#OZ Character Outfit

[kyoka-jun]

The Wizard of Oz by Kyoka Jun Via Flickr: ▶irrISIStible OZ Character Outfit @ Enchantment Event : Wonderful Wizard of Oz ~ Aug 11- Sept 2 > irrISIStible OZ DOROTHY FULL OUTFIT > irrISIStible OZ METAL WOMEN FULL OUTFIT > irrISIStible OZ BRAVE LION FULL OUTFIT > irrISIStible OZ WITCH FULL OUTFIT > irrISIStible OZ THE MAGICIAN FULL OUTFIT - Castle - ▶irrISIStible OZ THE BIG GREEN CASTLE WITH THRONE ROOM 2023 > @ Enchantment - Entrances / Fences - ▶irrISIStible OZ 2 STYLES ENTRANCES AND FENCES 2023 > @ Enchantment - other DECO - [DDD] Stoney Path - Straight LOVE - MILLWOOD TREE B TMG - Round Grass - Spring 📚 Credit [Instagram]

[sil3ntm0thart]

silly wizard of oz au

[show-us-kaidenshenandoah]

Wicked Gelphie fans, i need you guys so badly to know how well Elphaba/Glinda are "good timeline"d "history doesnt repeat, it rhymes"-ified by Dorothy/Princess Ozma in Baum's original Oz book series. like. Dorothy/Ozma get everything; theyre the sweet, intimate friends-to-"??? are they a couple?"-ified political power-sapphic-duo that Gelphie would have wanted to be. like??

if you merge canons, fam... Wicked-Glinda must be struggling, seeing Dorothy/Ozma be everything she and Elphaba could have been.... omfg... the angst potential, the envy of watching a couple of sapphic childhood sweethearts get everything they were denied, fulfill Glinda and Elphie's dreams, and seemingly so easily too...

(also!! they even CAN look like a kid-Glinda and kid-Elphaba! there's canon to justify that kind of appearance paralleling!!)

faq below if you want more context

edit, psa: i did read these books from like.. the ages of 10 to like 14 or so, maybe as young as 8? idk, i dont remember. anyway. its been a decade since i picked them back up. and i didnt think this would gain as much traction as it has been after 100+ notes in less than 24 hours. uh. so. take my chronic memory loss-addled summarization with a grain of salt?? like? i just wrote this post so i didnt have to re-vent (agAIN) to my friends about how much i fucking love Dorothy/Ozma, period, much less in parallel to Gelphie. so. enjoy, carry on, and whatnot lmao

1️⃣: there's Oz books? plural???

yes, Baum wrote 14 books about Oz, actually. also, he wrote them under the appointment of "the royal historian of Oz" instead of "author", so there's other "official" Oz books by other "royal historians of Oz"

Baum wrote so much bc (he needed money, yes, but also:) kids would send him questions in fan-mail, and he would proceed to answer them via new novels. so he never planned to make more Oz books, he just (wasnt good with money and also) was routinely inspired by the kids who wrote to him and would write the stuff they wanted to learn about Oz and whatnot

2️⃣: does Dorothy go back to Oz? wasn't it all a dream for her??

yeah, Dorothy returns to Oz a lot in the books, she eventually even moves to live there permanently. bc, in the book series, it's a real place

only in the 1939 film was Oz ever a dream

3️⃣: how does Dorothy look like Glinda OR Elphaba?? what are you talking about?

okay so, "The Wizard of Oz" has an illustrator, W. W. Denslow. in the book, Dorothy is confirmed to be wearing a blue-white gingham dress (she changes outfits tho, she doesnt always wear the same dress all 14 books like she's some cartoon character); but im pretty sure her hair was all Denslow(? i could be remembering wrong. p sure im not tho??). this is what the 1939 movie based her appearance off of. so i can see why youd go "she doesnt look like Glinda or Elphaba"

BUT Denslow and Baum started feuding. so for the rest of the Oz books that Baum wrote, he had a different illustrator by the name of John R. Neil

and Neil decided to give Dorothy for every one of the books he illustrated (so, 13 of Baum's books to Denslow's 1 book of Baum's) a cute lil blonde bob, making her look like what i assume blonde-Glinda looked like as a child. i think she'd approve lol

so!! Dorothy very much looks like a trendy little Glinda, with her cute blonde bob, her fashionable drop-waist dress, and bows for most of the Baum series, actually!

(also, Neil had a preference for dressing Dorothy in this red and polka-dot number, but, again, she does wear other outfits)

(lmao also look at Tin-Man and Scarecrow with blonde-Dorothy, they look like her two gay dads encouraging her to just go be herself at school?? i love them)

(also, if you see "Eloise At The Plaza"-energy in this Dorothy design, im right there with you lol)

4️⃣: who is Ozma??

she's the Princess of Oz. she eventually appears in the second book of the series. she rules Oz after the Wizard

she's actually a really interesting transwoman allegory too. (spoilers for a book from the early 1900s?) she was born a little girl named Ozma, but has a spell put on her as a baby to be genderbent and was socially raised as a little boy under a different name, and she later realizes who she truly is: a girl. she finds the transformation scary, as she returns to her girl-form she always truly was, but she feels better and more herself now that she is Ozma again. i dont think L. Frank Baum intentionally wrote her to be a trans allegory, but you can very obviously see why our trans elders fucking LOVED Ozma back in the early 1900s

also, she has a similar "sir, you fucked up" relationship with the Wizard as Elphaba*. and, also like Elphaba, Ozma politically tries to make things in Oz better (just.. unlike Elphaba, Ozma has the power and support to do just that p much asap)

* (edit for contextual clarification on how the Wizard fucked up: the Wizard fucked up with Ozma because he is ultimately and p directly the reason why she was genderbent/hidden. he deposed of her family and sent her away. Baum decided later on to backtrack a little bit on this(?) because he wanted to bring back the Wizard and, in order for Baum to do that, has to try to not make him SO terribly horrible??? so like. Ozma does end up forgiving him and tolerates him amd he's nicer, later on, within the books. but i doubt any modern adaptation of the books would follow that, personally. even as a kid, i went "bullshit" and headcanoned that Ozma fucking hated the guy and, at best, MAYBE tolerated him for Dorothy, but overall did not like him for justifiable reasons! i think the direction society seems to have taken the Wizard is interesting, and i wouldnt be surprised if there was at least one future adaptation that made him The Bad Guy in a very Rumplestiltskin in the Once Upon A Time TV show kind of way. but like. in the books, they do END UP getting along. i just forever disagree with Baum on that lol i think the Wizard fucked up, and in book 2 of the series (the one where Ozma is, y'know, introduced), it is obvious the Wizard FUCKED UP. but yeah. also, Ozma does get her dad back. her mom was kind of never in the picture to begin with, specifically in a Ponyo's Mom kind of way, like, she made Oz and then left it for her husband and kid to rule, so. yeah. im getting off track. my point is the Wizard did a full-on coup on her family and then banished her and genderbent her so no one would recognize that she had claim to the throne he was sitting on!! he fucked up! so, like, i personally hc that Elphaba founded the "i hate the Wizard" club to which everyone slowly joined, like Fieyro and etc, and Ozma is their youngest member. the Wizard did both Elphie and Ozma so dirty, omfg)

it also should be mentioned, Ozma in NBC's "Emerald City" was casted as Black (her actress being Jordan Loughran). so, though Ozma does not have green skin (but also? neither did the Wicked Witch of the West in the books, she wasn't green there. that was a 1939 film decision to make her green. so! Ozma could be green!! why not!), but she does have Black features to theoretically remind Glinda of Cynthia Eviro's Elphaba when you consider that casting. or, if you prefer a Jewish!Elphaba casting, a'la Idina Menzel's Elphaba, i think Ozma's book design works well to interpretively parallel those features too. or both, if you like the sound of a Black-Jewish Elphaba and Ozma paralleling lol

(edit, because i thought i mentioned this but? no?? i didnt?? i must have misclicked or something to have deleted the paragraph. im so sorry, here you go:) also, when Ozma was a boy, she was basically enslaved to her jailor of a caretaker. which one could interpret as "oh, a Cinderella story!", sure. but, with a Black Ozma, it does read as an intergenerational grief-formed power-fantasy that is both empowering and poignant for Ozma to have ran away from her enslavement and gone on to become a princess afterwards. to any Black folks who may be going "is this going to trigger me?" about Ozma having been a child-slave, i remind you that Baum wrote this intentionally for children, so, no, the books do not sit in the trauma and horror of enslavement, but whether or not it would trigger you yourself is up to your discretion. i will say, Baum did NOT write the American Girls' Addy of his time (context: a children's book about a child-slave that does go into the horrors, some, though in a kid-friendly way) or Louis Sachar's Holes (i asssume i dont have explain Holes since its movie was such a hit), i remember it as even more kid-friendly than either of those also-children's books, so i would assume most people would be fine? but you are responsible for your own mental well-being, i urge you to confirm if it is fine for yourself however you need to do that. but, yes, you can use this backstory as further evidence for your Ozma being Black, of course! you can have Ozma be Black regardless, but if you want this as further evidence, go ahead! and also, it does parallel Ozma to Elphaba in the sense that Elphaba's family mistreats Elphaba! (i will, regardless of if you prefer a Jewish and/or Black Elphaba, add that doing so is also a nice "fuck you" to Baum in how, being a white man of the late 1800s and early 1900s, did end up throwing in racist and/or antisemitic caricatures here and there within his 14 books, unfortunately. i, an Indigenous American, remember as a child still immensely enjoying Oz despite Baum being racist towards Native Americans. if youre curious on the egregious level of it all and if the story could still be enjoyable, id say it's in the realm of Peter Pan, Willy Wonka, and Matilda of "wow. that is shitty. im going to pretend this thing i love is good instead via cognitive dissonance")

regardless, in John R Neil's illustrations, Ozma does have black hair, so that too coincides with modern understandings of Elphaba

(there is also her appearance in Disney's "Return to Oz", performed by Emma Ridley, where she is blonde. but, though i love that spooky movie, that's neither here nor there. as far as im aware, only in that movie has Ozma not had black hair)

anyway, she rules Oz; and by book 3, becomes really close friends with Dorothy. they're not a canon couple, not anymore than Gelphie is, but they are such close and affectionate friends that they are so easy to ship as childhood sweethearts (so, no, there is no moment of 🎶loathing🎶, but i find that sweetness makes them an angstier parallel for Glinda to watch over, personally lol)

like here's some illustrations from the books of them just being two "gal pals". no wonder our queer elders shipped them lmao and this isn't even all of their illustrations together, this is just the first spurts that google shot out at me lmao

also??? this is them with book-Glinda. not only do they look absolutely darling, also, yes, Dorothy becomes a princess, because Ozma said so. they co-rule Oz together. they are just too sweet, fam, i love these two little childhood sweethearts, i choose to see Dorothy's princess-ship as the same as two kids promising to marry one another when they grow up. this is so cute

and can you imagine Wicked-Glinda? looking down at these two, seeing what could have between herself and Elphaba had things turned out different??? im making myself sad

(also "Book of Glinda" is so wild. both in terms of "...Baum, how do you not see this as queer?" like with one example being like "Baum, you put that Glinda has 100s of single women at her beck and call in her palace, this is so easy to see as sapphic, sir"... and then, over here, we have John R Neil repeatedly reading "gave a platonic, innocent kiss" and going "okay, so, uh, making out? i dont do platonic kissing" lmao anYWAAAAYYYY, THAT'S NOT RELEVANT HERE)

🌟5️⃣ bonus:

so, you might have a few follow-up questions. like, what is "Elphaba" like in the books? what does she look like?

well, she's really only in the first book. she's one-note, evil, dies. she's not green-skinned, and she isn't given any sort of name. she is only called "the Wicked Witch of the West", that's it, she is not Elphaba

however, i will mention the Wicked Witch of the West, in the books, is a fashion disaster and i want to see her look used as evidence that "yes, goth-Elphaba and dark-academia-Elphaba are 10/10, but also?? kitschy grandma-core knitwear-Elphaba × her fashionably Barbie pink girlfriend". i'd love to see art of that. i'm just saying

also?? this isn't related to her at all but guess what

Scarecrow/Tin-Man was like THE ship for our queer elders. they are so emotionally intimate, they live together, it's great, look at these pictures of them being absolute bros (can you see why they were shipped so hard)

i bring this up, bc you could argue Fieyro/Boq if you merge canons to make your own narrative and whatnot. guess Fieryo and Boq kinda had their own mirrored 🎶loathing🎶 period under that framing lmao

or, if you hate Boq, youll probably love the Tin-Man's angsty "ship of Theseus"-like backstory as the once-Nick Chopper(: his human name, pre-tin-ification) that is in the books

so! enjoy that knowledge!! theyre super cute in the books, i love them. again, not a canon ship, but still beloved by our elder queers, just like Ozma and Dorothy

i hope it makes even more sense now why our queer elders used the phrase "Are you a friend of Dorothy?" as code to see if someone else was queer, not even taking into account the 1939 movie or Judy Garland's relationship with the queer community

anyway, albeit this is all the basics generalized, that should be everything

but yeah!! Ozma and Dorothy reminding Glinda of what could have been, of what she lost, being the sweeter "next generation" version of Gelphie?? tugs so hard at my heartstrings

but yeah, do whatever you want with Gelphie, Fieryo, and Part 2. im just saying. the angst potential of being envious and living vicariously through someone and seeing other people get the happy ending you were denied?? is right there lol

(edit: this awesome video by Kaz Rowe JUST came out if you want to hear more about the Oz book series, its queerness, its author, its GLARING PROBLEMS including but not limited to instances of racism, and so on and so forth. Kaz Rowe is a fantastic video-essayist, so i hope you watch the video and enjoy their hard-polished craftsmanship)

[applepieshy]

I had an idea to redesign vox because I didn't love that a character obsessed with modernization would wear a top hat and bowtie. then after a brief stint into madness where I read my partner's historic costuming textbook I drew.... all this.

(side note: the idea of vox being a trans man who transitioned AFTER death was super compelling and absolutely inspired by @prince-liest so while this is not direct fanart of their series I wanted to give a shoutout anyway!!!)

okay some TRULY unhinged rambling about historic costume below the cut YOU HAVE BEEN WARNED!

1950s: for this design I very much did not want to go to the typical a-line housewife look, because I feel that is unfitting for vox's character. instead I went for a more business look, but there is still a level of femininity that he would have been expected to perform. i wanted to express his discomfort with that through the pose and expression, though at the time he wouldn't necessarily have a framework for why he hated it

1960s: this one was very fun. i loved the idea of vox beginning to eschew some of the expected feminine presentation, and he no longer wears makeup, jewelry, or hose (though its hard to tell in black & white); however, he's kind of at war with himself in this time period. he's obsessed with seeming perfect and having a respectable image, so he would not go in for the counter-culture movements that were so big in the 60s. he's still kind of riding those coattails though, pushing those boundaries while still not acknowledging his queerness.

1970s: to me, it was very important that the gender hit as he entered the world in color. in my mind the gender euphoria is physically manifested in a wizard of oz situation - he can become who he always has been. anyway, gender aside, I think it was very important to me personally that he wore an ascot. it was for my mental health.

1980s: I wanted the 1980s to be the period where he began to gain some power and notoriety because of the de-regulation of television during this period to allow more ads, mirroring real-world history. I think if the 70s were when vox gained some real confidence, the 80s are when he got an Ego (tm). "business casual" also began to become more acceptable in this time period, and the t-shirt/suit jacket combo was very important for me to include, as to me it epitomizes the commercialism and machismo of the 80s.

1990s: this was actually the decade I was the most nervous to design, and yet I think it turned out the best? the 90s are known for grunge, which I think is NOT vox's style at all. I decided instead to lean hard into the yuppie look, which I know is more associated with the 80s but was definitely still a thing in the 90s. I also allowed a little hip-hop influence in the form of a gold chain from val, which is not something I think vox would ever pick on his own.

2000s: if the 90s were the decade I was worried about and turned out great, the 2000s are the decade I thought I had down SO GOOD and then totally floundered in execution. I still love the bubble-mac inspired head, and I tried to make his clothes as "round" as possible. I also like that this is the time where his saturation got cranked. however, I don't know if I'm in love with the vest and super bright sneakers, because again, looking back on it, he kind of looks like he works at a movie theater or best buy or some shit lol,,,

2010s: I think it's telling that this is by far the closest to his canon design (2014 tumblr lookin ass). I really wanted to pull from that hipster tech bro era, but unfortunately that aesthetic has a veneration for "retro" which again, is not fitting for vox. I still think he would wear the bowtie during this time because, well... he sure does in the show!

2020s: this was fun because I had an excuse to pull from haute couture design rather than street fashion because of the introduction of velvette into his life. I truly do not think velvette would let vox and val walk around in the outfits that they do because it would be an actual embarrassment LMAO. for this, I wanted his decorative "robes" to be evocative of the time he depicted himself as a priest AND of a cape/robe of an emperor. he does think of himself as that bitch, after all.

[flamethrowerfim]

Made some more outfits for Monster Prom series characters: Susanne, Oz and Whiskey Shout out to @edkerberos for the inspirations for Susanne's hairstyles and to @kainorigin for the inspiration for Oz's outfit!

[hotvintagepoll]

can yo utalk more about how the costume designers are different?

Sure!

There are no hard-and-fast rules for telling one designer's work from another, because most designers adapt their style to the story they're telling—a sign of a good design is if you don't notice it, because it feels so natural and a piece of the world of the movie. But I still think you can see connections and quirks in a designer's body of work that show what they specifically bring to each project.

Walter Plunkett—sense of humor. I mentioned this earlier but there's a brightness to Plunkett's work, a sense of perspective on the story he's telling and how he's translating it into clothes—Seven Brides for Seven Brothers has dresses made of Salvation Army quilts, which shows some creative thinking about how his stranded characters would build outfits from nothing; Singin' in the Rain is self referential to the silly things he wore and designed as a young man in the 20s; Gone with the Wind has that fun curtain dress, where he intentionally keeps the tassel as a tell on its origins. That kind of thing might sound easy, but keeping a sense of humor and context present in the costume design is vanishingly rare. His clothes can trend a little camp, but I think that's part of the fun.

Edith Head—high fashion styling. Edith's favorite movies to design for were pieces with High Fashion Moments™, things that leaned heavily on sophistication, suits, and showing the clothes as clothes. You can see this in Grace Kelly's gowns in Rear Window, Kim Novak's suit in Vertigo, Bette Davis in All About Eve—elegant designs that have minimal trim or color, that get their power from their clean lines, tailoring, and very specific detail points.

Helen Rose—also trends toward camp, but less because of little humorous touches like Plunkett and more because of her fondness for gaudy colors and extravagant details. She rarely nails the tailored elegance of Head, but she makes up for it by going bold—her designs have a sense of big-ness to them, plus that love of color where they punch right off the screen.

Adrian—if there's a weird shoulder pad or some angular tailoring happening, Adrian is probably involved. You know Adrian's work from The Wizard of Oz—he loves high proportions, and builds his work off of them.

Orry-Kelly—I haven't found a consistent tell across his work, but if he's the designer you can tell it's going to be a banger.

[femininominal]

WICKED SPOILERS!!! PROCEED WITH CAUTION!!

can we talk about wicked for a minute? Specifically the irony of how everyone got what they wanted? (I’m referring to the musical throughout this btw.)

Galinda wanted to be a witch, a good witch. And she is. She is Galinda the good (officalyyyy) but, she had to pay a price for her goodness. In order for her to truly good, she had to loose Elephaba and Fiyero.

Fiyero wanted to dance through life, as so clearly stated in what is kind of his I want song. And ends up not having a brain, which is what he wanted right? To go and live life without thought? He thought that would mean he could life without worry, but it turns out it takes a lot of thought to be thoughtless.

And then there’s Elphaba. We all know the parallels in the wizard and I (I’d be so happy I could melt, when people see they will scream, a celebration through oz that’s all to do with meeeeeeeee) but what a lot of people don’t notice is the line “no father is not proud of you”. She wanted love from her father. And who turns out to be her actual father? THE MOTHER FUCKING WIZARD. And he always wanted a kid, so when he realized that kid was Elphaba, he had a pile of love and guilt dropped on him like an anvil. But it happened too late for him to change anything. Too late for him to change Elephaba’s mind. At the root of her wants, she wanted someone to truly and whole heartily see her and who she was, and still love her for it. Not in spite of it, but because of it. You could make a very strong argument that that person is Fiyero, but Fiyero loves her in spite of greenness. He loves her because of her personality, and in spite of her appearance and magic. (No hate to Fiyero, he’s a very well rounded dude and has a great character arc. We should all be more like Fiyero) You know who loves her because of those things? GALINDA. However you want to label their relationship (they were so gay but whatever) you cannot deny that they had a strong love for each other. Galinda embracing her personality in the oz dusk dance scene is very intensely implied in that scene and mostly stated when she says “of course she cares, she just pretends not too” and her love for her appearance in popular. While it seems like shes trying to change her, she’s actually doing the opposite. Galinda puts this girl in a million different outfits before deciding the best way to make Elphie beautiful was to give her a little part of herself (the flower) “why miss elphaba, you’re beautiful” like I’m sorry but excuse me?? I don’t think she’s ever had someone say something like that in her whole life up until that moment.

anyway I’m gonna go cry in the corner now, byeee.

[one-step-at-a-time25]

okay it’s time! For the outfits meanings! (If this doesn’t make sense sorry)

Lillia being the Gilda (I think thats her name) is obvi about how she was good and saved everyone but it’s funny because she died defying gravity

Agatha being the green witch means different things depending on your view of the story ( wicked vs the wizard of oz)

In wicked she is a misunderstood powerful person

in wizard of oz she is a flat character who is a evil witch

this could represent how she (Agatha) appears to be a flat character who is just evil but is actually very complex and misunderstood

Teen is maleficent!

again same thing with Agatha (like adopted wine mom like son)

In her sole Movie is misunderstood but in the original she is just evil

Then Jen is the evil hag which from snow white

this is because of the link to potions and how she always wants beauty (Jen runs a beauty channel)

[watchnrant]

Agatha All Along Episode 7: Easter Eggs & References

Death’s Hand in Mine

Lilia Calderu’s Epic Leap into Her Destiny

In Agatha All Along Episode 7, “Death’s Hand in Mine,” that haunting line from Ballad of the Witches’ Road hits hard, especially for Lilia Calderu. This isn’t just another dramatic beat—it’s the heart of her story. Lilia knows exactly what’s coming, and instead of running from it, she steps right up and grabs it by the hand. She’s not just staring down death; she’s embracing it, ready to take her destiny head-on.

What’s truly wild is that her sacrifice isn’t just about going out in a blaze of glory; it’s a calculated move. Lilia realizes this is the only way to save her coven, and she’s all in. Her death isn’t born from fear but from a fierce determination to protect those she loves. As she plunges into the unknown, she flips what could’ve been a tragic ending into an epic act of heroism.

Witchcraft and Wardrobes

Channeling the Magic of Iconic Witches—Wicked, Glamorous, and Sinister

In Agatha All Along Episode 7, we dive headfirst into a magical realm where our favorite characters channel iconic witches from fantasy lore. This isn’t just a costume party; it’s a masterclass in storytelling that enriches our understanding of who they are and what they represent. Each outfit and persona acts like a mirror, reflecting deep themes of power, identity, and legacy in the world of witchcraft.

Agatha Harkness as the Wicked Witch of the West: When Agatha transforms into the Wicked Witch, she’s not just throwing on some green makeup and a black dress. No, this is a bold statement. The Wicked Witch is the epitome of cunning and darkness, and Agatha steps right into those shoes (or should we say, flying broomsticks). This parallel isn’t merely superficial; it invites us to question the nature of villainy. In The Wizard of Oz, the Wicked Witch is all about control, much like Agatha, who deftly manipulates events to carve out her narrative. By embodying this classic character, Agatha challenges our assumptions about good and evil, pushing us to explore the grey areas in between.

Billy Maximoff as Maleficent: Then we have Billy, rocking a look straight out of Maleficent’s wardrobe. This isn’t just a nod to the Disney villain; it highlights the complexity of Billy’s character. Maleficent is often portrayed as a symbol of empowerment, reclaiming her narrative after being wronged—sound familiar? Billy’s journey of self-discovery and grappling with his powers parallels this. By dressing as Maleficent, Billy taps into the darker aspects of his own identity, showing us that with great power comes not just the potential for heroism, but also the risk of losing oneself in the shadows of legacy.

Lilia Calderu as Glinda the Good Witch of the South: Lilia, on the other hand, embodies Glinda, the Good Witch. Draped in an ethereal gown, she radiates hope and support within the witch community. Glinda is a guiding light, offering wisdom and nurturing strength, and Lilia steps into this role with grace. This costume choice isn’t just about aesthetics; it reinforces the importance of sisterhood and collaboration among witches. In a world where Agatha often manipulates, Lilia’s character reminds us that power can also uplift and unite. She’s the bright spot amid the chaos, hinting at her potential to mediate the conflicts brewing around her.

Jennifer Kale as Snow White’s Hag: Last but not least, we have Jennifer, transforming into the menacing hag from Snow White. This choice is both haunting and poignant, capturing Jennifer’s tumultuous journey. The hag symbolizes the darker aspects of femininity, manipulation, and survival—elements that resonate deeply with Jennifer’s backstory as an 11th-generation root worker. By adopting this persona, Jennifer confronts her past traumas and societal perceptions of witches as malevolent. This metamorphosis is a declaration of resilience and reclamation, showcasing her evolution from victim to a powerful force in the magical realm.

Spellbinding Themes and Character Dynamics

This episode isn’t just about costumes; it’s a narrative device that lays bare the characters’ motivations and the overarching themes of the series.

Identity and Empowerment: The costumes serve as a canvas for each character’s struggle for self-definition in a world that loves to pigeonhole witches. Agatha’s embrace of her villainous side, Billy’s link to Maleficent, Lilia’s nurturing role, and Jennifer’s reclamation of her identity all spotlight the diverse spectrum of witchcraft. The show encourages us to reflect on how personal experiences and societal expectations shape who we become.

Sisterhood and Conflict: The dynamic between these witches highlights the delicate balance between unity and rivalry. Lilia’s supportive nature as Glinda is a stark contrast to Agatha’s more duplicitous tendencies, creating a rich ground for both conflict and collaboration. This tension echoes the broader theme of sisterhood, illustrating how witches can either lift each other up or become adversaries, depending on the choices they make.

Legacy and the Weight of History: Each character’s costume is a reminder of the rich histories they embody, prompting us to consider how their pasts shape their present identities. Whether it’s Agatha grappling with her villainous reputation, Billy dealing with familial expectations, Lilia confronting societal roles, or Jennifer struggling against limitations, the interplay of legacy and personal choice creates a narrative that resonates deeply with the complexities of modern witchcraft.

By weaving these references to iconic fantasy witches throughout history, Episode 7 of Agatha All Along not only pays tribute to beloved characters but also invites us to dig deeper into themes of power, identity, and the evolution of witchcraft in today’s storytelling landscape. It’s a beautiful reminder that the past informs the present, and in the world of witchcraft, nothing is ever as simple as black and white.

Another Trial, Another Countdown

The Hourglass Pushes Us One Step Closer to Destiny

The trial motif cranks up the tension in Episode 7 with the hourglass—your classic “time’s running out” symbol, and for Lilia, it’s hitting hard. She’s been battling against time her entire life, but the hourglass is the ultimate countdown to a fate she can’t dodge. It’s not just there for dramatic flair, though. This hourglass ties back to earlier episodes, where we had the kitchen timer in Episode 3, a metronome in Episode 4, and that retro ’80s digital watch in Episode 5. These weren’t just fun props—they were breadcrumbs leading to this moment. Time has always been Lilia’s greatest enemy, and as the sand slips away, so do her chances of rewriting her destiny. Her trial isn’t on the horizon anymore—it’s happening now.

Agatha Labels Lilia “Dory”

When Memory Lapses Meet a Perfect Pixar Zing

In Episode 7, Agatha’s sarcasm hits a new high when she calls Lilia “Dory” as she struggles to make sense of her disjointed memories. This clever jab is a clear reference to the forgetful fish from Finding Nemo and Finding Dory, voiced by Ellen DeGeneres. Just like the animated character who can’t keep a thought in her head for more than a few seconds, Lilia’s chaotic memory issues get a playful dig from Agatha, proving once again that no pop culture reference is off-limits when it comes to her sharp-tongued humor.

Billy’s Reunion Prophecy

Tommy Isn’t the Only Possibility

In Billy’s reading, Lilia drops the bombshell of an upcoming reunion. Naturally, Billy’s mind jumps straight to his twin brother Tommy—after all, that’s the whole reason he’s on this journey. But here’s the kicker: it might not be Tommy. This reunion could take a wild turn and involve someone unexpected, like the Scarlet Witch or even Vision. Whoever it is, you can bet it’s going to shake things up in a big way.

Lilia’s Flashbacks Pay Off Big

It All Comes Together in Episode 7

In Agatha All Along Episode 7, we finally get confirmation that all of Lilia’s seemingly random outbursts throughout the season are tied to her out-of-sync existence in time. Every cryptic line she’s dropped has been a breadcrumb leading us to this moment. Here’s a breakdown of each phrase in the order it was first said

“Wispy or Kooky?” – Episode 4

“Alice Don’t” – Episode 4

“Try to Save Agatha” – Episode 3

“I Hated This the First Time” – Episode 5

“Get Off Me” – Episode 2

“You Know We Really Hated Each Other in the Beginning, But Now…” – Episode 3

“I Love You Guys” – Episode 3

When you piece them together, it’s pretty touching to realize that some of Lilia’s final words were expressions of her newfound love for the coven. The bonds she formed as they walked down the Witches’ Road make her sacrifice even more impactful. Her out-of-sequence life wasn’t just a quirky character trait—it became the key to saving her coven when the Salem Seven came knocking. Lilia’s journey may have been chaotic, but in the end, it was all part of her story of loyalty and selflessness.

Lilia’s Tarot Drop in Episode 7

The Cards Are More Than Magic—They’re the Coven

Throughout Agatha All Along, Lilia Calderu’s cryptic outbursts weren’t just random—they were actually names of Tarot cards that come into play during her trial in Episode 7. Here’s how each Tarot card, previously mentioned by Lilia, ties into key characters and moments:

Queen of Cups – This one is all Lilia. She’s the intuitive force, trusting her inner voice even when time itself is working against her.

Three of Pentacles – Represents the entire coven. It’s about collaboration and sisterhood, something Lilia had been missing but ultimately finds in her fellow witches.

Knight of Wands – Linked to Alice and her recent death, symbolizing the path already taken and what’s been lost.

High Priestess – All eyes on Jennifer here. She’s the future, holding immense spiritual power, even if she’s not ready—or willing—to use it yet.

Three of Swords – Agatha holding Billy, representing the obstacles ahead: heartbreak, sorrow, and grief. It’s the emotional weight hanging over them all.

Tower (Reversed) – A symbol of destruction and upheaval, but reversed, it hints at miraculous transformation amidst the chaos.

Death – Of course, Lady Death herself, marking the inevitable end. “Death Comes for Us All” rings loud and clear here.

The way Agatha All Along uses these Tarot cards to weave together Lilia’s journey is brilliant. Episode 7 really nails the narrative payoff, showing how each card connects not just to Lilia, but to the entire arc of the show. It’s a well-executed nod to both Lilia’s fate and the future that awaits the coven.

Rio’s Big Mic Drop

Lady Death? Yeah, She’s the OG Green Witch

Well, there it is! Rio just claimed the title of Lady Death, proving she’s been the original Green Witch all along. Things are about to get real wild!

Episode 7 of Agatha All Along drops a bombshell in its final moments—Lilia finds out that Rio Vidal is none other than the living embodiment of Death herself. Yup, you heard that right. Turns out, Rio’s the original Green Witch, and all those subtle clues sprinkled throughout the season finally come full circle. Oh, and Agatha? She knew the whole time, of course. With this massive reveal now out in the open, the last two episodes are set to explore just how insanely powerful Rio really is, and let’s be real—the stakes just got cranked up to eleven.

“Time in a Bottle” Packs a Punch

Lilia’s Emotional Rollercoaster and a Nod to Quicksilver’s Epic Scene

In Agatha All Along Episode 7, we get hit with Jim Croce’s “Time in a Bottle” during the end credits, and let me tell you, it’s not just background noise—it’s a deep cut into Lilia’s entire journey. This track does more than just set the tone; it taps into her power, her sacrifice, and the emotional weight of her story. When Lilia says, “Time is an illusion,” it’s not just a throwaway line—it’s the crux of her whole deal, living her life in a way that doesn’t follow a straight path.

The lyrics, “If I could save time in a bottle… just to spend them with you,” basically summarize Lilia’s abilities. She’s lived with time bottled up inside her, experiencing moments out of order. But, like the song, she couldn’t actually control it—she could only observe, never change. It’s that heartbreaking realization that, while she has the power to see everything, the moments still slip through her fingers. Much like Croce’s wish to preserve time for someone he loves, Lilia experiences her own life’s key moments—both the good and the gut-wrenching—but they always feel more like fate than choice.

Croce’s next line, “But there never seems to be enough time to do the things you want to do, once you find them,” hits hard for Lilia. Even with her foresight, even knowing what’s coming, she couldn’t avoid the tragedies she saw. It was all laid out in front of her, but she was locked into it, just like her destiny. And in her final moments, she sacrifices herself, not because she had a choice, but because she had already seen it play out. That’s the kicker—it wasn’t desire driving her actions, it was inevitability.

“If I had a box just for wishes and dreams that had never come true…” Okay, this line? It sums up Lilia’s entire existence. She wasn’t making decisions based on dreams or hopes—she was following a script she’d already lived. Everything she did—casting the sigil, warning Agatha—wasn’t a choice. It was something she’d already done, over and over again, like a broken record. And the acceptance of that is what makes her story so tragic yet powerful.

By the time her death arrives, Lilia’s already prepared. She knew it was coming, and her Maestra’s lesson—that divination is about bracing for the future, not changing it—was the backbone of her life. She fought against what she saw but couldn’t escape it. Her story, much like Croce’s song, is a bittersweet reminder that no matter how much we wish to freeze time or hold onto moments, it’s always slipping away.

Now, for the Marvel fans out there, let’s not forget the bigger picture here. “Time in a Bottle” was also the iconic soundtrack for Quicksilver’s unforgettable scene in X-Men: Days of Future Past, and with Evan Peters’ appearance in Agatha All Along, the connection feels like more than a casual nod. Just like Lilia’s fate, the song is all about love, loss, and the ticking clock we can’t outrun. It leaves us wondering—if Lilia could’ve truly controlled her time, how much would she have saved?

[hexlenx]

POPULAR PARTNER — james fleamont potter, galinda!reader

note: I do not own James Potter or any of the characters in this fic! This is made purely for entertainment purposes. You reader will still have the characteristics as well as the outfits and hair because you wouldn't be galinda if you didn't, now would you?/j

warnings!: none actually.

__________________

It was said that James Fleamont Potter along with his friends were coming to the boarding school of Oz, Shiz. Everyone cheered because of excitement and curiosity. I mean, who wouldn't? This was the infamous prince of the Potters! Yes, infamous.

The Potters were a friend of the Wizard of Oz from generations to generations, who wouldn't want to be in the limelight of all that?

And by limelight, it meant marriage to the one and only heir of the Potters. They were royalty in the Kingdom of Oz due to the Wizard of Oz granting them of such title as a sign of friendship. After all, what's a kingdom without a royal? The Wizard is definitely not fit for that, and so he threw it to someone else.

So in short, get married to James, get riches, be a princess, be queen plus a handsome husband! Very ideal.

The docks of the institution were bustling with chatter, students and staffs alike were awaiting for the sight of the newcomers. Excitement could be seen visible among the air as majority of the ladies proceed to fix themselves, some unbuttoning some of their buttons of their shirt, some combing their hair and some putting lipgloss on their lips as well as blushes. They were trying to make themselves even more appealing which made some of the males roll their eyes in annoyance, not understanding why the women should entice a man they haven't met.

A boat covered like a tent slowly stopped at the dock. This made everyone hold their breaths in anticipation. The boat, tho albeit small, was magnificent. A symbol of a stag visible on its doors and the flag having the same symbol. This was a royal's boat. Oh, how exciting.

The door opened, a hand showed by the handle making everyone hold their breaths once more. Then a man came out, he was handsome even with the scars on his face. It made some of the ladies swoon, fanning their faces as it flushed flustered. A man came out and he was just as attractive, if not more, as the first. Jet black hair that stopped by the shoulders and grey eyes that glinted with smugness by the attention.

Then came the next and last, unruly brunette hair, hazel eyes that looked like it was staring at you with so much love, a small smirk on his lips that looked enticing to kiss and don't get me started on his physique. His figure was lean but mascular, you can tell by the way his clothes hugged his body and oh, Wizard of Oz, his arms. Some of the women fainted as they gazed at the lovely, handsome and delicious men.

The young men exchanged glances of amusement towards each other before getting out of the boat and straight towards the gates of Shiz. All three anticipating what the school has to offer.

As the young men were walking, there was a petite young woman, with perfect posture, dressed in all different shades of pink, her outfit complimenting her blonde silky wavy hair, pale skin and pointy matching colored heels. She was you.

You've read from the newspaper this early morning about the Prince of Oz coming to the Shiz Academy and you just had to take this opportunity to entice such a handsome man! I mean, who wouldn't? Definitely not you.

"Hi, may I?" You whispered to a fellow student sitting on one of the stone seats surrounding a tree. The student nodded and you muttered a quick thanks as you took his book onto your hands. Tossing your hair, you began to walk elegantly towards the Prince and his friends while pretending to read the book.

James, Sirius and Remus ceased their walking as they stopped in front of a map of the academy. They were trying to figure out on where to go to first in the rather gigantic school. Sirius and Remus noticed you quietly and subtly walking towards them, seeing how you were focused on James. They both grinned at each other and stepped aside a bit to let you have your chance. After all, you were very pretty and they knew just by one look, you were popular.

With a clear of your throat you asked the Prince.

"Are you looking for something? Or perhaps..." You said in a soft tone as you flipped your hair before looking at his face intently, you were taking in his appearance as it seemed to bewitch you to stare. "..someone?"

"No, no, I was just looking at how big this school is.." James trailed off the moment he saw you. You looked so pure in his eyes, a doll was what you were like with your doe like eyes. You were very beautiful.

"Hm." You shrugged as you then moved gracefully towards the other side of the map, leaning on it as you pretended to read the book once again.

James followed you, amusement dancing in his eyes as he leaned on the side of the board as well. Smiling slightly at your adorable gesture of flirting, it was cute, not the best but it was working, for him at least.

"Oh, you're still here?" You said in feign surprise as you looked at him. Making James huff a chuckle while nodding to your question.

"Well, I was assigned to give a guided tour for the newly arrived students." You then snapped your book shut as you glided back towards the other side of the board. "Are you..a newly arrived student?" James smirked at your attempt of trying to seduce him, it was adorable yet he didn't seem to care for how bad it is.

"I am now." James spoke in a husky manner as he subtly eyed your whole physique. You smiled at him as your eyes roamed over his figure, he wasn't the only one charmed, he had you trapped as well.

"Well, you've found just the right person, and you can invite your.. associates as well." You said with a grin as your gaze glanced towards his friends behind him. They were watching with amusement throughout the whole ordeal. "Follow me, my king."

That name made James smirk and huff in pride. A king, how quaint.

"And this, is the book place." You said a bit confused on what to call the library as you've never stepped foot in it nor known what it is called. The trio looked at you with amusement to what you called the library.

"There are a lot of different books that...you can read and find in this room, even rare ones." You smiled at them fluttering your eyelids. That's it, short and simple. You thought to yourself.

"It's quite nice." James responded with a charming smile while Remus and Sirius nudged each other, mocking their friend in whispers.

You hummed and shrugged as you all walked through the library, ignoring the glances following your figures. I mean, you all were quite popular. The spinning bookshelf fascinating the Marauders as they've never seen a structure like that before. Makes Remus beam in awe as well as excitement, his inner bookworm screaming out internally.

You all then split ways, though it was mostly Remus and Sirius going on their own way, leaving both you and James to find something to do.

You didn't know what to do as you skimmed through the books, boredom seeping through you as well as your anxiety. You didn't want to look quaint but the awkwardness was unbearable. James on the other hand doesn't feel that way, although he was thinking of how to get you to talk more. He quite likes listening to you.

"So—"

"What are—"

You both stopped to stare at each other, startled as you both spoke at the same time. Before a smile broke out from the both of you.

"Lady's first." James gestured.

"Oh, no. It is quite alright, you go on ahead." You proposed with a smile.

"Well, I was wondering if you knew the ball coming up this weekend." James wondered as he looked at you intently to the eyes. Your eyes widened and turned around to slap yourself lightly to make sure it was happening for real, startling James from your action. Before you turned back once more, acting like you didn't just do that to yourself.

"Yes!—I mean, of course. Everyone is coming." You squeaked out yes before clearing your throat pretending you just didn't squeal. James watched you with an amused smirk, chuckling slightly from your adorable actions.

"Would you like to be my date for that night?" James proposed as he took your hand and bent down to kiss the back of it while keeping eye contact with you. His gaze was so intense, it caused a shiver down your spine.

"I...I would be honored." You stuttered as you looked at him with a very flushed face. A contrast to your flirty nature earlier.

"Then I shall see you there, love."

[maxwell-grant]

The Penguin Ep3 - "Bliss" Breakdown

oh

(Episode 1) (Episode 2) (Episode 4) (Episode 5) (Episode 6) (Episode 7) (Episode 8)

So that's what Victor's image in the credits was meant to represent the whole time. A still of him inside the last memory he has of his home, his perspective on the window before it all went to shit.

I get that it might have been obvious the opening was a flashback given the election was still ongoing and given we get to see Vic's friend, the one who was shot by Sofia, still alive, but they also peppered enough bits that hade me fully convinced we were just watching Victor's present life when he was out of earshot from Oz. The bombs were a genuine shocker.

Credit to @davidmann95 for pointing out that the rooftop pebbles are Victor's equivalent of the Crime Alley pearls, an extremely important detail to add to the other Batman parallels Victor's gonna be shown having in this episode.

I'm loving a lot of the choices that go into Oz's outfits and specifically what kind of outfits he wears around specific characters, the whole chameleon thing he's got going personality-wise reflective in his choice of wear, and I like how this extends to the people around him and his choice of vehicle and base and everything. He may not wear fine suits everywhere and for all occasions, but this is very much a Penguin concerned about fashion particularities and branding and ways to dress up himself and the people acting in his behalf.

This scene where Oz pays Victor is funny, but it importantly sets up an element that's gonna come into play regarding their relationship by the end of the episode, that is how hard Oz projects on Victor and how much of his insecurity and need for affection comes through in his attempts to deal with the kid. Two episodes in after all the shit Victor's done for Oz and it's the first time we're seeing Oz talk about giving him a salary. It's not an unusual comedy beat, sadly not a real life one either, but the thing is, Oz is not a cheapskate, far from it. Across the last two episodes, he's been very quick to fork over cash to smooth over negotiations, and he's more than happy to pay the kid and praise him for demanding double (even if he shuts down the idea), it just genuinely never occurred to him until the moment that, right, the kid whose job is driving me around and burying bodies and putting his neck on the line for me needs a paycheck, of course, he's gonna get a nice thousand per week because I'm a good boss who does that kind of thing.

Nice little reminder of the class disparity element of the show, in how Sofia looks at Oz's set-up and dismisses as tacky garbage, while Graciela calls it bougie and thinks Victor's basically set if his boss is letting him crash in a place like that. Also illustrated in the money scene earlier, because from what I've researched, a thousand per week is an average salary for a driver in New Jersey (which is where this Gotham is located), and despite Oz calling it a start, Victor's already shocked at how much money Oz is paying per week. Just these totally different conceptions of what money and good living entail across the board for our characters. SPEAKING OF totally different standards,

So it turns out that Sofia has been planning her own meteoric ascension into ruler of Gotham for about as long as Oz, and more effectively at that, and if there's anything this episode will establish for sure about her, it's that Sofia Falcone is an actual supervillain the way Oz is still some ways from being. Alberto's shipment wasn't the ticket for the two of them, just for Oz, and Sofia just needed him to drive her around and open the door once more.

Oz the whole time basically happy with running a club and pushing dope out of a warehouse to the point of crying to her in the end that it was the best thing that ever happened to him, while Sofia here casually unveils a Gus Fring hidden meth lab with a mushroom forest full of Arkham Super Drugs and another Batman Villain working out in the backroom to produce them. Oz spent the last years ass kissing and spinning plates and seizing his own little levers of power all over Gotham, while Sofia was enduring soul-redefining torment entrenched inside the Supervillain Factory of the world where she would discover and pillage the tool that would let her conquer the city in one swoop.

A tool that she debuts before the underworld with an intimidating yet casual speech, above the city writhing before her and falling by the minute into her grasp, before casually leaving and telling her grunt to wrap up negotiations for her. The Riddler showed Gotham what a supervillain is and can do, a call to the maladjusted victims and freaks everywhere to grab their masks and bombs and get in the action because this is how the world works now that Batman exists, but Sofia here shows us not just a different way the rot spreads across the city, not just a way in which Arkham can become the other force filling in the power vacuum, but that being a supervillain is also a business model every respectable criminal in the city is gonna have to get on board with real fucking quick.

I love/hate that we get to have a few scenes of Sofia and Oz working together and how good they are, glad they could at least give us those before everything gets turbofucked forever further.

I definitely encourage you to keep up with the Penguin podcast, and particularly the latest episode where they talk with Rhenzy Feliz and fluency consultant Marc Winski, where they go over the thought and care that went into depicting Victor's stutter and incorporating it into the character and show, it's a very insightful conversation.

Oz's empathy for people with disabilities shows up in him complaining at the waiter for speaking over Victor, and later in their scene with Johnny Viti when he berates him for calling her a psycho, and is consistent with lots of other little moments where it's come up. I like that this is a consistent thing with Oz, and not just one of the things he does for show - even when he's complaining about Sofia to Victor, he never disparages her based on mental illness, he calls her uptight and elusive and a problem he wants off his back, but he never insults her the way all the other mobsters do.

Even in the bathroom scene by the end of the episode, where he does lose his patience and rushes Victor to explain himself, only happens after they've reached a boiling point. I do think it's important, for his character and role, that Oz maintains some important principles, even if they are still self-serving.

Again, love how the show knows just when to drop the Penguin name to maximize hurt on Oz.

What a fucking show Farrell and Miloti and Feliz give us in this episode.

I said back when the trailers dropped that Sofia Falcone looked like she was going to be the prestige crime drama protagonist that this show would have if it wasn't about The Penguin, and that's the vibe you get out of these two together. She is the tormented HBO leading lady and he is the charismatic side character, he is her driver with a wacky voice and face that bites it tragically to motivate her revenge / bites it after the reveal of how he backstabbed her. Which is exactly where the Falcones liked him, that funny guy in a supporting role who drives them around and runs their club and digs up their graves, and it's partially how their last scene in the episode plays out.

"Yeah I know I ruined your entire life and led to irreparable damage to your mind and sanity and reputation and all that, but I really wanted a little piece of the action as a nightclub owner, is that so bad?" is a confession that Oz only survives because he's the main character. In any other show, him bearing the depths of his embarassing pathetic soul to Sofia like that would be the last thing he does before dying, tragically or cathartically.

But to his credit, it worked. Sofia actually sheds a tear for him. It's the first time Oz has seemed genuinely honest with her, and more importantly, it's the first time anyone has been honest with Sofia ever since she got back from Arkham. She really has no one else she can possibly trust but the least trustworthy person on the planet. Who on Earth could possibly be willing to make an ass of themselves before her like that if they weren't being truthful?

Lauren LeFranc: You know, I think Oz is a bit of a walking contradiction and I think he deeply believes what he believes in that moment. I think he genuinely feels that way. Also understands the benefit of her being on his side at the same time. Right? Like, if she doesn't believe in him, their operation currently goes to hell. Not to say that he's playing that up, I think that is a moment of genuine emotion from him. But I also think for a man like him, he's not quite sure where it begins and ends. He doesn't believe that it's bullshit. That doesn't mean that it's not. Like, I don't know if he can even identify it or if, honestly, if Oz takes the time to unpack that. He's not a guy who's like, "Hmm, let me think about my actions today.", you know? - The Penguin Podcast: Episode 3

I'm extremely curious as to what the Sofia-Oz dynamic is gonna look like in the rearview. Does he have enough of a lid on his temper to fake that masterfully being offended on Sofia's behalf while playing her attack dog? Does he genuinely regret that she got sent to Arkham over whatever he did? I think this and the ending scene go a long way in pending towards either way and that's interesting to me. Even if 90% of what he says is bullshit there's some of that regret / kinship that feels genuine

I am very curious to see what becomes of Eve and what more will we learn about her. She seems to be Oz's second-in-command when it comes to businesses he does with her and the girls, and I like that the girls and Victor form a personal squad for Oz (and crucially, he's promising all of them a bigger slice of the pie when he becomes a big shot, and just as crucially, all of them have massive targets on their back right now).

It is genuinely funny how appalled and offended Oz is, at the idea that maybe the kid he roped into this with a gun to the head only stuck around out of fear, not because the kid thinks he's a great guy giving him a chance. I call him the Michael Scott of crime and I mean it. But like most funny things about the Penguin it also has something sad and lonely and pathetic and human about it, the ever present disconnect between the gentleman he wants to be and the thug he acts like.

Like with the salary thing, it just did not cross his head at any moment prior to this, not when he threatened to kill the people he cared about or openly argued with Vic whether to shoot him and stuff him in a trunk, not when threatening to gut him like a fish for messing up or spilling his secrets or telling him to lie with corpses, that Vic was sincerely scared of him and his power and did not leave because he feared this known gangster would do exactly what he said he was going to do. To Oz, doing those things to "his guy" now would be unthinkable, but the question that Vic wanted to leave never even popped in his mind.

And it makes him genuinely upset. That scene at the bar, where he is fully alone, sad and tired with his drink, tired from all the plates he's had to spin and all the indignities he's endured and still endures, tired from all the hats he's had to wear, and sad because the only person so far he's been able to let down his guard around, the one person with whom he could at least wear a hat he liked just bailed on him.

Of course he'd never kill Vic for just wanting to leave, once he realizes that this is actually a factor in how Victor views him and obviously he'd be a bad boss if he did that. Of course he gets angry at Victor for wanting to throw away an opportunity given to him that Oz would have (and probably has) killed for, he's giving Victor the kind of help he desperately wishes he got and he's gonna throw it away? Of course he gets shocked at being reminded Victor is a guy with needs, a guy that Oz holds lethal power over, and not just a kid version of Oz that he can live out his Rex Calabrese fantasy by helping out and mentoring. And of course, none of the cruel and hurtful things he says to Victor before he leaves would sting if there wasn't just enough of a bitter truth to them, or at least, enough of it to stick with Victor.

What an excellent scene Victor's panic attack was, totally get why it was the editor's favorite

I was waiting for a Victor-centric episode and was not dissappointed, this is the episode where he first comes on his own as a character and we see how crucially important he is to the show, the from-the-bottom ground floor perspective on everything that Reeves and LeFranc have repeteadly defined the project around. I love getting to see such an on-the-ground perspective of how fucking monstrous Riddler's plan was, and the kind of lives it ruined. This poor kid thrust headfirst into a Batman/Robin origin story and situation.

It's like Feliz said in the podcast, the end of the episode is the first time we've ever seen Victor, and maybe the first time Victor's ever seen himself, outside of survival mode, outside of simply living to try and get to next hour and do what his parents/Oz tell him to, which is a painfully real state to be in for anyone who's dealt with poverty growing up or is dealing with poverty right now. It's the first time he really has an opportunity to decide on his own what he's going to do on his own. As much as we may know he's making a doomed choice, that he really should just hop on the first bus out of Gotham and join his girlfriend in the sun, well, he's a Batman character, he doesn't get to do that.

Victor wants to live his life and protect himself and the people he loves and make good choices and be a good person, but on a deep fundamental level, he just wants his family back, he wants his dad back, he wants to do right by them more so than by himself, even if that means doing things they would find detestable. Like the son of a doctor, a son who now chooses to inflict violence every night if it means he can avenge their memory, here we have the son of a nurse presented with a choice: He gets to honor the intentions of his parents by dying as a well-meaning decent nobody like they did, or he gets to make up for the shame of how they died by living a good life, one which was denied to them, by surviving and thriving as a criminal. He gets to honor their ideals, or get back at the shameful cruel reality of how they died, but he cannot do both. So he makes his choice.

Oz, in this episode, burns nearly every single bridge he has: with the Falcone family, with the Maronis, and with Sofia, and he even does it with Victor. If Victor hadn't come back, Oz would have died on that parking lot, and still Oz is ecstatic that his guy's come back, because all he wants is for someone to like him enough to stick around with him. Victor is not so sure he's not in for a horrible time now, but in his own way, he also burned his bridges, and he also got what he wanted.

Okay Vic, you wanted dad to not take shit from others and shoot for a better life, you got a dad who will teach you to do just that. You wanted to pal around with small-time criminals you were friends with even if your parents insisted otherwise, well, the king of hoodlums is the only guy you have left in your life now.

You have committed yourself body and soul to a dangerous life within the city you love, spurred on by the tragic injustice that took your parents in an event that destroyed your entire world? Great, welcome to Gotham, here's even a new name you get out of it.

[yellowbrickramble]

The top scene is, naturally, supposed to mirror the Scarecrow's imagined fate of Dorothy and Toto on the previous page. Fans of the books may recognize the American friends from the later stories despite my creative reinterpretations.

From left to right: Cap'n Bill, Button-Bright, Trot, Billina the chicken, Toto & Dorothy of course, Eureka the kitten, Zeb Hugson, and the Shaggy Man.

Button-Bright's one of the more interesting characters in the Baum's Oz despite being a non-magical kid from Philadelphia. I gave him the outfit he wears in the later books rather than his iconic sailor suit from Road to Oz.

Baum's first published book was a nonfiction book on raising Hamburg chickens, so I thought it'd be fun to model Billina on a Hamburg as an homage.

I can't very well make pre-fairyland Eureka pink, but I gave her pink attributes.

I gave the Shaggy Man a fur coat here because it conveys shagginess really well. If I ever do a comic with him in it, I may opt for something else, but it works for a single panel fantasy scene.

If you like my comics, please check out my Patreon! (link in bio) Every little bit helps!

[xcitrix]

Here is the first Wizard of Oz drawing! It’s Chase as the Scarecrow, beca I tried to match the characters to the ones with similar personalities rather than the role(might not be totally accurate cuz, surprise surprise, I’ve never actually watched the Wizard of Oz lol)!! Don’t mind the crappy back round lol, I was trying 😔

Also, after we find out what key prunella has, should I start making her little outfits too??

[neverwalka1one]

I got to see Wicked last night, and whoo boy I have thoughts. Cut for spoilers, you've been warned.

I'm looking forward to seeing the 'Good News' song at the end of the second movie - Glinda already looked conflicted about the Giant Elphie Effigy (good lord those munchkins work fast)

Also, I thought the movie highlighted better that those in Munchkinland knew Elphaba her whole life, and this is still how hard they bought in to the propaganda.

The little hint that Glinda's bubble is all mechanics. Chef's kiss.

Glinda's bubble has a Designated Landing Place. Just. Consider all that implies, with Glinda having been until very recently the Wizard's goodwill ambassador.

'Take it away' will never not be heartbreaking. Also, of course Elphaba is going to grow up a fierce defender of animal rights, she was raised by a talking animal, and that bear was the only one to be kind to her consistently through her childhood. Dafuq.

Baby!Nessa!Rose's little meeps. Just. I died.

'Oh, they're going to miss me.' Galinda I love you you ridiculous gal.

I like this twist on why Elphaba was at Shiz. I loved the way she so desperately wanted to go, but couldn't ask for herself. I loved her trying to defend Nessa Rose's independence... and then still being blamed for stifling her. Excellent.

Also did y'all see the picture of the animals behind the cracked and fallen fresco of the Wizard in that scene? Foreshadowing my beloved.

Galinda writing a little 'it's great' card put on top of the saddest pile of bedding you've ever seen.

'What is this Feeling?' omfg. I loved Elphaba putting her foot down about the roommate situation.

I also liked that they moved Elphaba's talk with Dr. Dillamond off-campus. It makes more sense that this status-quo challenging talk would be done away from the powers that be.

Also it sets up Fiyero running into Elphaba (literally) better, and omfg. I love that horse, he's great, more horse in the second movie please.

Omg Galinda flirting. And Fiyero flirting back, but Galinda (and Elphaba) missing that at that point Fiyero was flirting with pretty much everyone because hey, it's fun, it's easy, and it works.

On that note, Fiyero flirting successfully with the librarian. <3

The whole Ozdust scene. All of it. The outfits, the dancing, the prolonged social anxiety/social embarrassment. The way Elphaba refuses to show she's been hurt. The way Galinda finally understands that. THE DANCE APOLOGY.

I did find it a little weird that one of the only lines cut from the musical was the 'Lemons and melons and pears. Oh my' bit between Boc and Nessa Rose.

Also can we talk about how excellent Jonathan Bailey is as Fiyero?

'Popular' is, as always, fantastic. And highlights just how good Galinda is going to be at the politics of this world.

'That might be your secret, but that doesn't make it the truth' AUGH GALINDA just rip out my heart why don't you.

I liked that when Elphaba rescues the lion cub, she's more restrained/talented than in the beginning of the movie. It makes sense, she's been learning all this time.

THE BIKES. THE LION CUB IN THE BIKE BASKET. THE WIZARD OF OZ CALLBACK. LOVE.

The mushroom things during 'I'm Not That Girl', idk what those were but they were so so pretty lord I love the world-building.

That scene of Nessa Rose, Boc, Galinda, and Fiyero all together, and Elphaba on the outside in the dark. Fiyero looking out over the courtyard as he's being pulled away. Augh, all of it.

The way the students turned on a dime the second Elphaba got that invitation.

That. Train. Steampunk my beloved.

Idina Menzel and Kristin Chenoweth getting singing roles, YES, THANK YOU, that was such a great surprise, I was squeaking like bebe Nessa Rose.

On the flip side... sigh. I called it. Jeff Goldblum was... very Jeff Goldblum. That guy, while a lot of fun, is the exact same character in pretty much everything he's been in for the last few years. I still think that casting was a mistake. Hear me out: The original Wizard was Joel Grey. Joel Grey was also the Emcee in Cabaret. ... so tell me it wouldn't both be great casting and an awesome call back to have casted Alan Cumming as the Wizard. I can't have everything I guess.

Also, and it might be just me/the effects of a late night screening, but when Elphaba and Galinda are walking into the palace, with the doors slamming behind them, and there's a scene with the torchlit hall behind them? Didn't the fire look like how the flames in the original Wizard of Oz movie looked? Just sort of... fuzzier and blurred than how film tends to pick up fire these days? It might have just been me.

Also this movie does have a bit of the Les Mis problem - you've got some cast members with serious vocal chops... and theeeeeen there's the ones that... tried hard. Great actors every single one, but would it have killed the director to find people for those roles that could match vocally as well? This movie doesn't need big names. We're not going for the big names, people.

I liked how the movie explained better why the Wizard not being able to read from the Grimorie was such a big deal.

The monkeys. Oh, the flying monkeys. Also the scene of Madam Morrible framed by flying monkeys. Thanks for breaking my heart.

'Defying Gravity'. All of it. Every bit of it. Holy. Shit. Holyshit. HOLY. SHIT.

So yeah, I'm going to have to see it eleventy-billion more times before it leaves theaters.

[raven-at-the-writing-desk]

Twst in “ The wizard of oz” ( a shitpost)

Yuu as Dorothy ( obvious choice)

Grim as Todo

Ace (or Deuce) as The Scarecrow

Ortho as The Tin Man

Epel (or Jack) as The Cowardly Lion

Vil as Glinda (He would look pretty in her dress)

Azul as the Wicked Witch of the West

Jade and Floyd as The Flying Monkeys

Crowley (or Idia) as the Wizard himself

And the rest of the cast are the munchkins

( let me know what you think of the cast, and who would you choose to cast here)

I uh 💀 recall being forced to watch Wizard of Oz once as like a 7 year old, so my recollection of it is vague at best 💦 I did refer to its Wikipedia page to summarize the story and characters to me, so hopefully that’s enough to get an understanding of this prompt!

My interpretation would be:

Yuu as Dorothy and Grim as Toto! The obvious picks ✨

Expanding Team Dorothy and co. to create novel roles so each of the first years can have a part in the journey; I very much like the idea of the first year friend group!

If we’re sticking with just the Scarecrow, Tin Man, and Lion… I’d choose Deuce for Scarecrow (since he is objectively the less intelligent between him and Ace). What Deuce would gain at the end wouldn’t be smarts, but rather the understanding and the acceptance that he’s stubborn and simple-minder, and that’s his strength. This would be similar to how Deuce unlocks his UM in book 5, by embracing his true self.

Jack would be my pick for Lion (since he is more beast-like). Additionally, Jack had to deal with finding the courage to stand up to the rest of his dorm, including the dorm leader, in book 2.

Vil as Glinda works, but I can also see Azul playing Glinda in a sleazier manner befitting the shadiness of a used car salesman. I just think that juxtaposition between how kind he looks and his real attitude would be hilarious (think of like Fairy Godmother from Shrek 2).

Back to the idea of Vil as Glinda though, he’d totally kill the look!! I think it would be funny if the ruby red slippers that bring Yuu home are the crimson Ténèbres brand mirror heels 👠👠 mentioned in Jade’s Dorm Uniform vignettes (a highly exclusive shoe that even Vil dreams of but finds it hard to get his hands on). RIP Yuu though, having to walk to the Emerald City in those…

Azul and the twins work as the Wicked Witch of the West and her Flying Monkey (Flying Fish?) henchmen. However, I can also see Malleus and Sebek + Silver in these roles since Malleus is TWST’s poster child for “villains”. He’d be mad that you killed his mother—/j

I can kind of see Idia as the Wizard since they’re both mysterious shut-ins, but I feel Crowley is more befitting since he’s the one constantly promising to find Yuu a way home. Crowley also works better since the Wizard kinda pep talks the Scarecrow, Tin Man, and Lion about how they had the traits the most wished for all along. It seems like the kind of corny thing he would spout to try and convince his students to be friends. The enigmatic headmaster who loves shiny things and oversees a school that looks great from the outside but is constantly dealing with traumatic events on the inside… Doesn’t that kind of man fit the role of someone who lives in the shining Emerald City made of smoke and mirrors?

SHORT KINGS RIDDLE, LILIA, AND EPEL SHOULD BE MUNCHKINS… (Riddle and Epel would be mad about it, but Lilia would have fun with it and ask the others if they think he rocks the outfit.) This is only, of course, if Epel is not already a part of Team Dorothy and co. as a new character and/or if Lilia is not already serving as one of Malleus’s minions.

The Seven Dwarves and Cheka should be included among the Munchkins.

[witchesoz]

The Wicked Witches of the West (2)

Of course, when talking about the most famous Wicked Witch of Oz, we HAVE to go by the 1939 "The Wizard of Oz" movie, the MGM production that ended up making Oz a worldwide phenomenon and shaped pop culture's view of the Land of Oz to this day, overshadowing the original Baum novels for many, many decades, up until... Well up until today.

The 1939 movie is also a crucial part of the development of the Wicked Witch of the West's design, as the MGM's Witch played by Margaret Hamilton became THE most famous face of the character, and a defining visual for basically most witches in pop culture. The black dress with the pointy hat, the long chin with the hooked nose, the sharp fingernails, the broomstick, the wicked cackle and above all the green skin - all of this became utterly iconic, despite none of these elements being present in Baum's novel.

Of course a huge part of the success of this specific incarnation of the Witch was Margaret Hamilton's performance. She famously played back the Wicked sorceress a few times - never actually putting back the exact same makeup or outfit, but still carrying on the spirit of the character throughout various media.

The most famous example being the Sesame Street episode considered "lost" for a very long time and that the Internet has been so obsessed about. There Hamilton plays back the Wicked Witch, though in a more disheveled version and with as an added touch a green lining on the cape:

Hamilton would also play back the Wicked Witch of the West on the "Paul Lynde Halloween Special":

Several other media were created as a direct follow-up or continuation of the 1939 MGM movie, and as such reuse the "MGM design" of the Wicked Witch, though with various modifications. For example I am thinking of the 1990 cartoon series "The Wizard of Oz", an animated direct-sequel to the MGM movie, where the Witch reappears with some design change (the facial features are more bulbous, the pointy nails are painted red, the outfit is purple instead of black)

A more recent example would be the children cartoon "Dorothy and the Wizard of Oz", another serial-sequel to the MGM movie and where the witch makes recurring appearances. Though the design was made to fit more Hamilton's makeup and outfit, the purple touch remains, to help with the natural difficulty of animating an all-black outfit.

And, of course, you also have the infamous "Tom and Jerry and the Wizard of Oz"

A much more well-received and famous revival of Hamilton's character, however, was the 2011 musical "The Wizard of Oz", a stage transposition of the MGM movie by Andrew Lloyd Webber. The witch in this production, while taking back all the MGM-specific traits (the green skin, the black outfit, the broomstick), also has personal features that make her stand out - notably the heavy use of feathers in her outfit, and the evolution of her hair, which goes from a spiral hairdo evoking both a witchs hat and a tornado, to an "exploded" form more reminiscent of a storm cloud. This results in a more "aerial" witch with a strong sky-motif to her (plus, she also falls into the "sexier take on the witch" category, but that's for another post)