needed Scully down long enough to run past because B. he’s tracking the phone, not Mulder, then that’s logical and I’d give it a tentative thumbs up. 

Welp, guy’s dead. Mulder nailed him from the top of the stairs. 

I’m not mad at it. 

I wonder if this scene was included to off-set their kinda geriatric pace and out-of-the-loop demeanor in S10. If so, that’s a smart way to include to establish credibility. A little (a lot) too late, but perhaps Mulder and Scully downed a few protein packs between this episode and My Struggle III (which I skipped.)

White-haired guy scampered out from the wreckage while Scully was yelling he’s behind the couch. Uh. She would have heard that. I assume. But… it’s plausible her ears were ringing and he scuttled while she was yelling, so. …We’ll see. 

Also, from these few seconds, I’m getting more Scully, finally, and that’s… pretty great. 

To be honest, though, she’s already so different from S10 that THAT canon doesn’t fit with S11 (which doesn’t fit with IWTB… which doesn’t fit with S9… which, etc.) 

If I’m to take This with any degree of seriousness, it would have to be as the first episode, no exceptions, of the Revival: there is no S10, Mulder and Scully joined the FBI sometime post IWTB (perhaps while trying to work against Colonization, and remained), and both are chugging through a temporary separation patch. 

Because there is no way this fits, with any degree of sense, into anything that came before. It could squeak by with IWTB; but how well would depend on Mulder and Scully’s characterization. If they are mercurial, then it would spring from IWTB; if they are consistent, then it would be a return to the 90s' form. 

Regardless, canon has created five different Mulder and Scully variants: 

Mainline Mulder and Scully, who either stopped their journey in Je Souhaite or carried it through to Existence’s happy ending. 

Season 9 Mulder and Scully, who became uncharacteristically weepy and sappy; and are gifted with never-before-seen supernatural abilities (i.e. Mulder seeing ghosts) for plot contrivance reasons.   

IWTB Mulder and Scully, who swung from a domestically-concerned couple to caustic, callous middle-schoolers. 

Season 10 Mulder and Scully, who sacrificed their edge and intelligence for prolonged, dead-eyed, weightless declarations. 

Season 11 Mulder and Scully, who somehow regained their 90s edge but combined it with a closeness that undercuts their narrative (i.e. their separation.)

So. 

Yeah.

Okay, I’ll admit. …I’m intrigued.

Already loads better. Already feels more in-character (though to be fair Mulder and Scully haven’t really gotten “talking” yet.) Mulder’s house is more… Mulder. More stuff on the walls, more cozy, more shadows in the corners here and there. It’s nice. 

Never let it be said I won’t give Chris Carter his flowers for his vision, because that’s one thing every person on and off set have agreed about him: the man approved of or tweaked every. single. detail. Wish his plots were handled with the same care, but.

(My temporary keyboard is now swapping the @ and the “ keys for some reason, huh. ...When I say technology hates me....) 

Mulder trying to find a place to hide his cellphone was a good in-character moment, that’s good, that’s great. 

Why is Mulder throwing pencils?

Why is Mulder bumping into discarded clocks. 

Why… is Mulder teasing Scully about….

Y’know what. 

It’s fine. 

It’s fine. 

He was hiding the phone because the clean-up crew or FBI or police were being called… they’re gonna find it in an oven mitt, Mulder. They’re gonna find it in an oven, Mulder. No offense, but that’s where they found your mother, Mulder. Not the stealthiest hiding spot, truth be told. 

WHY is Scully’s smoker voice back???? NO, GILLIAN, CAST IT OFF, YOU WERE ALREADY DOING SO HERE OR THERE IN S10, whyyyyyyyyyyyyyyyyyyy. 

Mulder doubts Langly’s dead. No one saw his body. 

And to be fair, the comics were all like, “You haven’t seen their bodies, wink. They live like cryptkeepers in the Arlington cemetery, wink. They’re still alive, wink wink,” so I think Mulder’s doubts are fairly substantiated. 

At least Scully’s not doubting that Langly’s message is tied to the--

Oh, wait, the baddies are back. 

Guys. 

Why aren’t you running. 

Mulder and Scully, why aren’t you running?

Come back out of hiding once the clean-up crew have arrived. 

DON’T--

They did wait around, WHY. 

“Don’t answer the phone, maybe they’ll be able to pinpoint our exact location in the house” for what PURPOSE, they have you surrounded, anyway! They can flush you out in two minutes if they wanted! WHY ARE THEY CALLING UNLESS THEY'RE OFFERING A DEAL (or to shoot you through the window), HOW DO THEY HAVE YOUR HOUSE NUMBER BUT NOT YOUR CELL NUMBER (which is where Langly’s message came through), WHAT BROUGHT US TO THIS POINT??  

“Identify yourself!” Mulder yells. 

Russians: “Can’t hear you. Answer your phone.”

That got a snort out of me.

Scully… is questioning… is they should call Skinner… because they haven’t called him in a couple of weeks… and don’t know where he stands. 

…

……

…………

Siiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiigh. 

I don’t even need to know the Struggles' plot to know this is garbage. When hasn’t Skinner been on their side, even if he played the game a bit coyly here and there. This is just… just… why this again???????

Wait. 

Skinner just tells them to surrender. 

Um. 

Ummmm. 

Uuuuuuuuuuuummmm. 

Iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiinteresting. 

That line read didn’t sound fake or flat, at all.... But on the other hand. I’m… intrigued against my will. 

I don’t see Mulder playing along for long, though.

The Russians are cracking me up. But the dialogue could use a few tweaks here or there. 

Mulder’s grumpy at having to surrender.

The Russians are miffed about also being asked to surrender. (Unironically, they’re a react Discord channel: just sittin’ there talkin' smack at the protagonists.) 

Oh, the duo are taken down. 

That was quick. 

This was going so well until Mulder made a George Orwell quip and the Russian noticed his poster (again with the poorly cut “LOOK AT THE POSTER” shot) and started working “I Want to Believe” into the interrogation, and…. 

“‘I Want to Believe’? Here’s what I believe: that Americans would have been fine losing the Cold War as long as they made a little money off of it.” What, lol. What a strange, strange line to say, here and now. Hopefully, this not-at-all clunky line will have plot relevance very soon and not at ALL be a cheap and easy tie-in to the plot, a rather ham-fisted way to get more information across. Absolutely not.

Yeah. My investment’s waning. 

This guy’s not threatening: “Once we find his [Mulder's] phone….” Then he pantomimes the neck-slice motion. ‘...Kay. 

Not Skinner’s brightest call to surrender to them. 

Though I’m calling it now: Skinner misinterpreted who they were, or the guys are putting up a show because they’re on webcam (as they mentioned earlier.) 

The cinematography’s better at picking which moments to go shaky on the audience. MUCH, much better. 

They found the phone in under a minute because Langly’s an idiot chatterbox. How in-character. 

I’m heartbroken. The Russian’s no longer fun-- he’s taken a turn for the badly-acted cheese. Rats.

Mulder and Scully just… knocked their guard over, together, while he was facing them with a gun. In a room full of men who have guns. And who have orders to shoot them. And are facing them. 

Yeah. 

This house needs to be lit up with gunfire right this second. As in, bambambam, agents down, permanently. 

NO. No, no, no, no, THAT’S CHEATING. You can’t have Russians facing them then conveniently facing away (to look at the walls?? or the phone?? or around the room after the phone’s already been found??) so Mulder and Scully can run past their guard and out the door. NO, NO NO NO NO NO NO. They had a LOT of distance to cover from the kitchen to the front door, what are the choreographers and directors and everyone else thinking??????? THERE’S NO WAY. 

Mulder and Scully literally jump over the porch, hit the ground hard, lie there a second; and the Russians burst out of the house a second later. WITH. GUNS. But the duo are gone, gone, gone. 

Sure, Jan. 

Excuse me? How did Mulder and Scully get from their wheat farm to a haunted Disney forest?????? Those aren’t even in the same biomes. 

Oh, look, it’s Skinner. 

So, wait. 

Mulder and Scully are just standing there as Skinner SLOWLY walks up like a creature of the mist (illuminated by his sleek horse-powered metal carriage) while the Russians are within yelling distance behind them. Does NO ONE have a sense of urgency??

Skinner’s here against his better judgment and he’s putting his own neck on the line and blah blah blah, heard it before, save it, Skinny, we all knew you’d come, anyway. 

Skinner’s AFRAID? Private contractor with Moscow. Classified security directive from the top branch, etc. etc. Gotta put Mulder and Scully back on the unwanted list.  

“I thought they were just questioning you guys, why would they try to kill you?”

“You tell us.” Now is not the TIME, Scully. 

Mulder and Scully aren’t going with Skinner?????? This is stupid. THIS IS…. 

Why are they framing this like neither trusts Skinner?????????????????????? Because by all accounts that wouldn’t make sense. At all. But it’s PLOT CONVENIENT, so YOLO. 

Skinner being all vague about TLG being buried in Arlington and we all know this is coded language (or can guess), etc. etc. 

The exposition, UUUUUUUUUUUUUUUUUUUGH.

Guys. Why would you prefer to run around in the woods when SKINNER COULD DRIVE YOU WHERE YOU NEED TO GO, AWAY FROM THE RUSSIANS, THEN DROP YOU OFF AND DRIVE AWAY.

I don’t care about the Russians, go away. Mulder had an alien app killswitch that killed their hacking attempts. ‘Kay. 

Duo in the cemetery, stomping around. 

LANGLY HAS CHRIS CARTER’S BIRTHDAY, TOO. LANGLY AND MULDER SHARE MY BIRTHDAY. In the lament of one of the Testaments (it’s a Biblical reference just for you, Chris): GOD, WHY HAST THOU FORSAKEN ME. 

Here’s the “Who needs Google when you’ve got Scully?” line... cute. Clever. “Cute” and “clever” can also be interchanged with “convenient.” 

Mulder and Scully Scooby-Dooing it up in the graveyard isn’t… bad. To be honest, it’s the most in-character moment shared between the two during the Revival: Scully on her A-game and giving Mulder a run for his money. Mulder’s still a little off, but hopefully we’re getting there. 

Mulder finds Deep Throat’s grave, and we have a very not-unnatural-at-all conversation while Mulder rehashes that part of their history, including the stellar line, “I didn’t know his real name until right now” which immediately follows a recounting of him watching the funeral through binoculars from afar. …Yeah, we gathered you wouldn’t have seen his name. 

Wait, scratch that. 

Mulder would HAVE to know Deep Throat's name because… how else would he know the day Deep Throat was buried?

WAIT. 

WAIT, WHAT. 

He’d have to have learned the funeral information either from the newspaper or from a database or from TLG; and in combing through said channels of information, he’d have to have discovered Deep Throat’s name to attend his FUNERAL from afar. 

Aaaaaaaaaaaaaargh, why can’t this series make sense for five seconds?????????????

Also, you two still have Russian mercenaries on your tail, no rush. 

SPEED IT UP, MULDER.

(The exposition, uuuuuuuuuuuuuuugh.)

“Everything we feared came to pass” no it didn’t. IT LITERALLY didn’t. 

Wwwhat, creepy old man with long white hair, again? That creeped me out. 

OH MY WORD, a QR code medallion. 

Oh. My. Word. 

They’re getting shot by a zombie? I guess? Guess this one’s not been around long enough to see the undead’s gentler side. 

They just killed a guy, who wasn't a zombie nor white-haired guy? I guess? And ran off. 

They’re on-the-run but publicly accessing wifi and aren’t even attempting to hideout. (I remember a post somewhere where Tumblr was sympathizing with Skinner losing his last couple bucks to two agents who wasted it on muffins and… yeah.) 

I hated the “alien’s butt” line when I first heard of it, and I still hate it now. 

There’s a, for lack of a better word, babyfication that the Revival does to Mulder and Scully’s language: “freaking” and “alien’s butt” and “adorbs” that, while possibly charming, make the dissonance between the moments where Mulder and Scully are not in-character more pronounced. In the OG, Mulder used contemporary slang as a tongue-in-cheek tease, working it in to purposefully amuse Scully or intentionally poke at someone else. Here…? That element of his personality is largely missing-- rather, it’s missing at times; which, again, contributes to the jarring, disconnected nature of the writing. It’s a “cost effective” way to replace intelligent, well-constructed banter with “lol” or “yolo” cheap tricks that date themselves incredibly fast.  

I’m not a fan, as you can tell. 

(“Fox Freaking Mulder” is my most loathed line in canon; so we shall see how that’s handled when I get to it. Oh, boy.) 

Langly helped open an x-file on a building back in the 90s, ‘kay. 

Scully’s “X-File? As in, the files in our building we can’t get into? Okay” wasn’t too bad, but the pan back to Mulder’s dopey face and the immediate cut after was… jarring, one could say. 

Could we at least get a knowing twinkle and eyebrow wiggle from Mulder, a “you know where this is going, Scully” expression or… something? PLEASE? 

So many missed opportunities…. 

Guess they’re sneaking in. 

Oh, my, WHY IS SKINNER PULLING A GUN ON THEM. 

WHY ARE THEY DOING A MEXICAN STAND-OFF IN THE PARKING GARAGE. WHAT IS ANY OF THIS. 

ARE THEY IN A SIMULATION????? IS THIS ALL A WIZARD OF OZ DREAM??????

THEY ATE UP HIS LUNCH MONEY AND CAME BACK FOR MORE AND SKINNER’S HAD IT UP TO HERE WITH THE LEECHES??????????????????????

In the grand scheme of things… you know what, this is bad, I’m not making silly excuses for it. 

Skinner wants Mulder to put the gun down, Mulder can’t do that because Skinner seemingly works for the ones who want him and Scully killed, and where was this established???? Where. WHERE. YOU IDIOT. 

Skinner’s pause and flat, “I don’t work for them”: same, Skinman, same. 

Skinner’s just getting built-up trauma off his chest: his job’s hard, he’s underappreciated, no one understands what he’s going through, there’s so much to DO now; and Mulder and Scully need to know this and appreciate him, for once. (No wonder he wanted them back, he can’t complain to anyone else the same way. Old philes finding each other on new fandom sites and all that.) 

Everyone just wants to kill each other “and that includes us.” And… that’s new information… how? 

“We need your help, Walter.” When haven’t you. “Even if we don’t trust you.” WHAT IS. THAT. Aaaaaaaaaaaaaaaaaaaaaaargh. 

To be fair, she was acting as peacemaker between both men. Badly. 

Skinner just putting the gun down and stepping forward and asking the question we’re all thinking: “What is this? How did we get here?”

Years and years of plot stupidity. That aside… I don’t know, they’re hungry and need more money, I guess. 

None of this makes sense. 

Scully calls Skinner from the house. He advises her to surrender. 

She and Mulder don’t, and almost get killed, anyway. 

Skinner shows up an undetermined amount of time later and just… chats with the duo while Russians are scouting the woods. 

Mulder and Scully start to… distrust him despite him unlocking their handcuffs and offering to drive them where they need to go. 

He hands them lunch money and makes a cryptic remark on how the world’s changed. 

They eat up his lunch money and need to access the files. 

Mulder and Scully jumpscare Skinner in the garage and now… no one trusts each other???????

There’s no connecting tissue for them to A. distrust Skinner in the first place; B. to really distrust Skinner, for real, guys; and C. for him to suddenly distrust them. 

Mulder and Scully, spies: the episode. I’m losing them the longer the episode goes on. 

Why's there odd music at odd times? It got tense for no reason then switched abruptly to Skinner’s sunshiney apartment. 

Also, it’s canonically confirmed that Skinner squirreled away some files (if not all) to keep at his home. Weekend reading and all that, I suppose. Whatever floats his lonely boat. Also convenient. 

Skinner has really modern taste in home decor…. (Now I need a fic where Scully was housesitting his place in the robot episode. That would be hilariously on-brand-- Mulder’s actions end up setting his boss’s house ablaze.)

When the x-files were reopened, neither agent was told their work was basically free to read. “Why didn’t you tell us?” Mulder asks Skinner. Obvious answer-- this plot point hadn’t been invented yet-- aside, I don’t think Skinner would have been allowed to… I don’t know, make them available TO ANYONE THAT WANTS TO READ THEM just because he uploaded them, hypothetically, to Archive.org. And if he's not allowed, he's probably not going to share that information.

Skinner’s got a secret wild life, and by secret wild life I mean spending his weekends uploading files to the Way Back Machine. And trying to keep his superiors from figuring out it’s him. 

Langly’s been wiped from the X-Files. (So. Mulder uploaded files on his friends. …’Kay.) And left a note that “If I’ve been scrubbed, go to her” with an attached pic of a Dr. lady. In the same files that got scrubbed by nefarious people. Who would have seen this attached note, realistically. Stellar writing. 

Langly would get involved with someone named Hambly. 

“The Bureau’s not in good standing with the White House, these days," Skinner states.  

“The FBI finally found out what it’s liked to be looked at as a little spooky.” FINALLY, a decent political quip from Mulder. YES. I’ll take it! 

Doctor teacher hambly lady. 

Why the scary music? It’s just Mulder and Scully there to interrogate her. 

The lady warns them “you should go” then pauses a second before launching into a claim that SHE AND LANGLY COULD LIVE FOREVER, WITH SCIENCE???? ...I don’t think that word means what she thinks it means. 

Oh, great, AI Langly is reaching out because his consciousness is trapped in a simulation lie. …Well, snap. From Jump the Shark to Become the Quark. Guess we’re all in Soma now and need to free the brain copy. 

This was a quick and convenient dump of information, but I’ve seen worse. (Just because I’ve seen worse doesn’t make this automatically better.)  

Langly had a longer lasting relationship canonically than Byers. Let that sink in.

I don’t mind this plot, honestly. I wish it were tighter, or more sensible, or…. Actually, cut the entire graveyard scene, it wasn’t necessary. Have Skinner drive Mulder and Scully back to his place, show them the files, chat about life then vs. now, and then move the plot here. It would give breathing time to better characterize Dr. Hambly’s hesitation or backstory, eliminate a few cracks in the plot, and ease up on the constant location hopping. 

I’ve completely lost the essence of Mulder and Scully, though. 

The camera cutting to odd angles or focusing on random places in the room is… off putting. 

“Maybe he saw Mulder in his dreams”/”Who hasn’t?” is the second quip, possibly third, in the Revival that sounded exactly like something Mulder would say: enough self-deprecation and blatant tease mixed together. 

AND IT WAS RUINED by Mulder and Scully smirking then fiddling around and clearing their throats while Dr. Hambly looks back and forth between them. YES, WE GET IT, THEY’RE TOGETHER BUT NOT AND ARE KINDA SHY ABOUT IT, UWU. 

It’s the babyfication thingie again: just let the scene exist without unnecessarily hammering it home. I’m a big girl, I can read between the lines. 

There are some suspenseful, creepy shots, to be honest. 

Why’s the white-haired guy back. What in the world, how’s he always THERE. 

Scientist lady’s dead. White-haired guy's dead (again?)

Scully quibbling about Mulder stealing evidence. Scully, you’re ON THE RUN. 

Why do Mulder and Scully seem so… detached when witness to death, now? Before, they were professionally distanced around dead bodies and autopsies and crime scenes; but the murder of a victim before their eyes still moved them. I’ve noticed that it doesn’t, at all, in the Revival. That’s… odd; and an aspect of IWTB I also wish the writers had left behind. 

“Adorbs”, ugh. I didn’t mind Scully roaring to life and almost shooting a guy when doing so, and Mulder mitigating then diffusing a possible situation. That was… fine.

But. I’m not getting Mulder here, either, sorry. He was THERE at the beginning of the episode, where’d he go? (Questions I ask the void.)

Ahhhhh, Mulder used a computer thingie called “freaking”, got it. That makes his reference earlier when referring to the muffin all right… actually, no, it makes it worse. Because he couldn’t have known he was going to use the “f” technique when he called the muffins “freaking” delicious or whatever. Which means this was just a way for the writer to appear clever by reusing an old word a new way... a.k.a. the writer gave away the magic trick by letting us peak behind the curtain (“We used ‘freaking’ earlier so we could full-circle to the ‘freaking’ technique, isn’t that smart???”). 

I feel cheated. 

Langly’s the only in-character character in this moment and it’s so. So. jarring. SO jarring. I’m happy for him and I’m mad for myself. 

Oh, look, Mulder can do math math. As he should (a truth I’ve held onto since Lazarus.) 

Oh, Langly wants this heaven destroyed. Uh, oh. That took a turn. 

See, this is why you save the tense music for these moments, it gives an emotional gut punch real power.

He’s arguing this is heaven but only in service to the overlords. ...Welp, can’t argue with that logic. 

This is actually a creepy scene. That’s good. 

Oh, look, Mulder and Scully are given a stylistic black backdrop as Langly explains his world to them. That’s a cool touch, gotta say. Not very… The X-Files, but if changes must be made, this is how they should be done. 

Oh, Gillian’s kids! What a neat cameo. 

Anyway. 

Essssssssspionage. Essssssspionage. Mulder’s got an essssspionage plan. 

Scully pretends to drag Mulder in? As her captive? Um? And... signs in as herself despite both of them being on the run but not anymore but….? 

Scully just winked at a whippersnapper and he just… led them to the tunnel. Um. UM. (Young Mulder’s fantasies come to life, I’ll bet.) 

UMMMMM. Mulder made an disgusted motion after the young buck took her up on her implication--MULDER YOU’RE SUPPOSED TO BE IN HANDCUFFS, THAT SECURITY OFFICER FACING YOU MOST DEFINITELY SAW. 

WHAT-- WHAT??????

Wait, I still don't have answers for what happened in the graveyard with the dead guy and--

Hannibal Lecter jokes. “This guy’s, like, Hannibal Lecter level--” WE GET IT, YOU WERE IN THE HANNIBAL SHOW. WE GOT THE BABYFICATION OF THE "LIKE", ARE YOU HAPPY????

And Mulder does a Hannibal impression. Yep, thanks, I’m taking this serious mission so seriously right now, guys. 

Wait. 

How come Mulder is immediately recognized in Babylon by other FBI agents but Mulder not here despite being heavily favored by an A.D. and being kind of infamous in the Bureau? (Don’t think, just hit play.) 

The young buck “Hon”s Scully and she brushes him off with a “Sorry, bro” and CAN SOMEONE GET THIS BABYFICATION AWAY FROM MEEEEEEEE. And also… Scully, you were the one that started this domino effect of implication. You led “bro” on. Bro was just young and believing he was getting unbelievably lucky with a MILF. If he were spiteful, he’d force you to walk back or report you to the front desk. Your brush-off could have been a compromising move, Scully. 

I don’t… mind? Mulder waving Scully towards the stairs with a little “mm hmm.” I’m a little more warm to Scully being averse to walking twenty-nine floors than I am the execution of Mulder’s quip, but… I can… kinda… see it? Sure? It’s not out of Mulder’s normal realm of behavior. 

They still haven’t recaptured the opener’s “Mulder and Scully” feel, though. 

WAIT, no. 

I remember these stairs. 

You’re telling ME that Scully jumps down a flight of stairs (perhaps two)... unharmed??? In her fifties???? Without anything to cushion her fall???? Without the stretch plausibility of a fancy parkour maneuver???????

Nooooooooooooooooope, no way. 

Yeoooouch, that’s gotta hurt. 

Mulder nods “no way” as if their lives weren’t in danger then follows her lead and gets up and immediately grabs one of the four guys above him and tosses him… down where Scully went. Down where he needs to go. I know he had no choice, but the probability of any of this being pulled off successfully is less than 50%, gotta be honest. 

Ah, Mulder gets caught by the three guys. That’s realistic, I cosign. 

Here comes Cheese McRussian. 

“Haven’t you heard, FBI Mulder? You’re on our side now.” ENOUGH with the Trump Russia ties, can this DIE, please. I’m so over it. 

Wait, wait, wait, wait. Okay. Reel it back. This is still… what year? Wait, is this 2018? Benefit of the doubt: 2017. Yeah, this topic was old by 2018, I’m pretty sure. Right? (Let’s see… one year after Trump’s election, everyone’s still in an uproar, Russia collusion theories flying, Rachel Maddow coverage, the investigation and reports….) Okay, I take it back a bit, the dates check out. …But this is why politics is very tricky to tackle in a show: in hindsight, that insinuation topples half of the episode's angle; and because of that line, this plot quickly becomes dated and a tad ignorant. 

Why couldn’t we have just stuck with the jab Mulder made at Skinner’s? That was pretty good. But no, we’ve gotta hammer everything home. And in hammering things home, the art of subtly is lost. Siiiiiiiigh.

Approximately 34 minutes left. 

Wait. 

FBI building with Russians at the top? 

Why were the Russians even going after Mulder’s phone? To stop Langly from contacting him, yes; but after? Trying to track Langly down to silence him? I guess? Why not just terminate him from the program atop their x-file tower? Pull the metaphorical plug? Surely his brain-- amidst how many others?-- isn’t worth the trouble.

 

Mr. Y? A new villain. Ohhhhhhhhhhh, please. 

This is sooooooooooooooooooooooooooooooooooo thirty years ago. 

Why’re we doubling down on "CSM is his father"? Who cares?

 

“You don’t understand,” says creepy lady, “what’s about to happen.”

Philosophy, yadda yadda yadda. 

Scully beats up a roaming guard taller than her on heels, yadda yadda yadda. 

“Life on this earth… is about to be crushed. Burned to the ground.” Sure. 

Guys, Soma did this better. It’s so good, go watch a play through on YouTube. It’s an extraordinary game. (I recommend the Markiplier one: he’s a little over-acty at times-- hadn’t found his tone, yet-- but he got the heart of the story.)

Oh, wait, the evil villain lady’s still yapping. “It’s reason for being is to advance life, not end it.” I literally missed nothing by tuning out, wow.

Mr. Y wants Mulder to kill his "father." Mulder offers a deal (likely to stall for time so Scully can rescue him) in exchange for he and Scully to be uploaded to the mainframe… and I’m not against this idea. It would fit with S11 Mulder's… actually, no, it wouldn’t; because Mulder’s already lived in two false realities (Kill Switch and Amor Fati) and both were abysmal. (Langly quite literally serves as this episode's cautionary tale.) To possibly doom he and Scully rather than let their souls “mate eternal” or rest among the stars with Samantha? Not a wise move; not a Mulder move, either. 

(Note from the future: That was the point, a ruse on his part. …Mkay, I accept that.) 

The EXPOSITION, UUUUUUUUUUUUUUUUUUUGH.

“We can take a piece of your mind [through a smartphone] every time you call.” How Alex Jones of you. 

Am I… the only one who’s fed up with the Revival's reactionary techno panic? During the original run, tech wasn’t “the boogie man”, it was a tool used by “the boogie men” for their own ends. (Only twice did it become sentient; and even then, it was because the creators gave their machines human willpower and corruption.) Now, it’s become the Almighty they all must bow and cower before. 

It’s weird. 

"This is a tech age," one might say, "so of course the stories would be focused on out-of-control advancements."

"And it was an age of technological advancement then," I volley back while sinking my bat over and over into the strawman I’ve erected. 

Diana Fowley Cheshire Cat Lady is starting to annoy me--

“Oh, don’t get me wrong,” Mulder says, “I want to believe--” WHY. Stop beating me over the head with his catchphrase, I KNOW IT’S HIS CATCHPHRASE. That used to be used sparingly-- now it’s once every episode, if not more. UUUUUUUUGH. 

This tech is the closest Mulder will come to seeing God in this lifetime. I’m not… opposed to that idea. 

Mulder taking out a guy in handcuffs. Oh, look, it’s the handcuff joke I see everywhere in gifs. Heh heh heh…. heh. Heh. Sure, Jan. 

Mulder’s wrestling with a guy while Scully slowly turns off the machine. LITTLE BIT FASTER THERE, SCULLY.

And why is’t the room FILLED with guards trying to stop Scully, or using Mulder as leverage to stop her????? Aren’t there alert signals tied straight to the machine for monitoring purposes?????????? Ummmmmmmmmmmmmmmmmmmmmmmmmmm. 

Mulder’s sweating, like that touch. 

Um. The system turned red, but. Um. Can’t they just... reboot it?

If I'm putting the pieces together rightly: the only thing the bad guys lost were the brain scans. So. Don't think the machines were destroyed....

Mulder’s all beat up and loopy, nice. He’s got his phone back (~convenient~), nice. 

Still not himself; but neither is Scully, so it’s a draw, I think. 

The Russian guy doesn’t look beat up at all-- that's kinda lazy. 

…Where’d the guards go? FBI’s just... here now??

Of course the villain lady and others are gone, OF COURSE THEY ARE. And so are the machines. OF COURSE. 

Home again, home again, jiggity jig. 

Yeah, skip the cleanup, you almost vomited, Mulder. Just take a nap. 

Back to the beginning on the couch (it’s like poetry, it RHYMES, don'tcha get it.) 

Wait, Langly's calling again?? So, Langly wasn’t freed...???

Back to the beginning, take two?

Uh, there’s the white-haried guy. 

Um. He scared Langly away, then consumed the screen, then laughed up close in it, then... the end?

That’s a bizarre ending. 

So Langly might still be trapped. 

Or the white-haired guy is psyching them out. 

Um. 

Um. 

Ummmmmm. 

…So, was he a simulation or a man that joined the simulation…? 

What did any of that accomplish.

...Where's the exposition when you need it?  

CONCLUSION

I don’t know, man. 

(Oh, if you were wondering, my @s and s are back to their proper keys. With no explanation. Over 3/4s of the way through this post.)

Thanks for reading~

Enjoy!

[piratekane]

june reading wrap up

it's that time of the month again, folks.

the mission: read only queer books the side mission: read more than just sapphic books the side-side mission: read something besides fantasy/romance mission status: sick

some stats for those following along at home:

- i read 19 books - i attempted one buddy read (but my wife quit on me, guys) - 100% OF MY BOOKS WERE QUEER - still no audiobooks but there's a freshly peeled month ahead of us

here's the reviews:

the bad: - Written in the Stars by Alexandria Bellefleur, bisexual rep people in the circles i've been traveling lately love this book, but i just... didn't. the characters did a complete personality switch about three chapters in. one of them was a manic pixie dream girl. the other was so flat i dreaded reading her perspective. also the brother had NO boundaries and i hate third act breakups due to miscommunication. 1 star - Something Wild and Wonderful by Anita Kelly, achillean rep people also loved this one but my struggle is that i don't think gay men are it for me and also there were some things about Alexie that i just didn't jive with. there was, yet again, another third act breakup that felt contrived. the writing was good and it was clear Kelly knows hiking and they have a love for it. so i enjoyed that part! 2.5 stars - The Prospects by K.T. Hoffman, trans achillean rep everyone and their freaking mother LOVE this book but it just didn't have enough baseball. like, for a book about the first trans baseball player in the professional league, this book was about his love interest's anxiety. gimme baseball!!! and gene straight-up backstabbed luis, i stg if no one else thinks so. 2.5 stars

the great: - The Skin and Its Girl by Sarah Cypher, lesbian rep this is lit-fic and you should know that going into it. once i got used to the writing style, i was hooked on this book. it's an interesting POV and the love story is really the complex love between a daughter and her mother, and the daughter and get great-aunt. like, my brain is still bending around this one. 5 stars - The Z Word by Lindsay King-Miller, queer rep this book emerged from a tumblr prompt and it's incredible. tons of rep (sword lesbian, motorcycle lesbian, drag queen, bisexual mess, nonbinary pizza delivery person) and just a fun fucking time. it's all centered around Pride weekend and begs the question: just what do you do when a zombie outbreak fucks up your festival? 5 stars - Here We Go Again by Alison Cochrun, lesbian rep two teachers go on a road trip with their terminally ill mentor and gosh, this is a specific setup but it works. i cried at the end like a little baby. the characters were fantastic (my favorite was their mentor) and the writing was superb. there's also really great ADHD rep in this and the growth of each character felt natural instead of forced. 5 stars - The Sunbearer Trials by Aiden Thomas, trans rep i knew this book existed and my cousin loves it but i never gave it a fair shake because i was like ONLY SAPPHIC NOVELS ONLY SAPPHIC NOVELS and was averse to reading anything but that but this one. this one is so good. the setting (a contemporary-fantasy latin america) is so lush and rich with detail. teo, the main character, had me rooting for him from the get-go. and the plot twist was so so good. i requested an advanced copy of the sequel through NetGalley and i'm hoping it'll come there. (i also bought Thomas' other novel, because now he is auto-buy author me) 5 stars.

honorable mentions: - A Swift and Sudden Exit by Nico Vincenty, bisexual rep also born from a tumblr prompt and just so much fun. i recommend purchasing this because it's just too good. time traveler meets and immortal (maybe you've seen the prompt). you won't regret it - Elatsoe by Darcy Little Badger, asexual rep an Indigenous girl who can see ghosts goes on a trip to hunt down her cousin's murderer. the writing is so punchy. i loved this one. - On the Same Page by Haley Cass, bisexual rep best friends become lovers through miscommunication. hilarious stuff. i will also read Haley Cass again because the characters were so funny and the plot was so good. - Lakelore by Anna-Marie McLemore, nonbinary rep this one was a mind bender in a good way. each of the characters were really fleshed out in a fun way. the timeline hopping was a little trippy, but i got my feet under me quick. - A Sweet Sting of Salt by Rose Sutherland, lesbian rep a selkie wife retelling. do i really need to say more?

okay this is long i am congratulating you if you got this far. now i need to go hibernate and slow down because i read too much and this month i want to write!

[greatcheshire]

I love your yt content, so excited to find your blog!

I was wondering about your deep love for Fire Walk With Me. I love Lynch, I love TP, but really can't stand the movie. It even ruins moments of the series for me. I'm super interested in your opinion tho

I'll probably make a video about this at some point but I'll try to explain it as simply as I can lol There's a pretty famous video in which composer Angelo Badalamenti goes through his process of writing the Laura Palmer theme, where he's playing as David Lynch paints a scene for him of the dark woods, ominous and threatening, and a young girl emerging from the darkness, getting closer and closer, moving the scene to beauty and sadness, before she retreats back to the darkness of the woods again, and at the end, Lynch says, "That's Twin Peaks." At its heart, Twin Peaks is and has always been a show about a young girl lost in the woods. Her beauty and her pain and her suffering and the way in which she lives in the darkness of the world around her. For the entirety of season 1 and the first third of season 2, Twin Peaks is about Laura Palmer, as we uncover more about who this girl was and what she meant to the rest of the town and how her death affected everyone.

Then the rest of season 2 happens and we get more and more away from it. Complicated lore, contrived soap opera plots, and getting too lost in hijinks and quirkiness. The Palmer family almost entirely disappears, Laura being left as nothing but just another case, before being brought back for a powerhouse season finale in which Lynch not just establishes a killer cliffhanger, but also brings Laura back in the Lodge and connects her back to everything. Lynch could've continued directly from there, solved the cliffhanger in a finale film, but instead we got Fire Walk With Me, which in my opinion is more important and necessary that a follow up.

Rather than focusing on the quirky town folks or Twin Peaks or the intricacies of the lore or the fun investigation antics of Cooper, Fire Walk With Me is a horror film. It's a character study about Laura Palmer, reminding us that the series has, at its core, always been about a girl lost in the darkness and beauty of the woods. It's an uncomfortable portrayal of a teenage girl as she deals with abuse and mental anguish. We see Laura as she goes through several different attempts to process what's going on to her, almost as if she's experiencing grief over her own inevitable death. It gives Laura a chance to have her own story told and shown, not just spoken about by those around her. There's power in visualization and portrayal. Basically everything - including the thing Bobby did - was alluded to or told about in the show. But there's something different about seeing it, the slow melancholic fall to one's demise, that makes it heart wrenching. It's definitely not for everyone. I can understand people finding the tone offputting, the content upsetting, or not liking the way in which it gets more overtly supernatural but also more personal than the show ever did. It's definitely its own beast and a complicated film, and it has its fair share of issues. But I personally find it captivating as a portrayal of abuse done via surreal sensory overload. Sheryl Lee gives an incredible performance and the ending sequence of Laura's murder and the aftermath of it is perhaps some of the best directing Lynch has ever done. It's a heartbreaking, hard to watch movie, but as someone who finds comfort in engaging with work that covers similar pain I've been through, I almost find a catharsis in it. In a way, there's a certain beauty that comes from looking into the darkness and finding your way through it. And that's Twin Peaks.

[fatherramiro]

I've been thinking a lot lately about the backstories we didn't see in 1899 season one, especially in the wake of Olek's postcard being translated. Obviously with an eight episode first season, you can't really get into everyone's backstories and some characters - like Sebastian - were always going to be held back for season two for Mystery Purposes. But there's still a deliberate choice in which backstories we see.

For the purpose of this post, a backstory is a flashback sequence featuring a character prior to the Kerberos, even if it isn't their story that's being told. It does not include discussion of backstories - because all these characters do is lie - or stepping into a memory if we don't see the full backstory. Ergo, the characters who see backstories for are Maura, Daniel, Eyk, Ling Yi, Yuk Je, Jérôme, Lucien, Tove, Krester, Iben, Anker, and Elliot.

That leaves us with several major players who we don't know the full story about, namely Olek, Ramiro, Ángel, Virginia, Clémence, and Sebastian. We know Sebastian is deeply tied to the Singleton family drama (and yet seems to posses a strong loyalty to Eyk). Everyone else is ostensibly as trapped as everyone else is. But I wonder if the reason these backstories were specifically selected to not be shown in season one is because these characters might be somehow more connected to the simulation plot/Singleton family drama than we previously anticipated.

Let's break it down under a cut.

The easiest character to apply this theory to is Sebastian. He's basically Noah from Dark in that we see him as an antagonist character in season one! He's betraying Eyk and the crew, he is the one that gets the mutineers to want to kill Elliot, he actively does murder Eyk, he kidnaps Elliot, he kidnaps Maura, he's working for our main antagonist (at the time of the season one finale, that is)... and yet what do we really know about him? Whatever his story is, there's a lot to be explored there, and it makes sense that he's got a larger narrative role to play beyond double agent. This is a Bo and Jantje show after all - they don't do anything simple.

Virginia is also a logical choice for mysterious backstory/potential connection. She practically screams "I'm going to play a huge role in the story" from the moment she walks on screen. She tells Maura within five seconds of knowing her that she needs to stop being a seeker ("aren't some better things left in the dark?") before she leads the room in picking up their cups at the same time. She knows more than what she seems to know, even if at the end it seems like she's dissolving into dust. It is her undermining Maura that leads to most of the survivors going through Spooky Memory Hell after they split up. And it's very telling that she's saved just in time from the calling. She's up to shit, and it would make sense for her to not only be a much bigger player in the story but for her backstory to be saved for season two.

Virginia also has a very strong, almost fearful reaction in episode two to the ship going back to England. There's a couple other characters who get equally as freaked out by the concept in episode one...

Olek's second scene is him panicking in the engine room because the ship is turning around. He grabs one of the other workers and asks "why turn ship?" We don't know much about Olek at this point, only that he doesn't want to return to England, but why? The postcard translation implies he's taken over the identity of someone else named Olek, and quite possibly murdered a priest and thrown him in an oil well (doesn't that sound familiar...). He also, unlike every other "ghost" that appears to the characters, seems to be physically able to interact with the world around him in episode eight. And finally, while I realize the answer is probably "the plot", he was randomly on the deck when Ling Yi needed help in episode three. Yes, plot contrivances, but also why has he left his post? Usually he just goes to the loading area, but he's suddenly on the first class deck? What sparked that.

There's also the fact that Maciej and Rosalie (the actors who play Olek and Virginia, respectively) share a title card. With the exception of Emily, Aneurin, and Andreas, who have their own solo credits, all the actors who share title cards in the opening credits play connected characters (Miguel and José, Yann and Mathilde and Jonas, Isabella and Gabby, etc.) I know contracts determine who gets billed when and where but also there was a choice, along the line, to not put Maciej with Isabella and Gabby. And I think that's interesting.

The characters who we see panicking immediately after Olek in episode one are, of course, Ramiro and Ángel. We know mostly why they'd be freaking out - they're on the run after murdering a priest! But of all the character backstories who were saved for season two, these two make the most logical choice to be shown in season one. Not only would it provide character depth for Ramiro, who's already showing himself to be developing across all eight episodes, but it would provide some much needed backstory for Ángel which in turn would not only contextualize his shitty behavior in the first few episodes but also maybe give the audience more reason to feel sorry for him. It would also make Ángel's sudden turn from smug douche to loyal boyfriend make even more sense. There's a lot we can assume from what we're told about both characters but there is also a lot left vague and that begs more questions.

Both characters also display fascinating behaviors throughout the show. Ramiro, even as the show's moral center, never talks about his past at all. We know he killed a man, and we know he's a servant, but unlike everyone else (except Olek and Virginia) we have no idea what his life was like prior to the Kerberos really. Everyone else will talk themselves silly about their home lives and their traumas, but Ramiro keeps his past under wraps, despite the narrative easily having space to give him a chance to monologue about it. Ángel, on the other hand, seems to have some precognition about the simulation. He draws the final scene in the engine room in his sketchbook. He's the only person on the ship who is affected by the calling but not to the extent that he'll jump. In episode eight, he is the only ghost who can be heard by everyone and not just the person he's most connected to. I also think that the strange shot of him looking up the ceiling in episode seven as the ship creaks is a sign that perhaps he knew that it would kill him. So, what does he truly know, and does he even realize he knows it?

Speaking of not talking about one's past, we end with Clémence. It is very interesting that besides Clémence talking about her sister and how the things she wanted changed with Tove, we know very little about Clémence. Lucien implies her parents arranged the marriage between them, but we never see any of that on-screen. We do, however, get that interesting beat of her reacting to Lucien storming out in episode one with a rather odd look on her face. There's a pyramid paperweight that looks exactly like the pyramid outside Henry's office in her and Lucien's cabin. Her costume practically drips with symbolism - her earrings and hairpin are both the triangle symbol and she has a beetle detail on her collar.

Strangely enough, she and Jérôme are the only ones who we don't see escape from the memory wells in episode eight. Tove and Virginia run through a door, Ling Yi follows Olek, Ramiro pursues Ángel. But we just see Jérôme and Clémence facing down a monstrous wave of the crystals and then they run around a corner perfectly fine. There's a reason we did not see their escape. Bo and Jantje do not fuck around. This wasn't a cut scene.

I think that these characters are the ones with a deeper tie to the overarching mythology, even if they are not aware of it in the simulation at the time. The question then becomes who knows what, and who has loyalty to who? Is Virginia the secret main antagonist of the series, and is Olek potentially connected to her? Do Ramiro and Ángel have varying levels of knowledge and differing loyalties which is why there is a tension between them in the beginning of the series? Clémence, girl, what do you know and was that really your envelope at the end of the show?

I don't think all of these characters were secret bad guys. I don't even necessarily think this theory is 100% the direction they were going in. But there was a choice made to hold these backstories back until season two (RIP) and it feels like, based on what little we know and what we can draw from season one, there was a specific reason to do so. So now, let's just bully netflix into changing their damn mind because I too would like to know for sure.

[warningsine]

Between "Alien" and "Aliens," 57 years passed, with Ellen Ripley in suspended animation. Between "Aliens" and "Alien3," she drifted through space in a lifeboat, before landing on a prison planet. In all three films she did battle with vile alien creatures constructed out of teeth, green sinew, and goo. In "Alien3" she told this life form: "I've known you so long I can't remember a time when you weren't in my life." I'm telling the aliens the same thing. This is a series whose inspiration has come, gone, and been forgotten. I'm aliened out. The fourth movie, depends on a frayed shoestring of a plot, barely enough to give them something to talk about between the action scenes. A "Boo Movie," Pauline Kael called the second one, because it all came down to aliens popping up and going "boo!" and being destroyed.

I found that second film dark and depressing, but skillfully directed by James Cameron ("Terminator II"). I lost interest with the third, when I realized that the aliens could at all times outrun and outleap the humans, so all the chase scenes were contrivances.

Now here is "Alien Resurrection." Ripley (Sigourney Weaver) is still the heroine, even though 200 years have passed since "Alien3." She has been cloned out of a drop of her own blood, and is being used as a brood mare: The movie opens with surgeons removing a baby alien from her womb. How the baby got in there is not fully explained, for which we should perhaps be grateful.

The birth takes place on a vast space ship. The interstellar human government hopes to breed more aliens, and use them for--oh, developing vaccines, medicines, a gene pool, stuff like that. The aliens have a remarkable body chemistry. Ripley's genes are all right, too: They allow her reconstituted form to retain all of her old memories, as if cookie dough could remember what a gingerbread man looked like.

Ripley is first on a giant government science ship, then on a tramp freighter run by a vagabond crew. The monsters are at first held inside glass cells, but of course they escape (their blood is a powerful solvent that can eat through the decks of the ship). The movie's a little vague about Ripley: Is she all human, or does she have a little alien mixed in? For awhile we wonder which side she's on. She laughs at mankind's hopes of exploiting the creatures: "She's a queen," she says of the new monster. "She'll breed. You'll die." When the tramp freighter comes into play, we get a fresh crew, including Call (Winona Ryder), who has been flown all the way from Earth to provide appeal for the younger members of the audience. Ryder is a wonderful actress, one of the most gifted of her generation, but wrong for this movie. She lacks the heft and presence to stand alongside Ripley and the grizzled old space dogs played by Ron Perlman, Dominique Pinon, Dan Hedeya and Brad Dourif. She seems uncertain of her purpose in the movie, her speeches lack conviction, and when her secret is revealed, it raises more questions than it answers. Ryder pales in comparison with Jenette Goldstein, the muscular Marine who was the female sidekick in "Aliens." Weaver, on the other hand, is splendid: Strong, weary, resourceful, grim. I would gladly see a fifth "Alien" movie if they created something for her to do, and dialog beyond the terse sound bites that play well in commercials. Ripley has some good scenes. She plays basketball with a crew man (Perlman) and slams him around. When she bleeds, her blood fizzes interestingly on the floor--as if it's not quite human. She can smell an alien presence. And be smelled: Her baby recognizes her mother and sticks out a tongue to lick her.

These aliens have a lot of stuff in their mouths; not only the tongue and their famous teeth, but another little head on a stalk, with smaller teeth. Still to be determined is whether the littler head has a still tinier head inside of it, and so on. Like the bugs in "Starship Troopers," these aliens are an example of specialization. They have evolved over the eons into creatures adapted for one purpose only: To star in horror movies.

Mankind wants them for their genes? I can think of a more valuable attribute: They're apparently able to generate bio-mass out of thin air. The baby born at the beginning of the film weighs maybe five pounds. In a few weeks the ship's cargo includes generous tons of aliens. What do they feed on? How do they fuel their growth and reproduction? It's no good saying they eat the ship's stores, because they thrive even on the second ship--and in previous movies have grown like crazy on desolate prison planets and in abandoned space stations. They're like perpetual motion machines; they don't need input.

The "Alien" movies always have expert production design. "Alien Resurrection" was directed by the French visionary Jean-Pierre Jeunet ("City of Lost Children"), who with his designers has placed it in what looks like a large, empty hangar filled with prefabricated steel warehouse parts. There is not a single shot in the movie to fill one with wonder--nothing like the abandoned planetary station in "Aliens." Even the standard shots of vast spaceships, moving against a backdrop of stars, are murky here, and perfunctory.

What impact will "Alien Resurrection" have on the careers of Weaver and Ryder? Financially, it will help: Weaver remains the only woman who can open an action picture. Artistically, the film will have no impact at all. It's a nine days' wonder, a geek show designed to win a weekend or two at the box office and then fade from memory. Try this test: It's been five months since "Jurassic Park: The Lost World" opened. How often do you think about it?

[scienter]

Skipped from TVD S3 straight to s6 & Holy shit! That was the Renaissance of TVD.I don't think I have enjoyed any season of Vampire Diaries like I did s6 after s2 and in my mind,they both get the top rank in the list of best to worst.Then,I thought why not give season s7 a chance.This was the first time I rewatched this season since it aired back when TVD was on and now I am most certainly questioning my life choices.🥲Honestly,how did we sit through such abysmal writing for 8 months or so?Were we sired?After the first episode,it felt like someone made me shut my eyes with the promise of feeding oysters only to point and scream "I just ejaculated in your mouth! HA! HA!" Anyway,there are a few things,specific to Caroline Forbes, that I picked up along the way:

1.Candice (& real life pregnancy)and Caroline Forbes-surrogacy: Keeping the non-consensual,gross aspect of the otherwise outlandish plot aside,I do believe with right motivation and willingness,writers could have easily worked around CA's pregnancy and given emotionally intimate scenes to SC that would have made their relationship layered and deeper.They simply chose NOT to. In fact, I noticed how they didn't use Candice at all not just in terms of her relation with Stefan but with regards to the whole Al**ick thing.Writers simply didn't create any compelling narrative that could convince anyone that Caroline was at all interested in pursuing anything with Ric that eventually led to an engagement. In fact, their sloppy attempt to sell motherhood and biology by giving two glimpses of Caroline's apparent growing attachment with the kids implied she saw the twins as an obligation in addition to her considering Ric as incapable of handling two newborns, leading her to Dallas, which basically served the bigger purpose:write CA out for her Maternity Leave. Post time jump,they could have easily removed her from this dynamic and put her with Liam or me and that wouldn't have changed nothing.Once again, they chose not to SHOW and simply explained the engagement as a decision of a heartbroken,abandoned woman by TELLING.I wonder what they would have done with her if TVD hadn't been renewed.Crossover to TO for ratings ploy?

2.Flash Forwards: I have nothing to say about this narrative disaster but I do think they changed their initial plans with respect to the FFs because CA did an interview where she said writers told her they were going three years in the future,right before she left for her ML,so that Caroline wouldn't have to be pregnant anymore AFTER candice came back from her leave.Does that mean they were originally going to go only a few months ahead in time but cancellation jitters made them change track?Guess,we will never know.

3.Future-Caroline character assessment : Plot contrivance aside, Caroline role-playing a doting mother and devoted wife-to-be & her happiness in the seemingly new life she built for herself is a metaphor for her being a victim of prolonged violence(physical and psychological).She was incapable of feeling anything anymore.She was in a wild state of depersonalisation and derealisation.She was an absolute victim.She just didn't care.She was putting up a class-act in that creepy arrangement but hey,as long as Caroline's "bold decision"(in JP's book) ensured M.Davis's employment,we are all good.

LMAO. Oh, yeah, I remember the whiplash of watching season 7 after season 6. Season 6 was one of the strongest seasons. Steroline was written well, we finally got Bamon, and Caroline had a touching story arc having to deal with her mother’s death. Season 7 on the other hand is in the running as the worst seasons.

I agree with your assessment of Ric and Caroline's relationship in season 7. It was awful. Having Caroline become the twins' surrogate is one thing – having her become their primary caregiver BECAUSE Caroline didn’t trust Ric to parent the twins himself . . . that wasn’t Caroline being a control freak – RIC ALLOWED CAROLINE TO TAKE OVER HIS DUTIES AS A PARENT BECAUSE HE DIDN’T WANT TO DO IT HIMSELF*.  There’s a name for this phenomenon: weaponized incompetence*

I don’t buy any defense of Ric’s actions here. Ric needed Caroline’s help! He was overwhelmed and didn’t know what he was doing! (1) Most first-time parents are overwhelmed because they lack experience. Parenting is on-the-job training. (2) Ric could have hired a professional nanny or an au pair to help take care of his kids. You know – paid someone to help take care of his kids. He didn’t. He was a selfish prick who took advantage of Caroline’s selfless and caring nature. He got a live-in nanny for free!

I hate that they turned Caroline – one of the strongest characters on the show – into Ric’s unpaid nanny. Ric and Caroline’s engagement was adding insult to injury.

I was so disappointed by the flash-forwards on TVD because I’d seen it done so well on The West Wing. Not that I was expecting TWW-level writing on TVD, but I did expect some level of competence.

*“Weaponized incompetence, also called strategic incompetence, is when someone knowingly or unknowingly demonstrates an inability to perform or master certain tasks, thereby leading others to take on more work.” [Psychology Today]

[stephanieburgis]

...And now for a quick rant about the perils of wordcount! (Aren't you glad I have more space here than on Twitter or Mastodon? ;) )

Wordcount is such a lovely, easy metric for writers to track when we're trying to mark progress/finish a book in a reasonable amount of time. But it is a terrible, terrible manager if you let it control your actual writing...and I am way too prone to doing that.

A little while ago, I figured out that if I wanted to finish my current w-i-p (Claws and Contrivances, Book 2 in my Regency Dragons trilogy) as quickly as I'd hoped, I'd have to average 3,000 words a week until the first draft is finished. OK! I can usually manage a pretty steady 500 words a day, so that's not too bad at all...

...Until something comes up, like illness or a plot hurdle or a trip. In the last week, I hit both of those last two issues. First, my nice, steady writing pace slammed to a halt when I came to the point in the book where a big, underlying plot issue finally has to be brought to light, its back story satisfyingly explained...and I realized I still had no idea what the real backstory was. Oops. (The perils of being an exploratory writer in my first drafts!) Sometimes I can figure that kind of moment out on the fly; sometimes I have to really think hard for a while to work it out, and for some reason, this was one of those times when my thoughts got completely snarled up in each other, like a tangled ball of wool.

Second, I was due to head out on a weekend mini break with my older son, which was going to be amazing and also massively energy-intensive (especially with my M.E./CFS). I know there are writers like the late and wonderful Terry Pratchett who religiously hit their planned word counts every day of their lives and put off everything else until later...but (a) M.E./CFS forces me to limit my own activities severely, giving me far less leeway to do other important stuff later, and (b) personally, when I have to choose between my writing and my kids, my kids will always come first, especially while they're both so young.

...which doesn't mean that I don't worry. The truth was, even as I soaked in amazing new experiences and had wonderful parenting moments every day, I also felt low-level guilty All The Time because I wasn't making myself write while we were away. Therefore, I was totally screwing up my wordcount goal...

But guess what? Today I sat down to write for the first time since our trip away...and with my very first cup of coffee, I wrote out the words at the top of my notebook page, "So, what has been going on with Rose's uncle?"

...And the answer was right there! It was waiting for me in my subconscious, helpfully untangled by my back-brain while I was away soaking in new experiences and creative stimulation. I wrote out two swift pages of very thorough notes, and then I wrote 1185 words of the next scene (a nigh-on miraculous amount for me that flowed out as if they'd been only waiting for their chance).

If I'd hammered away at my manuscript, trying stubbornly to hit my planned wordcount without a break over the weekend, not only would I have missed out on a lot of amazing experiences with my kid (which have, btw, already started other new stories simmering in my mental background!), but I also truly don't believe I would have managed to figure out the whole backstory and get as far into the manuscript by today as I have now. Sometimes, our writing-brains just need breaks - time off to putter around unobserved, slowly unsnarling plot tangles. Sometimes, we just need to find a way to get new kinds of creative stimulation to get our stories flowing.

Word count tracking is a nice, satisfying metric, but it's a TERRIBLE and unhelpful line-manager - and I'm passing on this reminder to you in case I'm not the only one who ever forgets this!

Also: have a 21-second video of ocean waves from the beach in Penarth, Wales. I'm so glad I didn't miss them!

View this post on Instagram

A post shared by Stephanie Burgis (@stephanieburgisinwales)

[demonsfate]

Hi again! "Not only the whole "IF A MERE FATHER-SON QUARREL IS ENOUGH TO DESTROY THE WORLD, THEN SO BE IT" ---> I'm glad I'm not the only one who thought this sounded weird from Jin's part. I completely agree that was his T6 personality. I truly hope we see good Jin again in T8 because I can't deal with another character assassination. I totally understand what you say about Xiao and Alisa's interactions, at times it seemed like ok this is important for the plot but how much of it do we need? Is not that I don't enjoy these two characters (Xiao is one of my faves), but I think the writing was just plain bad and all over the place. I can’t even remember what was the whole point of them spending so much time together 💀. Other than fighting over Shin(?) And yeah, Jin didn't care about hurting her which, again, kind of strange when you see him being so protective of her in the past??? Like you can be an ass but you can also care about your friends. Tek writers said NAH he's an ass with *everyone* and gives no fucks! Imo, I think his design in Blood Vengeance is a little weird. He looks young and grown at the same time. His neck area throws me off lol

Really, it felt like Blood Vengeance didn't really know what it wanted to be. With the whole Alisa and Xiao thing - it felt like they just wanted a cutesy slice of life high school thing with the beloved cutesy girls of the series - especially with fuckin LEE being like a teacher at the school??? And... g... Ganryu being the principal or something??? IIRC??? Which I wouldn't have mind if they did just create a full on silly Slice of Life thing that meant nothing but only for fun. But it felt like they also thought, "well... this is Tekken. We can't just do THAT, people want ACTION, and they want the Mishimas fighting" so they just came up with a contrived plot to get that rolling, and just to get some forced fight scenes going. And it all just became a boring mess and had the viewer wondering why they're even watching it or what's even really the plot of the movie.

I ADORE Xiao - a lot tbh. And tbh, I also liked her much better in Blood Vengeance than the anime, Bloodline. Whenever I complain about Xiao's characterization in Bloodline - people get critical of me and say "well we can't have her be a naive bimbo school girl!! that would look bad!!" And I could get into why I don't agree with that statement itself but it's not just that I didn't like that Xiao wasn't nearly as bubbly/cutesy in Bloodline - it's other parts of her characterization I didn't care for. And Blood Vengeance did her better and I'll say how -

in Bloodline, Xiao was able to DEFEAT fuckin Nina Williams - all on her own. A 16 year old VS a trained assassin. And yes, Xiao is trained, too - but not to kill, I'm sure not as harshly, and also not as experienced. In Blood Vengeance, Xiao struggled against Anna. This is much more realistic. As Anna is quite similar to Nina - trained assassin, more experience, and all that. And many argue that Anna is supposed to be the inferior sister in terms of combat skills. So, it shows just how fierce these sisters are against Xiao (who's 18-19 now, but still) Now this might be nitpicky as hell - but the scene where Xiao "attacks" Jin when they're walking to (or from) school. I guess because she didn't like how injured he looked, and he wasn't talking to her? But it just felt like an example of trying to make Xiao just a "cool female character who takes no shit!11!!" trope. Just because in Blood Vengeance, XIao was a very soft person who understood ppl and never pushed them around just bc she got upset. And in the games, she was also very caring of Jin and wouldn't do that. (hell, in the Pachinkos - she's even very gentle with Devil Jin, going as far to softly touching his face - she only attacks him in self defense.) Anyways - my point is, even if it is just a mere joke and nothing more - it felt very out of character for Xiao, and very forced. And one last example is that Xiao actually showed way more emotion for Alisa's "death" in Blood Vengeance than she did for Jin's death in Bloodline LMAO. Like she screamed, but afterwards - she just sounded more... angry at Heihachi than anything. In Blood Vengeance, Xiao showed she was angry at both Jin and Kazuya for why Alisa had to die. But you could really see her tear up, and crying about Alisa - as well as being gentle with her, and holding her mutilated body. There was a lot more emotion that could pull at your heart strings with Xiao experiencing Alisa's death vs Xiao experiencing her best friend's (and potential crush)'s death.

So, whilst I'd still rather watch Bloodline even if I did think Xiao was a better character in it - because whilst it was boring to me, it wasn't as boring as Blood Vengeance was. Nor did it feel as contrived - it just suffered from expositions and stupid writing choices.

I think the whole fighting for Shin thing was actually just an elaborate plan by Heihachi to get Kazuya and Jin together so he can kill them both and take the power of the Devil Gene for himself, as well as get back the Mishima Zaibatsu. Yes, you see - Shin had an elaborate plan and was playing 4D chess, but Heihachi had an EVEN MORE elaborate plan and was playing 5D CHESS. The thing about Jin in Blood Vengeance is that sometimes he looked fine. But many times he did kinda resemble more of a teenager in the face than his game counterpart does. It's hard to explain, I guess he just looked... more baby-faced, meanwhile Jin in games is "rougher" in the face. I rly don't know how to explain it SDSGJNDFGN.

The thing about Jin being an "ass" before is that whenever he was standoffish to his friends - it wasn't because he's just a jerk, it's because he genuinely cared about them. He apologizes to Hwoarang if he felt he broke a promise they made - he showed concern to Xiao by telling her the tournament is dangerous, and told her to go home. (And in Xiao's TK4 ending, he told her to follow her dreams and make them a reality) Jin may seem cold, but he really shows that he cares for his friends (and his coldness is also just another way to care because he doesn't want them hurt by his dangerous life, or his devil - who wasn't even really in Blood Vengeance lmao)

A good example of just how awful his character has become is in TK6 when he says this to Hwoarang -

or in King of Fighters mobile crossover when he said this...

(annoying little brat - they're literally the same age lmao - nearly the same height iirc) When in TK5, when Hwoarang got offended, and suspected Jin thought he'd found a stronger opponent - which Jin is quick to deny this.

Instead, just telling Hwoarang the truth - life has gotten too busy for him and he can't keep his promise of a rematch (which Jin apologizes for that - twice.) Had this been the Jin in TK6 / other medias, he wouldn't have apologized nor would he have denied Hwoarang's claims. He would've mocked him here. But no - Jin doesn't here because not only does he care about Hwoarang, but because he was also a good person. (Altho not gonna give TK5 all the credit, as they did kinda kickstart TK6 Jin - but who knows if TK6 was actually really planned)

But yeah - I'm just really hoping we see the compassionate, and caring Jin who struggles with his morality instead of the jerk Jin who doesn't give a fuck about anyone else or the world for no reason. He definitely seemed to be better in TK7. Because again, whilst it's hard to really say as he wasn't really in it much. But there was Miguel's ending where he showed remorse, and even wanted Miguel to kill him. (Whereas in TK6 when Miguel confronts him, Jin says "I don't need forgiveness from someone who's about to die.) And whilst they kept his "power is everything" (🙄) and "you're a joke" animations - they did remove his "fear the wrath of god" as well as the smirk pre battle ones. And of course, his determination to kill Kazuya in the end of TK7 for what seems like the better good. So I do strongly believe in TK7, they were already trying to do damage control, and make Jin back to being Better. I just hope in TK8 we get the full on good guy Jin we've always known. The actual Jin, not the cheap Kazuya clone LOL.

Tho I'm also hoping TK8 retcons TK6. At least Jin's involvement in TK6 - so therefore there can be something that can excuse his behavior, and ppl can STFU about him being a villain. Either go with my idea that it wasn't Jin, but just Devil Jin who had completely consumed Jin at the time - and everything he said about "helping the world" was just his way of trying to manipulate good people into siding with him on the war. Or, as I've had someone on here tell me before - have it that Azazel just practically brainwashed Jin. (Similar to how Ogre brainwashed Nina in TK3)

Anyways, this went on for toooooo long - but I tend to get rambly when it comes to Tekken SJNDFJGN

[ashthehermit]

Legends of Tomorrow: A Retrospective 2.1

I have been waiting for this one.  The change in tone between season one and two is so refreshing.  The team knew that they were attempting to revamp the show at the time.  It still has a ways to go before it truly will become the Legends that I know and love.  Season two has a lot of highlights though.  There's a lot of good stuff, and a commitment to a wider variety of time periods, a more eccentric style, and monster of the week stories.  I can remember some plot points that I wish were left aside, but the improvement is still wonderful.  

OUT OF TIME

This episode has to do a lot.  It has to begin at the ending stinger introducing Rex, but also is effectively a reboot of the show.  The last season had a very obvious thread, while the second season has to introduce new threats and a new structure.  It has a new character to introduce.  And here he is, Nate Heywood, my beloved.  A silly goofy man.  

The open operates by the series standard of including Oliver Queen to generate interest among the audience of Arrow.  Nate knowing about the legends is deeply implausible, and I've never loved it, but I like him too much to dwell on it.  It doesn't make much sense that he can detect alterations to history, but the point of this is mostly to have Oliver in the open along with Nate.  

'I told you history was changing.'

Of course, we begin with some very contrived storytelling, but what we are technically looking at is a mystery to solve.  I like it, it's a different structure to what we've been presented with before.  You can tell from the off, that there's a better plan.  And there are jokes!  More jokes!  Even though Oliver is here to bring the whole mood down.

'I knew we were all in trouble when Rip made us put on blouses.'

Finally, the legends put on silly outfits to get up to nonsense.  Plus, their task is to make sure that one man bangs his wife.  It's far cheekier than what we've seen before.  The Queen of France seduces Sara.  What more is there to say?

It's still deeply unclear to me where these men got the laser guns.  I'm just not going to question it as usual.  There's a punch up, but it's snappier than before, and at least there are swords.  It devolves into chaos immediately.  They leave, confident they've done their work, and hit the roof of the palace on their way out.  I also just realised that this is the final form of the Waverider's kitchen.  I've been waiting to see it!  The Bridge is revamped too, with the chairs pushed to one side, and a more interactive table.  It's a small change, but removes a lot of the awkwardness of the original set.

'I knew I forgot something.  The part where Rip tells us everything that we did wrong.'

We also get to see the library, which is panelled like Rip's parlour.  It will become the haunt of Nate, and demonstrates the show's new commitment to visiting a lot of time periods.  The sets move away from just being cold and steely, to having just a touch more character to them.  

This season sets up the structure that future seasons will have.  A new threat to the timeline is detected, yet the legends have no real understanding of what it is.  They must head out to discern it, and will discover the big bad's identity around the season's halfway mark.  This is most unlike the first season, where in the early episodes Rip held all the cards, and doled out exposition in a manner both potted and nonsensical.  This time, the characters have more agency, as they all have the same amount of intel on the subject at hand.

Sara is hunting down Darkh in secret, which seems pretty reasonable.  It is a better conclusion to Laurel's death than the attempts to push it under the rug last episode.

'Oh my god, I can't believe I'm going to meet Albert Einstein.'

Last season, the appearance of historical figures was limited to one off cameos or throwaway lines.  This time, we jump in with a plan to kidnap Einstein.  Legends is bolder in its approach, now willing to tamper with history in both a Watsonian and Doylist manner.

Jax gets a throwaway line that explains the changes in the set.  Apparently Rip had him build a whole library, but no extra bathroom (I jest, this joke won't come into fruition for some time yet).  The gang get all dressed up again in their silliest outfits to find Einstein.  Rip has no ability to keep them in line, but it's more comedic this time.  Here we also see Legends' attempts to rewrite history, or at least, present it through a different lens.  Einstein is described by Rory as a pig, and his work is attributed to his ex-wife Mileva, overlooked by history.  Legends will do a lot more of this in future, as it becomes a show all about helping outcasts.

'Let me talk, I speak physicist.'

Mostly, Einstein's character is just a means to shatter Stein's hero worship of him, because there's nothing like kicking Stein off his high horse.  They kidnap Einstein very badly, but damn they tried.  Rip drank a lot of champagne and looked cool doing it.  Good to see that they're still getting good use of the brig.  At least they've put a bench in it.

Stein forgets that he is a time traveller, and gives the game away to Einstein.  He says that Rory is the brains of the operation.  It's good stuff.  

Sara and Ray trade insults, which I don't much care about.  They track down the location of Darkh, just in time for a punch up.  Damien Darkh is always welcome in my book.  Mick gets shot and Ray absolutely ruins his suit, prompting a crisis. 

'Ah, we going swimming or something?'

Rip pilots the ship after Darkh's U-boat, trying to save New York and all that.  Rip decides that the Waverider will absorb the shock (scientifically dicey) while scattering most of the team in time, leaving Rory stranded on the Waverider for Oliver and Nate to find him.  Rip is doing his self-sacrifice bit again.  Gideon speaks a lot more in this episode, and we get actual hints as to the relationship between her and Rip.

'I don't have time to time travel.'

Oliver nominates Nate to help Rory save the team.  This seems less like an attempt to save his friends, and more like an attempt to get Nate off his back.  Nate is initially reluctant, but Oliver sees right through him.  He's so excited.  Look at him.  Puppy of a man.  

They travel back to an era where there are dinosaurs.  Seeing as the first series never went earlier than 1871 (with allusions to ancient Egypt), this episode alone has covered more of time.  

Jax and Stein are in Tintangel (spelled wrong, for our delight), but I enjoy the phone as a magic mirror gag that they play.  This sequence proves how snappy Legends is now willing to be.  We essentially see a series of gags as they round up the legends, barring Rip.  Now divested of their captain, Legends has shed most of its season one weight.  While I like Arthur Darvill, and the concept of Rip as a character, the characters never truly got any agency with him around.  They never got large character arcs when they were all focused on saving Rip's family.  Now, Rip gets to be a minor character, allowing the others to shine.

'By making one slight alteration to history.'

Nate suggests an actual alteration to history.  Previous Legends would not dare do this, whether it was the canon of Arrow, or real history, or the work of Vandal Savage.  Season one was laden with the notion of destiny, and free will.  Season two Legends begins by deciding to alter real life history, and have Mileva lauded for her achievements.  It's probably a simplistic view of real events, but it's a far bolder storytelling move.  Legends is slowly building its ideal of what the world should look like, rather than constantly showing us dark and dreary apocalypses. 

We get our first glimpse of the big bad.  Eobard Thawne - who you will only know if you watch the Flash, which is annoying.  Alas, Eobard and Darkh are a fun duo even if you don't know their baggage.  This show still hasn't grown out of the shadow of its predecessors.

Anyway!  JSA!  Neat.

[i-dreamed-i-had-a-son]

Would like to officially say thank you to the Moon Knight show for letting the audience think. For doing something really interesting and then just...keeping on going.

Like. Episode 4, right, first of all Marc gets shot, which is what would actually happen (despite most shows like this making the villain, for some reason, just not shoot when they have the chance); second of all, they let the audience process that, and panic, and go, "What the heck????"; and then!! And then! They cut to this entirely different, strange, 70's movie with ZERO context or explanation! And the audience just has to go along for the ride!

BUT! It's not just subversion for subversion's sake! It's not intended to just confuse the audience! It makes you think, and that's exactly what I did: I listened to the guy talk, I said ooh! He sounds kind of like Steven...what if that's where he got the personality from?? And I got to sit with that for a decent bit before having it confirmed, giving me the double-positive of feeling smart (for anticipating) and feeling right (for getting it confirmed).

But THEN! We're back to eager confusion as the audience is immediately shown an entirely new environment which we (like Marc) have no idea how to think about, or what to trust, or what's going on at all, and also like Marc we're allowed to see a whole bunch of little things (at varying levels of obviousness) that seem familiar or make us distrust the reality of the environment--giving observant viewers another chance to think and predict--before eventually satisfying that suspense by introducing Steven and Marc together, establishing the environment as definitely a mental one. But we still don't know why this is happening! We don't know what's happening to Marc's body! We don't know!

And that's so EXCITING! Because we're being allowed to wonder, and they're doing different things that make us genuinely unsure of what to expect, but without feeling whipped around or confused for the sake of "plot twists," and the writing is intelligent enough that we get the chance to feel intelligent too.

And this all combines with Marc/Steven acting as our window into the world (since he is confused, we are confused with him) to create a feeling of intense empathy and investment in the show, both in the characters and the events. Sure, maybe the plot itself is a little odd or unbelievable (although compared to other shows it's doing a great job of keeping itself pretty grounded despite its subject matter), but whatever the plot is doing, we're all really along for the ride. And I love that. I love not getting mad at a series for always telling instead of showing, for having characters make stupid decisions, for breaking the tone constantly, for being incredibly contrived--and Moon Knight isn't perfect in these regards, but it is worlds better than anything else we've gotten recently, and I am so so happy about it.

[nonbinarykai]

Great dev Kai theory time

Buckle up bc this is gonna be a LONG post

So do y’all remember that one scene in s4... goes a little like

Well a lot of people in the fandom has simply explained this scene as the staff possessing him. But personally I’ve never agreed with that statement for multiple reasons

Chen doesn’t have red eyes and he’s been holding the staff the entire time

We know from after this scene that the staff comes from these crystal caves, characters spend days in there and none of them have the same effect as Kai

Skylor has all the same powers in the staff but doesn’t go feral like Kai even when in the cave with the crystals

In s11 we see the red eyes again, it might be because of kais powers but since s11 seems to take direct inspiration from s4 I think it’s something a bit deeper then that

Ok so then if it isn’t the staff what is it then?

For the longest while I wondered that to, it makes no sense for it to be the staff, so then where could it have come from? However when I was watching s4 for the first time, a very specific line stood out to me.

This line comes directly before the episode where Kai turns feral. And considering they both have the same eye color I don’t think this is a coincidence either. The writers where clearly hinting towards something relating between garm and Kai in s4, and I think that’s great devourer venom.

What other parallels are there between the two?

In episode one and six we probably get the best example with chen using the exact same “he did what he had to do to win” line with both of them

Lloyds character arc did seem to resolve around them, his arc was meant to be him realizing he can’t just condemn people without knowing there motives first and to try to think and forgive in the perspective of those people. It starts off with Lloyd berating Kai and ends with Lloyd forgiving garm

Chen manipulates them both in the same way, with trying to convince them to turn against there friends in return for something they deeply wanted

While sure these examples don’t directly prove that Kai is infected with great devourer venom, I think it’s meant to show that there was meant to be a story parallel with Garm and kai, and Kai going evil with the staff was meant to be there way of connecting the two characters.

What happened with s4?

Wait but if these parallels were meant to be connected then why weren’t they expanded upon past episode 7?

Great question, I think it’s the same reason that kais arc was properly resolved and why garm was suddenly killed and why morro had an appearance to the end of the season.

The ending was changed

Now this is a VERY big claim I’m throwing out with little scraps of evidence to support it. Take it with a grain of salt but this is my personal theory for why the ending of s4 seems so disconnected with the rest of the series.

I personally think that the original ending to s4 was going to have Kai turn evil, but was changed last minute because they wanted to keep him as a ninja. Episodes 8 to 10 are all reworks to try to fit there new idea better. The scrapped idea for Kai were then pushed onto morro ((which is why we see him appear in s4 despite the fact it was clear that s5 hadn’t gone so far into conception. Morro after all has the same motivation of wanting to become the green ninja and seems to have the same demanding personality that evil Kai has in s4. It would also explain why kais character arc was cut short and why there seemed to be a lot of contrived plot ideas that seem to go against the first 7 episodes and why garm was sacrificed. It would also explain this season having a shorter run time then s1-s2

So then where does it go from s4?

While it might seem like the concept for evil Kai is cut from s4. I don’t really think that the idea of him has been completely lost yet. Throughout the series we see Kai be connected with snakes multiple times. Whenever there’s a snake for a villain it always seems to tie back to Kai in some way, either from it being directly tied back to him or it effecting him majorly. Multiple times through the series we see snakes as a sort of symbol for Kai, in S1 the snake symbol on the green gi was meant to represent Kai and in s12 we have a snake directly on his avatar outfit with the Harumi face mask. Snakes have been a running theme for Kai for the longest time now.

We also get s11, where we once again see Kai return to that feral state. While many people say this is due to kais powers, I personally think this is a sort of return from evil Kai in s4. Not only because of the red eyes but because kais lines in that scene seem to reflect evil kais lines. With him directly denying anything that doesn’t go his way. Considering the forbidden spinjitzu staff and ice emperor might be taking inspiration from s4 it wouldn’t be a surprise

It would also explain why Kai doesn’t seem to be effected by evil artifacts like the staff of forbidden spinjitzu or dark matter. If you notice throughout the series, whenever there are moments of the cast turning evil due to a artifact Kai seems to be unaffected. You can’t turn someone who’s already evil, evil

So when did Kai get infected? My personal theory is that Kai got infected in Season 2 episode 7, him being thrown off screen into some pots while venom was dripping from the roof would be a great time to slip it in without anyone noticing at first.

That’s personally just my theory, I do have a lot more personal concepts and theories on how the venom work but that’s just how I think it ties into Kai. 😳

[jodibodie]

I Have Some Feelings

To start let me just emphasize how much I love and adore this show and always will. This was my covid show. Both of my kids loved “Lucifer” and always said I should watch so at the start of covid I binged it and when I say binged, I mean all 4 seasons in a few days and have rewatched so many times I’ve lost count. I think it is timeless, engrossing, original and all around amazing. The writing and the cast were all excellent. The writing was smart and consistently strong and that is so rare.  Funny, sad, poignant, it hit all the notes with very few plot holes or missteps. There is not one episode in the entire series that was not engaging. Even if I didn’t like an episode, it was still well done. What a rarity.

The cast is scary good. Completely underrated. Just all phenomenally talented.  I don’t remember the last time a cast was this strong.  From the core group to both reoccurring and guest stars, the cast was just fantastic.  

Tom Ellis, no words.  The man deserves to choose whatever he wants to do acting wise. He should have people breaking down his door. He can truly do it all and do it all well. He took a character that if portrayed by a lesser actor could have come off as a complete asshole and made him one of the most sympathetic and loveable characters in recent history. Ellis made a crime solving devil, a promiscuous man-child that occasionally breaks into song and the evidence room into a beloved character that has become an icon.  

Lauren German, WOW.  She is just so damn good. She can break your heart one second and have you laughing the next. She makes Chloe real, and people don’t realize how hard that is. Chloe is smart, kind, tough and gorgeous but she’s also an insecure dork.  She’s us and German just brings it.  

DB Woodside I’ve loved since “Buffy”.  He is a phenomenal actor and who knew he could bring the laughs so well? His expressions were classic. Clueless angel indeed. Amenadiel could have been very one-dimensional but because of Woodside’s talent he became fully fleshed out and full bodied.  

I have no doubt Lesley-Ann Brandt has a huge career in front of her.  She took a character that very well could have been hated, a demon and made her into one of the most human characters on the show. Kudos to her for taking a tough role and making it her own.  

Kevin Alejandro is another actor I’ve loved for a long time.  He also took a character who if we’re going to be honest here did so many unlikeable things that he should have been truly despised but because of Kevin’s portrayal he was beloved. Great actor and a terrific director.

Rachael Harris IMO is the downlow MVP.  She was literally the rock and again, with a lesser actress the role could have been a throwaway. The normal human, the sounding board but Harris imbued her with so much more.  Her spit takes, sarcasm and her obvious compassion was what made Dr. Linda an unforgettable character. Once again just perfect casting.  

Aimee Garcia was a great addition. She made Ella a fan fav and put so much heart, joy and sincerity into Ella never once did you doubt that she would prevail no matter what was thrown at her.  Garcia was just fantastic, and I want her skin care regime.  

Scarlett Estevez pulled off the one thing I thought almost impossible.  She took the role of a young child and made it so I didn’t want to cringe. She portrayed Trixie so beautifully from day one that she was a true pleasure to watch.  Even though Trixie was super precocious Estevez never made her obnoxious. I loved Trixie and I have never said that about any child character in an adult show.  She was wonderful and has an amazing career in front of her.

That said, I’ve got some feelings now that I’ve seen the finale and have had some time to digest it all.  I love that Chloe and Lucifer had eternity and I agree that they had to be separated for Chloe’s lifetime. Didn’t like it but it’s the logical path. She’s human, he’s not. The ageing thing alone necessitated them not being together long term on earth and that’s just to start the list. They had to had to be apart for the short term to get their eternity but the duality of Lucifer's ending and Amenadiel's didn't sit right. Amenadiel as God got to have it all. His calling, his family etc. while Lucifer had to give up everything.  I also don’t buy the “If he came up from hell, he could never leave them again” defense.  I call bullshit.  Amenadiel managed, plus, missing out on the day to day is a huge sacrifice and by Lucifer missing out on the day-to-day Rory could still have had the hatred she needed to drive the story.  Popping in for birthdays, graduations, weddings, etc., the big stuff does not a father make.  Not being there for skinned knees, first heartbreaks, and all the little things a daughter needs her dad for can build up tons of resentment.  Boom, absentee father, just like his dad was. That provides all the millennial angel angst you could ask for. I have a daughter; it doesn’t take much.

The Trixie issue was huge for me. Can Chloe see her in Heaven? Will she be able to travel to Heaven and visit Trixie, Penelope, Dan, her father?  Chloe hesitated leaving Heaven in 5x16 because she couldn’t bear saying good-bye to her dad again. It seems as if Chloe sacrificed everything for Rory including Trixie. I want to preface this by saying. I liked Rory and loved the actress. I didn’t however like how it was as if she were their only child.  When Lucifer spoke of family Trixie was not mentioned. Their family day, the same thing. She didn’t need to be there, I get that the explanation regarding Rory would have been way too much to get into but just a mention of her, how awesome it would have been to share this day with her would have worked. It seemed as if Lucifer went from, “I would do anything to protect that little Urchin” to “Trixie who”. Trixie was a character that we watched grow up and she meant something to us. I hate to say this, but the writers did Trixie and the viewers dirty in this regard.

This show was built around a few premises.  Free will, honesty, redemption, sacrifice and family, both blood and made. The ending completely negated almost all of these.  Chloe and their entire family were made into the one thing Lucifer abhorred the most which are liars. Their daughter was brought up surrounded by lies. What did they tell Trixie?  The poor kid just lost her dad, and she was pissed at Lucifer when he went back to hell the first time. Did she grow up hating him because as far as she knew Lucifer left her mom again without saying good-bye and this time it was even worse because Chloe was pregnant.  I get that the actress who plays Trixie had limited availability but seriously. A quick good-bye.

“Hey Urchin, you won’t understand why for a long time, but I have to leave. You know I never lie so I can’t explain why but know that I love you and your mom and one day I hope you can forgive me.”  

A 30 second scene would have worked.

As all the characters learned throughout the series, omission of the truth is just a form of lying and there are always repercussions i.e., Chloe and Father Kinley, Dan shooting Lucifer, Maze finding out about Lilith and even Ella not being told. As far as free will, both Chloe and Lucifer had their free will taken from them in the end. By Rory forcing them to abide by her wishes, their free will was forfeited. It was a huge manipulation on Rory’s part and considering how much Lucifer hated manipulations it just didn’t sit right.

Parents making huge sacrifices I get. Chloe and Lucifer sacrificed everything for their child. Unfortunately for me this sacrifice, the way it was written seemed contrived to pull out maximum and IMO unjustified angst. I love angst.  Hell, this is my favorite show.  I thrive on the angst. But as I wrote earlier, all the anger, angst and hatred towards Lucifer could have been achieved without having Lucifer completely out of the picture. I have two kids and my husband, and I have made huge life altering sacrifices for them as many parents do but being there for the day-to-day little things was what made the difference in their lives and cemented the close relationships we have with them.

“Yeah, dad you were great. Showing up for the fun stuff, always swooping in for the big finish to play the hero then ditching us when things got tough. When Grandma was dying where were you?  Nice that you showed up for the funeral but the six months leading up to it…we needed you and once again you weren’t there. When T got sick, when Jen broke my heart, blah, blah, blah…”

Even the whole Chloe dying scenario. They could have written it that rage Rory traveled minutes before Lucifer got there. Have him pop in right after Rory comes back. There were so many ways to achieve the end game they wanted other than the way they went. It seemed contrived and as if they took the easy way out to get where they needed to go. The Rory rage that was the catalyst for her traveling back in time and Lucifer finding his calling could still have been accomplished without the whole Lucifer disappearing storyline.

Now that I’ve finished my diatribe there’s a couple of additional things I would like to say.  Lucifer is and always will be one of my favorite shows of all time. There are not enough words to describe the comfort and enjoyment this show has brought me. Thank you, thank you, thank you to the producers, cast and crew. You truly created something special.

To the fandom. Please do not let a polarizing conclusion rip apart the fandom. The only other fandom I was a part of tore itself apart so badly that the FBI got involved.  Hence why I waited for 15 years to dip my toe in again. Everyone invested in this show has the right to their feelings.  Debate is fine, baiting and bullying are not. The Lucifer fandom like the show is very special. Without the fandom we wouldn’t have gotten any conclusion so don’t let opposing viewpoints tarnish what has been a magical journey.  

[wonda-cat]

Some Thoughts on Tommy’s most recent stream (4/29)

(For the record, this isn’t going to be like my other formal analyses. I’m genuinely just ranting here, possibly unedited too. I’m only referring to the characters, unless stated otherwise.

Also obvious warning, this will be fairly negative/critical of the DSMP’s writing, so scroll past if that might bother you. I tend to criticize the media I love, so this is just par for the course in my case.)

Let’s start off with—

The Things I Liked

All of the comedy at the beginning of the stream was wonderful. Ghostbur was incredibly endearing and entertaining as usual, as well as the moments between bench trio. Tommy’s change of plans made sense and the entire journey through the prison was tense and fun to watch. As well as the moment Tommy got caught (it was inevitable.) 

It goes without stating, but cc!Wilbur and cc!Tommy’s acting was wonderful—they knocked it out of the park. I liked the little moments of Tommy calming Ghostbur down as Sam screamed at him. I also loved Wilbur's speech about his time in the afterlife when bench trio found him. 

As well as the moment with Wilbur admiring the sky and calling it ‘his sunrise.’ I’m also glad that the afterlife was explained to be caused by the Revival Book’s existence and not some general eternal torture every character will be sentenced to regardless of anything they did in life. 

But, sadly, that’s about where I stop and have to go into what I didn’t like as much, which is—

Everything Else

I’ll be talking about my major gripes with this particular stream in later bullet points down the line, but for now I’ll bring up the little things that annoyed me. This is all basically nit-picking and isn’t as awful or badly written as some of the others I’ll be discussing later. 

First off, Why is Ranboo There? In the stream before this one, Tommy had Tubbo promise to not tell anyone else about their plan. Did he just decide to tell Ranboo anyway? Why? What was the point of asking him to keep it secret if it didn’t matter? 

Adding to this, Tubbo and Ranboo were rather unnecessary for any of the other scenes that took place. They didn’t have any meaningful conversations with Tommy besides Ranboo asking why he was dreading Wilbur’s revival so much, as well as Wilbur’s comments to Tubbo about him being president. But other than that they have little to no notable speaking lines. 

They don’t Do Anything? Sure, they’re nice to have present so Tommy can vent to someone else and find comfort but, in the end, Ranboo was oddly angry and accusatory with Tommy and Tubbo was practically absent from the scene. The impression I got from Tommy and Tubbo’s conversation in the previous stream implied that Tubbo would be serving a larger role as a distraction, but I guess they changed gears or something? 

Then we have Ghostbur’s involvement, which, yeah, makes sense. Tommy, Tubbo, and Ranboo are not allowed inside the prison, so it’s best to find someone else who can get in without suspicion. But my first assumption, upon seeing Ghostbur with the group was, “Oh, he’s gonna go in there and Dream’s gonna use him to revive Wilbur. That’s the only reason why Ghostbur is here and not anyone else, who would also be willing to kill Dream. It’s not like they’re in short supply right now.”

And I ended up being right, which only frustrated me more. I wanted something unexpected. Something new. Something interesting. Yet, I got the most predictable outcome instead—Tommy fails, Wilbur is revived. 

Next, we have another big serving of ‘Tommy gets blamed for things he has no control over’ part 241. I am so, so sick of characters getting unreasonably mad at and blaming Tommy for anything and everything. It’s not new, it’s not interesting, it’s not fun. It’s just miserable. 

It is,, awful. And it’s highkey frustrating. I refuse to sit through another arc of Tommy being endlessly hurt and blamed for stuff he didn’t do or cannot control. Pick a new event in the plot. 

Try something out of left field. Do something, anything different to this. I’m begging you. 

Now, we get into the major writing pitfalls and shortcomings. Starting with—

We Need to Talk About Sam

I have no idea what is going on with Sam’s character right now. It is so genuinely confusing. I have no clue why Sam reacted the way he did to Tommy because it just doesn’t make any sense. Sam’s entire inner conflict is about him trying to cultivate and protect his humanity and morality while upkeeping a strict, closed-off demeanor.

He follows the rules, even if it hurts the people he loves. Even if these codes force him into a position to be unethical. He feels it is his responsibility should anything go wrong or if Dream escapes, because it puts others in danger.

His strict approach got Tommy killed, and it also took a life and an arm from Ponk. Both of these people are precious to him. So why on earth would he threaten to kill Tommy when, in their last interaction, he was glad he was alive—after he promised to never let something like that happen again?

He respected Tommy’s wishes to stay away from him, and rather politely too. Why would he then threaten to kill him just after weeks of saying Tommy’s death was his biggest regret? That’s not even touching on Sam saying, “This is why I let you die,” as well as blaming Tommy for something that was directly a result of his own refusal to act.

Why didn’t he have Ghostbur also hitch a ride on the same platform with Tommy? Why did he even let Ghostbur into the prison in the first place if he:

A.) Told Ranboo he wasn’t going to let anyone in there after what happened to Tommy.

B.) Also wouldn’t let people in lest they find out about Quackity’s plan.

C.) Couldn’t even kill Ghostbur because he’s incorporeal and thus cannot fully upkeep the contracts he is signing.

There’s also the issue of Sam breaking the rules he abides by when he decided to not kill Tommy after he snuck into the prison, despite it being in the contract. Why is it different now? He went against his own protocol but was also following it by refusing to let Ghostbur come back to the other platform?

Why does Sam refuse to listen to Tommy? Their argument is mind-numbingly ridiculous. Sam refuses to hurt Dream, despite him only being alive because Sam claimed Tommy wanted him alive.

But now Tommy is there, begging Sam to let him kill Dream, and Sam just goes, “No. We’re not killing Dream.” Fucking why??? Sam! You said you wanted to kill Dream at least four times by now! Maybe more!

You were on your way to do it with Quackity and the only thing that stopped you was your promise to Tommy. But now Tommy’s here, telling you to kill Dream and you fucking won’t???? I am absolutely baffled.

No matter how you spin it, it makes no fucking sense. However, if I tried,,, I could possibly come up with a reason or two. Maybe Dream is blackmailing him. Maybe Quackity is forcing him to keep Dream alive until he can get the info he needs (even though,,, why would he trust Quackity over Tommy, who he’s outwardly stated he trusts just as much, if not more?)

It feels like these plots are dancing around each other, trying to keep up this faux sense of conflict that doesn’t exist. But, here’s the thing, contrived conflict is never compelling. I can’t overstate it enough.

Dream’s Plan is Complete Nonsense

The method to revive Wilbur makes Dream seem even more short-sighted than I remember commenting on, during the stream where Tommy was brought back to life. He told Tommy that his plan was to test the book to see if it worked (which, okay fine, I can buy this.) But then he says all along he was planning to revive Wilbur in order to break out of prison, which is ???? This is baffling if he needed Ghostbur in order to pull this off. 

Which,,, I can’t even begin to explain how ridiculous it is that Dream’s entire plan hitched on not only the book working on people to begin with (which he tested on Tommy,,, for some reason, even though he would’ve lost his ‘favorite toy’ if he fucked it up. Which,, why even take that chance in the first place? there are other visitors he could’ve tried this with, surely. Like Sapnap and Bad,,) and it also relied on Ghostbur voluntarily going into the prison just to visit Dream?? And if he didn’t need Ghostbur after all, then why didn’t he bring Wilbur back weeks ago? 

That’s not even getting into the issue of Dream assuming that Wilbur, once brought back, would: 

A.) Want to be alive in the first place.

B.) Actually be willing to help Dream, instead of telling him to fuck off.

C.) Be even slightly capable of helping him at all when he has no allies, no PVP skill, no weapons, no armor, and no knowledge of the prison or its innerworkings. 

Why are the current DSMP writers so committed to making me think Dream is a fucking idiot? I don’t enjoy this. I used to like his character and think he was smart. Stop. 

ALSO, why did Tommy or Tubbo or Ranboo not think of the possibility that Ghostbur could very well be necessary to revive Wilbur? Why did that not cross any of their minds? It was the first thing I thought of when I saw him.

Another big thing that irks me is Tommy and Sam saying they saw Dream physically holding the Revival Book, which,,, how? Why? Dream said in previous streams that he burned the book and that was entirely the thing that kept him from being killed outright. If there was a book still in existence, did he hide it somehow? 

How did Quackity not find it? Why did Sam not take it from him when he was first arrested?? What? 

Also how the fuck did Dream kill a ghost?? They’re incorporeal? How does he not need the body to perform necromancy? That seems almost redundant. 

Also it took a matter of seconds to perform? It took,,, ?? nothing but words and sheer willpower to bring someone back to life? Why does it seem so easy? My mans just,, uses his vibes to bring people back from the dead??? 

Unless the book has instructions regarding that or has a proportional price in order to use, then I’d be more forgiving. But I’m guessing it doesn’t have too steep a cost if Dream could offer Tommy immortality despite that. But I’m sure we’ll get more information on this once Quackity (inevitably) gets his hands on the book. Hopefully… 

Which brings me to my last point—

Wilbur’s Revival (Derogatory)

Since the Revival Book was introduced, I have been actively dreading Wilbur being revived. It is the most predictable, low-hanging fruit of a plotline I could possibly conceive of. I understand that he’s a fan-favorite with a large audience (I love Wilbur more than you’d expect. cc!Wilbur is actually the reason I got into the DSMP in the first place), but there are other characters who could be developed more—utilized more. 

Unpopular opinion, I know, but I am just so incredibly unenthused about this plot development. In fact, I’d almost go so far as to say hate it. 

The Revival Book in and of itself is my least favorite thing the DSMP has ever introduced. It is a lack of consequences simplified. It’s also a lack of commitment to those mortal consequences. 

It is a ‘get out of jail free’ card for when they kill off a character and don’t want to deal with the hole that character will leave behind. Or a way to work around the reason they shouldn’t kill Dream on the spot. 

With Wilbur back again, I no longer feel compelled by his arc the way I used to. There is nothing to really leave a lasting impact anymore. Of course, there was a cater where L’Manburg once stood, but that was dug even deeper later on. You can’t make the death of a friend, of a loved one, worse than it is. It is death. 

The thing I found extremely interesting about Wilbur’s death is the way the other characters portrayed loss. It has consistently been the thing that was most comforting to me, oddly enough. When people die, there will always be loose ends. 

There will be holes left behind and things left unsaid. An unfulfilled promise. A forgotten relationship. A hollow memory.

What I always found compelling was the way Tommy and Fundy and Niki took this mutual loss and had to live with it. How they had to come to terms with the fact that Wilbur was gone and he wasn’t coming back. That they had to make peace with his memory, his legacy, and their connection to him. 

That they’d miss him and love him or hate him and try to forget him. It is a tragedy that someone like Wilbur wanted to die for so long, and in the end, he did. Because in reality, the people you love will die. 

There may be someone in your life that leaves you behind and all you’re left with is the broken pieces. And it is how these characters move on that brings me bittersweet company as someone who’s lost a lot of people. There is nothing more irritating than a story going back on its establishments—to have their cake and eat it too. 

All I want is the bare minimum—a story with narrative stakes and consequences.

The only way I could ever see myself enjoying this plot development is if Wilbur has a redemption arc and attempts to make amends with Tommy, Fundy, Niki, and Eret. OR if he aids in Dream’s downfall in some way and enjoys the simple realities of life and wants to live for the sake of living. I’d find that at least new and somewhat interesting. 

But if he’s just here to be a moustache toiling villain (or somehow worse than after his previous downward spiral), when the market is already so deeply oversaturated with antagonists, then I will probably drop the series altogether. 

Hopefully it doesn’t come to that because I love the Dream SMP and I want to keep loving it for as long as I can. 

I will hold onto more reasons to stay, so long as they keep giving them to me.

[9worldstales]

MCU Loki Ep 4 “Nexus Event” intensive analysis

Okay, new episode which is, thankfully, kind of better than the previous. But let’s start with order.

So we’ll start with Asgard, only we aren’t told it’s Asgard nor in which year we are. I hope the fact we aren’t told the year is meaningful, because otherwise it’s just lazy.

We see a child Sylvie playing with toy dragon and toy Valkyrie when Renslayer, at the time a young hunter and other hunters get there to capture her. We don’t know what little Sylvie did wrong. As far as we know she had no magic so, unless she actually did have magic and her adult version didn’t know, it’s not like she was a male Loki who shapeshift into a female so this can be her Nexus event.

She’s just a child playing.

Whatever, Renslayer and the others didn’t care she’s a child, they decide she’s the Variant they were hunting, grabs her and take her away.

At the TVA Renslayer holds her for her arm in what should be an uncomfortable grip for poor Sylvie and doesn’t even look at her or tries to reassure her in any way.

I remember, when we saw all this being done to Loki, wondering if the series would dig into police brutality. Sylvie sees a man getting dragged in, she’s scare she asks for someone to help the man, no one cares. She goes through the same routine Loki went through at the TVA. Mercifully we don’t see her being left naked but we see her being forced to wear the TVA prison uniform for Variants.

For all the people who though what Loki went through was funny and the TVA was justified in doing it, now I want you to look well at what they’re doing at this poor child. It’s the same thing. Is it still funny? Do they still lokk like the good guys.

She’s scared and, as far as she know, she did nothing wrong and, despite her young age, no one is showing her any sympathy.

She’s guilty of the same crime Loki committed, ‘crimes against the Sacred Timeline’. She’s handled the same. If you justified or excused or agreed with what was done to Loki for ‘crimes against the Sacred Timeline’, you were agreeing to what is happening to her now.

Being stripped of her rights, handled like an object for a crime she had no intention or idea she had committed because it was made up by some unknown authority.

Once in front of the judge Sylvie manages to escape to Renslayer’s grip and steal her tempad.

Now, I can excuse the escaping and also the stealing. Maybe Renslayer is inexperienced and maybe she didn’t expect dangers from such a young child but how did she figured she has to steal the tempad and how to use it?

Up till now how Renslayer has used the Tempad for was to recognize her as the Variant they were searching for. She shouldn’t know it’s the Tempad which opens the Timedoors or how to work it. Sure, we can assume it’s really easy to use it but it  still makes no sense she knows she has to use it to open the timedoors.

Whatever, Renslayer remains frozen on the spot when little Sylvie escapes and I can wonder if she felt a bit of sympathy for her… only the scene is kinda weird because she looked angry and ready to strike when the Sylvie stomped on her feet so this sudden sympathy when she’s about to escape is out of place. They just stare at each other, NO ONE making an attempt to grab Sylvie before Sylvie escape through the timedoor which, differently from how it had done with Loki in Episode 2, immediately close behind her.

The scene switches to Renslayer who has her eyes closed as if this was her memory.

She then opens them and enter through a golden door, supposedly going to see the Time-Keepers.

We get a glimpse to the Time-Keepers and then the title.

In the next scene the door opens and Renslayer marches out of it, Mobius confirming she went to see the Time-Keepers. He asks her how she feels and she says she’s not well because she had to meet the Time-Keepers in a bad situation and it’s stressing enough to meet them when everything goes well so this is really terrible.

Now… I don’t know. Later in the episode it’ll turn out the Time-Keepers are fake so… didn’t she know? Is she pretending to be stressed for Mobius’ benefit?

She says the Time-Keepers are blaming her for the situation and for how Sylvie and Loki escaped. She doesn’t mention Loki tried to stop Sylvie from meeting the Time-Keepers.

In short although Loki tried to stop Sylvie and used the Tempad to escape only when Renslayer tried to kill them both,  through the whole episode they’ll handle him as if he tried to escape with her or worse help her to kill the Time-Keepers.

Renslayers remarks how

The Time-Keepers are all that stand between us and full-scale calamity.

…basically fuelling their own Time-Keepers cult.

Mobius though is more interested in talking with C-20 but Renslayer, with a tragic performance, tells him she’s dead because when she was enchanted this scrambled her mind and basically she began to decline till death. Tissues anyone?

Even Mobius feels a slight scent of b*llsh*t at this story since C-20 seemed fine when he brought her back to the TVA but since he trusts Renslayer he swallows it.

Poor C-20 clearly either got pruned or reset, somehow they didn’t decide to make the smart thing and re-brainwash her, but just preferred to kill her off.

Renslayer persuades Mobius to keep C-20’s death a secret so as not to create panic.

By the way, NO ONE IS TALKING ABOUT THE BOMBED TIMELINE AND NO ONE WILL TALK ABOUT IT LATER ON. It felt like the bombed timeline was merely something they did in Ep 2 to distract TVA and the viewers so that Sylvie could sneak in but nothing serious since it gets dropped so easily which is beyond disappointing. I mean, in Ep 2 it seemed to be such a huge problem and now… it’s nothing. All solved, all forgotten, just some extra work done in a short time.

Apparently, resetting the timeline in god knows how many points did nothing.

Really, that feel more like a dropped plot point or a plot hole than anything else.

For all that’s worth I find the acting between Mobius and Renslayer good. Every actor is working really hard in this series and I feel bad if it were to get lost into plot contrivances and plot holes.

Back to the story Renslayer pressures Mobius into tracking Sylvie and Loki.

The scene switches back to Lamentis. A lot more meteorites are falling but none of them close to Loki and Sylvie.

Sylvie is sit on a stone. Loki reaches her and apologizes. Because this episode wants him to be a narcissist but he again shows empathy to her.

Sylvie opens up to him, talking with him about her life.

Now is what Loki said about love being a dagger is something that’s not profound and pompous what about this that Sylvie says?

The universe wants to break free, so it manifests chaos. Like me being born the Goddess of Mischief.

It’s completely her speculation and gives her a sense of grandiosity. SHE’S IN A MISSION FOR THE UNIVERSE! THE UNIVERSE WANTS IT!

Don’t take me wrong, the TVA is keeping everyone prisoner but the universe didn’t create the Loki so as they could become its saviours.

We continue with Sylvie story. We’re supposed to swallow not only she figured the Tempad could open timedoor and how it worked but also how to recharge it and how to escape the TVA despite their many attempts to get her. Sylvie, who was already amazing for teaching herself how to enchant people, is set up to be even more amazing as she’s basically teaching herself everything and escaping from the TVA by centuries from when she was a young kid.

Who’s Tony Stark compared to her?

If this were to be a fanfic we would call her a Mary Sue or a Gary Stu.

She’s simply so awesome it doesn’t seem realistic for no reason at all especially compared to the other Loki Variant with her.

As Waldron is not a young girl writing for free I fear nobody will dare tell him he created a Mary Sue and people will only praise him for the oh so competent Sylvie.

And mind you, we need characters like Sylvie, who’re very competent.

Characters who’re sex fluid and bisexual and with a woman body and can still be strong and competent and above others… but the whole thing feels forced because she’s too good without a logic behind it, from figuring out it’s the Tempad that opens time door without never seeing it to do, to successfully escaping the TVA for so long.

When Loki managed to steal the Time Twister and use it, he has seen it being used previously more than once so it made sense he could use it and he had, to figure out how it worked, all the time Mobius spent discussing with B-15.

It made him smart to realize he could use it and he used it in a clever way but it wasn’t unbelievable because he had a grasp of how it worked, of what it could do.

Sylvie only saw it being used to identify her yet she guessed it was the thing that opened the Timedoors and how to make it work despite the Tempad having more than one function in basically a moment.

Then, although she apparently keeps on causing Nexus events everywhere she goes, she always manages to be one step ahead the TVA, escaping their grasp and, in all this, she also managed to recharge the Tempad using amazing power sources where Loki supposedly has no idea how it’s done. She fed herself, she learnt how to fight, she got herself a sword, she learn enchantment without having any basis whatsoever…

She’s the ‘superior Loki’ in a way, but why she should be superior to all the other Loki is absolutely random.

Anyway she says she grew up among ‘ends of the worlds’ and she will die in one of them, all while the scenery around them didn’t seem apocalyptic but romantic.

And mind you, the visual is really pretty but I feel the romance is misplaced, unnecessary.

And I’m still not sold in how they’re representing the moon.

Meanwhile Mobius is searching for them or better for a Nexus event that will lead him to them.

B-15, who hates variants, suggests they’re gone planning their next massacre… which isn’t true but if it were… can you blame them when you were the one who wanted to kill them in the first place and humiliated and belittled them? Should they have thanked you for your mistreatment?

She then asks about C-20 and Mobius says he has none so, worriedly, B-15 tries to urge him to… do something.

We go back to Loki and Sylvie and to the moon conveniently crumbling above them and yet not hitting them with them perfectly calm and enjoying the show.

Sylvie starts getting depressed.

Sylvie: Not long now. Do you think that what makes a Loki a Loki is the fact that we're destined to lose?

So okay, she feels she has lost but this is kind of a big leap. I mean, if the fact Loki was destined to lose is what made him Loki… then Thanos is Loki and Obadiah Stane is Loki and Red Skull is Loki and Killmongrel is Loki and so on.

Loki counters with something… interesting.

Loki: No. We may lose. Sometimes painfully. But we don’t die. We survive. I mean, you did. You were just a child when the TVA took you, but you nearly took down the organization that claims to govern the order of time. You did it on your own. You ran rings around them. You’re amazing!

Okay… so he knows he died in the sacred timeline. What’s his basis for saying they don’t die? The fact he survived to the wormhole? When he specifically wanted to die? Or that he survived through Thanos? Is the series ever going to touch that or we should pretend it never happened and Loki had a nice holiday with him?

Or a Time Charge hit the timeline in that point and erased that year Loki spent with Thanos?

Whatever, Loki is now busy admiring Sylvie for her efforts and being supportive… but it seems Marvel doesn’t want to count this as him being empathic and supportive with another being because she’s Loki… only episode 3 and the beginning of episode 4 went to great lengths to establish she’s not and hey, technically episode 3 is right in this.

I’ll point it out here and not later on because it’s probably important to discuss it immediately as it’ll come up later on a lot.

The identity of a person is made up by nature and nurture. Part of you is what you physically are, your genetic code that decide if you’re black or white, male or female or something else, human or a horse, tall or short, healthy or sick.

What you are will dictate part of what you will experience so it has a huge impact on you as it will decide part of your skills and part of your weaknesses.

Then, of course, there’s nurture.

Let’s pick twins. It’s worth to mention not all the identical twins share EXACTLY the same DNA because recent studies have proved mutation occurs in around the 15% of identical twins.

It’s also worth to mention that nurture begins really early. Even if we assume the two managed to keep the same genetic code, during development in the womb one twin might not receive the same amount of nutrients and this might affect his development.

And nurture will continue to affect them as they can even experience similar things (same parents, same house, same school) but there will be always differences that will end up affecting them.

Each twin is his own person, they’re not the same.

So now, Loki and Sylvie.

They’re clearly genetically not the same. What’s more we’ll see at the end there’s even a black Loki so basically this series doesn’t require the same genetic code for a Loki to be a Loki. So nature isn’t relevant here.

What about nurture?

We just learnt Sylvie’s story is completely different from Loki.

As a result her powers are different from his own. Her skillsets, her reactions, her temper is different from his own. She has different goals and different wants. As Sophia Di Martino said, she’s Sylvie, not Loki.

She’s as different from him as another person could be.

To me she even looked more like Thor than Loki.

So really, how’s self admiration when she’s actually not him? The only way for it to be self admiration would be if Loki isn’t admiring her for her own accomplishment, but just because he was told she’s him. But in this case he wouldn’t have been babbling for ours about who’s the lesser Loki.

If all Lokis are made equal in his eyes and worth his admiration because Loki then there’s no point to discuss who among them is better.

In short it’s a damn mess.

Anyway Sylvie touches Loki and he’s kind of surprised, in fact he looks at his arm.

In “Thor” the touch of a Frost Giant could turn Loki into his original look but we know Sylvie has touched Loki already when she tried to enchant him and that’s not the problem.

I wish the trick were she has enchanted him but later Mobius will say the problem is that they had started swooning on each other which opens a huge can of worms but we’ll discuss them later.

So now back to Mobius we go and to the timeline which begins to branch, signalling problems on Lamentis 1.

We return to Loki who raises his eyes from his arm and he and Sylvie look at each other for a moment before returning to pay attention to the show of meteorites falling closer. They turn again to look at each other, holding hands this time and smiling.

Back to Mobius we go and to how the branching timeline seems to go on a perpendicular line rather quickly. It impresses Mobius as it’s apparently an unheard event.

Back to Loki and Sylvie we go and to how two TimeDoor open in front of them.

We don’t know if they jumped through them to survive or if the TVA came out, grabbed them and dragged them through and it doesn’t matter.

In the next scene we see that both Sylvie and Loki are collared, held by guard as they struggle and escorted through the corridors of the TVA, Mobius leading them.

They’re then parted and when this happens they look at each other.

As they walk Mobius begins to talk with Loki. Evidently Mobius has no idea that Loki had been trying to stop Sylvie when they were at the TVA and works on the assumption they were accomplices. Maybe. It’s not really clear on which assumption Mobius is working.

Loki accuses him to have betrayed him and Mobius counters it’s Loki who betrayed him.

Actually they’re both wrong, Mobius more than Loki.

For a betrayal to happen, there needs to be a break of trust.

Now, in regard to Loki, trusting Mobius was a mistake. Mobius picked him up from the trial because he needed him for a use and was never honest with him.

Meeting the Time-Keepers? Mobius can’t met them himself, how could he help Loki meeting them?

But whatever, Loki apparently trusted him so I take he feels betrayed by how Mobius had him arrested when he actually didn’t betray Mobius. He tried stopping Sylvie, he tried capturing her, he ended on Lamentis 1 because Renslayer tried to kill them both, he didn’t cause the timeline to branch on purpose, for most of his permanence on Lamentis 1 he wanted to leave the planet and stick to his own plan to bring Sylvie back to the TVA.

So Mobius arresting him clearly feels an act of betrayal to Loki. He doesn’t know Renslayer didn’t report he tried to stop Sylvie and the fact Mobius didn’t trust him to do what he was supposed to but handled him like a criminal likely hurt.

But, as I said before, for all Mobius can say, he’s not his friend, he’s not someone who would trust and support him, Mobius cares about the TVA.

And Mobius feel betrayed because he thinks Loki plotted against the TVA with Sylvie.

This is wrong for two reasons, the first and most obvious being that Loki didn’t plot with her, the second being that, although Loki seemed to have missed it, he was working with Mobius under coercion. The TVA wanted to prune him, Mobius saved him but in exchange Loki had to make himself useful. This was made clear in episode 2 as well. Mobius said if using Loki didn’t work he would delete him himself and he made Loki sure this was his last chance (before being deleted) and that he had to work to make himself useful while Mobius went and have lunch.

You aren’t entitled to expect genuine loyalty from someone when you tell them ‘if you don’t give me what I want I’ll kill you’. I hope no one has forgotten this little talk from episode 2:

Mobius: This is the final step. Your last chance.

Loki: Oh, and what does my desperate last chance require?

Mobius: Work.

Loki: Work?

Mobius: I need you to go over each and every one of the Variant's case files, and then, give me your... How do I put it? Your unique Loki perspective. And who knows? Maybe there's something that we missed.

Loki: Well, you're idiots. I suspect you probably missed a lot.

Mobius: That's why I'm lucky I got ya for a little bit longer. Let me park ya at this desk. And don't be afraid to really lean into this work. Here's a good trick for you. Pretend your life depends on it. I'm gonna get a snack.

Mobius made really clear if Loki didn’t give him what he wants he’s a dead man.

For some weird reasons Loki decided to still be loyal to him (okay, so he wanted to get to the Time-Keepers and might suffer of Stockholm syndrome), but the most logical thing, as many had pointed out, was escape from the TVA first chance he were to get as Sylvie has been doing.

Now… to be honest there are situations in which you could ask this from another.

If Mobius had told Loki ‘Sorry, I know this is unfair and I want to help you but I can’t do more or I’ll get killed too. So I’ll protect you but I’ve to ask you to protect me as well by putting up with this.’

This though would have required Mobius to prioritize Loki’s survival and consider the fact he needed Loki to catch the Variant as an excuse to keep Loki alive.

That’s not the case, Mobius made clear although he has sympathy for Loki, he prioritizes catching the Variant. He didn’t suffer any repercussion when things went wrong.

He’s absolutely safe, his only risk comes from the Variant but this was the same even prior to Loki getting involved.

Mobius is using Loki and, in exchange for using him, he let him enjoy the benefit of being alive, albeit belittled by others around him. As I said talking about Episode 2, they don’t have an equal partnership.

I hate how Mobius says this:

Mobius: You know, it occurred to me that you're not really the God of Mischief.

Loki: Oh, here it comes. The folksy, dopey insult from the folksy dope. What am I? The God of Self-Sabotage, yeah? The God of Back-Stabbing?

Mobius: Just kind of an asshole and a bad friend.

The worst part is that Mobius seems to genuinely believe he’s a good friend to Loki, opposed to Loki who’s a bad friend. He didn’t even listen to his reasons or asked him what had happened. When Loki tries to tell him something ‘the TVA is lying to you’, he merely assumes Loki is lying. Mobius has no idea what a friend is. He’s angry in the way a pet owner is angry when his dog peed on the carpet, he doesn’t view Loki as equal, which is the basis for being friends.

His idea to deal with Loki now isn’t to listen to him, it’s to punish him by having him being beaten and belittled, as well as tossed hurtful words about Loki’s worst fear, being left alone. He doesn’t even dirty his hands with doing it himself, he just traps Loki in a timeloop in which Sif slaps him, kick him in the groins and punches him telling him he is a ‘conniving, craven, pathetic worm’ and that she ‘hope you know you deserve to be alone and you always will be’, all this because Loki cut her hair.

Now, this is based on something the Loki of the myth did, and that Marvel also had Loki do more than once in the comics, either with Sif or with other characters. In the original version and in the Marvel version Loki didn’t just cut some locks from Sif’s hair as he did here, but basically turned her bald.

It doesn’t matter, yes he was an *ssh*le and yes, I think Sif had all the rights to be angry and call him names and beat him.

BACK THEN.

Loki hurt her, she hurt him back, they are even. That’s the end.

Even Sif knows as she doesn’t remain there to beat him further until all his bones are broken.

Of course this is not going to work because beating someone and calling him names doesn’t magically turn that person into a better person, that’s why many countries abolished corporal punishment and considered it an useless torture.

But this doesn’t mean it’s okay for Mobius to take that moment and traps Loki into a time loop so he can get beaten and humiliated to Mobius’ heart content until he says he’s bad, bad, bad, which in real life is equally useless because we know if you start beating a person and won’t stop until he says what you want him to say, people in the long run will say everything to make the beating stop, they even confess crimes they didn’t commit.

That’s why, in many states, if you arrest someone you can’t beat him until he confess and any confession obtained by beating him is null and void.

And I particularly loathe the framing of all this for more than one reason but let’s start digging with the first ones.

“Thor” side material established that Sif is a better fighter than Loki but sadly the idea a girl can’t hit as hard as a man rules so Sif beating Loki doesn’t feel as bad as, let’s say, Cull Obsidian punching him over and over. Some see as fun that a male can be beaten by a girl and hit on the crotch, a rightful demeaning which excuses what’s being done because she’s just a girl and if Loki can’t defend himself it’s his fault… which is a rather disgusting mindsetting.

The fact Sif was, ‘supposedly’ Loki’s friend is clearly chosen to draw a comparison with Mobius… which doesn’t really work really well because we never truly saw Sif and Loki being friends.

In “Thor” she was fast in thinking he was plotting the downfall of Asgard. If the idea is their relation turned sour because Loki cut her hair… well, this is up to speculation because we never saw it being friendly.

And anyway, even Sif knew when to stop while Mobius evidently doesn’t as he continues to let him be beaten, again without even doing the job himself, framing it as if it was all Loki’s fault.

If he had to beat Loki into submission I would have honestly preferred him to just take a whip and beat him, this framing in which he ‘remains innocent’ while his dog gets punished for peeing on the carpet honestly disgust him. But okay, if the series were to use it to make a point about ‘police brutality’ I would have been fine with it. Mobius wants a confession, wants to force Loki to comply and beat him. The viewers will be shown how wrong is this and the message will be that you shouldn’t do it.

It would be great if Mobius were playing the part of the Bernardo Gui of the TVA.

Bernardo Gui: Brother Salvatore... these torments will cause me as much pain as you. You can end it before we even begin. Open the gates of your heart, search the depths of your soul. [Name of the Rose]

Too bad that’s not the case.

The scene switches to Renslayer’s office.

This is how Mobius defines what he’s doing to Loki:

Mobius: He's softening in the Time Cell, but while he marinates, I thought maybe I'd interview the other Variant.

Please, don’t tell me you never heard this sort of excuses in movies that included police brutality. Or outright torture to make you confess you were an heretic or guilty of a murder.

He’s not being beaten into compliance, he’s softening. We’re making him better, we’re making him willing. We’re absolutely not making anything bad in having him being beaten over and over. Because if you beat someone over and over you’ll always have a honest confession, won’t you?

Bernardo Gui: Since the verdict of the Inquisition has been disputed by Brother William... we are obliged to extract the prisoner's confession to murder. Take him to the forge and show him the instruments.

Remigio Da Varagine: I'll confess anything you want, but don't torture me. I can't go through a night like Salvatore!

Bernardo Gui: Very well. Why did you kill them?

Remigio Da Varagine: Why? I don't know why.

Bernardo Gui: Because you were inspired by the devil?

Remigio Da Varagine: Yes... that's it. I was inspired by the devil. [Name of the Rose]

But I’m running ahead.

Mobius would like to talk with the other Variant, aka Sylvie. Would he also torture her psychologically or physically or it would look bad on him to abuse of a woman? We don’t know as Renslayer, rather cheerfully, refuses to let him speak with her. Nobosy should speak with her.

Mobius tries in another way:

Mobius: I mean, if there's a mastermind here, I don't think it's Loki.

The problem I have with this sentence is that it’s not said because geez, it makes no sense Loki willingly escaped with a variant into an apocalypse with no means to leave it, all to create a branch that would allow the TVA to detect them and capture them.

It’s not even said because Loki is his friend and wouldn’t do it.

Or any other logical reason why Loki wouldn’t have done it.

The implication here seems to be just that Loki doesn’t seem smart enough to be the mastermind of all this fiasco, because this is a fiasco, mind you, as they were captured and if they weren’t they would be dead.

Renslayer’s reply isn’t what Mobius wants.

Renslayer: Good. Then he should be the easiest to break. Work your Loki and figure out what caused that spike. Time-Keepers are watching, Mobius.

She at least calls things with their name as she says Mobius is supposed to break Loki. To break him to get the truth. She has figured Mobius is having him beaten and she’s okay with breaking him. Because a regime beat people into compliance.

Then she put pressures on Mobius by telling him the Time-Keepers are watching which reminds me of how, in the past, people used to say to scare others ‘Remember: God is always watching you!’ and it wasn’t meant to be encouraging, as he’s watching you to protect you, no, he’s watching you because if you mess up he’s ready to punish you.

Welcome to the Time-Keepers cult everyone.

Mobius leaves.

We move to B-15 who’s asking to another hunter Sylvie has beaten if she’s Okay because Sylvie is the superior Loki and of course she has managed to beat one of the hunters guarding her.

Mobius joins B-15 and saying the hunter hurt comments:

Mobius: They don't go gently, do they?

WHY SHOULD THEY?

Are you going gently with Loki? You’re having him beaten over and over and my guess is you’re not doing the same with Sylvie because the show thinks it would look bad if they were shown beating a woman over and over.

Anyway B-15 is right when she calls Loki his ‘Variant pet’, as I said that’s how Mobius sees Loki, as a pet who peed on the carpet.

Mobius goes on:

Mobius: You know, we brought in Kree, Titans, vampires. Why is it the two orphan demigods are such a pain in the ass?

I hate this question honestly because it implies two orphan demigods should just go down quietly, that they aren’t as terrible as Kree, Titans, vampires. Why are they opposing to the TVA, why don’t let themselves just be erased. Or reprogrammed as you let the TVA do to you, Mobius.

You know, there’s people that’s not thrilled with the idea you can kill or submit them.

But Hunter B-15 despite looking down on the Variants, is worried so she asks if Loki said anything to him.

Mobius replies Loki told him the TVA is lying him. Oh, think the audacity! The TVA which is so honest. The agency he can believe it’s real because he believes it’s real.

Mobius: Odin, God of the Heavens. Asgard, mystical realm, beyond the stars. Frost Giants. Listen to yourself...

Loki: It's not the same. It's completely different. No. It's not the same.

Mobius: It's exactly the same thing. Because if you think too hard about where any of us came from, who we truly are, it sounds kinda ridiculous. Existence is chaos. Nothing makes any sense, so we try to make some sense of it. And I'm just lucky that the chaos I emerged into gave me all this... My own glorious purpose.

Mobius: Cause the TVA is my life. And it's real because I believe it's real.

Such a solid base. And Loki tells him they’re lying. No, really? His little personal cult, lying TO HIM?

Of course B-15 fears differently but she had an experience Mobius couldn’t share.

We go back to Loki who now is on the ground and is begging Sif to hit him no more. And a side of me facepalm.

Okay, as said before Sif was established to be stronger than him but he knows she’s coming. He could goddamn prepare and put up a fight instead than just stay there and get beaten which, I guess, is painful.

I’ll assume he can’t use his magic so I’ll forgive him for not using that but he could just take a flower vase, hit and crash it against Sif’s head when she enters.

Never mentioning that if he kept on getting punched and beaten, since HE doesn’t rewind, by now he should have a quite bruised check. Again, since Mobius wanted him beaten it would have made more sense if he just had whipped him but no, we needed to get this thing that supposedly tame the beating down so we don’t feel disgusted if we don’t think at it too hard.

Anyway Loki has enough and gives Sif what she wanted to hear.

Loki: Please, please, no more. Please, I beg you. I'm a horrible person. I get it. I really am. I cut off your hair because I thought it'd be funny. And it's not. Uh... I crave attention... because I'm... I'm a... I'm a narcissist. And I suppose it's... It's because I'm scared of being alone.

So let’s talk of all that’s wrong with this.

First of all Loki was coerced in saying this. It means goddamn nothing.

Second if this is meant to be the truth and someone doesn’t point out a little louder how the TVA is a fascist organization that deploy torture and anyway it’s bad to coerce people into saying the truth this way, it basically encourages to beat people to get them to be honest. Which is disgusting.

Third, it makes a HUGE deal of something that it’s relatively minor. I mean, Mobius wanted him to say he’s a horrible person? For cutting Sif’s hair?!? This is his worst crime, something Loki need to regret?

The TVA in Ep 1 was all about pinning on him the blame for the attack on New York but Sif’s hair, oh, cutting Sif’s hair is obviously worse. Only no, because it meant to happen in the Sacred Timeline so the TVA would have punished him hadn’t he done it.

So you can read this in two ways.

Either Mobius’ logic is dumb or the episode’s logic is dumb. If the story is trying to paint Mobius as an idiot and an hypocrite or he’s just trying to confuse Loki so that he’ll say everything and the opposite of everything and it doesn’t matter if it make sense or not fine, I’m cool, but if I’m supposed to run with this instead and think Mobius’ amazingly therapeutic way to get Loki to realize his faults and think at his behaviour and realize what he is, is to have Sif beat him into submission they’ll do better to think it twice.

Now… this part ‘I crave attention... because I'm... I'm a... I'm a narcissist. And I suppose it's... It's because I'm scared of being alone’ doesn’t make sense.

You don’t become a Narcissist because you’re scared of being alone. If you’re a Narcissist you crave attention and are scared to be alone but fears of loneliness doesn’t turn people into narcissists.

Now… is Loki a Narcissist? It’s kind of ridicule Loki would self diagnose it to himself, especially without any competence in psychology which on Asgard doesn’t seem to exist or they would know adopting a child and not telling him he’s adopted ends up badly in 99,9% of the cases. He’s probably using the term loosely but whatever, let’s run with it.

@lucianalight wrote an awesome essay (whose reading I recommend along with the others of the same series) explaining why he isn’t and Cinematherapy who can count on a real therapist, did a video explaining why he is. So who’s right?

Both and neither.

Let’s start with Cinematherapy as they employ a professional.

If you watch the video (recorded prior to the series) you realize they make a HUGE canon mistake right at the start. They assume Loki’s magical powers come from Loki being a Frost Giant.

That’s not bad will from their part, this is actually based on how they’ve watched the movies… and nothing else so they skipped all the additional side material and cut scenes. They didn’t watch the cut scene in “Thor: The Dark World” saying how Loki learnt magic from his mother nor read it in a side material publication or interview. They have no idea Loki’s sceptre was influencing him in “The Avengers” because that’s only written on Marvel’s web and not present in the movies and don’t seem to consider Loki in the year between “Thor” and “The Avengers” had to go through something terrible that could involve Thanos and torture or even death since that was only mentioned in interviews and in pretty vague terms. They consider “Thor: Ragnarok” part of the canon without considering how Taika Waititi deliberately, for his own admission, retconned it.

So their analysis uses the 5 movies and considers Loki in ‘perfect’ psychological state through the 5 of them. And it makes sense Cinematherapy analysis are meant to talk to casual viewers not to fans who knows everything about the movies.

@lucianalight instead considers all the side material included the cut scenes and the interview and discard “Thor: Ragnarok”. As a fan who well knows the story and the authors’ intentions she has access to a completely different set of information that Cinematherapy didn’t use in their analysis.

The result is that Cinematherapy and @lucianalight fundamentally looked at two different stories, albeit rooted on the same movies, and since they analyzed different material, they came up with contrasting analysis in which neither is wrong because they’re basically analyzing two different Variants of Loki.

But what’s the Variant we should look at to understand if the Loki of “Loki” is a Narcissist or not?

The real problem with diagnosing a character of fictional works is that said character is well… fictional. He can’t have a personality disorder, said disorder needs to be scripted into him by the writers… who often know very little of psychology, which is why I prefer to use trope to analyze characters than the effective mental disorders.

But with Loki we’ve a huge problem, because, in addition to the writers not being experienced about disorders, we’re talking about writerS, plural.

There’s more people writing Loki, and each of them can’t agree on how to interpret him.

So we have:

“Thor” in which Loki hardly presents traits of Narcissism.

“The Avengers” in which he presents them.

“Thor: The Dark World” in which he alternates presenting them, depending on the scene being written by Whedon or Don Payne (who also worked on “Thor”) and Robert Rodat.

“Thor: Ragnarok” in which he presents traits of Narcissism.

“Avengers: Infinity War” in which he doesn’t present them, if you read the interview, he’s just saying whatever comes to his mind to try to get a chance to kill Thanos and save his brother aware he can easily get killed… or in which he presents them if you don’t read the interviews and believes he’s persuaded he will come on the top.

If you mix the movies together and take them as they are without checking the additional material, the ones in which he presents traits of Narcissisms ends up colouring the view of the ones in which he doesn’t.

If you consider only “Thor” and “Thor: The Dark World” (the Don Payne and Robert Rodat part) which tried to keep the same continuity as the same scriptwriter was involved in both of them, he doesn’t.

I’ll be honest though, I think Marvel wants to slap that disorder on him.

They’ve discovered it’s oh so funny to have Loki feel so high and mighty and then be humbled down by having the Hulk smash him or Thor tossing him out of a spaceship or electrocuting him or Sif kicking him in his groins.

However I think Marvel is trying to milk their cow too much.

The scenes in which Loki is humbled work wonderfully in “The Avengers” because Loki genuinely felt high and mighty to the viewers to the point we didn’t expect him to be defeated, so seeing him being humbled down by the Hulk, by Hawkeye’s arrow, by Coulson shooting at him, were all powerful moves.

You didn’t expect them, Loki was a real threat in the movie and you’re as surprised as him when he gets defeated.

I mean when Hawkeye throws his arrow and Loki grabs it with no effort, it pushes you to think ‘oh, he’s too strong’ only for it to explode in his face.

You don’t get the same feeling in this series.

Loki is not strong nor particularly competent or bright. His words aren’t profound nor persuasive. His confidence seems baseless, his humbling down becomes expected, here, against Sif, he basically did NOTHING, except being beaten up. His verbal efforts to stop her were pathetic.

You aren’t surprised by Sif beating him, by Sif not being persuaded by his first weak attempts at stopping her verbally, his words aren’t convincing, his attempts at stopping her physically, inexistent.

It gets boring for the viewer as well as it ultimately gets ‘boring’ for Loki who, at a certain point says:

Loki: I've heard it once, I've heard it a thousand times. "You. You conniving, craven, pathetic worm. You did this." Right?

He’s no more affected, it had become routine and it is for us too.

It’s a fail a wasted scene.

Overall I think Waldron doesn’t think highly of Loki. He views him as a Narcissist who thinks highly about himself but in truth is nothing special. A comic relief, an agent of chaos. At the same time… I’m not sure he knows what a Narcissist is, or that he’s thinking at the Narcissistic personality disorder because this Loki shows empathy. In this episode he showed he is not envious of Sylvie and his arrogant behaviour is a cover to cover up his weakness.

So honestly… whatever, I don’t care. No, okay, I do.

I’m sad because I see a lot of people working hard in this series, from the actors to Kate Herron who really love Loki and wanted this job but for me the plot of a story and the characterization of the characters are important and only Sergio Leone can pull out a masterpiece with a man with no name and a poor script.

Mind you, this episode is better than the previous in terms of plot but… overall is weak. I really, really hope the series will improve in Ep 5 and 6 because episode 3 & 4 just weren’t that great.

I really want Loki to have a great series but wanting it and getting it aren’t necessarily the same things.

Anyway back to the plot.

Although after Loki’s confession Sif doesn’t beat him and help him to get up this is what she tells him.

Sif: You are alone and you always will be.

Basically yeah, Loki’s confession meant nothing because he can’t change anything. He can’t get attention or company, not even behaving better. This is Sif’s message in the end. He’s pathetic and this time she doesn’t beat him up because it feels like beating a pathetic person.

Now, I’m not saying she should have forgiven him. Not this Sif. But the overall situation is warped. Although she didn’t mean to, she technically beat him nonstop, he had way more than enough, and if Sif hadn’t been trapped into a timeloop she would have known.

This Sif was used as a toy to do a job Mobius didn’t want to do personally.

It’s overall a sick situation and, since this Sif didn’t know she had been abusing Loki for only God knows how long, although she helps him to stand she rightfully doesn’t feel they’re even.

And though Loki had gotten a break from being beaten, it’s clear his admission ultimately did nothing good to him psychologically. If he’s alone and will always be as such… why should he care he hurts others? Why shouldn’t he take a bit of fun where he can?

And all this is psychological manipulation of course because then Mobius appears like a balm.

LOKI: There's not many people that can sneak up on me. (turns to see NATASHA STANDING THERE)

NATASHA: But you figured I'd come.

LOKI: After. After whatever tortures Fury can concoct, you would appear as a friend, as a balm. And I would cooperate.

Now… I have not the slightest idea of what Mobius is planning to do here. He doesn’t trust Loki, he doesn’t really want the truth, whatever that can be, he wants a truth of his liking and this is not negotiable.

Loki tells him that he’ll give him info only if he’ll let him out of the place and stop beating him and he decides this means Loki previously wasn’t telling the truth because he’s not being submissive enough.

Mobius makes clear he wants to hear about the plan between Loki and the Variant and that he wants Loki to give him the answers he wants, not the truth. Which is stupid because instead he needs the truth.

When Loki tells him the truth, that he wasn’t partner with Sylvie, he’s dismissive of his answer.

Mobius: Yeah, I guess you don't do partners. Unless, of course, it benefits you, and you intend to betray them at some point.

Loki insists on not having a partnership with Sylvie.

Loki: It was a means to an end, Mobius. Welcome to the real world. Down there, we're awful to get what we want.

Mobius: Now I gotta have a prince tell me how the real world works?

I hate this mentality that has started to develop into Marvel movies as if royalty lived a fairy tale life and could have no idea of the real world, especially the part in which ‘we're awful to get what we want’ because it’s dumb. Royalty has an history of being awful to get what they want that’s as long as the start of civilization. If Mobius doesn’t know, maybe he is the one who has no idea how the real world work, how many wars had been declared because a king wanted the land of his neighbour or something else. How they could accuse people of betrayal or of imaginary crimes to get rid of them.

Laufey is a king and moved war to Earth. Odin is a king and drowned civilizations in blood.

T’Chaka is a king and abandoned his nephew so as to cover an unwanted truth.

The Supreme Intelligence of the Kree Empire took advantage of Carol Danvers, altering her memories.

And that’s just the Marvel universe. So really Mobius, are you sure that all royalty is the equivalent of Disney princesses who sings are lovely and have talking pets?

And then Mobius does a really STUPID question.

Mobius: Why don't you just tell me what caused the nexus event on Lamentis?

So the series has gone to a great length to establish people doesn’t know they cause a nexus event. They can’t see the sacred timeline they move at random and SLAM, sometimes they end up doing something they didn’t know they weren’t planned to do and it results in a nexus event. BUT THEY DIDN’T KNOW IT BEFOREHAND! SO HOW IS LOKI SUPPOSED TO KNOW?!?

But anyway they clearly weren’t supposed to be there so everything they do can create a disturbance if it’s not erased by the apocalypse. For example if they sent a missile to destroy the neighbour planet before Lamentis 1 was destroyed they clearly would affect the Sacred Timeline because the neighbouring planet wasn’t meant to get blasted away.

But still… they found them there, waiting for destruction with no means to escape and with no idea the TVA would have appeared because they broke the sacred timeline.

It’s kind of a giant warning sign they’ve no idea what they’ve done.

So Mobius demanding to know feels as if they had dumbed down Mobius as well.

Loki wants to play stubborn and he has good reasons since he fears for his life.

Loki: Let me say this again. I'm not going to tell you just so you can turn around immediately afterwards and prune me.

In reply Mobius decides Loki needs to be tortured by Sif some more.

So Loki does what Remigio Da Varagine did when Bernardo Gui promised to torture him, he tells Mobius what he believes Mobius wants to hear, that of course they were accomplices and of course they had a plan and he was in charge of it.

Only Mobius has decided that Sylvie is the better Loki so he doesn’t believe Loki is in control and, to test him, he tells him Sylvie was pruned.

This hits Loki as he has grown feelings for Sylvie. He tries to play it as he doesn’t care but Mobius guesses he’s affected.

On a sidenote the series painting Loki oh so transparent affects negatively Thor as well as Thor never seems to realize it when Loki is affected, which leads to the implication Thor is either dumb or doesn’t care or… he’s written by someone else who thinks Loki is better at masking his feelings.

Mind you, in the movies Loki has moments in which is feelings are on display for everyone to see but also moments in which they’re guarded. Here they simply are not. In the series his feelings are constantly on display as if he somehow has lost the ability to guard them even if he tries to.

Anyway Mobius decides that Loki caring for the variant means he got a crush on her. I wish I could say he’s wrong but this is what Waldron has to say on the topic:

“That was one of the cruxes of my pitch [for the series], that there was going to be a love story. We went back and forth for a little bit about, like do we really want to have this guy fall in love with another version of himself? Is that too crazy? But in a series that, to me, is ultimately about self-love, self-reflection, and forgiving yourself, it just felt right that that would be Loki's first real love story. The look that they share, that moment, [it started as] a blossoming friendship. Then for the first time, they both feel that twinge of, ‘Oh, could this be something more? What is this I'm feeling?’ These are two beings of pure chaos that are the same person falling in love with one another. That's a straight-up and down branch, and exactly the sort of thing that would terrify the TVA.” [Loki Writer Explains Episode 4's Sylvie Love Story Reveal]

Why there needs to be a love story? A romantic love story? Self-love is different from self-cest. Learning to appreciate yourself doesn’t mean you suddenly wants to date yourself.

Besides, if the whole point was having Loki fall for himself, then let Sylvie be him!

Sylvie is so different from him she could very well be a different person... and it’s actually worth to ponder a bit on this.

As I said before Sylvie is genetically different from Loki. By logic this would mean more than Loki, she’s Loki’s fraternal twin from a parallel dimension. Only, if the TVA prunes whatever diverges by the sacred timeline this means she should have been pruned at birth because the sacred timeline has a male Loki. But no, she gets the time to grow up till… the Asgardian equivalent of 10 years old?

And only because back then she has somehow made something that didn’t fit with the timeline?

What was that, she was told she was adopted and, since her parents this time did things properly she felt loved instead than the monster parents tell their children at night and was about to grow up as a psychologically healthy girl?

Anyway, back to the problem, we’ll see at the end that, among the other Loki there’s also another Loki who clearly doesn’t have the same genetic code of Loki. No, I’m not talking of the Loki played by Deobia Oparei, Loki’s skin colour was supposed to be blue, it’s of course worth questioning why Odin went for black instead than white this time (does he come with an Asgard where everyone is a person of colour?) but it can be just the result of Odin’s magic. What I’m talking about is the Loki alligator.

Because normally who give birth to alligators aren’t frost giants but alligators… that or Asgard was populated by alligators. Or, that Loki was magically turned into an alligator but somehow I doubt it.

So anyway, if Loki might not share the same genetic code with his variants and not being pruned at birth… this works for Laufey too. This works for everyone.

Basically all the Variants could be completely different people who happen to share the same name.

In a way we know about the TVA work as much as we knew before episode 1. Sometimes they accuse someone deciding he broke the timeline… but sometime they don’t care if such break is done. Why? Because the Time-Keepers say so.

Great, whatever, I really don’t see the need of Loki falling in love for a version of himself who couldn’t be more different from himself than Sylvie is. At this point he could have fallen in love for anyone, even B-15.

Couldn’t they put in the show Verity Willis instead than Mobius and Sylvie?

The genuine friendship and appreciation they have in the comic which is also part of what saved Loki in the end was much better than the ‘friendship’ he has with Mobius or the abrupt crush for Sylvie.

And mind you, I like Sylvie as a character. I just don’t like what the series is doing with her.

Mobius too is well done as a character… but he’s the farthest thing from a friend for Loki.

Back to the story Mobius is having the time of his life because Loki is in pain for Sylvie’s supposed death since he has fallen for her.

Because friends obviously love it when you’re in pain when you believe your crush is dead.

Then he goes and say:

Mobius: No wonder you have no clue what caused the nexus event on Lamentis. Both of you are swooning over each other.

Wait so he knew Loki has no clue about what caused the Nexus event? And despite this he tortured Loki? And now he claims Loki has no clue because he and Sylvie were swooning over each other? Because that’s always what happened when a Nexus event happens, isn’t it? People swoon on someone else and don’t realize they’re causing a Nexus event. Loki was probably swooning on the Tesseract and Sylvie on her Valkyrie doll, right? The logic here is big.

Mobius: It's the apocalypse. Two Variants of the same being, especially you, forming this kind of sick, twisted romantic relationship. That's pure chaos. That could break reality. It's breaking my reality right now. What a incredible seismic narcissist. You fell for yourself.

Yeah, the sacred timeline is something that can bear people being turned into slaves, Jewish people being gassed into concentration camps, children being abused, terrorism, the destruction of Pompeii, New York being attacked by the Chitauri, Lamentis 1 getting destroyed, Bucky being turned into a slave of Hydra, Asgard being destroyed, Peter losing his parents, Thanos purging half of the universe, Tony Stark having to die when they could have just wiped away the Thanos that went into the future but God forbid two Loki were to commit selfcest. What are lives lost compared to selfcest?

Much, much better to wipe away half of all the living things than that.

Because…

“These are two beings of pure chaos that are the same person falling in love with one another. That's a straight-up and down branch, and exactly the sort of thing that would terrify the TVA.” [Loki Writer Explains Episode 4's Sylvie Love Story Reveal]

Ah, okay, great, it’s just because they’re two beings of pure chaos. If it had been Captain America falling for a Variant of himself the timeline would have clapped at him. No really, I still hope you take back this somehow and say it was all to mislead us because for me it’s not a problem of selfcest. It’s a HUGE problem of something called LOGIC. What’s this “Alice in the wonderland”? Mobius continues being a good, supportive friend by mocking Loki when she tells him the Variant’s name was Sylvie. Really Loki, with friends like this you were better with Thanos calling himself your dad. Finally anyway Loki manages to have Mobius tell him Sylvie is still alive, which gives him some relief, then Mobius goes on.

Mobius: And was infiltrating the TVA, was that always sort of the grand plan?

Wait, is he implying that when Loki produced his first Nexus event he did it so he could infiltrate in the TVA? Because of course he would know that they wouldn’t prune him but Mobius would come to his rescue? What had Mobius been drinking? Then when Loki tells Mobius maybe the Time-Keepers need to be overthrown Mobius goes:

Mobius: I ought to box your ears.

Because of course, violence is the solution and Loki should only be grateful to the Time-Keepers who kidnapped him and want to terminate him, shouldn’t he? Mobius is simply terrible here… which I don’t like because in a while I’ll be supposed to feel sad for him.

Loki now tries to tell Mobius the truth… only Mobius doesn’t want to listen, he claims Loki already told him 50 lies in the past 10 minutes without even considering he called for them as he tortured Loki to get what he wanted to hear, not the truth and anyway, if Loki isn’t trustworthy why they’re having that discussion?

Plus he belittles everything Loki says by basically downplaying Sylvie. She’s his girlfriend, his female self. She’s not her own. And of course in addition to downplaying Sylvie he has to insult Loki’s feelings because that’s what friends are for.

Mobius: Whatever you want to call her. What, your female self that you have some demented crush on...

Honestly, if Mobius had had a crush on Loki I would have waved this as him being jealous and bitter Loki found someone else but he does not. He took possession of Loki, looked down on him as some sort of pet, tried to manipulate him into obedience and babbled of a friendship that clearly didn’t exist and that had no reason to exist even if he hadn’t acted as a jerk because they barely know each other.

Friendship is something earned over time, not something others own you because you save them from death provided they’ll work for you.

What in the world is the TVA idea of friendship?

Anyway Loki informs him they’re all Variants and all the truth connected to it.

For a moment it seems to work, Mobius seems to be affected.

But this isn’t a truth Mobius wanted to hear because it ruins the basis of the TVA and the TVA is…

Mobius: Cause the TVA is my life. And it's real because I believe it's real.

So Mobius goes and call all of that a lie and since he hadn’t been a jerk enough he felt the need to play Odin’s role and remind Loki of his path in the sacred timeline.

Mobius: You two, what a pair! Gosh! Unbelievable. Wherever you go, it's just death, destruction, the literal ends of worlds.

What a friend, huh? Honestly I think he went for that line deliberately, because he has seen Loki’s life in the sacred timeline and saw Odin tossing a similar line to him and knows it hurt him.

Odin: Do you not truly feel the gravity of your crimes? Wherever you go there is war, ruin and death.

It’s also probably worth to mention this Loki hadn’t caused any of the ends of the worlds he’s been in.

Then he does what everyone expected, he decided he didn’t need Loki anymore and could get rid of him.

Mobius: Well, I'm gonna have to close this case now, 'cause I don't need you anymore. Yeah, or as you might say, our interests are no longer aligned.

Honestly I don’t like the idea of Loki falling for Sylvie but with people like Mobius around him… why am I complaining? Sylvie, who also attacked and belittled him, was much better as she didn’t go and called herself his friend at least. She was more honest than Mobius so congratulation Mobius, you beat the Goddess of Mischief.

On a sidenote the lines red and grey on the wall give me the feeling they’re in a circus tent. So yeah

Loki: The Time-Keepers have built quite the circus, and I see the clowns are playing their parts to perfection.

Anyway Loki is dragged away to be tortured by Sif again. Because Mobius hadn’t had him beaten up into submission enough before killing him. This is just sadistic.

This time Loki though is so angry he’s calm.

Loki: You know, of all the liars in this place, and there are a great many, you're the biggest.

Mobius: Why? 'Cause I lied about your girlfriend?

Loki: Oh, no. That I can respect. I mean, the lies you tell yourself.

Honestly I hate how Mobius continues to call Sylvie ‘his girlfriend’, not because I don’t like the idea of them paired together but because I get it’s Mobius’ way to belittle them both. She’s not her own person, not Sylvie, she’s Loki’s female self that he has some demented crush on. That’s all he makes her to be.

I don’t know what happened to Mobius in this episode. He seemed to have moral standards in Ep 1 & 2. He didn’t seem to enjoy hurting others for no reason. Now he does.

Well, at least Loki gets to call him on the lies he tells himself.

So, a break here. Great acting from both, good direction from Kate Herron, dumb plot.

The idea is that Mobius is questioning Loki to know what caused the Nexus event, right? But instead than his intelligence he uses physical torture. Now it would be fine if he needed to get a confession and didn’t care about the truth but he cares about the truth, he needs it to prevent future nexus events. Only no, he doesn’t care. Whatever.

Then he tries to see if Loki has feelings about Sylvie, which he does and jumps to the idea that Loki must love her because since they’re a male and a female there’s no other way to care for each other if not romantic love. He can’t view her as a sister or have pity of her, no it has to be romantic love and Waldron backs him up so it is and so this has to be what broke the timeline because… the timeline can tolerate any sort of crime but not selfcest committed by chaotic beings?

It must be this because if Mobius find something demented the timeline would as well, we’ve proofs… no we don’t have it is just speculation but Mobius read Waldron’s interview so he knows it’s true.

So Mobius has his answer, the timeline is against selfcest. Case closed. Logic thrown out of the window notwithstanding.

But then Loki really tells him the truth but Mobius doesn’t like it so let’s torture Loki some more. Because Mobius is so intelligent he can tell when Loki is lying, the series has already established it, so this has to be Loki lying right? And Mobius let him be tortured despite claiming he’s Loki’s friend and having tons of doubts about what C-20 saw and how Rendlayer is acting oddly because that’s what friends do. It has Thanos’ seal of approbation after all.

Whatever, let’s go on.

So we move to Hunter B-15 doing calming breaths as she’s clearly very upset. It’s worth to remember she was depicted as hating Variants the most. Her gaze falls on a poster recommending to capture all the variants and make sure to delete them all.

The fun part is that the guy on that poster remind me of the Mobius of the comics… but maybe it’s just me.

After this B-15 turns on her weapon and orders the ones guarding the entrance of the theatre in which they had put Sylvie to let her in. They don’t even discuss or hesitate, they just let her in.

Sylvie acts in the confident manner Loki used to act in “The Avengers” when he was prisoner of the Avengers.

Sylvie: Hello... Oh, I don't know. Your name's a number. Can't read it from here.

As she says so she moves closer. B-15 though put away her weapon, opens a timedoor and tells her to come with her.

Why they go away through a timedoor? Couldn’t they talk there? Isn’t it more risky as not only Sylvie could use this to escape but they might risk altering the oh so sacred timeline? Are there hearing devices in the theatre? Does the guards outside eavesdrop?

Whatever, we’re back to Renslayer’s office.

Mobius is thoughtful, Renslayer is happy because the case is closed. So Mobius really presented as excuse for the branch the fact that Loki and Sylvie supposedly fell in love? Because if Loki cares for someone is romantic love? He cried for Frigga too, for Asgard? Why it has to be romantic love for Mobius? Because Sylvie is a woman and Loki is a man and God forbid a man could care for a female in any other way that’s not romantic? Because the script said so? Couldn’t he care for her like a twin sister? She even acts like Thor here and there but she’s smarter than him. Would the timeline branch anyway?

Whatever, I guess I’m not meant to make questions but if the case is closed why he had to stuck Loki again in that timeloop to be beaten and humiliated? It’s not like Renslayer is checking him and even if she were or the Time-Keepers were which would have been the harm in letting him sit there like Sylvie is?

For which reason Mobius is trying so hard to break him? Revenge? He didn’t seem such a jerk in Ep 1 & 2 and now… why has he changed?

Anyway Mobius is beyond obvious acting weird despite Renslayer being all happy for the case closed and asking him

Renslayer: If you could go anywhere, anytime, where would it be?

She clearly mean for personal pleasure, maybe she plans on letting him have a holiday anywere he’d like but Mobius doesn’t seem to get it.

Mobius: I can go anywhere, anytime.

His reply hints he reduces everything to work, to going anywhere, anytime for work and while Renslayer tries to get him to open up he asks again why she didn’t let him interrogate ‘Sylvie’, which is a mistake as when in Renslayer’s office he usually calls the Variants just Variants, not by name, unless it’s necessary. Besides Renslayer doesn’t know the Variant’s chosen alias so she’s twice as confused.

Mobius has to explain ‘Sylvie’ is how Loki calls the Variant and Renslayer tells him it wasn’t so as to make sure it wouldn’t escape, and when Mobius says she wouldn’t have escaped (because Mobius is so good at keeping the Loki Variants close) she reminds him the other Variant did escape while in his care (yeah, twice, Mobius you aren’t as good as you like to present yourself).

Renslayer tries again to get him to answer her on where he’s like to go and he replies

Mobius: I like being here now, with you, doing the work.

Which is solely because he’s deadly scared of admitting he’d like to be some other place. He doesn’t like his life there, he loves jet ski and would like to ride one but he’s just scared to do so and finds comfort in the monotony of his own life. Which is beyond depressing and is part of the lies he tells himself.

Renslayer gives up and informs him she’d heard the Time-Keepers and they will personally oversee the Variant's pruning and they want Mobius to be there as well. I take that with ‘the Variant’ they mean Sylvie but later we’ll see Loki too is carried in front of them.

Why they want Mobius too though? To make sure he’ll stay put? To prune him as well because he’s being as suspicious as possible?

Mobius seems pleased he’ll finally met the Time-Keeper then oh so discreetly goes back on questioning Renslayer. On C-20 this time. Which obviously makes Renslayer even more suspicious.

She tries to deflect his question by pointing out how everything went well, the Time-Keepers are happy and yadda, yadda and Mobius insists again on wanting to know about C-20… because this was totally smooth and not suspicious at all.

And this is bad because this guy is the one who’s supposed to be at Loki’s same level if not above. If he’s so incompetent it reflects poorly on Loki too.

Yeah, he was very upset by C-20’s death so maybe this is messing him up but still he couldn’t be more obvious, insisting over and over when Renslayer clearly doesn’t want to tell him more. What does he expect, her to admit she lied? She’s not a Variant he can torture, or keep there until he gets the answers he wants, she’s basically his boss.

Anyway Renslayer, probably due to her fondness for him, confirms her previous version and tells him if he’s not allowed to meet the Variant that’s because she’s protecting him from facing the horrible fate C-20 went through.

I think this requires a bit of appropriate singing from another movie:

Shhh.. Trust me Mobius, Ravonna, knows best. Ravonna knows best. Listen to your Ravonna. She's a scary Variant that Sylvie. Ravonna knows best. One way or another. Something will go wrong, I swear. Stabbing, kicking, poison, punching. Stealing, and humiliating, the lies. Also large sword, a woman with pointy teeth. And stop, no more, you'll just upset me. Ravonna's right here. Ravonna will protect you. Darling here's what I suggest. Skip the drama, stay with Ravonna. RAVONNA!! Knows best! Ravonna knows best. Take it from your Ravonna. On your own, you won't survive. Sloppy underdressed, immature, clumsy, Please, they'll eat you up, alive. Gullible, nave, positively grubby. Ditzy and a bit, well, hmm vague. Plus I believe, getting kinda chubby. I'm just saying, 'Cause I wuv you. Ravonna understands, Ravonnas here to help you. All I have is one request. (singing ends) Mobius? Don't ever ask to see the Variant, again.

Evidently Mother Gothel… pardon Renslayer’s performance doesn’t fully win Mobius over.

Mobius: Yeah, if it's the truth.

Intelligence? Or, like with Loki he has already decided with answer he needs to get?

Renslayer now tries to distract him blaming everything on the time Mobius spent with the Lokis, implying that because they lie he came up to think she would lie too and then she gives him an inspirational speech about how their work matter and how they’re special friends.

Renslayer: When we're out there fighting for the fate of the Sacred Timeline we're also fighting for this. For us. Friends against time, allies to the end. You've seen all of existence, same as me. So, you know, friendship like ours is uncommon. And worth fighting for. Same as the Sacred Timeline.

So Mobius has friends.

Or at least he has Renslayer.

Does he plan to close her too in a timeloop for lying to him? Or, since she was used to always humour him (this is apparently the first time she told him ‘no’) he expected Loki too had to play on his tune, especially considering Loki isn’t his boss, and got upset when Loki showed a mind of his own?

Or is Renslayer who taught him who disappoint gets closed in a timeloop where he’s punched and insulted by doing this to Mobius?

I’d like to know.

Whatever, this speech persuaded Mobius so much he distract Renslayer suggesting to find a place for her new trophy only to swap the Tempads behind her back… and then oh so discreetly try to run away because this wouldn’t be suspicious at all.

Smooth, Mobius, smooth.

 Okay, so B-15 took Sylvie to the Roxxcart apocalypse since now she knows the TVA can’t detect changes if they happen in an apocalypse.

Sylvie thinks she wants a fight but B-15 is instead tormented by what Sylvie had shown her when she possessed her.

Now, everyone, let’s refresh our memory on how enchantment works.

Sylvie: It depends on the mind. Most are easy and I can overtake them instantly. Others, the stronger ones, it gets tricky. I'm in control, but they're there, too. In order to preserve the connection, I have to create a fantasy from their memories.

B-15 was overtaken very easily with Sylvie fully in control of her as she moved her like a puppet and had her say what she wanted. So why in the world she needed to show her a memory? We saw how things worked with C-20, she used the memory to answer in kind to her questions believing she was with a friend. What she did to B-15 to make her move and say what she wanted, did she had a memory in which she was an actress and Sylvie read her the script?

I’ve no words, they gave the rule 1 episode ago, don’t they remember them anymore?

So anyway Sylvie tells B-15 the truth and B-15, the one who believes talking to Variant is a mistake and they should all be pruned as they’re cosmic mistakes immediately swallows what the Variant who’d been killing TVA agents non-stop tells her and volunteers to let herself be possessed again.

Because this wouldn’t be dangerous at all, I mean, surely Sylvie who has a grudge against the TVA and has been killing TVA agents won’t lie to her and wouldn’t just possess her to steal her tempad and escape leaving her to die in the apocalypse.

Yeah, surely because Sylvie, instead than possessing her, does as she request and shows her those memories and B-15 can be sure they’re true and not a trick because… she too read the script and know they’re true.

So B-15, who had been pruning, abusing and belittling other Variants like her, once knowing she’s a Variant says:

Hunter B-15: I looked happy.

With tears in her voice. Okay, so she also sides with Sylvie but… don’t take me wrong, different people react differently but let’s look for a moment B-15’s reaction at discovering she’s a Variant, a cosmic mistake.

B-15 was the one who hated Variants the most… but knowing she was one all she cares was she looked happy. What’s her problem she was miserable at the TVA? I didn’t notice. She just accepted she’s a Variant so easily… everyone else, even people who didn’t hate Variants will have more problems with it. C-20 was in shock, Mobius goes in denial, Loki basically went mad with grief when he discovered he was a Frost Giant.

B-15 mourns that she was happy and then asks for instructions to Sylvie.

I wonder if she’s the sort of person who can’t think on her own. She did what the TVA propaganda said because she never stopped to think about it, she got an easy to posses mind, and now she’s willing to do what Sylvie says because she can’t think at it on her own.

To be honest… although I feel what the TVA did to the people working there was pretty disgusting, I find hard on an intellectual level to empathize with someone who had been enjoying pruning and abusing Variants and now that she has discovered she’s one she doesn’t regret what she did to the others like her but mourn her old happiness.

Anyway I compliment Wunmi Mosaku for this scene. I’m not persuaded by how they decided she would just swallow she’s a Variant so easily, but still she played well the part.

Empathically, to see another being so grief stricken, causes me to react emotionally, even though logically I feel I shouldn’t care because they didn’t give me reasons to feel sorry for someone who was so happy to be an abuser and doesn’t regret having been one, she still managed to make me feel sorry for her character because her sadness was emotionally involving.

Really, good job, and good job to Kate Herron who played that scene well.

We switch to Mobius who hides among bookshelves to check Renslayer’s tempad.

I love the visual here, how it seems we’re pecking on Mobius by a hole but whatever, might be just me.

Renslayer’s tempad confirms C-20 died so Mobius is about to close it when he decides to check the classified report of the mission on Renslayer’s tempad. Renslayer conveniently recorded C-20 saying:

Hunter C-20: You're not hearing me. I was there. This was real, what I saw. This is a place that I've been. This wasn't the TVA. This was a memory. I lived down there. I went to that bar. I had friends. I had a whole life on the Sacred Timeline.

Interrogator: Calm down.

Hunter C-20: "Calm down"? I'm a Variant. So are you. So is every single person in this place. I'm ending this.

So yeah, Mobius, Loki didn’t lie to you, you moron, that excuse was way too dumb to be a lie.

Also C-20 never went mad as Renslayer said. Because it was Renslayer who lied to you, Mobius. Because in the real world people are awful to get what we want and maybe you should take lessons from a prince.

Just as to remark Renslayer knew this and not just because it’s on her tempad, she also appear on the screen, proof she was listening. To do what I don’t know.

We go back to Loki who’s just being beaten by Sif again because Mobius, his friend, couldn’t let him sit on a chair while he checked if Loki told him the truth. We also see how all this beating isn’t really breaking Loki.

Although he has previously apologized to Sif and accepted his fault, now he’s just annoyed he has to hear her saying such things over and over and beating him.

Because beating people doesn’t make them better.

On another side, since Loki knew what he had to tell to Sif to make her stop I wonder why he didn’t repeat it… or why he didn’t try to think of a plan. Whatever.

Mobius drops there with the dumbest question of the year:

Mobius: What are you doing?

Loki has a sarcastic reply for his idiotic question:

Loki: Passing the time.

No, really, Mobius trapped him there, what was he thinking Loki was doing, playing poker with Sif?

So now is Mobius’ time for another dumb question:

Mobius: Do you care about her?

I mean, after you called her his female self that he, a seismic narcissist, have some demented crush on, of course Loki wants to open his heart to you. Who wouldn’t?

Mobius tells him to shut up and then asks if he really think you deserve to be alone… as if this was Loki’s idea and not something Mobius’ tried to brainwash him into believing. Loki doesn’t reply which upset Mobius as when Mobius says ‘jump’ Loki should only say ‘how high?’, so Loki point out how MOBIUS TOLD HIM TO SHUT UP. Because Mobius is not making any sense and Loki needs to lampshade this.

Mobius asks him if he thinks he deserves to be alone.

Loki replies he doesn’t know which means his pretty words to Sif were all pretty words. He didn’t believe them, not fully. Thanks God.

So now the conversation starts to get surreal.

Mobius: You better figure it out quick, because the nexus event the two of you caused, whatever that connection is, can bring this whole place down.

Okay, I’m not following this, after belittling Loki’s relation with Sylvie now he’s trying to tell him he has to get together with her for the sake of bringing down the TVA? That’s why Loki has to get with Sylvie? Why he doesn’t have to believe he deserves to be alone? So now Loki’s crush is no more demented but a key to throw down the TVA?

What was sticking him with Sif then, an attempt at manipulating him into not getting in relationship with other Lokis? So Mobius knew already he and Sylvie had a crush on each other? Because it looked like he stuck Loki with Sif PRIOR to knowing it.

I’m lost but whatever, Mobius decide THEY have to do something so Loki remarks on the use of plural.

Mobius asks him to swear Sylvie didn’t implant whose memories in C-20.

It’s a dumb question as not only Loki could lie but Sylvie could have lied to him and anyway Renslayer lied so it’s not like she’s safe to trust either.

Loki vouches for Sylvie and Mobius asks:

Mobius: So, I just have to trust the word of two Lokis?

No, please, Mobius, don’t. You’ve wasted everyone’s time questioning Loki when you don’t believe him. Really, I don’t get why you wanted to use someone you don’t trust. What did you come there for if you can’t believe him?

At this Loki, who’s at first hurt, replies:

Loki: How about the word of a friend?

And okay, it has to be Stockholm Syndrome talking. That or masochism. Because friends don’t close you in a timeloop in which you get beaten and humiliated for all that time so really Loki, don’t be Mobius’ friend.

So now Mobius admits Loki was right about the TVA from the beginning, which was damn time and would have realized it sooner had he spared 5 minutes of his time on this and tells him if Loki wants to save Sylvie he has to trust him. Because Mobius never lied and manipulated him, no, really. You’re lucky Loki has Stockholm Syndrome so of course he’ll trust you.

So Mobius goes:

Mobius: Okay. You could be whoever, whatever you wanna be, even someone good. I mean, just in case anyone ever told you different.

Yeah, someone did. Should I refresh you, your memory Mobius?

Mobius: You weren't born to be king, Loki. You were born to cause pain and suffering and death. That's how it is, that's how it was, that's how it will be. All so that others can achieve their best versions of themselves.

Or maybe you prefer this, which includes Sylvie too?

Mobius: You two, what a pair! Gosh! Unbelievable. Wherever you go, it's just death, destruction, the literal ends of worlds.

I mean, if this is Mobius’ way to apologize for all the things it tossed at Loki, it honestly sucks, and it gets worse because he’s merely doing because he needs him to cooperate with him because, guess what? As Loki told him from the start the TVA sucks and had been lying to him and he just didn’t want to see and has exchanged his own belief in the TVA for ‘truth’.

I mean, he’s probably being as sincere as he can be, as we know he has wondered if Loki could be good, but he has been so manipulative with Loki up until now that really, him saying Loki this when he needs Loki to trust him, only feels like him being manipulative.

Are we sure Mobius isn’t another Loki variant, one Renslayer wanted to keep as her pet?

Still I think Loki understood this was Mobius’ way to apologize as he smiles and follows him.

The moment they leave the Timeloop they find themselves face to face with Renslayer and four hunters.

And here it’s where the writer forgot Mobius too is supposed to be smart. For start because it didn’t dawn on him to remove Loki’s collar from him, to continue because when Renslayer points out she has something of hers he returns the Tempad, their only way to leave the place, to her.

I can explain this merely by going under the idea that Mobius still think that the fact they’re friends would push Renslayer to cover up for him, which clearly means he doesn’t know/understand her as much as he thinks.

Mbatha-Raw:

“She’s really worked hard to get where she is, so she’s not going to be reckless with the power that has been hard-earned for her. She, in some ways, is deeply indoctrinated with the ways of the TVA. She’s completely conditioned by their thinking and the idea of the Sacred Timeline, and the concept of free will is quite alien to her. She’s a believer. She believes in law and order, and it’s done quite well for her so far in terms of getting her to where she is. She’s not going to abandon her philosophy lightly.”

[‘Loki’: Owen Wilson Says Renslayer’s Betrayal of Mobius in Episode 4 Was ‘Pretty Shocking’

]

And in a way the situation we’re facing is really funny because Mobius believes Renslayer betrayed him… but she believes he’s the one who betrayed her. And this in a way mirrors Mobius’ relation with Loki.

To Renslayer Mobius had no right to doubt her, to question her decisions, to doubt the TVA even if the TVA is lying and she knows it. To her, Mobius is the dog who peed on the carpet.

Mobius instead somehow believed to be an equal friend, to whom she owed the truth, so he’s hurt by her acting as if he was just her disobedient dog.

She lied to him, manipulated him, demanded from him to be a loyal TVA supporter who only seek for her approbation and when he goes and doesn’t do this, she punishes him by pruning him. She doesn’t even try to beat him into submission again, she just get rid of him because her faith in her cult is more important than their ‘friendship’.

She’s a real Nazi in a way.

But the irony is that Mobius was the same with Loki and now he experiences what it means to be on the other side.

His emotional speech:

Mobius: What's the problem, Ravonna? You know where I'd go if I could go anywhere? Wherever it is I'm really from. Yeah, wherever I had a life before the TVA came along. Maybe I had a jet ski. That's what I'd like to do. Just riding around on my jet ski.

…it changes nothing in Renslayer’s mind, she’s like him, she doesn’t want the truth, the honesty, she wants submission but she’s not even going to waste time to work him into submission again. She probably plans to replace him with another Mobius Variant who’ll be more obedient this time.

Note that pruning him hurts her… but she has it done anyway, the way Mobius had oh so many branches pruned. Because that’s what they did at the TVA.

It’s a damn case of “‘I never thought leopards would eat MY face,' sobs woman who voted for the Leopards Eating People's Faces Party”.

Mobius never thought he would be the one ending up pruned, being a Variant and ending up pruned was other people’s problem, Loki’s problem, not Mobius’, Mobius was one of the good guys, he was created by the TVA so such things wouldn’t happen to him.

Now… this is the same problem I had with B-15.

We are supposed to feel sorry for Mobius and I probably would feel very sorry for him if he hadn’t been a complete asshole to Loki up till 5 minutes ago. I get maybe they were aiming to take advantage of Owen Wilson’s fans, who loved Mobius no matter what they do or to how Loki and Renslayer still mourn him because Stockholm syndrome pushes you to do this and your pet dog is always your pet dog even if you decide to shoot him down because, to you, he’s rabid but all I felt was that Mobius had got what he deserved, what he did to Loki was done to him.

And this is a goddamn shame because I would have been a lot sadder if Mobius hadn’t act in such a way in this episode.

I mean, yes, in episode 1 & 2 he was still manipulative but he had genuine moments in which he was sympathetic and didn’t want to gratuitously hurt people.

Mobius: What are you doing? Hey! These people are scared.

Hunter D-90: They're about to die. They should be scared.

Mobius: Okay. Not of us.

I love this scene because he just stood up for those people even if he had nothing to gain, just because he didn’t want the TVA to scare them even if they were about to die and would have been rest if they weren’t to die. This wasn’t manipulation, this was Mobius being a decent being and… and this episode just tossed it away.

His whole interrogation scene with Loki, from the moment he just had him beaten and belittled to ‘soften him’ to how he ends by having him beaten and belittled again even though the case is closed is nonsense and disgusting. That’s not what a decent human being would do.

On a positive note Mbatha-Raw is very good in the scene. It’s clear a part of her is suffering, yet another remains hard. She turns her face away because she can’t watch when Mobius is pruned, even the way she squeezed her eyes shut and then relaxed them but kept them closed is a nice detail and so is the way she looks at Loki, still hurt by Mobius’ disappearance but firm, how she takes long breaths after saying they’ve to wait for her, how she first looks down, as if ashamed then up, as if to ask the moral support of her gods or whatever and then closes her eyes and mouth as if to swallow it all and go on.

She’s good.

Mind you, I loved how Owen Wilson gave his speech and I love Tom Hiddleston’s reacting to him being pruned which interestingly opposes to Mbatha-Raw’s as he keeps his eyes wide open and he tries to reach for him where she instead close them and kind of tries to ‘hold away’ from him, her body posture close where Tom Hiddleston’s is open and then he closes his eyes, calm down and straighten up before facing her in a ‘it was your doing’ way. He let himself be carried away but he turns to look at her so as to keep eye contact with her and she’s the one who has to lower her gaze.

Now, I personally wish Loki wouldn’t mourn Mobius because really, Mobius wasn’t good to him, but since he’s supposed to do it, I can only say Tom Hiddleston’s performance here is good as well.

Very fitting also the background music, especially when Loki is escorted through the corridor and now he seems to be worn out as he waves a little as he walks and then… he stops, and I’m not sure if there’s a reason or he just waves a little for the sake of him being emotionally hurt and the guards have to steady him and then force him to resume walking. In itself that pause was good to animate a walking scene who otherwise would have been pretty boring… but I don’t know if there’s a reason for it beyond that. But well, Loki had been beaten up till now so maybe he has a right at also being physically worn out.

So anyway Renslayer go to see Sylvie and as soon as she does she claims someone was there with her and wants to know who. Well, I guess the fact Sylvie is soaked was a dead giveaway so really, they should have found her a hairdryer before sending her back there. Besides why not to get inside the Roxxcart where it’s dry, instead than outside?

I get that outside, under the rain, the scene came a lot more dramatic and so technically better but logic is king of important as well. Giving away that Sylvie was taken outside to chat, as Sylvie has no bruises on herself, is dumb. I mean, had B-15 given her a black eye they could have at least pass if for B-15 taking her revenge on her but like this… it’s so dumb…

In fact as soon as Renslayer discovers it was B-15, she decides she too had been compromised and people has to search for her. Not that it matters as they won’t find her. After all she has a Tempad and has learnt she can hide in apocalypses.

Sylvie smiles at her smugly because she is enjoying seeing Renslayer under pressure and how could she not? It was Renslayer who captured her.

Sylvie is then taken away but this time only by two guards because they’ve decided giving her more when the last time she managed to punch one is useless. No, actually Renslayer might have figured if Sylvie has remained in her ‘theater’ (yeah, she and Loki were put into rooms called ‘time theaters’) instead than escaping with B-15, she’s willing to let herself be dragged to meet the Time-Keepers.

Or not, the plot had the characters act in dumb or irrational ways way too often so I don’t know.

Sylvie is anyway taken in front of the same door in front of which Loki is waiting. I love how she whispers to him an ‘You okay?’ even if I would prefer it wasn’t because she’s also crushing on him but because she was touched by how he gave her appreciation and validation. Loki nods once, deeply, but doesn’t verbally replies which is kind of worrisome per se.

Renslayer says she’ll handle things from there and open the door of the golden elevator with her ‘electronic key’ meaning when Sylvie got there the first time, as she was without key, she wouldn’t have been able to do anything. Loki and Sylvie follow Renslayer while the guards remain behind.

Sylvie asks Renslayer is she remembers her and when she answers affirmatively, always calling her Variant, she asks her which was her Nexus event. To Renslayer who asks her what does it matter she replies:

Sylvie: It was enough to take my life from me, lead to all of this. Must have been important. So, what was it?

I feel bad for Sylvie because maybe she doesn’t remember Miss Minute’s video (by the way did Miss Minute had a reason to exist or we’re meant to forget about her?) in which they said to create a Nexus even it’s enough to be late for work. Maybe Sylvie wasn’t meant to be there to play but should have been in the Vault with Thor and Odin learning about how glorious was Asgard for having beaten the Frost Giants. Maybe she was just meant to play ball instead than dolls but in short, what destroyed her life didn’t have to be important because that’s the kind of jerks the TVA is.

They punish someone for doing something completely innocent without having any idea it was the ‘wrong’ thing, ‘wrong’ being a matter of perspective because I bet they pruned all the Lokis who didn’t sent the Frost Giants in the Vault or didn’t try to kill Thor or didn’t attack New York because THOSE WERE THINGS MEANT TO HAPPEN.

The TVA is not about morality, I wonder if it’s about the entertainment of the Time-Keepers.

Anyway Renslayer smirks and then tells Sylvie she doesn’t remember. Honestly I doubt she doesn’t remember and even if she did, she could have made up something but she just prefers to hurt Sylvie by implying her Nexus event was so unimportant it wasn’t even worth remembering.

The door open and they are in a bluish, foggy place. There are two guards giving them their back and two instead facing them and, in front of them there are the three space lizards known as the Time-Keepers. Hum… the impression I get is that the place is foggy because it’s freezing cold since there are white bits that seem ice but… I’m not sure as nobody seems to be feeling cold.

Renslayer announces to the Time-Keeper she had brought them the Variants.

Now I was thinking it was poor effects, as the space lizard talk in a mechanical way and are so still they seem robot and even when their face move as they speak they seem mechanical… but no, it’ll turn out they’re robot. Whatever, I’m running ahead.

The lizards ask them what they have to say before being killed.

Okay, so Loki says and I quote:

Loki: Is that the only reason you brought us here? To kill us? I've lost track of the number of times I've been killed, so go ahead. Do your worst.

And I am WAIT, YOU’VE BEEN KILLED BEFORE? EVEN IF YOU’RE STILL UNDER THE WRONG BELIEF THOR TOSSED YOU INTO AN ABYSS, WHICH HE DIDN’T AS HE WANTED TO SAVE YOU AND YOU LET GO DUE TO ODIN’S HIGHLY MOTIVATIONAL WORDS (really, Odin should write demotivational posters quote along with Mobius) THAT COUNTS ONLY AS ONE. YOU DIDN’T DIE IN “THE AVENGERS”. CAN WE HOPE THIS MEANS WE’LL BE REVEALED WHAT HAPPENED IN THE YEAR IN BETWEEN “THOR” AND “THE AVENGERS”? OR IT’S JUST TO BE MEANT RANDOM BABBLING? PLEASE, LET ME KNOW!

Anyway okay, back to normal.

The Time-keepers tell them they’re no threat to them and Sylvie counters she believes they’re scared. She tries to get closer but Renslayer uses the Time Twister so she can’t.

The Time-Keepers complains they’re just a ‘cosmic disappointment’ why I’ve no idea as it’s not like they created the Variants so the Variants aren’t supposed to please them, and tell to delete them.

Sylvie tries to protest she’s not done with them but Renslayer tries to use the Time Twister and only manages to stop her because B-15 all of sudden comes to rescue because the TVA did a horrible job at tracking her apparently. B-15 disables Loki and Sylvie’s collars, then she mockingly repeats the TVA motto ‘For all time. Always’, before handing Sylvie her sword that originally had been put as a trophy in Renslayer’s office.

The two guards behind immediately knock down B-15 who didn’t even bother bring her weapon or, if she had, didn’t pull it out. Renslayer orders to the four guards to protect the Time-Keepers, so now it’s Renslayers and 4 guards against Loki and Sylvie. Renslayer decides not to fight, to be honest because the guards evidently had been given a better version of the Supersoldier serum and can comfortably stand against Loki and Sylvie with no problems whatsoever.

Really, if I don’t get an explanation on why human Variants are all of sudden strong enough they can stand against Loki I’ll think those guys have never seen “The Avengers”.

In fact the 2 guards fighting Loki are about to overpower Loki who asks for Sylvie’s help as she’s holding against her 2 guards just fine and she hands him her sword. Meanwhile, despite being weaponless, Sylvie… kicks to unconsciousness? Is that what she did? a guard, steals his weapon and instead than prune his companion with it, she stabs her. Because, you know, this is cooler and rule of cool always win.

All while Renslayer watches because whoever rules at the TVA has never read the ‘Evil Overlord list’ rule 75 “I will instruct my Legions of Terror to attack the hero en masse, instead of standing around waiting while members break off and attack one or two at a time.”

Actually there’s a huge list of rules the TVA ignored but this is the most important at the moment.

Anyway while the camera ignores Loki fighting with two guards in the background, we’re supposed to focus on Sylvie and Renslayer. Sylvie gives Renslayer a sporting chance letting her pick up a weapon. No idea why, really. Who cares about sport when you’re there to kill the Time-Keepers?

Besides, who cares about Loki? This is Sylvie’s moment to look cool.

Anyway Renslayer tells her this time she’ll finish the job, they fight, she ends on the ground, manages to turn their positions and punches Renslayer into unconsciousness, just in time for Loki to finish killing his guards. Why she didn’t kill Renslayer? Because the plot needs Renslayer to make troubles afterward so Sylvie, despite having a weapon and having used it to kill a guard, only punches Renslayer, which she should hate as much as the Time-Keepers, into unconsciousness.

Let me facepalm, please.

Now the Time-Keepers go:

Time-Keeper 1: You're a child of the Time-Keepers too, Sylvie. We can talk.

And okay, I’m not following this. Are they implying they created the Variants? Are they trying to pass themselves for Gods? Or it’s just Sylvie they created?

Sylvie tosses against one of the sword Loki gave her back, decapitating him. The Time-Keepers starts laughing as it turns out the Time-Keeper she decapitate was a robot.

I get “Wizard of Oz” feelings and I swear if it turn out this was created by an evil Loki Variant I’m gonna scream.

The Time-Keepers somehow deactivates, not sure if someone did it, or it was Sylvie pointing a weapon at them.

Sylvie picks up the head and, seeing it’s a robotic one and never having heard of Ultron and Vision, decides since they had robotic head they’re fake, mindless androids. Which yes, they have to be because we’re missing 2 episodes and they were beaten too easily but she’s not supposed to be aware of the episode count.

Whatever, Loki decides, I think, this would probably be a good moment to declare his love only they forget Renslayer is alive and she prunes Loki in front of Sylvie. At this point Renslayer forgets her warrior skills and Sylvie easily rips her weapon from her but, instead than pruning Renslayer as she asks, she informs her she’ll tell her everything. Meaning she will use her powers to force Renslayer to be cooperative.

The episode apparently ends, with the ending credit replaced by a love song, “If you love me” by Brenda Lee. Just in case you didn’t get Loki was about to make a Love confession.

When the ending… well, ends though, we see Loki opening his eyes and wondering if he’s dead and in Hel.

He’s told:

“Not yet. But you will be unless you come with us.”

As he looks up he sees four version of himself, a child, an old man, a POC and an alligator.

I can’t help but point out the costume the old Loki is wearing, despite being based on the one old Loki wears in the comics somehow feels like a poor cosplay.

Behind them the ruins of a city which, I bet, is New York. I wonder if they’re in an apocalypse created by the attack of New York succeeding.

And so the episode ends.

Now… this episode is, plotwise, better than the previous, as the previous was basically an excuse to get Loki and Sylvie to spend time together so as for them to fall in love. Oh and the revelation everyone in the TVA is a variant but really, Sylvie could have told Loki that in Ep 2 and we wouldn’t have missed anything big.

This one episode as, instead, a plot… but there are some things that just don’t add up and felt tossed there at random. I mostly mourn how the ruined Mobius’ character because this episode seriously damaged the sympathy I had for him, with that useless decision to have Loki belittled and beaten for… fundamentally nothing since he doesn’t believe him. Then he further insults him for falling for Sylvie before he decides to switch sides and no, Loki shouldn’t believe all the cruel things he told him because… hum… they weren’t true because Mobius is his friend. Not like how he said he was before, this time he’s really his friend the fact he needs him doesn’t matter, he’s not like Loki who uses people he’s one of the good guys of the TVA, you know, the ones who belittle and prune Variants unaware they’re Variants too.

Okay, I’m still very salty on this bit but I just didn’t enjoy the useless abuse of Loki.

It wasn’t funny, it had no purpose and it also ruined Mobius as a character.

It even impacted negatively on Sif which was fundamentally used to beat Loki up over and over when she already had, just for Mobius’ purposes, whatever they were.

Honestly I’m sick and tired of Marvel thinking that abusing of someone is a funny joke, especially if the one doing the beating is a girl.

The only thing it serves was to remark Sif had no love for Loki, which everyone seeing the movie could have guessed already.

Another thing I didn’t quite enjoy was how this is turning into Sylvie’s story. Is the purpose of this series pass the Loki baton to Sylvie?

We have the guards of the TVA being as strong as supersoldiers so far without explanation whatsoever, with Loki, who, in Asgard was trained to fight, in “Thor” could hold his ground against Frost Giants and even fight with Thor and who, in “The Avengers” gets punched by Cap and merely turns his face before he hits Cap with the sceptre and sent him flying and this not with magical powers but merely with his strength. And he does so TWICE, completely able to avoid Caps’ blows. Caps kicks him in the face and Loki remains standing and tosses him on the ground again.

Loki lets himself be arrested because:

a) Iron Man joins and he manages to send him on the ground by shooting at him and

b) because this was part of the plan.

Coulson shot him with a super powerful weapon and still Loki got up and left the Helicarrier on his feet. When Thor tried to hit Loki with his hammer, Loki could stop the blow by having it hit his sceptre without him even wavering on his feet.

And then okay, this Loki hadn’t lived through them but in “Thor: The Dark World” he could hold his ground against elves while in “Thor: Ragnarok” against Hela’s undead Asgardian soldiers.

And now we’ve those Variants of humans who can give him problems? Sylvie even gives him his weapon!

And all this while Sylvie, who had to learn to fight on her own, can hold her ground weaponless against two of them and save time to fight and beat Renslayer too?

Whatever, let’s hope we’ll get an explanation.

And then there’s the romance between Sylvie and Loki, which is useless or the whole idea Sylvie is Loki and all those other guys plus the alligator are Loki and I’d like to know what decides they’re Loki variants since they’re clearly genetically different from him… never mention one of them managed to get old when Loki supposedly died ‘young’ in the sacred timeline so what? The truth is he didn’t die in “Avengers: Infinity War” and grew old?

And why genetically different Variants of Loki were allowed to exist? How come this didn’t cause a Nexus event?

But whatever, let’s put aside my complains about the plot holes or the messed characterization and the nonsense dialogues and talk of the good stuff, like the acting or the director’s job or the music which really fit some scenes. There’s some really good stuff here.

And well, let’s mention the plot is not all to waste.

There were some good ideas in this.

To have the TVA agents discover they’re also Variants like the people they discriminated and pruned could have been great, I mean, one of the best scenes of “Thor” is Loki discovering he’s a Frost Giant so this could have been SO VERY COOL.

The Lokis forming a bond also had potential as idea on paper. If they were the same this could have pushed them to learn to appreciate themselves, if they were different, this could have pushed them to appreciate others. They didn’t need the romantic story and the idea they’re the same only they’re completely different so the fact they’re the same seems an idiocy.

Really, from a series who give space to a lot of female characters, who don’t just talk among them about men but about plot related issues, I don’t see why we need to pair together the two Lokis.

Mobius being Loki’s friend could have been great if he had acted as such and not as an abusive pet owner whose dog has peed on the carpet. But whatever, it could have been great to have Renslayer do the same to him, if this were to be acknowledged, if it were to be acknowledged how they both are poor friends.

Also Mobius’ death could have been a lot more moving if they hadn’t ruined him in this very same episode.

Seeing Sif again and learning of Loki’s past mischief? Could have been great if it wasn’t used for what turned into a torture scene or ‘police brutality’ who however wasn’t meant to be seen as bad as it was because it’s a woman who beat Loki.

Even the police brutality or the fascist agency could have been great plot point if it wasn’t they’re barely brushed over.

Loki reflecting on his behaviour could have been good if it wasn’t inserted into what was basically a torture scene.

Little Sylvie’s backstory could have been awesome if it had been realist, if this little escaping child had had knowledge of a Tempad and had had someone to help her.

I mean, there are some genuine good things in this plot… but then they got ruined by poor planning or poor explanation or abrupt character OOC.

It’s a pity.

We’ll see if episode 5 will redeem himself.

[bamfdaddio]

X-Men Unabridged: Proteus

The X-Men, those beautiful mutants that have sworn to protect a world that hates and fears them, are a cultural juggernaut with a long, tangled history. We’ve been untangling that history for a while, but sometimes, you really want a more in-depth look. Interested? Then read the (un)Abridged X-Men!

(X-Men 125 - 128) - by Chris Claremont and John Byrne

Fun* fact: this particular issue is the oldest comic I physically own.

* for a given value of fun

Something sinister lurks on Muir Isle…

This arc is very much set up like a horror movie. It starts out as a regular X-Men narrative, where Claremont is weaving along several plot threads. We check in with the X-Men in Westchester, we check in with Magneto who has retreated to Asteroid M and we even check in with Xavier in space, who finally learns more about the true scope of the Phoenix and its nature. Finally, we’ve got Jean stationed at Muir Isle, where Moira is investigating the sheer scope of her powers. (She has realized how strong Jean truly is; akin to a god. Her theory is that Jean’s recent power dampening is the result of her human mind trying to cope with her massive power level.) It’s about as everyday as it gets for the X-Men, but, well…

I always thought Jean molecularly restructured her own outfit into the Phoenix-costume whenever she needed to change, but here, she just… wills it away? Also, why did you need an outfit change for this, anyway? Does the costume simply appear whenever she exerts too much of her powers, like an angry forehead vein? So many questions. (X-Men 126)

Other residents at Muir are Polaris, Havok and the Multiple Man, all of them blissfully unaware that something skulks about in the shadows: the remains of an unfortunate captain, whose body has been taken over by something… other.

But someone else is skulking around in the shadows, too. Jean isn’t aware of it, but a familiar stranger is manipulating her from the sidelines.

I’ve been gaslighting a cosmic force, ask me how! (X-Men 126)

1979 marks the first appearance of the Hellfire Club, though we only meet one member for now: Jason Wyngarde. (Maybe all of this could have been avoided if he’d had a Barbie doll to dress up in black lace as a child, but alas.) ‘Jason’ is a pseudonym and though most people these days know that he’s a familiar villain from the X-Men’s past, the reveal of his true identity will follow later.

Meanwhile, Beast finally gets off his ass to check on the Xavier mansion, even though the X-Men must have been tripping intruder alarms for months now. Still, we do get this sweet moment out of it:

Of course she’s going to be surprised at the sheer amount of plot contrivances that were thrown up to keep all y’all apart for a full year. (X-Men 126)

Beast knows that Jean went to Muir, so Scott immediately goes for the phone. Lorna picks up, but during the call she starts screaming, leaning heavily into the horror genre. She fends off the withering remains of the captain, so instead, ‘Mutant X’ jumps into a duplicate of Jamie Madrox and promptly flees to the mainland on a boat.

Guuurl, that body is snatched. (X-Men 126)

The X-Men (sans Beast) hit Muir Isle, where Moira debriefs them. Moira reveals who Mutant X is: his name is Kevin MacTaggart, her son, who has the terrifying power to warp reality. Because his power is so vast, he burns through bodies at an alarming rate. He can only be contained - or killed - by inorganic metal. In an effort to contain him (and, presumably, help him at some point), Moira locked him in a metal cell. He was kept there, alone, for god knows how long, until Magneto accidentally freed him. They know he escaped the island and, because of his parasitic need for fresh host bodies, Moira posits that he’ll be heading for a big city.

Kevin - who dubs himself Proteus - racks up an impressive body count in the country side, killing 7 people in total. (6 people and 1 dupe? Eh.) He’s a terrific villain, because he’s powerful, has a well-defined weakness and, even though it’s not impossible to emphasize with him -- isolation tends to drive people mad -- the way he discards his victims is truly chilling.

The X-Men chase after him, Wolverine picking up the scent. When Proteus tries to claim him, Logan’s adamantium skeleton repels him. In response, he unspools reality.

I’ve had this trip. I think they call this strain Dragon’s Dynamite. (X-Men 126)

Storm intervenes, but Proteus leaves Nightcrawler and especially Wolverine rattled. Logan’s heightened senses root him in reality more than most, and when Proteus uses his powers, everything is just screaming wrong at him. But nobody is safe: little Kevin MacTaggart turns gravity against Ororo, taking her out as well.

He tries to claim Storm, but Moira repels him, sniping at him from afar. Proteus fears (metal) bullets, knowing they can kill him. When Cyclops realizes Moira’s shooting to kill, he intervenes - X-Men don’t kill, after all. Moira knocks him out with her gun, but Kevin escapes in the confusion. Moira finally realizes where her son is headed, while the X-Men regroup.

In Edinburgh, Moira pays Joe MacTaggart a visit - her husband, Kevin’s father.

The MacTaggarts are definitely in the running for the Xavier/Marko-award for Fucked Up Family Dynamics. (X-Men 127)

There’s a calculating coldness to Moira’s character that I’ve never responded well to, but I like how Claremont fills in the blanks here. It’s part unhappiness, part a deep frustration with her inability to help her own son. I wonder how Kevin was a child, before his mutant gene activated: was he a sweet boy, or one with a cruel streak? Did she fear what he might become?

There’s a few gaps in Claremont’s narrative, but Hickman has drawn on this very well, I think: the Moira X in HoXPoX is equally calculating, equally cold. But how can she not be? How often has she raised Kevin? How often has she had to kill him? How many times has she watched these people, these X-Men, die?

Anyway, Moira’s warning is as effective as anger management therapy for Sabretooth, because Kevin comes by Joe’s office a little while later and snuffs out his dad. Phoenix hears Joe screaming telepathically across the moors, allowing the X-Men to pinpoint him. Claremont also makes sure to show that Jean’s power is steadily growing:

Polaris be like: “No, no, I’m carrying my own emotionally stunted Summers boy, thank you.” (X-Men 127)

Proteus takes Moira hostage as the X-Men confront him. They fight.

Ordinarily, I don’t pay a lot of attention to the fight scenes, because recapping those usually boils down to “Cyclops conks Magneto in the helmet” or “Wolverine snikts Pyro in the gas tank”, but this one is truly great. John Byrne delivers some excellent work, showcasing the scope of Proteus’ powers through his art, his panelling. Don’t just take my word for it:

I love how trippy all of this is. Pivoting gravity, changing an optic beam into flowers… Sure, Proteus might be a callous and cruel SoB, but he’s also one imaginative motherfucker. (X-Men 127)

One by one, Proteus manages to distract or take out the X-Men, either by endangering passers-by, encasing them in amber (Storm) or burying them alive (Banshee). One of my favorite details is how afraid they all are: especially Wolverine and Nightcrawler hesitate before jumping into the fray. For them, this villain is truly beyond their scope.

In the end, it’s Phoenix who manages to drive him back, outside of the center of Edinburg and up an old castle, where there are fewer civilians to threaten. There, on the ramparts, it’s Colossus who makes the final stand: he destroys Proteus’ physical body and realizes that right now, there’s only one thing they can do to stop him. All it will cost is Piotr’s innocence.

Showcasing an ancient Japanese truth: Psychic Pokémon are weak to Steel attacks. (X-Men 128)

Proteus scatters to the winds and the X-Men emerge victorious, though Moira has lost both her son and her husband after this ordeal. Moreover, I think this is the first villain that the X-Men explicitly kill, simply because they have no other options left. This marks the first time that their ideal of mutant rehabilitation fails. What’s worse is that Kevin MacTaggart was essentially nothing more than a supremely screwed up boy who got access to way too much power way too quickly.

I wonder if it would have turned out differently had Xavier been there. (I also wonder if it’s a coincidence that this takes place right before the Dark Phoenix saga.)

I think this might be Claremont’s best arc yet, heightened by John Byrne’s excellent art. Chris deftly mixes horror, action and his usual soap opera elements, serving one cohesive narrative that (for once) doesn’t leave much hanging. Proteus is an excellent villain whose powers work visually (pay attention, MCU) and whose entire being touches on one of the same aspects as Krakoa: can and should every mutant fit into any sort of normal society?

If you have someone who’s interested in vintage X-Men and you want to recommend something that doesn’t require a confusing explanation of all the necessary backstory (and perhaps a crude sketch of the Summers and/or Lensherr family tree), I would recommend this arc.

And the rest, as they say, is Hellfire. 1980 is gonna be a doozy.