#but the mcu is supposed to all exist in a single universe for the most part

[lesbiradshaw]

It’s really interesting and annoying to me how so many ppl seem to misunderstand /misinterpret Steve’s character. He’s not a rule follower per se - but ppl think that cuz of his “language” comments. Trump supporters think he’s on their side when he would despise maga and everything it stands for. Steve literally fights for what’s right - equality and justice for everyone (not just Americans). He would hate bigots and he clearly doesn’t trust the gov. I hate how he’s so misunderstood but U get it

sometimes you just gotta

[tarnishedxknight]

Headcanons: Occurian Time Manipulation Vs. the MCU Multiverse

{out of dalmasca} I've been thinking a lot about Munoh deciding to bring other Ivalicians to the future time of the MCU verse, and of other Occurians potentially being the reason why some of the first were brought over. It occurs to me that the way the Occurians do this is not the same as the concept of the multiverse in the MCU, and this has interesting ramifications for the the results of the person actually being brought over. I think it'd be good to explain the difference, so that it'll be clear exactly who and from what time/verse each of my muses (and maybe yours, depending on who you write, heh) actually are.

Basically, and in a very brief nutshell, the MCU multiverse concept says that there are, many different dimensions and parallel realities occurring simultaneously with each other at any given time. Dimensions are like different timelines or threads of realities within a single universe, and parallel realities are different universes occurring side by side.

So for those unfamiliar with the MCU (Marvel Cinematic Universe), this like... in one dimension of your universe, there is the version of you that you are now, and also many other different versions in other dimensions that resulted from different events occurring or being omitted, different decisions being made at a critical juncture, etc. In one dimension you might be a college professor. In another you might be a rock star. In one you might be health, and in another disabled. In one you might be married with kids, and in another, alone with a thriving career you dedicate your life to.

In addition to this, there are parallel realities in other universes in which you exist. You're human in this universe, but in another you're a lizard person. Or a cat person. Or maybe you've been split into twins. Or maybe you have a different gender identity. But in each case, whether in different dimension of the same universe, or in different parallel realities of many universes, each one is different in some way and has their own timeline/thread in which they are supposed to exist.

Therefore, let's say I were a being as powerful Wanda Maximoff or a god or whatever and I wanted to grab a human you and a lizard person you. The two yous would be different people. They each have their own worlds, families, memories, and bodies separate from each other. They are not the same at any point and have existed entirely within their own reality for whole of their lives. Unless someone messes around with them at some point, heh.

Okay now... contrast this with the Occurian ability to "grab" people from different "timelines." This is actually not an accurate way of describing it, because the Occuria exist in only one timeline in a single dimension of a single universe. The specific timeline that includes Ivalice and all Occurian life throughout time, is the same timeline, dimension, and universe as the main MCU timeline, otherwise known as Earth-616. Everything the Occuria do is within that same Earth-616 dimension and across a single, continuous timeline.

What the Occuria can actually do is move throughout the Earth-616 timeline as most beings physically move over space geographically. What I mean is, as easy as it is for you to walk across a room, Munoh can "move" to last year. Or next year. Or last century. They not only move spatially, but through time as well. They don't have the ability to cross over into other dimensions (so other "Earths," for example Earth-838 or any others) of the same universe, nor do they have the ability to move into other parallel universes. They can only move throughout the Earth-616 timeline, not to anywhere in the multiverse. So Ivalice existed in the ancient past of the modern MCU age.

What does this mean for muses that may have been plucked "out of their time" by Munoh or another Occurian and "brought" to the modern MCU era? Let's take Drace as an example. If Munoh, watching how Noah was suffering and being mentally destabilized in the time he was moved to because he was without those he loved, decided to go "grab" Drace and give her back to him as just a nice thing to do... that is actually the same Drace he knew and loved. The same actual mind and body, the same person exactly. Even if Noah is moved to modern times after he's already been ordered to execute Drace (which is my canon that I go with), Munoh takes Drace from just before she went into that fateful meeting with Vayne and the other Judge Magisters that she never walked back out alive from. That isn't just "a" version of Drace, and it isn't a "copy" of Drace, nor is it a different her from another timeline/dimension, it's the same exact Drace that this specific Noah knew. It's not just "a" Drace, it's "his" Drace, it's only that Munoh went back to a time when she still lived and plucked her from that time into the future MCU time.

Think about it this way, when you play a movie on a streaming platform, you could rewind or fast forward to any moment in the movie and take a screenshot. Don't like that a character just died? Rewind it back and take a pic when they were happier. It's the same character, in the same movie, but you're taking them from an earlier timepoint. That's how the Occuria move through time, linearly either forward or backward. And they can do it in seconds regardless of how far through time they are traveling.

So, at least in my whole complicated, messy canon that I've created on this blog, haha, all the Ivalicians who have been moved to the MCU age are from the same dimension and timeline. I am also inclined to say that the ones who may have been yeeted to the future by some odd magical mishap involving Espers or other interesting circumstances are also from the same Earth-616 timeline, but of course you can decide for your own muse what you want to be true. We're all just pulling this MCU verse out of nowhere anyway on this blog, haha, so we can make it whatever we want. But yeah, I'm inclined to say that nothing and no one in Ivalice had the ability to traveling through the multiverse, only to employ powerful magicks or move through their own specific timeline.

I just wanted to clarify how Munoh brought Drace back even though she was supposed to be dead, and to explain that she isn't a different version of Drace, she's the same exact person taken from an earlier timepoint in her life when she was still alive. If Munoh were to bring over Caelen or Larsa or anyone else, they all would be from that same Earth-616 timeline.

I hope this makes sense, but if it doesn't or you have any other question, feel free to ask! =)

[cadmium-ores]

the overdue "Cadmium's Take on the Markiplier Cinematic Universe" post

The comment that shook the multiverse: Engineer Mark not Actor Mark??!!1?

Yes, but also no.

(Obviously these are all my headcanons/thoughts/theories/etc. The fandom would be way less fun if there were not these varied interpretations and room in canon for that, so please know that I'm not trying to put down or shut down anyone else's headcanons.)

When considering most fictions, two layers is all you need: real life (e.g. where the reader and the author reside) and the fictional world (where the characters reside; where things in their real lives take place). However, the MCU needs three layers.

Layer 1 is still real life. That's where Mark Fischbach the YouTuber channels his insane creativity and skill to deliver us mind-blowing projects for us to enjoy.

Layer 2 is still the base fictional world(s). Plenty of hairs could be split here, but to keep things simple, I'll focus on the most cut-and-dry example: Who Killed Markiplier itself. This fits fine into the two-layer structure. It features events actually happening to the characters. This is where we meet the fictional character Mark "Markiplier" a.k.a. Actor Mark. (...And honestly, this is already where we lose some people not familiar with the fandom who fail to understand the distinction between Mark's characters and himself, but I digress.)

The MCU in specific, though, rapidly builds up a third layer, because the character Actor Mark is also a creator — and a creator who attains reality-warping powers. Without this third layer, you do get snagged on questions like is the Engineer the Actor? Because, if the MCU has only a single layer of fiction, the answer is either "yes, at some point the Actor becomes the head engineer and goes to space" or "no, the Engineer is a different character."

It makes sense that people want to find a "yes" — both based on the obvious parallels between the characters and because of what canon has established (from WKM, the Damien animation, and so on).

With the third layer, a much more logical "yes" presents itself: the Engineer is a character written and played by the Actor. It makes the most sense and is the most consistent to consider the interactive (Date, Heist, and Space) as (in-canon) creations of the Actor. So, Space!Mark is a fictional character to Actor Mark just like Actor Mark is a fictional character to Mark Fischbach. (And of course I must at least mention… I think ISWM illustrates the Actor beginning to come to terms with the events surrounding WKM.)

This allows us to resolve a lot of questions, actually: e.g., is Date a prequel or sequel of Heist? It can't be a prequel because of the callbacks and references in Heist, but it can't be a sequel when it's only at the end of Heist that Heist!Mark asks us on a date!

Well, the answer on layers 1 and 2 is the same: Date was written before Heist. It contains callbacks and references for the same reasons from layer 2's POV as it does on layer 1. Then, on layer 3 — they're simply separate works of fiction; they don't exist in a cinematic universe. Date!Mark and Heist!Mark aren't the same character.

I could discuss some other aspects of canon, but those two should serve to illustrate my point. One last item I do want to touch on:

"But wait, but wait! We see Actor Mark in Space in his dressing room."

This is simply another instance where layers 1 and 2 agree — where Mark Fischbach's choices are echoed in Actor Mark's. Back when Date came out, nobody took the meta ending literally. It was another joke, a bit; Mark playing a parody of himself. Nobody thought it was supposed to be a reveal of what Mark was really like IRL. So, it's the same for the Actor. He's playing a caricaturized version of himself. (I have headcanons as to why, but I'll reserve them for another post, since they're not relevant to the point I'm making here.)

Anyway, then in Space, on layers 1 and 2, it's a callback to the same.

I think that about covers it. This interpretation allows me to circumvent a lot of the inanity and inconsistencies of canon in a way that, in my opinion, is not at all a cop-out -- it's certainly canonically consistent/supported by evidence, and it has lead me to richer character development and interesting worldbuilding. Space fit seamlessly into it, too, making me a lot more confident in my positions.

[spideyykid]

A Peter Parker Timeline (MCU)

Because I’m tired of fighting with people in TikTok comment sections.

Peter Benjamin Parker was born August 10th, 2001. This date is a callback to Spider-Man's first appearance in The Amazing Fantasy #15 comics, which premiered in August of 1962. Some iterations have his birthday as August 27th, but Peter’s passport shown in the trailer for Spider-Man: Far From Home officially confirms his birthdate. The year of his birth being 2001 coincides with his age throughout different films in the MCU, as well as being listed in the official Marvel Cinematic Universe Wiki.

The age in which he would have moved in with his Aunt and Uncle has yet to be determined, as we have not gotten any concrete evidence. What we do know for sure is that Aunt May raised him. Although Uncle Ben has yet to be mentioned by name, Peter alluded to his existence in Spider-Man: Homecoming:

Peter: Ned, May cannot know. I cannot do that to her right now, you know? I mean, everything that’s happened with her, I... Please.

There was also a deleted scene mentioned by John Goldstein, who co-wrote Homecoming with John Francis Daley. This would have the character’s mention Ben Parker by name.

Another confirmation is in the series “What if.” The whole point of that series is that it is canon up until one specific point, in which the story diverges into a new variation.

Watcher: But in another universe, a single choice created a whole new hero. All this to make one Super Soldier….There. That's the moment that created a new universe. When asked to leave the room, Margaret "Peggy" Carter chose to stay. But soon it would be her venturing into the unknown and creating a new world.

In Episode 5 of What if, Peter mentions Ben as someone he has previously lost, confirming his existence in the MCU.

Peter: Practice, I guess. My mom, dad, Uncle Ben, Mr. Stark. Now Happy. I've... I've lost a lot. But my Aunt May says... used to say, that if we don't keep smiling when they can't, then we might as well just be gone, too. And... Well, they'd want us to keep going.

We also see Peter’s briefcase contain the initials “B.F.P”, further solidifying his existence in the MCU.

In the comic’s, Peter’s parents died in a plane crash. In the TASM series, Peter is four years old when his parents say goodbye to him for the last time. From what I could find in my research, Peter’s age varies and has never been confirmed, although it is pretty certain that he was between the ages of infancy up until six years old. This would mean Mary and Richard Parker would have passed away between the years 2001-2007.

We first meet Peter Parker in Civil War. This is where the concrete dates become a little bit harder to track. Most people place Captain America: Civil War in June 2016.

Peter mentions in his conversation with Tony that he's had his powers for 6 months, meaning that he would have been bitten by the spider sometime around January 2016.

This would line up with Peter’s age in Civil War (14 years old.) We also know that there is a two month time skip between Peter being dropped off at his Apartment by Tony Stark and Happy Hogan and the start of Homecoming.

Bronx School of Science, the real life Science School Midtown High is based on, had its first day of classes on September 8th for the 2016-2017 school year. This would place that scene in the car in early July, which still lines up with the approximate timeline of civil war (depending on when this scene takes place in the continuity.)

This also lines up with Peter’s age, as he is supposed to be 14 in Civil War and 15 in Homecoming. Peter would have celebrated a birthday in the two month time jump. This also lends credence to Tony calling Peter a “fourteen year old kid,” after the Ferry incident; as Peter would have been 14 when he initially did his research on him.

The Academic Decathlon is said to take place between October 13th-15th, According to a poster visible in the movie. There is another poster contradicting this information, placing the Academic Decathlon a month earlier in September. This could be a continuity error, but a better in world explanation would be that the poster claiming the competition is in September is from the year previous. The poster itself is shown to be in Peter’s room, and he could have held on to it since it wouldn’t be a jump to assume he was on the team the year before, especially as the teams are established the year prior.

Of course, this is all assumption, it could still very well be taking place in September.

American Homecoming is typically set late September and can happen as late as October. This would place Homecoming sometime late October. If you are working on the assumption that the poster in Peter’s room is the correct date, Homecoming can take place as early as late September, as the Homecoming dance is the last major event in the movie.

Spider-Man Homecoming ends with Peter being offered a spot on the Avengers. This scene can take place anytime in the school year, but presumably not too long after the events of homecoming. I would guess the end of October early November, but that’s fully a guess. It doesn’t seem to be Christmas just yet, with no snow and warmish weather, but it could also take place as far as April/May 2017. Peter would still be fifteen at the end, regardless of this fact.

There is a significant jump between Homecoming and Avengers: Infinity War.

Infinity War takes place in April 2018, making Peter Parker 16 years old. From Tony and Peter’s interactions, they have definitely had some level of a maintained relationship in that year/ year and a half between the two movies. This is a topic the producers, Jon Favreau, Robert Downey Jr. and Tom Holland have all commented on. We don’t know exactly how long there is between the start and the end of Infinity war, but it can’t have been longer than a few days.

Peter was snapped in April 2018, and returned on the same day of the final battle in Endgame, sometime in October 2023. He would still be 16 years old, as you do not age when blipped from existence.

By his literal birthday, Peter would not turn 17 until his next birthday, which is on August 10th, 2024. Biologically, as they weren’t snapped away for exactly 5 years, he would hit 17 sometime in April 2024. For simplicity's sake, we are still going to use his birthday as a marker for his age, which is what they do in the MCU.

Far From Home takes place 8 months after the blip, placing it in June 2024. This lines up with Peter’s age (“I’m 16!” to Beck in the bar) and the fact that School trips to Europe typically take place in June. We don’t know how much time takes place between the end of Far From Home and the end credit scene/the beginning of No Way Home, but we do know it takes place after August 10th, as J.J. Jameson notes that Peter is a “17 year old boy from Queens.” We also know that it takes place before the start of the school year, as we see Peter’s first day of class after the fact. This places the start of the film anytime after August 11th, 2024 and before the beginning of September, 2024.

The final scene of the movie shows that it takes place around Christmas time. Peter has not completed his High School Diploma, and Ned and MJ are still in New York, meaning that their senior year is not yet complete. This places the end of the movie is set in December 2024, right at the same time as Hawkeye. Hawkeye takes place Christmas 2024, as shown by an invitation to Kate’s Mother’s Party, which shows the date as December 2024.

There is another sign that shows that it’s “New Year 2025.”

This date would make Peter Parker 17 at the end of the film, NOT 18 as some people have placed him. The only argument typically used here is the fact that seniors are usually 18, but that’s not taking into account his birthday. He’s an August baby, making him the youngest of his year.

(Take it from me, an August baby myself. I only turned 18 several months after I completed high school.)

There you go, a complete timeline of events. Use it to write fic, win arguments- I don’t care.

[musclesandhammering]

Every Single Issue I Have With S*lki (It’s Not Just The Selfcest)

Here goes. I threatened to post this a few days ago and never did, but I just saw a s*lki stan Twitter account claim that Loki caring about Sylvie more than the whole multiverse was a Good And Romantic thing and it pushed me over the fucking edge, so now you all have to read this. I’ve divided it into categories cause there’s just THAT much.

OOC Bullshit

• First and foremost, no amount of mental gymnastics you do will ever make me believe that this specific Loki- the one that just invaded New York, that just came off a year of Thanos Torture, that just got done being influenced by the sceptre, that was literally in the middle of a crisis already, and then on top of that went through all the trauma of Ep 1- would even be worried about a romantic relationship. That would be the furthest thing from his mind. Go back and watch how he acted in Avengers- you think that guy would abandon his previous mission to become a snivelling simp for a girl he’d just met 3 days prior? Yeah, there’s no universe in which that makes sense.

• “It’s very in character for Loki to fall in love with himself lololol-“ NO, it’s literally not. Out of all the characters in the mcu, I don’t think I can think of anyone that genuinely hates themselves more than Loki. He even referred to all his other male variants as “monsters” and said meeting them was “a nightmare” in this series. He’s got so much self-loathing, plus the fact that he genuinely thinks himself to be an evil backstabbing scourge- so there’s no evidence at all suggesting that he would ever develop a fondness for, or even be inclined to trust, another version of himself, after only knowing them for 3 days.

• Building on that, the whole concept of Loki falling in love with a version of himself just feeds into the annoying ass misconception that he’s a narcissist. No matter which way you stack it, he’s not. If you’re referring to NPD, he doesn’t fit the criteria, and if you’re saying “narcissist” just as a slang term meaning “selfish and arrogant”, that still doesn’t accurately describe him. But when creators like Waldron and Herron do things like having him fall in love with himself, it makes it so much easier for casual viewers to think that he is.

Shitty LGBT Rep

• It’s kinda sus that Loki’s are allegedly genderfluid and yet the only female-presenting variant we see (and apparently the only female-presenting variant there is, cause the male Loki’s all seemed unfamiliar with the concept) is treated as some kind of mind-bogglingly special paradox. Also very sus that, out of all the Loki variants, the one our Loki falls in love with just so happens to be the only female one. What a coincidence.

• The fact that the creators of the show went around bragging about Loki’s bisexuality and Marvel purposefully (lbr) allowed stories about Loki possibly having a male love interest to circulate, specifically enticing queer viewers to watch the show (you know, the definition of queerbaiting), and then instead of having a male love interest (Loki was the first queer main character, so it was the perfect opportunity) they gave us *gestures to this dumpster fire* this… it’s just a middle finger to LGBT fans. The fact that they would rather have this relationship with all its myriad of problems than have a gay relationship is just……. Very telling.

• While him being with a woman obviously doesn’t refute his bisexuality, the fact that they showed/talked about him being interested in 3 different women (flight attendant, Sylvie, Sif) and never even hinted at him being attracted to a man, definitely makes it seem like they were trying to cover up his bisexuality to smooth things over with the more homophobic viewers. You know? It’s like “I know you’re pissed that we sorta confirmed Loki as bi, so we promise we’ll never mention it again! Or even hint at it! As a matter of fact, we’ll give him lots of female lovies and make him seem as straight as possible! That’ll take your mind off of that horrible crumb of queer rep, right? Please please please keep giving us your money!!!”

• Aside from all the other issues, at its core, the biggest reason why I think I’m so irritated with s*lki is that it took one of the most interesting, complex, and diverse characters in cinema atm and squished him into a tired ass unnecessary heteronormative subplot…. Like literally every. single. other. protagonist. ever. Loki is such a unique character, and it’s so so so incredibly disappointing that they stuck him into that same boring cookie cutter romance that happens to every other character in every other movie I’ve ever seen. It’s a disservice, and it’s honestly just not compelling or entertaining at all.

Thematic Issues Galore

• His arc didn’t need a romance. With anyone. It was unnecessary and it didn’t make sense plot-wise. In fact, one of the reasons he was my fav prior to this was because he was the only big-name mcu character whose story wasn’t muddied-up by a romance that didn’t need to be there. So much for that.

• He wasn’t emotionally ready for a romantic relationship with anyone. Hell, just a genuine friendship would’ve been pushing it for him at this point. He was in such a bad state that any relationship he got into would’ve been toxic and unhealthy for both him and the other person, and it doesn’t make sense why the writers would want to put him in one when there were so many cons and essentially no pros (other than “Uwu aren’t they cute together”).

• Sylvie’s character in general was unnecessary and Loki’s character was robbed just by her being there. The whole show became about her post-Ep 2. They spent most of the time giving her backstory, building her up, telling us how awesome she is, trying to convince us to like her, etc when what they really needed to be doing was building Loki up- cause I gotta say, if I had to describe TVA!Loki in a few words, they would be Flat, Boring, and Weak.

• The romance overtakes the plot. They spend time portraying their supposed connection that could’ve been spent adding depth and complexity to literally any of the characters. They make the big Nexus Event them giving each other googly eyes on Lamentis when it could’ve been so many other way more profound things that speak to the fundamental nature of Loki’s. They have the climax of the finale be “oh no she betrayed him to kill He Who Remains” when it could’ve been something way more compelling (Loki having a moral crisis over whether or not to kill HWR, Loki contemplating the state of the multiverse and weighing the pros and cons of freedom vs order, Loki looking into some What If situations and getting emotional about what could’ve been regarding his family, Loki realising the gravity of HWR’s offer and finally coming to terms with how important he is to the universal cycle, etc etc). The entire plot suffered in favour of a romance that half of us didn’t even want.

• It essentially reduced all of Loki’s potential character growth down to “He did it for his crush.” He seemed to at least have some motivations of his own in Ep 1-2 (feeble as they were) but after Sylvie showed up in Ep 3, literally every action he took was just him being a simp for her. Why did he lie in the interrogation? To try to protect Sylvie. Why did he fight the minutemen and Timekeepers? To survive kinda, but mostly cause it was important to Sylvie. Why did he get pruned? Cause he got distracted trying to confess his crush to Sylvie. Why did he try to get out of The Void? Cause he thought Sylvie needed him. Why did he stay in The Void? Cause Sylvie was staying. Why did he try to enchant Alioth? Cause Sylvie told him to. Why did the multiverse get cracked open, leading to an infinite number of Kangs waging war on all of existence? Cause Loki didn’t wanna hurt Sylvie in their fight at the Citadel and then get distracted by her kissing him. It’s uninteresting and honestly pretty embarrassing.

• Throughout their “relationship arc” the writers do their absolute damndest to convince us that we should like Sylvie more than Loki. And you know what? It’s the most hypocritical shit I’ve ever seen. They preach and preach about how Sylvie’s life has been so difficult/we should feel bad for her/she had it so bad/poor poor sylvie/she had it SO much worse than pampered prince Loki…. But then they never even touch on any of Loki’s trauma of hardships (the ones that have been ignored for literally 3 movies now). They frame Sylvie as a good person and a Freedom Fighter after she spent literal decades/centuries mass-murdering brainwashed TVA agents and showing exactly zero remorse for it….. but then they make it their mission to constantly remind us that Loki is a terrible person and constantly put him in situations where he’s forced to acknowledge his wrongdoings/show remorse/admit to how “evil” he is for being a mass murderer for like 2 years. They show him on-screen having a wider range of powers than her, and perpetuate his whole shtick of being a “master manipulator” or whatever….. But then they make Sylvie “the brawn” more competent, intelligent, and physically capable than him. Tell me how it’s a good thing for a ship to be so narratively biased toward one character.

Missed Opportunities

• If they absolutely had to have a romance subplot, then they could’ve paired Loki with one of the characters that have already been established OR one of the characters that were a big part of the whole TVA storyline anyway. It would’ve been so interesting if they’d revealed that Loki had a history with some of the players from previous films (Sif and Fandral both come to mind). It also would’ve been really interesting if they’d given Loki a love interest that actually had some allegiance to the TVA as a whole (Mobius maybe, but not necessarily. It also could’ve been Renslayer or B-15). Hell, imo it would’ve been cool if they’d followed through with that “See you again someday” line that he said to the flight attendant in Ep 1. ALL of these characters have way more chemistry with him than Sylvie, and they were also already relevant to the plot without wasting half the show to give background info on them.

• If they absolutely had to have a hetero-presenting love story involving an enchantress-type figure, then there’s a whole Enchantress (Amora) that was actually Loki’s love interest in the comics. Plus, fans have been screaming for Amora to appear in the mcu for years. Plus, Tom literally pitched an Amora/Loki storyline way back in 2012-13. Also, Lorelei (another enchantress) is also one of Loki’s love interests in the comics, and she already exists in the mcu (she was on Agents of SHIELD). There were several different established characters for them to choose from. Creating a whole knew amalgamation of a character and going with the “she’s a Loki variant” storyline was just completely unnecessary and made no sense.

• They completely robbed us of a Chaos Twins dynamic. Had they handled Sylvie better and not forced her and Loki to smooch, the two of them could’ve had a really really complex and interesting sibling relationship. Loki could’ve stepped into Thor’s shoes and sort of used that new role to gain some self importance, and Sylvie could’ve finally had somebody to look out for her/teach her magic/be there for her. It would’ve been very aesthetically pleasing, the vibes would’ve been out of this world, it would’ve been way more profound than this bs, and frankly it would’ve been much more entertaining to watch.

• Loki’s relationship (read: obsession) with Sylvie completely overshadows all Loki’s other relationships in the show. Loki and Mobius were literally the focal point of the series in Ep 1-2, but after Sylvie showed up in Ep 3, they barely had any interactions with each other, and Mobius pretty much faded to the background entirely. Loki had the beginnings of a pretty interesting antagonistic relationship with Renslayer (with her wanting him pruned, then arguing with Mobius that he couldn’t be trusted), but after Sylvie showed up the dynamic shifted to focus on the history between her and Ravonna. Loki and B-15 started off very badly and openly disliked each other throughout Ep 1-2, and then in the end of Ep 2, Loki showed a little bit of concern for her when she was possessed, hinting that they might be inching toward a reconciliation- especially considering how obvious it was that Loki was gonna uncover the TVA’s sins eventually. There was so much potential for him to be the one to give her her memories back and convince her to change sides, but no, of course that honor went to Sylvie. In fact, after Sylvie showed up, Loki and B-15 never even spoke to each other again.

Various S*lki Fails

• If they were trying to convince us that this affection was mutual, they completely failed. There’s nothing I’ve seen that even hints at Sylvie feeling the same way about Loki that he does about her. At most, I’d say she has a slight endearment to him. She finds him likeable and she’s grudgingly fond of him, but she definitely isn’t in love with the guy. Maybe she thinks he’s cute and hopes that he gets out of this mess alright, but her mission obviously comes before him- whereas, it’s been confirmed multiple times that Loki cares about her above anything else. She doesn’t trust him, she looks at him like he’s an incompetent fool half the time, she shows little to no reaction during most of his confession moments, and she kissed him as a means to distract him so that she could get him out of her way. Look, all I’m saying is, when you get into a relationship where one of you is way more invested than the other, it never ends well.

• This goes without saying for a lot of us, but the selfcest is just straight up odd and cringey. If you’re cool with that sort of thing, fine! People can ship what they want! But don’t pretend it’s not at least a little bit uncomfortable. Yes, I know they’re not technically siblings so it’s not technically incest, and they’re also not technically the exact same person, but they’re similar enough that it makes things weird. And yes I know selfcest can’t happen in real life, so there’s no way to judge it morally, but neither can most of the other stuff that happens in these shows/movies (the Snap, Loki destroying jotunheim, superhero with powers being held accountable, mind control) and yet we still find ways to judge their morality, because they all mirror real-world events. (The snap= genocide; Loki destroying Jotunheim= bombing other countries; superhero accountability= weapons accountability; mind control= grooming and coercion). And lbr the closest real-world mirror to two versions of the same person (who may or may not share DNA, family, backgrounds, physical and emotion characteristics) being romantically involved with one another is incest. And you can be ok with that if you want- that’s your prerogative- but don’t get pissy just cause a lot of us are squicked out by it.

• The whole mirror metaphor (learning self love via each other) thing just fell completely flat. First of all, having Loki learn to love himself by looking at someone who mirrors him did not, in any way shape or form, require them to be romantically involved. But they were. Of course. Secondly, the creators have contradicted themselves so many times on whether Loki and Sylvie are the same or not, that it doesn’t even really register to the viewer that the mirroring thing was what they were going for. Finally, Loki and Sylvie are shown to have so little in common- and to have only the most bare minimum of similarities personality-wise- that it doesn’t even make sense that Loki would ��learn to love himself through loving her”. Like? They’re nothing alike. So how would he make the connection that he himself is actually pretty cool, based on her alone? There’s virtually nothing in her that reflects him.

• I know the objective of the entire show was to convince us of how awesome and unique Sylvie is, but honestly her relationship with Loki just did the opposite. A hallmark of a Mary Sue is having her constantly upstage the male lead, and then having him instantly fall madly in love with her anyway. And that’s.. exactly what happened here. Everything they’re doing to try to force her character to be more stan-able is really just forcing her to look more like their self-insert OC. Which is exactly what she is. It would’ve been so much more satisfying if she didn’t have to try so hard to look cool, if they didn’t have to try so hard to make her backstory tear-inducing, if they didn’t have to turn our protagonist into a snivelling simp just to prove how incredible she supposedly is. Very much #GirlBoss energy and we all know how performative and cheap that is.

• The entire thing was too rushed, there was too little build-up, and it was nowhere near believable. As stated above, it’s ridiculously unlikely that Loki would canonically even be interested in Sylvie, and this show did nothing to explain why he was. He just suddenly was. There was nothing they showed us as viewers that would justify a guy as closed-off and preoccupied as Loki falling head-over-heels for a girl he just met. Their was no explanation, no big revelation, no reasoning, it just… kinda happened. And I’m also severely skeptical of any love story that has the characters go in this deep after only 3 45-minute episodes of exposition.

I’m sure there’s other stuff, so if anyone thinks of anything, let me know and I’ll be more than happy to add it. Tagging @janetsnakehole02 @raifenlf @natures-marvel and @brightredsunset800 for expressing interest. This is all your faults.

[bthehufflepuff208]

So how much do you want to fucking bet that for the “Vision is Ultron” episode of “What If”, they’re basically going to sell it as:

“No matter what, whether the mind stone was used or not, Ultron/Vision would have always been created as a monster because his sole creator Tony Stark is a monster.”

To add, they’re also going to kill Tony off again, with Vision/Ultron talking about all the bullshit that was said in “Age of Ultron”, of how he’s a “sickness” and a “monster” and how he did the right thing by killing him and all that jazz.  

And I’m so fucking over it.

Like, I get it.  Tony Stark is a perfect choice for a scapegoat to hate for a good chunk of MCU fans, as he has all the things people hate:

He’s a billionaire (a born into money billionaire), which ya know, “eat the rich” and all.  He’s a man, he’s white, he’s cisgender, he’s straight (questionable to some fans, but there’s no fucking way any Marvel executives would say Tony’s bisexual or pansexual, no way).  

So due to this, most MCU fans hate his guts as he represents at least one group of people that they loathe.  I’m not saying these are the sole reasons anti-Tony people hate him, but they can’t say that it’s not at least one of the reasons.

But making him the scapegoat over and over is so fucking absurd, especially when the whole fucking point of Tony’s story is that he wants to become better, not just for his loved ones but for the world.

But with the stigma he already has with what he was born with/into, fans have absolutely no fucking trouble twisting any bad situation into blaming Tony, since he represents all the things they hate in real life anyway. 

Tony’s entire arc was supposed to show with each movie, that he wanted to become better and to truly help people.  But literally every single action Tony makes, everyone interprets it as “he’s only doing it for his ego/to protect himself.”

Tony flies a nuclear bomb into a wormhole? “Oh, he only did that because he wanted the praise of being the hero who saved the day.”  Tony wanting a defense system to protect Earth? “Oh, he only wants that because he doesn’t want to do anything to help Earth himself and wants all of the credit.”  Tony literally dying destroying an army that was going to destroy the universe? “Oh, but that doesn’t make him a hero, everything he did was always about him.  He’s still a selfish piece of shit because he didn’t want to erase his daughter (and probably millions of other children) out of existence.”  No matter what Tony does, everyone twists it as something he’s doing only for himself.

But even a little example of how everyone just twists anything and everything they can about Tony:   I saw a post talking about how they were glad Thor wasn’t friends with that “toxic piece of shit” because all Tony did throughout Endgame was mock Thor’s depression/PTSD. 

And I was like.......what fucking movie were you watching?

He did call Thor “Lebowski”, which, yes, was definitely mean-spirited.  But the entire movie?  Huhhhh?

Here’s where they twist their views to whatever they want to see.  I’ve watched Endgame over and over, and besides the Lebowski joke, I cannot come up with one point in which Tony mocks Thor.  But thinking about it, I have a pretty good idea of how anti-Tony people twisted their look on the film to see Tony mocking Thor throughout the entire thing.

In the scene where Thor is insisting on doing the snap to bring everyone back, Tony steps in and tells him he’s not in condition to do so.  In my head, and the way I’m pretty sure it was supposed to be interpreted, Tony does this because he’s concerned for Thor because he knows how bad of a place he’s in and doesn’t want to push him even further.  But to someone who hates Tony, they most likely interpreted the scene as Tony mocking Thor and calling him “weak.”  I have no fucking clue how they came to that conclusion, but I’m pretty sure that’s what they saw. 

And now, lets go back to Ultron and talk about a character and situation that infuriates me to no end.  Wanda and her involvement with Ultron.

Not only did the writers and characters of “Age of Ultron” have absolutely no problem in solely blaming Tony for what Ultron became, the majority of the people who watched it had no problem with it too. Even when in the fucking movie, it’s literally stated that Wanda manipulated his mind in hopes he would take the mind stone 

“I didn’t expect (gestures to Ultron), but I saw Stark’s fear, I knew it would control him, make him self-destruct.”

She fucking says she wanted him to take the mind stone because she knew it would cause something terrible to happen.

I’m pretty sure 99% of the reason Ultron became what he became was because of the mind stone, which was only even used in Tony’s program because Wanda basically mind controlled him into using it.  

And fucking yet.

Everyone, the characters and fans alike, were over the moon with Wanda’s bullshit “Stark can’t see the difference between saving the world and destroying it, where do you think he gets that from?” as it proved to them that Tony Stark was the monstrous villain they thought he was all along.

 AND FUCKING YET.

Tony’s whole fucking goal with the Ultron program in the first place was to protect Earth from threats he believed they wouldn’t be able to fight (and he was fucking right).  Wanda’s goal was to kill Tony, which fine, won’t get into that bullshit completely. But I’m 99% positive the scene where she lets the Hulk loose in Johannesburg that probably killed dozens of people, showed us that Wanda doesn’t really fucking care who gets killed, even if they’re innocent, as long as Tony Stark is in the body count.  And then when she finds out Ultron plans on killing everyone, which includes her and her brother, then she “see’s the light.”  BUT THEN STILL SOLELY BLAMES TONY FOR EVERYTHING SHE BASICALLY CAUSED, and the characters and the audience are like “YAS, WE STAN A QUEEN WHO EATS (AND KILLS) THE RICH!”

So coming around full circle, I’ve just had fucking enough of this scapegoating bullshit the writers have and will continue to be pulling on Tony Stark.  The “What If” Episode with Vision/Ultron will once again put the “Tony Stark was the main villain of the MCU and everything ever is his fault.”

And the fact that so many fans can and will twist anything Tony does to fit their narrative, and that the writers give them the ammunition with the scapegoating bullshit even though there’s so much evidence that shows `how truly good of a person Tony is just so fucking infuriating, disheartening, and just sad.

[mikkeneko]

Got tagged by @veliseraptor for a writing meme!

How many works do you have on AO3? What’s your total AO3 word count?

193 works over 10 fandoms;  2,591,823 words.

How many fandoms have you written for and what are they?

I would count 10 real ones. Dragon Age; Tsubasa: Reservoir Chronicle; Critical Role; Marvel Cinematic Universe; The Untamed; The Witcher; Cardcaptor Sakura; Fullmetal Alchemist; Gundam Wing; Weiss Kreuz. Some of these pre-date the existence of AO3, and some of them are better off that way.

What are your top 5 fics by kudos?

A Villain State of Mind; Cover Up the Sun; Laughing As I Pray; I do solemnly swear; The Morning After.  All Loki fandom fics. Not too surprising as that was the most mainstream fandom I wrote for, and they’ve been around for a while now, lots of time to accumulate stats.

Do you respond to comments, why or why not?

I do! I have a somewhat complex set of criteria for when I respond and how. 

I will respond to all  comments left on works in my current/active fandom except  for: comments consisting entirely of emojis (mainly because I have no idea what to say to that) comments consisting of single words (same) or comments that seem to be about something other than my fic entirely or focus entirely on negativity (i.e., the commentor is using this box as a space to rant about how much they hate a character, the show, or another author/trope.)

I will usually but not always respond to comments on my next-to-last fandom. On older fandoms I will respond only  to especially long or thoughtful comments, or ones that specifically ask a question that I can answer.

What’s the fic you’ve written with the angstiest ending?

That would have to be Rise From Ash,  the Loki timeloop fic I wrote in MCU. Since it was intended to lead into Avengers, it naturally had a downer ending since we know how Avengers went for Loki; but the story also ended with him having a major mental health break and resolving to kill himself in order to end the timeloop, so, uh, that was pretty unhappy.

Do you write crossovers? If so, what is the craziest one you’ve written?

I think that the Never Gonna Tell A Lie series has to qualify for this one by default; two fics of the “characters from wildly different series meet in a bar” format, spanning seven different franchises.

Have you ever received hate on a fic?

Occasionally. I can’t answer in a lot of detail because I make a conscious policy of thinking about these comments as little as possible, so I tend to forget the details. Off the top of my head I know I received a few comments on my MCU fics of people complaining that the fic was nothing more than a Thor-bashing exercise (it wasn’t intended as such, but you can’t control how the audience will receive, I guess.) And then there was the whole infamous “ableist torture porn of a mentally ill man” episode.

Have you ever had a fic stolen?

Not that I can recall. It may have happened that I just don’t know about.  ¯\_(ツ)_/¯

Have you ever had a fic translated?

A fair amount! Sometimes people will leave a comment asking permission to translate. I have always granted it. Sometimes they go through with the translation and sometimes not.

Have you ever co-written a fic before?

Yes! In Tsubasa Reservoir Chronicle I co-wrote a couple fics with @faux-fires which were a lot of fun. (Which... doesn’t seem to be on AO3, huh. But Not Quite Paradise  is still on ff.net.)  And more recently @cerusee and I have been trading scenes back and forth for each other’s stories.

What’s your all time favorite ship?

I don’t know if I have just one. Maybe Kurogane/Fai. They really manage to straddle all my favorite ship dynamics.

What’s a WIP that you want to finish but don’t think you ever will?

Both of my WIPs in Critical Role fandom, Molly’s Moving Castle and Fjord Mustang’s YEEHAW! Fun and Pony Ranch,  are at this point probably never going to be finished. Partly because of Characterization Marches On; the characters that I thought they were when I started writing were not the characters they ended up being in canon. But mostly just because I’m no longer really in the fandom. 

Wonder if it’s worth closing out the WIPs on AO3 with final chapters describing how the fic would have ended?

What are your writing strengths?

I can do humor, I can do horror, I can do heartbreak. I can write a complex outline and stick to it, I have a fair amount of discipline and perseverance. People occasionally compliment my character voice, so I’d say that’s decent. I can spin up a plot for just about any situation. I love  adapting canon to AU. My dialogue is pretty punchy and my action sequences are adequate.

What are your writing weaknesses?

I’m really bad at writing OCs, as I admit to every darn time this comes up. I’ve also recently realized that I have a strong tendency to avoid writing about characters I don’t like, on several fronts.

The first way that manifests is that if there’s a main/good guy character who the fandom likes and I dislike, I will avoid writing about them whenever possible. I don’t do character bashing. (Which means that if I am  writing about a protagonist character, even if they’re being a jerk and the narrative is whacking them for it, that doesn’t mean I hate the character. It just means that the story requires that they get a good whacking, Thor.)

But the second way this manifests is that I will often just... avoid writing about the bad guys, if they’re unpleasant and I dislike them. Which in shorter things is fine! We’re here to read about the characters we like.  But in longer or more plotful things, that means that all of the villain’s bad things happen off screen  if they happen at all, so the audience doesn’t get a chance to really build up anger against them, so their eventual downfall is less satisfying.

I’m also weaker at writing romance than I would like, I’d say. If it’s a story that has a plot, the romance will frequently get shoved in around the corners or at the last minute. If it’s a story that’s supposed to be about romance, the characters will usually sidetrack into having philosophical discussions about moral relativity when they’re supposed to be flirting.

What are your thoughts on writing dialogue in other languages in a fic?

I’m not sure I understand the question. I don’t think this has ever come up in my fic. I do not speak any other languages fluently enough to have ever tried to write any part of my fics, dialogue or otherwise, in a language other than english. Is this asking my thoughts on other  people doing that? Sure, why not?

What was the first fandom you wrote for?

That would have been Gundam Wing! Gosh, it’s been so long that I barely remember what  that first fic was. But the biggest thing I wrote for that fandom was a ghost story on a space station, which was not very good, objectively, but I look back on it and think it had some seeds of a pretty cool horror/psychological drama going there. 

Was Duo Maxwell really  haunting the space station? Or was Heero Yuy just going mad with grief? Who can say.

Tagging! Well, Lise tagged me, so she’s out. How about... @hollyand-writes (if you have the time to spare,) @curiosity-killed, @thethirdamell, @plotdesigner, and @cerusee ?

[iamanartichoke]

I started typing this in the tags of this post, and it got too long, and then I was going to just reblog the post with this as an addition but that got too long too, and I've been meaning to make a post addressing free will vs. predestination since the premiere anyway, so - here we go. Spoilers, obviously.

Cut for length and spoilers. Please blacklist #loki tv series spoilers, #loki series spoilers, and #loki spoilers.

This is kinda rough and I'm not sure it actually makes any sense but I'm posting it anyway.

I realize that the post is a joke, obviously (and it is hilarious) but I started thinking about the implications and couldn't stop because it's honestly a goldmine of existential reflection and an inevitable crisis or three.

Let's look at a scenario.

Say you're late to work for reasons totally beyond your control: your neighbor stopped you to ask a question on your way out the door; you swung through the drive-thru for a quick coffee but the person in front of you is ordering a full continental breakfast ffs (this happened to me this morning); there was an explosion and then the Winter Soldier randomly dropped from the sky and landed on the hood of your car. Whatever. Shit happens.

So you're late, but on this particular day, your lateness somehow has consequences that lead to and create a nexus event and the next thing you know, you're being arrested, tried, convicted of time crimes and ultimately (a version of you is) erased from existence.

And this is if it's not even your fault you're late.

Now say that you're late and it is your fault. You took a new route on a whim and drove a little more slowly because you passed a particularly pretty meadow; you hit the brakes at a yellow light instead of speeding through bc you wanted the quick chance to check your email; you sat in your car for a few extra minutes in the parking lot, because maybe your job sucks and you really needed those extra minutes today to psyche yourself up into getting out of the car and going inside and clocking in.

These little choices are you exercising your free will. Because to me, free will is all or nothing - it doesn't just apply to the big decisions.

On the other hand, predestination means that regardless of the choices you make or if it's a big decision or not, everything you do is ultimately going to lead you to a set point or position or place (your destiny).

And I can kind of look at it like a GPS - that is, there are a number of "insignificant" choices you could make and they will still lead you to where you're predestined to go. Like how a GPS will reconfigure your route if you miss your exit on the highway. It doesn't matter if you took Route A or Route B, you're still going to end up at your destination.

But say sometimes the route does matter. Say that there are certain scenarios in which there's only one road (for example, 14 million losses vs 1 win) and you can only get on it by following a specific series of events and what determines the ultimate outcome is whether or not you're late to work that day.

If you decide to wait those extra five minutes in the parking lot, that means that you weren't in your cubicle at 9:03 when Stanley from Accounting wandered by with his giant stack of papers, and when Mary Sue said hello to him, he got distracted and tried to wave and ended up dropping those papers. Had you been at your cubicle, you'd have swooped down to help him but since you weren't there, Stanley is crouched on the floor alone and doesn't notice Joe coming at him with a paper trolley so when he stands up, he and Joe collide and Stanley loses his balance and goes face-first toward the trolley and breaks his nose when he hits the metal handle on his way down.

Now Stanley has to go to the hospital to get his nose set because you wanted to sit in your car and spend five extra minutes hating your life that morning.

If the sacred timeline says that Stanley is supposed to be in that ER at that specific time on that specific day, and no other set of circumstances would get him there, because this will ultimately take Stanley down the road to whatever greater journey he's supposed to go on, then it has to happen. But say you exercise your free will and decide not to wait those five minutes, because the free will applies to every choice you make, even the tiny, insignificant ones. You chose to put on your big person pants and took a deep breath and just head inside - and because you chose to do that and because you were at your cubicle to help Stanley with his papers, Stanley never ends up in the ER and the timeline that's supposed to happen is suddenly at risk and the TVA has to get involved (I assume).

So having free will introduces way, way too many variables into a fixed timeline to ever keep track, because you're taking these tiny, seemingly insignificant choices that people are making every minute of every day, and you're multiplying them by trillions of sentient beings in the universe, and you're saying the fate of the timeline and reality itself depends on all of these beings either always making the choice they're supposed to make or constantly sending the TVA out whenever they don't.

It's fair to conclude, then, that both free will and a fixed, single timeline can't exist at the same time. Either you adhere to the fixed timeline and everyone does exactly what they're supposed to do every second of every minute of existence, or you have free will and autonomy over all of your decisions, no matter how big or small, and those decisions can result in a number of outcomes, ultimately leading you to one of several possible destinations.

Case in point: Tony didn't have to snap his fingers in Endgame. He chose to. Had he not, Thanos would have won. It doesn't matter if there was one way to victory or 14 million ways to failure; the timeline could ultimately only go one of two ways and the choice Tony willingly made determined that Thanos lost. It wasn't predetermined because if Tony had not chosen to snap his fingers, the timeline would have gone the other way.

My personal belief - and this isn't necessarily for the MCU, but in general - is that we do possess free will and the future is ever shifting and changing because nothing is written in stone. It holds up against most, if not all, of the world's belief systems. For example, if you believe that people have guardian angels, the rule is generally that your guardian angels can help you but you have to ask them; they can't decide to intervene without your permission because to do so would infringe upon your free will.

Similarly, you can go on etsy and pay $5 for a funsies psychic reading or pay a lot more money for an in-depth, specific tarot reading and both will tell you that the outcomes may change depending on the paths you take, and that their ultimate advice is for you to keep your focus on your goals and your own self so that you can be subconsciously manifesting the best possible future for yourself. (Not that I know this from experience. It was one time. It was a few times. My point stands, and also stop judging me.)

To get back to the MCU, though - if you determine that both a single, fixed timeline and free will can't simultaneously exist, and your ultimate purpose is upholding said timeline and not letting anyone fuck it up, lest it break off into lots of different branches, then it poses a pretty serious moral and/or ethical question of - who decides what choices we make and what paths we're destined for? The time lizards? Who gave them that authority? Did anyone, or did they just manifest themselves into existence one day, create the universe, and then decide all of the rules (and, if so, where does that leave the norns and the gods and other super powerful beings who are generally thought to be in charge of things)?

If free will doesn't exist and everyone is acting based on what has been predetermined for them by some higher being (or, in this case, time lizards), it takes away our autonomy, and if everything we do and every single tiny step we take is decided for us, what makes us any different than cogs in a machine just following orders? What separates us from robots?

Speaking of robots, it's interesting to me that the TVA's screening process (if you can call it that) has a failsafe against robots specifically. Any robot that might come through is destroyed immediately and in this case, “not a robot” is defined, more or less, as a sentient being that possesses a soul. What does the TVA have against robots if their ultimate goal is ensuring that the robotic machinations of the time lizards are consistently carried out to protect the sacred timeline?

A soul makes you human; the energy of the soul is what you, at the core, are. It can be assumed that having a soul also means that you have some sort of moral and ethical code by which you live your life but, if you don't also have free will, then what is the point of possessing a soul and a moral and ethical code?

Loki is a villain and he's told by Mobius, the TVA, Odin, and pretty much everyone who ever meets him that the only thing he's good for - the only reason he exists - is to cause pain and suffering and death. This has been predetermined for him; this is not his fault and he did not choose it. And every single choice he makes has either already been destined as the choice he was supposed to make, or will be pruned so it won't grow into the wrong timeline. Ultimately Loki can change neither his final destination, nor the purpose and meaning of his existence.

Which leads me to the theory that the several Loki variants that the TVA keeps coming across are the result of Loki consistently resisting against his predetermined path; he's trying to find the timeline where he is able to latch onto and keep his own free will in defiance of the timekeepers but, so far, he hasn't been successful. This could segue into why the current Variant is now going scorched earth and just obliterating the main timeline completely - because if there is no sacred timeline, there's nothing dictating who or what Loki can be, and free will is regained. If there's a multiverse that branches and branches beyond anyone's control, then there must be a branch in there, somewhere, where Loki can exist on his own terms and decide how his own story goes.

This also might be a theory for why Loki is already setting his sights on taking over the TVA (assuming that's not just something he told the variant for reasons). But my original point in delving into all this is to ask: if Loki is predestined to always be a villain whose story plays out exactly the same way because that's what's supposed to happen, then how can anyone ever hold his misdeeds against him? He's literally just existing as the timekeepers decided he would exist and everyone is blaming him for it.

And this leads me to ask, as well, if one's soul is generally good, and one possesses more good traits than bad, what is the logic in making them exist only for pain and destruction? If it's for a greater good, then it stands to reason Loki is not the only one predestined for misery, and what greater good could come from all that suffering?

Conclusion: the existence of the TVA as an organization means that there is one fixed, sacred timeline but the existence of said timeline is immoral and unethical because it means no one actually has any free will at all in the MCU. The very notion of heroes and villains is pointless because it has nothing to do with your own qualities or morality, it's literally the luck of the draw. In order to have free will, the sacred timeline has to be destroyed, and so my prediction is that the Big Bad of the Loki series is not the TVA and not the time keepers but the actual timeline itself, and the entire fate of the MCU rests on whether or not Loki can ultimately succeed.

Also, don't be late for work.

[bitcoingrinding]

The Marvel Multiverse Explained - What can it be?

Loki season finale provided us with the most dramatic and vital event for the upcoming MCU phase 4. It is the creation of the multiverse. So it is important to understand what was there before the creation of the multiverse? Well, it is the Sacred Timeline. The Sacred Timeline

Well, before we start to discuss the sacred timeline, it is important to clarify some of the usages of terms. In this explanation, please consider that the universe and the timeline have the same meaning. Well, scientifically, it may not have the same meaning, but I am not a scientist ;)

I view the sacred timeline as a set of universes or timelines which flow in the same way. Think of it as a large river that flows downstream where each current in the river can be considered a separate timeline. Or think of the sacred timeline as a long rope where each thread is a different timeline. So you might be wondering about what did I meant earlier by which flows in the same way?

To explain this, let's take none other than all the different Loki variants. We know from the previous MCU movies that OG Loki was supposed to die in the hand of Thanos. And from birth to death, OG Loki was supposed to face various key events we followed during the previous movies. And this is not only valid to OG Loki. The other Loki variants should also be supposed to face these same key events and die in Thanos' hand. But as we all know, these variants faced a Nexus Event which caused them to deviate from this supposed timeline and eventually get caught by the TVA. The Classic Loki's life story clearly shows that he even deceived Thanos and escaped his own death, yet eventually got caught by TVA because it was not supposed to happen. So it is pretty clear that the fate of all of these Loki variants is already determined. They are supposed to face the same key events throughout their lifetimes, even though they are in different universes or timelines. In other words, their life is predefined and already written by the one who maintains the sacred timeline, He Who Remains. And the key takeaways are,

The sacred timeline is not a single timeline or a universe - it’s kind of a multiverse, but I will get back to it to explain the difference.

The different timelines or universes within the sacred timeline flow parallelly - which means that the corresponding characters across different timelines face the same events. (Eg: Loki Variants)

He Who Remains and the TVA

From the Loki series finale, we all know that the He Who Remains created the TVA to maintain the sacred timeline. So what exactly does he want to maintain? He wants to keep this parallelism between the timelines within the sacred timeline. And you might wonder why? He wants to maintain each timeline so that none of the timelines have the Kang the Conquerer variants of himself. In other words, he does not want any different variants of himself to be in any of these timelines. To maintain that, he has basically written the life story and events of each character within the sacred timeline so that these events do not cause the birth of a variant of himself. But as we know, there exist different variants of the same character across different timelines within the sacred timeline. So the easiest and most practical way is to apply the same life story and events for all the variants of the same character across different timelines. That’s why all the Loki variants are supposed to face the same life events as the OG Loki. Suppose some character decides to vary from this predefined life path and causes a nexus event. In that case, the TVA will interfere and remove the whole branched timeline. So the parallelism between the timelines is maintained.

The New Marvel Multiverse

In the Loki season finale, moments before Sylvie killed He Who Remains, the branching of the Sacred Timeline occurs. This is the point where the creation of the new Marvel Multiverse happens. To be honest, I am still quite unclear on what exactly caused this. But one possible explanation is it is the point where Sylvie made her mind to kill He Who Remains. But this is also not a clear-cut reason since Loki opposed it, and the outcome can be different. So this is a question for another time, I guess. Possibly it will be explained in an upcoming movie or hopefully in Loki season 2.

Now, let's use the same analogy of a river to explain this newly created multiverse. So the new multiverse is like a river system where different smaller river branches flow in various directions. And this is visually displayed in the season finale. Now the parallelism between timelines or universes is not there anymore. The predefined life stories and events for all the beings are not there since the control of the TVA and He Who Remains was lost. This means any being can act differently from its counterpart in another universe, unlike in the sacred timeline. So the possibilities are endless, and that's what we headed towards in Marvel Phase 4.  And the key takeaways are

The multiverse is not a single timeline or a universe - well it’s quite obvious isn’t it?

The different timelines or universes within the multiverse does not flow parallelly - which means that the corresponding characters across different timelines face the different events.

Hope you got some idea about the Marvel Multiverse from this blog :) This is totally based on my thoughts and can be proven wrong in the future with upcoming movies and shows. I will be hoping to write more blogs on forthcoming stuff in Marvel, and I am hoping to write some movie reviews too. So stay tuned ;)

[princesssarcastia]

Thoughts on Star Trek AOS? (And do you think Kirk was on Tarsus?)

i have SO MANY THOUGHTS about star trek aos, so buckle up.  brace yourself.

star trek aos is a terrible disaster and i love it SO MUCH.  for me, star trek 2009 is still in that class of unreasonably pleasing movies like the mummy or stardust or jumanji: welcome to the jungle.  what they are isn’t exactly top notch but you love them for being exactly what they are.

star trek aos is a star-studded fucking phenomenal cast of some of the best actors working today, which makes up for the very inconsistent writing and unfortunate low-level current of sexism.

literally where would i be today if chris pine could not make faces Like That. i honestly couldn’t tell you.

overall, I have quite a few bones to pick with JJ Abrams for setting up a star trek universe that is less Wacky Space Utopia adventures with liberal political commentary ranging from unsubtle to im-hitting-you-over-the-head-with-my-opinions-like-they’re-a-brick—

to this kind of overtly militarized action-hero adventure porn where one white man saves the universe from Scary People Who Don’t Look Like Us And Are Crazy.  I also don’t appreciate what they did to Jim Kirk, turning him into this womanizing self-centered bastard who has to be in charge.  I REALLY don’t appreciate the casual misogyny, what with the last of rank stripes for women and the gratuitous sex-ed up scenes and the way that Amanda Grayson gets fridged for man-pain and and and— you get the picture.

Or at least, that’s what they tried to do to jim kirk.  and god fucking bless chris pine for being able to make facial expressions, because i firmly believe if pretty much almost anyone else had played Jim Kirk as written by JJ Abrams, that’s exactly what he would have been.

But because of chris pine’s acting, instead, most of the AOS fandom and I realized/decided that this “womanizing” version of jim kirk actually really really hates himself so much, most likely for trauma reasons. 

we took that shit and ran with it and never really stopped.

zachary quinto is also like god tier casting.  unfortunately the writers for the first two movies mostly gave him Anger as a primary motivator, which like, is not exactly how I would interpret Spock at all, but quinto played this Angry Spock so so well.

ZOE SALDANA PLAYS THE LIGHT OF MY LIFE, NYOTA UHURA, PERFECTLY AND THAT’S ALL I’LL HEAR ON THE MATTER.

john cho should be cast in everything ever he’s amazing and I love seeing him.  this man has the range. hikaru sulu is the backbone of this fucking ship.  this man wins the big damn hero award every single movie. 

i still miss living in the same world as anton yelchin. i really, really do.

I also have found family feelings all over these movies, where these baby versions of iconic characters from the sixties are brought together too early to witness too much fucking trauma.  harry potter references aren’t exactly in vogue right now, but there’s this one piece from a—well, actually, its a harry potter reference in an mcu fic i read years ago, now that i think about it, but anyway:

it was something like, there are some things you can’t go through with a person—like that mountain troll in harry potter—without becoming friends for life.  there are some crucibles that will bind you together forever.  and awful as it is, I think Nero and the Vulcan genocide were the AOS crew’s mountain troll.  there’s no going back or separating, after that.

also I feel like there’s a ton of competence porn in this trilogy that i deeply, deeply enjoy.

star trek: 2009 and into darkness are both grimdark male power fantasy bullshit that only accidentally hits all the right buttons for me.  I love them dearly but i know EXACTLY what they are, thank you.

star trek: beyond is a delightful movie with no real plot where our favorite crew are finally Adults With A Modicum Of Common Sense And Stability, instead of Disaster Children Angsting All Over The Place, and they get to save the universe with the power of excellent rock music and friendship. how cool is that?!?  i wanna give simon pegg a high five for making this movie.

on a more meta note, what I find kind of satisfying about these movies is that—for all his many faults that i’m always happy to expound upon—JJ Abrams actually went for it.  He Did That.  He just made his own brand new timeline, killed jim kirk’s dad, then gave him an abusive uncle/step-dad, then literally destroyed one of the founding planets of the Federation, then he, in an iconic fashion, switched Jim and Spock’s places in the infamous “wrath of khan” death scene, so instead Spock gets to watch Jim die. 

and you know what? I can forgive a lot of bullshit for that kind of poetic angsty fanfic plot detail. 

every time uhura says, “an alternate reality,” in star trek 2009 just gives me chills.  every time she says it, you feel the weight of sixty years of history and legacy sitting on these people’s shoulders, the weight of arguably one of the most popular TV shows of all time.

imagine, living in a new world you’re aware isn’t the one that was supposed to be.  imagine that!

oh! and on the question of tarsus:

what I think is probably true irl: JJ Abrams has never thought that far ahead in his life.  correct me if i’m wrong, but hadn’t he.....not even watched star trek.........when he made these movies............like lol i’d bet you this man didn’t even really know Tarsus was a thing.  And even if he did, I don’t think he thought it was part of the new canon he was creating.  AOS is much more self-contained than the serialized universe the original star trek was, so I don’t think that AOS was intended to encompass all those things, like tarsus, that we as a fandom like to obsess over.

what I personally enjoy: i love me some AOS fic that explores the ridiculous amounts of trauma that comes from living through a genocide.  I think that, given we all decided AOS Jim Kirk hates himself, and engages in a shit ton of self-sabotaging and destructive behavior to cope, it’s a reasonable jump to think that at least some of that comes from some survivor’s guilt bullshit from Tarsus.  And honestly, hit me up if you want recs for this, because boy do I have them.  I’ve said it before and I’ll say it again: no one does angst quite like AOS!Jim Kirk.

what I believe wholeheartedly: this is like Schrödinger's Plot Point, okay, it both exists and doesn’t exist simultaneously.  it’s easy to read tarsus into some of jim’s behavior, and it’s easy to read none of it in, and both of those choices are valid.  go with your gut, go with what makes you happy, go with what you think makes sense.  This is where fandom lives, in these little details that fall through the cracks.

anyway WOW did I talk a lot.  those are at least some of my star trek thoughts.  i do have others, but i’ve expounded on them before on this blog, and y’all don’t need me to repeat myself

ask me my thoughts on ______

[maxwell-grant]

Do you have any opinion on the Wold Newton universe or more generally the attempts to create a coherent universe based on massive crossover of victorian and/or pulp fictions ?

Fair warning to any and all of you who follow my blog and might think to yourselves "Wow, I want a Pulp Hero Cinematic Universe!". You don't. What you want is for these characters to thrive again and maybe kick ass together after reestablishing themselves as cool and popular and interesting characters in the pop culture eye, and I want that too, I've been working on ideas for years to try and bring some of that to reality, it's part of the whole point of this blog in the first place, and I must stress: Nothing, and I repeat, nothing, is going to put these characters six feet under faster than a botched attempt to follow in the MCU's footsteps. You don't want to watch these characters suffocate under the strain of a cinematic universe. I didn't like watching it happen with Marvel to begin with, as much as that clearly worked out for them.

If DC could only just barely catch up to the MCU's shadow and only started to thrive when they took a diametrically opposite approach, if the Monsterverse, despite the fact that it's characters were already in a cinematic universe together, only just barely limps on due to the popularity of it's central players, the pulp heroes don't have a chance in hell if they try and play by those rules. The Shadow and Doc Savage and Green Hornet can survive failed reboots, but not every character's got that kind of safety net, not every author can afford to take the risks necessary to commit to these properties, and some characters take a lot longer to crawl out of graves than others.

So with that said, let's talk about the WNU.

When I first started doing research on pulp heroes in general I spent a very long time going through all of the Wold Newton pages I could find, and I have a lot of them saved in case the websites get taken down one way or another. I still consult them frequently and I still consider them a pretty invaluable resource for anyone who wants to get acquainted with pulp characters, even if it must be prefaced that the WNU is basically fanfiction.

The Wold Newton Universe was a massive shared fanfiction universe before we had a proper name for this kind of thing and I do find it a little disheartening that, despite it predating or influencing works like LOEG and Incognito and Planetary, and how several current authors either got started writing articles for it or even professed their love of it, it's a currently dead project. I guess it ultimately wasn't supposed to even last as long as it did anyway, and much like the characters it's based on, it ultimately doesn't really die so much as it just lives on differently.

The big problem I have with the mainline WNU is, besides not liking Phillip Jose Farmer's writing, that much of it is basically crack fanfiction built on very, very flimsy family connections as an excuse to tie characters together, and already I think the premise that somehow, all of these characters are related, all of them are part of a special family tree connected by meteor-irradiated blood, to be extremely weak. A lot of the writing in many of the WNU pages is just not good and not workable, and it's hard to fault it as such considering this is fanfic, it's written by enthusiastic fans and not professional writers (although some of these people are, the Lofficiers have no excuse). But the great thing about the WNU is that, because it's a shared project with no ownership, everyone gets to play around and rewrite canon at will and bring their own angle to it.

There's WNU pages that are very hardline against the inclusion of superheroes, others don't have that restriction at all. There's WNU fan pages focusing exclusively on monsters and horror. Jess Nevins wrote a ton of pages digging out the really obscure characters only he knows about. There's Cool French Comics which is focused heavily on the European side of things, which is also where I discovered The Grey Claw's existence, and Tales of the Shadowmen is based a lot on these. I know for a fact that there used to be at least a couple of pages focusing on anime although the Wayback Machine doesn't have most of them archived. It's not so much a single shared universe or timeline so much as it's several, outright dozens, of them depending on who's writing the pages, and they were all free to either incorporate theories made by other authors or purposefully rewrite them. It’s a freedom afforded by the fact that these are non-profit fanfics, and the fact that over half of the characters in these webpages are public domain or in copyright purgatory to begin with.

Unlike with DC, who's got a hodgepodge of concepts that logically shouldn't work together but are still held together by the consistent ideal of the superhero and the Justice League and whatnot, and Marvel, who was a continuous crossover soap opera right from the start, the Pulp Heroes don't live in the same worlds, don't live in the same time periods, many of them weren't designed to do so, don't have a sliding timescale or rebooting timeline to keep them perpetually on the same level, they don't exist under unified copyright, don't operate by the same rules, and are less built to sacrifice their individuality and settings for the sake of costumed punch-ups with a bunch of randos. Superheroes are able to exist together by operating under a very strongly defined notion of what a superhero is and does, and if the Pulp Heroes had anything of the sort, I wouldn't have to make a chart in the first place trying to create a coherent explanation as to what defines them.

Before the MCU could sell people on the Avengers, it first had to sell them on all of it's other team players first, it needed to do the groundwork and rework all of it's existing characters to make sure they could reasonably be crammed on screen together. From the start, their universe was dictated by the need to have these characters team up. Be honest: Do you think this is gonna work for the Pulp Heroes? Characters whose greatest selling point, whose most enduring and unique traits, are the ways in which they are not like other heroes? Characters that currently struggle for newfound popularity because of the common notion that they are just superheroes, except old and racist and outdated. Do you think these characters aren't better off instead dispelling these preconceptions to rebel against the superhero dominance and thrive in different areas? The secret of their success in the first place was the ways in which they weren't like the Victorian Heroes that preceded them, and guess what, now they are on the same boat.

The concept is not unworkable, it's not impossible, some good stories have resulted out of mashing the icons big and small together, hell I have several Pulp Hero universe concepts I'm working on. But I must stress the need of approaching this from a different perspective. And that perspective starts with doing the groundwork on what works and what doesn't for them.

The only genuinely successful pulp hero universes to an extent I've seen were those that were built from the ground up based on an idea that these characters were supposed to interact and work together, or at least share a history together. The strongest one I've seen would definitely be The Chimera Brigade, because it's not preoccupied with mashing icons together but instead telling a story informed by the history of these characters, informed by it's central point: Namely, what does a pulp/superhero history look like from a French perspective. It's biggest names are used only sparingly, it's got a ton of original characters to make the world feel more seamless and real, it takes the routes less traveled to make the story stand more on it's own feet and not just based on the characters it's intended to reference. And in doing so, it's also allowed several of it's characters to thrive individually as well as collectively.

In that regard, I think the greatest thing the WNU has is that it provides a skeleton to work with. It provides not just one but several ideas of what you can do with these characters past their respective stories, either in personal canons, crossovers with other properties or even existing in shared universes. The ideas are there either for existing characters or original creations. What you do with those ideas is up to you.

[kironimus-blog]

WARNING! SPOILER ALERT! LOKI EP4 + AGENT OF ASGARD COMICS!

About (Self)Love and Narration

So, a lot of things happened in Ep. 4 and it got me thinking about the topics of narration and (self) acceptance/love in this show. After a healthy amount of deliberation I‘ll even dare to theorize about how this season will progress. Just hear me out.

First of all I think we have to view the events of the sacred timeline as a literal narration. Loki as a character in this narration has a single (not so glorious, heh XD) purpose. He‘s a mere plot device, the villain, designed to move the plot forward and help build and develop others characters. Mobius, who takes on the role of the observer, says so himself in Ep. 1!

„You weren‘t born to be king Loki. You were born to cause pain, and suffering and death. That‘s how it was, that‘s how it will be. All so that others can achieve their best version of themselves.“-Mobius Ep.1

It‘s important that this comes from Mobius, someone who has not only studied the life of „our“ Loki but has seen the stories of many other Loki variants pan out. And the common denominator seems to be Loki‘s repeated failure which leads to him becoming the villain of the story.

And of course, once "our" Loki quite literally leaves the narration (as he escapes via Tesseract and is brought to the TVA, a place seperate from the normal flow of time) and becomes an observer of his own story (in the time theater, Episode 1), he begrudgingly realizes this as well. As the God of Mischief, he of all people, despises the idea of a single establishment (the TVA) holding so much power over the universe and his own path in life. But at the same time his views on choice and personal freedom at the beginning of Episode 1 aren‘t much different from the TVA‘s… in fact they're eerily similar.

„For nearly every living thing, choice breeds shame, and uncertainty, and regret. Theres a fork in every road, yet the wrong path always taken.“-Loki, Ep.1

He even uses the same exact phrasing when criticizing the TVA‘s motives and later on explaining his own actions:

„It's an illusion. Ist a cruel, elaborate trick conjured by the weak to inspire fear. A desperate attempt at control.“ -Loki, Ep.1

Fast forward to Episode 4, where we find out that the time keepers are nothing but an illusion. Another interesting parallel, don't you think? So now the big question is of course, who‘s the mastermind behind all this? That‘s where my theory comes into play.

I think the ‚big bad' is none other than Loki himself. And I mean not just any of the many variants we know exist, but a future, alternative version of „our“ Loki. The Loki who still holds onto the believes „our“ Loki exhibited in Ep.1. Someone who lost over and over again, which led him to believe that no matter what choice he made, he was destined to fail. So what did he do to break the vicious circle of choosing and failing in an attempt to regain control? Easy, he simply took away the choice and took the narration of the story into his own hands. And this carefully controlled story is the ‚sacred timeline'. He created the TVA and the time keepers as a guise, so he could remove every Loki variant that didn‘t act according to his script. (This may explain the flock of variant Lokis in the post credit scene of Ep 4)

Another reason why I believe this theory to be true are the parallels between this show and the ‚Agent of Asgard‘ Comics by Al Ewing. In fact Al Ewing and Lee Garbett are even mentioned in the Credits! (Caution! Spoilers for AoA incoming!) The storyline of the comic series is that of a future, „evil“ („“ because, as we know „no one bad is ever truly bad") version of Loki, who, frustrated by his lack of control over his own life, tries to manipulate his younger self into becoming this evil version of himself sooner (and isn't that ironic…and a bit hard to grasp as well). In the end Loki has to reinvent himself by letting go of past grudges in order to free himself from his destiny to turn into the villain of the story once more. By actively changing his present self and becoming the god of stories he is able to change his seemingly set path. In the end it is a story about self love and growth and the understanding that nobody has power over your future but your present self.

And I think what we learn in Episode 4 about self acceptance and self love is massively important in order to predict and understand what comes next in the series. At the beginning of the episode we see Sylvie and Loki on Lamentis, sharing a moment of mutual admiration in the face of seemingly certain death. Three things about this scene I find very interesting.

1. The composition of the scene with Loki and Sylvie sitting next to each other in a mirrored position. This emphasizes that while they may be variants, they still are reflections of one another.

2. The fact that this shared moment creates a massive branch in the sacred timeline. Why does this happen? I think it‘s because Loki shows actual love/ acceptance towards himself (even though it may be through his variant). And that‘s not „supposed to happen“, because the key ingredient for „our“ Loki to turn into the „evil narrator Loki", is a whole lot of self-loathing.

3. Loki‘s quote about surviving no matter how bad the loss. Which is an important bit of character development in itself but it’s what he said next („But we don‘t die“) that got me thinking. And I consider this to be one of the most important clues regarding my speculation. Loki has „died“ dozens of times during MCU history but he never stayed dead. Why is that, if he‘s merely a plot device, you ask? Well, I think it‘s because „evil Narrator Loki“, while not allowing „our" Loki to make his own choices, still doesn‘t want to kill himself off. So he simply deus ex machinas his escapes from death time and time again.

Considering all these details from Episode 4 I‘d like to theorize a little bit further about the ending of the show. I think the ‚big bad‘ they will face is future, „evil“ Loki himself. But by then our Loki will have learned to be at ease with himself with the help of the support system he built during the last episodes (Mobius and Sylvie). He no longer needs to keep up the illusion in order to trick himself and others in a desperate struggle for control. Because now he truly values himself enough to have confidence in himself and his choices. Because of this advancement in character his „future“ version will simply cease to exist because the foundation of self-loathing and perceived helplessness are no more. (Yeah it sounds a bit cheesy. I will admit. But it's a nice ending, OK?)

That‘s it. Hope this made any sense at all and if not…oh well 😂

[9worldstales]

MCU Loki: Why so far it had been disappointing how the series has dealt with what the TVA had been doing

Right from when the series started I carried on the belief that what the TVA was doing was horrible, a mix between a Nazi regime and a fanatical cult down to the elements of police brutality, to the extermination and persecution of people they felt different and lesser, detrimental for their own self being all out of blind faith to something they were indoctrinated into.

I was expecting a serious analysis of this from the show since Waldron seemed to be so enthusiast of the TVA as it was his creature

“The TVA is just an entirely new world [with] a new cast of characters, and that’s what felt most exciting about the show: building a new corner of the MCU.’ What if this was the best show ever?’ I think that was literally my pitch. My pitch for the show was kind of a big, crazy, fun-time adventure.”

[‘Loki’ Writer Michael Waldron On Building ‘A New Corner Of The MCU’]

References to the TVA being bad needed to wait till Ep. 3 “Lamentis 1” and where just two lines:

Sylvie: So, naturally you went to work for the boring, oppressive time police. [Ep 3]

Sylvie: It must have started when I spent my entire life running from the omniscient fascists you work for. [Ep 3]

More than focusing on how horrid the TVA is, both sentences criticize Loki for cooperating with the TVA even if he was forced into it as he couldn’t escape, cooperating with them was his only way to survive, the implication being he should have taken the hero route and die instead than accept to join forces with the TVA.

Mind you, it could have been an interesting angle to look at. How people can embrace terrible things in order to survive. After all we saw Loki cooperating with Thanos under the promise if he were to fail recovering the Tesseract death would be a preferable option than failure.

THE OTHER: You will have your war, Asgardian. If you fail, if the Tesseract is kept from us, there will be no realm, no barren moon, no crevice where he can't find you. You think you know pain? He will make you long for something as sweet as pain.

The series could have drawn parallels from both situations, either making a point one should never bent or that sometimes you can’t do anything else but bent because not everyone is born as a hero, or because you’re just waiting for a time in which you can oppose as sometimes getting heroically killed for your ideals can be also very unproductive.

But no, it’s not this series.

Loki will maintain he accepted to work with the TVA not because his other option was being killed (something that’s remarked more than once), but because he wanted to get to the Time-Keepers to steal their powers or something like that. If he’s lying to himself to cope with the situation that’s not a problem the series pose to itself as the series seem to embrace this explanation even if it made clear Loki would be reset if he didn’t cooperate.

Episode 3 also introduces the idea that people at the TVA works under a false belief. They think they were created by the Time-Keepers but in truth they are brainwashed Variants they kidnapped from their timelines.

Okay, it was another possible interesting route. Loki was a Frost Giant raised on the idea he was an Asgardian, there could be a parallel here… though one that, for the TVA, was less interesting.

The TVA members are enthusiastic believers. Most of them show no empathy toward the Variants, no pity. They belittle and humiliate them, handle them as beings with no rights, punish them for not obeying rules they didn’t know existed in the first place. Feelings rage from enjoying doing it to just doing it the way a boot steps over a ant to use a familiar metaphor.

The fact that in episode 4 B-15, after discovering the truth, will go: ‘I looked happy (in my previous life)!’ doesn’t really make me feel very sorry for her on an intellectual plan.

Yes, what the TVA did to B-15 was wrong, but what about what she did to others without a single remorse? Enjoying her work?

But, whatever, not everyone on the TVA seemed to belittle Variants, in ep 1 & 2 Mobius showed some form of pity for them, not enough it’ll stop him but enough we can think he didn’t enjoy what was being done to the Variants so knowing how he’ll react could be interesting, couldn’t it?

We reach Ep. 4 “Nexus Event”.

While we see the TVA did to a child version of Sylvie what they did to Loki and this time there isn’t any ounce of doubt that it wasn’t fun, this isn’t really used to throw shades at the TVA but to underline how Sylvie’s life was miserable.

Sylvie: I remember Asgard. Not much, but I remember. My home, my people, my life. The universe wants to break free, so it manifests chaos. Like me being born the Goddess of Mischief. And as soon as that created a big enough detour from the Sacred Timeline, the TVA showed up, erased my reality, and took me prisoner. I was just a child. I escaped. Stole a TemPad and I ran for a long, long time, which really sucked. Everywhere and every-when I went, it caused a nexus event. Sent up a smoke flare. Because I'm not supposed to exist. Until, eventually, I figured out where to hide. And so that's where I grew up, the ends of a thousand worlds. ( /Scoffs/ ) Now... that's where I'll die.

Thanks to the TVA, so it’s possible to make the connection that if Sylvie was in pain due to the TVA the TVA is a bad guy, but it’s again left vague.

In an episode that feel the need to have Loki define himself as a ‘horrible person’ and a ‘narcissist’, that calls him ‘an asshole and a bad friend’ using ‘a cockroach's survival mechanism’ when he actually says the truth and how he is a ‘conniving, craven, pathetic worm’ who should know he ‘deserve to be alone and always will be’ let’s not talk about how terrible the TVA is.

After all, according to the previous episode they’re just ‘boring, oppressive, omniscient fascists’. Nothing big.

And it’s nothing big, really.

C-20, B-15 and even Mobius, once discovering the truth are solely concerned about how the TVA lied to them, not of how they had been the TVA accomplices into wiping countless lives from existence.

Hunter B-15: I looked happy. What now?

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

Mobius: 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.

They don’t care about what they had done with the TVA, they are okay with burning the place merely because the TVA has wronged them. But okay, maybe they need time to elaborate, to realize the implication of what they’ve done.

For C-20, who was reset, there’s no more time but…

Hunter B-15: Why am I locked in here?

Renslayer: You freed the Variant. You were disloyal to the TVA.

Hunter B-15: Disloyal?

Renslayer: Did you think you'd escape punishment for that?

Hunter B-15: Disloyal to who? You were in the Time-Keepers' chambers. They weren't real.

Renslayer: And why does that change anything?

Hunter B-15: That changes everything! The people need to know the truth.

Actually what the people need prior to that is to stop. Stop pruning other existences who’re exactly the same as their own. The biggest problem, the biggest CRIME isn’t that the TVA has done TO THEM, as, in doing so, it has at least spared their lives, it’s that they had killed countless galaxies and continue doing so.

So we move to Mobius.

I… I really don’t get what the series wants to do with Mobius. Although he wasn’t perfect, he seemed a decent guy in episode 1 & 2, one that wouldn’t enjoy hurting or scaring Variants without a reason. Yes he believed they needed to be eliminated… but didn’t enjoy doing it.

Yes, the way he ‘interrogated’ Loki in episode 1 was bad… but he believed he was doing only his work, that interrogation might have a point, some of the things he said weren’t meant to be just verbally abusive for the sake of it but were part of his ‘credo’ in which people had to follow the path of the sacred timeline and a side of him might have felt sympathy or pity for him. Although he knew it was risky he wanted to have faith in Loki.

Episode 4 tossed all that away with the worst interrogation scene possible. It contained gratuitous beating, psychological abuse/manipulation, derogatory comments, pointless questions while Mobius defined himself as Loki’s friend in the same episode. That scene has no purpose if not to beat and belittle Loki. What’s worse, when Mobius discovers the truth and goes to Loki, instead than asking him how he feels after such a beating he asks him what he’s doing… and I won’t dig into the rest of the conversation because it’s horrid.

Mobius’ ideas of apology for what he has done to his supposed friend is:

Mobius: You were right, about the TVA. You were right from the beginning. And if you wanna save her, you need to trust me. Can we do that?

Loki: Yes.

Mobius: Okay. You could be whoever, whatever you wanna be, even someone good. I mean, just in case anyone ever told you different.

It was Mobius who told him differently. Okay, he has acknowledged Loki was right and he was wrong but not that he had unfairly had him beaten for God knows how long for no reason. But okay, maybe Mobius too needed time to internalize all that, so let’s look at episode 5.

Let’s face it, no, what Mobius did to Loki won’t come up again with Loki, Sylvie will merely tell Loki (and to us) Mobius ‘isn't so bad’ and that he cares about Loki. Loki will counter Mobius isn’t so good either but that’s why he gets along with him.

I… I’m not sure what the series is trying to do at this point with Mobius, all we get about what he did with the Variants in Episode 5 is this.

Mobius: All that time, I really believed we were the good guys.

Sylvie: Annihilating entire realities, orphaning little girls, classic hero stuff.

Mobius: Well, I guess when you think the ends justify the means, there's not much you won't do. By the way, you did some annihilating too.

Sylvie: I did what I had to do.

Mobius: Yeah, so did I.

Sylvie: You hunted me like a dog.

Mobius: I'm sorry about that.

Mobius admits they weren’t the good guys, which would be great if it wasn’t for the fact the moment Sylvie points out how he was dumb at not realizing it sooner because we finally are told that the TVA is responsible for ‘Annihilating entire realities, orphaning little girls’, Mobius defends his actions!

The ends justify the means, you did some annihilating too, I did what I had to do.

Hey, news flash, no, those aren’t excuses. This is not a game about who annihilated more make penitence and anyway, if this was the case, the TVA wins. You killed countless people and now you’re complaining you aren’t a hero? That others are bad too? That you were forced to do it when you were a willing believer that refused to question things even though Loki immediately pointed out how it all was dumb?

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

It took Sylvie remarking he hunted her like a animal to finally get him to apologize on something… and she’s the only one he apologizes to.

We don’t hear him apologizing to the other Loki Variants and this is his new glorious purpose:

Kid Loki: Mobius, assuming you do get back to the TVA, what exactly are you getting yourself into?

Mobius: I don't know. I'd like to let people know the truth.

Again it seems the biggest deal is the TVA lied to them and took them away from their lives, not that they pruned countless others without a care.

There’s no self reflection, there’s no horror for what they had done to the other Variants who were just like them.

When Kid Loki and Classic Loki say they’ll remain there because that’s their home he doesn’t counter ‘no, this isn’t and I’m sorry we let you believe this.’ It’s Loki who worries for them, pointing out the dangers of the place. Mobius, who’s either directly responsible or connected to the one responsible for them ending there and losing their whole world, says nothing.

So his sympathy toward the Variants, his pity… was it all fake?

Doesn’t he care anymore? This is the road the story decided to go with him?

Since Mobius has gained popularity into the fandom thanks to the first 2 episodes, to Owen Wilson and to those who shipped him with Loki, let’s strip him of what really made him great, the fact he didn’t enjoy mistreating the Variants and turns him into someone who doesn’t care?

What next, is he going to become the new villain?

Damn it, this series started with a full episode questioning what Loki did in New York, pointing out how Loki’s belief ‘he would make it easy for humans’ because ‘freedom is a lie’ is an idiocy, how he was just a murderer and asking him if he enjoyed hurting people and making him say that no, he didn’t that he was bad, that he was a narcissist and yadda, yadda, yadda, then it turns out Mobius annihilated entire realities, orphaning little girls, all because freedom is a lie and we’ve all to do what the Time-Keepers decided and let’s have the guy you call friend beaten up at random for no good reason and… and that’s what we get?

That he rebels to the Time-Keepers because they had dared to lie TO HIM about not having created him?

Is the series trying to make a point about how people at the TVA can accuse Loki of not being good but they’re actually worse because they did much worse and didn’t care at all about their victims?

Is it a critic to society, that find easy to criticize someone but can’t admit they do worse? Won’t even see they’re doing worse and would resent instead for any little slight done to them?

It would be an interesting theme… the problem is it doesn’t seem to be the goal of the series as it tends to overlook the TVA, its fascist behaviour and the annihilation of civilizations at the hands of willing, albeit indoctrinated members, to focus more on how the TVA wronged solely Sylvie (her complain about her being orphaned is more about HER being orphaned than about HER PARENTS having been killed) and the TVA members.

It’s fair to see the TVA members as victims… they are… but what about the other Variants who got erased? What about how the TVA members had been complicit in said elimination, enjoying it, gratuitously mistreating and belittling Variants before eliminating them?

Is it just up to us viewers realize it because the story isn’t going to do the work for us?

I don’t know. I hope the last episode will do something to fix this.

There’s still an episode after all and maybe I’m worrying over nothing, maybe someone, Mobius preferably because I want to go back considering him a decent guy, not perfect because nobody is perfect but decent, and I don’t like what episode 4 has done with him, will regret what was done to way too many people by the ones who were working at the TVA.

I’ll be fine if they still need to internalize what they had done... but I’d like for them to be done internalizing before the series ends because otherwise it’s just skipping over the whole topic.

So... I’ll try to keep hopeful. Maybe they won’t disappoint me.

[jcfoxington]

@sambambucky​ : “pls... Pastels, Peaches and Pain??? among us first draft??? marvel meets warframe meets a bunch of tumblr posts (it’s not an au!?!??!)

hi jo !!! Pastels, Peaches, and Pain is one of those sambucky wips i have mostly fully fleshed out in my head because of one (1) extreme moment of clarity after a rogue ‘what if’ tangent thought but havent written anything of yet out of restraint / knowing i need to finish at least one of my current sambucky wips before i start it or none of them will get done

this was the rogue tangent thought: “what if Sam is haunted by Figaro’s ghost and has been since he was a kid?”. i’ve changed the ghost cat to not be Figaro but that’s the premise !

i refer to the fic as the cat fic ‘cause the whole plot is based around sam’s ghost cat companion insisting he adopts nat’s cat Liho after endgame and then Figaro later and then [insert redacted because plot spoilers but just know it relates to Alpine]. no im not projecting my feelings about cats idk what youre talking about 

here’s some note snippets just for you:

the cat, inexplicably, takes a liking to bucky, which is really annoying bc sam doesnt know how to explain to him that all the oddly soft gusts of wind are actually sam's dead cat insisting on getting pats

bucky getting shade thrown at him by said ghost cat during all of tfatws + them making up (and not out. yet)

starts when sam's a kid & follows him as he grows up w/ a ghost kitty as a companion only he can see & interact with + angst with an undertone of comedy + getting together

he whispers to ghost kitty, who simply mmrrs happily

for the among us first draft thing, what basically happened is i saw this tweet and this video and my brain latched onto these dynamics so hard i had to write about them. 

here’s a sketch of my two main imposters, Black (left) and Cyan (right):

and here’s a snippet:

The thing having Cyan pause and stare out at the asteroid field is how the colors stretch to family. When they and Black came aboard, they had thought every crewmember was an adult working on the planet-change project. That the patch of off-white with a black something-pattern-or-shape signified status. In a way, Cyan supposes it does, but just not the way they expected. They had expected it to show what rank an individual held within the hierarchy of the crew, from deckhand to division leader to captain, not to show that you're family of the crew and not actually part of the crew itself. 

There are innocents on this ship. Children. It was not something any of them had anticipated, and not something Cyan had been prepared to deal with. They and Black boarded this horrible place to eradicate a threat, believing each and single one of the humans were accomplishes and dedicated to the goal of destroying Cyan and Black's species, and their planet. But, now?

marvel meets warframe meets a bunch of tumblr posts... doesn’t have a wip title or seperate document for itself yet cause it’s been stuck in my ‘story ideas’ document since its creation. so ‘marvel meets warframe meets a bunch of tumblr posts’ is literally just me describing the vibe of an original world gjkerfkds

the world came to be for two reasons. firstly, i want to do make take on a superhero universe because the plot and complete lack of communication in both the dcu and mcu piss me the fuck off. secondly, needed a place to dump ocs with elaborate backstories or fantasy / sci-fi abilities that dont fit into any of my existing worlds

which sounds super competent but trust me, it isn’t. it didn’t gain any solidity at all until i decided to do a personal ‘how different can i make spn castiel look & still retain the same vibe?’ challenge. i have my own cas now

however, the reason i said ‘marvel meets...’ is because i’ve snagged a couple of different things from the mcu, most notably: enemies to reluctant coworkers to lovers, yes our best friend have the same name. no they’re not the same person, secret evil org is controlling the government, and the assassin that tried to kill you several times is now your best friend

warframe was added to the world because i got attached to my Volt build, gave them a name, and have some headcanons idk what to do with because i refuse to interact with that fandom. also because the friend i made through discussing warframe lore + plot dicked me over so it feels Bad to create for

the glue to this whole mess is that one “in every friend group there’s a mean bisexual, an even meaner lesbian, a she/they, a he/they, a himbo, an astrology bitch, a short king, and a token straight” tumblr post. my main group of superheroes ala the avengers consist of these people. the token straight is the only one i havent figured out who is yet

ever since i figured that out ive been throwing story / character ideas and weirdly specific aesthetics from popular tumblr posts into this world’s notes. here’s some examples:

sword grandmas

that trope where someone’s really nice and acts super well-adjusted to society but then they do something super whack and dangerous and you realize ‘oh they’re secretly a little bit insane, actually’

anti-gay group’s leader’s wife leaves him for another woman

superhero who swore to be the best hero [city / planet / solar system / continent / ????] has ever seen ever since he lost his wife. not because she’s dead but divorce just sucks & the hero-to-be is terrible at coping

dishevelled swamp witch

that one person who runs around with an amulet all the time & isn’t aware it’s cursed

an exasperated, tired superhuman assassin running after their husband and their husband's best friend. their husband and said husband's best friend both have wings. chaos ensues (yes, this one is a sambucky post)

ask me about my WIPs!

BONUS:

@sambambucky​​ : #i want to have a coffee and listen to synopses of all of these.... #i miss the discord wow #WRITING TAG #waitttt time jumping dream movie? lmao I'VE READ THIS LIST FORTY TIMES and every time i rediscover something i wanna know about #outfit doodlesss ugh i need to go

couldnt not respond to your tags because they make me go ghrkjfnerknf but in the good way. we miss you too jo !!

the time jumping dream movie was one of the first vivid dreams i had and the whole thing was so stupidly coherent and whacky i had to write it down. it grew plot, a queer love dynamic, weird sci-fi apocalypse elements, anti-military propaganda, questionable science, and a sequel while i wasnt looking and now i just. have to make it a real movie or i’ll combust

outfit djoodlles.png is only on there because my best friend sent me a ‘draw this outfit’ meme and space kitty, my current character brainrot, stole all the outfits for himself. otherwise, that file just sits there until im feeling like designing an outfit or wanna see how a stupid thing looks on my oc patrick

here’s one of the two poses-to-doodle-outfits-on of space kitty ive made so far:

and here’s one of those stupid things on patrick (that then turned into an actual outfit of his because i have no self control):

[thelightofthingshopedfor]

lol okay so I dashed off most of this the day of and then kept not posting it because I kept thinking I needed to add stuff, but then I ended up adding more stuff mostly in reblogs instead (should all be under the “my meta” tag if anyone’s curious) and now episode 2 is technically coming out tomorrow night in my time zone so obviously I need to just post this. bullet points of disconnected thoughts, some of which are probably at least slightly outdated by now but whatever, here you go

seems very possible Mobius left the tape with him on purpose because he figured Loki wouldn’t be able to resist looking at it

would have to check the timing but I’m pretty sure he started looking terrified as soon as Thanos came onscreen without really knowing the context (aside from the very basic outline of “it’s been several years and he reconciled with Thor”), which at least underscores that they weren’t buddies--Loki knew something awful was about to happen the second Thanos showed up sadly this is not true, the clip he sees first is him trying to stab Thanos, so...yeah it stands to reason that he’d know it was about to end badly no matter what

other people have mentioned this but I love that we got to see Loki just like...existing?? like I know he’s never been the protagonist before and seeing him as the protagonist has always been one of the things that’s excited me most about the show, but now that it’s here I’m just kind of struck by how HE’S THE PROTAGONIST so we’re getting all these emotions and little gestures and moments when he’s alone that we only got in tiny, sadly easy-to-overlook snatches before (and it also occurred to me that I don’t think we’ve ever seen Loki eat anything, which is something else that might change)

also his projection is fascinating, and so is the fact that he explicitly turned it around on himself, which seems relevant to all the theories about a lot of his other statements (”freedom is life’s great lie,” most of what he said to Natasha, etc.) being things that were drummed into him on Sanctuary rather than stuff he just came up with on his own, so that seems to cover a lot of the stuff he says in Avengers and here

on the other hand it seems unlikely we’re ever going to get confirmation that Bad Stuff happened to him on Sanctuary aside from what we already saw in Avengers, which is frustrating, although to be fair I also wasn’t expecting to see Loki crying about his family in the first episode (and the most I’m really hoping for, still, is that nothing will explicitly contradict the idea, so...we’re good on that thus far, I guess)

so the first half of the episode was...ehhh, I don’t know, but the second half was amazing. I know some people didn’t like that part either, but I felt like...okay, I don’t love him being humiliated so I would’ve preferred different framing for some of this BUT a lot of casual viewers still see Loki as a cackling caricature without having picked up on any of the stuff that very clearly showed otherwise, and this show wants to treat Loki as a person, someone worthy of audience sympathy, so they kind of had to go in hard and fast on that aspect to get everyone up to speed. like, yes, fans who’ve been paying attention know that Loki’s a person, that he’s wounded, that he doesn’t hurt people just because it’s fun for him, that he feels things very deeply, that he loves his family, but somehow the mainstream perception of him has missed like 85% of that, and the show’s just not going to have much impact unless it gets everybody on board with those very basic ideas. in terms of story structure it probably doesn’t make sense for this to be his lowest point, but starting from the bottom and eventually getting somewhere better is fairly standard, so at this point I can imagine tons of ways things could improve for him

yeah I do hate the whole Sacred Timeline thing, see also my posts about how much I loved that Endgame canonically (I thought) established multiple timelines where everything was fine, so yeah I’m pissed about that because it means those timelines were canonically pruned

like I don’t...hate it as a storytelling device? I just hate it for fandom reasons, and I’ve hated it in other fandoms when canon did something that seemed to open things up to all this incredible possibility and then went “actually no, we’re boxing it up again into this one specific Way That Things Happened” and for fanwork purposes it doesn’t matter all that much, I don’t think it’s actually that much harder to do AUs or go “okay well in this universe the TVA doesn’t exist, whatever” (in fact I wouldn’t be surprised if AO3 quickly develops a new canonical “not TVA compliant” tag for basically all Loki fic), but it is annoying that it’s now like “canonically, every AU is Not Allowed”, and if that ends up sticking as the status quo with the TVA considered good guys or at least a necessary evil then yeah, I’m going to be annoyed

HOWEVER

I don’t think that’s inevitable for a variety of reasons

this whole show is going to deal with multiverse shenanigans and so will Dr. Strange 2, so it seems completely possible that the end result could be a status quo of “there’s a multiverse actually and that’s fine” (...although yes, I’ll be doubly annoyed if the end result of this show is a restored multiverse of some kind and the end result of Dr. Strange 2 is condensing it back down to a single timeline)

the multiverse is a long-running comics tradition, which still seems to be the case even after...whatever event it was that collided a bunch of them and tried for a Highlander thing, look I wasn’t really following it and I know some characters ended up in other universes from where they started but I’m pretty sure we still have a multiverse of some kind

almost all the recent Loki-centric comics have focused on questions of fate and agency

Agent of Asgard in particular was about Loki eventually going “fuck you I won’t do what you tell me” and forging a new path (and, okay, it does seem like runs other than AoA have been the most influential here but again we’ve only seen one episode)

Loki, specifically, is an agent of chaos and change, like that’s his whole thing going way back to mythology, because sometimes stagnancy is death and chaos is healthy, and of course myth!Loki (and earlier versions of comics!Loki) is always responsible for triggering Ragnarok, which isn’t just the end of the world but is also a natural, crucial part of a cycle of renewal, and yes the MCU already did Ragnarok but that doesn’t at all mean they can’t play more with those ideas

Tom Hiddleston has brought up this specific point several times in recent interviews, that sometimes chaos is the one thing that's really needed

also, on Jimmy Kimmel the day of the episode, he kind of...planted a seed about the TVA maybe not being uncomplicated good guys because seriously what gives them the right to make these decisions for literally everyone

so at the very least I think it’s completely possible that things aren’t quite what they seem, and that for instance we’re supposed to discover that Mobius is consciously manipulating him to turn him into the type of tool the TVA wants him to be

also “the timeline wants to break free” shows up on a lot of merch, which does seem to indicate a free will vs. predestination theme

I’m not at all familiar with comics!TVA, although I understand they’re considered villains (although to be fair, so were the Skrulls, and at least thus far that’s been inverted for the MCU), but their whole thing reminded me of a few other entities in a way that could be relevant:

the tape running out was like the Norns cutting the thread of somebody’s life

Those Who Sit Above In Shadow in AoA (and also maybe whatever was below the God Quarry in Infinity Wars although I’m less familiar with that)

the gods in Cabin In The Woods, who were also kind of audience proxies in that they really just cared about the sacrifice being entertaining, which kinda seems like the only logical reason for the Timekeepers to prefer any given series of events over another

my personal hope for the series: the Timekeepers are ultimately the Big Bad and the rogue Loki variant is ultimately right in trying to wipe out the TVA (because sure I realize it’s maybe dumb of me but I still don’t want any Loki to be completely a bad guy!!); the major named TVA characters realize they’re the baddies actually and team up with a whole army of Lokis to take them down and GIVE US BACK OUR MULTIVERSE

[mandaloriangf]

tbh I think part of the reason I dislike Tony so much is because his arc should have ended in Iron Man 3. that movie ended with him realizing the error of his ways, deciding that pepper and the people around him mattered more than his own ego, blowing up all his iron man suits, undergoing surgery and having the arc reactor removed and tossing it into the sea. every single movie after that keeps dragging him back and showing him making the same mistakes, but none of them treat those mistakes with the same weight earlier movies did.

like, age of ultron has him just show up in an iron man suit again as if iron man 3 never happened and start bossing the avengers around, causing another crisis. he causes almost every mcu villain other than thanos. he causes ultron, he causes zemo, he causes vulture, he causes mysterio... and he causes most of the villains post-endgame too, because he was too selfish to look for a solution that could potentially eliminate his daughter from existence. he traumatized half of the population of the entire universe by having them completely disappear for YEARS and then come back to find out all their loved ones and the entire world had moved on without them. they came back to find out their pets had died, that family members had died, that their homes had been sold, that all their possessions had been given away, that their jobs had been taken by other people... meanwhile the other half of the universe was similarly traumatized by moving on from having half the universe disappear, only to have those people suddenly reappear. husbands and wives moved on, children grew up without parents, etc. (and yeah, the movie tries to justify tony's point of view by saying that reversing the snap is impossible, but that's bullshit too).

like, if Tony's arc had been contained to iron man 1, iron man 2, avengers, and iron man 3, maybe with some BRIEF cameos later on, it would have been much better. hell, have rhodes take on the iron man mantle as war machine from age of ultron onwards. tony's first four films were a surprisingly well-contained arc, looking back, and every subsequent film repeatedly destroyed his character and made him cause problems for all the other characters (while simultaneously presenting him as the Good Guy Who Is Always Right). the first four films presented tony as a somewhat complex character, but from aou onwards he's always right, even when he's wrong, and it's INFURIATING. he faces almost zero consequences until he dies, at which point he's mourned by the entire mcu and celebrated as an unequivocal hero.

looking back, I really wish they'd had the courage to end his arc where they should have.

oh, and don't get me wrong, tony still somewhat sucks in the first four movies, like he's still a war profiteer who becomes a superhero for fun. but that's kind of the point? he's supposed to be somewhat unlikeable, he's supposed to be a douchebag. later movies completely miss that point and unintentionally make him an unlikeable douchebag.

figured it would happen once they wrapped up his arc in im3. there’s a video i can’t remember the name of but they do a great job at describing what tony’s post im3 arc should’ve been and it should’ve been him becoming the villain. not like obvious supervillain but someone who thinks they’re doing what’s right when in reality they’re hurting the people they want to save. and in the end he gives his life in an act of redemption or something.