#this isn’t a spoiler it’s in the trailer and I’m keeping my thoughts vague here

[charcubed]

and when I say Patrick’s loose barely-on towel that was placed there by request is a metaphor for him being comfortable and shameless in his bisexuality, and Art’s fastidiously tight towel is a metaphor for his internalized biphobia and repression, then what

[revserrayyu]

2.1 Penacony thoughts [part3]

**Spoiler warning** Going up until Aventurine takes the stage I guess, so if not encountered yet then look away. Keeping it rather short this time because I have a feeling things will only be getting more intense from here on out.

So with this letter from Robin to Sunday, it makes me a little worried. Yes I think it’s sweet of hear to inform her brother of what’s happening with her, but how the doctors basically turned her away, claiming that she’s fine when her voice was very clearly bothering her rubs me the wrong way. Perhaps they didn’t her condition serious enough or they knew exactly what’s going in and chose to hide the truth from her. I dunno, there’s something about Robin looking into her issues, realizing that something is wrong with the Harmony and ultimately ending up dead that reminds me of Serval and how she become too close to finding out the truth behind the stellaron and Cocolia dismissing her from the Architects (and thank god she didn’t take a more permanent measure otherwise I would’ve sobbed).

I trust him less and less each and every time he opens his mouth. These shots we keep getting from him where we only see half of his face don’t help either with how we don’t see whatever emotion he has in his eyes.

I’ll be completely honest.. I remember little to nothing about this flashback with Jade because I was too focused on how gorgeous she is. I gathered this is probably when Aventurine joined the IPC (and the poor boy is in chains! aw no!) but yeah. She. Very pretty.

Help.. tiny Aventurine is precious. And it was so sweet seeing how kind our Aventurine was to the kid too.

I love how much we learn about our dear gambler during this section. He always seems like this confident and successful businessman on the surface and yet he still has fears of losing, whether it be a bet or how his 17 remaining hours of life ticks away.

Bringing up Elation is interesting considering he does have a follow up attack in his kit, which isn’t common for a Preservation unit. I know March has one herself, but for someone focused on defenses, it’s a moves you wouldn’t think they would have you know? I remember seeing his boss form in the White Night trailer and once thought that Aventurine could secretly be part of the Fools with that mask he had on, but I guess not.

For context, he found Topaz’s stone lying around and he claims he was only curious as to why. But yeah.. I wish to learn more about the connection between these two.

I really how that whole conversation with Sunday was an act by Ratio. I know the dude isn’t particularly fond of Aventurine, but they make for a nice team I think.

Sunday is a menace, but I’m actually kinda enjoying him like this. I would’ve never expected this from him with his angelic and handsome appearance, but his borderline villain arc has me quite intrigued. I can’t wait to learn his motives.

So the stones Sunday has in his possession isn’t even the real aventurine one but a lighter one of jade? Amazing. It’s this part of the conversation that makes me wonder if Topaz and Jade lended their Cornerstones to Aventurine for this mission of his, for whatever reason I’m not sure yet. I vaguely remember him asking if Tooaz could assist him during his trip to Penacony during their phone call at the end of that Belobog arc, so maybe this was the idea he had in mind?

They’re setting me up for something real emotional, I can feel it in my bones. It better not rain at the end of this patch. Or death. I will cry.

Him wanting to put on a good show for his younger self and inspire him.. ah.

Alright, this achievement.. right away I thought Sibyl was a Psycho Pass reference, but it isn’t. Curiosity struck me so I looked up what the name of it actually meant and.. it links to another achievement where death is mentioned. And I’m not okay.

(originally written on 3/29)

[discotreque]

LwD 2.05: An Embarrassment of Dooplers

So I was a little nervous about this one! I hadn’t heard any spoiler-spoilers, but screeners have been out for weeks now, and I’d heard a bunch of individual, vague, non-spoilery hints about (1) big character moments, on the scale of a mid-season finale even though the show’s not taking a mid-season break; and (2) an ending that would make me cry.

I guess I imagined something relatively serious and dramatic, like “No Small Parts”? This show makes me cackle with laughter and giggle with nerdy glee and “d’awww!” at heartwarming friendships every week, but it’s only ever made me cry once—and then I was impressed that they were going to get there from the wacky hijinks we saw in the brief teaser.

The lack of a cold open made me apprehensive too—in my experience, that’s typically a sign that there’s so much plot in the rest of the episode that they need that extra scene—but after ~21.5 minutes of aforementioned hijinks, I was having so much fun that I’d completely forgotten about the alleged tear-jerker at the end…

…and they were not the tears I was expecting.

I didn’t think I’d be smiling and crying!!!! That was wholesome as SHIT!!!!!

I almost can’t believe they earned that—but they totally did.

After a Mariner–Tendi episode and a Boimler–Rutherford episode, we’re back to the “usual” Season 1 pairings… except the relationships between these characters have changed since Season 1. Mariner still feels thwacked in the abandonment issues by Boimler bailing for the Titan, and Rutherford’s having a tiny little existential crisis about losing an entire year of his life.

Both of which are extremely understandable and very heavy situations—and both of those situations get resolved because everyone in them is vulnerable with each other and honest about their feelings—AND that honesty and vulnerability brings both pairs of friends closer together. Are you kidding me?? I would watch SEVENTY seasons of that shit. Put it in my veins.

Onto the notes:

So basically Dooplers are Tribbles, but for cringe comedy instead of slapstick? Ohhhhh boy.

Look at Ransom the diplomat, tossing his own fork on the floor! I like that he’s actually a pretty competent Starfleet officer, despite also being a completely ridiculous person.

Wait a second, is that—OH HOLY SHIT, THE DOOPLERS ARE VOICED BY RICHARD KIND.

It makes sense that B. Boimler would find William annoying—who likes seeing their own flaws reflected back at them? And who could be a better reflection of one’s flaws than one’s literal duplicate?—but most interesting to me is that it implies on some level, Bradward knows the stick up his butt is a flaw. (Does William?)

Why does the Cerritos model have working phasers?!?!

I’m loving hot pink as the currently en-vogue colour for “dangerous sci-fi energy” in animation (cf. almost every previous episode of this show; Into the Spider-Verse; other stuff I can’t remember right now). As a former child of the 80’s, I’m living for it… but as a former teenager of the 90’s, I can’t help but wonder if it’s going to age as poorly as the harsh neon green of The Matrix, every Borg appearance on Voyager, and like 80% of the websites I made in high school…

SKANTS! SKANTS! SKANTS!

That fake-out joke with the fly-by over the Cerritos model was in the season trailer weeks ago, and I was so enthralled by that handsome lady that the sticker coming into frame still got me good 😂😂😂

BECKY Mariner????? omg yes

Some top-quality Boimler screams in this one. Poor Jack Quaid must drink gallons of throat-coat tea when he records.

One of the great things about Star Trek to me is that you never know what you’re going to get from any random episode. A murder mystery? A road trip? A spooky thriller? A cheesy romance? Broad comedy? Body horror? Didactic political screeds shrouded in tissue-thin science-fiction metaphors? Brain and brain, what is brain??? And after this many years of watching, you’d think I’d be hard to surprise. But if I ever told you I thought I’d see a Blues Brothers–style car chase through a frickin’ shopping mall on an episode of Star Trek, I would have been straight-up lying to you. I loved it, it worked for me, my jaw was on the floor and I was clapping with joy—but I’m definitely comfortable calling this one “unexpected.”

It’s CAPTAIN SHELBY!!! And an ancient babydyke crush rose from the depths of my childhood subconscious… (Also I think her Number One is based on the original makeup—eventually deemed too complicated—for Saru? Now that’s a deep cut.)

In 20th-century Trek, you almost never got to see what was going on inside a starship from the outside. Even after they switched from physical models (where it was next to impossible on a single episode’s budget) to CGI (which was still in its infancy, still not exactly cheap, and still broadcast in SD anyway), it was a rare thrill to see any meaningful interior details in an exterior shot. Disco’s modern VFX have given us some tasty, tasty treats in that department, but nothing quite as sublime as all the pink Doopler light glittering through the Cerritos’s windows.

Mariner says she’ll take her contact Malvus down with her, and threatens that they’ll end up “in the same cell.” Malvus is a Mizarian, a species introduced in TNG’s “Allegiance,” in which Captain Picard is held in a mysterious prison with one. I think I see what you did there, McMahan?

Bartender… so hot… lesbian circuits… overloading…

The Tendi and Rutherford C-story was, well, a C-story within a 22-minute episode, so there wasn’t much to it, but the one scene that mattered actually mattered a lot. I’m ambivalent on whether they should end up romantically involved—I’d prefer they don’t, but they’ll be one of the cutest couples in Trek history if they do—and as long as they keep that pure, sweet friendship between them at the heart of whatever else happens, I’m on board.

Carol Freeman was already one of my favourite captains before this season, and she’s been steadily moving up the list. The quiet throughline about her ambition to be on a better ship has been fascinating so far, and it’s starting to actually make me feel a little conflicted: I’m of course rooting for Captain Freeman to recognize her worth, make Starfleet recognize her worth, and become the ass-kicking captain of a hero ship that she’s clearly ready to be—but that almost surely means she’d be kicking ass off-screen, because LwD isn’t about those kind of adventures, and I’d be devastated not to have Dawnn Lewis on the show every week. So I’m kind of on the edge of my seat about this one!

I had so many favourite jokes this week I put them in a separate list:

“Even the replicated water on the Titan tasted better” is a low-key brilliant dunk on people who can’t shut the fuck up about the cooler places they used to live.

“Ooooh, they have a Quark’s now! That used to just be an empty lot where teens would make mistakes!” ← That’s literally me every time I go back to where I grew up. I felt so Seen™ I almost hid under a blanket.

“I would never go down the stairs!” (evil grin) (goes up the stairs)

The “well, shit” expressions from Mariner and Boimler as their crashed car sank right into the water… which started to bubble innocuously… and then the bottles of Data bubble-bath popped up, paying off a joke I thought had already been paid off—that was the one that woke up my poor cat this week. Just exquisite timing.

“YOUR PAGH IS WEAK, AND IT DISGUSTS ME!” “I don’t even know what that is, but I don’t like your tone!”

“Okona’s in there? He’s not even Starfleet! This is outrageous!” made me shout “NO!” at the screen like I was scolding my cat for scratching furniture. (She did not wake up that time.)

Best background joke: the neon sign at the dive bar advertising FREE SHOTS & BEERS. (Get it? Because they’re on a Federation starbase? Where nobody uses money?)

And of course Quark merchandised DS9.

This wasn’t just a standout episode of Lower Decks, this was a brilliant episode of Star Trek, period. The Dooplers, though extremely silly, are nevertheless also a clever sci-fi metaphor for real and relatable personal/interpersonal issues, and an effective plot catalyst for meaningful character growth from all four of our ensigns and the captain.

The jokes were hilarious, the action was kinetic, the A-, B-, and C-plots linked up thematically, the visuals were consistently and thoroughly gorgeous, the character beats—between Mariner and Boimler, Tendi and Rutherford, Mariner and Capt. Freeman—were all genuine, heartfelt and wholesome, and the references to other Trek canon were both deep and deeply affectionate.

Only 15 episodes in, and this series knows exactly what it is, exactly what it wants to do, and knows that it can knock our socks off doing it. Mike McMahan has said in recent interviews that the back half of S2 (and the apparently almost-fully-written S3) is a straight line uphill in quality from here—which surprised me at first, because McMahan seems like a pretty chill dude who doesn’t normally brag about his own work like that.

But then the Prophets sent me a vision of my space dad Ben Sisko, who reminded me of the words of 1930’s baseball player Dizzy Dean:

“If you can do it, it ain’t bragging.”

[Thanks to cygnus-x1.net for the screenshots this week—I was too lazy to do my own.]

[thebibliomancer]

Essential Avengers: West Coast Avengers #1: Avengers Assemble!

September, 1984

WHO will answer Hawkeye’s call to join the new team?

I assume Mockingbird? I see her silhouette in the cover box and the assumption was that she and Clint were a package deal? I don’t know what it’s being played like its not a given.

Some good or at least interesting options here for the second team.

Red Wolf, Iron Man, Puck, I thiiiiink Crystal?, Doc Sampson, Mockingbird, Cyclops, Black Widow, Wonder Man, Tigra, Quicksilver, Hercules, Ant-Man, Namor, and the Shroud.

A lot of interesting options. I really want it to be Cyclops and I know its not going to be Cyclops.

STOP TEASING ME WITH AVENGERS CYCLOPS IF YOU’RE NOT GOING TO GIVE IT TO ME!

Also, this issue #1 of West Coast Avengers. Or at least the first issue #1. The team is introduced in a four issue miniseries before getting an ongoing - and a second issue #1 - about a year later.

This will be moderately confusing for my numbering but I’m brave enough to barrel on through anyway.

Last time in Avengers: Vision became the chairman of the Avengers and announced that due to the threat of the Dire Wraiths, the Avengers would be opening up a West Coast team led by newly married Hawkeye. In one page reminders of the subplot in various issues, Hawkeye and Mockingbird arrived in Los Angeles, went real estate shopping, and set up a new HQ in a nice compound that used to belong to an actress.

The team is only missing one thing.

A team.

Maybe it’s just me but I’d think that you’d get the team sorted out before you spent who knows how much renovating a compound up to the level required for a superhero team.

It’s going to be really embarrassing if you open a new Avengers team and nobody comes.

(Vision agrees and has taken the liberty of reaching out to several likely candidates.)

Mockingbird confirms that Hawkeye has invited her onto the team but she’s not even sure she’s Avengers material, she doesn’t even have powers.

Hawkeye: “Neither does Captain America! Neither do I! If I can be an Avenger -- !”

Mockingbird: “Anyone can, right?”

Hawkeye: “And people wonder why you took the code-name Mockingbird!”

Haha! I do like their chemistry!

He does clarify that its totally not just because she’s married to him (although I would point out that he kept trying to get Black Widow on the team based on them dating) but that she’s totally earned it! She has years of experience as a SHIELD agent!

Hawkeye calls Vision to let him know that the place is all set up and Vision lets him know about the reaching out to several likely candidates biz.

BOOM SCENE TRANSITION TO DOWNTOWN SAN FRANCISCO at the office of private investigator Jessica Drew.

Because, yeah, Jessica Drew did the PI thing as an ex-superhero way before Jessica Jones. And Jessica Jones is probably Drew with some of the serial numbers scratched off.

ANYWAY, she’s talking to hardboiled Tigra, who helped her on the Enselmo case.

Jessica Drew: “I still laugh when I think about the way you ran our pigeon up and down Telegraph Hill!”

Tigra: “That was the best part of the case! After all... bringing pigeons to ground is second nature to a lady who’s half-cat!”

Jessica tries to offer Tigra a job (since this is before the internet and Tigra can’t find a lot of modeling jobs for models covered with fur) but Jessica’s secretary interrupts with a call for Tigra.

The call sounds ominous from Jess only hearing half of it but I’m 99.9% sure its Vision offering Tigra a spot on the West Coast Avengers.

Read Tigra’s replies with that context and you’ll laugh.

Tigra tells Jess that she’s got to book it to LA for business that she has to settle on her own but they’ll talk about Jess’ offer later.

Tigra: “Don’t worry, I’m a big girl... I can make my own mistakes!”

I feel like a little bit of clarification would have gone a long way here, Tigra.

Because Jessica assumes that Tigra is in trouble and decides to call someone to tail (ha) Tigra.

Meanwhile, a car chase in the Mojave Desert.

To cut to the car chase, this is a movie set filming a stunt spectacular car chase scene for what I’m pretty sure is James Bond.

Pyrotechnics are easy if you don’t stress blowing up the stuntman.

Because he’s near invulnerable.

The stuntman (Simon Williams, Wonder Man) does need to have buckets of water thrown on him to cool him off after being in an explosion but he’s otherwise fine.

Cool that Wonder Man found an acting job he can handle. He seems pretty thrilled with it.

One of the staff on set tells Simon that his trailer is buzzing and he realizes its his Avengers transceiver.

He receives his offer from Vision (although apparently a much more vague one than Tigra) and flies off after making sure he has no more stunts scheduled for the day.

An hour later and hundreds of miles elsewhere, Iron Man (the James Rhodes version) is flying around, minding his own business, thinking about how cool it is to have relocated to California to help Tony Stark open a new business, admiring the Standord University Linear Accelerator Center.

Just as he’s thinking that he hopes that Tony isn’t in a hurry to being Iron Man since he’s gotten used to it, Vision cuts in on the secret Iron Man radio frequency to call him in to the meeting.

Iron Man arrives twenty minutes later at the West Avengers compound on the Palos Verdes Peninsula bluffs and paraphrased does an impressed whistle at what a nice place it is.

Iron Man: “Some spread! This looks like the kinda place Tony would’ve hung out... before he lost Stark International! The best part of being his pilot in those days was ferrying him to spots like this! Who’d have thought I’d ever be invited on my own? Then again, who’d have thought little Jimmy Rhodes would grow up to be Iron Man?!”

Future knowledge bums me out a little with this. This is spoilers for a year from now and several issues from now but in the time gap between the West Coast Avengers limited series and the ongoing, Tony does take over being Iron Man again. I hope you enjoy all this while it lasts, Rhodey. And hey, War Machine is only like eight years away!

Tigra arrives and starts acting familiar with Iron Man because she thinks she knows its Tony and they were teammates for a bit.

She ditches the briefly identity obscuring trenchcoat and hat because dammit she has a year round fur coat and its hot in California!

She also might be flirting, although hopefully not as bad as she’ll get later in the ongoing. Spoilers for a year and several issues for now but it is a bafflingly bad subplot that Tigra gets given.

The other reason I bring it up is that this is the exact situation that led Rhodey to quit the Avengers when he became Iron Man. He felt it would be awkward interacting with people who already knew Iron Man well.

I guess he’s more comfortable with it now.

The West Coast Avengers roster that we already know about are all people who either quit the Avengers or don’t feel like they’d be a good fit. Which is just a great start so I’m interested to see if we’ll get justifications for why they’d sign up the minute a franchise opens.

Hawkeye takes Tigra and Iron Man off on a tour while a mysterious shrouded figure watches.

The tour concludes without us seeing the tour, boo. But it comes up that neither Iron Man or Tigra know why they’re here.

Iron Man was just told he was needed but didn’t get any more details. We know that Wonder Man got the same vagueness. And Tigra was just offered a $1000 dollar stipend to fly out to LA and see if she could “help the Avengers out!”

So Hawkeye gives them the sales pitch.

That Captain America made it a rule that except in emergencies, the Avengers’ roster would be limited to six members. But Vision decided that they need more than six Avengers but wanted to keep the team from becoming unwieldy so told Hawkeye to set up an expansion team: the West Coast Avengers!

It’ll basically be the same thing as the original Avengers in terms of by-laws and rights and privileges and both groups will be affiliated but the West Coast Avengers will be running their own show west of the Rockies.

If everyone here agrees to sign up, that’ll make a team of five with a sixth spot to fill.

But Tigra objects that she left the original team because she felt out of her depth and why would that be different here?

Ah, now there it is.

Justify it, Hawkeye.

Except he doesn’t because the intruder alarm goes off.

The intruder alarm all the way in the first basement level, which means their intruder has already penetrated deep into the compound and bypassed a lot of the security systems.

Hawkeye is sure that the intruder is actually a highly organized commando raid and he’s instantly proven wrong with an infrared scan shows just one guy.

Womp womp.

Hawkeye is also sure that however this just one guy got as far as he did, the security system in the next area will totally--

Womp womp.

Hawkeye is fed up at this point and seals off the security levels, forcing the dude back through the domestic areas. He then orders Iron Man, Tigra, and Mockingbird to split up to cover more ground that way and surround the intruder.

Not having much better to do, they do, but everyone has some misgivings in their thinky thoughts.

Iron Man: Hawk sounds like he really gets into giving orders. I don’t know if I like that.

Tigra: I must be some sort of masochist to get involved with Avengers again! They always seem to know what they’re doing... not like me! What am I doing here? What am I trying to prove?

Hawkeye: Should I let the others catch our intruder... or rush in and collar him myself? How would Cap handle this?

Mockingbird: Poor Hawk... He wants so much to be a good leader! I know he can do it, but I wish he wouldn’t try quite so hard! In a way, though, it’s funny... His first act as leader was having the team split up!

Mockingbird is the first to run into the intruder, suddenly being enveloped in a cloud of darkness. She can’t see anything but hears someone moving and launches one of her staves from her spring-loaded sleeve launcher.

Its a near miss, breaking a lamp instead of the intruder, who turns out to be Shroud. Y’know, that friend of Jessica Drew’s we met in that two-parter about saving Jessica Drew’s ghost?

Shroud realizes how skilled Mockingbird is and that he might have trouble if he takes her lightly so he goes right for the Vulcan neck pinch, knocking out Mockingbird. But she hits Shroud in the stomach guts with her second stave as she’s passing out.

Hawkeye then shows up, concerned that he hasn’t run into Mockingbird yet and drawn to the cloud of darkness, except not the Final Fantasy villain.

He shoots a light arrow, except not the Legend of Zelda powerup, into the cloud to no real effect so shrugs and shoots a sonic arrow instead.

Shroud flees the area and Hawkeye finds Mockingbird who tells him to shut up with the EEEEE arrow.

Hawkeye: “Where’d our man go?”

Mockingbird: “How should I know? It was dark!”

Hah.

The cloud of darkness passes through the area of the mansion/compound that Tigra is in and she recognizes it as Shroud’s darkness. She calls out to him but he doesn’t hear her because he’s in another wing about to be tackled by Iron Man who can see Shroud with his in-helmet radar.

Controlling darkness is all well and good until technology.

Ain’t it said, Rumia?

Shroud is also blind so all he knows is that an armored man is lunging at him until Iron Man calls him a fool for trespassing on Avengers turf.

And that’s when he realizes that he done goofed.

Hmm. What is that symbol on Shroud’s hood, anyway? It looks kinda like Aku.

Shroud manages to escape Iron Man’s grasp, sacrificing some of his neat cape. Although, it tears into an even cooler look so is it really a sacrifice?

He decides that he’s just going to get out of here.

Shroud: Have to get undercover and think out my next move. I don’t want to fight Avengers! That could become a life’s work -- and I have better things to do!

I can’t decide whether he means that he’d be at it all day or that this misunderstanding fight would lead him down an unwilling path of villainy as some third-string grudge holder.

Probably the former?

Anyway, Shroud is just leaping over the balcony when Wonder Man finally arrives and spots him. And unfortunately for Shroud’s ribs, he has been cultivating a reputation as a crimelord so Wonder Man flies in and tackles him into a tree.

Womp womp, except for Shroud this time.

Tigra shows up and jumps on Wonder Man from forty feet away to stop him from hurting Shroud any further, explaining that he’s her friend.

Shroud: “I’m certainly glad I’m not an enemy... I’d hate to think how I’d be treated then!”

Hah.

Later, in the medical room, I guess, Mockingbird applies bandages to Shroud’s ribs except on the outside of his costume. Does... does that do anything? Obviously not for open wounds. But for bruised bones, I guess the point is compression. But it feels less than ideal because he’d have to take off the bandages to take off his shirt. Just feels better to apply the bandages under the clothes, MOCKINGBIRD.

What makes it weirder is that we see him a couple panels later pulling his shirt down over the bandages. Which makes me think Mockingbird bandaged him on top of his costume and he had to pull his costume top out from under them and pull it down. He didn’t just stop her because that would be rude?

Shroud explains that Jessica Drew asked him to keep an eye on Tigra because of how the phone call made her act all weird. He followed Tigra from the airport to here and ran into a gaggle of superheroes. 

In the meantime, Hawkeye has verified Shroud with a report Captain America filed on him so Hawkeye believes he’s a good guy now.

Wonder Man and Iron Man apologize for going in swinging and Tigra for not just telling Jessica what the call was about. But Shroud tells them no permanent harm done.

Hawkeye decides to offer Shroud the last spot on the team (assuming that everyone already invited is going to choose to stay).

Hawkeye: “That trick you do with the dark is one slick little number... and anyone who can hold his own against us as long as you did obviously has what it takes in the skill department. Besides, what you did reminds me a little of how I introduced myself to the Avengers -- I broke in, too! Come on... What do you say?”

Shroud say... no.

He’s honored and a couple years earlier he would have jumped at the chance. But Wonder Man’s assumption didn’t come from nowhere. Shroud has been spending the last many months building up his outlaw rep so he can take down gangs from the inside.

Like the Green Hornet, I guess?

But since it’d be hard to be an Avenger West Coast AND keep up the fake outlaw thing, Shroud has to turn them down.

Shroud then pulls his cloud of darkness disappearing trick and nopes out.

With all that tied up, Wonder Man asks whats the big thing that Vision called him out for, leading an exasperated Hawkeye to start his West Coast Avengers sales pitch from the top.

Mockingbird: “That’s the spirit, fearless leader! Just remember, it can only get better from here!”

Hah.

So, that was the first issue of West Coast Avengers.

And there’s still no West Coast Avengers team.

Tigra and Iron Man still have reservations about the idea. Wonder Man has no idea why he’s there.

Its an interesting decision to hit the ground walking with this team. But it makes sense. The initial plan wasn’t for the West Coast Avengers to get an ongoing. This limited series was supposed to establish the concept, give a few Avengers affiliated characters something to be doing off-panel, and be able to be pulled in for crossovers and guest appearances as needed.

So the book can focus more on Hawkeye’s trials in actually getting this team going. He’s finally gotten to be a leader of the Avengers like he’s always wanted and now has to deal with all the frustration that Captain America or Hank Pym had with him, and then some.

Still, funny that the West Coast Avengers’ first adventure has them not only not a team yet but spending their time beating up a friend due to mistaken identity.

Will they get their act together by the next issue? Only time will tell. I tell a lie because Chronos never spoils stories. Only me will tell or maybe the Internet.

Follow @essential-avengers​ for the rest of the West Coast Avengers limited series. And for eventual bafflement when they get an ongoing. Also, like and reblog.

[genaleah]

ANSWERING WILDCARD QUESTIONS

For the first time in about a year maybe??? Some of these might be even older than that.

Yes, it is Korka! I definitely want her involved, she’s a wonderful character and there is a *lot* of fun paranormal stuff going on in this setting that she can help them research. Also, I’d just love for her and Nelson to become friends!

Thank you! I love him a lot, and it’s fun to picture him interacting with the other guys. They’d all make for some interesting uncle figures, but they might not be that great in terms of role models.

OHOHO. Devilish laugh. That’s a wonderful idea, and a good way to keep him occupied at some point. He’s a great character, but he’s incredibly powerful, and I want these dudes to solve their own problems whenever possible. 

A good question! I don’t remember most of my dreams, but there’s usually a consistent look to the vivid ones. Lots of water, mountains, creeks, and high, winding roads. There are also a lot of buildings that are closely integrated with nature, even though I have almost never seen construction like that. 

I had not, but now I have! Here’s a trailer, for anyone else that missed it:

https://youtu.be/33HXHaaagsw

I really like these new models! I’m looking forward to watching a playthrough when that’s available. Just like with Rhombus of Ruin, I don’t think I’ll be able to play this one myself.

DOUBLE FINE, I WISH TO SPEAK WITH YOU- no, I’m kidding! I think great minds think alike. But I’m really excited to learn more about that character and possibly involve them in this whole au eventually. 

I’ve actually tried to avoid almost any info about Psychonauts 2 so I can go in mostly-blind, and a lot of the characters are vague to me. It’s fun to look forward to, but it’s also a little harrowing because I don’t know how to anticipate for it!

N...NO..... I NEED TO... Honestly those are old enough that it might be a good idea for me to re-make them, as well as the playing cards I made for the mega playlist cover. I think it’d be nice to remake them as vectors... that might make for a nice art stream sometime. I’ll mention publicly if I start doing that, and sharing any of these conceptual Wildcards arts when they’re done. 

And if you’re just curious about what the tarot cards for the other characters are going to be, it’s this:

Eddie: Judgement, The Magician, The Emperor

Manny: Death, Justice, The World

Sam: The Chariot, The Tower, Strength

Max: The Devil, Wheel of Fortune, Joker

Although! I may actually give the Moon card to Max instead of the Devil, and replace the missing card from Nelson’s selection with the High Priestess?  🤔  I’ll decide when I get to it.

Could be! I’ve flip-flopped occasionally on if I want the split-a-cab gang to participate much in the story. I think they deserve a break, and splitting an apartment in New York seems like a good situation for the four of them.

Oh boy, that must be so disorienting for him. The Psychonauts deal with a lot of hippy-dippy weirdness in a seemingly organized way, but it seems like they’re not as paranoid about safety as a real federal organization would be. Not necessarily a good thing, considering one of their camp counselors went AWOL one day, and the head of the Psychonauts got kidnapped the next. They kinda need to get their act together.

Fun fact, in one of the earlier drafts of Chapter 3 I was actually going to make Nelson get scanned by the equivalent of a metal-detector for malevolent thoughts at the door and get really spooked by it, but I decided against it.

YEAH IT’S ON THE LIST

Honestly, a big bulk of the plot in this just regards characters having to face their mental health struggles... via facing it as literal internal demons, unstable powers, etc.  It’s going to take a little while for any of Eddie’s teammates to realize how MUCH he has going on under the surface because he does a pretty good job of hiding it. “Needing to help others above ever helping themselves” is a hard issue to notice if you’re not looking for it. But it’s a guarantee that once they find out he needs help, they’ll give it; whether that’s making sure he’s not working himself too hard, or fighting off demonic cultists. Care comes in many forms.

SHE NEEDS TO REST.... POOR SYBIL (on the upside, they don’t TECHNICALLY work there, so she might be fine most of the time.)

Strong Bad isn’t a Psychonaut! He’s just a vlogger and a petty (psychic) criminal. It’s honestly not very different from canon.

Free Country, USA is a smalltown hotbed of psychic activity. Nearly everyone there has some mild capacity for supernatural powers, but nobody really notices or cares. Strong Bad just pops the tops off of cold ones and.... sometimes alters reality, a tiny bit. But mostly just in regards to media. The cartoons, comics, etc, that he invents and talks about have a tendency to suddenly voip into existence and nobody knows how. I swear, there’s actually a line of him saying something to this effect, but I can’t find it anywhere.  Don’t worry about it! Nobody in town is ever going to do anything truly nefarious with their powers, so it’s not a high priority on the Psychonauts’ radar, just a weird footnote.

The only reason Homestar is an actual agent is because he seems like exactly the kind of guy to sign up for a job like that on accident and then stick with it. And he’s a talented telekinetic! None of his other friends know about his job or notice his absences.

And just for fun, here’s some weird instances of psychic overpowering that happened in the cartoon:

---

(Poor Strong Sad)

I’ve actually answered this one before! BAM  Pretty sure all of it is still accurate.

Nelson: He sees floating sheets of paper containing notes, questions, etc. Anything that he wants to know more about regarding that person. The notes are subject to edits, cross-outs, ripped pages, etc.

Guybrush: He sees the item that the person is carrying that he wants most. As he gets to know people better, he sees them for their useful skills first.

Manny: His view of most living people is not very kind...

The people he’s closest to will eventually look a lot less garish. More like a flattering, camera-ready versions of themselves.

Eddie: Sickass sketch drawings that look like they belong in the margins of a composition book. The illustrations improve as he gets a better picture of where they’d fit in the internal lore of his mental world.

Sam: A lot like Nelson; Sam pictures case files, though his are a bit more in-depth.

Max: Max’s visions of people are highly personal and uncomfortable for those who witness them. He sees Nelson as a puzzle with a piece missing. Guybrush is a ripped up voodoo doll. Manny is a forgotten ofrenda. Eddie is a powder keg with a long, lit fuse. Sam is Sam, but he’s the wrong one.

I also got two questions that were pretty big subjects, or that I didn’t want to repeat, so I’m gonna cover them pretty broadly:

REGARDING [X] CHARACTER OR SERIES INCLUDED IN THE AU

Sure, I support it! I’ve gotten this question a few times in regards to things that I haven’t had time to delve into yet, or I’m not interested in, so I’m not going to include it into the AU myself. But if you want to explore an idea like that, feel free! This AU is pretty dang collaborative.

My main focus is just on the main 6 properties: Psychonauts, Puzzle Agent, Monkey Island, Grim Fandango, Brutal Legend, and Sam & Max.

But my general rule of thumb for “characters that exist somewhere within the background of this story” are any other properties owned by Telltale, Lucasarts, or Double Fine. And considering all of the licensed games that Telltale was getting into before it kicked the bucket, that includes some really weird characters, even up to the Venture Bros. I loved that series, but I’m not really interested in doing anything with them for this story! Partly for my sanity, the canon I’ve picked are already a lot of content to play with. 

ASSORTED QUESTIONS ABOUT THE WILDCARD AU DISCORD

There’s no particular criteria needed to join the discord, and it’s not strictly on a need-to-know basis! Because it’s been a long while since anyone has joined, I've been hesitant about adding new people in... But I‘ve decided to try sending invitations again! Everyone who had asked about it in the past will be getting a ping by me in about a day or so, since I want to double-check if you’re still interested. If you’ve been nervous to ask you can reply to this post or message me privately.

Some things to keep in mind before asking or accepting the invite:

If you’re not a friend or a follower I recognize, I will likely double-check your tumblr along with some other current members before sending the invite. 

Here’s the Rules page, so you know what to expect before you join: 

Be Mindful - Respect other people's boundaries, don't do or say things that would cross the line. If your behavior makes other people feel uncomfortable or unsafe, I will remove you from the chat. In most cases I will try to resolve things with you and offer a chance to do better, but that will depend on the severity of the situation. And if you have any concerns regarding another member of the chat, you can contact me privately.

Health Boundaries - While discussions of mental health do occasionally pop up, do not rely on the chat for help. None of us are equipped to handle serious mental health concerns, and it will only cause distress for everyone. Please seek real help if it is needed! If you rely on people beyond the point that they have asked you to stop, I will remove you from the chat.

NSFW - Generally speaking, try to keep NSFW talk to a minimum. Swearing and humor is fine, but don't get too explicit please! Discussions should usually keep to a PG-13 / occasional R, but no NC-17.

Spoilers & Censorship - Please use the spoiler function to hide story spoilers, as well as discussions and graphic depictions of gore/excessive blood/body horror/severe psychological horror. Include a content warning so that people know what they could potentially be seeing when they click on the censored content. If the spoilered content is the subject of a back-and-forth discussion, please use another warning when you are switching to a different spoilered topic. (Note that these rules were added to the chat later, so be careful when using the search function or back reading.)

The canon series involved with the Wildcard AU are Psychonauts, Puzzle Agent, Monkey Island, Grim Fandango, Brutal Legend, and Sam & Max. Please be mindful of story spoilers!

Channel Organization - Also be mindful of which channel you're in and move a discussion over if need be! That way they don't get too clogged with unrelated info.

Creative Criticism - When it comes to writing, art, or character creation; try to be open to suggestions from others! Nearly all of the creative work in the chat is collaborative, so input from others is important! Creative criticism is not the same as judgement, and is not a personal attack.

Have fun! - Discussions move quickly in this chat! Don't feel bad if you ever need to step back, whether it's because of the speed or a disinterest in whatever current topic we're focusing on. If you ever want to come back, we're happy to have you and can give quick explanations if you feel out of the loop! :thumbsup:

We’re a group of approx. a half dozen to a dozen people, either posting very very quickly in a span of a few hours or barely anything for a few days. We’ve been in an activity uptick lately and there’s about a year and half of back content, too. If it’s hard to keep up on, not that interesting to read through, or you just have a hard time gelling with the group that's already there, there’s no shame in just lurking or dipping out if you need to.

We also talk a lot about Psychonauts OCs, so anticipate that.

[9worldstales]

MCU Loki Ep 1 “Glorious Purpose” intensive analysis

So, I’ve seen the first “Loki” episode and, of course, I couldn’t stop myself from talking about it.

Beware about spoilers!

We start in New York 2012 and that part is merely “Avengers: Endgame” albeit they changed a bit the visual so there’s more focus on Loki. We’ve close up of Loki when he is ‘Captain America’, when he says by to the Hulk in the lift and so on.

It’s a good choice because he’s basically the only character the visual seems to focus on (the only other character who gets a close up is the Hulk yelling ‘No stairs!’), subtly telling us the story is about him.

On a sidenote though, in “Avengers: Endgame” you might see Loki walked vaguely near 2022 Tony Stark and we also have Scott Lang asking Tony if he wears Axe body spray, which he confirms. In “Loki” we don’t see these scenes but keep them in mind, they’ll be relevant later on.

Anyway as everyone knows Loki picks up the Tesseract and disappear.

We get the Marvel opening but without the usual ‘heroic’ music, this time it’s more ominous? Or maybe it’s just me. “Marvel studios” also gets written in green and gold on a black background.

It’s not the first time Marvel changed how it presented, in the first episode of “WandaVision” for example it was in black and white instead than in the usual red and silver but it’s still a nice touch.

So we resume… with the visual showing us an insect walking through the desert. Then the camera shows us the full view of the desert, informing us it’s the Gobi Desert in Mongolia.

Rather high in the sky a space portal opens for a moment and the next we know is that Loki is lying flat on his back on the ground among clouds of sand which, I guess, were raised due to him falling into the desert. Loki is without the chains holding his wrists (did the power of the Tesseract destroy them? The fall?) and easily pulls away the muzzle Thor put on him and from his confused expression as he sits up and see people coming close to him, I get the feeling he didn’t exactly plan to fall there and in such a way.

So I guess maybe this is his first attempt at using the Tesseract and he didn’t quite gave it a direction on WHERE he wanted it to take him? Because really falling from the sky flat on the ground in the middle of the Gobi desert among people who didn’t even talk his language doesn’t seem the sort of thing one would plan.

Anyway, despite being in an unfamiliar situation Loki finds a rock to stand over and introduces himself:

“I am Loki of Asgard. And I am burdened with glorious purpose.”

Which yes, it’s how he introduced himself to Fury in “The Avengers”.

The people there have no idea of what he’s saying and asks him who he is in their own language (Mongolian). It’s unclear if Loki gets what they’re saying.

In the comics all Asgardians, can speak every language thanks to the ‘Allspeak’ or ‘All-Tongue’, in which what they say is understood by every species in their own native language.

In “Thor” earlier script though there was this dialogue:

Darcy: So, how can you speak our language? Volstagg: Your language? Ha! Silly girl, you're speaking ours.

In an interview Ray Stevenson (Volstagg) and Joshua Dallas (Fandral) discussed that bit.

Part of this seems to be set in a world where you guys fit in perfectly and the rest is very much on Earth. Ray: Yes, but on Earth we started it all, you see. This is just one of the realms. This is where all the legends come from. All the ruins have gone into myths and Norse mythology. It’s all us, love. It was all us before that. They’ve forgot their place, really. They think, “Oh, you speak our language?” and it’s actually, “No, you’re speaking ours.” Joshua: We invented it. [Ray Stevenson (Volstagg) and Joshua Dallas (Fandral) On Set Interview THOR]

The implication seemed to be that there was no Allspeak, they just spoke the same language because Asgardians invented it and Midgardians learnt it.

We also have this bit from “Avengers: Infinity War”:

Rocket: You speak Groot? Thor: Yes, they taught it on Asgard. It was an elective.

This implies it’s not that Thor was magically granted the ability to understand Groot, he had to study his language.

So well, I would say that no, so far Asgardians didn’t have Allspeak in the MCU, hence, unless Loki studied Mongolian or his magic powers granted him Allspeak, he can’t get what whose people are saying to him. So really, I don’t think he wanted to end up in Mongolia, he should have thought he wanted the Tesseract to just bring him somewhere very far from New York City. That is unless it’ll turn out someone managed to interfere and have him fall there for some purpose.

But, back to Loki.

As I said he doesn’t really get to talk with those people because a door opens up out of nowhere and near to the Tesseract which is lying forgotten in the sand and people in an armoured suit and carrying weapons start to appear.

Loki is kind of confused but he recovers fast.

Putting up a tone of confidence he orders the guy not to touch the Tesseract, thinking they aim at getting it. Another door opens up out of nowhere and we get another person in armour. To save time I’ll say the woman is supposed to be Hunter B-15. I wonder if she’ll get a name beyond this or not.

The situation of the people at the TVA isn’t exactly great but I’m running ahead.

Now, I think Loki preferred to deal with the Mongolian people because although he can understand what Hunter B-15 says, it clearly makes no sense for him.

Honestly I’m not going to blame him.

“Appears to be a standard sequence violation. Branch is growing at a stable rate and slope. Variant identified.”

This isn’t the kind of sentence that makes sense in a conversation, if you aren’t familiar with the TVA.

Hunter B-15 doesn’t care what she says doesn’t make sense to him and wouldn’t make sense to any other normal person. She calls him ‘Variant’ and talks as if everyone should know and respect the Time Variance Authority as an authority to defer and obey to.

I love Loki’s reply here:

“It's been a very long day, and I think I've had my fill of idiots in armored suits telling me what to do, so, if you don't mind, this is actually your last chance. Now get out of my way.”

He had a very bad day, he’s probably still bruised and sore due to his ‘meeting’ with the Hulk and his fall from the sky, he might very well be exhausted and he’s clearly confused but he acts as if he’s in control and won’t let himself be intimidated. I love him.

As he moves close Hunter B-15 hits him and informs him although he’s moving at 1/16th speed he’s feeling all the pain in real time.

Now… from when “Loki” trailers had started going around there had been a debate if the TVA is the good guys or the bad guys.

I’ll jump a bit ahead and tell you they clearly believe they’re the good guys.

But just from this bit you can start to question the idea they’re good guys.

They aren’t just acting as Vigilantes but they’re claiming an authority that no one on planet Earth gave them and demanding submission, not hesitating to beat people when they do not complain.

I know, some of you are thinking that Loki is a bad guy so serves him right but that’s not really the point because they aren’t even beating him for what he did to New York but for a crime he didn’t know he was committing, acting with an authority no one on Earth gave them. They just took it. And they would have taken it if the one picking up the Tesseract and ending up in Mongolia were to be a random person that out of bad luck had picked up the Tesseract and had ended activating it by accident.

This is not about Loki, this is how the TVA operates and it’s scary.

I don’t know if “Loki” will want to dig into police brutality and I honestly don’t dare to hope in it but it would be an interesting turn.

Hunter B-15 seems to be enjoying her work. I won’t call her evil yet, it’s clear she thinks she has the authority to do so, that the TVA enabled her to think she’s doing a good thing but she doesn’t seem to have… hesitation in doing so. One can still do his duty and not enjoy beating up people and causing them pain, yet the dialogue gives me the impression she’s very cool with beating up resisting Variants who has no idea they’re Variant and causing them pain.

Maybe it’s just me, maybe she’ll prove she’s actually a gentle soul but, for now, she doesn’t look as such. We’ll see.

Anyway she straps a collar around Loki’s neck and then, finally, she let him fall at normal speed before two of the men with her grabs him and carry him away while she picks up the Tesseract and orders to ‘reset the timeline’, which, at first I thought would mean they use that sort of mechanism to send back the time, erasing Loki’s appearance from the timeline. I’m not sure now. It might as well erase everything there. Loki turns to see what this mechanism does and from the look on his face it doesn’t seem anything good.

I hope not but well, in a way, sending everything back of some minutes erases lives that could have possibly be lived differently so yeah, in a way they erased lives. It’s the dilemma of changing time after all.

Whatever, Loki is dragged through the door that opens out of nowhere and appears at the TVA. The door disappears behind him and he has no idea where he is.

Now I guess it’s a good point to point out how people had been wondering which kind of Loki this one was, if he was based on the Loki on “Thor”, the one in “The Avengers”, the one in “Thor: The Dark World” or the one in “Thor: Ragnarok”.

In itself he can’t really be based on neither of them.

Loki’s characterization in “Thor” is split in two, there’s Loki prior to discovering the truth, and there’s Loki after discovering the truth, mad in shock and grief until he realizes his father would never accept him and let go of Gungnir.

This Loki can’t obviously be the Loki pre-truth but he can’t even be the one post it, as in that one the pain was still too new and raw and mixed with the desperation of denial and the attempt at ‘fixing things’.

So, can he be “The Avengers” Loki?

Marvel’s site confirmed that during “The Avengers” unknown to Loki, he was influenced by the sceptre as well. Very likely he wasn’t influenced in Clint Barton or Erik Selvig style, as the site says:

“Gifted with a Scepter that acted as a mind control device, Loki would be able to influence others. Unbeknownst to him, the Scepter was also influencing him, fuelling his hatred over his brother Thor and the inhabitants of Earth.”

Basically the sceptre on Loki works in a manner similar to how it worked on the Avengers when they started arguing in the Helicarrier. It warped his perception to the point he might have seen them as his most hated enemies, making difficult for him to see Thor was extending his hand to him or that the people were actually just scared but it didn’t make him a mindless, loyal servant. A different type of control on him but one that’s no less dangerous. Anyway I’ve talked at length about it while replying to a post so I’ll just link it here.

Loki is now very far from the sceptre so the mind stone shouldn’t be able to influence him any longer. As a result he’s probably more in control of his emotions.

So… “Thor: The Dark World” Loki?

Close enough but not quite, as that Loki had to go through Odin telling him some pretty awful things and spending a year forgotten by Odin and Thor in a jail.

Even more clearly he can’t be “Thor: Ragnarok” Loki as that one lived a huge chunk of things he hadn’t lived yet… never mentioning Waititi wanted “Thor: Ragnarok” to be his own thing, not a continuation of “The Avengers” and “Thor: The Dark World”…

“I was lucky enough they didn’t force me to acknowledge things- there were certain things in the film, like the play, which makes fun of the scene in The Dark World where Loki dies, but there’s a point to that play, sort of to recap what happened, but also to tell the audience, “This is not what you think it’s going to be, this film is not going to be a continuation of that. It’s its own thing, and what you think you expect from this film ends at this play.”” [Empire Podcast Spoiler Special: Thor: Ragnarok with Taika Waititi]

… while Loki is an alternate continuation of “The Avengers” so it has to be more “The Avengers” compliant than “Thor: Ragnarok”.

In short this Loki is his own Loki… or a Loki we hadn’t seen yet because we weren’t really shown much of Loki post sceptre influence, pre one year of solitary confinement.

Back to the story two things are interesting to point out.

One is that there’s a Variant Skrull as well in the TVA.

The other is that once there the Tesseract lost part of its shiny light as if it powered down.

Last but not least, instead than a futuristic look the TVA has the look of midcentury modern aesthetic as if, instead than going in the future ore remaining in the present, we’ve gone back in time.

Anyway, as another prisoner is dragged into the room, Loki tries to escape and discovers that Hunter B-15 can rewind his time so he’s back where he started. She then gives the Tesseract to a man at a desk, telling him to log it as evidence.

The guy, I’ll spoiler you and tell you his name is Casey, has no idea what it is and it’s Loki who has to explain him it’s the Tesseract and one should be very careful with it. Casey merely find it sounding dumb.

This is our first clue that to the TVA the Tesseract doesn’t matter at all. We’ve finished Phase 3 with the infinity stones raised at the level of immensely powerful artifact but, for the TVA, they’re nothing.

This is the first blow that the “Loki” series gives to the MCU as we previously knew it.

On a sidenote it’s nice Loki explained what it was to the unsuspecting desk man. If this weren’t the TVA he might have ended in the Gobi desert as well just by handling it carelessly.

Hunter B-15 drags Loki to a door and Loki tries to threaten her only to be showed inside that door.

Have you noticed how no one read Loki his own rights so far? That’s because he has none and the story is about to make it even more clear.

In the room there’s a robot of some sort (which I find slightly creepy despite its smile) which would like for Loki to undress. At Loki’s refusal accompanied with a comment that “This is fine Asgardian leather” the robot, without any warning, merely disintegrates his clothes.

Some assumed it was played for laugh but the music doesn’t suggest it, and Loki is clearly upset as he stutters when he speaks again. In real life, when you’re arrested, in many states your belonging are confiscated but they will be returned to you once you’re released or they’re returned to your family.

The TVA destroys them.

A trap door opens below Loki and he finds himself in another room, dressed up in TVA uniforms for Variants.

There’s something I think I need to mention which is I love how the show is characterizing TVA desk people.

The guy we’ve met before had his own character which we could guess despite the few lines and moments in which he appeared.

This new guy is also characterized.

He has a kitten in the room, which moves away slightly as Loki appears, probably scared and a mug with the image of a kitten. It’s tiny details but they made him a person instead of merely something that’s there.

He pushes in front of Loki a huge stack of papers telling him to sign to verify this is everything Loki said. Loki’s two following comments get printed and he’s demanded to sign them as well.

It’s another aspect of the TVA that’s actually unpleasant.

The amount of paper is huge and it would take a lot to read it all in order to check it but… the truth is the request is impossible. People isn’t made so that they can remember everything they’ve said, exactly as they’ve said it and it gets even more troublesome if there isn’t the other half of the conversation but just what we said.

So it’s not even a point to discuss if Loki really said just that stack of paper and nothing more or that stack of paper is too small, or if maybe there’s more paper he’ll have to sign or if that stack of paper only cover his time as a Variant and not the time in which he followed the Sacred Timeline.

The request doesn’t just make the TVA look like a bureaucratic place but shows it demands impossible tasks from its victims.

Oh, another interesting thing I noticed is that the camera is at a slightly lower point when it is on the TVA guy, so, despite the guy being seated, it gives him the impression of being higher than us viewers. On the over side when the camera is on Loki, it’s far from him, with the result of making him look small.

It’s a fine detail that gives us a certain subconscious impression.

The TVA guy stares at Loki as the latter gives up and start signing. It seems he only signed one paper, without even trying to read them all. I wish they had let us see how Loki signs. I wonder if he writes his name with runes, since the inscription on Thor’s hammer was in rune.

We’ll see, we’ll find out Loki knows how to write in English so he might use it to sign.

Anyway as soon as he finishes signing another trapdoor opens below him and he finds himself in another room.

So far the TVA is reminding me more and more of “The House that sends you mad” from “The Twelve Tasks of Asterix”. Well, of a very dark Variant of it to be exact, a Variant that reminds me of something way more unpleasant, but we’ll get there. In the next room Loki is asked:

“Please confirm to your knowledge that you are not a fully robotic being, were born an organic creature, and do in fact possess what many cultures would call a soul.”

Loki just asks if there are many people who don’t know if they’re robot and this is taken as a confirmation at which he’s urged to move through it. At Loki’s question he’s told if he actually were a robot and didn’t know it, the machine would melt him from the inside out.

Before thinking the situation is absurd let’s remember Vision exists in the Marvel universe and he’s a robot and he could have been programmed so that he wasn’t aware of this or might lose awareness of it due to a malfunctioning.

So if a Vision variant unaware to be a robot where to show up at the TVA they would just melt him from the inside out, no big deal.

The machine turns out to be a photographic machine, which doesn’t take Loki’s mug shoot but photograph his temporal area, which Loki has no idea what is and no one bothers to explain him.

Again, through the whole procedure there’s no request of consent nor explanations, Loki has no rights for the TVA, he’s merely supposed to comply.

Loki ends up in another room with another ‘convict’. They’re both demanded to take a ticket. The first convict refuses, Loki complain there’s just two of them so it’s useless but complies and put it in his pocket. Loki clearly has better manners or has figured out there’s no point discussing and is bidding his time to when arguing or rebelling might be worth something.

As Loki complains...

“This is a mistake. I shouldn't even be here.”

...we’re introduced with Miss Minute. Miss Minute is a cartoon watch which is supposed to FINALLY help people catch up before they stand to trial for their crimes. We’ll find out that Miss Minute is there not for the convicts’ benefit but for us viewers’ benefit as it explains us the origins of the TVA.

If we want to stretch things it might be there also for the TVA benefit as it might give them a sense of legitimacy.

Anyway Miss Minute’s speech feels like Odin’s speech at the beginning of “Thor”.

Is a self glorifying narration in which they paint themselves as the heroes and something that exist for other people’s benefit.

But it only paints the TVA in an even darker light because when it explains how one becomes a Variant it says:

“But sometimes, people like you veer off the path the Time-Keepers created. We call those Variants. Maybe you started an uprising, or were just late for work. Whatever it was, stepping off your path created a nexus event, which, left unchecked, could branch off into madness, leading to another multiversal war. But, don't worry, to make sure that doesn't happen, the Time-Keepers created the TVA and all its incredible workers. The TVA has stepped in to fix your mistake and set time back on its predetermined path. Now that your actions have left you without a place on the timeline, you must stand trial for your offenses.”

A break here.

From this little bit we’re introduced to the idea there’s only 1 timeline because each time another timeline could be born, the TVA erases it. This begs the question of how we’re supposed to judge this bit in “Avengers: Infinity War”

Stephen Strange: [Panting] I went forward in time to view alternate futures. To see all the possible outcomes of the coming conflict. Peter Quill: How many did you see? Stephen Strange:14,000,605. Tony Stark: How many did we win? [Dr.Strange stares intently at Tony for a moment.] Stephen Strange: [Pause] One.

If there’s only 1 timeline, it seems impossible there could be 14,000,605 futures… but actually the key might be that there could be 14,000,605 futures… but the TVA erases them. The time stone might show those futures who had the possibility to be born… and that the TVA squashes under their feet, all for the sake to make canon their favourite future, while all the others have to cease and desist. If this is true I do wonder if the actions of the TVA can be undone, so that we can have “Doctor Strange in the Multiverse of Madness”.

Back to “Loki” and to what Miss Minute said, which is pretty worrisome and not at all uplifting.

I mean… we can speculate who starts an uprising might be someone bad (which is not necessarily the truth, what about the people involved in the French Revolution or the American Revolutionary War or the Resistance in WW2?) but a poor guy who’s just late for work?

They don’t really see the difference between him and a guy starting an uprising because for them the matter isn’t what they were trying to do or which kind of people they were, just that they created another timeline, a crime they clearly weren’t aware to commit as no one warned them about how this was forbidden by this self imposed authority.

Loki clearly finds all this idiotic but then he hears the previous guy arguing with some sort of guard who demands his ticket. Now the previous guy is clearly a dumb liar, as insists he asked for the ticket but wasn’t given one, when he was loud enough and alone enough everyone in the room could notice he was the one refusing to take a ticket.

Anyway at this point the guard vaporizes him. In short they just murdered him, without trial or anything for the terrible crime of ‘not taking a ticket’.

Loki is appropriately shocked and hurries to get his ticket.

Something that’s also worth mentioning is the whole TVA is clearly structured to make people feel powerless.

There’s no explanation, they’re forcefully dragged in an unknown place by people claiming authority from an unknown structure, they’re forced to comply, they’re stripped naked against their will, dressed all the same, handled like objects who’re not called by their name but ‘Variant’ with even assigned a number, threatened to be melted if they don’t know they’re robot (and what if they know? They don’t take their picture or they just melt them?) and subjected to an explanation in form of a cartoon that feels absurd and that merely has the point of legitimizing the TVA as heroes and them as criminals.

Anyway Loki finds his ticket and shows it in a scene that reminds me of “Indiana Jones and The Last Crusade”. Do you remember when Indy and his father board a Zeppelin to leave Germany and Indy tosses a Nazi out of the window and explains his actions by saying the guy was without ticket so everyone shows his ticket at him?

Anyway at this point we’re shown the title, “Loki" with a filter that makes it look like an old movie and the letters changing font.

Okay, I’m a bit late but I should probably mention that, form when Loki go to the TVA the colouring had a huge abundance of yellow and brown with basically no blue (except a little in the Miss Minute cartoon) which gives an idea of this being like an old movie. The music is kind of creepy and there’s a clock tickling as we see it.

Which is an interesting idea. Even though the TVA seems so modern, furniture and the structure of the place felt all but modern. Even the robot that stripped Loki felt as if it just came out from a very old and outdated idea of how a futuristic robot would look like.

We resume the story but this time we’re at Aix-En-Provence, in France in 1549.

We’re in a beautiful gothic church and one of the TVA agents, explains that the corpses on the ground belongs to some Minutemen (the name for the TVA agents who do field work apparently) who responded to a routine Nexus event. As soon as they arrived someone jumped on them.

Mobius is there as well, and he’s apparently playing the part of the detective as he’s studying the corpses.

Hunter U-92, another poor guy who apparently has no name but just a number clearly suspect of someone and tells so to Mobius who agrees as the stab wounds look consistent with the previous, the Minutemen were hit on surprise and the reset charge (remember? The stuff that erase the deviation from the timeline) is gone.

Oh we’re also told this is the 6th attack in the last week THAT THEY KNOW OF. I hope for them it’s Saturday, because this would mean ‘only 1’ attack each day. This would be rather terrible if they were just at Monday since the day hadn’t even ended yet.

Now… remember when I was comparing the hunters of the TVA to police and wonder if the show would dig into police brutality?

Well, we’ve this scene in which someone enters in the place and Hunter U-92 is immediately ready to attack him with the wand they used against Loki or some other similar TVA weapon.

Only the one who got in is, apparently, just a kid, not the dangerous variant they’re searching and it’s Mobius who has to stop Hunter U-92 from attacking a kid who, for all they know, is completely unrelated to the crime, a kid that’s far from them and weaponless.

I don’t want to know what would have happened in Mobius hadn’t told him ‘Wait, stand down! Stand down’ (note how he has to say ‘stand down’ twice) and had physically stopped him in his track with his arm.

Mobius approaches the kid, speaking gently in French, apologizing for Hunter U-92’s behaviour, saying he’s just an imbecile.

Hunter U-92, annoyed by his comment, reminds him that he too can speak every language on the timeline, and that in short he can understand what Mobius is saying. The sentence though is more for our benefit, telling us those men can use the TVA version of Allspeak or whatever the “Loki” series wants to call it.

There’s a lovely visual showing us the kid and Mobius met in front of a beautiful stained glass window which depicts Satan.

To get the boy to talk Mobius draws a stick figure on some sort of small tablet he has and then passes it to the boy, telling him to tap on it. The boy does and the figure becomes a walking holographic projection which causes the boy to smile instead than assuming it’s witchcraft and running away screaming.

Okay, we are in 1549 and not in middle age, but that would still feel like magic even at the end of Renaissance age. But whatever, boys sometimes can put aside their fear for something that amuses them and this one had no troubles dealing with the guy killing all those TVA agents.

Anyway Mobius asks the boy if he knows who did that and the boy conveniently does. He points to the figure in the glass stained window, a horned demon, likely Satan. We might think it’s symbolic, that for the boy whoever kills someone is a demon… but… wait a moment.

Anyway Mobius says the boy shouldn’t worry because that devil is afraid of them and that they will put the boy back to where he belongs.

The boy smiles and Mobius notices his teeth are blue. It turns out that the ‘devil’ has gifted the kid with some… candies? Bubblegums?

I’ve no idea if those ‘Kablooie’ are actually some kind of American food, sorry about it but it’s clear although the kid has pointed to a devil, he wasn’t so scared by him to turn down his gift or to not try it out. And a devil giving him a gift doesn’t really feel like someone who wanted to harm him, despite the boy seeing him.

I get this feeling this ‘devil’ is targeting specifically TVA hunters only instead than the timeline or people inside it. He leads them somewhere and then attacks and dispose them. If he’s doing so because the TVA hurt him or because he wants to control the timeline that’s up to speculation.

We’ll later be said this guy is another Loki variant, and in this scenes we were given clues to figure out ourselves, like how he stabbed the TVA agents and how the boy pointed to a demon or, more specifically, to a horned figure, and we knows Loki wears horns when in his full Asgardian attire.

Anyway Mobius takes the ‘candies?’ ‘bubblegums?’ away from the boy and orders Hunter U-92 to run the candies for sequence period and temporal aura… not that Hunter U-92 thinks they’ll find anything but he’s worried because the branch is nearing red line and they need to go. In my understanding if it reaches the red line it could risk creating a multiverse.

Mobius sends the boy to play outside while Hunter U-92 orders to set a reset charge.

Again we aren’t explained what a ‘reset charge’ works.

However we’ve seen the cartoon with Miss Minute and in that one there was a reset charge and when it activated it didn’t rewind the timeline… it erased it. So the creepy things is it could be this reset charge just… destroys everything, erases all the lives in that alternate timeline because, in a way, they’re all Variants, and the TVA disposes of Variants.

Well, I hope I’m wrong because otherwise it means each time the TVA resetted a timeline they basically killed each life living in that universe, which would make Thanos, who ‘only’ killed half the population once, a rather tame mass murderer.

Anyway before the timeline is resetted another TVA person joins Mobius and it shows him a file about the just apprehended Loki. Maybe nobody except me cares but they had previously shown an image of a Loki file and in it there were question marks on where the race was. Now they’ve written ‘Frost Giant’. Either the file shown was for another Loki Variant or they managed to remember Loki was a Frost Giant and fix the file.

It could be the file for another variant though, as his height in it is given as 6’4” while in this file he’s 6’2” (1.88m) which is Tom Hiddleston’s true height (for who’s curious 6’4” is Jeff Goldblum’s height… not that I think the Grandmaster is walking around pretending to be Loki because well, this would be weird…)… or they messed up Loki’s height as well. We’ll see.

As I know some have wondered about it, Loki’s eyes are given as blue and not as green… which is correct as Tom Hiddleston said:

Loki is a sexy villain, but that’s not part of his ambition, is it? He doesn’t seem to be interested in love or sex but he has this sexuality about him, maybe it’s his lust for power. What do you think of Loki as a sexy beast? Tom Hiddleston: [Laughs] That’s the first time anyone has ever used that phrase about Loki. It’s fascinating isn’t it? I don’t know because it’s not a part of the conscious construction. I take relish in playing him. I think there’s a physical self-possession about him, a self-acceptance. Of course I’ve been very exacting about his physicality. You know, I was born with very blonde, curly hair, and a mixture of Scottish and English genes, and my complexion is very ruddy and healthy. In making him with this raven black hair and blanching my face of all color, it changes my features. Suddenly my blue eyes look a lot bluer, which lends a severity to my face. And even my own smile has a distorted menace to it. Whatever comes through me naturally is distorted. It’s almost like a filter on a light. ['Thor: The Dark World’: Tom Hiddleston on boom times for evildoers]

Which implies he never wore green contact lenses to play Loki.

Whatever, we’ll go on.

We’re back to the TVA and Loki’s trial starts.

He’s taken in front of the judge Ravonna Renslayer who addresses to him as Laufeyson. Except for a small comic later retconned in “Thor: The Dark World”, this is the first time in the MCU Loki is called Laufeyson… which is a little sad as he never identified as such (the closest he goes is to say he’s Loki of Jotunheim when he tries to trick Malekith) yet meaningful as well as the TVA evidently never recognized Odin’s ‘adoption’ as valid. For them he’s not Odinson, he’s Laufeyson because that’s what he’s born. ‘Loki Odinson’ in his file is labelled as an alias same as ‘God of Mischief’, nothing more.

But well, they aren’t really interested in his name, for them he’s ‘Variant L1130, AKA Loki Laufeyson’. Renslayer informs him he’s charged with sequence violation 7-20-89 which can mean everything and nothing at the same time as, to us, and to Loki, is just a collection of numbers, and asks him how does he plead.

Loki tries, as it’s his habit, to put up a polite yet confident front.

He claims a god doesn’t plead and has been a very enjoyable pantomime, but he'd like to go home… and boys, we know he would really like to do so. He’s putting up a front because we saw how uncomfortable and scared he was through his permanence at the TVA.

In an old interview that’s sadly no more available Tom Hiddleston said:

“The thing with Loki is that, if he’s afraid, he won’t show it. He’s been highly trained, through the experience of his slightly traumatic life, to shield his fears.”

Why didn’t we see him scared in “The Avengers” even though he took risks in it too while now we’re allowed to catch glimpses of his fear here and there?

“The Avengers” had to paint him as the big adversary, the great obstacle the heroes have to overcome.

Are we going to feel that bad for you in this movie, or are you gonna – ? Tom Hiddleston: Yeah. He does some pretty nasty things. On one level, it was like, I knew I had to up the ante because there’s seven superheroes that make up the Avengers, and, in order for the film to work, the film is the most redemptive, feel-good, kind of fist-pumping story. And, in order for the audience to be pumping their fists for Iron Man, and Hulk, and Thor, and Captain America, they need to overcome a really big obstacle. And, unfortunately, that big obstacle is me. [LAUGHS]. I hope I have retained a sense of his kind of emotional damage [like we saw in Thor]. There is a lovely scene with Chris Hemsworth where you see a glimmer of his — his vulnerability, but… he’s yielded to the dark side, you know? [Interview With Tom Hiddleston AKA Loki]

In this episode the Loki we met isn’t the adversary, he’s the main character, so we get glimpses of his true mind. He’s afraid or confuse, yet he reacts to all that by putting up a front, by presenting himself as confident and in control. It started from when he found himself in an unfamiliar situation, facing the Mongolic people and it continues and will continue and mind you, it’s a good and popular technique to hide your fear.

By presenting yourself as confident, your opponent might believe you might have some reason to be confident and be more careful and hesitate in attacking you, and sometimes this is all the advantage you need.

Renslayer remains unfazed, as she likely knows Loki has no advantage over her. She knows he’s powerless, in an unfamiliar environment he knows nothing about, forced to wear a collar that somehow controls his time, submitted to rules he knows nothing about and surrendered by enemies.

Loki isn’t the first who was carried in front of her and she knows he won’t be the last. The system is unjust and the trial a farce but she’s persuaded for it to be righteous and the right way to deal with ‘Variants’ as this leads to the greater good of avoiding wars into the Multiverse so justice and fairness are clearly not something she has to care about.

Anyway she pressures the issue and, understanding she won’t let go, Loki shifts the blame on the Avengers, pointing out how he came into possession of the Tesseract because THEY traveled through time, according to Loki in a ‘last-ditch effort to stave off his ascent to God King’.

So yes, even though he was soundly beaten by them and he’s in a bad spot Loki still tries to play highty and mighty and not cower up in fear. But how did he know about the Avengers travelling through time? We saw he noticed the whole thing with the case, but how did he knew the Avengers were involved and not some other guy?

Remember how I mentioned that “Avengers: Endgame” had Loki walking vaguely near 2022 Tony Stark and we Scott Lang asking Tony if he wears Axe body spray?

Well, Loki clearly has a fine nose because he recognized the Axe body spray coming off from 2022 Tony Stark and figured out he was a future version of 2012 Tony Stark.

It’s kind of a pity they hadn’t kept these bits in the series but whatever, I get why they might have cut them.

Loki, like most of the fandom, blames them as the Time Criminals and suggests if Rendlayer were to provide him a taskforce he could eliminate them for her.

As he spoke we see Mobius intruding in the trial and sitting down as it carries on.

Back to Renslayer, she isn’t interested in the Avengers, claiming they were supposed to go back in the past but Loki wasn’t supposed to grab the Tesseract and escape.

Loki laughs at the absurdity of the statement and demands to know who decided this.

The answer is the Time-Keepers who dictate the proper flow of time so that Renslayer can dictate the proper flow of time according to their dictation.

And you start to see the horror of this system.

The Time-Keepers arbitrarily decide which is the proper flow of time and impose it on everyone. They basically make the rules according to what they like the most… and, of course, they don’t inform anyone of which ones the rules should be.

When Loki picked up the Tesseract and escaped there was nowhere a big warning sign saying ‘if you do so you commit a crime’. He didn’t even know there were Time-Keepers and a sacred timeline and the TVA did nothing to fix this.

While in many countries you’re supposed to know the law and pledging ignorance is not an excuse, the TVA is a self imposed and not recognized Authority of whose existence nobody knows anything which dictate rules according to the Time-Keepers’ tastes.

There’s the risk of total annihilation due to a multiverse war?

Fair worry but then why they get to decide how the sacred timeline should be? Which are their criteria for it? Why the Avengers going back to time was okay?

Although they saved lives, the whole things was incredibly messy as discussed in “The Falcon And The Winter Soldier”… and that series only touched the tip of the iceberg.

But whatever. The Time-Keepers, which Loki defines gods because that’s basically how the TVA paints them, at the moment remind me of the gods of gods in the “Loki: Agent of Asgard” comic and with them the whole idea everything is a tale.

The Sacred timeline feels like nothing else but the tale the Time-Keeper enjoyed, their canon, as if they were Marvel. Everything else is a fictional Au written by fans that gets a ‘cease and desist letter’ and is erased from the net.

Anyway Loki is feed up. He decides to plea ‘guilty’ but not of the crime they’re trying to pin on him but of… using his magic against them. Only his magic doesn’t work.

Hunter B-15 is probably the first who realizes what’s going on and, chuckling, explains it to Renslayer who’s not catching up. As Loki gets angry for not managing to use them, Renslayer explains magic powers don’t work at the TVA, which might explain why she didn’t recognize what Loki was doing while Hunter B-15, used to fieldwork, did. Renslayer might have never seen people using magic powers but Hunter B-15 might have done so.

Only no, because in an interview Gugu Mbatha-raw said about her character:

“She had a history of a hunter and a more military role like Wunmi’s character” [Many Sides of Loki | Marvel Studios' Loki Cast & Creators]

So, no, I’ve no idea why she didn’t catch up. Was she playing dumb? Has she been so out of the field she didn’t recognize the signs? Or, despite being the judge at Loki’s trial she hadn’t read his file and didn’t know he could do magic? It can be, as I said the trial is a farce so she might not have cared to document herself beyond a certain point.

Hunter B-15 is still laughing. She’s enjoying this.

Anyway she decides Loki is guilty and sentenced to be ‘reset’… you know, like the timelines.

Note again how Loki had no rights in this. He had no lawyer, he wasn’t explained things, he was just asked how he pled but that one was more a pro-forma than anything else. They had already decided he wasn’t allowed to do what he did and therefore guilty.

The trial was a farce to give the TVA a semblance of justice but it’s all a show.

Back to Loki, he has no idea what they mean with ‘reset’ and they didn’t even have the courtesy to explain it to him. Angrily he says:

“You ridiculous bureaucrats will not dictate how my story ends!”

To which Renlayer replies:

“It's not your story, Mr. Laufeyson. It never was.”

So yeah, now they’ve started with the references to stories which are another subtle jab at the “Loki: Agent of Asgard” plotline.

By the way, keep in mind Renslayer’s reply.

As Loki complains they have no idea what he’s capable of and tries resisting being taken away Mobius speaks up.

Fundamentally Mobius wants Renslayer to pass Loki to him as he has a plan.

There’s clearly a story behind the relation between Renslayer and Mobius, they aren’t just professional to each other, they’re closer than that.

Renslayer agrees although she says he’ll get the blame for whatever goes wrong.

Mobius looks at Loki, Loki stops struggling and asks him who he is and Mobius smiles in a satisfied manner and doesn’t reply.

The scene shifts to them walking through the place, Loki threatening to burn the place to the ground. Mobius clearly doesn’t take him seriously, saying he can start from his desk.

The fact is… Loki is powerless and Mobius knows. We know too, we’ve seen how the trial went. However there might be more at play. Mobius knows the whole of Loki’s life which as far as we know, included only episodes of violence post discovering who he was and during his permanence on Earth.

To him Loki’s statement might feel more an expression of frustration than a sincere threat.

As they walk Loki happens to see the world outside the place he’s in from what looks like a window. He’s surprised and Mobius encourages him to have a look.

Loki points out he though there was no magic there. I’m not sure if he’s saying so because he sees car flying and assume it’s magic.

In “Thor” and “Thor: The Dark World” magic was compared to science so maybe that’s what he’s saying, that the world he sees seems to advanced.

Mobius insists there isn’t magic there so Loki says that’s not real.

They exchange some more lines in which Mobius continues to play on Loki’s declaration he’ll burn the place down.

I’m curious.

We know Mobius is actually chasing another Loki Variant, one who killed many TVA agents (we’ll see some of them got burned down too).

He’ll later claim this Loki is not dangerous, but what’s the difference between this Loki and the other? What makes the other dangerous? And can’t this Loki get dangerous too?

Is Mobius doing the same that Loki does?

Acting confident and joking about Loki burning down the place because he actually fears he might have the potential to just do so if not handled correctly?

We’ll see.

Once they’re on a lift Mobius decides to introduce himself as ‘Agent Mobius’ and offers him his hand to shake… and I’m reminded of this scene from “The Avengers”.

Natasha: But you figured I'd come. Loki: After. After whatever tortures Fury can concoct, you would appear as a friend, as a balm. And I would cooperate.

The TVA doesn’t see what they’ve done as torture or even as ‘wrong’… but many states wouldn’t approve of some sort of vigilante capture a person for something THEY labelled a crime, force him to undress, destabilize him to the point he’s not even sure if he’s a human or a robot, put him through a mock trial and then threaten him to be ‘reset’.

It’s in dystopic universes you find authorities who can just arrest you for breaking laws they made up without your knowledge and then decide of your life.

Mobius might not be looking like Natasha but, after all this, someone acting like a friend would make him automatically more cooperative and, in a way, it does.

Hunter B-15 had to drag him where Loki just follows Mobius more or less quietly.

Anyway, back to the story.

Mobius decided to introduce himself in a friendly manner and I would want to remark Loki asked him who he was when they were at the trial so this is a rather late introduction which he might be doing right now because we just hear Loki sighing as he’s clearly unnerved.

Mobius is playing the role of the good cop in a way, trying to gain his trust.

Loki doesn’t handshake, he’s not going to make friend so easily, but asks him if he’s taking him somewhere to kill him.

Mobius says no, that’s where he just was which, if it’s not a lie, means that resetting Loki would have meant to actually kill him. So again… what about the timelines that get resetted? All the people in them get killed? The place gets razed to the ground? Disintegrated? What?

Mobius’ reply might be truthful but it’s also clever because he’s setting himself up as Loki’s ‘saviour’. Others wanted to kill Loki but he? He just saved him which begs the question of ‘shouldn’t Loki be a good boy and comply with Mobius’ requests and trust him and all the stuff?’

Now… I know that people feel like Mobius is a good guy because he saved Loki but the story will make clear he didn’t do it out of the goodness of his heart… but merely because he needs him.

We’ve seen Mobius with the boy before, he made him comfortable so that the boy complied and gave him info, which is one of the many interrogating techniques.

That’s what Mobius is doing here.

Anyway we proceed with the best known scene of “Loki” as it was in the very first trailer.

I remember people discussing Mobius’ words about Loki liking to talk, as in the first movie he was often silent and quiet.

Well, to be honest if the movie had been left in his original cut Loki would have surely talked more, but what stuck with me watching “Thor” wasn’t so much that Loki was often quiet, but that many times he attempts to speak but he’s silenced.

On the Rainbow Bridge Volstagg asks him:

Volstagg: What happened? Your silver tongue turn to lead?

…which means Loki normally was skilful at persuading people to believe what they say or to do what they want them to do, which doesn’t necessarily makes him a chatter, but surely someone who knows how to talk. And we see that in “The Avengers” when nobody is there to interrupt him he allows himself to monologue. It’s an interpretation, of course, with whom people can disagree.

Anyway Loki decides to talk with Mobius. It’s not a stupid decision. Mobius is clearly not seeing him as a threat but he’s not being overly hostile either. Loki is completely a fish out of the water so it’s in his own interest to play along with Mobius, talk with him and find out more information about the place. In fact the first thing he asks is how long Mobius had been there, because this is tied in how much knowledge he could have.

In fact, the more he’d been there, the more he might know.

Mobius though remarks since time passes differently at the TVA he has no idea… which is a convenient reply as it only confuses Loki and explains nothing. In fact he could have said not the exact time he’d been there but give an approximation like ‘a lot’ or ‘very little’, instead, by giving out a vague reply he gives Loki an info he could do nothing with (time passes differently) and no real info about himself. At the same time, by giving out an answer, he again seems amicable, like how, when Loki asks what his answer means, he says Loki will catch up, as if he’s not withholding information, it’s just ‘complicate’.

Loki resorts to check the information Miss Minute gave him in her cartoon, which Mobius confirms because he has nothing to lose.

Loki laughs and tries to spark a response by being rude in defining the TVA system.

“The idea that your little club decides the fate of trillions of people across all of existence at the behest of three space lizards, yes, it's funny. It's absurd.”

Note, ‘little club’, ‘three space lizards’, ‘funny’, ‘absurd’.

He’s mocking the system, likely in order to get a response, but also in order to gain some measure of control.

It’s something he has done during the trial and is something he did in “Thor: The Dark World” facing Odin… or in “The Avengers” when he was held captive. But in “The Avengers” and “Thor: The Dark World” he had some understanding of what to expect. Here he’s blind flying, trying to test Mobius to see what he can get out of him while still trying to hold a façade of control.

On another note Loki says rather often how all this is absurd. To him this is a world of nonsense, like the one Alice found when she ended up in Wonderland (and it’s ironic how “Alice in the Wonderland” also contain a mock trial about the stealing of tarts in which rules are made on the spot as well as Alice here and there questioning her own identity or discussions about paths…) but I think having him repeat ‘it’s absurd’ so often it’s also for us viewers, to drive home we’re in a dystopic universe.

The TVA isn’t good, it’s absurd, with its rules that don’t make sense, a huge bureaucratic world and we might laugh at it if it wasn’t that’s also an organization that kidnap people from their timelines and subject them to their rules, rules they follow without questioning, like religious fanatics.

Who says what the Time-Keepers chose it has to happen is better than something else? They don’t know but, what’s more, they don’t care.

But let’s go on.

Mobius don’t fall for Loki’s provocation, he just retorts

“I thought you didn't like to talk.”

Which is a convenient way to answer Loki without giving Loki any answer.

They enter in a room which, Loki comments, looks very much ‘like a killing-me kind of a room’.

Mobius turns the situation by shifting the blame on Loki. It’s not that the room looks like a killing-him kind of room, it’s just that Loki is not big on trust. Because Mobius is totally deserving Loki’s trust because he saved him and was nice to him and acted like the perfect good cop so Loki really, should trust him. If he’s not doing it then it’s because he’s lacking in the trusting department.

But Loki had had his fill with trusting people and then discovering he wasn’t his parents’ son nor an Asgardian. His answer his moved by all the pain that discovery caused him.

“Trust is for children and dogs. There's only one person you can trust.”

Mobius’ reply again doesn’t take Loki’s words seriously, as if they were just something to slap on a shirt. He’s being passive aggressive in order to force Loki to question himself and keep control of him. The more Loki is unsure and question himself, the easy for Mobius is to manipulate him.

A break here.

It’s not that everyone has only one person they can trust… actually sometimes you can’t even trust yourself, while some other times you’ve plenty of people you can trust.

The idea you CAN’T trust in anyone is as damaging as the idea you should blindly trust in people but, in Loki’s situation yes, he should definitely only trust in himself, everyone in that situation should do it, trauma of being lied through your whole life or not, because Mobius isn’t doing all his out of good will but out of his need to use Loki.

So he’s not to be blindly trusted, he’s to be assessed so that one can see up until which point Mobius can be of some aid, so as to turn the exchange one of reciprocal benefit. If Loki were to hand himself in his hands, instead, only Mobius would get a gain for it, while Loki would risk to be used and then disposed once he has ended his purpose.

As Mobius is fiddling with a round thing that apparently control a projector, Loki questions him again, but with those words he has raised the bar a little.

If Mobius wants him to trust him, he has to start giving more clear answers.

“If the TVA truly oversees all of time, how have I never heard of you until now?”

Mobius is still good at diverting the attention as his reply irritates Loki and causes him to lose track of the conversation.

Mobius: 'Cause you've never needed to. You've always lived within your set path. Loki: I live within whatever path I choose. Mobius: Sure you do.

There are two things from the exchange.

One is that Mobius ends up confirming that the TVA is sort of a secret organization that decides for others, that’s ABOVE OTHERS. They don’t let you know which rules you’ve to follow, they decide which rule you’ve to follow and then let you blind fly until you stumble into a rule you didn’t know exist and break it. And then they come to punish you. And that’s when you learn they existed.

The second is that again Mobius, while not openly disagree with him, is dismissive of Loki. He has made him defensive by pushing him to say ‘I live within whatever path I choose’ then he hadn’t outright said ‘no, you don’t’ but by the way he replied he hugely implied it in a manner that sounds more like he had said ‘oh, you naïve child, and your delusions, of course you don’t chose your path’.

As Mobius invites him to sit down Loki tries to attack him since Mobius gave him his back but Mobius uses what we’ll learn is a Time Twister to loops him and send him standing back where he was. Then Mobius very calmly insists for Loki to have a seat, again driving home the point that Loki has no choices and is powerless.

Loki complies and sit down.

We can argue if he should have or not but the truth is there was no real point in resisting beyond making things difficult for himself because if there’s something true here is that he’s powerless and he should just bid his time and search for a weakness, instead than resisting.

Of course this is all well and good for Mobius, as things are proceeding in the way he wants.

Loki crosses his arms, which, in body language, hints that he’s feeling anxious, resistant, tense, insecure, afraid, or responding to distress. Arms crossed indicate also defensiveness, unyielding attitudes, and perseverance working as an act of self-comfort.

Long story short, Loki is not comfortable or willing to cooperate and he’s physically putting a barrier between himself and Mobius… and letting Mobius know of this.

Mobius is unfazed.

“If looks could kill.”

It’s a simple sentence that let Loki know that yes, he gets the message Loki isn’t going to go down to this willingly, but also reminds him of Loki’s powerlessness and of how Mobius is unafraid and in a position of power. ‘If looks could kill… you would kill me, but looks can’t kill so you’ll have to sit there and do as I say. Your resistance is futile. Amusing even.’

Loki doesn’t play along, making clear he doesn’t plan to cooperate. At least not easily. Mobius doesn’t believe him.

“Really? Even when you're wooing someone powerful you intend to betray? Come on.”

It’s an interesting sentence for Mobius to say, because he’s lampshading Loki isn’t using with him the same technique he used with Thanos and the Grandmaster. Since the story knows Loki should act more cooperative and obedient according to his previous records, I wonder which point they’re trying to make. Is the idea that Loki started to act as such after his one year imprisonment in Asgard, understanding opening defiling Odin got him nowhere and that he should have instead played along, therefore this Loki hadn’t gotten to that point yet?

Or is the idea Loki is deliberately choosing to act like this because he has already figured playing along with Mobius wouldn’t work?

We’ll see.

The answer could as well be a Doylist one, the audience expects him to act a certain way, the author is aware Loki normally acted in a certain way but they wanted him to act differently for… reasons.

We’ll see.

Mobius continues to make a show of his power. He is specialized in the pursuit of dangerous Variants but not like Loki, Loki is just a pussycat… only it’s EXACTLY like Loki… as it’s Loki he’s pursuing. Another version of him. He’s not telling him that though, exactly because the whole point of the discussion is making Loki feel small so that he can control him.

Credits when it’s due, Mobius is playing a dangerous game because the Loki he’s pursuit and this one might be two different Variants but they’re always Loki and this one has all the potential to become the same as the other, if he’s not already and just keeping it buried inside himself.

Anyway, the fact that Loki is so contrary, forces Mobius to act as if he were willing to make Loki some concessions for his cooperation. A reward for good behaviour if so we can call it.

“You answer them honestly, and then maybe I can give you something you want. You wanna get out of here, right?”

The truth is I genuinely doubt Mobius can grant him that, or, at least, not that in the way Loki might intend it. The TVA erased the timeline he came from. He has no more a place outside of the TVA. The most ‘getting out of there’ could mean is what will later happen, make him a worker for the TVA. He won’t be allowed to go back home, he’ll just have to serve them in exchange for having them not delete him.

Mobius though shifts cards and pretends it means he can go back to where he was, asking him what he would do, should he return.

I particularly enjoy this dialogue.

Mobius: You wanna be king? Loki: I don't want to be, I was born to be. Mobius: I know, but king of what exactly? Loki: ( Scoffs ) You wouldn't understand. Mobius: Try me. Loki: Midgard.

The ‘I don’t want to be’ echoes what Loki said to Thor in “Thor”…

“I never wanted the throne! I only ever wanted to be your equal.”

…and ties in with what Odin told him as a child…

“Only one of you can ascend to the throne. But both of you were born to be kings.”

Which is something Loki hints at in “Thor: The Dark World” as well.

Frigga: You know full well it was your actions that brought you here. Loki: My actions. I was merely giving truth to the lie that I had been fed my entire life, that I was born to be a king.

“The Avengers” suffers of a huge plot problem in this regard, which is the jump between Loki in “Thor” and Loki in “The Avengers”. In the year that went between the two Loki is deeply changed but “The Avengers” refused to explain why, it just shows us a different Loki.

To search for an explanation we’ve to read interviews:

“And in the time between the end of Thor and the beginning of the Avengers, Loki has explored the shadowy highways and byways of the universe – and he’s met some terrible, terrible people and probably had some awful experiences, which he has survived and overcome. So by the time he arrives in The Avengers, he knows the extent of his power – and he’s unafraid to use it. And more importantly, he’s unafraid to enjoy it.” In Marvel’s The Avengers, Loki sets out to remake Earth as his personal kingdom. “That’s his motivation. Thor has his own kingdom in Asgard. Why shouldn’t Loki have his own? As Loki sees it, planet Earth is a world at war with itself. All of these races and tribes are fighting each other. And if they were united in the reverence of one king, there would be peace. It’s not that he plans to attack Earth. It’s that he plans to ‘restructure’ it as a new kingdom of which he will be the head. Loki feels that it’s his birthright. He feels that he was born to rule. And he sees the human race as an incredibly weak people who actually were made to be ruled. And, in his mind and in his opinion, the human race functions better under rule.” [The art of The Avengers]

“I think he went, like with everything else, to—Joss Whedon and I discussed it—to a sort of… it was just, like, the worst place imaginable. I think he went to, sort of, all of the darkest recesses of the universe. I’m sure he had a brush with—several brushes with death. I think he ran into the shadiest characters you can find in the Nine Realms. I think he had to rely on his wits to protect himself. It was really, really, really unpleasant, I think. I don’t have any frame of reference for that, except for imagining what it might be like to be kidnapped by a terrorist or something and have to survive a very, very frightening and precarious existence. But whatever it was, it was important when Loki came back for The Avengers, that whatever compassion he had left was absolutely shriveled to a minimum because of the experience that he had. Harrowing, I think, and scarring for life—in a way that Thor and Odin and Frigga find very, very difficult to understand.” [Tom Hiddleston - live on stage Q&A: Popcorn Taxi - part 2]

And in the end we stumble into this:

“Well, I can’t tell you exactly what went on because it’s this dark, dark secret that I didn’t make up yet. But, the other day, I had trouble with that because he had this very passionate Shakespearean tragedy thing going on in Thor and then I needed a villain who’s not only capable, but ready and willing and anxious to take on all these heroes. For me, he just basically went on some horrible walkabout… That was pretty much as far as I got.” [Joss Whedon told Comic-Con the question he doesn’t want us to ask ever again ]

So fundamentally “The Avengers” didn’t know what happened to Loki that changed him, they just went with the idea something bad happened, which of course should have happened since Loki met up with Thanos, who’s famous for torturing his daughters. They also tossed in that while on Midgard he was under the influence of the Mind stone.

“Gifted with a Scepter that acted as a mind control device, Loki would be able to influence others. Unbeknownst to him, the Scepter was also influencing him, fuelling his hatred over his brother Thor and the inhabitants of Earth.” [www.marvel.com/characters/loki/on-screen]

Ultimately though, what happened is never stated nor explained.

When Loki wants Asgard’s throne it’s clear he’s doing so because he associates it with his father’s love. Who gets the throne is the son Odin’s love.

“To prove to Father that I am the worthy son. When he wakes, I will have saved his life. I will have destroyed that race of monsters. And I will be true heir to the throne!”

But Midgard? Midgard is chosen by Thanos, because he needs the Tesseract, which is there. Did Loki wanted it too? Or was it Thanos who chose for him? Hard to say but “The Avengers” still ties Loki’s wish for a kingdom to his father.

THE OTHER: You question us? You question him? He who put the scepter in your hand, who gave you ancient knowledge and new purpose when you were cast out, defeated? LOKI: I was a king! The rightful kind of Asgard! Betrayed! THE OTHER: Your ambition is little, born of childish need. We look beyond the Earth to greater worlds the Tesseract will unveil.

It makes sense. When Loki is told his whole life is a lie, his first action is try to erase the truth by erasing Jotunheim. That was as much personal as practical (they were at war with Jotunheim). Becoming a king might have been another attempt at still erasing the truth. He doesn’t attempt to become king of Jotunheim, as it would be his birthright, but of something else, Midgard. He’s imitating Odin.

Loki: I went down to Midgard to rule the people of Earth as a benevolent god. Just like you.

All this to say that Loki’s reply ‘I don't want to be, I was born to be’ is actually a lot more layered that it sounds is actually a lot more layered that it sounds and that’s why he doesn’t think Mobius would understand it and gives him a simple answer, something he thinks he could understand. A location over which he could rule.

At the same time the irony of the situation isn’t lost on me. A moment ago Loki said he ‘live within whatever path he chooses’ yet he claims he was born to do something. This wasn’t a choice, this was predetermination. Or letting Odin dictate his path.

Anyway Loki claims he would then move to conquer Asgard and the Nine Realms and agree when Mobius suggests him to go for the space… and honestly I think here Loki is just playing a part. He’s giving Mobius the answers he thinks Mobius wants, an evil Loki. “Loki” clearly is not going to retcon “Thor: Ragnarok” and we’ve seen that in that movie once Loki had the throne of Asgard he didn’t start a conquering rampage but just contented himself with it.

So, no, Loki doesn’t want to rule the universe, he just wants to prove himself something he was told was true.

Mobius don’t take him seriously, either because he knows Loki doesn’t aim to universe domination or because this is convenient for him. He says something interesting though, albeit misleading.

Loki: Mock me if you dare. Mobius: No, I'm not. Honestly, I'm actually a fan. Yeah. And I guess I'm wondering why does someone with so much range just wanna rule?

With ‘I’m actually a fan’ I don’t think he means he supports Loki, I think he’s subtly hinting he’s very interested in Loki. The other Loki, the Variant he’s trying to catch and that holds them all in a stalemate. Kind of like Sherlock Holmes might have appreciated Professor Moriarty’s intellect. This Loki and his other Variant might have a shared past… which makes this Loki interesting as well.

Then Mobius lead Loki in a loop in Loki’s reasoning. Loki is big on how he decides what he does. He values his own freedom. A huge part of why he reject the TVA system is because they want to dictate what he can and can’t do.

Yet in “The Avengers” he said:

Loki: I come with glad tidings, of a world made free. Fury: Free from what? Loki: Freedom. Freedom is life's great lie. Once you accept that, in your heart...[Like a gunslinger, Loki turns to face Selvig who's standing behind him and places his spear against Selvig's heart. Selvig's eyes glow black.] Loki: You will know peace.

and

Loki: Kneel before me. [The crowd ignores him. Three more Loki's appear, surrounding and blocking the crowd from escaping.] I said KNEEL! [While the crowd quietly kneels, Loki embraces out his arms with a wide smile] Is not this simpler? Is this not your natural state? It's the unspoken truth of humanity, that you crave subjugation. 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.

It’s unclear how Loki came up with those ideas, albeit the fact he came from Asgard, which is a place where Odin rules as a supreme ruler and humans are viewed as inferior…

Odin: She does not belong here in Asgard anymore than a goat belongs at a banquet table.

…this might be another result of Odin’s awesome parenting, and not necessarily the result of Thanos’ manipulation… though the two might have superimposed so that it’s hard to say where one stop and the other begins.

Loki confirms this view here as well.

Loki: I would've made it easy for them. Mobius: People like easy. Loki: The first and most oppressive lie ever uttered was the song of freedom. Mobius: How's that one go? Loki: For nearly every living thing, choice breeds shame and uncertainty and regret. There's a fork in every road, yet the wrong path always taken.

On a personal note I think Loki wants to see himself above of this, but it’s clear that he too had to deal with choices that breed shame, uncertainty and regret, never mentioning he believes he was seen as inferior by Odin and deprived of his path.

Loki: So I am no more than another stolen relic, locked up here until you might have use of me.

The fact he thinks Odin would have never put on the throne of Asgard a Frost Giant (a monster and therefore even more inferior in the Asgardians’ opinion than humans) no matter what and that he thinks this got confirmed when Odin told him he couldn’t do it, which pushed him to let go of Gungnir.

Loki wants to be above… he wants to be the master of his fate after instead he was forced to dance on other people’s strings (Odin, Thanos) but deep down he’s drawing from his own experience the downsides of freedom. He just wants to overcome them.

Mobius then says he’ll show Loki a sampling of Loki’s greatest hits… which are basically the end of the battle of New York.

It’s fundamentally a close up of how he was beaten and how he asked for a drink, which Mobius mocks further offering him a drink, which Loki refuses pointing out he remembers that scene.

We kind of stumble in a problem the series has. Mobius says:

“It's funny, for someone born to rule, you sure do lose a lot. You might even say it's in your nature.”

The problem here is that the sentence is misleading. Loki at the moment has two big failures on his shoulders, the one in “Thor” and the one in “The Avengers”. It doesn’t make a lot and note that in “The Avengers” he also had minor successes. He walked away from SHIELD’s facility with the Tesseract, he managed to have Clint Barton steal the Iridium, he let the Avengers capture him so that he could let the Hulk lose, which worked and he could recover the scepter and escape, he managed to open the portal and let the Chitauri in. Basically, since he let himself be captured and even Steve knows, Loki won all the battles except the one who decided the war. Which yes, was a big loss because it was the one that mattered the most but still it shows Loki’s losing record isn’t as big as Mobius makes it look like.

Loki ends up bringing up Coulson. To prove his point that Loki isn’t really good at winning Mobius could bring up the fact that Coulson was resurrected in “Agents of S.H.I.E.L.D.” but no, he prefers to say the Avengers came together to literally avenge him by defeating him.

Now yes, Coulson’s death played a big part in all that, they felt guilty and sorry for him, as they all were tied to him one way or the other and this made what Loki did personal enough they could easily put away their differences… but I’m not overly fond of this theory because it implies if Coulson hadn’t died the Avengers would have never came together, would have never overcome their difficulties and would have lost.

Which, I guess, might be a possibility “Loki” might want to explore, we saw in a trailer an image of New York completely destroyed… but it’s something I don’t particularly like because it paints the Avengers in a pretty dark light.

If they didn’t have a common grief, they would have never cooperate for the common good.

Of course it’s not that Mobius care, this explanation is convenient for him, an Augustinian view of evil in which evil collapse its evil’s own doing. Because Loki killed Coulson, Loki set up his own defeat. Evil loses because it’s a snake that bites its own tail… which is an interesting view, really, but, in this case, it put a huge shadow on the Avengers.

Whatever, let’s go on, Mobius’ point is to make Loki feel small, not to explain him why he lost.

But still… he would manage to make a better point if the series weren’t forced to use only the footage from the movies. But well, I guess they had no other choice.

I enjoy the next bit of discussion. Mobius asks Loki:

“Do you enjoy hurting people? Making them feel small? Making them feel afraid?”

Which is exactly what he’s doing to him. There’s a huge irony in the whole discussion. They both think they’re in the right doing what they’re doing/what they did and that this excuses their actions.

They set up a moral motive, Loki sees himself as a liberator, Mobius sees himself as the saviour of the sacred timeline so they are above others, they came make them feel small and afraid and don’t have to feel guilty for it.

They get to a stalemate, although Loki isn’t looking at the screen, which is our clue he isn’t enjoying what he’s seeing, the people suffering. He didn’t like to look at them in “The Avengers” either, not looking when he ‘freed that eyeball’ as Mobius put in. Even when Thor forces him to look at the attacked city he shows he’s distressed. Loki however enjoyed being at the centre of the attention, it’s that what got him to smile, not hurting that man.

But whatever, to try to compensate, the series shows us some unseen material from Loki’s past, namely when he played the role of D.B. Cooper.

On a sidenote this hugely confirms my theory Loki used to hang out on Earth since he could play that part. Among the other things which the series didn’t show Cooper appeared familiar with the local terrain; at one point he remarked, "Looks like Tacoma down there," as the aircraft flew above it. He also correctly mentioned that McChord Air Force Base was only a 20-minute drive (at that time) from Seattle-Tacoma Airport. He asks for 2 bourbon and soda, paid his drink tab (and attempted to give flight attendant Tina Mucklow the change). He even offered to request meals for the flight crew during the stop in Seattle This makes Loki someone who knows very well how things work in Midgard… contrary to Thor.

Mobius introduces the whole thing saying

“You're really good at doing awful things, and then just getting away.”

And yes, it was awful. Although Cooper is described as extremely polite I can’t imagine that the crew who knew he had a bomb onboard felt comfortable with dealing with that situation. The worst part though is that he did it because he lost a bet with Thor.

Now they don’t exactly dig in what the bet was, but Heimdall was likely watching his every move and Thor asking him to do something similar as penance for losing a bet paints Thor also as pretty awful.

The best part though is that Loki excuses it by saying ‘he was young’. The whole thing took place in 1971, in short, 41 years before “The Avengers”. 41 years are a lot for a human, enough to make them say ’41 years ago I was young’, but Loki is at least 1047 in “The Avengers”. We don’t know how fast exactly Frost Giants and Asgardians age but, unless they do an abrupt jump, if Loki was young 41 years ago, he probably still is, which would match with the fan theory he’s actually around 17 in human years.

Now we can take Loki’s sentence as something a young person would say, as in a span of a short time they effectively grow and change a lot so their slightly younger self might feel a lot younger to them, or he might be talking in a more metaphorical sense.

Discovering the truth about himself and what followed forced him to grow faster. Now he wouldn’t do such immature things… which is a rather sad though.

At Loki’s request of where was the TVA back then, Mobius replies they were right there with him, just surfing that Sacred Timeline. Loki asks then if that has the Time-Keepers' seal of approval.

He scores one on this one as Mobius can’t reply, he just says not to think in terms of approval or disapproval.

Let’s remember something else that had the Time-Keepers' seal of approval was Thanos wiping away half of the universe but not just that. There’s also Thanos travelling through time to get to that future and stop “The Avengers” from undoing what he did with the infinity stones, which means they approved Tony Stark’s death in order to stop him.

Awesome people, don’t you think? More similar to writers who’ve to sell a good story than to people who care and wants to protect the people who lives in the timeline.

Anyway Mobius says they’ll go back to Loki’s escape and to a little psychobabble, which tells us not even Mobius sees this as a psychology session or therapy or whatever you want to call it. This interrogatory’s aim isn’t to let him know Loki better, he believes he knows him already. He’s trying to shape Loki into a willing collaborator because that’s his goal, not heal Loki or whatever.

Mind you, I think he’d like to get to know Loki in the sense he’s trying to catch a Loki and knowing Loki better might help him in his work… but so far he really hadn’t asked anything he didn’t know already so no, this isn’t a big ‘let’s get to know Loki’, though he might find some interest in seeing what makes him tick in the conversation, this is just a ‘let’s manipulate Loki into cooperating’.

Loki wants to stand, Mobius uses the Time Twister to loops him ‘back in his cage’. Because don’t mistake the situation just because he’s not being aggressive or physically abusive, Loki is in a cage and Mobius makes a show of showing it to Loki. He can’t stand up without Mobius’ permission and Mobius further remarks it by saying he ‘can play the heavy keys, too’, in short that he can play the role of the ‘bad cop’ that slams back the prisoner in his chair when he tries to move.

Or should we assume Mobius feared Loki was going to attack him?

Maybe, as I said Loki and Mobius might be more similar than it looks like, both acting in control and high and mighty to hide they are actually in a tight spot. Mobius isn’t a hunter, he might not be strong, he might not know how to fight beyond waving that Time Twister and the TVA wand, while Loki knows. We don’t know from which race Mobius is, but Asgardians and Frost Giants are naturally very physically strong, much stronger than humans, and Mobius might belong to a race that’s just not the same.

But still the scene works conveniently for Mobius, because it’s another chance to drive home how he completely control Loki.

Loki’s reply, regardless of it being sincere or not, is good because it says Mobius just overreacted as Loki merely wanted to make a point.

After an exchange in which Mobius gives him permission to stand and Loki remarks he’ll do what he wants, which in a way he did since ultimately he stood, he asks him what he wants.

Mobius says

“I want you to be honest about why you do what you do.”

Loki calls it a lie and he’s probably not completely right but neither completely wrong. Mobius likely doesn’t care about why Loki did what he did in the past, that’s not a time he has to deal with, but he cares about forcing Loki to be honest. Loki has to trust him and cooperate with him and this includes that he has to open up. Mobius has to already know the answer to his questions, otherwise he could never know if Loki is being honest and he knows them because he knows Loki’s future, how he evolves, how it pained him to see Frigga die, how he saved Thor even though it lead him to be stabbed, how he didn’t aim for space domination when he was king of Asgard, how he came back to save Asgard, how he died for his brother.

So Mobius is not lying when he says he wants Loki to be honest… but that’s not because he cares about the answer, which is what Loki figured and why Loki called him a liar. It’s a matter of control and Loki can see it.

Loki: I know what this place is. Mobius: What is it? Loki: It's an illusion. It's a cruel, elaborate trick conjured by the weak to inspire fear. A desperate attempt at control. Now, you all parade about as if you're the divine arbiters of power in the universe.

And Mobius claims to be sure to have such a role which again, it’s an awesome irony because they both play the same game, they act as if they’re superior than others.

Mobius shows him his speech about freedom, which of course feels like a slap on his face because now it’s turned against him and his mad scramble for power.

Loki catches up and insists on his freedom, on how he’s the one in charge of his destiny who will win because HE did it, not because it was supposed to happen or was allowed by the TVA.

Mobius tries to bring him down again informing him if he hadn’t picked up the Tesseract he would have been taken to a cell on Asgard… or, you know, he might have been out there killing TVA men staging the 7th attack in the last week that they know of. But let’s not tell this to Loki at this stage. It might give him ideas about not being completely powerless against the TVA.

Mobius shows him the scene of his return to Asgard, which Loki rejects as a trick as ‘it never happened’.

Mobius agrees, it didn’t happen TO HIM, but it would have because they know also how his future was meant to be and that he should think of it as ‘comforting’. Which is not considering how his life was meant to be.

Note how Mobius is showing him only Frigga. How she was there for him when he came back, how she asked him if she wasn’t his mother and how he rejected her, hurting her. Loki doesn’t know what the argument was about or what pushed him to say so, all he sees is her being there for him and him hurting her and as he watches he moves closer.

Then Mobius explains how Loki believed to send the dark elves to Thor and instead sent them to Frigga… only he’s conveniently overlooking Loki had no idea they were Dark Elves or that there was a Dark Elves attack. Loki assumed the Kurse was just another Marauder arrested by Thor.

The Marauders were a collective of loosely affiliated alien pirates composed of many different races. When the Kurse is captured no Asgardian figured out what he is, they’re all persuaded the Dark Elves are dead, exterminated by Bor. For all Loki’s know this is a prison uprising, the Dark Elves’ ships hadn’t even appeared yet and started their attack when Loki sent Kurse on his way.

Mobius is cherry picking facts so as to shape them the way he wants.

Loki is shocked at seeing Frigga’s death which Mobius knew would have happened because he knew how he reacted when this happened.

He tries to rationalize what he saw by thinking they captured Frigga and forced her to play that part, while Mobius insists that’s the proper flow of time and that’s what has to happen because it has to and the TVA makes sure of it. However, although the TVA ensures Frigga’s death, he tries to make it all Loki’s fault. He caused it, and now Mobius wants to know if he enjoys hurting people, as if he could not know how devastated Loki was when Frigga died. He asks him if he enjoys killing people like he did with his mother.

He knows the past time Loki felt completely responsible for it, he’s trying to get him to feel the same even if Loki actually never meant to kill Frigga.

On a sidenote, he’s trying to send him on a vulnerable loop to get his collaboration like Thor did that time… but it’s a dumb move. Let’s assume Loki swallows they could send him back to his time and accepts to submit to being jailed. The TVA would still ensure he would direct the Kurse to Frigga so that she’ll die because this is the proper flow of time for them.

Although I doubt he meant it, Mobius actually isn’t giving Loki reasons to cooperate with him permanently, just to think harder to a way to avoid that future.

I don’t really know what Mobius is thinking but he seems so sure that he can come out as so overly powerful and righteous he can both bend Loki to his will by saying he’s to blame for Frigga’s death and, at the same time, that he should do nothing to prevent it.

Anyway at this point Loki attack him and is looped again. He ends on the ground with Mobius apologizing, BEFORE PUTTING THE TIME TWISTER IN HIS POCKET, saying it because the Time Twister just loops him, not the furniture… but he actually meant it, because Loki had been standing by a while and he could have looped him to just standing there.

Mobius goes on trying to make him again feel even more smaller.

“You weren't born to be king, Loki. You were born to cause pain and suffering and death. That's how it is, that's how it was, that's how it will be. All so that others can achieve their best versions of themselves.”

In short he was born to be used by the sacred timeline to create heroes. But it’s a ridicule argument, in itself, because every living being create pain and suffering in his life, albeit sometimes in smaller measure than Loki or for better reasons. And the idea that people become better only through pain and suffering and death… is scary because somehow it legitimize it. It makes right to kill Coulson because then the Avengers can be born. It makes right for Thanos to wipe away half of humanity because so the Avengers joined forces again.

It’s a damaging and wrong mindset… that Mobius is of course pushing forward because that’s the narrative the TVA spins. They don’t save people, they just decide who lives and die according to their taste… which works if you’re a storywriter but it’s awful if you’re talking of real people.

Loki calms down and asks again what is that place. Mobius offers him his hand in a classic stick and carrot game. He wants Loki to obey. Loki complies and they’re interrupted by Hunter B-15. Mobius is forced to leave with her but not before telling Loki:

“Don't go anywhere. It was just getting good. Spirited.”

In short he was enjoying making Loki feel miserable, which I don’t think he does because he’s a jerk but just because that’s his job. Like Hunter B-15, they’re very motivated in doing their job to the point they don’t realize the other isn’t just ‘a variant’ but a person with feeling. They think they’re doing the people a service by murdering the extra.

Kind of like how Thanos saw himself as noble when he murdered half of the people in the universe to save the other half and expected people to feel grateful to him.

By the way, do you think that Loki is complying too easily?

Not really, do check the way he let Mobius pull him up and how he then moves his left hand for a moment inside his pocket to pull it out immediately afterward. We’ll come back to it in a moment. For now let’s follow the plot that has Hunter B-15 claiming that talking ‘to that Variant’ is a mistake as he should just be reset, read, if Mobius had been honest, killed.

For Hunter B-15 Loki is not a person, he’s just a Variant, a Variant to destroy. Actually it’s not even because the other Loki Variant is killing their units, because Mobius says she thinks all the Variants should be reset.

And remember about how Loki could be in a jail or plotting the 7th attack in the last week that they know of? Well, that’s just what the other Loki variant did as they just lost another unit.

I know I should be cheering for this Loki but I’m also really cheering for that other Loki variant. Go burn the TVA to the ground.

Mobius goes back to Loki and… discovers he disappeared. Because when Loki let Mobius pull him up he caught his chance to stuff his hand in Mobius’ pocket, steal the Time Twister and put it in his own pocket. That’s what Loki was thinking when he calmed down, a plan to get out of there, a chance to take the Time Twister.

Now… don’t the TVA know in advance what happens in the TVA? What the Variants would do once they’re captive? Because Mobius seems genuinely surprised and they’ve to search for Loki so for all their bragging about knowing everything and controlling everything maybe they actually don’t. They can’t control the Variants, which is why the other Loki Variant can attack without them knowing in advance. Their sacred timeline doesn’t cover it so they’re blind to it.

Of course it’s possible he let Loki take it on purpose but I want to think against it.

We see that Loki has looped himself in an early point of his entrance in the TVA and has noticed Casey, the guy at the desk who has taken the Tesseract. He follows him, clearly planning to get the Tesseract back and, with it, to leave the place.

Mobius and Hunter B-15 search for Loki, giving each other the blame for his disappearance. Hunter B-15 would like to catch this chance to dispose of Loki but Mobius rejects the idea since he believes he can still help.

Loki tracks Casey down. Casey recognizes him and he forces him to kneel behind the desk. He asks him his name and once he has it he tells him in his most threatening tone to give him the Tesseract or he’ll gut him like a fish.

Only Casey wants to know what’s a fish because he wants to know what he’s being threatened with, before complying and he has spent all his life behind a desk so he has no idea what a fish is. I guess he also doesn’t know what it means gutting.

Loki can’t imagine not knowing what a fish is… which is kind of weird because he should know for example humans never head of bilchsnipes… but maybe due to his name he’s thinking Casey is human. Honestly the whole TVA staff seems human. Can I say I don’t like it?

In the comics though, the TVA staff was made by people cloned. They literally were made by the TVA. I wonder if this is Casey’s situation.

Anyway Loki clarifies he’s threatening him with death. It doesn’t unfazed Casey much (do people die INSIDE the TVA?) but, to Loki’s relief, he complies, opens his drawer and give him the Tesseract whose light is still mostly turned off. Loki feels a moment of relief before noticing that in the drawer there are assorted infinity stones.

At Loki’s confusing Casey explains they get a lot of those, enough to use them as paperweight. I guess the infinity stones influence might allow people to do different choices and become Variants as they can influence them.

Something inside the TVA though, turns off their power.

Loki is confused as he picks up a green one, which should be a time stone. We hear the sound of stones moving but we can’t see if he placed it back where it was.

Loki is utterly confused as he walks away with the Tesseract in a daze looking at the sacred timeline and wondering if the TVA is really the greatest power in the universe. Behind him, Casey nods.

The elevator opens, Hunter B-15 tries to hit Loki but Loki uses the Time Twister to disappear again so she misses him completely and almost hits poor Casey. Note that the blow would have been fatal for either Loki or Casey.

Hunter B-15 didn’t care of how Mobius said no pruning or resetting, we can see that the cart, which gets hit instead of Loki, disappear.

This time Hunter B-15 didn’t go for physical pain, she went for the kill.

Loki is back in the interrogation chamber where he put the Time Twister on the table and watches on the projector his future. First Frigga’s death, as if to try to accept it, and he’s almost in tears, then he lash forward to Odin telling him and Thor that he loves them and that they should remember that place. This too touches him emotionally. He sees Thor telling him how he thought the world of him and he sees them fighting side by side against Hela and then telling him maybe he’s not so bad. He smiles at seeing that, laughing sadly but then… he sees his death at the hands of Thanos. It’s obviously traumatic but, I hope, when he can think at all that in perspective, he’ll be able to see the truth.

He wasn’t born to cause pain and suffering and death. He also saved lives, his brother’s specifically but also the ones of some Asgardians.

And, at the same time, he could see, he could learn his father and brother did love him, or at least that was the intended message of those scenes (I won’t dig into them portraying it correctly or not).

The file about him ends.

Loki gives into a slightly hysterical chuckling and the door behind him opens. It’s Hunter B-15 who asks him what’s so funny.

Loki replies ‘Glorious purpose’ which can mean all and nothing. According to the file his glorious purpose wasn’t to become king, but not even to cause pain and suffering and death. At the same time it’s not a particularly uplifting message the one that file gave him. The moment he could start again with Thor, Thanos killed him. In the end, even if he tried to change, his life would be one of pain and suffering until his death.

Loki and Hunter B-15 fight and somehow she doesn’t have anymore her murdering wand nor the men following her.

She’s alone and disarmed but she’s clearly a trained to fight and rather strong. Loki is smarter though. As soon as she slams him on the table he grabs the Time Twister, unlatches his collar and wraps it around her neck. Then takes on her his revenge for having been looped way too many times that day by looping her a lot until he makes her disappear. Where to I’ve no idea but I hope for him far enough. He was clearly taking out on her all the abuse he suffered from her and Mobius. In the end he tosses the Time Twister again on the table.

Meanwhile Casey is retelling his misfortunate meeting… evidently finding the idea that Loki would turn him into a fish much worse than the idea Loki threatened to kill him and then complains about the hunters showing up and pruning his cart.

Really, it makes me wonder if the TVA doesn’t use the world ‘dead’ in conversation. It’s all ‘reset’ or ‘prune’. I’m not saying they don’t know of it, just that they don’t use it to define what they do because it would make them look bad. You murder a living being. You reset a timeline, prune a branch. There’s a psychological difference that allows them to see Variants not as living beings but as objects.

As he speaks Hunter B-15 appears in front of him so that’s where Loki sent her.

Meanwhile Loki has remained in the room in which he was. He seems worn out as he sat on the floor against a wall, his face in his hands and the Tesseract set next to him.

Mobius, who gets into the room holding one of those TVA wands, finds him like that. Mobius rubs in he has nowhere left to run.

Loki states how he can’t go back to his timeline, then decides to comply with Mobius previous request. He tells him he doesn’t enjoy hurting people, he does it because he has to, because it's part of the illusion. It's the cruel, elaborate trick conjured by the weak to inspire fear. And claims to be a villain.

Is he being sincere or just telling Mobius what he wants to hear?

I like to think he’s being both. In “The Mentalist” Patrick Jane once tried to teach Teresa Lisbon how to gain someone’s trust. His first suggestion was to ask that person for a favour, so that they would feel more powerful, when this didn’t work he told her to get that person to lower their guard she should lower her own. I get the feeling Loki is doing this. He’s lowering his guard, giving Mobius what he wants, so that Mobius will lower his guard too. Like when he accepted his hand only to steal the time twister.

There’s a power in being sincere as well, which is to make Mobius feel more powerful by giving him power and therefore push him to underestimate Loki.

Mobius, who previously told him

“You weren't born to be king, Loki. You were born to cause pain and suffering and death. That's how it is, that's how it was, that's how it will be. All so that others can achieve their best versions of themselves.”

Now saying him that’s not how he sees it.

He’s either giving him the carrot in his carrot and stick game or he’s just remarking one of the main characteristics of the TVA. The TVA is neutral, they don’t approve or disapprove actions, people has no choice, they’ve to follow a path and Loki’s path was to do what he did so that others could become better. The TVA doesn’t really seems to care of the moral axis of Loki’s alignment… or their own or everyone else, they only care of the ethical alignment.

Now, as I’ve seen fandom discuss this, in roleplays people created character alignments to give an ‘ideal’ for a character to live up.

This caused the birth of two Axis, the moral axis (Good, Neutral, and Evil) and the ethical axis (Lawful, Neutral, and Chaotic).

The alignments of the moral axis are pretty easy to figure out, so I’m not even discuss them, but the one of the ethical axis are basically meant to tell if a character follows the law or not.

The TVA is clearly lawful aligned, they blindly follow their rules as if they were a dogma, a faith. Hydra is lawful. Steve Roger is lawful, as he wants to follow rules.

Loki in a good part of the movies doesn’t follow the rules, we saw it from the start, in “Thor” he decided to act to interrupt the coronation, which was against the rules of Asgard, and then he tricked Laufey, which is against the rules of war. In “The Avengers” he let himself be arrested so as to unleash the Hulk. In “Thor: The Dark World” he pretended to join forces with Malekith so that he would remove the Aether from Jane and then stole from Odin the throne… and so on. He’s not the only one though, Thor himself as moments in which he’s chaotic, like when he invades Jotunheim against his father’s order and how later will invade that SHIELD facility, or how he’s challenge his father again in “Thor: The Dark World”.

Actually all the Avengers here and there had been chaotic… and here and there had been lawful.

Loki’s situation places him more on the chaotic axis because he has no other master but himself. In short he doesn’t respect anyone else’s rules, sometimes not even his own as he claims Frigga isn’t his mother when he clearly feels she is and fights to avenge her… but he too had his own moments of being lawful.

That’s because people aren’t roleplay characters and they wouldn’t feel realistic if they were just sitting on one alignment.

But whatever, let’s go on.

Loki picks up the Tesseract, and Mobius asks him if he tried to use it.

“Oh, several times. Even an Infinity Stone is useless here. ( Scoffs ) The TVA is formidable.”

And here we’ve Loki trying on ‘wooing someone powerful he intend to betray’, to put it with Mobius’ words. I wonder if Mobius can realize it or he’s so sure in his idea he’s powerful he misses it.

Either way he has gotten what he wanted, Loki acting this way means he has acknowledged they’re powerful enough he has to play along with them.

Mobius tell him:

“I can't offer you salvation, but maybe I can offer you something better.”

And here I feel an echo of Thor in “Thor: The Dark World”:

“I did not come here to share our grief. Instead I offer you the chance of a far richer sacrament.”

I wonder if Mobius is trying to play that same game to get Loki to cooperate. Loki though has seen the video. Maybe he knows too. And well, at least Mobius came out more honest because he told him he can’t offer him salvation. Remember when he babbled about what Loki could do if he were to go back to his timeline? It was all a pourparler, words that weren’t meant to turn true as Loki is not meant to go back to his timeline. Ever.

That timeline doesn’t exist anymore it was reset.

But at this point Mobius has to be honest and give Loki something back, the reason why they’re interested in him… which is the dangerous Variant they’re hunting is HIM, or better another Variant of himself.

Meanwhile in Salina Oklahoma, 1858 Hunter U-92 and his men are checking on something. They find an object from the early third millennium but discover there’s oil on the ground and think it’s just someone who found himself a time machine and came back here to get rich. Hunter U-92 thinks he’s not worth the paperwork of searching for him and that they should just prune the timeline. Then they notice a figure in a black cape.

The figure has a oil lamp which they drop on the petrol covered ground. The fire spread to the Minuteman who start to die by arson. Hunter U-92 tries to crawl to the reset charge but someone grabs him and pulls him back. Then a hand, clearly not his own, picks up the resect charge.

And either this is the story sharing with us the 7th attack or the other Loki’s Variant has just managed to make the 8th attack in the last week that they know of. Really, I would say for the TVA it’s better to hope it’s not Monday.

As for me, I’m sorry for them but I hope it’s Monday there.

I’ve no sympathy for bureaucratic regimes who views people who don’t complain with their wishes as things… pardon, as Variant, and implement on them the “Final Solution” under the guise of pruning or resetting them.

This doesn’t mean everyone at the TVA is necessarily evil… but they’re dangerous, they’re fanatic who live in a regime that elect them at judges of other people’s lives. Judge Ravonna Renslayer dictates the proper flow of time according to the Time-Keepers dictations without bothering to question them, or the justice of it. At the TVA no one asks himself if it’s right or wrong, they just do it, they don’t know any other way to do it.

It’s not that they want to be evil, they actually want to be noble and just, they believe in the propaganda that’s all spread on the creepy posters around them and think they’re incredible, courageous and dedicated workers and don’t question their work or their lives at all.

They’re just many little Adolf Eichmann mostly bereft of initiative, cultural and moral depth; the latter did not go beyond the conditioning that had been given to them by society.

They lack empathy for what they destroy, for what they prune or reset and so they won’t stop thinking at what they’re doing.

Long story short, we should be grateful the TVA doesn’t exist because, really, that’s a creepy organization that pulls out the worst from people empowering them to murder others and telling them they’re doing something good.

Mobius, Casey, Hunter B-15 are brainwashed by the TVA worldview. It’ll be interesting to see if prolonged interaction with a Variant, Loki, might open his eyes or not. For now they’re like children who can’t distinguish good from bad because they buy a wrong narrative in which they’re above it.

I’m curious to see if they will ultimately eat the fruit of the tree of the knowledge of the good and the evil or if they’ll remain ignorant and dedicate executors of the TVA. We’ll see.

Well, this was long. Thank you to all the people who remained through this long, long episode study of mine. I can’t wait to see the next Loki episode!

[vaguely-gestures-to-the-void]

Hindsight: My thoughts on Loki (2021)

Welcome back! Spoilers below!

I need to clarify that I watch Loki purely as an escape. I've got a biased perspective in that regard because I don’t actively try to find fault with the show, though there are definitely things I’m not so inclined to. This is more of what I noticed and think things mean and it’s something I’m doing for fun. Anyways, here's my thoughts on episode 2 my loves.

Episode 2: THE VARIANT

Pre-title scene

Miss Minutes’ monologue in the recap is different to the one last ep.

1985 Oshkosh, Wisconsin

C-20!

“Today’s guest performances” on a board. Don’t really know if it means anything tho.

The Iconic (TM) I Need A Hero scene.

Pony.

The green tent - the lair of Loki.

I know not everyone’s a fan of the lighting, but it made sense to me. They’re still in the dark about who Sylvie is.

Why does C-20 take off her helmet? For the drama?

I hope Sylvie cleaned her blade. Narnia taught me well.

The Time Samsung (I can’t remember what it’s called right now) says that the date’s 04/12/1985.

Loki’s first mission (?)

‘Volume 26’ - how many of these does Mobius have?? #giveMobiusajetski

“ONLY at your LOCAL AUTHORIZED DEALER” - subtext about the TVA being control freaks? Jet ski safety?

I googled Wake Magazine. They’re up to volume 20 from what I saw, whilst Loki is reading volume 26, so I guess that’s something

Loki and Miss Minutes lmaooo.

Behind Loki’s elbow is the taxidermy something from the last episode. Also confirms that Loki threatened Casey at Mobius’ desk lol.

The thing has an egg?? What the hell is Mobius collecting? (He’s a Harry Hart variant lmao).

There are little twitches in Miss Minnutes’ hands. That’s so cool!

The egg timer’s a nice easter egg (I’m a comedian).

Mobius! B-15! :)

Is it just me or do the minutemen look similar, but not exactly the same. Makes sense if they’re variants.

I just realised the lights are built into the ceiling. Whoops.

What’s Mobius’ favourite?

Couple of things:

The racks full of identical uniforms/ones just hung up on doors.

The music has started to pick up the pace, but not in the way we see later on in the episode.

There’s a sign saying ‘FARE THEE WELL’ on it. Google tells me that it’s ‘used to express good wishes on parting’. Dang that was some good foreshadowing!

The person that looks like Agatha is still present.

I wonder whether it was supposed to be colder or whether the weather was just like that when they filmed.

The pony’s still around.

I think B-15 certainty that “a Loki couldn’t have gotten the jump of C-20” comes from her experience with them. She constantly tries to make it clear that because she’s not a variant, she’d know Loki better than he would, which (personally) makes the revelation that she’s a variant feel more devastating.

Again with the lighting, they’re still in partial darkness, constantly moving in and out of the light. Whilst what Loki says about the variant setting a trap is true, it isn’t in the context that he says it. Sylvie whoops their asses later.

The black and red-orange flags remind me of tomb markers. It’s a stretch, ik.

B-15 only has tally marks on one side of her helmet.

Mobius has fake pockets in his suit jacket. They’re the worst.

The ticking increasing in tempo as they approach red line - great for setting up tension.

I believe that Loki uses personal space like a weapon - slowly approaching them from the front, and then going behind Mobius’ back when he wants his way. It would make anyone uncomfortable, especially on a subconscious level because there’s a threat behind you.

Or maybe it’s that I have different personal space boundaries, not everyone likes being approached from behind. Loki’s movement felt intentional at least.

Getting Mobius to physically turn his way because of that might have been very subtle manipulation?

Loki looking back and forth trying to judge their reactions lol.

I liked the music in this scene, it sets up tension for Loki’s first attempt at betraying Mobius but then doesn’t completely dismiss it when it’s resolved.

Ravonna Renslayer’s office

The music here is 18 morceaux, Op. 72, No. 2. Berceuse. 18 morceaux, Op. 72: No. 2, Berceuse (Arr. For Theremin and piano) by Clara Rockmore for anyone that’s curious. I found out through Natalie Holt’s Twitter (I think).

The score is, and always will be, perfection.

Mobius’ small talk amuses me.

“Why do you get to keep all the trophies from my cases in here, you don’t think I’d love having that roller skate?” Mobius, what about the thing on the shelf behind your desk????

Ravonna seems like she’s answered these questions before, but she has a fondness for him that makes me think they’re good friends.

Also does Ravonna have multiple complete collections of the Encyclopaedia Britannica in her office? What are those books??

“I hope it’s a double.” Me too Mobius, me too (drink responsibly).

I don’t get how people think Mobius doesn’t remember leaving the stains. It sounded like Ravonna was chiding him for a bad habit and Mobius just made up a remark, not confusion.

Although he does place the cup at a different spot to the rings.

The ship flying past in the windows is a wonderful detail.

“The variant likes to stall for time.” It's very satisfying to me how everything stays relevant. Every detail advances the plot/contributes to it.

“Look, I know you have a soft spot for broken things.”

“I don’t think so-”

“Yes you do.”

Both Mobius and Ravonna only look at the middle figure when referring to the time Keepers. Either the other two are side-lined or don’t contribute at all.

“I’ll delete him myself.” At this point in time, I think Mobius is serious. As the episode progresses, his status may have changed, especially after the Jet Ski philosophy session.

Ravonna’s sash on the peg reminds me of the ones the people talking to Casey were wearing in episode 1.

Man those doors are so cool.

Peak sitting outside the principal’s office energy.

Mobius whistles at Loki as opposed to talking to him like he does later.

Any screen shot from the following scene is pristine chaotic disaster bi Loki energy featuring tired-of-your-tomfoolery Mobius.

“Isn’t that precisely why I’m here?” This marked a change in Loki to me. Up until that point, he’d tried to use what he’d known, who he’d been by scheming his way to the Time Keepers. By admitting he wasn’t sure of his purpose, we’re back with the person at the end of the last episode. It’s very Loki to try all avenues to get what he wants, and after having his world turned upside-down a few times in a short period, maybe he just wanted the familiarity of his old tricks, who he thinks he is.

Loki tensing up and then trying to assert control again reaffirms what I just said.

Man, give Mobius a holiday after all of this. Loki really tested him, huh?

Loki definitely likes validation on some level.

TVA archives (a.k.a the Salad Scene)

I can’t believe that place really exists. The looks combined with the music are just *chef kisses*.

I’m not sure if I’m thinking of the right progression, but the music reminds me of a plagal cadence. Google examples and play it side-by-side, you’ll get what I mean, maybe someone knows what it really is?

On either side of the elevators near the Time Keeper statues are the signs TVA archives.

The symmetry pleases my goblin brain.

I believe the entire show was just flexing the skills of the Loki crew and I couldn’t be happier.

“Pretend your life depends on it. I’m gonna get a snack.” This was so funny in the trailers but Mobius is dead serious (delete him myself comment). And he couldn’t even enjoy his salad.

Love that the end of credits takes from some of the scenes in episode 2.

The archivist has neat glasses.

I want some TVA stationary y’all.

It’s that moment fam.

I can’t be the only one curious by the ‘DISPLACED by 000:000:002:162’. Is that in Units? It would explain why the time line looks slightly bendy whenever we see it, especially if Apocalypses are so frequent.

IT’S THE SALAD LADS!

Mobius is reading the magazine that Loki was looking at earlier. Jet skis are Mobius’ comfort character.

“Don’t set fire to the palace.”

Tom Hiddleston has so much energy, he can move so fast.

“Oh God.” - Mobius, Null Time Zone

“YOU.” - Casey, Null Time Zone

Casey!

No thoughts, head empty, the Salad (TM).

But seriously, people only seem to be at their tables with others that work in a similar section. Not hunters and analysts eating in tandem to me, folks.

Oh Casey. Please don’t hurt him.

Aw, Mobius’ little giggle warmed my heart. Owen Wilson’s giving me whiplash with Mobius. My heart can’t take this y’all.

79 AD Pompeii, Italy

They’re both so giddy, Your Honour, I love them.

Mobius snuck them out lol.

“Bird noises?”

“BE FREE MY HORNED FRIENDS, BE FREE!” The post wouldn’t be complete without this.

Loki just throwing food at people and telling them “...enjoy your last meal while you can” is top tier comedy to me.

This is the first time we see Loki openly say nothing matters. I feel like the case file on the destruction of Asgard really pushed him to treat fate as unchangeable.

LXXIX is 79. Nice one Loki crew!

Mobius’ eye twitching as he checks the variance is a nice touch.

Loki throws away the stick that was holding the goat pen closed at the end.

TVA Archives, TVA cafeteria

Mobius picked up those files so smoothly I had to re-watch it.

Their position reflected what they were talking about - when Loki thinks it’s his individual contribution, he’s walking separately to Mobius, but they meet up when working together. I loved the blocking in that little moment.

I seriously thought that Loki was unconscious when I first saw him asleep around Mobius. I’ll admit it, it felt out-of-character for someone with such bad trust issues. Both of them seem pretty tired tho.

It’s the Jet Ski conversation comrades!

I’m beaming. Mobius talking about Jet Skis was the only time I’ve really remembered it’s Owen Wilson talking. It’s such a fun line to think about!

Loki’s smile. Adorable.

Just go watch the scene, it’ll give you good brain juices.

Mobius does it all for the Jet Skis and nothing else. I don’t make the rules, the Time Keepers do.

“My own glorious purpose.” This is a recurring theme in the season. Ultimately, I think that Loki is going to run for as long as it brings in money/until Loki gets killed again. However, I do like to think that in following seasons we’ll move beyond setting up Phase 4 Marvel stuff and just get deep dives into Loki’s character, though it may happen in the later eps or not be as interesting. Part of what made this show so interesting is the new setting in the Marvel universe but it’s hard to make predictions as to whether it will last in a show featuring the God of Mischief. Whatever happens, I’m happy that we got to see Loki’s existential crisis together, lads.

The music picks up, signalling that this quiet moment is about to end.

“No one bad is ever truly bad. And no one good is every truly good.”

“Scared little boy.”

These lines mean a lot to me. Loki perceives Mobius as an equal, similar to himself but not completely identical. The TVA’s whole aesthetic is Kafkaesque (Disney+ used that word), the imperfections keeping the place from looking mechanical and orderly like what the TVA promotes itself to be. Loki wants Mobius to acknowledge it, but Mobius is in the past, not addressing what’s right in front of him, surrounding him. That’s probably because Mobius doesn’t believe, he accepts what he’s been told though Loki wants to change that. He’s still focused on his job, the variant. I don’t think Mobius will struggle against change in the ‘belief’ part as long as things are rational.

Kate Herron (director) said that the Kablooie scene was improv which makes me wish we had more B roll of Owen and Tom. They seem so professional, invested and fun on set.

“No wonder you’re so bitter.” I’m sorry Mobius you sound as salty as your salad.

‘Artificially flavoured chewing gum’ Has something happened causing artificial flavouring to be preferred?

‘Blue’ has canonically changed to ‘Bloo’ by 2050 in America in the MCU. I blame capitalism.

Why does Mobius look so tiny? I say that like Owen Wilson wouldn’t look like a giant next to me lol.

Owen Wilson is 3.5 inches (9 centimetres) shorter than Tom Hiddleston. Yet he is dwarfed as Mobius. I need to stop talking about this and move on.

There’s no ‘variance energy detected’ line in the report.

“You’re gonna take my job if I’m not careful.” Loki looks so chuffed.

One day, I’ll properly address my thoughts on the shipping. Until then, I just want no one to die.

“Yeah, he’s doing great.” Mobius is so hyped. Good for him.

Owen Wilson has dimples.

Ravonna’s screen doesn’t show the timeline like it does later.

Ravonna is the done mom friend. Sane, undeserving of this, please give her a jet ski moment.

Buckle up folks because the last twenty minutes of this episode are my favourite so far.

At 34 minutes in, we get the music fading in with “Okay. But Mobius...” and a transition to my favourite composition so far. Natalie Holt outdid herself. The soundtrack is nearly constant, there’s no break for a moment of clarity anymore. The progression of events is inevitable, tying the bow on a plot line created in an hour and a half. The little embellishment from the strings (possibly) as Mobius and Loki exit is perfect. Combined with Loki’s raised fist leading to a pan to the ceiling, it prepared the audience for everything being turned upside down.

The changing camera angles and shot lengths (the continuous shot when B-15 takes the knives, the circling behind as the briefing occurs) keep viewers on their toes. The continuous shot is fluid, B-15 doesn’t look at Loki or Mobius, her reaction is natural and that just proves that the timing on that scene was impeccable. The circling behind reminded me of Loki positioning himself behind Mobius as he did earlier, but now he’s on the same side, part of the team though he continues to distinguish between himself and the variant. The building sensation that change is coming is met by the incredible swell in the music as we watch the picturesque Haven Hills get destroyed by modern technology and face the terrifying reality that is the Roxxcart store. There’s a close up on the Roxxcart storefront with school buses with the words ‘Evacuation shuttle’ in the background as we see the TVA’s minutemen come out reinforcing that even when the end is nigh, large corporations will loom over. A storm is raging with worse to come. I can go on and on, but you get the point.

2050 Roxxcart Disaster

I love that y’all are calling this the Alabama supermarket breakup. Makes me chuckle, that’s for sure.

I too hate when people can hear my footsteps. Someone that gets the struggle.

Sylvie places the TVA Samsung over a Roxxcart Security manual. She’s overridden both and is in control.

The date is 03/15/2050.

I think that the way the Hunters and minutemen hold their baton things is so that they don’t get yeeted. Neat.

As always, the beats are slick yo.

I hope the Azaleas guy gets some Azaleas wherever he ended up.

I love the way Loki says “In this storm.” It’s so satisfying for no real reason.

The wonderful Wunmi Mosaku does not get the recognition she deserves for this scene. She switched from B-15 to Sylvie so effortlessly. They’re two distinct characters, her facial expressions, body language everything changed in that instant. Even from the one line, “No, they usually survive,” her delivery had changed in a way that was noticeable. It’s uncanny, exactly what was needed when facing a foe that remained unseen. And the smile? It’s before we know the variant as Sylvie, so naturally it’s that signature Loki smile with a hint of malice we associate with the variant. Damn y’all, Wunmi’s incredible! I really hope she’s recognised for being so talented in this series, if not in all her other work!

Mobius really cares about those people. I really want his redemption (?) arc.

It’s been pointed out that even in those conditions, Roxxcart were selling blankets and water. I think it means that by 2050, cash would be defunct. If only electronic payment existed, as long as there’s electricity they can run a business. Chew on that.

If the man they speak to is 50 to 60, he was a 90s kid.

There must be a difference in the reprogramming or kind of variant selected to be a hunter as compared to an analyst. The Hunters look after their own, but the analysts (or Mobius) go as far as empathising with variants.

C-20 is sitting in front of safety standards.

“A bit amateurish.” Loki knows that the variant isn’t as skilled with magic as he is.

As Loki and the possessed people walk, the lighting becomes brighter. He’s moving out of the shadows.

Me too Loki, I’m worried about B-15 too.

Sylvie unironically saying bless is hilarious.

Randy must be hella tall.

There’s a low angle shot as Loki and Randy face off with the flickering light above with a sign hanging above them like a sword of Damocles and a physical separation. Terror is nearly constant in Loki's life now, but he responds by letting go of his drive to survive.

The subtle swells in the music just add to my rising blood pressure.

C-20’s voice over is sad lads.

“I wanna go home,” we know she’s not referring to the TVA.

Mobius seems like a caring person.

When B-15 sits up and searches the room, I think it’s her realisation. Her shiver was from fear and shock, the music wasn’t about her not seeing Loki, it was about the TVA and what had happened to her.

The head snap and the score timing matching. So satisfying.

“I would never treat me like this. Hi.” I think that’s Loki realising that his foe is not willing to talk their way through conflict.

This fight scene contradicts all the magic we see later ik, but if he didn’t want to hurt anyone and was trying to draw out the real enemy it made sense.

Some of Sylvie’s powers must come into the people she possesses. The guy punched a glass screen and didn’t even bleed.

“I have shit to do.” Sylvie wasn’t raised with court etiquette (from what we know) and her lexical choice reflects that.

Dell computers survive into 2050 in the MCU. So do those robot dogs and Roombas. I am only happy about the Roombas. Where did the real dogs go? :(

“Mobius.”

“Where is he?”

“I lost him.”

“What happened?”

“I...”

Until now, B-15’s delivery has felt slightly rhythmic, like she was used to having the same arguments, particularly with Mobius. When she trails off however, I think it’s her trying to rationalise what she’s been through with Sylvie’s possession. Her devotion to the TVA was rooted in the fact that she wasn’t a variant, her life had a purpose and it was intentional. This must have rocked her, I’m invested in where she’ll go.

THE CUT TO BLACK OH GOOD GOSH.

Sylvie, my queen. I’d roll off a cliff for her.

The person with the moustache (you know the one) has pure fear on his face.

Ravonna knows what’s up.

And so do you, yes it’s the music, go listen to it.

THE RED LIGHTING

The zoom out to that incredible hallway shot and then stopping behind the time door. It was never about him after all, he was in the background of her plans.

Sylvie’s wave in Roxxcart vs. Loki’s on the train. Discuss.

The blackout, thunder and Loki’s pause under the flickering red and white light, do y’all really want me to talk about the s y m b o l i s m????

He’s conflicted, you know it, I know it, Mobius knows it.

Speaking of Mobius, there he is, we cut back to Loki and see him make his decision, zooming back in on him.

And with that final flourish in the score, we are done with episode 2!

Cue the most amazing end credits score you’ll ever hear.

Do yourself a favour, listen to all of it, including the part after the main credits, both are Works. Of. Art.

Ep 2 review

In case you didn’t notice, this is my favourite episode so far. There are parts I didn’t take to as much, but details from the previous episode being used in the plot as well as others being explained by Sylvie in episode 3. Rewatching it was easier than episode 1 though it left me wanting more. It will get more interesting from here, but until then, that was a fun romp.

See y'all next time. I hope whoever's reading this has a wonderful day!

Part 1, Episode 1 extend review link:

[chaos-of-my-mind]

Mini rant below, you’ve been warned

I’m going to try and keep spoilers out of this so I don’t ruin anything for you if you have not finished the show yet as I am wont to forget to put the spoilers tag (or any tags) on a post. I might make very specific references but keep them as vague as I can but spoiler warning just in case.  But also, apologies if my ranting sounds nonsensical or vague.

I don’t wish to offend anyone, I just want to voice my thoughts.  Overall, I enjoy the show and likely will watch a second season if they make one but there’s just some things I want to get off my chest.

Okay, so I just watched The Letter for the King and I have a lot of thoughts.

I’m just gonna talk about the first four episodes because I have a lot of thoughts on these episodes and it gonna be reeeeeaaaaaaalllllllyyyyyy long as is.

First of all, right off the bat, this is a seriously loose adaption of a Dutch novel that I looked at the wiki page for and sounds a fair sight better than this show.

The show as a concept is fascinating and the diversity is a welcome change from the usual primarily white cast we tend to see. Certain plot lines were wonderful.

Tiuri is an amazing and refreshing main character.  I was kind of expecting him to be angsty or something but he wasn’t. He has a good heart and caring spirit.  He believes strongly in doing what is right and is unwavering in his belief.  He is also... just about the only character I like.

I liked the Abbott and Ristridin and Ardanwen but Tiuri was really the only character I cared what happened to them.

Costume design is absolutely incredible, I’ve always had a soft spot for this style, especially the dresses.  The intricate details of the clothing is fascinating to me, especially now after having taken a class in costume design.

Sets and locations? Wonderful.  Some of the locations they shot at for these first four episodes are beautiful.  The monastery in the third episode is almost delightfully unsettling with its flickering shadows and the raging storm outside.

Out of the first four episodes, third is my favorite.  Mostly because of the scenes in the monastery, particularly the one with Tiuri and the Abbott.

I don’t have much to say regarding the Queen, I appreciate that she rules on her own without question but she didn’t really have much of a presence (at least IMO) in the first few episodes.

The score is absolutely beautiful.  I love the score for this show. I really wish it was on Spotify. Anyone else listen to movie and TV scores while studying or is that just a me thing?

No offense to anyone else, this is simply my opinion and since none of my friends watch the show and ranting to my wall offers little catharsis, I’m venting here. We’re getting into my issues now.

Anyway, I CANNOT stand Lavinia.  She’s absolutely, one hundred percent my least favorite character.  Yes I understand and acknowledge that this is a loose adaptation from the book but though she shows up in the book, she is nowhere near as prominent a character.

I don’t want to be mean and I am all for powerful female roles but Lavinia, in my mind at least, really didn’t add much to the story.

She kind of felt like when shows add a character just for comic relief and they offer nothing else to the show, you know?

I think it’s her greed that bothers me the most.  Yes, I understand her not wanting to be forced to marry but her plans and actions feel a little too selfish for me.

Tiuri is trying to fulfill the Black Knight’s last request even when it means great personal loss for him and all Lavinia talks about money.  Maybe this changes in later episodes, but right now she’s wearing on my last nerve.

I get being cautious and skeptical but then there’s being obnoxious.  She’s introduced as someone who will do whatever to get what they want with little regard for what happens to others.  There are six episodes in the season, I’m 3/4s of the way done and I still can’t stand this character.

The other would be knights have their faults but they’ve still grown on me to some degree. Except Arman, he’s a snot. But I still like him better than Lavinia.

I feel like I need to say this has nothing to do with her gender and everything to do with the way she is written. 

I get that by taking the basic plot of the book and the character names from the book means you have to say it’s an adaptation but seriously? I don’t really understand why they chose to take a (from what I gathered from the wiki page as this is based off a Dutch novel I have no access to) very minor character and have them be a main character.

Honestly, I feel like all she does so far is complain, talk about money and snark.  She has some interesting storylines that are brought up briefly but none of them have been fleshed out or furthered yet.  Maybe if they went into these plot points, I’d be more okay with her but as it stands, she just doesn’t seem essential to the plot.

Now onto the would be soldiers.  I don’t really understand why Piak is with them or how he managed to get away to follow them (not really a spoiler, happens within like the first or second episode).  I know it’s medieval or middle ages but you’re telling me no one is at all watching this ten year old boy even slightly? Also, why isn’t anyone concerned about whether his parents know where he is?

This may seem nitpicky but other shows, movies or books have been based on the plot of a kid going missing.

I don’t find their plot wholely necessary, feels kinda like filler fodder to me but I also have ADHD and get distracted/bored rather fast.  Foldo, I like. Jussipo, I like. Piak, I like. Arman, meh. Iona, definitely the most competent of the group, don’t know if I trust her.

She feels like she’d be an interesting villain.  She has that vibe, especially when they were with the Red Riders, kind of reminded me of that seagull meme/picture:

this one?  She seems very cutthroat, tough.  She’s a really interesting character but I don’t feel like she’s being given the time or character development she deserves (again only four episodes in but six episodes total so I’m not optimistic).

She’s clever and I like her fine, I just think they’re wasting time that could be spent on giving her more depth on filler scenes or Lavinia talking about money (again). I really don’t like Lavinia. Sorry.

Also, is Viridian the villain? I don’t think saying that’s a spoiler (it’s mentioned in the trailer or the first episode I think) but sorry if it is. He literally does nothing.

He does something horrible in maybe the first ten minutes of the show and then nothing.  He stands in a tent and talks about prophecy and whatever, his soldiers are better villains than he is, at least they’re actively doing something!

Also, he looks just enough like some other actor that it’s all I can think about when he’s onscreen, it’s very distracting.  I think it’s Max Lloyd-Jones he looks like but I’m not completely sure.

Hopefully he actually does something in the next two episodes because so far, I don’t see the point in showing him onscreen at all.

The thing that bugs me most is that while I know the plot is progressing and things are happening, it feels like nothing’s happening.  The plot feels kinda aimless and vague and it’s just slower than I would prefer it to be progressing.  The trailer I watched made it seem action packed and all that but it really... isn’t.

It gets so close to something happening and then the show’s like ‘Just kidding, they’re an ally’ or ‘Nevermind, it’s someone else’ or ‘Ooo, coincidental thing happened and we got away!’

It’s super annoying.  That’s about everything I can think of. *sigh* I feel better now.

Thanks for reading.

[marysfoxmask]

“the secret garden” (2020) review

(warning: spoilers!)

just watched the latest adaptation again! i wanted to see it a second time to really get my thoughts and feelings together. and, while i think it was a good effort, ultimately i was disappointed. my instincts when i first saw the trailer were more or less correct—really vibrant, flashy visuals ultimately subtract from the low-key nature of the book. when adapting a story about realizing the magic in mundanity, realizing the magic inherent to the turning of the seasons and the growing of plants that we usually take for granted, it’s monumentally better to prioritize realism over fantasy.

mary’s character was served the best by the new film, though sadly that isn’t saying too much. while i understood that this mary would be different from her book counterpart, i definitely felt the original’s absence more than i would have liked. the mary of this film is just too well-adjusted, to the point where her arc is less about a spiritually stunted, completely neglected child becoming healthy and whole through the power of nature and socialization (as it is in the novel) and more about a vaguely troubled child apologizing to the specter of her late mother for feeling badly about being neglected, which is essentially the opposite of what burnett was getting at.

was anyone pining for a mrs. lennox redemption story? the same woman who, as per the book, never wanted a child and only cared about going to parties? i’ll forever be baffled by people being more invested in the adults and their ponderous backstories rather than the emotional development of the child protagonists; this film seems a lot more interested in the impact of the deaths of mary and colin’s mothers, to a bizarre degree. “grace” craven (really? was “lilias” not good enough?) and her sister (this and the 1993 film both depart from the book, where mary’s father is related to lilias, in favor of making mrs. lennox and mrs. craven twins—a decision i’m confused by in terms of thematic relevance on both accounts) are never characterized more than being essentially the angels of misselthwaite. they float by, laughing gaily, dressed in white, at points during the film. they are bittersweet representations of the idealized past and, at one point, guardians of their loved ones left behind.

i’ve never enjoyed the romanticization of lilias craven in any adaptation. mary calls the fairytale trope of beautiful princesses falling asleep in a garden for a hundred years stupid in the novel; and what is lilias but a princess eternally sleeping in her beloved garden? she’s beautiful and innocent and good and thoroughly uninteresting. she’s the angel of the house, embarrassingly dated compared to her imperfect, misfit niece, who is coming awake and growing healthy while lilias is frozen in amber, a beautiful idealized figure even in death. the interest in her in this film, the broadway musical—and even the 1993 movie, to an extent—seems to completely contradict the point of the novel, fetishizing the past and resisting lending enough focus to the events of the present. mary is a spunky, interesting, flawed heroine who doesn’t need to share the spotlight with any angels of the manor; the story of the secret garden is one about healing from trauma, not wallowing in it.

that isn’t even touching on the decision to have mrs. lennox be an apparently good person brought low by depression following her beloved twin’s death. i find this adaptive choice to be positively loathsome. mrs. lennox, as a character, is a bad mother and a silly, foolish person, point blank, period. she hands baby mary off to an ayah the moment she’s born, keeps her isolated and locked up, and insists that the ayah keep mary quiet lest “the mem sahib” become angry. when given the chance of evacuating due to the cholera epidemic raging, she instead stays in order to go to a party. she’s a frivolous character whose superficial prioritization of amusement leads directly to her death. she doesn’t need a sympathetic reason to be neglectful to mary; she doesn’t need to be sympathetic at all. the decision to make that a priority in this latest adaptation hurts mary’s character. when she tells her uncle that it was too hot to play in india (a sentiment taken directly from the novel), it doesn’t ring true—in the multiple flashbacks to india, mary plays a lot with her loving father (her ayah, while mentioned, is rarely seen; what we see of india is populated entirely by privileged whites), and is shown to enjoy herself tremendously until she glimpses her mother wilting sadly on a cushion or something. it undermines what little development mary has in the film. 

the prioritization of mary and colin's mothers in general make the film feel weirdly overstuffed while giving little weight/emphasis to the events present in the source material. how many lines did major secondary characters like dickon or martha have, for example, compared to all the waffling mary and colin do about whether or not their mothers loved them and whether mary really killed her mother or not they, at the end of the day, really knew their parents, et cetera, et cetera? it’s a frustratingly shallow addition to the original story, devoid of thematic relevance.

speaking of shallow additions…

hector, a stray dog, assumes the role of the book’s robin (bizarre, considering the robin is also present), being the friendly animal character that leads mary to the secret garden. i’m not sure why the decision to add hector was made; he’s also the catalyst for mary leading dickon to the garden, while she needed no such thing in the book. did marc munden feel kids wouldn’t sympathize so readily with mary befriending a bird, despite the success of all the other adaptations saying otherwise? hector gets a lot of attention in the film, which is frustrating, because so much of the movie is filled with strange original additions that say little. 

despite the clear talent of the actors and the vividness of the visuals, the changes to the story are devoid of purpose. the time period, for instance—why 1947? why have mary’s orphaning take place during the partition of india when her parents die of cholera anyway? why make martha and dickon black when the script pussyfoots around it, refusing to interact with that aspect of their characters in the same way burnett directly (if somewhat tactlessly) interacts with their poverty? save for vague, implicatory dialogue, like the threat of having poor dickon whipped if he’s sighted in misselthwaite by mrs. medlock, the racism of the time period isn’t featured at all. martha is stripped of any characterization at all, her cheerfulness diluted to the point of being nonexistent once mary gets a bit snappy. perhaps the decision to mute martha’s characterization was made out of fear of the implications of a black maid being cheerfully nurturing to a white girl despite her cruelty (invoking the mammy stereotype)—but if so, why make the decision to change martha’s race at all?

the structure of the film is odd, too. mary meets colin early on (in the book, mary explicitly states that she’d hate the imperious and bratty colin if she hadn’t met kindly martha or dickon first) and doesn’t meet dickon until halfway through. why? it directly contradicts the novel for no particular reason; it doesn’t help that dickon is so underused that he’s virtually a non-entity, his three whole canonical character traits (poor! happy! in tune with nature!) watered down to nothing. In this film, dickon isn’t particularly happy (he’s just as solemn and damaged as the other two kids, though in a more subdued way, as his father has died in the war—it’s frustrating that his rich white peers get to air their mommy issues at length while poor dickon’s grief is only glanced at) and his skill with animals is only vaguely alluded to. his skill with plants, negated by the apparent flourishing of the secret garden even when no one’s looking after it, is only brought up when, in one scene taking place in the garden, colin asks dickon what certain plants are.

it’s also frustrating that dickon, the only poor and nonwhite character in the trio, is the only one doing only actual gardening work while his friends sit around and talk about their trauma. the whole time, i wanted to urge mary to stop indulging in her overactive imagination for once and pull some weeds or something. putting in the work to make her secret garden flourish is an important part of her growth in the book, but that’s entirely absent here in favor of the occasional frolic. dickon even eventually whittles colin a cane he uses to eventually stumble into his father’s arms. this gesture should be touching and evident of the strength of the boys’ (offscreen) bond but instead is only another example of dickon selflessly and thoughtlessly serving his betters, making the classist implications of burnett’s original story more obviously troubling by adding race into the mix. it’s also bizarre that mary can cartwheel but dickon can’t, given how physically adept he was in the book. poor dickon is sapped of all his accomplishments, it seems. his character is completely glossed over, though i do like his feistiness in his meeting with mary, with him coming out of the mist and sharply remarking that martha loves him much more than she likes her. even more sadly, unlike his ‘93 counterpart, he doesn’t even get to eat a worm.

mrs. medlock is one-notedly antagonistic, being hard-nosed and strict and disapproving of mary’s wild ways—which is also disappointing. she’s not outright villainous, but she’s denied the shades of sympathy allowed her by the original novel, where she was a straightforward, unsentimental woman working a thankless job trying to satisfy and care for a tyrannical little hypochondriac. she’s also probably the closest thing we have in the movie to a xenophobe/racist, frequently making coded comments about the primitive and savage nature of the english colonies in india where mary grew up, but that’s only ever hinted at without being called out by mary or anyone else. there’s also an odd moment at the beginning of the film where mrs. medlock states the book-accurate sentiment that nothing lives on the moor but wild ponies and sheep, yet mary sees in the mist multiple shadowy figures with what i think are wheelbarrows and gardening tools (it’s a bit hard to tell with all the mist). this probably is meant to clue mary in to medlock’s classism, foreshadowing that mary will be given insight to the outdoors and different people in a way medlock could never be, changing her views of the class hierarchy she’s been inundated by—i’m not sure what else can be gleaned by the contradiction of medlock’s words and what mary sees but that—but nothing is done with it. we never see anyone on the moor but dickon throughout the rest of the movie. it’s another missed opportunity. maybe it’s meant to set up that there are poachers on the moor who set traps, like the one hector is hurt by? after seeing the movie twice, i’m still not sure what the purpose of that imagery was.

there are parts of the film i enjoyed! all the children do wonderfully in their roles (amir wilson does well with what frustratingly little he has), and i enjoyed this film’s characterization of colin as somewhat stiff, with a practiced, affected way of speaking that subtly indicates that he’s spent more time with books than with people. it makes a nice contrast to mary’s plainspokenness as a (relatively classless) orphan and dickon’s “rough” (lower-class) yorkshire accent, showing off his education and status as an upper-class boy. 

the scene just before mary shows colin the tree his mother died beneath, when colin asks dickon about the names of flowers, is very sweet and book-accurate; i especially appreciate the nod to the kids’ book mastery of yorkshire, with colin mimicking dickon’s speech and noting that the names of the flowers sound better in his accent. 

i also loved him calling dickon handsome. it is socially awkward? yes. does it make sense for colin to be socially awkward? also yes. and it’s adorable and book-accurate, in my opinion; if dickon weren’t so homely in the book, i imagine colin would call him handsome there, too. and mary proudly stating that dickon can whistle, as well, is lovely.

similarly, mary and dickon teaching colin to swim is very sweet—while i found most of the garden’s cgi magic wholly dispensable, i did enjoy the plants shivering along with colin. that sort of playfulness felt very attuned to the innocence of the book. 

edan hayhurst does a wonderful job playing colin haughty and upset and an equally lovely job playing colin giddy and happy—if only he’d been allowed to really show off his screaming in a proper adaptation of his hysterics, instead of the pale imitation we got in the film!

it’s funny to note how much these kids get enjoyment out of pretending to be dogs. mary barks at hector when she first makes friends with him, pretends to be a yorkshire terrier with dickon when hector gets well in the garden, all the kids start barking when playing together, mary recites in a letter that colin pretended to be a dog all day...these kids sure love to bark. it’s not a bad thing, necessarily, just funny. why the dog obsession, marc munden? though i like the idea of them pretending to be animals (the masks they wear at one point are lovely), dogs feel a very typical choice. still, i can’t help but get enjoyment out of the kids playing together, though these moments are sadly brief. 

i also really enjoyed all of mary’s outfits. they were adorable. if only we could have gotten more interactions between the children! part of the beauty of the second half of the novel is just watching the kids be kids in the garden; we rarely get that in all of the adaptations, of course, but in this one i was particularly sorrowful, given all the new directions the story went and how none of them directly impacted the children’s friendship with each other. there wasn’t even the mild jealousy colin has over mary spending more time with dickon than she is with him, which is present in most of the films. it’s a real shame; colin doesn’t even know dickon exists until he meets him, in a hurried scene that doesn’t remotely convey the sweetness of their meeting in the novel. the movie flits over all the book’s little idyllic joys in favor of its own original drama (which is not nearly as compelling as the movie thinks it is).

i did also enjoy the ending scene, with the kids swimming together, and mary attempting to tell a story with colin and dickon interrupting. it’s nice to see an ending to this story that doesn’t follow the book, which forgets mary and dickon in favor of colin. i think ending with the kids playing happy and whole in the garden is much more representative of the book’s charms. and the scene where mary and dickon first enter misselthwaite and are giving all-clear signs to one another as they go is fun, too.

i also enjoyed the set design, including all the green present in misselthwaite’s decor. i loved the high ceilings and the bareness of mary’s bedroom. poor colin still didn’t have any proper pajamas, reduced to wearing a white tank top for some reason, though i liked his goofy little hat that he wears when going outdoors. i wish we got to spend more time in colin’s room, and i wish the color saturation had been toned down a little just so we could get a better look at everything. all the insistent gloomy blues felt a bit overbearing. 

i love the opening credits, though, and “the secret garden” slowly appearing in the title screen. the music and the soft green of the trees against the words really conjure up the novel’s near-pagan melancholy and mystery.

the less said about the third act climax of misselthwaite burning down, the better. it’s unneeded and resolves a film-only subplot about mary’s mother that didn’t need to be there in the first place. i think it also unfairly paints misselthwaite as a cursed, doomed place that can only benefit its inhabitants by being destroyed, which is unfortunate. misselthwaite wasn’t the problem, its people was, and they only thought misselthwaite was gloomy because they’d made it so. if they’d followed the teachings of burnett’s book, the one they were adapting, and thought a little more positively about it, then maybe they’d find it wasn’t such a terrible place to be. but, then, i guess we wouldn’t have the third act climax to artificially ramp up the stakes. how sad.

i could say more, but i’ll stop for now. i appreciate the effort, like i said, but i can’t help but feel this missed the mark.

[yumeka36]

WARNING: MAJOR FROZEN 2 SPOILERS AHEAD

The ending for Frozen 2 was leaked last night and I wanted to post my thoughts. 

–IF YOU DON’T WANT TO BE SPOILED, SKIP THIS POST AND DO NOT READ FURTHER–

But if you’ve also read the leaks and want to know what I think, proceed…

*************************************

In less than two days of me posting this where I describe the apprehension I have about learning the plot of Frozen 2, possibly in less than a week due to the merchandise release on the 4th, and how my fandom may dwindle if the ending doesn’t satisfy me and Disney offers no certainty of future sequels, the ending of the movie was suddenly leaked last night. I won’t post the pictures but you can find the link here if you want to see.

As expected, fan reactions have been mostly negative, but some more positive and some trying to be neutral until we have more information. I’ve read through many comments and understand the emotions on all sides @justlookatthosesausages @hereisisa @tenshichan1013 @breckstonevailskier @basssuperpower @jabs-wocks @beingpassionateabout @bigfrozenfan @mike5579-t3a I had to take some time to get my thoughts together and let the shock process in my mind. But my initial reaction was and still is, yes, I’m disappointed now, but I don’t want to throw in the towel until I see the movie myself, or at least learn more information from other sources that describe the plot a bit better, like some of the books that will release on the 4th. What we have in these leaked pages is very vague and begs tons of questions: What are the “sacrifices” each of them has to make? Is going their separate ways the sacrifice, or something else? How do they destroy the dam? Can’t Elsa just easily destroy it with a bunch of ice pillars? I can’t imagine just destroying a dam would be the big, epic conclusion. What is Pabbie’s “prophecy”? In the trailer he just tells Elsa to find who’s calling her, we didn’t see him prophesize anything. The leaks say that Elsa leaves Anna and Olaf, but where are Kristoff and Sven when all this is going on? I can understand Elsa being the only one who can cross the sea but why would Anna have to be totally alone for her journey? How does the dam harm the Northuldra and how would King Runeard benefit from it? What is the “curse” exactly and why is it now becoming a problem as opposed to the 3 years after the events of the first movie? There are many more questions than answers that the leaks provide, which shows how we really need more information to judge the quality of this ending.

But yes, the major facts that we do learn are Anna becomes queen of Arendelle and Elsa becomes the fifth spirit/Snow Queen. But again, there are just so many things we still don’t know: what does being the “fifth spirit” even mean? Is she just gonna hang out in the enchanted forest all day doing…what? Does the “Snow Queen” mean the queen of the Northuldra? Of Ahtohallan? Of the other four spirits? Of the world in general? The leak fails to mention where Elsa will be residing in the end. Being with the other spirits in the enchanted forest makes sense, but if she’s the fifth one who’s supposed to be the bridge between the two worlds, it would make more sense if she’s somewhere different, like maybe just living in her ice palace between Arendelle and Northuldra. Heck, wouldn’t it be funny if she ends up staying in Arendelle with Anna after all, and the reason Anna becomes queen is because Elsa can’t be the queen of both worlds so she decides she’s more fit for being the Snow Queen. Or she’s just too busy doing “fifth spirit” stuff to rule a kingdom…again, until we know what kind of duties being a spirit entails, confirming her status at the end of the movie is still very up in the air. But the bottom line is that there’s no inference that they won’t be able to see each other again even if they end up living in separate places. Now that there’s peace between the two lands, that’s even more reason to conclude that they can freely visit each other whenever they want. The leaks state that Anna and Elsa are the ones who create the bridge between the two worlds…isn’t that what bridges are for, keeping people together? @taniahylian I also have to wonder what this will mean for Frozen’s representation at Disney Parks - I think this is the first time such popular characters have gone through such a radical change in canon material (since this is their only official sequel beside Rescuers Down Under and Wreck-It Ralph, and even the direct to video sequels didn’t have this level of change) so representing Anna and Elsa the way they have in Disney Parks, with Elsa being the queen of Arendelle, their outfits, etc., will become obsolete, plus Frozen 2 merchandise will clash with merchandise from the first movie, so will they get rid of the old stuff? I’m really curious how Disney Parks will address this, if they feel the need to.

One part of the leak that made me a little nervous is that Elsa has “transformed” in the end, which leads to Anna changing her role. I’m assuming it means more of a figurative transformation and not to the extent that she’s no longer human or becomes immortal or takes the form of that snowflake compass in the movie poster. Anything that infers that Anna can no longer interact with her normally would be terrible…that’s an ending for an anime, not a Disney movie!

But personally I think we’ll see a more happier ending like what I mentioned earlier where they’ll still see each other and have their same relationship, just not live together. I recall something Jennifer Lee said at D23 Expo where she said “nothing will ever be the same” and then, more lightly, “but some things will” which I feel illustrates this kind of ending. But we also have to wonder about the fate of the other main characters: will Olaf end up staying with Anna or Elsa? And the leaks say nothing about Kristoff and the engagement ring, which makes sense since it’s from a book focused purely on the mythology of the movie, so we have to wonder if Anna ends up accepting his proposal or not, and if she does, does that make him king or prince consort? If Disney intends to make this the final installment of the Frozen franchise, I can’t imagine them leaving Anna and Kristoff’s relationship so open ended (the elsanna fans are already disappointed, at least satisfy the kristanna fans, lol). I’m kind of imagining an epilogue that, after we get solid confirmation that they’ll be able to visit each other freely in their separate lands whenever they want, we get a scene after the end credits, maybe 5+ years later, of Anna and Kristoff visiting Elsa in the enchanted lands (of course Olaf and Sven are there too), and after a heartfelt reunion, they show her a baby and say “we thought you’d like to see your niece/nephew,” then que scenes of all of them playing and hanging out together. I think this route of closing Anna’s relationship with both Elsa and Kristoff while still reinforcing their togetherness and family dynamic would satisfy me.

To conclude, I agree with many others that this was definitely not my first choice for an ending and would have preferred this be the ending of Frozen 3, with Frozen 2 focusing on Anna and Elsa getting to know each other as sisters. But at the same time, this does not mean it will be bad. As I described in this post, there are way too many details we don’t know to make major claims like “Elsa and Anna won’t be together” and “Elsa becomes a goddess.” It does seem like the separation ending is a new trend, or perhaps it’s just coincidence that Frozen 2 is following Ralph 2 and Toy Story 4 which also had this kind of ending. I recall an article from a while back stating that Jennifer Lee and team planned the ending of Frozen 2 first before the rest of the story, so maybe this is really the route they wanted without any big corporate suits pulling the strings (Jennifer Lee is the head of Disney Animation after all). I’m now more interested than ever to see that Frozen 2 documentary on Disney+ to understand why she chose this ending. Even if books released on the 4th shed more light, seeing the movie for real with all its many details in dialogue, character interactions and expressions, visual illustration of plot and setting, etc., is the only way to make true judgement. I’m hopeful I won’t have to eat these words two months from now~

[magaprima]

Right now I’ve watched the trailer slowly, and screencapped for better looks, here are my thoughts. And some of them may be wishful thinking, but thinking hopefully is the only way I’ll get through this coming week until Part 3. 

We have Lucifer talking, saying “You know what must be done, Sabrina, claim the throne, save precious Greendale, your boyfriend...”

Now I would say it’s obvious Lucifer is tricking Sabrina into something but I also doubt Sabrina would fall for it, that even the writers would write that, considering the entirety of Part 1 and Part 2 was Sabrina wanting to ‘beat the devil’ and not wanting to sign her name, and refusing the crown and him, and teaming up everyone to defeat him. So I’m going to theorise that maybe Sabrina is pretending to hear him out, just like she pretended to submit to him at the coronation in the Part 2 finale. 

While he’s talking, when he says Claim the throne, we have a shot of Lilith, establishing that in the opening episode, at least, Lilith is indeed holding the throne. And looking like a boss ass bitch while doing it

When he says Save previous Greendale we see mortals are now hanging out at the academy, so (as I did theorise at the end of Part 2 so yay me), there is no longer the same divide of witches and mortals due to their help in defeating Lucifer, keeping Hell closed and crowning Lilith. Look how causal they all are at the Academy. Maybe this is why Blackwood came smashing back into their lives

When he says ‘your boyfriend’ we have a shot of Nick, but he’s not in Hell, he’s chained in the Witch’s Cell, so this is potentially a few episodes in, perhaps even the final episodes, since we’ve heard spoilers of Sabrina not knowing he’s possessed still until later on. 

And then we have Sabrina’s eyes turning blood red, and she doesn’t look happy while this is happening. Is this her being crowned? Is this her anger? Is this her Satanic powers coming out? Or is Lucifer using Sabrina as a vessel? Since Nick’s eyes changed when he became the human acheron for Satan. 

Then we have everyone bowing to someone who I think the trailer is trying to imply is Sabrina, but from the hair, despite being blonde, and the broadness of the shoulders, this doesn’t seem to be her at all. And it’s not Caliban either. So who is this?

Lucifer starts talking again claiming ‘the balance is off in Hell, so it is off in Heaven, so it is off on Earth. To preserve one realm you must preserve them all’. I like this part of the CAOS mythology being added, because I always love the idea of you can’t have one without the other. That demons and angels are both needed, hell and heaven, mortals and witches etc. 

But when he says the balance is off, we have a shot of Lilith, implying the balance is off because she’s ruling and isn’t meant to be. If this is the way they’re going, I’m hoping it’s because of the False God, because other shows and books have had God being an arse about who rules what, and that only celestial beings can rule realms. And Lilith is the First Woman, but she’s not a celestial being. Sabrina is though, by right of blood. So if they are saying that, I hope it’s because of some shitty ancient rule, that therefore Sabrina wants to take down, as she enjoys the whole taking down stupid rules and archaic set ups.

When he says ‘so it is off in heaven’ we see the Pagan carnival group, which makes me wonder, when the synopsis said this group meant trouble for the coven, are these magic practitioners from the False God’s side? Or another God entirely perhaps? The fact that heaven is used in the shot implies some deity is involved. 

Lucifer, however, seems to be speaking from inside the Acheron, by the designs around him, it’s all those octagon shapes. So he seems to be still trapped when he’s whispering in Sabrina’s ear

"Embrace your destiny, Sabrina” Needless to say this is just bullshit Lucifer is spinning once again, and just the destiny he has in mind for her, because we all make our own destiny, but then it cuts to an empty throne room, implying, obviously that the throne is her destiny. But Lilith is still in the room, and I think this might be from episode 1 and might, by implications from photo stills, the moment when Lilith decides to go to Greendale (as we know she turns up at Baxter High)

“Hell’s under new management now” This seems deliberately cocky of Sabrina, like she’s goading, but we don’t quite see to who, but she seems to be saying this while she’s at school and not in hell, so if Sabrina and Lilith have planned shit together, is it starting to stir things up?

Then after she says this the song says ‘I’m the devil’s worst nightmare’ which seems to imply, that even if she’s saying ‘hell’s under new management’, and even though we’ve seen her being ready for a coronation, and all this chanting, and the words from Lucifer, that she isn’t following Lucifer’s plans at all and that she is playing the long con. She’s the devil’s worst nightmare, because she never does what he wants her to do. 

Caliban is seen saying “If you want the crown, you’re going to have to prove yourself worthy of it” And then Sabrina punches him as we saw in the music video teaser, essentially proving herself with an old fashioned punch to the face. Lilith is in the background when this happens, and she doesn’t react with shock or surprise as everyone else did, she also doesn’t glare or flinch, she doesn’t look unhappy, she looks vaguely disinterested...as if she knew it was coming? It was this moment more than anything which made me begin to theorise that the trailer is deliberately sending mixed signals, and that Lilith and Sabrina are actually in this together.

It cuts to Lucifer saying “That’s my girl” but he isn’t in the Acheron here, he’s in the Witch’s Cell, so he must be in Nick’s body there, chained up, and this is obviously out of sequence, so don’t actually know what that’s in reference to.

Zelda says “Being Queen of Hell isn’t a Summer job” quickly followed by “You’re putting the coven in peril just so you can save your boyfriend” and the audio edit of that suggests that’s from two separate scenes, at least from what I can hear of the cut. It’s possible the summer job line is in reference to Sabrina having the idea of being Queen of Hell part time, sharing the throne with Lilith, in order to keep that balance, but allowing Lilith to rule the majority of the year. Persephone vibes a little, maybe, especially with the summer crown Sabrina was wearing in another shot. 

And then the coven in peril line could be from earlier on when Sabrina is repeatedly trying to open the gates of Hell in order to save Nick?

Then we have some devil looking creature appearing in front of Elspeth and Melvin, and both look vaguely terrified and unhappy about it, so is this the moment Lucifer, inevitably, gets free and wreaks chaos, or is this some other creature who doesn’t want Sabrina ruling? 

We have all the court of Hell chanting ‘Sabrina! Sabrina!’ and Lilith looking shocked, but this seems entirely out of sequence, despite the continued chants running on the audio track, to the next shot where Sabrina seems to be getting dressed for a possible coronation. Lilith is in the room with her while she’s being dressed and she is not stood in the pose of someone who doesn’t want this, of someone accept defeat or feeling beaten, she appears calm, ready, in control, perhaps even prepared for something, as if this is all planned/arranged between them (and Sabrina does smirk a little). Despite Sabrina being centre shot, Lilith’s position in the shot is actually the power position traditionally, as where she has been placed means she’s ‘overseeing’ the scene, so-to-speak, which usually means the character is ‘overseeing’ the moment. 

We then cut to Lilith glaring, with the chanting going on still, but this is out of sequence again (they’re using the chants to try and make it seem to us that it’s all in chronological order, but it clearly isn’t), as we can tell from mere costumes and timing, so we don’t actually know who Lilith is glaring at. They want us to think it’s Sabrina, but I suspect it’s Caliban. Also I think the bellhop guy might be her loyal servant we’ve seen in previews of the next Sabrina novel. 

Also for those who thought Hilda was the one causing pain to Mary, the voodoo doll she is using is for the person on the floor in front of her, who, while dark haired, does not look to be Mary, and might be one of the new characters from the carnival. 

Mary, however, does seem to be in trouble, as she’s been overtaken by vines I think, and appears to be screaming in pain, and we do see a creature appear in the next shot. So not quite sure what’s happening there, but I would like it to be that it’s not Mary being tortured or attacked, but her going through something to get something. You know like the whole Land of the Dead ‘you must be tested’ sort of thing? Like there’s a lot of Aztec mythology where it’s all ‘pass this painful test and this one and THEN we’ll see what you have to say’. So maybe?

But the writers did say we would find out more about Mary this season and we would learn the reason why Lilith picked her. 

[dahkani]

RWBY IN RETROSPECT - THE TRAILERS AND CHARACTERS

Hi! My name’s Dahki. I’ve wanted to write out my thoughts, criticisms, and praise of RWBY for a while now and offer my two cents into the vast void of discussion. I started watching during the Volume 3 hiatus at the wish of one of my friends, and kept watching ever since, save for a small hiatus during Volume 5. Now, I want to take a look back at the show I enjoyed so much and talk about what it did right, what it did wrong, and - spoiler alert - tackle many, many criticisms made of the show - and some praise - and expose it as it is: simply... false. Now that I hopefully have your attention with such a bold claim, why not dive right in?

This post will cover the trailers and how they serve as introductions to the characters, along with the first chapter discussing a common criticism of the show I felt best to put here - namely, what the show actually revolves around. (Spoilers: RWBY is not predominantly plot-driven show, or a fight-driven show, or even themes!)

NOTE: My analysis comes from the content I’ve consumed - the show itself, and some pieces I can remember from the World of Remnant, which I believe is a positive as I can more critically examine the show how it actually is presented, rather than creators telling me how things were meant to be.

CHAPTER 1:  Of Monsters And Men

yes, i’m titling my segments vaguely and dramaticly, no you can’t stop me.

An important part of any piece of content is the expectations you build and what you promise, and I wanted to designate a chapter of this post to talking about that. I’d also like to take this chapter to immediately dispel a longheld criticism/observation of the show that, quite frankly, is complete and utter bullshit.

Television and visual storytelling is a medium where you can’t rely on beautiful prose to carry you. No matter how pretty your show is or how good it may be to look at, it doesn’t matter. You will never keep an audience based solely on things looking pretty. This may seem obvious or like I’m preaching to the choir, but stay with me.

There is a common criticism about RWBY being a show that exists only to indulge in the spectacle of its big fights and nothing more. While I’m not here to say it’s wrong to only watch RWBY for the fight scenes - do as you wish - to actually say this as some kind of real criticism is so baffling and ill-founded it can be dismissed almost instantly. The fights in RWBY are one of its main selling points, but as I said earlier, no amount of visual eye candy will ever carry a show to anyone who actually cares what they’re watching. So lets get this out of the way.

RWBY is not a show about fights. RWBY is barely even a show about plot or story elements or themes. RWBY is not a show teaching lessons or tackling hard topics. What RWBY is actually about - while it INCLUDES other elements as all shows do - is what it TELLS YOU it is about the instant you read the title.

Its characters.

If RWBY were truly about a plot, we wouldn’t have spent three volumes completely in the dark about what the plot actually is. If RWBY were about Ozma vs Salem’s eternal struggling conflict, or even RWBY defeating Salem, we would know about it sooner than Volume 6 came about. But the hard truth is that while RWBY as a show includes these elements in their story, that story came secondary to the characters. RWBYs three priorities are, in order, its characters, then its plot, then its fight scenes.

The first two volumes of RWBY amount to nothing. You could remove them completely, hamfist a few missing details from them into volume three, and you could go from there if you wanted to tell a grimdark story from the word go. 

The decision to start RWBY the way they did, with interpersonal conflicts that don’t matter in the long run, proves my point. Does anyone care about Jaune forging his way into Beacon? No. That was a plot point from V1 to create conflict and get us attached to the characters and build on them. RWBY started out with a soft and simple premise with darker undertones for two reasons: to create the show-stopping volume three finale which completely switched the show around and to force us to care about these characters; to give us reasons to root for them. RWBY started slow because you always start a character driven show slowly, or else they’re going to be perpetually outshined and outpaced by the everlooming need to combat some greater evil. Weiss warming up to Ruby and growing to respect her as a leader naturally, or her making up with Blake at the end of Volume 1, says a lot more about her character than if she were forced to stand by them because if she doesn’t she will literally die.

What brought everyone into RWBY at the beginning may have been the fights, sure. But what kept us around was the characters. Not the plot - because there wasn’t any. Not the fights - because they’d eventually get stale.

And the kicker is that this is all great. This is all fine. There isn’t anything wrong with this. Interpersonal character conflicts can be just as interesting as world-ending stakes; far more people remember Blake and Yang vs Adam than they do the fight against Cordovin, because while Cordovin’s fight is more important to the plot by ensuring they get a way to Atlas, Blake and Yang’s fight vs Adam was the culmination of their entire arcs thus far and practically defined their growth as characters. If Blake and Yang had lost their fight and had to retreat, it would have no impact on the plot, just the characters involved.

So why did more people care about that fight? Why do we remember it more? Why is it a highlight of the show?

You already know why because I’ve spelled it out. It’s a character-focused conflict versus a plot-focused conflict.

CHAPTER 2: RUBY “RED” ROSE                                                              

In these chapters, I want to touch on how the trailers act as a little more than simply performative set pieces - as a good trailer should!

...Unfortunately, the Red trailer offers pretty much nothing into Ruby as a character no matter how many times you watch it.

The first thing we see of our main character is her standing at what we now know is Summer Rose’s grave. The face hidden, weak pose, and even the petals scattering in the wind accompanied by the acoustic guitar all give vibes of a soft sadness. She’s hiding her face as if in mourning, wields no visible weapon, and if Ruby is represented by a rose, petals breaking away from her almost give the impression she’s falling apart.

This continues with a different shot as we get the vocals to Red Like Roses beginning - yes, I’ll be analysing song lyrics since I’m analysing character and these are basically theme songs.

...But there’s nothing to analyse like with most of this trailer, which is understandable. As always in this series of posts I’m not going to shy away from criticism though. This trailer was stated to be more of a “weapon demonstration” by Monty, which is easy to see - especially when contrasted with the other trailers practically dripping with character. All we truly see of Ruby is her kicking ass of Beowolves, and the whole “moving about with recoil” that she and Yang both use - but Ruby moreso as time goes by.

CHAPTER 3: WEISS “WHITE” SCHNEE

As I said earlier, though, the other trailers are dripping with so much personality to unpack I would hardly believe them to be related. Unlike Ruby’s impassive face tearing up hordes of Grimm, Weiss’ trailer shows a side of her that - with how she’s presented in Volume 1 especially - is practically required to prevent us from hating her from the word go.

The White trailer opens us up with a quote that defines how we’re supposed to interpret Weiss. Instantly you’re told it plain and simple: the character you are about to meet is sad, and no “perfect” life will fix that sadness. From this quote alone, when we meet Weiss in the show, we know that behind her cold exterior, she’s hurting badly - and this trailer shows us a few reasons why.

This transition is interesting. We’re moving downwards, to the opposite “reflection”, and seeing what’s going on underneath the surface of Weiss. It’s a clever piece of visual storytelling to convey that this is a side of Weiss others don’t see - such as the crowd she’s singing to.

One of the best parts about Weiss’ trailer is how it conveys the greatest defining trait of her character with no words and no context. Her defiance.

Weiss’ trailer is a complete difference to Ruby’s casual badassery, Blake’s inner turmoil about Adam (oh boy I can’t WAIT to get to that--), Yang’s casual and fun atmosphere - and the fact that all three of them kick major ass in their trailers.

Weiss? Weiss gets her ass handed to her and a nasty scar until she narrowly etches out a win. Weiss’ attacks do nothing to this random suit of armour, and yet she doesn’t stop trying, and through creative use of her Semblance and Dust, wins. Weiss was never gifted a Semblance like Yang’s to simply obliterate anything in her path. Weiss has to carefully use her tools to win; something we see all the time in the actual show.

Weiss is not a natural born fighter in the sense of actual physical combat. Weiss loses many fights in the show, her wins are rarely clean, and in the trailers she’s portrayed as practically the weakest based on this alone - we don’t see her shine with no conflict. We see her struggle and overcome it. Alone.

Just look at the sadness on her face when she’s beaten down again and gets her scar; I remember this tugging at my hearstrings when I saw it.

But for how frail she may look, and all the illusions to ice, snowflakes, and snow; she always stands up again. If you critically watch this trailer, you see her sadness, her determination, and her eventual triumph; you can see so much of her character in it already. The fights in this show are so good for many reasons; one of the most compelling is the justice they do to their characters and the ways they advance them.

True to her song, we never see Weiss with another character in her trailer.

CHAPTER 4: BLAKE “BLACK” BELLADONNA

Again, we open with a quote! This quote immediately centralizes Blake’s primary conflict in the beginning of the show: Adam and Faunus rights. The liberation they seek is liberation from their discrimination and freedom; ‘my own’ is important because the liberation Adam is shown to seek is different to what Blake wants, reinforced by this. This entire quote seeks to convey how Blake and Adam were once on the same page, but have begun to disagree and drift, and now Blake seeks escape. As we learn in the show, this is no ordinary disagreement, but a product of Adam’s extremism. Adam’s dreams of overthrowing humans “burden” Blake, and so she does what she does best: leaves.

Good choice, though, considering how fucking creepy Adam is.

The very first thing we see of Blake is a shot that can only be described as melancholic. The combination of soft vocalisations, her pose, the scenery, the piano, her sitting alone; it all works off each other to convey a sense of melancholy and... loss. With how important colours are in RWBY, I find it might be worth mentioning the amount of red on the screen and how that could tie to Adam, but I can’t find the words right now.

Regardless, you immediately get a grip of Blake’s character from this introduction. While it may be hard to vocalize, a character you introduce like this is not going to be screaming and shouting and yelling unless you’re seeking to subvert expectations for humour. With how serious this introduction is (for an example of a less serious introduction, Cordovin!) we know that won’t be the case.

Showing off these characters ambushing a train is an immediate way to set off alarm bells in someone’s head in regards to “am I supposed to root for these guys?”. The trailer does a good job of showcasing Blake’s compliance, but lack of any real drive to do harm. Adam is the one to instigate the conflict and tells her it’s time to attack the train. It isn’t until the end we see her leave, painting clear as day Blake’s discomfort with his practices and giving us an easier reason to like her. She takes a stand against a character we aren’t supposed to like, because generally speaking, good people don’t randomly attack trains, and a trailer isn’t the place for Robin Hood dynamics to be fully explored.

“Don’t be so dramatic.”

I don’t have anything to add to this beyond... Blake’s dry wit and sarcasm being shown as early as her trailer, and that it’s one of my favourite Blake quips of all time.

Throughout the trailer, while Blake kicks ass, she’s also shown to be weaker than Adam. Adam is the one to defeat the SpiderDroid for instance, She’s also clearly following his orders, suggesting he’s her superior (toxic relationship dynamics amirite?).

The lyrics in “From Shadows” make it very clear these two are mad about something, which we later learn to be Faunus subjugation. Her trailer featuring Adam and From Shadows being a duet makes it rather clear Adam is a large and central part to her character, like how Weiss being alone conveys her isolation. It has vigilante feels and themes of justice, but it being a duet and Blake leaving at the end leaves you wondering who you’re supposed to side with. Spoiler, it’s Blake, because of what’s coming up.

Any part where you’re supposed to side with Adam is instantly gone at this second and it’s made clear which member of the duo has lost their fucking mind. Blake’s obvious discomfort and asking - without prompt -  about the crew members present on the ship and how Adam callously plans to have them end up as collateral damage shows where the “burdens” earlier come from. Adam relishes in pain that doesn’t need to be dealt to feel a sense of justice against a world that has wronged them, whereas Blake routinely voices discomfort against it because she hasn’t been blinded by spite. Even the fact Adam is wearing a mask, showing how he’s lost his humanity, feeds into this.

This single scene and everything I outlined here is exactly why “Adam had potential” or “They changed/killed/neutered Adam’s character” arguments are simply wrong. We know Adam is obsessive, we know Adam is vindictive, and as we see in his trailer, we know he’s emotionally abusive and manipulative towards Blake. He even shows it here - asking “what about them?” as if Blake is being ridiculous to care for them.

But I’ll get on to that in time as the show deals with Adam more and more.

Blake chooses to save the lives of the crew members and distance herself completely from the man who only seeks harm rather than change. This is her defining trailer moment; she does what’s right even if it’s hard for her. Cutting herself off from Adam exposes her to his wrath, to life without the White Fang, to life alone. But it’s the right thing to do, and so she does it.

CHAPTER 5: YANG “YELLOW” XIAO LONG

Yang’s trailer (my favourite one!) opens with a lengthy, wordy, and clumsy quote that makes little sense for her character until we get to volume 4 onwards. Something about strength, willpower, or determination would probably make a bit more sense than heavy handed foreshadowing.

She literally rides in with a motorcycle as her introduction and is on her way to kick major ass.

Yang’s introduction is simple and effective; she’s cool, you’re not, get over it.

Everything about her conveys confidence. The swagger in her strut, the comparison to a rising sun (while all other characters are framed against a moon, mind you), even the easy smile she’s got on this entire time. You already know she’s going to be bright, confident, probably carefree and all kinds of reckless fun to offset the other members of RWBY.

“Aren’t you a little old to have a name like Junior?”

Yang has an advantage in her trailer to the other characters in that she openly interacts with someone for more than two seconds. All her interactions with Junior make it clear she has very little respect for those with “power” over her; she waltzes right into his club and demands things from him and he’s (creepily) smitten with her the entire time; and she just uses that to bait him into a punch for being a creep.

Yang’s search for Raven being in her trailer helps it not feel out of place when you look back, but does keep me wondering how Yang didn’t recognize her by the armour and sword she uses.

Top ten pictures taken moments before disaster. It’s what he deserves! Yang’s trailer just exudes fun, confidence, and doesn’t sacrifice her strength to get either. She knows what she wants, and she also doesn’t take kindly to creepy men flirting with her. (Remember when she punches Shay D Mann in Volume 4? Yes I name dropped him specifically so more people would see his name.)

Regardless, this is definitely her defining moment! Yang is quicker than she looks, and she doesn’t appreciate getting creeped on, and she’s gonna teach him a lesson for it. Ever wondered why she walked into a random club and started beating people up?

A basic interpretation of her character would say its because she never got what she wanted; answers on Raven. Anyone with two braincells to rub together can tell you she only starts kicking ass when Junior calls someone underage “sweetheart”, and then actually takes her offer to kiss and make up seriously despite her whole... being underage. Yang takes shit from nobody.

Frankly, it does keep me wondering why Yang always looks so passive when Blake gets insulted in later volumes, but we’ll get to those when we get to them.

Oh, look, a RWBY character framed against the “moon” in their trailer!

The rest of the trailer is just Yang kicking ass in typical Yang fashion, with the added quirk of her anger when you touch her hair. Cute tertiary traits like that can be cute on characters provided.

Pretty shot! Also the reveal of them being sisters. Not much else, though; most of Yang’s character is shown by her reckless approach, carefree attitude, and her strength that doesn’t come at the cost of her being edgy and brooding. My favourite trailer to watch, to be honest.

CHAPTER 6: CONCLUSION

The trailers for RWBY work so well because they took the opportunity to show off each character individually. The show didn’t promise exciting stories of Salem and Ozpin. The show never promised an exciting world brimming with spinoffs, fanfiction material, and original character fuel.

The show took its trailers and designated them to the CHARACTERS. Because RWBY wants you to look at its characters first and everything else can wait. The reason the Red trailer is my least favourite isn’t because I hate Ruby (I love Ruby!); it’s because it’s Ruby impassively beating up Grimm after visiting her dead mum. Cool premise, but it offers nothing to her character before telling you she has a dead mum. Blake and Weiss’ trailers show us important events in their lives; Weiss’ trial to go to Beacon, and Blake’s decision to leave Adam and the White Fang; her decision to trade comfort for what was right. Yang’s trailer is just dripping with character and is fun! I’ll go ahead and tell you I think the best trailers are, in order, Weiss > Blake > Yang > Ruby.

So if anyone ever tells you the show only cares about its fights, they’re not watching what you’re watching. And if you think the plot matters more than the characters themselves, well... I think CRWBY might disagree. But who’s to say that for certain except them?

Either way, I hope you enjoyed the read. I’ve wanted to do RWBY analysis for so long - the actual kind rather than any analysis that pretends Adam was ever anything but a device for Blake and Yang or acts like that’s somehow bad, or the FORCED PANDERING.

The next time you hopefully see me, I’ll be talking all about Volume 1 in a post probably just as big as this one. Volume 1 is a wonderful start to the series, endearing in its trial by fire, and I hope to see you then. For the record, it’ll be much less of a screencap -> analysis format as I won’t be going episode by episode, instead talking about the volume as a whole along with standout episodes, moments, characters, and things that didn’t sit right with me. That was just for the trailers! Liveblogger I am not.

[cloverhighfive]

you blocked me but you still interact with my posts from time to time. I don't get it

Ah. I thought maybe one day I’d have a nonnie (cause the blog’s blocked) on that subject.

Look. I haven’t blocked anyone for personal reasons so far that I can remember. The reason I blocked blogs is if ppl have not tagged spoilers. I have had very bad experience in the past asking ppl to tag their spoilers (very politely) and I have been met with even mean-spirited purposefully improperly tagged posts in response to my asking.

So now, I just block. I don’t have time to argue or ask or anything, cause it always feel like I’m annoying. So I block the blogs and that’s it. I’m sad cause there are quite a few in there I loved a lot.

But we don’t have the same definition of spoilers either sometimes. Me, a simple still from the next episode, even if it’s next to nothing, it’s a spoiler for me. A tweet from someone from the crew, if it’s about a future ep., whatever small or vague, it’s a spoiler for me. So I’m done arguing. 

I’m also not taking any chances on ppl who don’t tag or tag weird because the closer we get to the ending, the more stuff will be taking us by surprise and I am very serious about spoilers and don’t want to ruin anything for myself.

Tagging spoilers is easy. #SPN spoilers or even #spnspoilers is one everyone uses. Use it. (just using #spoilers isn’t enough, cause get this, there are other shows who use it. it’s too vague). Or, the ep #. I have, for each episode, in my filters, every damn combination of spn/spoilers/spoiler/ supernatural/ season.ep/SeasonxEp/promo/pics/trailer/ and other key words. My list is EXHAUSTIVE. And if someone uses a weird tagging system, I add them. I also try to stay away from tumblr altogether the day of airing. And yet here we are.

I hoped I’d go and unblock and refollow everyone on May 19th. But SPN is ending much later. :(

Also, tumblr is dumb and keeps showing me content from blogs I blocked - thankfully, it’s older stuff reblogged by someone else. And, as I said, I blocked some blogs I loved, so I don’t remember I blocked them, and I reblog their stuff. Which is super weird! But hey! I get to keep enjoying older posts and reblogging cool stuff.

Hope this helps understanding!

hugs xx

[blackbatpurplecat]

My Thoughts on Joker (2019)

Alright. I’ve finally seen Joker.

Warning: SPOILERS ahead!

It’s a well-made movie. The cinematography is good, the use of music is absolutely outstanding, Phoenix carries the film with his quite decent performance. I really liked his laugh towards the end! I was surprised at how little dialogue was in it, it was more about nice shots and slowmos while we were following Arthur Fleck through his despressing life and mental decline. And we got a few DC references too.

Unfortunately, it didn’t live up to the hype to me. I had wrongly expected much more after the big buildup surrounding the movie’s release. The trailer had made me want to see it, reviewers have been praising it, saying it’ll have a big influence on future DC films and even movies in general - I don’t see that though. Sure, its success might change DC/WB’s approach to turning their characters into movies but Joker wasn’t a gamechanger. It’s basically about a depressed dude who makes bad decisions and blames others for the consequences, nothing new. A dude who takes revenge on those who treated him badly but spares the good people, not very Joker-y. And let’s not define what mental illness he has or what kind of sOcIeTy the characters live in, let’s keep things as vague as possible and don’t focus too much on world building.

What I don’t understand is people’s comments on how violent and disturbing the movie is - it REALLY is not! The most violent moment is when he’s stabbing his ex colleague in the eye but that’s it, the rest is nothing too graphic or gory or overwhelmingly bloody. Even when he’s killing his mother, all we see is a close-up of his face, the camera doesn’t linger on her (which I prefer. don’t fetishize killing, just show us how it affects the main character).

While I noticed some points that didn’t make sense (e.g. who recorded him?! that movie doesn’t take place during the cellphone era!), moments that weren’t necessary (movie, you don’t have to explain that his girlfriend was just an illusion, your audience isn’t dumb), moments that were too predictable (his mom was insane? his girlfriend wasn’t real? he killed the man he had idolised? wHo WoUlD hAvE tHoUgHt?!), and moments that were dangerously close to “I’m 14 and this is deep” or were taking themselves WAY too seriously so I couldn’t help but cringe, I did enjoy the last 30 min and kinda liked the ambigous ending.

It’s very likely that the finale was just another delusion. Like killing Robert De Niro, walking away from TWO car accidents, the city so easily falling into chaos, the Waynes getting killed (are we REALLY doing this?!), even Arthur chasing the ward through the halls in the very last shot were possibly just Arthur’s fantasy. Maybe they caught him earlier in the movie and the rest is just him thinking of what could have been. Granted, “it was all a dream” is a bad trope and the makers will 100% use it to explain away script issues, but it’s okay here. It’d be part of the character’s development: at the beginning, he imagined himself to be liked and famous for being nice and at the end, he’s imagining himself being famous for doing bad things since killing those 3 douchebags no one knew but no one liked for some reason (?!?!?! imagine if that happened in real life: a man wearing a clown mask shoots 3 random guys dead and people reacted with I’M GLAD THEY DIED! THAT MAN IS A HERO!) made him feel appreciated by hundreds. Since he couldn’t handle the fact that he was adopted, he made Bruce an orphan (btw that child actor was horrible). You just don’t know for sure what is real and what isn’t anymore, similar to Arthur. It’s up to interpretation.

I’m relieved that this is a DC movie without any universe behind it, no sequels or prequels are planned, it’s just ONE movie telling the story of what made an already deranged man take the last step to becoming a killer. I probably would have enjoyed it more if it didn’t have any ties to DC though. Like Nolan’s shitlogy, this didn’t have to be a DC movie. This could have been an entirely original character, the source material wasn’t needed at all to make the story work.

Phoenix’ take on the character was slightly closer to the actual Joker than Ledger’s take from 7 years ago but it was mostly its own thing. Dunno how many more actors and alternative interpretations they’ll burn through until we finally get to the Joker we all know from the comics. While Arthur Fleck was mildly intriguing, I stand by what I said eons ago: I don’t need this version of the Joker, I don’t need a Joker origin movie. If you can actually call it that because Fleck will be either a geriatric or, more likely, dead by the time Bruce becomes Batman. If that is even a possibility in the more realistic universe of the movie...

To sum it up, Joker was a good movie, possibly DC’s best movie so far, but I doubt I’ll ever watch it again. The script was its biggest problem, it wasn’t nearly as clever as it thought it was, there were no risks, no horror nor fun (and I think these are the two main ingredients of Joker’s character), and Arthur wasn’t particularly interesting until he doned the orange suit.

However, I still recommend it because they put effort into making it - something you can’t usually say about DC movies.

Random note: I was SO happy when I saw Marc Maron from Glow show up!

[amysgiantbees]

Avengers: Endgame Spoilers

Much like Avengers Infinity War, my feelings on this film can most succinctly be put that overall I found it average to infuriating but there were some truly wonderful parts in between that I’ll always enjoy. I’ll come to this later but here are some notes on my feelings on Avengers Endgame...

THE GOOD

Wanda and Captain Marvel (but I still needed more of them)

Wanda and Captain Marvel fighting Thanos

Steve wielding Mjölnir

Valkyrie on a pegasus

King Valkyrie

Carol’s haircut

Rhodney and Nebula bonding!

Nebula and Tony playing paper football!

Pepper fighting in an iron suit

Sam is Captain America! (He better be Cap in the films, not just this new show, I know the MCU has a history of keeping the TV shows and films separate but please not in this case!)

THE BAD

Bruce dabs. I just can’t.

Clint’s hair and tattoos

Thanos’ ecofascism being justified by the narrative in certain ways like with Cap’s look on the bright side about the environment line.

The time travel plotholes. I do not understand time travel at all in this, feel free to explain if you do. Also, Thanos not having knowledge of anyone due to time travel really took a lot of impact out of the climax for me. My biggest issue with the time travel logic in this though is how can Nebula kill her past self? 

The limited time given to emotional character arcs is a real issue for me. For a movie that goes on for so long, I felt like more attention would be given to this and less to action. Like having characters that had rivalries with members of Thano’s Children never confronting against them again.

Thor never mentions Loki. He never grieves him. He was meant to actually legitimately be dead in this one so it would have been nice if not only there was more emotion and time spent on the scene with his mother but if he said goodbye to Loki during it too. Or told Freya to check in on Loki for him, make sure to tell him he loves him form him. I know she is destined to die but if they’d come earlier in the day and let there be time to do all of this it would have been more emotionally satisfying I think at least.

I HATE fatsuits. The fat jokes and the jokes at the expense of Thor’s panic attacks and mental health are REVOLTING. It’s just sad and frustrating that they decided to throw out all of Thor’s character development from Ragnorok for a few cheap laughs. His fat suit doesn’t even look real. It doesn’t match his neck and face and he doesn’t move right. Shockingly enough you move easier when it’s your own skin. This article and the author sum up my thoughts on all of this really well: https://medium.com/@kivabay/the-centr-of-controversy-cba6f23c692e. Also, Bay has a really great quote unrelated to Thor but also sums up another issue I have with the film and I just want to highlight it here, “ I also couldn’t help but view the movie with the knowledge we pick up on the internet about who is leaving the MCU, making the character deaths feel melodramatically goofy and like executive-level calculations.“

Also, somewhat silly critique but doesn’t Thor need special Asgardian beer to get drunk not “mortal” beer in a can. Damn, Thor was just poorly thought through. And I could almost find him fighting against Thanos with zero weight loss aspiring if the whole idea of Chris Hemsworth portraying him and every other way he was handled wasn’t disgustingly terrible. Fat Thor as an idea is amazing. I’d love to see him portrayed as such in the comics as long as he’s treated with respect. 

They can’t just have the film be cathartically separate and contained they have to hint at more film’s with the “Where’s Gamora” mystery ready to go and Thor joining the Guardians. They have been advertising Homecoming for months and have the next few years of movies already planned, people aren’t under any illusions that there won’t be sequels. Just let it be self-contained. Especially since it’s already so long. 

Just personal taste thing here but the “Avengers Assemble” bit was too cheesy and the ruin of the Avengers mansion was a boring background for the battle.

Dr. Strange was wasted stopping that tsunami. Did they need that? It was such a boring use for him in the battle. This battle had so many heroes but it felt like it really used their powers significantly less creatively together than any other battle previously. 

Why weren't Fury, Carol and Maria all standing together at Tony’s funeral with their arms around each other like everyone else? It was really strange and took some of the emotion out of the scene, they’re close to each other. It could have been such a beautiful moment and tied the whole Captain Marvel “Where’s Fury?” scene together if they had them beside each other with her smiling sadly at him or leaning against him. They’re friends and it would be nice to see Fury further fleshed out and more three dimensional. 

I don’t mind that Loki is dead but it does make me retroactively annoyed that “You... will never be... a god” was seriously his last line. He had nothing nice to say to his brother before he dies? So he really did die trying to use a knife on someone who can take on the Hulk. I hope that at least in his show that’s coming soon he’s genderqueer and given the opportunity to properly show off his magic. I feel like his magic has never been displayed properly or used in particularly interesting ways so far.

I would have rewritten the scene where Banner and Rocket look for Thor. Banner, Thor and Valkyrie’s interactions are stale and strange. It would have been better (so as not to erase all of his character development) if he was still dealing with his PTSD or the loss of his people poorly but was at least trying to help the Asgardians. But then show Valkyrie having to help him and being the clearly stronger leader due to being able to deal with this grief better after having experience working through grief from losing her Valkyries. She could also be helping him with his alcoholism instead of judging him since she has been there! It would have shown her mentor abilities and kingly traits. You could still have him join the Guardians in the end but now he’s just less negligent. Then he isn’t passing a burden for convenience but because he recognizes Valkyrie was there for his people when he couldn’t be and is the better, more loved leader. Instead of what should be a great moment for Valkyrie that she’s shown as earnt and is deserving of it just seems like Thor was like “Well it turns out ruling was too hard for me I’m going to f*ck off to space now look after them for me.” Still, love that she gets to be king. 

Did I mishear her name or is Clint’s daughter not called Kate? Why aren’t we getting Kate Bishop? I know she isn’t Clint’s daughter in the comics but they’ve changed people’s backstories before and after seeing Clint training with a young girl in the trailer I was just really excited for her. I love her character in the comics, but maybe she has a name change here? 

Also, why does Clint go overseas to fight people? I’m sure there are more than enough bad people in America for him to fight for YEARS. There are Neo-Nazis for F*CKS SAKE. It just seems racist to imply he’d have to look in places predominantly occupied by POC to find bad people. Also, that Sword scene was strange. It felt really unnatural and fake like it belonged in a completely different movie. 

Also, little nitpick but I just found it to be a weird moment when that kid Ant-Man talks to didn’t say “What do you mean?” or “How do you not know?” I get not wanting to talk about the snap but how could he not be mildly curious or confused as to how someone seems to be ignorant to the biggest tragedy in world history.

Also, I really would have loved if the final battle had more consequences. More deaths and injuries. I think it would have been more realistic and added more to it. I especially really would have loved it if they had shown Clint getting injured in such a way that his hearing was permanently damaged. It would be nice to finally have him have that important comic book trait. 

Also, that scene where Joe Russo, a straight man, plays a gay man is bullshit. Let us have gay superheroes. That is such a pathetic attempt at representation. Make Loki Genderfluid, make Carol a wLw, Give Okoye and Valkyrie a girlfriend or acknowledge they’re wLw. 

Furthermore, I understand that the shot of all the women at the final battle was probably foreshadowing A-Team but I don’t think the creators realised that, One: it makes it look like they’re trying to hide that they killed the only original female member of the Avengers while giving all the men satisfying endings. Two: that there are A LOT fewer women than men but also that there’s enough of them that more of them really should have been featured before then and had more time spent on them. Just so many women yet so few films focussed on them. Furthermore, for those people who don’t know about A-Team it also just feels like a moment of pandering.  

Look, Black Widow has never been one of my favorite characters but she deserved better. As soon as she was proclaimed infertile in Age of Ultron it was a death sentence because what use is a woman who can’t reproduce. She didn’t even get a funeral. Clint should have died. The snap forced Natasha to fully commit to her found family and lead the Avengers for years. The snap sent Clint into a debatably racist murder rampage. Natasha did something good after the snap it gave her more purpose. Clint’s purpose was to bring his family back and he could still do that by sacrificing himself. It’s honestly far more satisfying to see Natasha get her happy ending than Clint because Clint’s ending is just far too similar to his story in Age of Ultron. It is just hilariously underwhelming when everyone else has an emotional ending just to have Clint’s be a regurgitated version of him retiring with his family in Ultron. Also, Natasha dying for guilt over some vague bad that’s she’s done in her past that we know nothing about is so unsatisfying. This video I feel also sums up a lot of my feelings on this https://www.youtube.com/watch?v=A81p1N2gnNY&t=649s. Also from a monetary standpoint, not that Disney needs more money, but there’s way more demand for Black Widow films than Hawkeye. Just why Hawkeye, no one gives a sh*t.

More so I’m not against Tony using the gauntlet but I think it got in the way of Nebula having a fully satisfying conclusion to her arc. At least one woman should have had a satisfying, fully realised arc. It would have been great if Nebula got to finally kill Thanos but honestly, I wouldn’t be as mad at it if she hadn’t got wrongfully blamed for doing it by Thanos or had her arc conclude in an otherwise satisfying way. She gets abused further by Thanos for something she never did and never gets an opportunity to even just face him and confront him about ANYTHING. 

Also, Vision is barely mentioned in the film. Which wouldn’t be so frustrating if he wasn’t the reason why an ENTIRE ARMY of predominantly black people was sacrificed in Infinity War. They had to save him because they all apparently cared so much about him but can’t remember to mention him more than once afterward. 

I really hate that they were so scared of spoilers that they didn’t let all of the actors read their scripts ahead of time and cut out massive chunks of their scripts and didn’t tell them who they were playing against. I would rather spoilers than poor acting that ruins the timelessness of a film. This is meant to be epic! 

[khentkawes]

Fic snippet: Tony rants at Steve after IW

Angst, arguing, almost all dialogue, unfinished snippet

Tony Stark and Steve Rogers “talk” after Infinity War...well, not really “talk.” More like Tony gets some stuff off his chest.

This isn’t really a fic...maybe I planned to make it into one, but I never really had an idea or plot. I wrote it way before Avengers: Endgame came out, before we even had trailers for it, when I was thinking of how I wanted Tony and Steve’s conversation about the events of Civil War to go. Basically I wanted Tony to have a chance to say “I told you so.” For some reason I saved the file as “Consequences and Sacrifices,” so I guess that’s the title.

No Endgame spoilers here, since it was written before the movie (which I’m finally seeing tomorrow, though I already read spoilers, so...).

“What happened to ‘we’ll face it together’? Huh? That’s what you said. That was your response when I said a greater threat was coming, when I warned you, warned everyone, that something like this was coming for us. You’d said we’d fight it together, and if necessary, we’d lose together. But that’s not what happened, is it? We lost all right, but don’t pretend that we did it together. You made sure of that.”

“I never wanted this, Tony. I never wanted to tear the Avengers apart.”

“No, but you did. You. Not me. That’s on you.”

Steve looked pained, but he continued. “I did what I thought was right—”

“Damnit, don’t you think I know that?” Tony snapped, cutting him off with a sharp wave of his hand. “And that’s the difference. You didn’t want to sacrifice your principles, your ideals—your vision of the way the world should be—in order to ensure that the Avengers stayed together to protect the world as it actually is. And I get that. Of course, I do! I even admire it. And, god, I wish I didn’t. I wish I didn’t, even now, want to be more like you—that I could have your integrity and your faith in your ideals. But I can’t and I don’t. I’ve never been that guy…the one who knew what was right and was able to stand up for it no matter what. Because I don’t know, Steve. I don’t know what the right thing to do is here. I didn’t know what was right for all of the years I made weapons—weapons that slaughtered thousands! I didn’t know what was right to do with Ultron. And I didn’t know what was right to do with the Accords.

“But I did know one thing: I knew this was coming. I knew there would be a day when I would be the last one standing among a sea of dead bodies—your dead bodies—all of you!” He spun to indicate everyone, the whole circle of Avengers and former Avengers as they looked on, stunned into silence. “I knew this was coming…and I warned you. I said so! But I never knew how to stop it. I never knew what was the right thing to do. So yeah. Maybe I made the wrong call. I certainly was willing to make compromises. I was willing to hold my nose and play ball with Ross, to play the political game. Because I believed in the Accords, yes, and because I believed in accountability. Because I still believe in accountability. But not because I believed in all of it. Certainly not in Ross! I was never blind to the Accord’s flaws, but I deemed it was worth the risks. So I settled for less than ideal—because when has anything in my life ever been ideal, anyway? And the Accords…that was the compromise I made. And I’d do it again!”

Tony stopped. He’d been full of restless energy, pacing and gesturing wildly, voice rising and falling with the anger and passion that never quite faded away, even in his quieter moments of mourning and reflection. Then he turned and looked at Steve—only at Steve—gaze unwavering and voice growing softer.

“And you stood strong and refused to compromise your ideals for the sake of the Avengers. That’s who you are. An unshakable, unmovable mountain of idealism. A pillar of constancy, a beacon of righteous integrity and strength, never bending, never giving in... But that’s not me. I gave in. I was willing to compromise any set of ideals, was willing to do whatever needed to be done, to sacrifice whatever was needed to ensure that this,” Tony gestured angrily and vaguely around the room, as if somehow encompassing the whole of the broken half of a universe they now lived in, “that this would never happen.” Tony let out a stuttering breath and seemed to deflate. “Or at least to ensure that we would be together so that we would have a chance, just one chance, to stop it. But we weren’t together. And we didn’t stop it.”

He turned away then, and just before he did, Steve saw a hint of tears in his eyes. “I don’t know if your principles and your ideals were worth sacrificing the Avengers,” Tony said softly, his back turned to everyone, his eyes staring blindly off into the distance. “I don’t know if any of it was worth this. But you wanted to know why I did what I did. That’s why. I put protecting the Avengers, keeping us together, above any set of ideals and principles because I knew that the alternative was this.”