#she just would have introduced earlier and should have a bigger role in the story

[epickiya722]

Okay, personally, if Miruko was introduced a little earlier into the story and maybe of Endeavor wasn't that big of a character, Horikoshi probably would have had Miruko trained Midoriya for the Work Studies.

I mean, if Gran Torino who does speed and kick moves who also happens to be a solo hero got to train Midoriya, then Miruko could have been written to train Midoriya, too.

[princesssarisa]

I read something interesting today: the script of Cinderella; or the Lover, the Lackey, and the Little Glass Slipper – a "fairy burlesque extravaganza" by Henry J. Byron, 1860.

Since I'm hoping to turn my overview of the different screen and stage adaptations of Cinderella into a book, I want to research the British stage tradition of the Cinderella Christmas pantomime. Being American, I'm not very familiar with pantos at all, but I think I should discuss them in my book. While Byron's play wasn't billed as a pantomime, they say it basically codified the standard outline of the Cinderella panto that's used to this day. Namely by giving the "Ugly Sisters" bigger comic roles than they had ever had in earlier British stage adaptations, and by introducing a character who from then on became a stock figure: "Buttons" (or rather "Buttoni"; later versions would Anglicize his name), a friendly manservant in Cinderella's house who loves her unrequitedly, but ultimately helps her reunite with the Prince.

It's an interesting script. Here are the notable details:

*This play is written entirely in rhyming verse, and it's a musical, filled with popular songs of the day and a few excerpts from opera, with new lyrics to fit the story. It even includes the comic duet "Un segreto d'importanza" from Rossini's La Cenerentola. Speaking of which...

*The influence of Rossini's opera La Cenerentola is very strong. The setting is Italy and Cinderella's suitor is the Prince of Salerno, although his name is Prince Poppetti rather than Ramiro. As in the opera, his father is dead, and he stands to lose his inheritance unless he marries as soon as possible. The opera characters of Dandini (who also became a stock figure in Cinderella pantos from then on) and Alidoro are present too. Dandini plays his familiar role of switching clothes with the Prince and temporarily enjoying the good life while his master plays the valet. Alidoro isn't the "fairy godfather" figure of the opera, however, but just has a minor comic role as a stodgy tutor. Also as in the opera, Cinderella's stepsisters (or rather, in this version, her half-sisters) are named Clorinda and Thisbe, and in place of the traditional Stepmother is their buffoonish father, an impoverished baron, here named Baron Balderdash. Unlike Rossini's Don Magnifico, however, Balderdash seems to be Cinderella's biological father: he just favors his daughters by the first of his two deceased wives over his daughter by the second one. When Cinderella begs him to take her to the ball, he's moved to fatherly pity and almost gives in, only to be intimidated into refusing by his overbearing eldest daughter Clorinda. Also as in the opera, Cinderella and the Prince first meet at Cinderella's house while she's still in her rags and share a romantic scene, just before Dandini comes in his princely disguise to personally escort the family to the palace.

*Unlike the opera, this version does have a Fairy Godmother. She's no ordinary one, however: she's the Fairy Queen herself, who lives in the forest with other fairies at her command. (Was it coincidence or not that Massenet's opera Cendrillon would also portray her this way 39 years later?) In the opening scene, Prince Poppetti gets lost in the forest while hunting, and meets the Fairy Queen, who shows him a vision of Cinderella's face inside a hollow in a tree. The Prince falls in love at first sight, and so he resolves to give a ball that very night in hope that his mystery girl will come. Later, when the Fairy Queen comes to Cinderella to transform her rags into a gown, a pumpkin into a coach, etc., she tells her that the "valet" she met and fell in love with earlier is really the Prince.

*Another difference between this play and the opera is that the Prince and Dandini's role-switch doesn't extend through the ball. The "Un segreto d'importanza" scene where Dandini reveals his identity to Baron Balderdash happens just before the ball, not at the end of it.

*According to the original cast list, the roles of Prince Poppetti and Dandini were both played by young women, while the role of Clorinda, the elder, more prominent, and more broadly comical of the two Ugly Sisters, was played by a man. This is in keeping with the pantomime genre's tradition of cross-casting.

*Cinderella's portrayal is very different from what I expected. Maybe it's because this was a "burlesque," not serious theatre, but she's not the sweet, gentle waif of tradition – she's a feisty, witty, sassy thing, who talks back to Clorinda and tells her how useless she is, and even tells her father when he's being ridiculous. It's the type of characterization we've often seen in modern feminist versions of the tale, but this is from 1860!

*Buttoni has his most prominent scene with Cinderella after everyone else has left for the ball, but before the Fairy Queen arrives. He sings a duet with Cinderella where he confesses his love for her, but she insists that her "troth is already plighted" to the Prince's "valet."

*In different pacing from a typical Cinderella, the extensive ball scene is the grand finale. Unusually, the Prince knows full well who Cinderella is the whole time. (Her idiot family doesn't, though; they just comment on how much the mysterious beauty looks like her.) So when she runs away at midnight and loses her glass slipper, he doesn't really need it to find her, but just tries it on the other ladies as a game to officially rule out everyone but Cinderella as a bride. As soon as Dandini brings him her lost slipper, he immediately has all the other maidens who are still at the ball try it on, declaring that he'll marry whomever it fits. Of course it fits none. But then Buttoni brings Cinderella back to the palace, now in her rags again; she asks to try on the slipper, and it does fit, as the Prince knew it would.

*Unfortunately, there's some crude racist language here and there, with pejorative use of terms like "Jew," and even the N-word. I suppose that was typical of the era. Fortunately, it's only now and then, and could easily be cut from modern performances.

I'm looking forward to exploring other British pantomime versions of Cinderella to see how they compare to this early one.

@ariel-seagull-wings

[sea-owl]

You know what? If you tell me right now that your Isekai AU (and all its variations) are because Lady Danbury decided to stir shit up, I would 100% believe you. This would be something she'd do for shits and giggles. Like maybe she was Modern!Portia's closest friend who she confided in that she really wanted a family and a person to love her and Lady Danbury was like "You know what? Say no more" and isekai'd her to the regency era. But of course Agatha 'ShitStirrer™' Danbury didn't end it there (ofcourse not, what do you think she is?? A simpleton??) And Isekai'd the spuses and Bridgertons as well but fron different timelines just to watch the chaos unfold, make betting pools and matchmake these poor unfortunate souls to her heart's content.

You know when the idea of Isekai AU first came up Portia's life in the modern world really didn't go that far besides how she came to the knowledge and then truck-kun more than likely took her out. But the further that I went into it and the more variants that popped up the more I played with the idea that Lady Danbury had something to do with it.

Lady Danbury has always meant to be a neutral (and chaotic) character in the au. She's the one who pulls Simon (and later Gareth) out of their homes after Portia accidentally changed events during one of her half awake episodes where past life and current life memories mixed together. She's also the one who informs Violet of Portia dipping out of the ton, and later Lady Danbury finds Portia and that's how Simon gets introduced to her. She's the side character having fun in the background with a martini enjoying the chaos around her.

But the bigger this got the more I thought about Lady Danbury's role and the more I thought the more I came to the conclusion that yup she definitely is the one who isekaied Portia.

How I would frame it is that Lady Danbury, known as Professor Agatha, because she's gonna be known by as her name damn it, in the modern world, was a mentor to Portia, I'm thinking a college professor that she still talked to after she graduated. She is also was the author of the Bridgerton series that she wrote under a pen name. Lady Danbury was surprised to find out Portia was a fan of the series when she saw her rereading one of the books during her break.

"I would have never guess you were a fan."

Portia blushed, carefully marking her place in the well read book. "In a way. You know I never really had a family."

"And you're too guarded for love," Lady Danbury added.

Portia playfully glared. "And I chose to focus on my career." She let her fingers trail across the book. "I enjoy the dynamics of the main family but I actually feel more connected to the villains throughout the series."

Lady Danbury raised an eyebrow. "The villains?"

Portia nodded. "They were like me once upon a time, starving for love. Except they didn't get the chance or it came too late as their minds were already twisted beyond help. Of course they should still be held accountable for the actions they chose to take as adults but I don't know. Maybe if they given that chance earlier things would've turned out differently."

"Interesting," Lady Danbury hummed. "So no love for the love stories Ms. Career Woman?"

"Haha." Portia shrugged. "They're okay, kinda cheesy, kinda predictable. Honestly the Bridgertons had more chemistry with their villains than the love interests. The love interests were just kinda there, or showed up at the last minute to fill the romance quota."

Lady Danbury pondered over that as she reread her books, and dug up those old first drafts where the villains weren't the villains but second love interests. Portia's thoughts, they were some of Lady Danbury's thoughts as well after she had time away from the series. She wrote it when she was young, before she found her true writing style.

Perhaps Portia was right, perhaps the villains just needed a chance early enough to turn things around.

"Let's have some fun then," Lady Danbury smiled as she grabbed her books and first drafts. "I can't wait to get the betting pool started. I hope you're ready my dear."

Lady Danbury chuckled when she heard the news that Lady Featherington disappeared right after her fourth daughters birth and the letter from Violet appeared asking about her friend. Oh this will be fun indeed.

Let the games begin.

[chamomileteainabuttercup]

Thoughts regarding "The Apostate" and "The Mines of Mandalore"

I really wasn't impressed by the way this season began and I've been thinking about why.

Season one and season two do a very similar thing with their first episodes. I call it "I told you that story so I could tell you this one." Season one, this story about a stone-cold badass bounty hunter on the grey side of the galaxy far, far away is just the set-up for a story about family and love. Season two, this story about slaying a dragon and saving a small town as a side quest to finding a Jedi is the set-up for a story about deep life-changing friendship. Each closes with a twist, one introducing a brand new character who may remind us of an old one, the other bringing back an old character of whom some of us have never really got enough. This is a great season-opener structure for a show like The Mandalorian!

Season three really whiffs this.

The first episode is oddly short and inconclusive and feels like a bunch of bits stuck together. While the S1 and S2 openers are "I told you that story so I could tell you this one," they are each a fully-formed, interesting and satisfying story in and of themselves. Then the second episode takes the one thing that seemed purposeful albeit sorta out of left field about the first, Din's determination to revive IG-11 because he was his friend, and simply discards it. Peli convinces him to settle for a different droid. That's it. I don't appreciate feeling droid-baited!

Grogu had to see IG-11's semi-corpse reanimated and dragging itself across the floor with one arm trying to kill him only to promptly suffer a second death Looney Tunes-style for nothing. The cute scene in the Anzellans' workshop? For nothing, gratuitous. I'm not sure I even believe any more that the pirates are going to be back! The only part that turns out to matter is the scene with Bo-Katan.

If only Bo-Katan was ever going to matter, you could have had a far better season opener by removing virtually all the stuff on Nevarro and combining the first two episodes into one long one. Then you would have the same structure and the same switcheroo effect: This story about a quest for redemption is actually going to be about... Din getting to be a horse girl with an aquatic dinosaur?

In that way, it wouldn't feel quite so pointless that what was set up to look like the mainline quest of the season, finding the Living Waters in the mines and dunking Din, is out of the way by the end of episode 2, as it was only ever a set-up for a bigger story.

This still wouldn't truly please me, it would just be far better structurally. I wouldn't be really happy with it because:

I like IG-11 and would rather we were going to get some more time with him.

I don't particularly like Bo-Katan. I never get the impression she's really done the kind of self-reflection she needs to understand her true role and responsibility in everything that's happened. She's static as long as she doesn't do this and it makes her uninteresting and frustrating to me. If we got a more in-depth conversation between her and Din earlier on that made it clearer that she's despondent, that she feels like a failure not even worthy of redemption, that Din tries to encourage her to join him but she refuses because she's in too deep of a funk and only the news that he's in big trouble because of his dumbass quixotic quest that she refused to join him for manages to galvanise her into getting out of her Moping Chair and into action - then I would find it more satisfying.

Why should it be Bo-Katan? Why couldn't it be someone (if not IG-11) with whom Din has a warmer relationship? You know, like the ones developed across the past two seasons plus The Book of Boba Fett, which suffered badly from being not quite its own thing and not quite The Mandalorian season 2.5?

Even if we had to have Bo-Katan couldn't we have Boba too? The conflict between them and the ongoing exploration of very different styles of Mandalorian would make everything more interesting. Also, Din fucking owes Boba a couple of episodes. Also also, Temuera Morrison is handsome and charismatic.

Other points I wish to gripe about:

R5-D4 as a replacement for IG-11 didn't even make sense. How is an astromech droid suitable for spelunking? He can't climb. He doesn't have thrusters to let him ascend or descend without clambering. IG-11, being more humanoid, could climb or use a jetpack to maneouvre in the same way as Din and Grogu and thus accompany them into the more dangerous area where he would have been very helpful. What's more, when they get to Mandalore, Din has R5 take a sample of the air at the top of the civic centre complex where there's free air flow from the outside and decides from this that it's safe to go inside! He's going into a mine where there could be pockets of toxic gas much lower down where R5 can't sense them. It's all a lot of busy-work that ends up meaning nothing and doesn't make sense on its own merits. Your story should not make viewers think "Wait... so all that was pointless?"

The whole Mines part felt like they'd come up with a really cool setting with fun monsters, like a dungeon for an RPG, that they wanted to use and that was it.

HOWEVER

Din and Grogu's relationship and interactions this season so far are really adorable and I want more time for them.

[lokiondisneyplus]

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'Loki' takes over: Tom Hiddleston on his new TV series and a decade in the MCU

Ten years after Hiddleston first chose chaos in Thor, Marvel’s fan favorite God of Mischief is going even bigger with his time-bending Disney+ show.

Tom Hiddleston is Loki, and he is burdened with glorious purpose: After playing Thor's puckish brother for over a decade in the Marvel Cinematic Universe, no one understands the mercurial Asgardian God of Mischief as well as the actor. He can teach an entire seminar on Loki if given the opportunity — which he actually did during pre-production on his forthcoming Disney+ show. In conversation, Hiddleston quotes lines from his MCU debut, 2011's Thor, almost verbatim, and will playfully correct you if you mistakenly refer to Asgard's Rainbow Bridge as the Bifrost, which is the portal that connects Loki and Thor's homeworld to the Nine Realms, including Midgard, a.k.a. Earth. "Well, the Bifrost technically is the energy that runs through the bridge," he says with a smile. "But nine points to Gryffindor!" And when he shows up to the photo shoot for this very digital cover, he hops on a call with our photo editor to pitch ways the concept could be even more Loki, like incorporating the flourish the trickster does whenever magically conjuring something. The lasting impression is that playing Loki isn't just a paycheck.

"Rather than ownership, it's a sense of responsibility I feel to give my best every time and do the best I can because I feel so grateful to be a part of what Marvel Studios has created," the 40-year-old Brit tells EW over Zoom a few days after the shoot and a week out from Thor's 10th anniversary. "I just want to make sure I've honored that responsibility with the best that I can give and the most care and thought and energy."

After appearing in three Thor movies and three Avengers, Hiddleston is bringing that passion to his first solo Marvel project, Loki, the House of Ideas' third Disney+ series following the sitcom pastiche WandaVision and the topical The Falcon and the Winter Soldier. Led by head writer Michael Waldron (Doctor Strange in the Multiverse of Madness, Heels), the six-episode drama sees Hiddleston's shapeshifting agent of chaos step out from behind his brother's shadow and into the spotlight for a timey-wimey, sci-fi adventure that aims to get to the bottom of who Loki really is. "I wanted to explore slightly more complex character questions," says Waldron. "It's not just good versus bad. Is anybody all good? Is anybody all bad? What makes a hero, a hero? A villain, a villain?"  

Even though Loki — who loves sowing mayhem with his illusion magic and shapeshifting, all with a major chip on his shoulder — has never been one for introspection, the idea of building an entire show around him was a no-brainer for Marvel. When asked why Loki was one of the studio's first Disney+ shows, Marvel president Kevin Feige replies matter-of-factly, "More Hiddleston, more Loki." First introduced as Thor's (Chris Hemsworth) envious brother in Kenneth Branagh's Thor, Loki went full Big Bad in 2012's The Avengers. That film cemented the impish rogue as one of the shared universe's fan favorites, thanks to Hiddleston's ability to make him deliciously villainous yet charismatic and, most importantly, empathetic. The character's popularity is one of the reasons he's managed to avoid death many times.

"He's been around for thousands of years. He had all sorts of adventures," says Feige. "Wanting to fill in the blanks and see much more of Loki's story [was] the initial desire [for the series]."

The Loki we meet on the show is not the one who fought the Avengers in 2012 and evolved into an antihero in Thor: The Dark World and Thor: Ragnarok before meeting his demise at the hands of the mad titan Thanos (Josh Brolin) in 2018's Avengers: Infinity War. Instead, we'll be following a Loki from a branched timeline (a variant, if you will) after he stole the Tesseract following his thwarted New York invasion and escaped S.H.I.E.L.D. custody during the time heist featured in Avengers: Endgame. In other words, this Loki hasn't gone through any sort of redemption arc. He's still the charming yet petulant god who firmly believes he's destined to rule and has never gotten his due.

Premiering June 9, Loki begins with the Time Variance Authority — a bureaucratic organization tasked with safeguarding the proper flow of time — arresting the Loki Variant seen in Endgame because they want his help fixing all of the timeline problems he caused while on the run with the Tesseract. So there will be time travel, and a lot more of it than in Endgame. As Loki makes his way through his own procedural, he'll match wits with new characters including Owen Wilson's Agent Mobius, a brilliant TVA analyst, and Gugu Mbatha-Raw's Judge Renslayer. The question in early episodes is whether Loki will help them or take over.

"One of the things Kevin Feige led on was, 'I think we should find a way of exploring the parts of Loki that are independent of his relationship with Thor,' or see him in a duality or in relationship with others, which I thought was very exciting," says Hiddleston, who also serves as an executive producer on the show. "So the Odinson saga, that trilogy of films, still has its integrity, and we don't have to reopen it and retell it."

Yet, in order to understand where Loki is going, it's important to see where he came from.

Hiddleston can't believe how long he and Loki have been connected. "I've been playing this character for 11 years," he says. "Which is the first time I have said that sentence, I realize, and it [blows] my mind. I don't know what percentage that is exactly of my 40 years of being alive, but it's substantial."

His time as Loki actually goes a bit further back, to 2009 — a year after Robert Downey Jr. big banged the MCU into existence with Iron Man — when he auditioned for Thor. It's no secret that Hiddleston initially went in for the role of the titular God of Thunder, but Feige and director Kenneth Branagh thought his natural charm and flexibility as an actor made him better suited for the movie's damaged antagonist. "Tom gave you an impression that he could be ready for anything, performance-wise," says Branagh, who had previously worked with him on a West End revival of Checkov's Ivanov and the BBC series Wallander. "Tom has a wild imagination, so does Loki. He's got a mischievous sense of humor and he was ready to play. It felt like he had a star personality, but he was a team player."

Hiddleston fully immersed himself in the character. Outside of studying Loki's history in the Marvel Comics, he also researched how Loki and the Trickster God archetype appeared across mythology and different cultures. "He understood that he was already in something special [and] it was a special character in a special part of that early moment in the life of the Marvel universe where [he] also needed to step up in other ways," says Branagh, who was impressed by the emotional depth Hiddleston brought to the part, especially when it came to how isolated Loki felt in the Asgardian royal family.  

There was a lot riding on that first Thor feature. For one, no one knew if audiences would immediately latch onto a Shakespearean superhero movie partially set on an alien planet populated by the Norse Gods of legend. Second, it was integral to Feige's plans for the shared universe. Loki was supposed to be the main villain in The Avengers, which would not only mirror how Earth's mightiest heroes joined forces in 1963's Avengers #1 but also give Thor a believable reason for teaming up with Iron Man, Captain America (Chris Evans), and the rest of the capes. Feige first clued Hiddleston into those larger plans when the actor was in L.A. before Thor started shooting.

"I was like, 'Excuse me?' Because he was already three, four steps ahead," says Hiddleston. "That took me a few minutes to process, because I didn't quite realize how it just suddenly had a scope. And being cast as Loki, I realized, was a very significant moment for me in my life, and was going to remain. The creative journey was going to be so exciting."

Hiddleston relished the opportunity to go full villain in Avengers, like in the scene where Loki ordered a crowd to kneel before him outside a German opera house: "It's the unspoken truth of humanity, that you crave subjugation," says the Machiavellian god. "The bright lure of freedom diminishes your life's joy in a mad scramble for power, for identity. You were made to be ruled. In the end, you will always kneel."

"I just knew that in the structure of that film, I had to lean into his role as a pure antagonist," Hiddleston recalls. "What I always found curious and complex about the way Loki is written in Avengers, is that his status as an antagonist comes from the same well of not belonging and being marginalized and isolated in the first Thor film. Loki now knows he has no place in Asgard."

Loki did find a place within the audience's hearts, though. Feige was "all in" on Hiddleston as his Loki from the beginning, but even he couldn't predict how much fans would love him. Feige recalls the reaction at the 2013 San Diego Comic-Con: "Did we know that after he was the villain in two movies, he would be bringing thousands of people to their feet in Hall H, in costume, chanting his name? No, that was above and beyond the plan that we were hoping for and dreaming of." It was a dream Feige first got an inkling of a year earlier during the Avengers press tour when a Russian fan slipped past security, snuck into Mark Ruffalo's car, and asked the Hulk actor to give Hiddleston a piece of fan art she created. "That was one of the early signs there was much more happening with this quote-unquote villain."  

Despite that popularity, the plan was to kill Loki off in 2013's Thor: The Dark World, but the studio reversed course after test audiences refused to believe he actually died fighting the Dark Elves. Alas, he couldn't out-illusion death forever. After returning in Taika Waititi's colorful and idiosyncratic Thor: Ragnarok, Hiddleston's character perished for real in the opening moments of Infinity War. In typical Loki fashion, before Thanos crushed his windpipe, he delivered a defiant speech that indicated he'd finally made peace with the anger he felt toward his family.  

"It felt very, very final, and I thought, 'Okay, that's it. This is Loki's final bow and a conclusive end to the Odinson saga,'" says Hiddleston, who shot that well-earned death scene in 2017.  

But, though he didn't know it yet, the actor's MCU story was far from over.

Credit: Charlie Gray for EW

When Hiddleston returned to film two scenes in Avengers: Endgame in 2017, he had no idea where Loki portaled off to after snatching the Tesseract. "Where'd he go? When does he go? How does he get there? These are all questions I remember asking on the day, and then not being given any answers," Hiddleston recalls. To be fair, it's likely the Powers That Be didn't necessarily have answers then. While Feige can't exactly recall when the writers' room for Endgame first devised Loki's escape sequence, he does know that setting up a future show wasn't the primary goal — because a Loki series wasn't on the horizon just yet.

"[That scene] was really more of a wrinkle so that one of the missions that the Avengers went on in Endgame could get screwed up and not go well, which is what required Cap and Tony to go further back in time to the '70s," says Feige. Soon after that, though, former Disney CEO Bob Iger approached Feige about producing content for the studio's forthcoming streaming service. "I think the notion that we had left this hanging loose end with Loki gave us the in for what a Loki series could be. So by the time [Endgame] came out, we did know where it was going."

As for Hiddleston, he didn't find out about the plans for a Loki show until spring 2018, a few weeks before Infinity War hit theaters. "I probably should not have been surprised, but I was," says the actor. "But only because Infinity War had felt so final."

Nevertheless, Hiddleston was excited about returning for his show. He was eager to explore Loki's powers, especially the shapeshifting, and what it meant that this disruptive figure still managed to find a seat beside the gods in mythology. "I love this idea [of] Loki's chaotic energy somehow being something we need. Even though, for all sorts of reasons, you don't know whether you can trust him. You don't know whether he's going to betray you. You don't why he's doing what he's doing," says Hiddleston. "If he's shapeshifting so often, does he even know who he is? And is he even interested in understanding who he is? Underneath all those masks, underneath the charm and the wit, which is kind of a defense anyway, does Loki have an authentic self? Is he introspective enough or brave enough to find out? I think all of those ideas are all in the series — ideas about identity, ideas about self-knowledge, self-acceptance, and the difficulty of it."

“The series will explore Loki's powers in a way they have not yet been explored, which is very, very exciting.”

The thing that truly sold Hiddleston on the show was Marvel's decision to include the Time Variance Authority, a move he describes as "the best idea that anybody had pertaining to the series." Feige and Loki executive producer Stephen Broussard had hoped to find a place for the TVA — an organization that debuted in 1986's Thor #372 and has appeared in She-Hulk and Fantastic Four stories — in the MCU for years, but the right opportunity never presented itself until Loki came along. "Putting Loki into his own procedural series became the eureka moment for the show," says Feige.  

The TVA's perspective on time and reality also tied into the themes that Waldron, Loki's head writer, was hoping to explore. "Loki is a character that's always reckoning with his own identity, and the TVA, by virtue of what they do, is uniquely suited to hold up a mirror to Loki and make him really confront who he is and who he was supposed to be," says Waldron. Hiddleston adds: "[That] was very exciting because in the other films, there was always something about Loki that was very controlled. He seemed to know exactly what the cards in his hand were and how he was going to play them…. And Loki versus the TVA is Loki out of control immediately, and in an environment in which he's completely behind the pace, out of his comfort zone, destabilized, and acting out."

To truly dig into who Loki is, the creative team had to learn from the man who knows him best: Hiddleston. "I got him to do a thing called Loki School when we first started," says director Kate Herron. "I asked him to basically talk through his 10 years of the MCU — from costumes to stunts, to emotionally how he felt in each movie. It was fantastic."

Hiddleston got something out of the Loki school, too. Owen Wilson both attended the class and interviewed Hiddleston afterward so that he could better understand Loki, as his character Mobius is supposed to be an expert on him. During their conversation, Wilson pointedly asked Hiddleston what he loved about playing the character.

"And I said, 'I think it's because he has so much range,'" says Hiddleston. "I remember saying this to him: 'On the 88 keys on the piano, he can play the twinkly light keys at the top. He can keep it witty and light, and he's the God of Mischief, but he can also go down to the other side and play the heavy keys. And he can play some really profound chords down there, which are about grief and betrayal and loss and heartbreak and jealousy and pride.'" Hiddleston recalls Wilson being moved by the description: "He said, 'I think I might say that in the show.' And it was such a brilliant insight for me into how open Owen is as an artist and a performer.'"

Owen Wilson as Mobius and Tom Hiddleston as Loki in 'Loki.'| Credit: Chuck Zlotnick/Marvel Studios

Everyone involved is particularly excited for audiences to see Hiddleston and Wilson's on-screen chemistry. "Mobius is not unlike Owen Wilson in that he's sort of nonplussed by the MCU," says Feige. "[Loki] is used to getting a reaction out of people, whether it's his brother or his father, or the other Avengers. He likes to be very flamboyant and theatrical. Mobius doesn't give him the reaction he's looking for. That leads to a very unique relationship that Loki's not used to."

As for the rest of the series, we know that Loki will be jumping around time and reality, but the creative team isn't keen on revealing when and where. "Every episode, we tried to take inspiration from different things," says Waldron, citing Blade Runner's noir aesthetic as one example.

"Part of the fun of the multiverse and playing with time is seeing other versions of characters, and other versions of the titular character in particular," says Feige, who also declined to confirm if Loki ties into Doctor Strange in the Multiverse of Madness and/or other upcoming projects.

Making Loki was especially meaningful to Hiddleston because they shot most of it during the pandemic, in late 2020. "It will remain one of the absolute most intense, most rewarding experiences of my life," he says. "It's a series about time, and the value of time, and what time is worth, and I suppose what the experience of being alive is worth. And I don't quite know yet, and maybe I don't have perspective on it, if all the thinking and the reflecting that we did during the lockdown ended up in the series. But in some way, it must have because everything we make is a snapshot of where we were in our lives at that time."

While it remains to be seen what the future holds for Loki beyond this initial season, Hiddleston isn't preparing to put the character to bed yet. "I'm open to everything," he says. "I have said goodbye to the character. I've said hello to the character. I said goodbye to the character [again]. I've learned not to make assumptions, I suppose. I'm just grateful that I'm still here, and there are still new roads to explore."

[mlpdestinyverse]

“The Bigger One”

Heather Tart is used to many things, be it receiving praise, using her charm to sway a situation to her favor, or asserting her dominance as a respected student at Twilight's School of Friendship.

A punch to the face...is not one of those things.

Feat. Star Chime, Heather (Tart) Reed

Related Chapters: Tongue Twister, Honesty, Confrontation ~Destinyverse Archive~

Story and Description Under The Cut

Heather Tart had a plan. Of course she did. Her meticulous mind could think its brilliant way through anything. Especially when she had a goal so close to her she might just be able to touch it. As such, she used her natural charisma to discreetly excuse herself out of her afterschool clubroom that day. It was a little earlier than the typical time her Science Club ended. Not that it mattered. Not only did their activities finish early, but in their final moments of leisure time, only one topic buzzed relentlessly around the classroom. Princess Luna was here, visiting the School of Friendship. Under what pretense - and for how long - no one knew. Near the end of the day, the regal Alicorn had been spotted by a stray hall monitor. Striding beside Princess Twilight Sparkle, Luna had been touring the school grounds between class periods, quietly observing the students through door windows while they busied themselves with classwork. Yet she was nowhere to be seen once said periods had ended and the hallways bustled with hooves and claws alike. Elusive as ever, their mysterious Moon Princess. One could assume the Princess of the Night had discreetly taken her leave long ago; glorious gossip, however, said otherwise.

Heather's heart had nearly burst when she'd heard the news. Years of dreaming and the heavenly Alicorns were finally rewarding her. The teenaged Earth Pony resisted prancing through the empty halls in her excitement. Upon trotting out the front doors, Heather scanned the beautiful frontal schoolyard and its glistening pond that surrounded the entrance. The sky was still gray from its brief shower hours before, and with careful hooves, the filly made her way across the damp stones cutting through the pond and around the side of the school. With even more precaution, Heather made sure to avoid the mud in favor of patches of rain-touched grass. She hated nothing more than muddying her hooves. And if she was going to meet Princess Luna? She was going to do everything to ensure she'd look as elegant and pristine as ever. Step one: Make her way towards the back, where she knew the school's picnic tables were scattered about just for students during their lunch periods and downtime. Step two: Grab the nearest table towards the backdoors. Probability told her, almost without a shadow of a doubt, that this would be the very exit Princess Luna would use if her tendency to avoid crowds and not cause a fuss was anything to go by. It wasn't one hundred percent guaranteed, but the chances were high enough that Heather was willing to take it. It wouldn't be out of character for her, either. Heather loved sitting at a table on a sunny day to quietly work on homework. Sometimes, as president of her club, she'd even sit there to plan out new fun lab experiments for the Science Club's next meeting. Studious. Conscientious. Hard-working. She could never get enough of teachers and students alike noticing her and praising her efforts. As they should. The scenario in her mind played out the same way. She'll be sitting there, hunched over a notebook and mulling over new club activities, when Princess Luna and Twilight waltz their way out of those doors. They'll see her, Twilight will ask her what she's doing, and Heather would yet again demonstrate her leadership and intellect. Twilight will praise her, introduce her to Luna as one of her best students- And the youngest of the royal sisters will look upon her and remember her name. Heather could feel her heart racing and subconsciously her hooves picked up their pace. Meeting the other princesses, catching their attention, and standing out amongst the drabble...if she were to be honest, she didn't realize just how much she ached for it. Not until now. Not until it was so close- Heather turned the corner, honing in on the table she knew would be hers- Only to find another sitting there. And oh, at the sight of her, Heather felt her very blood boil. Of course she just had to be here. The dullest, most boring-looking Unicorn that had ever insulted Heather's eyes; dull white and cream coat, drab grayish-blue mane, pale and ugly blue irises as narrow as a snake's. And who could ever miss that long, rat-like tail with a tuff of mane at the end, just lying on the bench beside her. She wanted to laugh at this filly's attire too, trying to pass off as prim and proper with an outfit that only made her look like a senile office worker.  Heather knew very well who this was. And she despised her very existence. But as a filly of her own standing at this school, she had appearances to keep up. So with the most saccharine smile she could muster, Heather took long, deliberate steps towards the other filly. It didn't take long for the Unicorn to notice her, those snake eyes flicking up from what had to be the most ostentatious book Heather had ever seen; silver and grey with metallic decor on its cover, embedded with one large tacky-looking gem just as blue-gray and washed out as the filly it belonged to. Heather stopped beside the table, avoiding a muddy patch beneath it, and held the Unicorn's gaze as much as those eyes repulsed her up close. "Hi there! You must be new around here!" Heather chirped. She gave the filly a chance to at least muster a reply. She should have expected the Unicorn to

cautiously eye her like a socially inept buffoon. After an awkward few seconds, she nodded. "I am," the filly managed. Good for her. "Well isn't that nice!" Heather lies through her teeth and a beaming smile. "Then I can't blame you for not knowing! Where you're sitting right now is my usual seat. But hey, now you know, so I'm sure you won't mind moving for me, hm~?" The Unicorn stared at her. Two seconds. Five seconds. Heather watched impatiently as the other filly swept her gaze across the other empty tables around them, almost pointedly. 'Yeah. You heard what I said. I'm not being subtle. Get lost.' Victory was in her grasp, of course. She wasn't the only one here that had pretenses to maintain and denying her civility would only make this filly look like the asshole of the two. And that wouldn't make the Unicorn much of a role model, now would it? Heather's innocent smile stretched expectantly, taking in the Unicorn's deadpan expression boring into her. Another annoying second later and the other filly finally shut her book tight, sliding it to one side without breaking eye contact. "No. I don't think I will." Heather's smile twitched. How she didn't take into account a lack of even the most basic social courtesies from this filly, she'll never know. "Well that's a little harsh," Heather feigned hurt, disguising the simmering fury just beneath her skin. "I just wanted my favorite seat for my studying. Is that really too much to ask for?" An unwavering, distrustful narrow of those eyes was the Unicorn's only response. So. That's how it was going to be. ...yet face-to-face with such blatant defiance, Heather - for the first time - was at a dead end. There was no sweet talking that face. And with no one around, there was no leverage here for her to turn the tables. Behind pursed lips her jaw clenched and her teeth grated. Pathetic. Pathetic. It infuriated her how rapidly the power had shifted - power taken from her in the one place Heather had worked for it.  Power THIS outsider didn't deserve. It was then that Heather's eye honed in on a certain pretty little book, teetering near the edge of the table. Ah. Okay then. Heather could take a loss. She could take a small, minuscule hit to her pride. No one was there to see it. Her goal was still in reach, so long as she kept up pleasantries and proceeded with her plan at the next table over. Heather, however, wasn't above taking small, subtle, petty victories. Anything for the satisfaction of reminding others where she stood around here. "That's too bad...but I understand." Heather sighed and hung her head. "I won't bother you." She turned her body, then. Too quickly. Or just fast enough to make the harsh bump of her flank against the table's edge at least semi-believable. She listened for it... SQUISH A gross squelch cut the silence, a sound that was beautiful to her ears. As she had hoped, turning back around revealed the plummeted book, lying delightfully amongst the brown patch of muck below the table. Despite her gasp, Heather could barely stop herself from grinning at her success. "Oh no!" she exclaimed, and it was just as difficult to stifle a much-needed laugh, especially with how much this Unicorn's face had slackened at the sight beneath them; silvers and greys, now smeared with dark mud. The other filly took in the filthy book with dim eyes. Poor spoiled girl. "I'm so sorry! Let me-" Heather's hoof was inches away from picking up the book to present to the Unicorn - a grand power move in her head - when a sourceless light blinded her. The Earth Pony barely had time to react before something solid rammed straight into her face. All she could do was squeal and tumble back into the ground at the excruciating pain and the sheer force of the impact. There was a wet slippery slide of the earth below her, displaced by the collision of her body. She didn't even know she was holding her stinging face until she pulled back trembling hooves from it, furiously blinking her blurry vision back into focus. Her head throbbed, the blood rushing into it

pulsing loudly in her ears.  While her world was reassembling itself, Heather felt the fabric of her torso become seized and in moments her entire body was being pulled up by a shocking amount of strength. The open-air was suddenly freezing against her pelt, forcing her delayed senses to fully experience the scorching hot pain spreading through her muzzle and cheeks. Her left eye especially struggled to stay open, even as another face shoved itself into hers. The filly before her breathed shallowly against her nose, wild and unhinged eyes resembling a beast now more than ever. "That," the Unicorn heaved out in a heavy, shaking breath. She renewed her grip on Heather's dress, expression distorted into a monstrous snarl. "Was father's you heartless wench!" Heather felt like a ragdoll, swaying on weak, dirtied hindlegs, one hoof pathetically draped over the vice-grip holding her in place. Her brain felt shaken, thoughts racing. And her blood ran cold when the other filly let out a quiet, humorless laugh at her. "Oh, I know your type..." the Unicorn whispered breathlessly, those venomous irises burning holes into her. "Thinking you're the biggest fish in the pond. Like you can lord over everyone else without consequence. You think no one can stand up against you." Heather choked on a sound as her face was pulled in further, a breath ghosting her muzzle even hotter than before. Her panicked magenta eyes darted up to the Unicorn's horn; what was already glowing a haunting silvery-blue now crackled violently with energy, stray white sparks searing into her exposed skin. A primitive growl ripped out of the other filly, and in those ferocious eyes, Heather swore she saw bloodlust. "How's it feel to meet a bigger fucking fish?" Heather screamed. It was something raw and primitive of her own, and she thrashed in the other filly's hold to no avail. She didn't know how long that went on for, wasn't sure how much time was passing as she waited for another strike- "STAR CHIME!" A booming, commanding voice filled the space, powerful enough to tremor the ground beneath them. Her ears only then registered a number of other voices rising in volume and proximity. The rigid muscles in her neck ached when she finally turned her head just enough to see out of the corner of her eye.  So many heads were sticking out of classroom windows, no doubt stragglers from clubs that surely have ended by now. Amongst those faces, she could recognize a few teachers, and to the right... Princess Twilight and Princess Luna, with the backdoors thrown open around them. Her attacker jerked away, releasing Heather to let her fall onto her forelegs. As soon as she was released, a blur of movement rushed out from the creatures gathered behind the two Alicorns. "Heather!" The Earth Pony almost instinctively flinched away, but was immediately soothed by the familiar arms of her best friend, Amber Shine, cradling her form. It amazed her how the Pegasus filly was willingly angling her body to both support her weight and shield her if need be. Despite the protective walls surrounding her, Heather still had a clear view of the princesses. Twilight looked absolutely horrified. But clearly someone else here held the most oppressive presence and authority. Princess Luna looked upon the scene with a frigid death stare that would cut through anyone. And it was trained on one single filly. "What is this?!" Luna demanded, her deep voice rumbling the air like thunder. When she strode forward, not even Twilight dared to stay in step. She trailed behind the other princess with shock etched into her youthful features.  The Unicorn shuffled, and Heather watched Star Chime's newly distressed visage come to life. Her long tail lashed behind her like an agitated cat. "She knocked father's tome into the muck, mother!" Star shouted, eyes darting wildly from Heather to Princess Luna. The Alicorn's expression actually faltered for a second before her sharp blue eyes landed on Heather. And Heather's heart jolted in terror. 'No...no! Don't you dare ruin this for

me!' "It was an accident!" Heather wailed back, letting every ounce of emotion pour into her voice. Near-instantly, Star Chime whipped towards her with a scowl. "You LIAR!" "ENOUGH!" Star Chime's head snapped up to look at her mother, as Princess Luna now stood a mere tail length before them, dark blue wings flaring out behind her. "That does not constitute violence against a defenseless subject, Star Chime!" And as the lunar princess seared those harsh eyes into her daughter, it dawned on Heather the advantage she had. The position she was in, with her face undoubtedly swollen and appearance soiled by the assault of that horrid young princess. She was more grudgeful now than fearful, though she couldn't deny the tears of pain and prior-fear-for-her-life that had left streaks in their wake. However, there was room to play it up further. So focusing on the pain and just how overwhelmed she felt? A hiccuping, sniveling mess she became. "Y-you didn't even let me pick it up for you!" Heather sobbed out, pressing her wet cheek into her friend's warm chest. The sweet Pegasus comfortingly stroked her hair. She could just imagine the pity on Amber's brow. "You just attacked me out of nowhere! E-even after I apologized!" Murmurs. Sweet murmurs of concern and disbelief sounded from the far-off onlookers. They knew her; thoughtful, honest Heather, who got along with everyone and had a spotless record. In the face of unnecessary violence, they literally had no reason to doubt her. Besides, how was she supposed to know that garish book was from the late King? Not even the Alicorns above could claim she was lying here. "Oh Heather..." Twilight murmured compassionately, and that alone filled her to the brim with glee. Checkmate. "M-mother, please, I just..." Star Chime begged uselessly. Oh, begging suited her. Too bad she had nothing to excuse her brutishness. She lost this battle ages ago. Heather knew, because Princess Luna could only exhale deeply, her countenance a storm of emotions that the filly was honestly clueless to identify. What Heather hadn't seen coming was the sudden shift in the Moon Princess' expression from there; from rigid and grave to sheer exhaustion and sadness. "I thought we were past this..." Luna whispered, so quietly that Heather had nearly missed it. The true proof that those words were even spoken was the way Star Chime recoiled as if she had been slapped. Heather jumped as feathers slid over her back, only to realize Princess Twilight had moved forward to reassert authority. After shooting her a gentle glance, she returned her attention to the other princesses. She hesitated before opening her mouth to speak- Luna beat her to it. "I have changed my mind, Twilight." Luna began, collecting herself just as quickly as the shift had happened. "Star Chime will not be attending your school after all." Heather would have whistled were this not an inopportune time. She simply sat back and enjoyed the unfolding drama as Star Chime looked at her mother with wide, shell-shocked eyes, frantically searching Luna's face for an answer already before her.  "Mother," Star Chime's voice cracked, desperation seeping through. "No, please, let me prove myself-!" "There is nothing to prove." Luna quietly interjected. Her general demeanor was no longer of disappointment or even judgment, but somber patience of all things. "I realize now that you require more of my attention than what little I have given you...perhaps in the future you may return to Ponyville. But now is not your time." As if to make her point, Luna subtly swept her gaze across the onlookers, and Star Chime followed her line of sight. Heather had to agree, Princess Luna was practically showing her mercy. Imagine attending classes here after making a first impression like this. She'd be the talk of the halls. Every soul in Twilight's School would know of the violent princess who punched one of their top students square in the face (and Heather would absolutely make sure every ear knew of it). Little miss Star Chime was better off being pulled

out of this school before she even started. It'd give Heather less of a migraine and save her the humiliation.  Just like... "Allow me to extend my deepest apologies in place of my daughter," Luna said towards Heather, whisking away every other thought in her mind. While she began to buzz in delight, that buzz slowly died down at the unreadable expression the Moon Princess wore. She was as formal and distant as ever. Almost...scrutinizing her? Where was her sympathy? "I will be holding a very thorough discussion with her over these events, and I intend to offer reparation to you and your kin." "Heather's parents aren't here in Ponyville," Twilight finally found an opening to speak, taking on the tone of a responsible princess. "But Applejack is her guardian, so I'll be contacting her soon to pick Heather up." "Very well. I will return shortly to speak to her, then, and recompense will be sent to the family." Heather perked up when the royal addressed her once more. "I understand that you are distressed. I will be escorting Star Chime away from here, and you will have time to recover with your friends. I hope you do not mind." Heather sniffled and swiped a hoof over her face. "I don't mind...thank you, princess." Luna's attention left her too quickly for Heather's liking, focusing on the Unicorn princess instead. "Come, Star." Luna called in a hushed voice, taking her exit with grace and purpose. Heather's focus shifted to Star Chime just as the Unicorn's horn lit aglow with that very same eerie silvery blue, levitating the grimy book out of the sludge. As parts of the wet mud slipped off in thick glops, the Unicorn gave the book's cover a weak swipe of her hoof, only managing to smudge muck further into its intricate crevices. While Luna departed with the elegance and power of true royalty, Star all but dragged her hooves after her, gaze downcast and mouth pressed into a firm line. Unsurprisingly, she shot one final scorching side glance at Heather Tart through her draping bangs. It lingered until Heather left her periphery and the Unicorn could only trail after her mother like a helpless foal.

Pressing her head further into her friend's chest, Heather sneered at the filly's retreating back until she rounded the corner and out of sight. 'That's what you get, rat princess.' "Heather, are you okay? What did she even do?!" Now that the immediate threat was gone, her colt friend Arctic Bolt was charging in from the small crowd, nearly slipping a few times in his scramble over. Oh great. Heather wasn't sure if she was in the mood for the buckball star's overdone jests and witty quips at this moment. Yet she couldn't reject the amount of attention and concern she was receiving. "Gods, I think she gave you a black eye." Amber Shine fretted. The filly helped Heather sit up, but the moment she even tried to brush a hoof near the Earth Pony's left socket, Heather flinched away and grunted. "Punched me." Heather forced out through gritted teeth once Arctic had slowed to a stop before them. "Fell to the ground..." "Geez, it's like your dress took as much of a beating as you did..." Arctic muttered. And as much as she wanted to roll her eyes at his dumb remark, looking down proved that the joke was more accurate than she'd realized. Red fabric was now stained with mud and grass and stretched out past its limits by the iron grip of that wretched beast. Or maybe it didn't look so bad! MAYBE that was just her, peering at it with one eye while she held shut the one that was throbbing and bruising over. Yeah. That remuneration better come fast- "Heather, I am so sorry." Twilight's voice promptly grabbed her attention. The Alicorn mare bent her legs to meet her height, looking to her with so much guilt that one would think the perpetrator had been one of her own family. "This shouldn't have happened. Star Chime has been working hard through some of her...habits, and while she's made progress she's also very emotional at heart and then after losing her father-" This was very new and very disconcerting, watching Princess Twilight Sparkle actually fumble through her words and appear rather flustered over the situation. Heather felt her jaw clench. The two had to be pretty close for Twilight to feel this compelled to defend the girl. "That said, harm should have never come to you, especially on my premises. I just...I hope you won't hold this against her. If circumstances were different, I really think you two would have gotten along." Oh. Heather could not stop her face from screwing up at that. Twilight noticed (Heather for once hoped she did, God forbid the Friendship Princess actually tried to forcibly mend this atrocity) and her shoulders noticeably drooped. "But I completely understand if this has damaged those chances."

Twilight took in a healthy breath of air and straightened back up. While she once again spoke with calm and control, the way her ears remained pinned back was hard to miss. "Please head in and wait outside my office whenever you're ready, Heather. I'll let the nurse know to prepare an ice pack for you before I get in contact with Applejack. This'll definitely take some time, so please bear with me." Ugh. Applejack. As if her voice wasn't already annoying to listen to on a daily basis. Now the older mare was going to fuss knowing her overprotective nature and Heather wasn't looking forward to having her ear talked off on how slices of raw potato and toothpaste were the grand answer to healing her face or whatever ridiculous ideas those country bumpkins had in their screwy heads. Moving out and away from the farm life couldn't come sooner. But there were bigger things to focus on in the present. It wasn't until Twilight had walked off, exchanging words with the last few students who were being herded away by the remaining school staff, that Amber Shine voiced a question that had been on Heather's own mind. "What did she mean by...'working through habits'?" The orange Pegasus uttered slowly, eyeing the backdoors as the final student filed in after the princess. "That was way more unsettling than it had to be." "Oh...oh Gods it's all connecting..." Both Heather and Amber turned to Arctic, who was now holding his head between his hooves in what appeared to be either alarm or a headache. Ever the dramatic one. Heather would have been tempted to snap at him for obnoxiously drawing the suspense out, but thankfully Amber was faster and more patient. "Uh, mind sharing?" The Pegasus cautiously prodded, now giving her friend a hesitant glance-over. Arctic's wide blue eyes flashed back into focus and he began wildly gesturing with his hooves- "Okay listen- I have this friend in Canterlot whose cousin went to Celestia's School for Gifted Unicorns with this other guy, right-" "The friend of a friend's cousin." Amber repeated, and oh, Heather recognized that tone as the filly already being half-done with the conversation. Bless her. "Easy to follow. Carry on." "No, seriously listen!" Arctic hissed quietly, and for the first time since Heather had met the silver Earth Pony, he actually looked like he was being serious. "My friend told me this story about how apparently, Princess Star Chime got pulled out of school for completely thrashing that cousin's friend! Said there was blood and teeth everywhere and she beat the poor guy until he was begging on the floor!"  Heather could feel her visible eye nearly bug out of its socket. "And they tried to let someone like THAT come HERE?!" she near shrieked. Her friends were lucky that she had already spent her vocal cords not too long ago. "It IS the School of Friendship. Guess they were hoping to make her less punchy." He muttered out one of his wisecracks. Heather's head was whirling too much for her to admonish it. How close had she just come to being battered into a stain on the grass?  Wait...actually- "Okay, but why are we only just now hearing about this?" Amber, ever a kindred spirit, inquired the very same disbelief in her own mind. "The newspapers would have blown up over a royal scandal like that!" Heather agreed. And if she had possessed this knowledge just a little earlier, maybe she would have treaded just a bit more carefully. At the very least, she would have been able to figure out a way to use it to her advantage... "Well for one, it was like, two years ago... and apparently not a lot of ponies got to witness the attack. But-" Arctic leaned his head in, head whisking about in search of eavesdroppers before dropping his voice even lower. "It sounded like Celestia and Luna covered the whole thing up and made everyone involved agree to keep the information private. So most of the public has no idea what happened, but obviously whispers managed to slip through a few mouths in upper Canterlot..." "Wow..." Heather whispered. Yeah. That was probable. The princesses

had the power. And while Heather knew anyone else would have been a little frightened over the influence their rulers had, whether for the sake of a nation or for their own means...Heather herself was sort of amazed. As if she could actually blame them for going to such lengths to conceal the shame that girl would have brought to their exalted family otherwise. "But even before that!" Arctic swiftly continued. "Apparently the kids at the school were already dubbing her the 'Delinquent Princess' behind her back! My friend's cousin never knew why until...y'know." "Delinquent Princess." Amber repeated back. "What a...stupid name." 'And I think it's fitting...' Heather was tempted to add but miraculously toned her spite down. "...I mean Ithoughtitsoundedbadass- but only because I thought the whole story was just some elaborate rumor!!" Arctic threw up his hooves. "I didn't think someone from the royal family could be that crazy, yet here we are! So don't talk like it's nothing but made-up gossip after what just happened!"

"...you're not wrong." Amber muttered, and her wing pulled Heather closer into her side. The earth filly welcomed the warmth, though she didn't like the look of discomfort on her friend's face. "In other words, we're talking about violent habits. And from a princess of Equestria...that's awful." "Yep. She is. But let's stop talking about her for now" Heather muttered, feeling both sets of eyes fall on her. The more she heard, the more that resentment deep within her grew. And the more that grew, the more her temples ached beyond the limits of what she was willing to deal with. "I think I'd like that ice pack right about now." "Oh crap, right!" Arctic jumped, urgently motioning for the fillies to walk ahead while he kept the rear. "Got a little carried away. We'll stick around until Twilight gets back!" "Yeah. Twilight did say it'd take a while." With a comforting smile, Amber Shine squeezed Heather's shoulder with her wing feathers. "I say it a million times, but just as a reminder; we've got you, girl." And she appreciated the encouragement. She really did. But Heather found it incredibly hard to muster more than a ghost of a smile when she found her legs on autopilot while her mind was elsewhere. 'Stop talking about her" she'd said. Yet she couldn't even bring her own brain to shut up. When it came to the very thought of that Unicorn princess, ugly green thorns never stopped digging their way into her ribcage. But after today... Heather's inner snarl rang with unconcealed bitterness, louder than ever before. 'How? How does someone like her get to be a princess?'

_________________________________________

Officially introducing Star Chime! Daughter of Luna, sister of Prince Amadeus, and youngest royal of the five royal Equestrian children (Princess Flurry Heart, Princess Lumina, Prince Amadeus, Prince Nova Spark, and Princess Star Chime, in that order)! Though by youngest, she's probably a year or two younger than Nova Spark.

I'm excited that she's ready to officially be a part of the cast!! I've considered her and Dream Flow the future main protagonists of present-day story. One day she'll meet her partner in crime. One day...

Also, very fun to write a chapter exploring Heather's psyche! In no way am I advocating for violence against misbehaving kids, by the way. I know people will see this as Heather "getting what she deserves" - and wanting to see karma get her is valid - but just know the purpose of this chapter wasn't me trying to take pleasure in physically "punishing" this kid, back when she was a youth with very misguided values. Just wanted that to be clear!

[teawaffles]

There’s No Business Like Show Business: Chapter 2

The next day.

After finishing his work at the mansion, Bond headed to Whitechapel’s Leman Street, where Maya and her company normally held their rehearsals. [1]

Walking down the noisy street was not just Bond, but also three other employees of the Moriarty household. One of them was Fred Porlock.

“It would’ve been fine if only you came along, Fred…… But thanks for joining us anyway, you two.”

Bond directed that to Jack Renfield and Sebastian Moran, who were walking a little behind him.

As Fred was a master of disguise, Bond had asked him to contribute his opinion on the performance too when Jack and Moran decided to tag along. Now the four of them were on their way to the rehearsal — with Louis’ permission of course.

Jack roared with laughter.

“No, you don’t have to thank me. I’ve watched my fair share of theatre, so I thought I could help them out, even if it’s from an amateur’s perspective,” said the old butler, nodding as he reminisced about those good old days.

“You’re probably just after the young girls from the theatre company, aren’t you old man?” Moran said, half in disgust. “Bond said this Maya chairwoman is a dashing lady in her own right, so I came along to feast my eyes on—— Ow, that hurt!”

Jack had clapped Moran on the head, as a warning to not shoot his mouth off.

“The only one here chasing women is you. Really, you didn’t even finish your chores properly before coming here.”

“I did my part just fine. For once, I’m not skipping out on work.”

“Rubbish — I did a check before we left and found some cigarette butts in the hallway. Don’t you dare annoy Louis any further.”

“……W-Well, the more the merrier, right?”

“…………”

Listening to their usual argument at the back of the group, Bond smiled wryly, while Fred was silent.

Finally, they had reached their destination. Waiting in front of the theatre was Maya, and her little sister Mae.

“Mister Bond!”

“Hey, haven’t seen you since yesterday.”

Mae waved her arms up and down in excitement, while Bond greeted them with a smile.

“S—sorry. Normally, she would play with the other children near our place, but today she insisted on coming with me…… By the way, um, who might these, d—dignified gentlemen be?”

“Ah, they work at the same household as me. The short one here is Fred. The somewhat scary-looking one is Moran. And this dandy old gentleman is Mr Jack. If you’re alright with it, I thought you could use their input as well.”

As Bond introduced them, the three men also greeted their host. But Maya seemed a little perplexed.

“……Maybe it wasn’t such a good idea to come here in a big group,” Bond admitted, looking slightly uncomfortable.

“No, no.” Maya hurriedly waved her hands. “I—I’m really grateful to be able to, hear valuable feedback from, so many people. For now, let’s not stand here to talk, please come in……”

Maya guided them into the theatre, stooped in a self-abasing posture. Her faltering voice was much as the same as from their previous encounter, but today, nerves seemed to have crept in as well.

“She has a sort of shadow about her, but that has its own charm. Like the transient beauty of a young widow, don’t you think?”

“She’s pretty, for sure, but not really my type. More like the kind of woman who complicates things when you break up with her.”

“Um, sorry you two, but if you could just keep your voices down,” chided Bond, as Jack and Moran whispered about the chairwoman behind her back.

Right after the entrance was a cramped space. The box seats above them looked hastily constructed; in truth, the interior decorations made it seem more appropriate to call this place a playhouse, rather than a proper theatre.

But their guide had only praise. “The manager here is, a really nice person; whenever we say we want to practise, he’s always happy to lend it to us. There are performances held at night, so we can only use it during the day.”

“He trusts you, doesn’t he.”

Hearing her speak with such sincere gratitude, Bond was quietly impressed by her character. Perhaps her dark aura easily invited misunderstanding, but she was definitely genuine at heart.

“Speaking of which, Miss Maya, you said that you’re the director for this performance, but surely someone else is responsible for the sets and the arrangements at the other theatre during this time?”

“Another member is in charge of the sets, but the negotiations and the like, w—were handled by me. Even so, the manager of the larger theatre — a nobleman — had actually approached us to be the opening act for another company, and I just accepted his invitation.”

“Still, isn’t it great to be invited to perform on a bigger stage, even if it’s just as an opening act?”

“Yes; for people like us — a theatre company from the slums, we don’t have many chances to show the world what we can do, so everyone’s doing their very best.”

Saying that, Maya secretly clenched her fists. Surely the one working the hardest was none other than Maya herself.

There was no audience in the stalls, and on the stage were a number of men and women — likely the company members themselves — doing light warm-ups and vocal exercises. A few of the children he’d met yesterday were also frolicking about on stage.

One exceptionally tall man on the stage had noticed Bond and the others enter the hall, and spoke up.

“Oh, is that the rumoured theatre master?”

Moran whistled at this unusually grand title.

“Theatre master, eh. A fitting name considering your experience, Bond.”

“Fufu, I’m honoured.”

Bond accepted it with his innate courage and composure. Then, he went onto the stage with Maya, while the other three sat in the stalls at the far end, so as to not stand out and interfere with the rehearsal.

The company members each stopped what they were doing and lined up in wait.

“Everyone, this is Mr Bond, who will be watching our performance today,” introduced Maya.

Right then and there, her voice had become clearer and stronger. A little taken aback by the sudden change in her attitude, Bond took a quick look around the room.

“Hello to you all. I’m looking forward to what you have for me today,” he said solemnly, as he bowed.

“We’ll do our best!” The company members bowed their heads in unison.

From their greeting, Bond could feel the the quality of their bearing, and the strength of their cohesion. Not only that, the tension he himself once felt when he stood on stage came rushing back in waves.

He switched his frame of mind from that of a special agent, to that of an actor, and looked over Maya and her company with an earnest gaze.

“Well then, without further ado, please show me what you’ve got.”

“Yes!”

Even though his instructions had been given with no introductory remarks, they asked no unnecessary questions, and jumped straight into preparation. Even though they had only put up plays in cheap theatres, Maya’s company already displayed the high level of professionalism they had developed.

“Miss Maya, what’s the programme for today?” Bond asked, as he moved to the row of seats right in front of the stage.

Maya was also directing Mae and the other children to sit down. “We’re starting with ‘The Red Shoes’, followed by ‘The Little Mermaid’, and lastly, ‘The Little Match Girl’.”

“Hmm, fairytales, I see.”

The unexpected subject matter piqued his interest.

In a time when Shakespeare was all the rage, to perform children’s literature in a proper theatre, and a serious scripted play at that — now this was a bold move.

But as someone who liked to do things unconventionally, that was precisely why their play intrigued Bond. Yesterday’s playful rendition of “The Little Match Girl” was probably inspired by it as well.

Then, the tall man who noticed Bond earlier spoke up.

“Ain’t it interesting? Maya always makes sure to write plays that even us poor dumb folk understand. Today’s script is also entirely her work,” he said cheerfully.

“Weren’t you in charge of creating the play too? You should be able to write at least one decent line of dialogue.”

At the man’s self-satisfied tone, a woman beside him sighed. But he ignored her pointed comment and carried on.

“There were a bunch of people who’d always thought ‘Hamlet’ and ‘Macbeth’ and the like were plain boring; but after Maya broke them down into something easier to follow, they’ve gotten hooked onto Shakespeare.”

“Being able to interpret works in a way that everyone can understand…… A wonderful talent indeed.”

But if you were to put on a proper production of Shakespeare in an unregulated theatre like this, you would be caught by the censors. To avoid that, incorporating music and the like into their productions was a brilliant adaptation on their part.

Bond had said that last part out loud, and the man thanked him for his words of praise. The members of the company had shown their admiration for Maya, but the woman herself took in a deep breath, as if to hide her embarrassment.

In other words, in order to put on a play that everyone could follow, the answer she'd arrived at was “fairytales”. Although it may be the best choice given the short length of the opening act……

“I’m sitting next to Mister Bond!”

“Hey, no fair!”

Bond had been absorbed in thought about the contents of the play. Nearby, the children were scrambling for the best spots. Having won the seat to the left of Bond, Mae asked him a question.

“Mister Bond, do you like ‘fairy tales’?”

That pulled him out of his thought process for a moment, and Mae smiled.

“Yeah. I read them when I was a child.”

“I like them too, because Maya and the rest always read them in a fun way—”

“Me too!” The other children raised their hands and shouted. Reading stories aloud while acting out the roles was indeed a theatrical way of reading to children.

However, Mae immediately pouted in frustration.

“But I really hate that story.”

“……Why is that?”

“The little girl always looks so sad. I tried asking Maya to give it a happy ending, but she just said that we have to ‘respect the intent of the story’ and didn’t listen.”

Her words helped Bond discern the true nature of the incongruity he'd felt.

As Mae had said, all three stories had their protagonists fall into unfortunate circumstances and perish. It was true that many fairytales were cruel, but there were others with happy endings too. Was there some hidden intent behind these choices?

As Bond pondered the new question that surfaced in his mind, Mae leaned in towards him.

“Mister Bond, do you also think it’s important, what Maya said? No matter how sad a story is, can’t we make it happy on our own?”

She asked that question with clear eyes. Bond thought for a few seconds, before responding.

“It’s true that it’s important to understand the intention of the original story. If you change its contents haphazardly, the fans of the story would be upset. I think your sister is the type who would take that very seriously.”

Mae glanced down in disappointment at his level-headed answer, but Bond continued.

“However, if we were all afraid of criticism, then nothing new would ever be made. If you have something you really want to tell others, then I think it’s possible to add a new interpretation to a story. After all, one form of respect is to show the world how you would’ve done it.”

“……Oh I see!”

Mae brightened up, and Bond smiled. Her question was one that had always, and would continue to vex all interpreters of stories. But at the very least, he didn’t want to make a decision on which way was right.

Just as their conversation had come to an end, it seemed the preparations for the performance were now complete.

“Without further ado, let us begin.”

Standing on a platform, Maya gave a bow, and with that the curtain rose.

Footnotes:

[1] Leman Street is a little to the north-east of the Tower of London and St. Katharine Docks, and within walking distance of both.

T/N: Is this chapter some meta-level commentary on the series itself?! omg

[popculturebuffet]

Prince of Wishful Thinking (Tom Retrospective): Tough Love or The True Monster

Hello all you happy people and welcome back to Prince of Wishful Thinking, what is usually my look at the life and times of Tom Lucitor but since I NEED to cover the season 3 finale as vital part of Tom’s story, we’re taking one last look at the tragic tale of Meteora Butterfly before the finale sends these two stories hurtling together. You’d THINK this would be the last detour of this already sizeable arc.. and you’d be wrong as i’ll also be covering Kelly’s World, as I feel it’s vital for both “Curse of the Blood Moon” and “A Boy and his hard to remember title”, as it provides extra context for Marco’s anguish in the former.. and provides extra evidence for why a CERTAIN MOMENT in the latter pisses me off to no end.. seriously even when as universe dies and the only people left are Frankllin Richards and Galactus, there will still be a little note reading “Fuck how they treated Kelly” written in all caps so Galactus remembers to yell it. 

So sadly that DOES mean it’s been three entries in this retrospective in a row that either haven’t feature Tom at all or in the case of the last episode only had him in short cameos. I mean we did get his love affair for pie but we also got a creepy goblin man forcing his girlfriend and best friend to kiss each other, his best friend being WAY to eager to jump to that conclusion, and neither considering using Marco’s Scissors because the writers only remember he has those half the time in Season 3... and clearly I ddn’t either as I forgot to mention that plot hole, something @jess-the-vampire​ brought up to me. Sadly I DID forget to consult on this when we talked earlier this week , and she’s not online as I write this so I won’t have her insight for this one. 

But if you want some Tom content, i’m happy to share my crossover ship for the boy with you. I’ve been shipping him with Octavia from Helluva Boss lately.  Because of course it’s Helluva Boss, i’ve not been at all subtle with my obession with it and much like Letterkenny, X-Men and Dragon Ball Z Abriged it is a love I never plan to be subtle about. 

But I just think they compliment each other well: They have contrasting atittudes, and tastes in music, but seem like they’d share hobbies. Like taxidermy.. I could see Tom buying this... demonic combination of a badger, a skunk, a deer and my nightmares Octavia is preciously holding up.

Granted I also feel tom would both animate them with their dead souls.. and then use his new woodland friends of the dammned as a chorus to sing “Can You Picture That” from the Muppet Movie, because that’s what my mind does on a regular day. I think the contrasting attitude creates great chemstiry and it made me also realize I have a thing for ships with directly contrasting home lives.  Tom has two loving decent parents who deeply love one another and at worst simply didn’t reign in his worse behavior because it was standard for demon stuff. Octavia in contrast simply has two parents, one who DOES love her and tries his best, but his best includes calling his side piece “My big dicked blitzy” right in front of her and hiring said side piece to guard them, and her mother who clearly thinks so little of her daughter’s emotional well being she hired a cowboy to shoot her daddy dead in the middle of a large crowd. The point is I think they’d be adorable and they both badly need to be happy after being emotionally fucked over by people they care about. 

But  alas my new ship will have to wait as we marginally important things to get down too.. things that will impact both this season and the next’s endgame and utterly destroy Eclipsa and Moon’s relationship for good. Sound fun? Well if so join me under the cut won’t you?

We open in the Pidgeon Kingdom.. and things aren’t exactly great.. and by that I mean Meteora stomped a hole through it and ravaged the place and Rich demands blood.. and vengance.. and possibly blood vengance. But not Tekken Blood Vengance.. he already has like 5 copies of that on dvd. Still needs it on Blu Ray though, hook him up if you got it. 

So Moon and Eclipsa are trying to smooth this over/find out which way did she go George which way did she go, and are angrily dismissed after they try Rich’s patience, not helped by Eclipsa not being familiar with the Pidgeon Kingdom because they hadn’t slaughtered everyone who used to live there yet. Look that’s what happened, Star outright mentions in the Big Book of Spells that htey suddenly sprung up where another kingdom was and no one knows what happens. There was some bird murders up in that place.. or birdur if you will. Some birds drank some human blood. This is what Alfred Hitchock tried to warn us about with his film built on horrifying actress abuse. 

The point is with some more pidgeon-led murder stabbings on the cards our heroines are trying to find her since their attempts to convince Rich not to go on an Archer Style Rampage fell on deaf ears. 

But it’s clear from the second the two are alone both have diffrent priorties: Eclipsa desperatley wants to find the daughter she lost and talk her down from what sh’es become, help her become better and hopefuly heal from the pain she’s been in. She’s lost her husband, her kingdom and centuries. She can’t loose her baby girl too.

Moon on the other hand... clearly has no intrest in helping Meteora or stopping this peacefully. Her first thought is stopping Meteora. Her living through it is not necessary. It’s also clear her racisim isn’t REMOTELY gone depsite Buff Frog and Star’s best attempts and despite learning just how deeply and horribly Mewni’s engrained racism has hurt eclipsa and destoryed Moon’s own family history. To Moon this is just a big monster to fight.. i’ll dive into this more in a bit.

For now our heroines encounter an angry mob. This time their not here for Homer Simpson, but for Meteora as her rampages have destroyd their towns, livelehoods and given some weird guy a hat. It’s the best bit of the episode and i’m embarassed I forgot it happened. 

So with them being no help our queens back out but end up finding some actual help: Eddie! You know the guy from the episode I skipped over... River’s cousin or something like that. He dosen’t have a wiki entry, I do not know why. He’s voiced by Rhys Dharby of Flight of the Conchords Fame whose since made quite the career as a voice actor. No major roles yet that i’m aware of, but a lot of delightful minor ones like this. It’s good to see him he was one of the highlights of that show and not just because he sang this..

Eddie showed up in the Bog Beast of Boggabah and I honestly forgot he was in this episode.. but again, it’s Rhys Dharby. It’s not like suddenly finding out “Aw god dammit Pauly Shore is in this”. So Eddie agrees to help as he’s been tracknig Meteora.. and we find out something troubling: Meteora is getting BIGGER. Gradually, to the point the bog from said episode Is skipped over is drained because she DRANK IT. We also get a great exchange “I’d hate to see the size of her mother” “Actually her father more than helped with that”

Awwwww.... seriously Esme Blanco is a national treasure and has some great deliveries in this one.. and some heartbreaking ones. But before we can get to that it turns out Meteora sucked the powers out of Eddies family.. who he misses..e xcept one guy> That guy can fuck right off. Seriously Eddie is also a national treasure and I wish he’d shown up in season 4. I mean he couldn’t of HURT it. For one it’s Rhys Dharby and for another that season shot itself in the face, both feet, the groin and then the face again enough that I don’t think anything could hurt it as bad as the writers already did. 

But sadly we say farwell to Eddie as he goes out how men have since the begining of time.. deciding to poke a strange creature till it murdered him. Or took his soul out in this case, speaking of which...

Yeah while I couldn’t get Jess in time for this review, she did bring this up in the past: Meteora’s ablility to pull a 

Comes right the fuck out of nowhere with no build up and no explination for it. She DID drain personalites and according to this episode youth.. but that was with a big ole machine. It MIGHT have been intended to be one of Globgor’s powers.. but that makes zero sense, as if he COULD do that, as we saw with Toffee last season when he had that power, also out of nowhere but at least it made a touch more sense given his power was draining magical energy anyway at the time, so adding souls to that isn’t a huge stretch, but as we saw that would’ve been game over for the comission, especially since we DO see him fighting them one on three next season. If he had this power, he wouldn’t be in crystal and I think they realized that, but just tried to act as if his daugther COULDN’T do that and assumed everyone would casually forget. And I get not accounting for me writing about this years later, even I wouldn’t of thought that, but not counting on fans both young and old to latch onto a continuity error? Have you met fandoms Disney, have you? It dosen’t bring the story down entirely and I get WHY ti’s there, so she can nonlethally kill people so we’re not down most of the cast for Season 4, but it feels like an easy win button and one she barely uses despite it being eye beam activated. It should be easy enough to pull, boom, soul suck, win, rinse and repeat. It’s okay to have uber powerful tequniques but they have to have a drawback. For instance the Kaioken from DBZ. It’s a really damn cool technique that gives the user a neat red aura and amplifies poewr.. but the more you amplify the more strain it puts on your body and the more likely you’ll die, and Super later creatively explained why it hadn’t been used since Super Sayian was introduced because said form would’ve sped it up so much it’d be too much for a body to take. Here whie Meteora dosen’t use it in EVERY fight, she uses it enough that it makes no sense this isn’t just her first move for every fight she gets into, mental breakdown or not. 

That being said Meteora’s current mental state as she talks to her mother, having regressed to talking in only a few words and acting like a child, makes perfect sense. Henious already wasn’t in great mental shape to begin with, having a slow sustained breakdown since Marco overthrew her. and now on top of this she remembers her whole life has been a lie, starts to mutate into her natural state at a rapid and likely unehalthy pace, and then finds out on top of all of this Mewni is rightfully owed to her. Given she ended last episode blowing a guy up for rejecting her, it’s not a stretch that given even more power and no time to process anything, Metora would deteroate further. 

Esme and Jessica really knock this scene out of the park as Eclipsa presents Metora with her old doll Bobo and gently trying ot talk to her.. but you also get the fear Eclipsa feels as she tries to awkardly manuver around the fact her daughter is far more unhinged than she was prepared for, even threanting Eclipsa simply because Eclipsa wanted to be called mother instead of mommy. But despite this fear.. Eclipsa wants to help and Walter beautifuly captured metoera as a hulk like tragic figure:a being with low sanity and too much power desperate to be loved by the one person it cares about. And it makes it even more heartbreaking as Eclipsa explains what happened: bad people trapped her , a disfunctoinal society with a racist queen and even more racist subjects has taken hold in her absence... and it’s clear both want opposite things: Meteora wants what sh’es owed, her family back on the throne and Mewni back in her graps, but has lost herself so much to rage, anger and insanity she can’t see it’s not hers to take, while Eclipsa.. just wants her daughter back. She’d be happy just settling down with her and having a LIFE after hers was taken away. Eclipsa just wants a chance to be with what family she has left. It just HURTS to know that despite RIGHTFULLY hating the comission, despite having eveyr reason to take the crown from Moon by force and make the world better by force.. she dosen’t want that. She just wants some peace. It’s selfish... but it’s hard not to be when you havealmost nothing to hold onto. Eclipsa has lost her legacy, her husband and her crown... Meteora is all she has and all she wants and sh’ed of been happy if she just accepted that. If that was enough. 

But the real telling part, and the thing that ultimately makes this go as bad as it does.. is Moon’s reactions to all of this. Sh’es CONFUSED by Meteora having a toy as if that’s foreign to her a monster would, and she’s cleaerly livid , if restrianing it, at both Meteora’s deire for the crown and Eclipsa RIGHTFULLY calling out the state of how things are, and mildly at that. Despite seeing how much damage Mewni’s inherent racisim has done, how it lead to her living a lie, ruined Eclipss, Globgore and Metora’s lives, despite how DESPERTLY her daughter struggles to fight against it, despite seeing firsthand that Monsters can have famiies and lives... she can’t let it go. She can’t see monsters as people. SHe dosen’t see a flawed person who was turned into a metpohrical monster by years of brainwashing and abuse and is slowly unravling under the weight of her true self.. she just sees a threat to her kingdom. She dosen’t see her kingdom as racist, just as it should be. And she dosen’t see herself as stepping down like hse damn well should’ve the MOMENT she found out everything. Because at her heart Moon can’t accept the truth and clings to her racisim. 

And that my friends.. is what ultimately leads to Tragedy. Not Meteora’s unraveling mental state, not Eclipsa’s naitvite. What happens next is ENITRELY Moon’s fault. Whle Eclipsa was failing to get through to Metora, she was trying her best and might of gotten somewhere.. but Moon was already settling to attack.. and does so, making it look like Eclipsa set her own child up. 

A fight ensues, a suprisingly even one... but Eclipsa breaks it up and PROVES her way could’ve worked. In one of Esme’s best performances sshe tearfully tells her daughter she loves her.. that ALL she wants is time with her to make up for what she’s lost.. she dosen’t need a kingdom or her crown or her wand, all things she DESERVES... she just wants her daughter. She just wants to help her baby girl before she goes so far down this path of hatred and vengance she’s alreayd well trod upon there is no point to return to. 

It gets through to Meteora, makes her stop... and Moon TAKES ADANTAGE OF THAT. She then restrains metoera with a magical rock barrier and starts palpatineing her to death. It’s a horrifying moment that ultimately shows who Moon really is.. that when given the chance to let Meteora go, let her CHANGE and grow as a person and help the kingdom.. she instead tries to kill her. When she’s no longer a threat,  hasn’t seriously hurt her in their fight, and could use her power to RESTORE the damage she’s done, fix what she’s broken and help the kingdom grow and mend the bridges racisim has torn down. But all she can see is a monster, and something to destroy.. not someONE to save. 

So Eclipsa does what Moon would do if it were star about to die and saves her daughter, desperatly trying to stop mooon.. and allowing Meteora to get a clear shot and take half of moon’s soul. While Eclipsa is able to stop her from taking the full thing, Moon is left disoreinted and half alive and leaves on insticnt to parts unknown while Meteora escapes. Eclipsa is left alone, devistated and with her daughter truly lost. And the worst is truly yet to come. 

Before we get into final thoughts i’d like to talk about how this scene impacts Moon’s betryal later. To me having rewatched this scene.. it only makes it work MORE making it clear Moon simply can’t fahtom racial equality and that she can’t fahtom that eclipsa had very good reason for doing what she did ... to me it comes off as her using Eclipsa betryaing her as a very flimsy justifcation to not validate her rule and to first retire and then try a coup. That “Well she “BETRAYED” me so i’m fine. “ But in truth... she betrayed Eclipsa first. She attacked her daughter TWICE when Eclipsa was close to getting through to her Her reasons are flimsy.. because i’ts not ABOUT eclipsa, but what eclipsa represents: equality with a race Moon dosen’t see as people. It’s about Moon’s racisim coloring everything tills h’es truly blinded and should have lost everything She didn’t because the ending is a fucking disgrace, but we might get to that at some point, the point here is for all that disgrace’s faults... it did get it right here, and Moon was always portrayed as being unable to let go of her racisim no matter what it cost her or how much her daughter despteratly tried to change her. Trust me as someone whose Dad used to argue that gay marriage meant he should be able to marry his cat, and who still argues against trans people using the bathroom of their choice, I get trying desperatley to change someone who don’t wanna. “Sigh”. 

Final Thoughts: This episode is truly excellent. The writing is top notch as is the voice acting for all involved and the climax isa true, well led up to tragedy. The animation is also on point, with the characters emotions on perfect display. This is an episode I now realize is one of the series best and worth ar ewatch if you haven’ts een it. Truly amazing stuff that gets me pumped for the finale.. and disapoints me in how the series could reach these highs for one finale.. but would sink to it’s lowest point for next seasons.  Next Time on Prince of Wishful Thinking: Star tries depseratly to find her mom, while Marco, Tom and a motely crew of misfits try to take down Meteora and Tom learns the awful truth from the photo booth and wears a zuko ponytail which weirdly looks good on him. That boy can rock anything let me tell you. 

If you enjoyed this reviews, please consider joining my patreon at patreon.com/popculturebuffet. As mentioned my 30 dollar stretch goal includes a review of the cluster fuck that is the series final arc, and the goals up to that , me making 20 and 25 dollars a month repectively, have their own nifty rewards: At 20 i’ll review Darkwing Duck once a month, the two remaning Ducktales 87 mini series I have not covered and the Danny Phantom film The Ultimate Enemy. 25 meanwhile gets you reviews of the Proud Family Movie, the theatrical recess movie and the Kim Possible almost finale movie so the drama. And 30 also gets you reviews of every episode of gravity falls season 1 at least one a month till I finish it at some point, so as you can see you get a lot of bang for your buck and these reviews will be public for everybody. Not only that but joining my patreon gets you a review a month if you pitch in 5 dollars and evne if you can’t swing THAT much just 2 bucks gets you access to my discord, a guarnateed pick in my shorts, votes for patreon exclusive reviews, and SAID patreon exclusive reviews. It’s a lot of bang for your buck is what i’m saying so please help me out so I can make a living off this and sign up today. I even JUST ADDED an exclusive and utterly insane scrooge mcduck review, The Great Wig Mystery. So throw in a buck to check that out. 

And if your intrested in Tomtavia... please hit me up. I’m really proud of it and until then... i’ll see you at the next rainbow. 

[thesaltofcarthage]

Loki takes over: Tom Hiddleston on his new TV series and a decade in the MCU

from Entertainment Weekly

Ten years after Hiddleston first chose chaos in Thor, Marvel’s fan favorite God of Mischief is going even bigger with his time-bending Disney+ show.

By Chancellor Agard May 20, 2021 

Tom Hiddleston is Loki, and he is burdened with glorious purpose: After playing Thor's puckish brother for over a decade in the Marvel Cinematic Universe, no one understands the mercurial Asgardian God of Mischief as well as the actor. He can teach an entire seminar on Loki if given the opportunity — which he actually did during pre-production on his forthcoming Disney+ show. In conversation, Hiddleston quotes lines from his MCU debut, 2011's Thor, almost verbatim, and will playfully correct you if you mistakenly refer to Asgard's Rainbow Bridge as the Bifrost, which is the portal that connects Loki and Thor's homeworld to the Nine Realms, including Midgard, a.k.a. Earth. "Well, the Bifrost technically is the energy that runs through the bridge," he says with a smile. "But nine points to Gryffindor!" And when he shows up to the photo shoot for this very digital cover, he hops on a call with our photo editor to pitch ways the concept could be even more Loki, like incorporating the flourish the trickster does whenever magically conjuring something. The lasting impression is that playing Loki isn't just a paycheck.

"Rather than ownership, it's a sense of responsibility I feel to give my best every time and do the best I can because I feel so grateful to be a part of what Marvel Studios has created," the 40-year-old Brit tells EW over Zoom a few days after the shoot and a week out from Thor's 10th anniversary. "I just want to make sure I've honored that responsibility with the best that I can give and the most care and thought and energy."

After appearing in three Thor movies and three Avengers, Hiddleston is bringing that passion to his first solo Marvel project, Loki, the House of Ideas' third Disney+ series following the sitcom pastiche WandaVision and the topical The Falcon and the Winter Soldier. Led by head writer Michael Waldron (Doctor Strange in the Multiverse of Madness, Heels), the six-episode drama sees Hiddleston's shapeshifting agent of chaos step out from behind his brother's shadow and into the spotlight for a timey-wimey, sci-fi adventure that aims to get to the bottom of who Loki really is. "I wanted to explore slightly more complex character questions," says Waldron. "It's not just good versus bad. Is anybody all good? Is anybody all bad? What makes a hero, a hero? A villain, a villain?"  

Even though Loki — who loves sowing mayhem with his illusion magic and shapeshifting, all with a major chip on his shoulder — has never been one for introspection, the idea of building an entire show around him was a no-brainer for Marvel. When asked why Loki was one of the studio's first Disney+ shows, Marvel president Kevin Feige replies matter-of-factly, "More Hiddleston, more Loki." First introduced as Thor's (Chris Hemsworth) envious brother in Kenneth Branagh's Thor, Loki went full Big Bad in 2012's The Avengers. That film cemented the impish rogue as one of the shared universe's fan favorites, thanks to Hiddleston's ability to make him deliciously villainous yet charismatic and, most importantly, empathetic. The character's popularity is one of the reasons he's managed to avoid death many times.

"He's been around for thousands of years. He had all sorts of adventures," says Feige. "Wanting to fill in the blanks and see much more of Loki's story [was] the initial desire [for the series]."

The Loki we meet on the show is not the one who fought the Avengers in 2012 and evolved into an antihero in Thor: The Dark World and Thor: Ragnarok before meeting his demise at the hands of the mad titan Thanos (Josh Brolin) in 2018's Avengers: Infinity War. Instead, we'll be following a Loki from a branched timeline (a variant, if you will) after he stole the Tesseract following his thwarted New York invasion and escaped S.H.I.E.L.D. custody during the time heist featured in Avengers: Endgame. In other words, this Loki hasn't gone through any sort of redemption arc. He's still the charming yet petulant god who firmly believes he's destined to rule and has never gotten his due.

Premiering June 9, Loki begins with the Time Variance Authority — a bureaucratic organization tasked with safeguarding the proper flow of time — arresting the Loki Variant seen in Endgame because they want his help fixing all of the timeline problems he caused while on the run with the Tesseract. So there will be time travel, and a lot more of it than in Endgame. As Loki makes his way through his own procedural, he'll match wits with new characters including Owen Wilson's Agent Mobius, a brilliant TVA analyst, and Gugu Mbatha-Raw's Judge Renslayer. The question in early episodes is whether Loki will help them or take over.

"One of the things Kevin Feige led on was, 'I think we should find a way of exploring the parts of Loki that are independent of his relationship with Thor,' or see him in a duality or in relationship with others, which I thought was very exciting," says Hiddleston, who also serves as an executive producer on the show. "So the Odinson saga, that trilogy of films, still has its integrity, and we don't have to reopen it and retell it."

Yet, in order to understand where Loki is going, it's important to see where he came from.

Hiddleston can't believe how long he and Loki have been connected. "I've been playing this character for 11 years," he says. "Which is the first time I have said that sentence, I realize, and it [blows] my mind. I don't know what percentage that is exactly of my 40 years of being alive, but it's substantial."

His time as Loki actually goes a bit further back, to 2009 — a year after Robert Downey Jr. big banged the MCU into existence with Iron Man — when he auditioned for Thor. It's no secret that Hiddleston initially went in for the role of the titular God of Thunder, but Feige and director Kenneth Branagh thought his natural charm and flexibility as an actor made him better suited for the movie's damaged antagonist. "Tom gave you an impression that he could be ready for anything, performance-wise," says Branagh, who had previously worked with him on a West End revival of Checkov's Ivanov and the BBC series Wallander. "Tom has a wild imagination, so does Loki. He's got a mischievous sense of humor and he was ready to play. It felt like he had a star personality, but he was a team player."

Hiddleston fully immersed himself in the character. Outside of studying Loki's history in the Marvel Comics, he also researched how Loki and the Trickster God archetype appeared across mythology and different cultures. "He understood that he was already in something special [and] it was a special character in a special part of that early moment in the life of the Marvel universe where [he] also needed to step up in other ways," says Branagh, who was impressed by the emotional depth Hiddleston brought to the part, especially when it came to how isolated Loki felt in the Asgardian royal family.  

There was a lot riding on that first Thor feature. For one, no one knew if audiences would immediately latch onto a Shakespearean superhero movie partially set on an alien planet populated by the Norse Gods of legend. Second, it was integral to Feige's plans for the shared universe. Loki was supposed to be the main villain in The Avengers, which would not only mirror how Earth's mightiest heroes joined forces in 1963's Avengers #1 but also give Thor a believable reason for teaming up with Iron Man, Captain America (Chris Evans), and the rest of the capes. Feige first clued Hiddleston into those larger plans when the actor was in L.A. before Thor started shooting.

"I was like, 'Excuse me?' Because he was already three, four steps ahead," says Hiddleston. "That took me a few minutes to process, because I didn't quite realize how it just suddenly had a scope. And being cast as Loki, I realized, was a very significant moment for me in my life, and was going to remain. The creative journey was going to be so exciting."

Hiddleston relished the opportunity to go full villain in Avengers, like in the scene where Loki ordered a crowd to kneel before him outside a German opera house: "It's the unspoken truth of humanity, that you crave subjugation," says the Machiavellian god. "The bright lure of freedom diminishes your life's joy in a mad scramble for power, for identity. You were made to be ruled. In the end, you will always kneel."

"I just knew that in the structure of that film, I had to lean into his role as a pure antagonist," Hiddleston recalls. "What I always found curious and complex about the way Loki is written in Avengers, is that his status as an antagonist comes from the same well of not belonging and being marginalized and isolated in the first Thor film. Loki now knows he has no place in Asgard."

Loki did find a place within the audience's hearts, though. Feige was "all in" on Hiddleston as his Loki from the beginning, but even he couldn't predict how much fans would love him. Feige recalls the reaction at the 2013 San Diego Comic-Con: "Did we know that after he was the villain in two movies, he would be bringing thousands of people to their feet in Hall H, in costume, chanting his name? No, that was above and beyond the plan that we were hoping for and dreaming of." It was a dream Feige first got an inkling of a year earlier during the Avengers press tour when a Russian fan slipped past security, snuck into Mark Ruffalo's car, and asked the Hulk actor to give Hiddleston a piece of fan art she created. "That was one of the early signs there was much more happening with this quote-unquote villain."  

Despite that popularity, the plan was to kill Loki off in 2013's Thor: The Dark World, but the studio reversed course after test audiences refused to believe he actually died fighting the Dark Elves. Alas, he couldn't out-illusion death forever. After returning in Taika Waititi's colorful and idiosyncratic Thor: Ragnarok, Hiddleston's character perished for real in the opening moments of Infinity War. In typical Loki fashion, before Thanos crushed his windpipe, he delivered a defiant speech that indicated he'd finally made peace with the anger he felt toward his family.  

"It felt very, very final, and I thought, 'Okay, that's it. This is Loki's final bow and a conclusive end to the Odinson saga,'" says Hiddleston, who shot that well-earned death scene in 2017.  

But, though he didn't know it yet, the actor's MCU story was far from over.

When Hiddleston returned to film two scenes in Avengers: Endgame in 2017, he had no idea where Loki portaled off to after snatching the Tesseract. "Where'd he go? When does he go? How does he get there? These are all questions I remember asking on the day, and then not being given any answers," Hiddleston recalls. To be fair, it's likely the Powers That Be didn't necessarily have answers then. While Feige can't exactly recall when the writers' room for Endgame first devised Loki's escape sequence, he does know that setting up a future show wasn't the primary goal — because a Loki series wasn't on the horizon just yet.

"[That scene] was really more of a wrinkle so that one of the missions that the Avengers went on in Endgame could get screwed up and not go well, which is what required Cap and Tony to go further back in time to the '70s," says Feige. Soon after that, though, former Disney CEO Bob Iger approached Feige about producing content for the studio's forthcoming streaming service. "I think the notion that we had left this hanging loose end with Loki gave us the in for what a Loki series could be. So by the time [Endgame] came out, we did know where it was going."

As for Hiddleston, he didn't find out about the plans for a Loki show until spring 2018, a few weeks before Infinity War hit theaters. "I probably should not have been surprised, but I was," says the actor. "But only because Infinity War had felt so final."

Nevertheless, Hiddleston was excited about returning for his show. He was eager to explore Loki's powers, especially the shapeshifting, and what it meant that this disruptive figure still managed to find a seat beside the gods in mythology. "I love this idea [of] Loki's chaotic energy somehow being something we need. Even though, for all sorts of reasons, you don't know whether you can trust him. You don't know whether he's going to betray you. You don't why he's doing what he's doing," says Hiddleston. "If he's shapeshifting so often, does he even know who he is? And is he even interested in understanding who he is? Underneath all those masks, underneath the charm and the wit, which is kind of a defense anyway, does Loki have an authentic self? Is he introspective enough or brave enough to find out? I think all of those ideas are all in the series — ideas about identity, ideas about self-knowledge, self-acceptance, and the difficulty of it."

“The series will explore Loki's powers in a way they have not yet been explored, which is very, very exciting.”

The thing that truly sold Hiddleston on the show was Marvel's decision to include the Time Variance Authority, a move he describes as "the best idea that anybody had pertaining to the series." Feige and Loki executive producer Stephen Broussard had hoped to find a place for the TVA — an organization that debuted in 1986's Thor #372 and has appeared in She-Hulk and Fantastic Four stories — in the MCU for years, but the right opportunity never presented itself until Loki came along. "Putting Loki into his own procedural series became the eureka moment for the show," says Feige.  

The TVA's perspective on time and reality also tied into the themes that Waldron, Loki's head writer, was hoping to explore. "Loki is a character that's always reckoning with his own identity, and the TVA, by virtue of what they do, is uniquely suited to hold up a mirror to Loki and make him really confront who he is and who he was supposed to be," says Waldron. Hiddleston adds: "[That] was very exciting because in the other films, there was always something about Loki that was very controlled. He seemed to know exactly what the cards in his hand were and how he was going to play them…. And Loki versus the TVA is Loki out of control immediately, and in an environment in which he's completely behind the pace, out of his comfort zone, destabilized, and acting out."

To truly dig into who Loki is, the creative team had to learn from the man who knows him best: Hiddleston. "I got him to do a thing called Loki School when we first started," says director Kate Herron. "I asked him to basically talk through his 10 years of the MCU — from costumes to stunts, to emotionally how he felt in each movie. It was fantastic."

Hiddleston got something out of the Loki school, too. Owen Wilson both attended the class and interviewed Hiddleston afterward so that he could better understand Loki, as his character Mobius is supposed to be an expert on him. During their conversation, Wilson pointedly asked Hiddleston what he loved about playing the character.

"And I said, 'I think it's because he has so much range,'" says Hiddleston. "I remember saying this to him: 'On the 88 keys on the piano, he can play the twinkly light keys at the top. He can keep it witty and light, and he's the God of Mischief, but he can also go down to the other side and play the heavy keys. And he can play some really profound chords down there, which are about grief and betrayal and loss and heartbreak and jealousy and pride.'" Hiddleston recalls Wilson being moved by the description: "He said, 'I think I might say that in the show.' And it was such a brilliant insight for me into how open Owen is as an artist and a performer.'"

Everyone involved is particularly excited for audiences to see Hiddleston and Wilson's on-screen chemistry. "Mobius is not unlike Owen Wilson in that he's sort of nonplussed by the MCU," says Feige. "[Loki] is used to getting a reaction out of people, whether it's his brother or his father, or the other Avengers. He likes to be very flamboyant and theatrical. Mobius doesn't give him the reaction he's looking for. That leads to a very unique relationship that Loki's not used to."

As for the rest of the series, we know that Loki will be jumping around time and reality, but the creative team isn't keen on revealing when and where. "Every episode, we tried to take inspiration from different things," says Waldron, citing Blade Runner's noir aesthetic as one example.

"Part of the fun of the multiverse and playing with time is seeing other versions of characters, and other versions of the titular character in particular," says Feige, who also declined to confirm if Loki ties into Doctor Strange in the Multiverse of Madness and/or other upcoming projects.

Making Loki was especially meaningful to Hiddleston because they shot most of it during the pandemic, in late 2020. "It will remain one of the absolute most intense, most rewarding experiences of my life," he says. "It's a series about time, and the value of time, and what time is worth, and I suppose what the experience of being alive is worth. And I don't quite know yet, and maybe I don't have perspective on it, if all the thinking and the reflecting that we did during the lockdown ended up in the series. But in some way, it must have because everything we make is a snapshot of where we were in our lives at that time."

While it remains to be seen what the future holds for Loki beyond this initial season, Hiddleston isn't preparing to put the character to bed yet. "I'm open to everything," he says. "I have said goodbye to the character. I've said hello to the character. I said goodbye to the character [again]. I've learned not to make assumptions, I suppose. I'm just grateful that I'm still here, and there are still new roads to explore."

Additional reporting by Jessica Derschowitz

[generalfoolish]

Feel The Heat

Part One: Cruel World

Pairing: Frankie Morales x OC Juniper Collins

Rating: 18+ Warnings: fem masturbation, male masturbation, cursing, mentions of casual sex

Word Count: 4k

Summary: June visits the farmer's market and meets Frankie, a grumpy farmer. She's interested, but they're both MASSIVE idiots.

A/N: Hey babes! I've been working on this massive Farmer!Frankie AU with an OC. I'm excited to debut this first part, the story is going to be a little slower so I can put in SO much pining. Anyway, enjoy 💕

Masterlist | Part two

~~

June breathed in the fresh air as she pulled her tote strap onto her shoulder. The canvas bag held her wallet and keys, but was otherwise empty. She smiled, knowing that soon enough it would be almost too heavy.

The farmer's market was always busy on Saturday morning, and this one was no exception, she realized as she neared the stalls. She had a certain path she liked to follow, but she was feeling overwhelmed about the crowd. It was much busier than she had anticipated, and she always got a little panicky in throngs of too many people. So, she veered off her normal route, and found herself on the far end of the market.

It was much quieter, and much less crowded, she noticed right away. June also noticed that the produce was amazing. Late summer the fruit started to get a little smaller, but the berries at these stalls were still plump. The vegetables weren't as uniform as some of the bigger stalls, these were misshapen and discolored. Two indicators that the flavor would be divine, she thought as she roamed the stalls.

Her bag was getting heavy quickly, she noted, and she was determined to explore the whole area, so she walked straight to the end. The last stall on the property. Her hopes were not high as she marched up to the display stand.

"Would you like to try the tomatoes?" A rich baritone asked, and she quickly met his eyes. They were silky and brown, and breathtakingly deep. He had his cap pulled low, but his face was scruffy.

"Sure, that would be great. Are you the farmer?" June asked, taking the sample, and eyeing the selection.

"Yes, ma'am. I'm Frankie, and that is a Brandywine. All of my produce is hand picked, and that process starts at seed selection." He told her, his voice softening. She smiled and popped the tomato into her mouth. It was delicious. Acidic and sweet, not overpowering to the palate. Frankie must have seen the delight on her face because he grinned, knowing what she was experiencing.

"Wow, Farmer Frankie, this is so good." She laughed a little as she chewed, wanting to savor it. "I'll take a basket please." She decided, and nodded down at his table. He nodded and started to bag it. "I have a bag, thanks! What do I owe you?" She asked, pulling out some cash. He merely waved his hand.

"Don't worry about it." He told her. June only frowned.

"I can't do that. You worked so hard, I want to buy something." He chuckled and took his cap off before running his hand over his head.

"Look, it's early, and I couldn't possibly charge someone as beautiful as you." She blushed deeply, but thrust a twenty at him anyway.

"My beauty isn't for sale, but your tomatoes are. Have a good day, Frankie." She told him and turned around quickly. She wasn't normally bold, and she had no qualms with getting stuff for free. She had no idea why she had fought him, but as she walked away all she could think about were his beautiful, brown eyes.

—

Frankie kicked himself hard as he watched the woman walk away from him. What was he thinking? He didn't even catch her name; he had no business calling her beautiful. He was off his game, and badly.

His phone buzzed, so he fished it out of his shirt pocket. An old t-shirt with a pocket on the chest, tattered and dirty, and that's what she saw when she walked up to him. What was she doing in the back of the market anyway, no one ever came this far back. He opened the message and sighed at how long the group chat was. Santiago and Benny could talk for hours, even texting. He wasn't up for it this morning, which wasn't unusual. He skimmed the messages, and decided it wasn't worth responding to. He had to sell some produce.

He looked down at the crisp twenty dollar bill on the table and cringed again. Twenty was way too much for the tomato basket. They were marked purposefully cheap, since they cost nothing to grow and always brought people back, and she had overpaid. Grossly. Even a ten would have been too much. And what had he done? Nothing. He hadn't even gotten her name. All he knew was that she looked great in shorts, her hair was a deep red, and she loved his tomatoes.

—

"What do you mean?" Stella asked, sipping her glass of wine.

"I mean how do I fix it? Like I want to try his other stuff, but I was so rude." June told her, sighing into her own glass. Zinfandels usually brought her mood up, but she was still feeling from earlier.

"You just go back, darling. I doubt he'll remember you. I mean you only talked for five seconds. Also, I think paying for your stuff is the opposite of rude." Stella took a bite of her pasta before pointing her fork back at June. "Unless, it's more than that. It's definitely more than that. Are you trying to date the farmer?" June felt her face flush, and quickly took a bite of her own pasta to buy some time to think. She had gotten worked up, but she hadn’t thought about why that was. She grumbled as she bit into the ravioli. It was dumb, but Stella was right. She wanted to get to know Frankie more. It didn’t make a lot of sense, but she wanted to see him again.

Stella took Juniper’s silence as a win, and a grin spread across her face. June had always thought that Stella’s signatured wicked grin could rival the Cheshire Cat, and this one was no different. Too bad, June thought, that she hadn’t tumbled down a trippy tunnel where answers were held in clearly labeled vials. She took a wistful sip of her wine and looked back up to Stella.

“You’re right. But have I messed it up too bad? Like, I was pretty rude.” Stella laughed.

“You could have stepped on him and he’d thank you for it. June, you’re hot. He’d be lucky if you even thought about him. You couldn’t have messed it up.” June laughed, not really any more confident, but loving Stella’s hype game anyway.

“How’s...Bernard?” June asked, struggling to remember the man’s name. Stella had a habit of switching out lovers pretty often. June thought of it as her “man of the week,” and while it was good fun for her to envision a horrible reality show it wasn’t conducive to remembering their names, or anything about them.

“Ben,” Stella sighed, correcting June and pausing dramatically, “Is gone. I’m seeing Javi now. He’s much younger, and a lot richer.” Stella teased, taking another mouthful of food. June rolled her eyes. Stella had launched a business when she was in college, and had made a small fortune by the time they graduated. She was independently wealthy. In a way that June was not. June had opted for an education degree, and now was in charge of a bunch of literal children.

She took a sip of her wine and considered that path for a moment. She actually loved her job. She didn’t make shit, but it was worth the long hours to see those kids be nurtured and educated. She cared for them, and that made it worth the lack of zeros in her bank account.

“Javi, huh? He sounds posh.” June said, not really thinking about Javi or Stella’s various other affairs.

“He is not. He’s new money, so we can be tacky together. Anyway, lunch is on him!” Stella told her, laughing. June cringed at that, thinking back to Frankie. She groaned. She should have just taken the damn tomatoes. She didn’t even want them now, the thought of eating them just made her shrivel in on herself.

While Stella took care of the bill, June wondered if she shouldn’t just go back to the stall. Introduce herself and apologize, she thought. It’s the only thing to do in this situation. She set to getting her nerve up to do it, but at the end of lunch she just hugged Stella and went home.

--

Frankie slid into the booth next to Benny and across from Santiago and Will. When he had gotten around to answering the text chain the guys had decided to go out for a drink, and Frankie had wanted a drink after his day.

“Fish, Liv wants to stay the night.” Will announced, watching Frankie take a thoughtful sip.

“If Becka doesn’t mind, neither do I.” He shrugged, and Will nodded. Becka had been Frankie’s saviour. She was Will’s wife, but her and her little girl had taken up with Liv so easily. Being a single dad was not easy, but Becka had never let him feel alone. Hell, she handled everything for him. She was too good to him.

“Course not. She loves Liv. Not as much as Ashley, but I think she loves having another kid to spoil. Bad news for me, probably.” Will laughed out, and the rest joined in. No one had expected Will to get married so quickly, and none of the guys had been prepared for his girl to already have a kid in tow. Will had taken to Ashley quickly though, and had settled into the family role easily. Frankie noted Will’s painted nails and smiled. He was lucky to have such a great group of brothers.

“Enough kid talk, I have a fight coming up. You coming?” Benny asked, nudging Frankie’s arm. Frankie took his cap off and ran his hand through his hair.

“Who’re you up against?” Will asked before Frankie could answer. Honestly, he was searching for an excuse. Not that he didn’t want to support Benny, but the fights were always too loud, too tempting.

“Jones. It’s a special rematch. That’s why I need my boys there! Pam!” Benny hollered after the waitress and held up four fingers. Shots, Frankie thought sarcastically, just what they needed.

“Ben, of course, we’ll all be there. I’m bringing a plus one, though.” Santi announced, demanding the attention of the table.

“Who’s the victim this time?” Frankie asked, sipping his beer. Santi shot him a dirty look and clapped his hands together.

“Her name is…” He paused, making sure he had everyone’s attention. “Sam.” Frankie rolled his eyes at the theatrics.

“What does Sam do?” Will asked, not minding the dramatics.

“Sam is a school teacher.” Frankie’s eyebrows shot into his hairline.

“Surely, not.” Benny snorted. Pam sat the shots down, and everyone grabbed one.

“To Santi, maybe learning something!” Will toasted, and they threw back. Frankie relaxed as the tequila warmed his throat. This was normal, and meeting with the guys did his body some good. He wouldn’t even think about the woman from earlier. He grimaced as he thought about it. His problem, he was realizing, was that he was too sober. He caught Pam’s eye and nodded at her. They came to this bar enough that they knew the waitstaff by name, and the waitstaff knew their orders. Frankie preferred it that way, less chance of an awkward encounter.

“Sam is a local gal, but she has not yet heard of me.” Santi told the group, clutching his drink. He had a bit of a reputation of being a lady killer. It was rare he found someone who didn’t recognize his name.

“I guess teachers aren’t normally in the same crowd as strippers.” Benny joked, and grabbed his shot when Pam sat them down. “Damn Fish, long day?” They knocked them back, and Frankie just nodded.

“There was this lady at the stall today. Total knockout, and I just flubbed it hard. It was early, y’know?” They all laughed at him and he couldn’t help the grin that spread on his face.

“She’ll be back. I mean, look at yourself, Fish. You’ve got it back together.” Will offered. Frankie smiled at him and sipped his beer again. They shifted to riling Benny up about his on and off again girl, so Frankie just relaxed. It wasn’t uncommon for him to space out, and the guys could fill any silence. He surveyed the bar, taking in the patrons and just assessing the crowd. Saturday nights could go two ways: chill or not chill. It was an old habit to scan for danger, but it suited Frankie. He could sip his beer and watch for thugs or idiots or drunks. The waitstaff never complained when they stepped in. He supposed they didn’t mind four ex-service guarding them a few times a month. Sometimes they drank for free, but Frankie had no issues with bloodying his knuckles up every now and again.

He was smirking, thinking about their last fight, when he saw her. He had to do a double-take to make sure his eyes weren’t fooling him. He couldn’t believe it. There she was. She’d changed. Opting for small jeans shorts and a tight t-shirt over the yoga shorts she’d had on before. He gulped loudly, and shifted in the booth. Her hair was down, curled, and she looked amazing. He didn’t think she could look any better. He wanted to go to her. Instead he leaned on the table and cleared his throat.

“She’s here.” He told the guys dumbly, cutting off something that Benny was saying.

“Who is?” Santi asked, looking around, probably for Frankie’s ex. They all hated her, but she wouldn’t come here.

“The girl from earlier. The knockout.” Frankie told them, trying to keep his voice low. He nodded in her direction, surprised that she hadn’t noticed him. It wasn’t a large bar. Maybe she didn’t recognize him, he thought. He flushed even as he thought it. He hoped she would remember him. Santi whistled low as he faced Frankie.

“She’s good.” He murmured, and took a sip. Will and Benny agreed.

“Buy her a drink, Fish.” Benny suggested, clapping Frankie on the back. He grimaced as the loud noise rose above the din of the bar. As if on cue, she looked up and saw him. He was staring at her, and there she was, looking at him. He looked away, chickening out. He wouldn’t say anything. She had stormed off earlier, hadn’t she? She should apologize to him, he thought, getting his hackles up.

--

June couldn’t believe it. She had agreed to go out with the new girl from work, came to a bar she had never been to, and here he was. He looked great, she admitted to herself. He had thrown a plaid button up over his shirt, and it suited him. Farmer Frankie, she mused, and then turned to Samantha.

“Do you come here a lot?” Samantha looked up from her hard seltzer and shook her head.

“I came with this guy I’m kind of seeing. Everyone knew him here, and I liked the scene. It’s kind of dive-y.” June nodded, and took a drink of her rum and coke.

“Are you settling in, you know at school?” June asked, deciding to ignore the farmer. If he wanted to say something, she wouldn’t stop him, but she had no intentions of approaching him.

“Oh yeah, you know Keira? She’s been super helpful.” June nodded in agreement, Keira was the secretary but she ran the place.

“Like your kids? You’re what 5th?” Samantha nodded.

“I have no idea how you handle those 6 year olds, they’re too wild for me.” June laughed.

“I couldn’t handle the ball jokes, honestly. Tweens are the worst.” They both laughed, and sipped their drinks. June felt eyes on her, but tried to ignore them. She repeated to herself: if he wanted to talk, he’d come over. She made it her mantra. She focused on Samantha, willing the handsome man to go away.

“Tell me about this guy you’re seeing! I haven’t been on a date in so long.” June laughed, not wanting to admit how long it had really been.

“He’s so sexy, June. Like, literally so hot. It’s mostly sex though. We’ve been out dancing once, drinking a couple times, but it’s mostly just hook ups. I’m thinking about breaking it off, honestly. Like, the sex is good, great even, but how long is that sustainable, y’know? Like, I want to nurture a relationship at some point.” June nodded, trying to push her jealousy aside enough to be empathetic. She would take some great sex, even if it meant not having a relationship.

She peeked back at the Farmer, who flitted his eyes away as soon as she did, and knew that wasn’t true. She was long overdue for a meaningless hookup, but she wanted something real, whatever the hell that meant.

“Have you tried just telling him? I mean, maybe he doesn’t know you want something more. Men are kind of oblivious to that sort of stuff.” June added. Samantha took a sip, thoughtfully.

“That’s a good idea, Junie. Are you seeing anyone?” June laughed, a little too loudly.

“Just my therapist.” Samantha swatted her shoulder playfully. “No, I, uhm, I got out of a bad relationship last year and I’ve been so nervous to get back in the game.”

“Oh my gosh, my guy has tons of friends! Maybe I can set you up?” June thought for a minute.

“Maybe, I guess I could be open to it.”

“They’re all like ex-Army or something. I’ll text him.” June watched Samantha tug her phone out, and tried to ignore the feeling of being watched. He will come to you, she reminded herself. “Ooh, two single friends! Fish or Benny? Oh nevermind, just Fish. Apparently, Benny has drama. Bullet dodged there, huh?” June snorted, bullet dodged indeed. Fish? What a weird nickname.

“What the hell, set it up.” June told her, throwing back the rest of her drink and indicating another to the bartender.

“Yay! I’m so happy you came! Tuesday night?” June nodded.

“Have him come to the Italian place on 5th street at 7pm. I have parent-teacher conferences, but that should be late enough.” June explained, sipping deeply. Her hands were shaking, she hadn’t been on a proper date in years. Her ex hadn’t been one for dates, so she was out of practice. She raised her eyes to meet Frankie’s, knowing he’d look away immediately. He didn’t, but the look on his face was confusing. Almost angry, so she looked behind her and saw a guy approaching.

“Hey, I’m Kyle.” He introduced himself and sat down on the stool next to her. She looked at him bewildered.

“June.” She said shortly, taking another sip.

“Can I buy you a drink?” Kyle asked.

“Have one.”

“The next one?”

“I think I’m good. There are a lot of empty stools, why don’t you find a new one.” She murmured lowly, and turned her back to him. Samantha giggled.

“I think I know why you don’t get dates!” June rolled her eyes.

“It’s pretty lame, okay. To come up and just sit down. I’m already a little drunk too, it’s just not very cool, Kyle.” June chided, raising her voice so he’d hear. She sighed when he left, and looked back at the booth where Frankie was. The booth was empty, now, she realized sadly. She wished he had approached her. She wouldn’t have turned him away. Why was he so cold?

--

By the time she made it back to her door, June was pissed. She stumbled in her hallway and pulled her shoes off. They hadn’t been at the bar that long, but the last round of shots had been the death blow for her. Samantha had bid her farewell, saying her ride was there. So, June had ordered an Uber, clutching her keys like a weapon, hoping Kyle didn’t want revenge or something. She pretended to be sober in the Uber, and had chatted easily with the driver on the drive to her house.

Once inside though, June groaned in frustration. She couldn’t believe the stupid luck. It was too much, seeing him there. It was too bizarre, too much of a coincidence. She had stormed upstairs and turned the shower on.

A habit she had started in college, when she was overwhelmed, a hot shower was just the thing she needed. She stripped down and stepped in before the water had warmed up completely, but she didn’t really notice. The shower was just a vessel; June just needed space to decompress. So, she thought about the tanned skinned farmer, and how cold he had seemed. He hadn’t seemed interested, but she had felt his eyes on her all night. She had seen his anger at another guy approaching her. She had felt how angry he was from across the room.

She lathered her body up, and almost absent-mindedly rubbed small circles around her budding nipples. She worked down, and let the soap wash off. She didn’t normally masturbate, but his brooding face and broad shoulders wouldn’t leave her mind. So, she slipped a finger inside herself with one hand, and worked her clit with the other. It was lazy at first, but then she remembered their encounter from the morning and she started going harder, getting worked up. She came hard, whimpering to herself in the steamy shelter of her bathroom. The hot water pelted her skin, and she rested her forehead against the cool, tiled wall.

Whoever this Fish was, she was going to fuck him. She had to get this farmer out of her mind.

--

Frankie was seeing red as he stormed up to his door. Of course, he had no reason to be pissed. He knew he had no reason to be pissed, but here he was, stomping to his kitchen and grabbing a beer from the fridge. He had wanted to break that guy’s legs for even coming near her. He scoffed at himself, her. He didn’t even know her name and he was ready to pummel someone for looking. Someone was looking, someone would always be looking. She was so gorgeous. He folded over his counter and rested his forehead against his hands. Nothing could help it now. Santi’s girl had messaged him, and the night was over. What was he supposed to do? Watch his dream girl get hit on by some idiot? March up and apologize for being such a giant dickhead? He suspected he was onto something, but he was just buzzed enough to ignore it.

He went to the couch, and threw a few stuffed animals on the floor. He had already kicked off his shoes, but he let his jeans fall to the floor now. The perks of Liv having a sleepover, he chuckled to himself before laying out on the couch. He adjusted himself, his hard dick straining against his underwear.

He planned to ignore that too. But, then he was thinking about her. Her hair down her back, deep and dark. Her smooth skin, inviting and leading his eyes to her ass. He pulled himself free and started slowly rubbing. He thumbed over the tip, and groaned at the precum pooling there. He wanted her so bad. He started thinking about how soft she would be, what she would look like on her knees doing this to him, and he fucked up harder into his fist. He closed his eyes when he felt the snap, and grunted through the orgasm. He wiped his hand down his shirt, and groaned.

He had to get her out of his head.

Part Two: Something More

[michaelyew]

In an adaptation/rewrite of tlo I have some changes I'd like to make. Aside from the obvious. And I really like this book, it's my favourite from the main series, but it needs some updating!

**********

Firstly in order to fix The Last Olympian we need to fix some things in The Battle of The Labyrinth.

I want Beckendorf to have a bigger role in this book. He was introduced in the second book, but here is where he could really shine as a son of Hephaestus This whole quest is about his dad! He should be able to get more screen time in this story so that we can care about him on his own merits instead of as one of Percy's friends or the tragic love interest. For that, I think he should be a part of the questing trio. 

"But what about Grover!"

What about Grover? He has his own reasons for going into the labyrinth, he doesn't need permission from Chiron to look for Pan. He's a smart boy with some brains, he can see the maze as a lead and go in after them on his own. This also creates the same conundrum of Threes that came up in the book before, which we'll come back to later. Percy can intrust Tyson's care to one of the other demigods set up to be his friend in TLO: Michael Yew to establish their friendship and trust, Lee Fletcher to give him some purpose besides dying, the Stolls to once again affirm that the Hermes cabin takes on responsibility for other campers, ect. When Tyson later sneaks off into the Labyrinth after Percy, this sets up a later conflict that establishes whatever choice more. This also fixes something else that's always bothered me, which is that it kind of felt that Percy only truly accepted Tyson once he showed how useful he was. Plus he always seemed to feel responsible for him. By having Percy take the time to make sure Tyson is being taken care of outside of his talents, that establishes more concretely how much Percy cares about him as a brother without painting him as a burden.  

So Charlie goes on this quest and sticks it through to the forges. Grover in this version still goes off with Tyson for that sweet sweet character development, but the questing party stays at three. It's here that the parallels set in, because in being burned alive by the volcano and being yeeted to Calypso, Percy is not only saving Annabeth but also Charlie. Saving him from certain death by explosion and flame. It does have the unfortunate side effect of there being TWO incidents of Percabeth having emotional kisses in front of their friends, but we can fix this by having Charlie fight a Telkinhein or something it's fine. Beckendorf drops out of the main story from here to make way for Rachel but he still has one good scene of protecting camp at the end. Plus, I want him to be present when Amnabeth tells Hera she only cares about perfect families and I want him there to defend his dad. 

So for those counting that makes three counts of narrative consistency stacked against Charlie's life (which makes a lot more sense than just killing him off because you needed a martyr). With this we go into The Last Olympian. 

I wouldn't change much about the plot line from here on out. We have the setup of Charlie returning the favour to Percy by saving his life, we get some sweet last scenes of him being a demigod and a hero, the setup to TLO is bomb and it's fine. I'd like more scenes with Michael because if you're gonna set a character up to be front and center then kill him off you could at least give him more than 35 lines.

What I do want to make a point of here though is that Percy lives in BoTL. What happens to Beckendorf specifically from that moment doesn't actually matter so long as it makes a big enough impact on Selina to drive her to reach the conclusions that she does. He could live or die or be yeeted to Calypso, lose a limb or two, it doesn't matter so long as he's put down for the count for the rest of the book. Percy lived, and the rule of threes doesn't actually make an impact again outside of Bianca's death (because if it did someone should have died in Sea of Monsters but they didn't). So I like to think he lives, but I'd be more ok with him dying in this scenario than I was in canon.

However on to Selina, who still needs to die. And it's at this point that I will make people angry by saying that I think Charlie's impact on her is much more meaningful if they were best friends instead of dating. I want a scene in the earlier books where this is established so that we know that they are close. And I want them to be friends because the point of Silena's ark should be that she hurt her friends and she feels awful about putting them in danger and got them killed, not that she's changing herself for a man (or dying for one that's possibly still alive). I just think this would be much more powerful if romance wasn't the main emotion involved. 

That being said I want her to be 50% gayer for Clarisse because we were given Patroclus and Achilles parallels with girls and by GD they will be gay. I will stand for nothing less. I want them to have a relationship that's established at the end of BoTL in the background and I want it officiated in TLO because if you're going to compare them to one of the great mythic queer relationships of antiquity then they WILL BE QUEER. 

Again it would be neat if Michael lived because the alternative is that Percy killed his friend and then never talked about it again and it's never brought up again and it just exists as a thing everyone quietly knows until he snaps in Tartarus. Which I'm not saying that having that conversation instead wouldn't be cool, but the ending kiss is very iconic and I don't think that strong of a tone shift could work. 

Now I want Ethan to live not because I'm bitter and not because almost every person of colour dies in the main series but for one very important reason. Through the entire series, every time we see him, Ethan never actually did anything wrong. He was forced to fight in the arena by Luke, he didn't directly hurt or kill anyone, in fact he's never actually aggressive in any of his later appearances. Yeah he joined Khronos, sure, but it's not like he had any other options. That was his tragedy. Ethan was a son of a minor goddess, a goddess usually seen as evil by other demigods to boot, who was neglected and mistreated by the place that was meant to keep him safe. He had to join Luke because the alternative was being killed or recruited anyway. And he didn't deserve to die for it, the price of his redemption was never that steep. It makes much more sense for Ethan to return to camp and have a hand in rebuilding it with his own hands and making amends for the minor gods with his own power. His fatal flaw was the desire for justice at any means, him being killed when he's so close to freedom and respect doesn't jive with that.  

Additional notes: 

- The romantic subplot between Annabeth and Luke was creepy and we didn't need it. He was a big brother figure to her, that's enough betrayal drama on its own. 

- In general we need more canon ethnicities. In a TV adaptation this is easier obviously, but honestly we shouldn't have to assume things based on names or how little they're described. We should just get to know. 

[wrestlingisfake]

Hard to Kill preview

Kenny Omega & Doc Gallows & Karl Anderson vs. Rich Swann & Chris Sabin & Moose - When Kenny Omega won the AEW men’s world title on December 2, he completed a long-simmering heel turn by forming an alliance with Impact Wrestling executive Don Callis.  Omega and Callis began showing up on both Impact and AEW programming acting like Omega is “the real world champion,” which irritated Impact world champion Rich Swann.  Omega also reunited with Impact’s men’s tag team champions, Gallows and Anderson, who had already been having issues with former champs Chris Sabin and Alex Shelley.

This match was originally booked as Omega/Gallows/Anderson vs. Swann/Sabin/Shelley, but the day before the show Impact announced that “unavoidable circumstances” prevented Shelley from traveling to the show in Nashville.  Shelley’s last-minute replacement is Moose, who has recently been feuding with Swann.  For over eight months, Moose has been calling himself the “TNA world champion,” presumably to set up a “who’s the real champion?” match with the Impact world champion.  But that seems kind of silly now that Omega and Swann are kind of doing the same thing, but with more credibility.  So I was hoping they’d get Swann vs. Moose wrapped up before Swann vs. Omega got going.  I certainly wasn’t expecting Moose to be involved in this match.

Because of Omega and the AEW interpromotional angle, this may well be the biggest show Impact has run in years.  So Impact is motivated to deliver the best they can for whatever new audience this match will attract.  The big question is whether AEW is invested enough to send a few of their guys to appear on this show for a hot angle.  Any unadvertised AEW wrestler causing any kind of ruckus on this show will get people talking.  But AEW and Impact seem to be taking their time with this storyline, and they may not think now is the time to drop the next bombshell plot point.

To me, the likeliest finishes are a) Omega’s team dominates and wins to get more heat, or b) Swann scores the winning fall to set up an Omega vs. Swann singles match.  The best setup for that match would be Swann pinning Omega, but I don’t see that happening anytime soon.  But if they sell it like Omega’s team are the heavy favorites, and that Omega’s ego is bruised by an upset even if he didn’t lose the fall, then that can still work.  But then again, that was my gut feeling before Moose was added to the match.  Now it feels far more likely that Moose will turn on his partners or walk out on them, which could change the entire complexion of the match.  That uncertainty has me pretty interested in how things unfold.

Eddie Edwards vs. Sami Callihan - This is billed as a “barbed wire massacre” match, so the ring ropes will be replaced with barbed wire, and objects wrapped in barbed wire will be provided at ringside to use as weapons.  Obviously, in this sort of match nobody is going to be disqualified or counted out. 

I can’t say I understand the storyline leading up to this.  Edwards and Callihan had a vicous feud following a 2018 incident where Callihan botched a spot and hit Edwards in the face with a baseball bat.  Then they seemed to go down separate paths, and then recently Sami and Ken Shamrock started picking on Edwards and his wife for some reason.  The idea now appears to be that these two will never be able to settle it, except that they both clearly put it all aside for the better part of a year.  In any case, they’ve run out of hardcore stips to use in their matches, so here we are.

I believe this is the fourth “barbed wire massacre” match Impact has booked.  The first two were on pay-per-view in 2005 and 2008.  The third was taped for television in 2018, but was only streamed on Twitch because it was “too violent for TV.”  I remember watching the first one (Abyss vs. Sabu) in 2005 and being too squeamish to enjoy the performance.  In matches like this you have to hope the wrestlers know what they’re doing and don’t go too far just to create a “moment.”  But with Callihan and Edwards, that doesn’t apply, so I just have to hope the match was taped in advance, so that if one of them was gravely injured we’d have seen reports about it by now.

Both of these guys are pushed as top acts in Impact, but Callihan always seems to come up short in big matches like this.  I can’t see either guy accepting defeat and letting the feud end.  But if this is really the final chapter, then I think Edwards needs the last laugh more than Sami does.

Deonna Purrazzo vs. Taya Valkyrie - Purrazzo is defending the Impact women’s championship. Valkyrie held the title from January 2019 to January 2020--the longest single reign in the title’s history--but after losing the belt she spent 2020 preoccupied in comedy stuff with Rosemary and John E. Bravo.  So Taya’s doing the whole “you’ve only done so well as champion because I haven’t gotten around to facing you” bit.

I haven’t been able to get into Impact’s women’s division.  I suppose it’s because so many of the characters seem superficial and unserious.  Like, Purrazzo is presented as a solid in-ring performer, but outside the ring she’s the kind of self-absorbed chicken heel who plots with her sidekick to devise ways to duck upcoming challengers.  Impact is full of characters like that, but the women’s division in particular has almost nothing else.  Hell, Taya was playing that role when she was the heel champion.  So I can’t say I’m very motivated to see these two fight.  I also don’t really believe we’re going to get a title change at this point.

Manik vs. Chris Bey vs. Rohit Raju - This is a three-way match for the X division championship, so whoever scores the first fall over any opponent will win Manik’s title.  This story started with Bey as champion and Raju as his crony, but Raju was the one henchman in wrestling history who managed to manipulate his boss to his advantage, so Raju won the title from Bey in a three-way with TJP.  Raju was so worried about losing his belt to TJP that he arranged a stipulation where TJP could no longer challenge him.  Then Raju issued an open challenge answered by Manik...the masked man character originally played by TJP.  So now Manik is the champion and definitely not TJP, but Raju and Bey aren’t buying it.

I don’t really care who wins this.  Every time they do a multi-man match for the X title, they demonstrate that multi-man matches don’t settle anything, because there’s always somebody who’s like “Well I wasn’t pinned, so I should get another match!”  So if, for example, Bey pins Raju, you know it’s just going to lead to Bey vs. TJP and/or Manik later.  Except Raju is going to weasel his way into the situation, for another three-way.  (Unless Crazzy Steve is free that weekend, and it’ll be a four-way.)  There’s no direction here. The best thing that could happen to the X title (aside from retiring it as an obsolete relic) is if some AEW guys came in to fight for it.  And I don’t expect that to happen soon.

Havok & Neveah vs. Tasha Steelz & Kiera Hogan - This match is the tournament final to decide which team will be awarded the Impact women’s tag team championship.  The title was originally introduced in 2009, but a lack of interest in booking it properly led to ODB teaming with Eric Young to win the belts in March 2012.  The last title defense I can find was in May 2012, although it took over a year for Impact to officially abandon the championship.

I can see why Impact was motivated to bring the title back, since throughout 2020 most of their women’s roster was paired off in various alliances: Taya Valkyrie & Rosemary, Deonna Purrazzo & Kimber Lee, Kylie Rae & Susie, etc. But just because most of the women on the roster have a natural partner doesn’t mean there are enough women to fill out a tag team division.  I suspect these two teams are going to end up rematching a lot for the tag belts, while the teams they eliminated in the tournament go back to focusing on singles action.  If just having women’s tag titles automatically meant expanding the women’s roster and pushing more women, then that would be great.  But we’ve seen that it doesn’t work that way, not only in WWE, but also the last time Impact tried it.

My gut feeling is that Steelz and Hogan have more future potential, so I’d probably prefer to put the title on them.  But Havok and Neveah have the edge in size and meanness, and I could easily see Impact wanting them to dominate as the champions a la the Road Warriors.

Eric Young & Cody Deaner & Joe Doering vs. Cousin Jake & Rhino & Tommy Dreamer - This is being called an “old school rules” match, which is Impact’s way of saying “ex-ECW guys are in this so we want to say ‘extreme rules’ but WWE trademarked that.” Basically there are no count-outs or disqualifications.  Cody and Jake were a tag team until Deaner became obsessed with proving himself against Young; when he failed, he turned on Jake and joined Young’s group.  Rhino tried to help Jake out, but it wasn’t until Tommy Dreamer got involved that they were able to even the odds.  I’m pretty sure Young’s faction is just getting started and they are going to destroy the babyfaces here.

Ethan Page vs. The Karate Man - Page is one half of The North, which spent most of 2019-2020 dominating the men’s tag team division.  Karate Man is the alter ego of...Ethan Page.  So he’s fighting himself.  That’s always fun.

The backstory here is that the North struggled to recover from losing the tag title earlier this year, and Page grew increasingly desperate to convince Josh Alexander that they could regroup. The tipping point was when Alexander was wrestling Brian Myers and Karate Man interfered, causing Josh to get disqualified.  Page did a skit where he tried to get therapy from Karate Man, before they decided to fight instead.

The bigger story behind all this is that Page’s contract with Impact Wrestling reportedly expired at the end of 2020, so he’s technically not even with the promotion anymore.  Reportedly, this “match” was taped weeks ago.  Just because Page is a free agent doesn’t mean he won’t simply re-sign with Impact at any moment.  But this looks to be his swan song before he moves on...or the pivotal angle that sets up how he’s staying.

Obviously this is going to have to be pre-taped with Patty Duke Show special effects.  I’m not sure if that means it’ll be a ~*~cinematic match~*~ though.  They could do a weird brawl in a weird location like the Boneyard Match or Stadium Stampede, or they could just do it on the normal set in a normal ring and not do anything weird except the split screen effects.  I honestly don’t know what to expect.

Rosemary & Crazzy Steve vs. Tenille Dashwood & Kaleb with a K - Rosemary and Steve used to be in The Decay together years ago, and occasionally Impact remembers that and has them interact.  Tenille is formerly Emma from WWE, playing a stuck-up Instagram influencer gimmick with Kaleb as her personal assistant.  Rosemary already beat Dashwood in the setup to this match, and I don’t think Kaleb is going to last long against Steve, so I guess the weirdo babyfaces will triumph.

Josh Alexander vs. Brian Myers - This is scheduled for the pre-show.  As noted above, Alexander and Ethan Page had some issues that came to a head when Page caused Alexander to lose a match to Myers.  So Josh wants to avenge that loss.  It’s kinda funny to me that the serious match about wins and losses and professionalism is on the pre-show while the “Ethan Page beats himself up” comedy is on the main show.  But anyway, it seems like Alexander is headed for a singles push, so he might as well get that started with a win.

[daggerpawstudios]

The Next Great and Powerful Wizard of Oz: Oscar Pine( Part III).

Okay, so I did not expect Oscar to have three parts. I thought at most he would just have two but this was surprising to say the least.

" And...Whom...do I have the pleasure of speaking with. "

"Still just me..."

Oscar has now taken an active role in the story. The scared Farmboy from Mistral who was suddenly sent onto this adventure was now fulfilling his duties as the Wizard.

Oscar goes to confront Ironwood, not as Oscar but as the Wizard of Oz.

"Trust is what I am hoping to fix. I know we can still figure this out. All of it. Together. Please."

Now... Oscar attempts to reason with Ironwood one last time. But after getting a PSTD trigger from Salem. Ironwood is beyond reasoning. Oscar pleads with Ironwood to change his mind and focus on reuniting the world. ( which interesting enough was actually Ozma task!!)

Oscar also gives the best lines of the season.

" you still think I am afriad. "

"We all are. It is what we do in our fear that rev-"

" If you abandon mantle, you abandon our best chance of reuniting the world. You abandon remnant. Living millions to fend for themselves, so a few can survive. What ki-"

"Oh, all excellent philosophical points that won't matter if Salem wins. "

"Listen to me."

"No! You listen. I am done letting others inability to see the bigger picture get in the way of doing what's right. Robyn. The council. This Kingdom. Even you."

"Then you're as dangerous as she is James.."

This is the point in the story where the Tinman. Has decided to turn his back on the Wizard of Oz and now just sees him as an obstacle to overcome.

The fact that Ironwood says:

" James is what my friends call me. For you it's General. "

Ironwood was not ending his relationship with Oscar. He was ending his friendship with the Wizard.

The Wizard who he earlier was so desperate to seek out and gain advice from. He no longer needed.

I can believe it is because before this realized that Oscar was in fact the Wizard of Oz but was not his Wizard and the new Wizard did not give him the answer he sought out.

To him the illusion of the all knowing powerful and just Wizard no longer suited his needs. In James cutting ties with Wizard of Oz, he had cut ties with his humanity.

As Ironwood shoots Oscar. Ozpin calls out Oscar name and Oscar uses Long Memory to restore the relationship between Oscar and Ozpin.

With the time apart, Oscar had found his own way to be the Wizard of Oz and had a found a new sense of courage.

This courage is what he will use to save Atlas.

Oscar had gone from the farmboy to now the new Wizard of Oz.

But what will he leave behind?

What other methods will use that the pervious Wizard of Oz had ignore?

Oscar had already begun to show signs hat will be different from Ozpin. Oscar has already begun to advocated to tell the truth and be honest. Which is something that Ozpin probably would not have done because he did not want raise the panic of normal people around them.

Ozma has long history of betrayal from peers that I fully believe have lead him to adopt the philosophy: " I'll tell you what you need to know."

But, I think oscar will do the opposite and will try to be a honest Wizard.

Now, getting back to my topics of the merger and... Ozma..

Perviously, I had said that I will return back to theses topics and I'll will.

1. I do not think the merger will happen.

The reason I say this because ever since Ozpin's secrets came out. He has not take control of Oscar but has only guided Oscar. Even though Oscar is now starting to get the memories of his past lives. I do not think that will change him in anyway really but just give him the knowledge that Ozma has collected over the years.

When first introduced Oscar had no knowledge, history, or understanding of the influence Oz had on the world of Remnant. But I think having his memories will help understand what is going and what the group's next move should be. Plus the "supposed" merger has been going since Volume 4 when Oscar clearly recalled Lionheart's headmaster office, even though he has never been there soo...

2. Ozma and Oscar, I believe are more connected than things appear to seem and I am talking more than just being Wizard of Oz. Ozma was the first Wizard of Oz, while it can be implied that Oscar is the last Wizard.

While watching Volume 6, Chapter 3 I could not shake the odd feeling that Ozma and Oscar were connected somehow. I mean they look similar-ish and second they are both voice by Aaron Dismuke....

Usually when that happens it due to a heavily connection between two characters. For example in Steven Universe, Rose Quartz and Pink diamond are both voice acted by Susan Egan.

The show confirmed that Rose Quartz was in fact Pink Diamond. ( much to my dismay...)

But what I am trying to say is what if Oscar is actually the reincarnation of Ozma. The original Wizard of Oz.

Possibly the Wizard is gaining back all of his powers and his knowledge of magic. What if the comfort that Oscar feels with the cane is not due to Ozpin's influence. But it is due to him being the right Wizard of Oz. The true Wizard of Oz.

Welp... Who knows lol.

But my predictions or hopes is that since Oscar went from a passive to active character in the story. Someone who was completely unsure and shy to active role. Hopefully, Oscar will continue to be an active character in the story but only time will tell :)

[intrepid-fictioneer-7]

On Whether the Books of A Song of Ice and Fire Will Have the Same Ending As the TV Show Game of Thrones

No.

Or rather, maybe, maybe not.

Seriously, we have no actual way to tell. For years, even before Season 8, many loved to proclaim, especially smugly if said to book readers that came to dislike GoT, that the show will obviously have the real ending out before the books ever finish, because GRRM told the showrunners the details of everything and how it will end in case the show overtook the books. And so you, the one critical of the show, will have to resign yourself that you will only get to see the canonical ending through the show.

And then the post-Season 3 changes piled up way too much for the showverse looking much like the books, reassuring the readers that the show had clearly become its own thing. And then Season 7 and Season 8 rolled around, and book readers felt vindicated, while show viewers were disappointed, saddened, or angry at how yet another the most popular show on television ended so badly.

Nowadays, not many still hold the old belief, most hoping that GRRM do something different. But many others still believe the endings will be the same, if only not with joy but with resignation this time.

After all, say some, didn't Isaac Hempstead Wright just confirm King Bran was a future plot development that GRRM told D&D? Making it one of the 3 twists GRRM told D&D (“three holy sh— moments” to quote them) that will definitely make it into the books, the other being Shireen's burning and Hodor's origin? Meaning many if not most things from the show's final season and ending will end up in the books?

I personally don't think so. Of course, the exact same ending has always been an unbelievable hyperbole, but even thinking most major plot points will be the same has me in doubts. As said earlier, a lot of storylines have been completely changed to the point that they are unrecognizable. Sansa's for example is vastly different from her show counterpart's due to taking another character's role and removing the central elements of her Vale storyline (notably Harry the Heir). The plotline of Aegon and the Golden Company has been completely cut when it would necessarily affect many major and minor characters. Arianne was cut and the Dorne storylines were butchered beyond recognition. The show created the character of the Night King.

So much has changed between the two, stating that the endings will share similar beats would be the same as saying the MCU's Infinity War/Endgame duology/pseudo-finale is the same ending as the ending to the Marvel comics' Infinity Gauntlet storyline simply because in both the Snap is undone. Which is ridiculous: both worlds have changed far too much for one to simply be a copy-paste of the other anymore.

The show and the books have become two completely separate universes, a "Westeros 1" and a "Westeros 2", as Bryan Cogman put it.

But what also makes me doubt are the dubious statements on the ending. So I have compiled many quotes on the ending of the series, from GRRM and D&D, to show just how not so clear-cut it is.

It should be noted that, as far as I can see, only Benioff really implied the ending would be the same:

Luckily, we’ve been talking about this with George for a long time, ever since we saw this could happen, and we know where things are heading. And so we’ll eventually, basically, meet up at pretty much the same place where George is going; there might be a few deviations along the route, but we’re heading towards the same destination. I kind of wish that there were some things we didn’t have to spoil, but we’re kind of stuck between a rock and a hard place. The show must go on […] and that’s what we’re going to do. I think the thing that's kind of fun for George is the idea that he can still have surprises for people even once they've watched the show through to the conclusion. There are certain things that are going to happen in the books that are different in the show, and I think people who love the show and want more—want to know more about the characters, want to know more about the different characters who might not have made the cut for the show—will be able to turn to the books. So that's where we stand.

—David Benioff (x)

And even then there are caveats about there being differences.

There is even more circumspection about the two endings in other interviews:

You’re now at a point where you’ve caught up with the books. What does that mean for the future? Benioff: [...] We’ve had a lot of conversations with George, and he makes a lot of stuff up as he’s writing it. Even while we talk to him about the ending, it doesn’t mean that that ending that he has currently conceived is going to be the ending when he eventually writes it. Weiss: It’s like looking at a landscape and saying, “OK, there’s a mountain over there, and I know that I’m getting to that mountain.” There’s an event that’s going to happen, and I know that I’m moving in the general direction of that event, but what’s between where I’m standing now and that thing off on the horizon, I’m not totally sure. I’ll know when I get there, and then I’ll see what the terrain looks like around me and I’ll choose my path once I get closer to it. He figures a lot of this stuff as he goes. He always says he’s a gardener, not an architect.

(x)

Benioff and Weiss always knew this would happen. So they met with the novelist in 2013, between Seasons 2 and 3, to sketch out what Martin calls “the ultimate developments” after the books and show diverge. The upshot, they say, is that the two can coexist. “Certain things that we learned from George way back then are going to happen on the show, but certain things won’t,” says Benioff. “And there’s certain things where George didn’t know what was going to happen, so we’re going to find them out for the first time too.”

(x)

From George himself, I have only ever seen more nuanced and ambiguous statements about the books' ending vs. the show's:

Let me reiterate what I have said before. How many children did Scarlett O'Hara have? Three, in the novel. One, in the movie. None, in real life: she was a fictional character, she never existed. The show is the show, the books are the books; two different tellings of the same story. There have been differences between the novels and the television show since the first episode of season one. And for just as long, I have been talking about the butterfly effect. Small changes lead to larger changes lead to huge changes. HBO is more than forty hours into the impossible and demanding task of adapting my lengthy (extremely) and complex (exceedingly) novels, with their layers of plots and subplots, their twists and contradictions and unreliable narrators, viewpoint shifts and ambiguities, and a cast of characters in the hundreds. There has seldom been any TV series as faithful to its source material, by and large (if you doubt that, talk to the Harry Dresden fans, or readers of the Sookie Stackhouse novels, or the fans of the original WALKING DEAD comic books)... but the longer the show goes on, the bigger the butterflies become. And now we have reached the point where the beat of butterfly wings is stirring up storms, like the one presently engulfing my email. Prose and television have different strengths, different weaknesses, different requirements. David and Dan and Bryan and HBO are trying to make the best television series that they can. And over here I am trying to write the best novels that I can. And yes, more and more, they differ. Two roads diverging in the dark of the woods, I suppose... but all of us are still intending that at the end we will arrive at the same place. In the meantime, we hope that the readers and viewers both enjoy the journey. Or journeys, as the case may be. Sometimes butterflies grow into dragons.

—GRRM (x)

So when you ask me, "will the show spoil the books," all I can do is say, "yes and no," and mumble once again about the butterfly effect. Those pretty little butterflies have grown into mighty dragons. Some of the 'spoilers' you may encounter in season six may not be spoilers at all... because the show and the books have diverged, and will continue to do so. IF YOU HAVE NOT SEEN ALL FIVE SEASONS AND READ ALL FIVE BOOKS, STOP HERE! Just consider. Mago, Irri, Rakharo, Xaro Xhoan Daxos, Pyat Pree, Pyp, Grenn, Ser Barristan Selmy, Queen Selyse, Princess Shireen, Princess Myrcella, Mance Rayder, and King Stannis are all dead in the show, alive in the books. Some of them will die in the books as well, yes... but not all of them, and some may die at different times in different ways. Balon Greyjoy, on the flip side, is dead in the books, alive on the show. His brothers Euron Crow's Eye and Victarion have not yet been introduced (will they appear? I ain't saying). Meanwhile Jhiqui, Aggo, Jhogo, Jeyne Poole, Dalla (and her child) and her sister Val, Princess Arianne Martell, Prince Quentyn Martell, Willas Tyrell, Ser Garlan the Gallant, Lord Wyman Manderly, the Shavepate, the Green Grace, Brown Ben Plumm, the Tattered Prince, Pretty Meris, Bloodbeard, Griff and Young Griff, and many more have never been part of the show, yet remain characters in the books. Several are viewpoint characters, and even those who are not may have significant roles in the story to come in THE WINDS OF WINTER and A DREAM OF SPRING.

GAME OF THRONES is the most popular television series in the world right now. The most pirated as well. It just won a record number of Emmy Awards, including the ultimate prize, for the best drama on television. It's an incredible production with an incredible cast and crew.

WINDS OF WINTER should be pretty good too, when it comes out. As good as I can make it, anyway. Which is a long way of saying, "How may children did Scarlett O'Hara have?" Enjoy the show. Enjoy the books. 

—GRRM (x)

WINDS will be different in some ways, but will parallel the show in others. At this point, there are probably a dozen characters who are dead on the show but alive in the books, so it would be impossible for the two to remain the same. (Also, of course, there are characters in the books who have never even existed on the show, like Victarion Greyjoy, Jon Connington, Penny, Arianne Martell... )

—GRRM (x)

The showrunners note that they’re not entirely sure of Martin’s future storylines anyway (“George discovers a lot of stuff while he’s writing,” Benioff says). But more surprising is that Martin is likewise somewhat in the dark on the show’s ending. “I haven’t read the [final-season] scripts and haven’t been able to visit the set because I’ve been working on Winds,” Martin reveals. “I know some of the things. But there’s a lot of minor-character [arcs] they’ll be coming up with on their own. And, of course, they passed me several years ago. There may be important discrepancies.”

(x)

Benioff and Weiss had to carve their own course for the past couple of seasons, after outpacing Martin’s writing. “I’ve been so slow with these books,” Martin says, with palpable pain. “The major points of the ending will be things I told them five or six years ago. But there may also be changes, and there’ll be a lot added.”

(x)

Anderson Cooper: When it clear they were catching up, you told them over-- a kind of an overarching future of where you saw the-- the last two books going in terms of plot? George R.R. Martin: Yes. And, you know, the major beats. I mean, obviously, we're talking here about a-- several days of story conferences taking place in my home in Santa Fe, New Mexico. But there's no way to get in all the detail, all the minor characters, all the secondary characters. The series has-- has-- been extremely faithful, compared to 97 percent of all television and movie adaptations of literary properties. But it's not completely faithful. And-- and it can't be. Otherwise, it would have to run another five seasons. Anderson Cooper: And in essence, what's-- by the time the series is finished and your other two books are finished, y-- essentially it's gonna be two se-- different-- George R.R. Martin: Yeah. Anderson Cooper: Two different versions. George R.R. Martin: But, you know, I think that's true of every adaptation. We got all these Spidermen. Is it Stan Lee's Spiderman from the comic books? They're-- they're similar, but they're also different. Things happen to one that never happen to the other. Things are resolved differently. The girlfriends are shuffled and reshuffled. The-- the primary beats are there, the character is there, but it's a question of-- what are the choices you make to tell the story, which are partially dictated by your-- your medium. Anderson Cooper: I mean, do you worry that some fans will have Dan and David's ending in-- in their mind's eye? Would that-- would that-- you know, would that be a disappointment to you? George R.R. Martin: I don't think Dan and Dave's ending is gonna be that different from my ending because of the conversations we-- we did have. But they may be on certain secondary characters, there may be big differences. And, yeah, some of the people will have that. There will be a debate, I'm sure. I think a lot of people, who-- say, "Oh, Dan and Dave's ending is better than the one George gave us. It's a good thing they changed it." And there will be a lot of people who say, "No. Dan and Dave got it wrong. George's ending is better." And they will all fight on the internet. And there will be debate. And-- that's fine. I mean, it-- you know, the worst thing for any work of art, be it a movie or a book is to be ignored. (LAUGH)

(x)

How will it all end? I hear people asking. The same ending as the show? Different? Well… yes. And no. And yes. And no. And yes. And no. And yes. I am working in a very different medium than David and Dan, never forget. They had six hours for this final season. I expect these last two books of mine will fill 3000 manuscript pages between them before I’m done… and if more pages and chapters and scenes are needed, I’ll add them. And of course the butterfly effect will be at work as well; those of you who follow this Not A Blog will know that I’ve been talking about that since season one. There are characters who never made it onto the screen at all, and others who died in the show but still live in the books… so if nothing else, the readers will learn what happened to Jeyne Poole, Lady Stoneheart, Penny and her pig, Skahaz Shavepate, Arianne Martell, Darkstar, Victarion Greyjoy, Ser Garlan the Gallant, Aegon VI, and a myriad of other characters both great and small that viewers of the show never had the chance to meet. And yes, there will be unicorns… of a sort… Book or show, which will be the “real” ending? It’s a silly question. How many children did Scarlett O’Hara have? How about this? I’ll write it. You read it. Then everyone can make up their own mind, and argue about it on the internet.

—GRRM (x)

There is a general sense that things may be subject to change and that the ending, besides certain points, is not set in stone. Definitely not the certain "same ending" some say it will be.

We will also recall that, as mentioned in some of the quotes above, in an interview with The Guardian in 2011, GRRM described himself as a "gardener" type of writer who works out the story as he goes, as opposed to an "architect," who plots out all the details ahead of time, a characteristic which may also play out in changes in the ending notes he gave D&D ("George discovers a lot of stuff while he’s writing"). We can see this in how, for example, he came up recently with a big twist about a non-show character while writing Winds.

So I hope, in having written all this, that I have given some hope to the most pessimistic about the series' end, because I have seen many, especially in light of how the show wrote Daenerys, decide to repudiate the book series and accuse GRRM of what D&D did. While I want to make clear that I don't think GRRM is flawless, I think he deserves the benefit of the doubt based on his strong writing throughout the books series, so that at the very least he be judged on his own merits and own faults whenever Winds (tentatively 2020?) and Dream come out. I urge people to not conflate GRRM and D&D.

And most importantly:

Q: "Early on, one critic described the TV series as bleak and embodying a nihilistic worldview, another bemoaned its “lack of moral signposts.” Have you ever worried that there’s some validity to that criticism?"

GRRM: "No. That particular criticism is completely invalid. Actually, I think it’s moronic. My worldview is anything but nihilistic."

(x)

The number one question people ask me about the series is whether I think everyone will lose—whether it will end in some horrible apocalypse. I know you can’t speak to that specifically, but as a revisionist of epic fantasy—
 GRRM: I haven’t written the ending yet, so I don’t know, but no. That’s certainly not my intent. I’ve said before that the tone of the ending that I’m going for is bittersweet. I mean, it’s no secret that Tolkien has been a huge influence on me, and I love the way he ended Lord of the Rings. It ends with victory, but it’s a bittersweet victory. Frodo is never whole again, and he goes away to the Undying Lands, and the other people live their lives. And the scouring of the Shire—brilliant piece of work, which I didn’t understand when I was 13 years old: “Why is this here? The story’s over?” But every time I read it I understand the brilliance of that segment more and more. All I can say is that’s the kind of tone I will be aiming for. Whether I achieve it or not, that will be up to people like you and my readers to judge.

[...]

I think you need to have some hope…we all yearn for happy endings in a sense. Myself, I’m attracted to the bittersweet ending. People ask me how Game of Thrones is gonna end, and I’m not gonna tell them … but I always say to expect something bittersweet in the end,” he said. “You can’t just fulfill a quest and then pretend life is perfect.

(x)

I urge my readers to have some hope. I know I will.

[seddm]

STARCO OVERVIEW - Season 2 (part 1)

SEASON 1

SEASON 2 (part 1) (part 2) 

SEASON 3 (Incoming)

SEASON 4 (Incoming)

MY NEW WAND (2x01a)

Ignoring all the questions that naturally come with a season premiere opening on Star videochatting in the bathroom while Marco is taking a shower - questions that usually lead to “why the shit did they need four seasons to start smooching”, My New Wand finally introduces the idea that Star might feel something more than friendship for Marco. We aren’t told what she wrote in her diary (even if we know now, thanks to the Book of Spells, and it’s essentially a slightly more consciously skewed toward romance version of Marco’s “I felt like this since the beginning” in Here to Help), 

but the structure of the scene and the “diary of a teenage girl which can’t be seen by her bestie” clearly directed the attention of the viewers in a very defined direction. One subtly highlighted by the super inconspicuous shape of the key (sure, lots of Star’s spells and elements are heart shaped or themed, but in this specific case having the concepts such as “heart” “key” “secret diary” and “crush” all in one shot is suspicious at the very least).

As usual, UNCONSCIOUS FEELINGS: Star was generically embarrassed about Marco reading her diary, because that’s something any teen girl would do. She wasn’t consciously crushing on Marco yet at this point, at most she sometimes felt things like “wow he’s cute” and stuff like that on top of an incredibly strong relationship. It’s akin to what Marco experiences in Blood Moon Ball, but since Star is more “aggressive” with her feelings, and since Marco is going to get serious with Jackie, she’s going to consciously include “romantic attraction” in the recipe of her friendship with Marco about half a season earlier than him. 

Another important element in the episode is the introduction to dipping down, a proper version of what Star did in Storm the Castle. Long story short, as Moon tells Star, the key to dipping down are strong emotions. 

Wanting to save Marco when Toffee kidnapped him, being embarrassed about him reading her diary here. I’m not saying that Marco is the only key to Star’s maturing, obviously - and later on she’s going to dip down even more for reasons not directly connected to him, but this early in the show he always is, one way or another, the focal point of her character arc, and Glossaryck knows it and uses him to teach his problematic student in unorthodox ways - it’s clear that he’s the one who closed Marco in the closet in this episode, and directed him toward Star’s diary, well knowing that it might have helped her get a first feeling of what dipping down is like. He literally says that finding Star’s secret is the way to have her reach the chunks, which is what he used with her as a metaphor for channeling magic through dipping down.

So strong emotions = dipping down --> Marco = source of very strong emotions for Star. Not the only source, but definitely the main one, especially in S1 and S2. This is an important point for Star’s whole character arc: it’s true that in S3 and S4 there are going to be less meaningful Star - Marco interactions, and that they’re both going to have many more moments of growth while interacting with other characters, but that’s the whole point of it. At the beginning of the series both dorks are walking disasters; by interacting together, by complementing each other and their shortcoming, they slowly mature into something better, individuals who are now ready to start stepping (slowly, very slowly, their journey won’t be complete until the end of the series) into the real world and take on it. So while I’m the first one who got frustrated and saddened by the relative lack of Starco moments in later seasons (relative is the keyword) it’s also important to keep in mind that it never meant that their relationship became less important and relevant, just that during their first months together they left a real and tangible effect on each other, leading to meaningful growth that allowed the writers to believably open up roads to different kind of interactions and “plot devices” for growth. This is what I mean when I say things like “meeting Marco is what allowed Star to defeat Toffee”. Obviously there are several degrees of separation, and several moments of growth / plot for Star that didn’t even involve Marco, but without their meeting she wouldn’t have matured as fast, she wouldn’t have had the opportunity to confront herself with a friend who was ready to help put some order in her super messed up life life. From the Book of Spells: “When we are together he sees the chaos in the world and sort of embraces it”. This is a direct quote from Star’s diary, something the writers of the show wanted to point out before S4 while referring to early S1 Star.

Marco has been, since the beginning, the first and most important key to Star’s development (even if not the only one), the “force” that first allowed her to start her journey toward maturity and become the kind of person who could go from being “a skimmer” to being proud of being “a dipper”. And in this S2 premiere we get a very direct taste of it, with Glossaryck using Marco as a bait to help Star learn.

Important bonus: the face Star makes for a handful of frames after having seen a naked Marco being YEETed across her room.

MR. CANDLE CARES (2x02a)

I wrote a lot about this episode in multiple posts, so I’m going to be extremely focused on the Star - Marco stuff only this time: 

Marco smiles like that when he sees Star getting out from the office, and it endlessly warms my heart.

Both Star and Marco are clearly not thinking about each other in romantic terms in the slightest during this episode, the former harshly denying the possibility of any feeling for her bestie, the latter not being ashamed in the slightest about talking about creative making out techniques to trick Tom into revealing himself. And yet just two segments earlier Star didn’t want Marco to read a part of her diary where she might have said something crush-related. Unconscious feelings, Heart and Mind not agreeing on something, it’s always the same deal, the whole show is going to play with this idea of extreme disconnection between what one might feel and what one might consciously know they want (concept directly introduced in Sleepover) as a way to justify the ever growing emotional intimacy between Star and Marco while taking their sweet time to actually deliver any romance related developments. We all have to accept it, or it becomes frustrating and impossible to read some of the passages in the series, especially during S3 and early S4, because we’d get lost in trying to plot the trends of their feelings on a graph and that’s a fool’s errand. When the show wants to tell us “A CHARACTER FEELS SOMETHING STRONGLY AND THIS THING IS IMPORTANT” they’re not subtle about it, and that’s vastly more important than anything else.

Marco stops playing to dreamingly appreciate Star and state how endearing he finds a part of her personality which might be frustrating to most (and it is to Tom, despite him also being attracted to it at the same time).

Appreciating your partners’ quirks is Love Story Writing 101, and this is going to be particularly evident in Curse of the Blood Moon (”I like every single thing about you”) and Here to Help (Star chuckling at Marco’s clumsiness). In this specific case it’s obviously premature to talk about “love” and it’s mostly a delicious bonus that presents a comparison between Tom and Marco, evidencing both their points in common (they’re both fascinated by Star’s personality and individuality) and differences (Tom is frustrated by this part of Star’s personality as well, since it doesn’t mix well with his controlling nature, while Marco learned to embrace it).

The important part, my favorite example to show people why and how Marco had an incredibly important influence on Star’s growth, especially during the first part of the series: Star spends most of the day panicking over Mr. Candle and then her mom’s words, she feels trapped in a role she didn’t want, lacking any freedom and prospect in life beyond her role as a future queen (interestingly she feels stuck in life, just like Marco in the following episode, but not out of lack of direction, but excess of it!). Then Marco gets home, talks to her for twenty seconds, and he immediately manages not only to calm her down, but he also gives her a new perspective on her life, and on her possibilities as a princess (and we know that she is definitely going to use her authority in her own way during S3), all of this while always following the style outlined by Blood Moon Ball: not a teacher or someone who tells her what she should do, just a friend nudging her in the right direction, telling her what she needed to hear. A Version 1.0 of his speech about finding your own happiness from Beach Day, in a way - the theme of free will and self determination was present since the beginning, even if at the time there obviously seemed to be less freedom in Star’s life, since she was supposed to inherit the throne, eventually.

Bonus points for the Alphonse The Worthy’s portrait from Blood Moon Ball moving his eyes to look at the two hugging, and for the demon highlighting with “point Marco” that he ultimately won the day when it came to wanting to be at Star’s side. Minus point for Star still acting coy at Tom’s compliment showing that she still had unresolved attraction for him. 

RED BELT (2x02b)

The events of the episode itself aren’t particularly related to Starco, but it formally introduces Marco’s own “coming of age” arc, by telling us that he’s scared about being stuck in life, left without a goal or a purpose and without any meaningful connection. Needless to say that the “squire arc” from Sophomore Slump to The Knight Shift is going to address this, and that Star (as a person, but also as a mean to step into a bigger world) is going to be fundamental for Marco’s growth. While talking about the series premiere I mentioned that Star’s main role in Marco’s life is helping him become a better version of himself, stepping out of his comfort zone and managing to find his own path toward fulfillment and happiness, and Star is not just going to be extremely important for this, in different ways during the many different arcs, but she’s eventually going to be identified as THE single most important element. In The Knight Shift Marco is going to realize that he wants a lot of things from his life, that he wants to make experiences and slowly decide what he wants to do in the future without being scared about having to figure out everything here and now, lest being left behind, but he’s also going to realize that Star’s presence is essential to his happiness, that their relationship is the one lifelong post he feels like he has to commit, despite being just a teen with all his life in front of him.

So Red Belt doesn’t really have any relevant Starco interactions, but it introduces a part of Marco’s journey as a character that’s going to be incredibly connected to Star’s presence in his life.

As for the nightmare itself, don’t ask. It uses a lot of generic dream-like imagery to make things confusing and symbolic, with some elements from the first half of the season (Mr. Candle, the colors green and purple, associated to the magic subplot, the suit from Bonbon The Birthday Clown...). Maybe the Blood Moon being there was on purpose, a symbol for “you’re worried about having no goal in life, but your friend can be the key for you to gain maturity and fulfillment!”, maybe it was just “red belt, red balloon, spooky imagery... let’s put in the Blood Moon!”. Lots of things in visual media are done just for “rules of cool” or to give the scene a particular kind of mood that can help focus the attention of the viewers.

STAR ON WHEELS (2x03a)

This episode, in its extreme weirdness, is like an a super condensed recap of the important parts of Star and Marco’s relationship - with focus on the Star’s side of things, but there’s also some for Marco:

Star she gets excited about Marco teaching her something about Earth culture - riding a bike, which at the same time is also something new that could be compared to her getting her wand;

She overdoes and she messes up / can’t properly handle the situation;

Marco gets overwhelmed by this, but then learns to embrace the weirdness of Mewni / magic for Star’s sake (more or less like what happened in the first episode, or at least during her first encounters with Star and her world);

and Star has to come to terms with the fact that she’s in another dimension now, embracing part of it just like Marco did, and growing from it, and Marco has a big role in convincing her about it;

And while it’s at it, the episode includes other important themes (central to Star as a person in general, but in this case highlighted through her interactions with Marco), such as Star’s stubbornness and hostility toward doing and learning stuff when just told what to do,

and the resulting moment of learning and growth when Marco, instead of just “ordering her” what to do, gives her some of the trust that she desperately needs, and with it the confidence to actually try and succeed on her own (this all connects to the larger arc of Glossaryck teaching Star stuff in unconventional ways).

And since it never hurts we get reminded one more time how much Star resents being lied to and how important trust is to her.

Obviously the whole episode is extremely silly, the whole situation requires a lot of suspension of disbelief to work and the “emotional moments” of the episode are extremely hammed up - we get a heartwarming “I trust you.” moment when the situation at hand involves learning to ride a bike! But it’s still a good way to have in a slick 11 minutes long package a super-cut of (part of) what Star and Marco brought into each other’s lives, and how that affected them and their way to interact with the world. 

FETCH (2x03b)

Wow look in an episode that directly introduces the “stop running from your problems” arc for Star we get told by Sta herself that having your own Marco is important to give you the support you need to feel less overwhelmed by life - and thus less prone to ignore problems, it’s almost like he’s important to her in that way and that in Lint Catcher the dubbin vows when she makes him her squire further drive home the idea that he’s her ideal companion.

STAR VS ECHO CREEK (2x04a)

Another episode about “running away from problems”, in this case Star physically runs away from her problems and tries to avoid consequences. And sure, at the beginning of the episode Marco tries to tell her not to run away and we could argue once again about the positive influence and role Marco has on Star, but we know about it already. What’s REALLY important and huge is that by the end of the episode Star, the same person whose greatest fear in S1 was going to St. Olga and thus losing her freedom, gets convinced while talking with her own subconscious that going to prison (= facing problems and consequences instead of running away carefree) is a better alternative to never being able to see Marco again.  This is the same concept I talked about at the beginning of the post: it’s not like Marco is the ONLY important person in Star’s life, she obviously loves her family as well and in later seasons she’s going to interact with other characters as well, but at this point of the story Marco is the person who she actively cares the most about, and the one who better understands her (this is going to be a constant throughout the series, obviously), so almost all big moments of learning and self reflection for Star are somehow related to him. And while saying that Marco is the most important person in the world to Star (and vice versa) might not have been entirely correct by this point of the series (mostly because we lacked proper perspective), it becomes absolutely true by the end of it, as their choices in Cleaved highlight. 

So yes, sure, logically speaking, and going beyond the simple plot of this episode, Star would have missed a number of persons if she spent her life hiding just to run away from her problems, but as far as early S2 experiences and subconscious goes, it all relates back to Marco, one way to another. After all we know that they both had an intense and special relationship from the beginning, and it’s going to keep being something unique that they don’t share with anyone else throughout the whole show, even when they’re going to date other people, even when there aren’t going to be as many episodes featuring both of them together.

Bonus gratuitously adorable shot. Marco didn’t love-love Star from the beginning, we know that, but Gloss damnit, did he LOVE her from the beginning. I know that the series might not have had the best of pacing and some choices concerning shipping planted doubts and frustration in many fans, but no other two characters in the series come even remotely as close to Star and Marco when it comes to unabashedly caring about the other to incredibly extremes. THIS is what Marco means when he says that he felt like this from the beginning, and THIS is what Star means when she says (albeit in her diary in the Book of Spells) that she never connected with anyone else in the same way. This has never changed in intensity throughout the show (if anything it grew), even if it got the spotlight of an episode way less frequently.

WAND TO WAND (2x04b)

Yet another episode about Star learning not to avoid problems and responsibilities as much, and another episode that doubles down of how important Star’s feelings for Marco (I mean “feelings” in the broadest possible term, not as in “still unconscious crush” only) are for her magic. I already said this like five times, but I really want for the point to come across: I’m not saying that everything Star does, learns, or everything concerning her magic, has to relate to Marco, Starco, or to her growing crush on him, nor that Marco is the only one who ever helps Star grow. What I mean is that during all of S2 Marco is the single biggest source of feelings for Star, and this includes good stuff and negative stuff, such as all the emotional turmoil cased by Jarco. But this all plays into helping Star mature, culminating in Starcrushed. The S2 finale constitutes the climax to Star’s “stop running away from problems” arc, culminating in her accepting her role as a princess and going off to face Toffee, but this goes hand in hand with confessing her crush to Marco. Star finds the determination to grow and take The Plot™ head on, thus eventually saving Mewni (multiple times), and this part of her character arc is inextricably connected to her “learn to admit your own feelings for Marco” arc. THIS is what establishes their relationship as utterly special, and what allows me to claim that Marco had a fundamental role in Star’s coming of age story, well beyond the limits of what he personally and actively did with and for her.

When the series shows us that Marco is the key to Star tapping into her magic and better learning to use it it’s not because of some lore or plot related connection between the two, or between Starco and Magic - we have seen that’s not the case: magic is connected to emotions, and Marco happens to be the single biggest source of emotions for Star. That’s what it’s all about.

The episode ends with Star using brooms to fix her messes instead of magic, which is yet again a nice moment of “Star embracing part of Marco’s world”, but it’s not really that important in the big picture since it’s not like Earth’s ways are inherently better, it’s just important for Star at this point of her arc.

STARSTRUCK (2x05a)

Marco being right about Mina and still not rubbing it in Star’s face at the end is very cute and sets a difference between most of cartoon relationships and Starco, but it’s not that important, this is a solo-learning episode for Star.

CAMPING TRIP (2x05b)

This episode is like a fanfiction come to life, in a good way. The idea of Star’s crush on Marco is not going to be directly introduced until Sleepover, but in this episode she still acts differently, we are shown a side of Star that definitely leans closer to thinking of Marco as more than a friend - and this contributes to the main plot of the episode, where River is presented as a dad going through a middle age crisis, worried about losing her daughter to some boy who’s going to take her way from her home. AND YET NOTHING IS CONSCIOUS YET. THAT’S HOW THE SHOW DOES IT. During the episode Star is unmistakably closer to Marco usual, “happier” to spend time with him, but that doesn’t change anything in their relationship in further episodes and that still doesn’t help her be any more conscious about her feelings until Just Friends. There’s absolutely no contradiction here because it follows the inner rules the show adheres to.

I love this scene. Eden’s delivery of the line is incredible, conveying the eagerness in Star’s voice, a different kind than what we are used to and that immediately suggested (even at the time the episode aired, when we didn’t have the luxury of hindsight yet) that something was different. Not as in “something inside Star changed”, as I said we are still far away from any epiphany, just that the writers and boarders wanted to show a specific side of Star’s inner sphere in this episode.

And it’s even more interesting in hindsight, because comparing this scene with the dance in Curse of the Blood Moon, Mama Star, and Here to Help, shows us that Star and Marco (in this case it focuses exclusively on Star, Marco is denser after all) have always been very close to acting on their feelings - the entirety of them, and that they were usually just distracted by other things (other romantic interests, being stupid and dense, fear of change). When they have a moment to be alone, just the two of them, free from any other concern and focused just in each other, they immediately start to inch closer to embracing all of their relationship. 

Let me clarify: 

In Curse of the Blood Moon Star and Marco finally actually fall in Love for the first time after having danced together for a minute or so. Obviously the episode itself was a moment of high stress and tension, but once inside the Severing Stone they didn’t have to think about anything else for a moment. “We do this and everything will be fixed, we’ll be free of these obnoxious, unwanted feelings that get in the way!”, and by thinking that they let their guards down for a moment and enjoy each other’s presence, focusing on nothing more for the span of a dance, and that’s enough to lead them to understand that they do like it, a lot, and that they’d want to always be like that and that they had been running away from something beautiful all that time.

In Mama Star as soon as the Magic washes away all of Marco’s concerns and emotional blocks, he immediately confesses his love to Star, baring all of himself and revealing that what he desires the most is always being at her side.

Here to Help presented us once again with a context of stress and high tension, sure, but while in the barn Star and Marco could focus on themselves and nothing else for a moment, forgetting all about Mina and Mewni and anything else, and we know how that ended.

So I don’t mean that Star was about to confess her undying love for Marco in Camping Trip, just that the situation that was about to unfold (before River’s arrival) would have allowed for Star to focus less about “Marco is just a friend and you don’t feel weird things for your friends”, and more on “being with Marco makes me happy”. Which is the very essence of what “With or without magic we belong together” stands for.

“Let me just subtly remind you that Marco and Star have a positive influence on each other and that their meeting is the meeting of dimensions and cultures” - The Show

“Let me just subtly remind you that Marco and Star have a positive influence on each other and that their meeting is the meeting of dimensions and cultures” - The Show

The whole “River thinks Marco is Star’s boyfriend and that he stole her affection from him” is clearly played for laughs, but we still get an external character validating Marco’s efforts in helping Star out, and he also essentially approves of Marco being Star’s boyfriend. Which means absolutely nothing (with the exception of Wrtahmelior in Lake House Fever parents never ever butt in their kids’ relationships in this show, so their opinions have never been considered relevant when shipping is involved), but it’s still nice.

Bonus: Star is specifically animated looking at Marco in several occasions throughout the episode, way more then usual, “stealing glances” even. External link to the GIFs because Tumblr sucks and they’d make the whole post too heavy to load.

STARSITTING (2x06a)

In case you weren’t persuaded the first eighteen times I said that Star and Marco complement and help each other grow and be the best version of themselves, here’s an episode explicitly telling the viewer that. With a side of “dorks acting like parents” and a generous helping of “one day they’ll also understand they love each other” because there’s no way they didn’t want to tease that as well with the way these sentences are constructed. 

Bonus points for Star complimenting Marco for his skills with babies. DAD MATERIAL. ONE THOUSAND BABIES.

BY THE BOOK (2x07b)

This episode doesn’t really have any important Star - Marco interactions (even if it sure has cute ones, team work is the dream work. That’s how the saying goes, right?), but it reinforces the idea that Star learns things only in unconventional ways, something that often involves Marco during S2.

GAME OF FLAGS (2x08a)

Ignoring for a moment that Marco gets invited to what’s a family event, and that Star eagerly pairs up with him as Them Vs Her Families (ok I know that it makes full sense given the plot of the episode and it doesn’t mean there are any “Star and Marco as family” undertones here, but let me dream a bit ok?), the important stuff comes at the end: just like he did in Mewnipedence Day (albeit in a more direct way this time), Marco opens up Star’s eyes to the reality of the situation, snapping her out from a tradition she accepted without ever questioning it. And she doesn’t just back down, she tries to change things, she steals the flags, risking her own health, to claim the hill for all of them and change for good the nature of the event, just like she’s going to try and change Mewni. Once again the importance of Marco’s role in Star’s arc is evident, and once again he’s not a “teacher” who tells Star what to do, and even less a “savior” who has all the right answers for Mewni. He’s just a concerned friend who knows what kind of person Star really is, and who can give her a new perspective on things that helps her mature her own, personal, unique views. Views that are eventually going to forever change Mewni.

MEETING OF TWO INDIVIDUALS, MEETING OF TWO DIMENSIONS. The show begins with Star and Marco meeting it ends with their dimensions being cleaved together, they BOTH brought a new perspective on life to the other! It’s more apparent for Marco, since his advice pushed Star in a direction that has big effects on the plot itself, but Marco’s life was completely changed by Star as well, if in S3 he’s able to move to Mewni to have his “French Summer” and then in S4 he understands that importance of being true to what you want to commit to it’s only thanks to the crazy princess who helped him get out of his shell and make his first steps into real life. THIS is the very essence of what the show is, of Star and Marco being the tools to each other’s growth and happiness! 

SLEEPOVER (2x09a)

One might expect a long section about this episode, but I’m going to keep it short: forget about all the “but how does the Cube work?” “who did lie?” and stuff like that. The important messages of the episode are crystal clear:

- Star Butterfly has a crush on Marco Diaz. No matter how conscious or unconscious it was at this point, the show told us directly, not just through undertones and themes anymore, that Star had specifically romantic feeling for Marco as well.

- Feelings are confusing. You Heart might feel like it wants something, but your Head doesn’t know that and it thinks you want something else. This is what the series bases everything related to relationships and romance on. This is why Star can be utterly convinced that she likes Oskar, at this point of the series, while actually having growing feelings for Marco. This is why Marco can move to Mewni, leaving Earth and his old life behind, while still not realizing the full extent of why he felt such a need to be with Star, and so on. The whole series plays with the idea that Star and Marco’s feelings for each other keep linearly growing throughout the show, but don’t always consciously influence their actions and thoughts in the same way.

And that’s why by the end of the episode the boarders can nudge our arms and go “Hey, hey, see that Star is sad when Marco ignores her because of Jackie? Hey, hey, that’s the seed of jealousy, that relates to love! Look at that!”, but then in Naysaya Star can be super happy for Marco scoring a date with Jackie. Dumb teens who don’t know what they want. 

This line seemed so mature and deep at the little, little did we know the writers would have squeezed every last drop out of this concept as a way to justify things like Star and Marco completely ignoring their supposedly burning desire from Booth Buddies until Curse of the Blood Moon and then again until Mama Star. No, bad Seddm, no salt and negativity in these happy posts!

Let’s close this part here so that the core messages have more focus and remain more clear, but I wanted to point out that Star really loves involving Marco and having fun with him. Which is something we already knew but it always feels good pointing it out.

GIFT OF THE CARD (2x09b)

“Starco Teasing: The Episode”, also known as “How to have your main characters act like soulmates while still keeping everything in the episode frustratingly platonic only”.

From Star going [soft gasp] at how incredibly Marco looks in his ballet shoes

To the plot device of the episode being a gift for their anniversary... as friends, to everything else in the episode.

Ok this is clearly part of the gag but it’s also damn cute.

Star and Marco actually pour their hearts out with no recriminations here, and while it’s not something weird at all for this kind of scenes, where the characters think they’re going to die but the viewers are fully aware that it’s just the setup for a punchline, it’s still cute and a good example of the bases of their relationship.

The fact that this scene is not played for laugh, and that Star genuinely appreciates Marco saying it instead of going “OH SO YOU WERE JUST TRYING TO SAVE YOUR BUTT”, goes in the big pile of “Why do I like Starco more than any other fictional relationship?” pile.

Never mind how horribly frustrating Marco’s “let’s die in each other arms so people will know that we were friends, yep, just friends, that’s the first thing everyone would think!” is: this is an alpha version of Cleaved, Star and Marco think that they’re going to die and that there’s nothing more they can do, and their reaction is to hug and hold hands, just wanting to be together in their last moment. The whole episode doesn’t really have high stakes and it’s clearly a silly, over the top adventure, but the emotions the dorks show are very real, and exemplifying of how in love (used in the broadest possible meaning, not with a strictly romantic connotation) they were already at this time.

And this is what Star decides to get excited about, not having survived. Again, a gag, but it still fits well, it’s not played for laughs with malicious intents or to mock their friendship.

PIZZA THING (2x12b)

Nothing major nor new since it’s something we saw as early as in the second segment of the series already, but Star has learned to enjoy a “calmer” way of having fun compared to what she was used to on Mewni, thanks to Marco’s presence, being more than happy to watch TV on the couch instead of going partying around, sometimes. Also the whole concept of “Friendship Thursdays” is adorable.

NAYSAYA (2x13b)

“How can Star be this eager to help Marco out with Jackie and cheer for him when in Sleepover she was s-” HEART AND MIND DISAGREEING SHE DOESN’T KNOW WHAT SHE WANTS she genuinely likes helping Marco and making him happy and won’t fully realize until Just Friends that this just means pushing him in the arms of someone who is not her, shut up!

With this out of the way, this episode features The scene showing just how much Star helps Marco getting out of his comfort zone, taking risks that go well beyond kicking monsters and going into other dimensions and becoming a better version of himself, one who can achieve his own happiness (Jackie is a small part of this, this concept of “achieving happiness” is going to be much more relevant in S4 and Star’s role in it for Marco - and viceversa - is literally going to be the main attraction during the series finale).

Hey look, Marco’s biggest fear is being alone (as in, feeling alone as an individual, without meaningful connections, not being literally alone) and without a goal and a meaning in his life. And for a time he’s going to delude himself in thinking that Jackie and school can be that, but then in Sophomore Slump he has to slowly accept and realize that Star is the only one who can give him that!

Wowie it’s almost like they deeply changed and influence each other’s lives.

BONBON THE BIRTHDAY CLOWN (2x14)

I’m going to put this as a disclaimer at the beginning of this part so that I don’t have to explain later: during this episode Star clearly displays feelings and behaviors that can only be explained by having a crush on Marco and feeling an intense need to be with him. But the episode begins with Star cheering on Marco with Jackie, and is followed by several other episodes of Star being none the wiser about her feelings for it, and definitely not showing them. Why? How? Heart and Mind disagreeing; denial; being scared of change; blaming all her uneasiness from the night on having lost Glossaryck thus overwriting the other feelings until Just Friends; a combination of everything, you pick your poison.

This is a minor note, but both Star and Marco regret having forgotten about their already existing plan with the other for the prom, with Marco’s “Jackie High” lasting about half a second before he once again goes “Oh no Star, no hurt Star!”. It’s just a setup for the episode and doesn’t really play any role, but it’s a welcome breath of fresh air compared to the easy drama most shows from past decades would have immediately built up from this kind of situation.

Star is super happy to greet Jackie, right now her mind still hasn’t put 2 and 2 together, she still hasn't processed “If Marco is going to a promo with Jackie as her date, he can’t possibly be romantically involved with me”. It’s all still a very unconscious process now (she won’t properly think “I want to smooch him but I can’t” until Just Friends), but it’s a painfully clear case of “You don’t know what you truly wanted until you lose it”, as evidenced extremely clearly both visually and by the subtle as a hammer on your teeth song (this scene here, Just Friends, Lava Lake Beach, song get used as a way to highlight and give exposition to the characters’ feelings multiple times in the early days of Starco).

Darned if I knew That I'd find you In the last place I thought you would be What could I do 'Til I saw you waiting for me? Ooh-ooh-ooh, ooh-ooh-ooh, ooh-ooh-ooh And if I catch your eye It feels like I could fly Out from my lonely world into yours

Following that, Star spends most of the episode feeling weird: she looks at the picture on her phone and feels bad and tries to find a reason for that, something to blame for the new feelings she’s experiencing.

For a moment, when she uses the All Seeing Eye spell, she might have understood, or at least made a direct connection between Marco being on a date with Jackie, and her feeling like that. But the epiphany escapes her grasp after an instant, due to her magic going awry, and after that Ludo’s rat immediately gets there and she has other things to worry about.

Going back to Marco’s side of things for a moment, a quick consideration about what’s clearly a Jarco moment, a moment of connection between the two of them: we get a character external to the Star-Marco dynamic acknowledging Marco’s tenacity and perseverance, a quality that early Star lacked (”looks like I’m just a skimmer”) and that’s going to become an important part of her later on (”I am a dipper”, never giving up with the Monsters and Eclipsa in S3 and S4). One of the most clear examples of how Marco’s good influence helped Star change for the better, and this is the first time he gets outright praised for it.

After the kiss Marco sees the Blood Moon, and he’s immediately reminded of Star and goes to check on his phone, noticing the missed calls and getting worried. Was this part of the curse? Was the Moon trying to hinder Jackie and Marco’s relationship? Absolutely fucking not, as Marco said the curse is bullshit and was never a thing. In the context of this specific episode it’s symbolic, nothing more: Star is always in Marco’s thoughts, we know it and no one can deny it, the Blood Moon was merely a visual way to remind him of her, and to tell us viewers that even while kissing his long time crush, Marco still keeps part of his being focused on Star. He could have seen a little girl playing with a magic wand or hear someone say “the stars are beautiful tonight!” and it would have had the same effect. There’s nothing magical here, and if there’s it’s not important; it’s not even a good thing for Star, since Marco and Jackie’s arrival at the graveyard is actually what makes Star lose control of her magic, losing the fight.

 Marco saving Star is a cool and sweet scene, and sets a clear parallel with Wand to Wand (and we even have confirmation from the storyboarder that it was on purpose, not that it wasn’t clear enough already) that neither of them would ever let the other go, but there’s not much to be said about it, their commitment to each other is pretty straightforward and it’s obviously to be expected in dangerous situations such as this.

Also, it’s not a full parallel: in this case the moment of danger doesn’t end with a hug, but with Marco going to check on Jackie (after having helped Star up obviously, he’s still and will always be worried about her after all).

And yet, despite this, by the end of the episode Star entirely blames her sadness on having lost the book and Glossaryck. She’s still clearly hurting over Jackie and Marco, but the situation at hand gives her an easy way out, an excuse to latch on to “cover” her feelings for her bestie with a thick layer of “no no it’s definitely just this” (wow just like in Curse of the Blood Moon!). And thus the epiphany that she almost had while spying on them is delayed until Just Friends.

Neither Star nor Marco are clearly aware about it obviously, but it’s hard not to see that “I’ve lost Glossaryck” line as “I’ve lost you” as well. Fun times.

To conclude, going back to something from the middle of the episode (didn’t want to digress earlier): this scene with Glossaryck asking Star if he can burn a page from the book and Star telling him to do whatever he wants is another side to the “you don’t know what you wanted until you lose it”: Star barely cares about the Book, symbol of her duties as a princess, but in a handful of minutes - and for future episodes - she’s going to be terribly hurting over having lost it. As I said multiple times the arcs of “Star learning to stop running away from her problems and accepting her responsibilities” and “Star recognizing and accepting her feelings for Marco” go hand in hand, and are both integral to her development and character arc. And, as we are going to see in the season finale, neither of them can truly reach its payoff without the other.

Bonus to make the whole episode a little less painful: while helping Star and Jackie up Marco might give Jackie more focus, but his tone of voice is way more kind and warm and delicate with Star, showing an incredible amount of care. Clearly this doesn’t entirely match Marco’s priorities in this moment, but it’s a welcome gift from Adam (and Daron I guess, since she’s always present during the recording sessions and certainly directed him to deliver the line in that specific way).

[reikiajakoiranruohoja]

Critique of the Diamond Redemption

This is going to be more of a list and thought piece hybrid than a full essay. However, I still will try to explain my thoughts on these issues.

I also need to preface this, as always, that I am NOT a professional critic/writer, I am just a hobbyist who is trying to understand this issue from multiple angles. As such, I do not intend any insult to the Crewniverse, just giving my thoughts on some aspects in their writing that did not work out too well.

1. White's absence compared to her importance

In terms of storytelling, White's introduction and the whole of her role was rushed. I have written a separate essay on it, but I do feel these points need to be repeated here as well.

White was a complete non-entity through most of the show. While we knew she existed thanks to the symbol and her mural, the rest of her was shrouded in mystery. Even after we met Yellow and Blue and heard about Pink, there wasn't any mention of White at all. Yes, we saw her ship in the Trial, but even then she was not mentioned despite being the head of the hierarchy. This led to a lot of speculation why she was so absent, yet the canon did not truly explain it fully. White was a recluse after Pink died, yes. But it does not explain why no one mentioned or even discussed her before Legs from Here to Homeworld.

What this caused in terms of the pacing was that once Yellow and Blue knew Steven held Pink's gem and so were not going to kill him or his friends, only then White was introduced and mentioned. This created a 'there is always a bigger fish' effect where the loss of established foes is followed by new and stronger foes. It felt rushed and unfulfilling, especially as it gave White little room to truly establish herself before Change Your Mind.

White is also very much the source of every wrong in the gem empire. She is the one who told everyone that off-colours were bad, she is the one who set the rules and she is the one mistreating Yellow, Blue and Pink. Her quest for perfection is the explanation of why the gem empire is what it is. This means that her being absent for most of the time we knew about Homeworld was missing the motive for gems to act the way they did. It also meant that Yellow and Blue were put as the ones calling the shots with no scene of them ever feeling afraid of judgement themselves.

White needed to be a more present character much earlier in the series, even if only through her pearl or mentions by other characters. That way, we would have had a better grasp of the nature of the Diamond Authority when Diamond Days started.

2. Blue and Yellow's roles versus how they were presented

Here is a thing that I have gleaned from the interactions between the diamonds; White and Pink were the main players of the 'game.' White cared a lot about Pink and put a lot of effort into talking down to Steven. Yellow and Blue? What we can see from the Diamond Days arc, they are lesser in White's mind. They are the arms and the doers, not as much the true leaders. It also shows in how White disregards them in favour of Pink, something which seems to have been common even before Earth colonialization. Also in how White just straight up takes control of them when they spoke of their grievances to her, after struggling to get her to listen in the first place.

There are also a lot of hints that White was outright abusive to them. The tower has windows, not in Pink's height but Yellow and Blue's, the way Blue and Yellow do everything to impress her and how Blue's lines in Legs are more about being scared of White. Yellow even mentions being kept in a bubble for a while as a punishment. They expect the worst when White is involved.

Yet, for most of the show, none of this is addressed. Yellow and Blue are treated as the ultimate arbiters of the gem empire and their rule as absolute. Before Legs, we never saw a scene where either of them had a moment of fear about their actions. This might be explained by White not being present in any way in the story, thus there is no reason to establish the diamond pecking order properly.

This meant that a lot of the explanations for their actions came too little too late. People had already formed their opinion on Yellow and Blue and no sob story was going to budge it. This is, to use Avatar the Last Airbender as an example if Zuko had been the main villain until the last third of book 3 where Azula and Ozai were properly introduced. Even if the motives would have been the same, it would have not had the same impact as things being established earlier did.

It wasn't as if Yellow and Blue were flat, but with their base motivator (aside from duty) missing, it was easier to see them as just cruel tyrants.

3. Colonialism and taking over planets

I feel this aspect of gem society was doomed to be seen as irredeemable, thanks to more attention to indigenous people's rights and the negative aspects of colonialism. At least on Tumblr, this was a bridge too far for obvious reasons. Not helped by the fact that gems do not -need- anything to sustain themselves, so there was not even a rush for resources.

Gems are very much like a softer version of the Tyranids from Warhammer 40k, which doesn't garner much sympathy for them.

Then there is the issue of intelligent life. From what I understand, it has been hinted that gems only colonised planets where life was animal-like. Though, it could have been that the animal-like was only in gem perspective. Which means there could have been intelligent life and they just didn't get it.

There was no winning in this matter, in any case. Even if it was needed for a plot, people are less accepting of such plots these days.

4. The shattering of gems

This is another common one I've seen, though it has a canon explanation. Though very subtly written, and easily missed.

The shattering of Off-Colours, criminals and the horror that is the Cluster are very much crimes committed by the diamonds openly. Thus, they have shards on their hands and the show doesn't deny it.

With the Cluster and fusion experiments, I think they were written before it was certain that the show would continue another few seasons.

In any case, the canon explanation that could have been shown much better (I didn't realise this until @faelapis pointed it out in his video), is that gems function less like a human society and more like a beehive or a human body. Gems are ranked by their importance to the whole, with the fertile queens at the top. Thus, losing a ruby means nothing, but a diamond is a great blow to the function of the whole. There is no human view of valuing life for its own sake, though gems have a self-preservation instinct.

In this mentality, especially given White's push for perfection, it is no wonder cross-gem fusions and defects are frowned upon. Not only does every gem need to fulfil their role well, but their forms should be perfect as well. Hence the multi-limbed and eyed fusions are seen as serious defects.

Of course, gems have the same range of emotions and personalities that humans do. This I think is the fallacy of the empire, it is structured like an insect hive and functions as such. But its members are all functionally humans. Though, as we see in the movie, they don't start as people and become truly sentient through experiences.

Once more, the issue isn't that this wasn't there, it was that it was not clear enough. The hunt for Off-Colours is meant to depict crimes towards the disabled and sexual minorities. But the setting didn't then offer a good counter-point to that to show why that was the case.

Note that I am of the mind that the diamond redemption was deserved. But I still wanted to offer some thoughts on reasons why it failed at parts.