#and you are a sci fi writer who believes the heart of every story is love and humanity

[aimfor-theheart]

hello!!

👀 (if you're still accepting!)

i am!! just slow on the reply bc i’ve been a lil busy 💞💞

for you, i have a snippet of a gojo wip that is a grad school au! he is horribly annoyingly genius. he studies physics and the reader is in grad school for creative writing (specifically for sci-fi short stories)

[anxiousdreamcore]

Frontiers of Pandora story review ✨

BEWARE! Heavy spoilers ahead.

Alright, since I don’t see people talking about this game as much as I’d want on my socials, I decided to put together a little review where I talk about the story, what spoke to me, as well as some critiques.

To summarise my opinion; I love it! The story knows where it’s taking place and takes advantage of it. It covers dark topics and succeeds in staying as serious in tone as the movie franchise, which makes the campaign feel like it truly belongs in the world of Pandora.

To speak more in-depth; the plot of a Na’vi residential school had me hooked from the first moment. I think residential schools that native children were forced into are a topic not talked about often enough, so I appreciated the developers and writers bringing awareness to such facilities, even if it’s in sci-fi form. reconnecting with Na’vi heritage that was stolen from the main character and their family is executed quite well, as playing frontiers lets you get immersed into the feeling of exploration and discovery. The player is as un-knowledgeable about the world around them as the protagonist, and being able to experience new connections, abilities, places, stories and traditions side-by-side with them has been an amazing ride.

The different Na’vi cultures shown in the game are written organically. They each possess an intricate fashion based on their values, environment and history, but that is not all. Every clan has a cast of characters, bigger or smaller, who bring further life into the western frontier, help expand on the lore and provide entertainment. My personal favourites of these characters have to be Nefika and Kin, both elderly Na’vi with a welcoming presence and charm. Second to them come Eetu and Okul!

Then there is the main cast, which is MC, their three found family siblings, a.k.a the surviving Sarentu children, So’lek, Alma and Priya. We consistently stay in contact with them, both as part of the campaign and as part of our explorations, sharing experiences with them. The protagonist character is righteous, brave and endlessly adorable in their reactions to the world around them, and the trio of Sarentu forever have a place in my heart. I liked the concept of each one of the Sarentu children representing a different reaction to their past abuse and toxic relationship with John Mercer.

Nor, who had most luxury of remembering his life before being taken by the RDA, tries to distance himself as far as possible from everything human, and progressively adopts an antagonistic mindset towards his human allies, as well as a growing feeling of resentment and vengeance. I do not blame him for it and I believe it makes sense. After him comes Ri’nela, who, during Mercer’s captivity, tried staying out of sight but protecting her siblings where she could. Without Mercer, she feels insecure, constantly stumbling and at first, regularly looks guidance from Alma. She beats herself up for things that happen to Teylan and A’hari, despite being unable to have fixed them, but eventually grows into a stronger person, being able to take on the role of a Tsahik in the clan. Lastly, there is Teylan and he has to be my favorite character in the game. His bond to Mercer is strong, as T.A.P is all he ever knew, so without John, he begins falling apart. Lack of constant control and lack of ""affection"" from Tey’s "father figure" leave him feeling ten times as insecure as Ri’nela. He has a hard time learning Na’vi ways, keeps lagging behind and ultimately sticks to technology and hacking, which is worsened by So’lek’s nagging, as he obviously doesn’t know how severe Teylan’s abuse was and simply assumes that he is "lost" in the new world. Eventually, Teylan does what many abuse victims do, and returns to his abuser. An action I kind of predicted, but which still really hit me. His voice actor did an incredible job of portraying this character and the rest of the campaign I spent praying that I’ll get to bring him back home. In the end, I’m happy he’s at home and safe. 🥹💖🫶

Now to the grown ups. I don’t have much to say about Priya, but I grew fond of her. I liked her development from an awkward girl that sparks horrific second-hand embarrassment in the viewer to a resistance member who actively puts herself in the line of fire to help her friends. I found myself getting worried for her whenever she didn’t respond or was in danger.

So’lek is a character who I was immediately fond of, and I liked his growth as well. He saw himself as completely separate from human resistance members, and his thoughts are often occupied by revenge, but he comes to care for MC, the Sarentu and eventually the humans. Seeing him protect Alma when Nor attacks her was a brilliant moment.

Lastly, there is Alma herself. A very grey character who did horrible things in the past, like leading the program side-by-side with John Mercer. I liked her development, from an aloof and seemingly supportive teacher at T.A.P, to a person that orchestrated the entire project. Her grief and guilt feel organic, and I found myself having a lot of difficult feelings about her as it is obvious she cares for the Sarentu children, but her sins cannot be forgiven. I’m happy Ri’nela made the choice to simply part ways with her in peace, instead of trying to build a new bridge.

Now, for what I believe was executed badly. It’s quite unfortunate, but the game suffers from the same problem as Avatar the way of water, only quadrupled and that is; we don’t get enough time with the characters.

It feels even worse because in comparison to the movies, games don’t have to worry about pacing or time limits. The campaign can be as long as developers wish, but it came out rushed anyway. Part of the reason I got as attached to the characters as I did was because I spent time getting emotionally invested into everything they said, their minor behavioural cues and voicelines, but not everyone is as dedicated, and those people should have the right to experience a good story as well. They shouldn’t have to seek it out between the lines.

The only characters who I felt were properly developed are Teylan and Alma. They had the most extensive arcs and their growth was tied into a nice bow. But what about Ri’nela, Nor and So’lek? Nor suffers from Metkayina syndrome gets completely scrapped shortly before the finale, So’lek only gets crumbs of growth and Ri’nela is at times forgotten about completely. Her development as a character is too off-screen and between the lines for most people to catch it, and I find that sad because she’s such a sweet character when you actually get invested into her.

In the end, Frontiers of Pandora’s story feels like a good joke with all the necessary setup but only half-delivered punchline. I had very reasonable expectations and a lot of them were not fulfilled. This project is definitely miles better than whatever Ubisoft has been releasing in these last years, but I really hope that the DLCs will expand on the story further.

Verdict on the campaign; 7 out of 10. The setup and the beginning of the story were just perfect, but in the end, the characters didn’t get the treatment they deserved. Thank you for reading.

[quickcharlie]

Denis Villeneuve discussing Dune Part 2 in an interview with the New York Times today, including whether he will be reading any FeydPaul fan fiction lol

He explains why Lady Jessica’s face is so heavily tattooed, whether Paul considers himself the Messiah and what he thinks of those Javier Bardem memes.

This weekend, “Dune: Part Two” muscles back into IMAX theaters with the verve of Timothée Chalamet rodeo- riding a giant sandworm. After nearly two months in theaters, the film is the current champion of this year’s box office race, with a total take of more than $680 million. (It’s also available to rent or buy on some streaming platforms.) The film’s success is thanks in part to audiences that have returned over and over to get lost in the rocky warrens and spiritual reckonings of the planet Arrakis. One admirer reports he’s seen the movie 25 times to date.

That there’s so much to explore in “Dune: Part Two” is a credit to its writer and director, Denis Villeneuve, who boldly reshaped Frank Herbert’s complex and cerebral 1965 novel “Dune.” Villeneuve split the book and its themes into two films: “Dune: Part One,” released in 2021, focused on the political struggles between two families, the Atreides and the Harkonnens. “Part Two” delves into religious fervor as the two surviving Atreides, young Paul (Chalamet) and his mother, Lady Jessica (Rebecca Ferguson), ingratiate themselves with Arrakis’s Indigenous desert tribe, the Fremen, by allowing the locals to believe that Paul is their Messiah — a prophecy that, if it comes to pass, will mean the slaughter of billions of victims across the galaxy.

Villeneuve has yearned to tell this story since he was a in . His devotion is palpable; every frame feels steeped in monkish contemplation. Yet, he’s also a visual dramatist who doesn’t want audiences to get tripped up by too much exposition. His scripts give only passing mention to core concepts like spice, a psychedelic dust that powers everything from space travel to Paul’s clairvoyant hallucinations.

Though Villeneuve doesn’t want to overexplain, he was willing to provide some answers in an interview via video where every question about the film — even silly questions! — was on the table.

Does Chalamet’s Paul Atreides actually believe he’s the Messiah? What’s the meaning of Jessica’s face tattoos? Villeneuve also got into the erotic lives of his desert dwellers and the extra narrative weight he threw behind Paul’s Fremen love interest, Chani, played by Zendaya. As Villeneuve said with a grin, “Chani is my secret weapon.”

Here are edited excerpts from our conversation.

The last time we spoke, you weren’t sure what to make of the sandworm-shaped “Dune” popcorn bucket. It went on to be so popular that it sold out in cities before opening day and is being resold online for around $175. What do you think of it now?

I thought that the bucket was an insane marketing idea. I laughed so much. It is so out there. I don’t know who designed it, but they’re a bit of a genius. I’m at peace with the bucket.

In this film, Javier Bardem’s character Stilgar is reduced to a guileless follower of Paul Atreides, who Stilgar believes is the new Messiah. His conversion is tragic. But also, Bardem’s awe-face has become a funny meme, and the second time I saw the movie, people laughed at almost every line he spoke. Did that reaction surprise you?

No. I am very happy when you say that he is a tragic figure. For me, he is the most tragic figure of all. The idea to bring humor to Stilgar was to make him lovable, to feel the humanity in that character. He’s not an austere figure, he has a big heart. But his beliefs, his faith, his reactions bring humor — and that is something I love about making a sci-fi film, because I can talk about that without offending people because it’s a fake religion. I designed all the prayers myself, so I know it’s fake. I find Stilgar very funny. And when people laugh, I’m happy because that was the intention.

Someone makes a dig that Stilgar has found a savior again. This is not even his first time? All his life he has been raised with that dream. So I suggest that every time a guy comes from outside with a lot of charisma, he hopes he’s found him. Like in the Bible, we have tons of prophets before Jesus came.

The arc of “Dune: Part Two” is Paul accepting that he must become the Messiah — and get billions of people killed. Does he truly believe that he is the Messiah? Or does he just decide to let the Fremen believe that he is? I don’t think he believes that he is the Messiah. I think he feels the burden of the heritage that the Bene Gesserit [the mystical sisterhood that Jessica belongs to] have laid among the Fremen, and he sees the potential to use that religious power to survive. Paul is warned that no man can survive drinking the spiritual water of life. But as that’s part of the lore of a planet seeded with manipulative propaganda by his own mother, I have to ask: Have other men actually been drinking the water and dying? Have they been scared off from trying? Is the warning just a setup for a magic trick?

There are people that have tried it in the past and died. In Frank Herbert’s world, femininity is a power. I think Herbert was fascinated by motherhood, by the power of creation. I love this idea that the power is held by women. It’s something that was ahead of his time when he wrote it and I tried to put the focus on it. You say so much with Jessica’s costuming. In the first film, her look is immaculate and baroque. This film begins with her in rags, but she finds another path to being dressed and treated like royalty. And she gets a lot of tattoos on her face. Why did she get so many more face tattoos than the outgoing reverend mother?

She’s trying to play on the symbolism that was put in the prophecy. She’s supposed to be the mother of the Messiah, so I wanted to bring the idea that she was like the pope of the reverend mothers on Arrakis. There’s some kind of madness in writing elements of the prophecies on her face. Frankly, I think when you drink the worm poison, it affects your sanity — and the same with Paul. I like the idea that we feel she’s going too far. Jessica is already pregnant when the first movie ends, and she’s still pregnant at the end of this film. Which means you had to condense this massive story into less than nine months because her body is a time clock. The idea was to compress the book so that Paul will feel the pressure to get the Fremens’ trust, to start gearing up — but not to succeed, not to have the time to create a real war. Time is against him.

Because in the book, this takes years. Long enough for Jessica to give birth to a very unnerving daughter, Alia. We glimpse Alia as an adult — she’s played by Anya Taylor-Joy — but you skipped over seeing her murder people as a toddler. Was it hard to decide no “murder toddler”?

I think pregnant women look tremendously powerful. To use that power was very exciting. And usually when you see a pregnant woman onscreen, she’s always giving birth. To avoid that moment, to stay in the state of being pregnant, I thought was very Frank Herbert-like. I was going away from the killer toddler, but I thought that was more fresh and original. Honestly, it’s one of the things that I’m proudest of in the adaptation. Speaking of female power, let’s talk about Chani.

Chani is my secret weapon. Frank Herbert was sad to realize that people saw the book as a celebration of Paul Atreides. He wanted to do a cautionary tale against messianic figures, a warning against blending religion and politics. I wrote the second movie trying to be more faithful to Frank Herbert’s intentions than to the book. In the book, Chani is just a follower. I came up with the idea of her being reluctant. She gives us the critical distance and perspective on Paul’s journey. I wanted to make sure the audience will understand that Paul becomes a dark figure, that his choices are exactly what Chani was afraid of. He becomes the colonizers the Fremen were fighting against. And then the movie becomes the cautionary tale Frank Herbert was wishing for.

Paul makes a choice at the end that will go on to kill billions of people. That’s so large and theoretical that it’s hard to grasp. But you structure your climax so that in that moment of betrayal, he’s also betraying the love of his life — a betrayal we understand.

He betrayed her in many ways. But the big thing for Chani is that it’s not about love. It’s about the fact that he becomes the figure that will keep the Fremen in their mental jail. A leader that is not there to free the Fremen, but to control them. That’s the tragedy of all tragedies. Like the Michael Corleone of sci-fi, he becomes what he wanted to avoid. And he will try to find a way to save his soul in the third part.

But “Dune Messiah,” the book your third film is based on, picks up 12 years later with a reunited Paul and Chani. How far did you feel you could push her anger? Because at some point, she’s going to have to forgive him. That anger is tremendous. I don’t want to reveal what I’m going to do with the third movie. I know exactly what to do. I’m writing it right now. But there’s a lot of firepower there and I’m very excited about that decision. In the spirit of no dumb questions, Chani says that Paul sand-walks like a drunk lizard. Which means Arrakis has booze?

Actually, there is spice beer. In the book, there are Fremen parties, even some orgies involving spice. I didn’t bring that into the movies because it’s PG-13.

Body fluids have significance to the Fremen. Spitting is the giving of water, a sign of respect. But tears and vomit are a waste. So what is kissing?

As long as you don’t lose your humidity, you can kiss. It’s an exchange of fluids — an act of love, when you think about it. Fremens love to kiss.

What about the, um, other romantic fluids? You cannot have sex outside, for sure. But they are very sexual. I suspect that all sexual intercourse happens in environments that are protected from losing moisture. When they are in their sietches [or caves] underground, those are sealed. You don’t need to wear stillsuits inside them. We can deduce from that there is no problem to have sex in a sietch.

By the way, who decided that Fremen was pronounced Freh-men and not Free-men? All the pronunciations, I took them from recordings of Frank Herbert’s voice. Frank Herbert used “Freh-men,” which I love. It makes it less on-the-nose.

You kept two major characters out of the first movie and only introduced them now: the princess Irulan, played by Florence Pugh, and the Baron Harkonnen’s nephew Feyd-Rautha, played by Austin Butler. The princess is the first voice in the books, the first face onscreen in David Lynch’s “Dune” [1984]. What made you sure holding them back was the right move, despite three years of fans asking, “Hey, where are they?” When people ask me what was the biggest challenge in making those movies, it’s writing them. In order to make this adaptation, we have to make big, bold decisions. One was that the first movie should be seen from Paul’s perspective. I wasn’t able to do that entirely because I had to go to the Harkonnens’ side to introduce them so that the story will be clear, but I tried to find an elegant simplicity in the story structure. And I wanted, frankly, to keep some firepower for the second movie.

Why is Feyd-Rautha’s gladiator scene in black and white? And what are the splats in the sky above the dome?

Frank Herbert explores the impact of ecosystems on cultures, on humans. How it influences the way we evolve — our biology, culture, technology, mythology, religion. The psychology of a tribe is linked with their environment. If you want to know things about the Fremen, you observe the desert. I wanted to have the same approach to the Harkonnens. They killed nature. It’s a plastic planet. One thing left was sunlight, but instead of a sun that reveals color, it kills colors. When you are outside, it’s all black and white. It gives us ideas about how these people perceive reality, politics, violence in a binary world — it brings the idea of fascism. It also gave me the opportunity to bring images that remind us in our memories of World War II and the Nazi regime. So it’s an idea that I had as I was writing. Then I had the idea to have strange fireworks in the sky that will look like Rorschach drawings. It’s a nightmarish celebration. The perception of a dome is not accurate. It’s just that the fireworks reach a certain altitude and then they explode. But it’s true that it looks like a liquid that falls from the sky.

Forgive me if I am not being fair to sadistic, psychopathic Feyd-Rautha. But all of the gladiators were supposed to be drugged for his happy birthday massacre. The one who secretly isn’t puts up a worthy battle. So I assumed that Feyd-Rautha isn’t that great of a fighter. But at the end, he’s the only warrior who is Paul’s equal?

It’s a show. You see that the Harkonnens are very cruel and their society is very paranoiac. His opponent is known in the books as one of the great fighters, Lieutenant Lanville. I tried to show that Feyd is excited to have a real opponent. He has a code of honor, he respects the effort, and he has fun with it. That’s the idea I tried to convey — he’s not a coward.

Audiences might remember that the Bene Gesserit wanted Jessica’s child to be a girl, that Timothée Chalamet’s Paul Atreides was supposed to be female. And they specifically bred Feyd-Rautha to be a male. Were they hoping these youngsters would mate?

Yeah. They are trying to increase the potential of humanity by breeding the best specimen of each tribe or family. A baby between Feyd-Rautha and an Atreides daughter would have brought peace between Harkonnens and the Atreides, and created an über being.

Will you read any of the internet fan fiction spawned by the idea of Timothée and Austin hooking up?

[Laughs] But you know, we approached their fight at the end like some kind of symbolic union. The way their bodies get close to one another, there’s something animalistic, an intimacy, I was looking for.

I rewatched the first film again recently. It opens with a quote in another language: “Dreams are messages from deep.” I love that quote. It feels like how a film resonates, too. But it wasn’t until I had subtitles on at home that I realized who said it. Of all the important characters and cultures to establish, you gave that major moment — the very beginning of your franchise — to an anonymous Sardaukar from the murderous imperial army that we’re cheering to see get killed. Why?

I love your question. The Sardaukar are the dark side of the Fremen. I thought it would be interesting to have a tiny bit of insight that they are not just tremendous warriors, but they have spirituality, philosophical thought. They have substance. Also, their sound was designed by Hans Zimmer. I absolutely loved how it feels like it’s coming from the deep, from the ancient world. Frank Herbert said beginnings are very delicate times. By starting with a Sardaukar priest, I was indicating to the fans that I was taking absolute freedom with this adaptation, that I was hijacking the book. But you also deeply love the book. So when you make these bold changes, do you feel like asking Frank Herbert for forgiveness?

Yes. There’s so many darlings that you kill. An adaptation is an act of violence.

“There’s so many darlings that you kill,” Denis Villeneuve said of filming “Dune,” a book he loved. “An adaptation is an act of violence.”

[piratefalls]

a bonus list! for the longest time i did not read wips because it seemed like the second i hit subscribe they stopped updating, but! this fandom has, for the millionth time, awakened something in me, so here's a super delayed wip wednesday in which i tell you the wips i've been following and enjoying.

masterlist.

(make me) misbehave by r_holland

Alex Claremont-Diaz has done it again. The Texas-born singer-songwriter released his fourth studio album second skin Thursday at midnight. Full of Claremont-Diaz’s signature lyricism, critics are praising the album for the cohesive image it paints. second skin is the result of a young writer at the top of his game, and every lyric depicts for the listener a picture of a sun-drenched secret romance. Fans are clamoring to be the first to uncover the mystery girl at the center of it all, although Claremont-Diaz remains tight-lipped on the subject… *** Or: Alex Claremont-Diaz is a singer-songwriter rising up in the music industry. Henry Fox is the shining star of an acting empire. This is a love story.

A Man Born To Lead A Nation by BisexualChaosDemon

Henry was born to be a spare. A spare of a spare, in fact. He would never need to wear the Crown, so he was allowed to build his life with Alex in the States. New York, Texas, marriage and soon maybe kids, it is everything Henry throught he would never have and better than he could have ever dreamed. But, what will happen when Philip tells them he won't take the Throne after Catherine and the line of succession ends up in tatters?

Binary Light by Leaves_of_Laurelin

In the sci-fi smash-hit movie Binary Light, Dev Creehil (played by Alex Claremont-Diaz) and Qindeli (played by Henry Fox) go from enemies to reluctant allies to friends. While a legion of on-line fans believe that arc should have included a ‘to lovers’ at the end, the behind the scenes truth is that the lead actors stayed firmly enemies to enemies throughout filming. Fresh off a brutal breakup, Alex is back for the sequel and back to dealing with Henry—the asshole Hollywood nepo baby who has failed to conceal his disdain for Alex ever since their first chemistry read. In the script the shippers will finally be getting what they’ve always wanted, but, as some of Henry’s ice begins to thaw, what Alex wants has become decidedly more confusing.

Burning Love by absoluteaudacity

“You’re such a wanker,” Henry says emphatically, but there’s no heat in it. “You love me,” Alex counters, because Henry does and he knows it, but Henry makes sure to roll his eyes anyway so Alex’s already impressive ego doesn’t get too much bigger. -- The Ignite My Heart sequel

Every Time My Heart Swings Back to You by TheLastKnownSurvivor

"Promise me," James says, gaze firm as he looks into Gabriel's eyes. "Promise me. Let's meet again." Hundreds of years ago, Prince James and Sir Gabriel fell in love following several chance encounters despite their very different stations in life. Unfortunately, it wasn't long before the two star-crossed lovers met a tragic end due to the anti-sodomy laws of the time, desperately wishing for the chance to meet once more. In the modern day, Alex and Henry are college students who have been haunted by mysterious visions for years. Despite a poor first meeting, the two are inexplicably drawn to each other and the visions grow in number and intensity. Slowly, they try to piece together the story and discover it is that of their past lives. Yet the question remains as to whether it's a past worth remembering and if they can disentangle themselves from the tragedy in this life.

Heist Society by OrchidScript

“Don’t sound too giddy, sweetheart,” Alex answered. They turned a corner up onto Fifth and descended the first set of stairs down onto the F line, the bright orange bubble a welcome sight. “I have half a mind to put your hands in cuffs where I can see them before letting you into that store.” “That threat is more tired with every turn, Alex.” Henry followed, hands in his pockets and a half step behind. “You know as well as I do that diamonds don’t interest me.” “But they are a girl’s best friend.” “If Marilyn is to be believed,” Henry hummed. “I also hear gentlemen prefer blondes.” “You’d like that wouldn’t you?” Alex rolled his eyes. ____________________________________________________________ After two months of proving their partnership's value, Alex and Henry are asked to consult on a jewel heist by Alex's mentor, Rafael Luna. Facing unfamiliar territory and a questionable undercover plan, will their effort make or break their burgeoning relationship -- or turn it in a new direction entirely? Part of the Portrait of a Thief series

Ho, Then Make It Fashion by TuppingLiberty

Alex is an in-demand model who has been modeling since his teens. He knows how to use his body, he knows how to wear clothes. But he has barely any time for friends or anything else. He and Henry cross paths a different way, but still end up in the same place. ;)

my every road leads to you (it's to you, i'll always belong) by blackrose1002

Right there, on the other side of the room, sipping something that looks like gin and tonic, watching the room just as discreetly as Alex, is an MI6 agent. One that Alex last saw about a year ago, during a mission in Madrid – a mission Alex would very much like to forget. Henry Monte Cristo fucking something. The ridiculously attractive British spy that screwed Alex over so spectacularly he thought both Zahra and his mother were going to kill him. (Or the one where agent Alex Claremont-Diaz needs to work with agent Henry Mountchristen-Fox, but there's just one little problem. Alex can't fucking stand him.)

Salt Follows the Moon by Pondermoniums

Vampires exist, and it's no secret. What is a secret, is that Henry Hanover-Stuart Windsor needs a blood donor. Alex Claremont-Diaz just can't leave well enough alone.

Rule Britannia by DuchessdePolignac

“Understand what? Are you anticipating there being an interview question on the number of men Prince Henry has gone out with since he came out? Or do you think the Ambassador is going to ask you questions like, ‘Hey, Alex, why do you think he’s such a serial dater who can’t keep a relationship? Do you think he cheated on his age-appropriate hunky Brazilian boyfriend with that sixty year old oil tycoon with a face like raw leather? Is he a greedy gold digger or does he just have questionable taste?” ** Philip is King and Prince Henry is living his best, openly gay, tabloid-fodder life. But something doesn't feel right to Alex about the progressive fantasy the Hanover-Stuart-Fox's are selling. Or: where Henry is a political courtesan fucking for King and Country, and Alex is the diplomat who foolishly and earnestly falls in love with him. Can Alex understand Henry's motivations, and can he live with the reality of being in love with a high-power courtesan with dangerous clientele? Or: A long and long-winded meditation on sex and power, and power and sex.

Something Borrowed, Something Blue by anincompletelist

When June gets engaged, Alex, her brother, and Henry, her best friend, are asked to be the official Guys Of Honor. There’s a month to plan the whole thing, which would be near impossible anyway, only made worse by the fact that being around each other the last several years has only ever led to petty fights and useless competition. Unfortunately, as the two most important men in her life - aside from her fiancé - they don’t really have much of a choice. Alex has a lot of feelings about this. As it turns out, Henry does too.

The Haunting of Cursed Hearts by wordscavenger

Moving to a new city can be difficult. Moving to a new city known for its tragic history involving witchcraft and murder can sometimes involve more difficulties than one bargains for. When Alex takes a job in Salem, Massachusetts to teach law classes at a local university, he ends up renting a room above a lovely little bookstore run by his very handsome, and very British, landlord. The more time he spends in this quaint New England town that is more popular than he had ever realized, and the deeper he gets into its haunting season, the more he can’t help falling for the secretive man with a sweet little dog and even sweeter kisses. If only a centuries old curse wasn’t hell-bent on keeping the two apart. -- Or, a cozy seasonal supernatural mystery about new beginnings, falling in love, and learning that magic may be more real than one would think.

The Story of Us by princebutt

Henry Fox is only attending this American football game as a PR stunt. That's all it is. He's definitely not fatally attracted to the brash quarterback Alex Claremont-Diaz who had the audacity to publicly call him out for not taking his number at a concert... that would be absolutely idiotic of him.

as always, if you want to be tagged in the future just let me know! i am uncomfortable taking tagging liberties - especially if we have never interacted - because i am horrifically shy lol.

[lemonsrosesandlavender]

Writer Interview Tag

Thanks for the tags, @darkurgetrash and @kimberbohwrites <3 I really enjoyed reading yours! I tag… hmmm, who hasn’t done it yet? @dutifullylazybread @commander-krios and @redroomroaving ? (And consider this a free tag if you want it!)

When did you start writing?

I honestly couldn’t say when my very first act of creative writing was, I feel like I’ve been writing on and off my whole life (barring like 5 years from 16-21). When I was 8 or 9 is the first I really remember though. I kept a diary religiously at that time (yes, it’s hilarious), and also attempted several stories that went nowhere, including a glorious portal fantasy about two children who are isekai’d into a kingdom of cats and have to face off against an evil cat stealing wizard. As you can tell, I love cats, lmao. And I have always loved portal fantasies and isekai. A through-line all the way to Planar Tears!

Are there different themes or genres you enjoy reading than what you write?

Oooh. Well, there are very few genres I *wouldn’t* read, and I’ve only written so much, so I suppose most genres currently sit in this pile for me? I can’t really see myself writing original sci-fi, despite loving it as a genre, because I think it really lives or dies on having an excellent concept more than a lot of other forms of fiction. Short of being struck with a lightning bolt of inspiration, I think I’d lack purpose. But I love, love, love science fiction. Isaac Asimov, Philip K Dick, N.K. Jemisin, Octavia Butler, John Wyndham, Marge Piercy, Ted Chiang… all of these SF authors’ stories have a place in my heart.

Is there a writer you want to emulate or get compared to often?

No-one has yet compared me to anyone. I often realise that I’m going a little too Austen in my work, and gently push myself to modernise - but I guess that speaks to the fact that whilst I admire her, I don’t want to exactly emulate her? I love the way she gently teases her characters, the way she makes clear the contrast between what they believe and what’s actually true without being cruel. But I don’t want to write a pastiche.

On the other end of the spectrum, I recently re-read My Year of Rest and Relaxation and was reminded of how much I love Otessa Moshfegh’s cold, somewhat brutal cataloguing of the world around her character; her sparse but vivid imagery (casting aside a pair of shoes like “dead crows”) and her unlikeable but extremely readable MC. I should read more of her work!

Basically, I love to read and have a wide spectrum of influences, but I’m not aiming to emulate any single one of them. I would say my writing swings between archaic and more efficient depending on whether I’ve read classic or modern literature most recently, because I love both.

Can you tell me a bit about your writing space?

I have many. On my phone anywhere - especially the commute - and at home on a laptop, either sat at our dining table (we live in a rental flat in an expensive city, a proper desk would be a luxury), or on the sofa with my girlfriend and flatmate sometimes contributing "suggestions" lol. If I'm in a writing phase, which I have been for a year - every space is a writing space.

What's your most effective way to muster up a muse?

Hmmm. I am rarely in a completely creatively fallow period - unless I'm just straight up obsessed with a game/TV show/the gym, in which case I'm busy having a good time in other ways - but I'm not always in the writing zone. I like textile crafts and sewing, and art hobbies generally. I guess that is to say, if the writing muse is not present, I rarely miss it; I'm probably thinking about something else.

(Barring the times when my mental health is fucked, but even then, I'm probably throwing myself really hard into a hobby as a distraction. I'm an all or nothing person). When I'm struggling with writer's block on say, a chapter of a long fic, it's usually because it's not quite headed in the right direction, and I need to backtrack, take stock of where my characters are emotionally, and try again in a different direction. Honestly... I know it's advised against by some, but sometimes I just have to sit down and make myself write just to figure out what's wrong. Just do it, and rip it up later if you have to. (**put it in a separate doc in case you can use it elsewhere. you probably wrote it for a reason. DO NOT TILT OFF THE FACE OF THE EARTH AND DELETE YOUR SHIT, NO MATTER HOW FRUSTRATING).

Are there any recurring themes in your writing? Do they surprise you?

Number one is “coming to terms with making mistakes in your vocation, and recognising that you are more than your talent at it.” It’s the reason that draws me to Rolan in the first place, because it mirrors my own life experiences very closely. I was somewhat picked on and harassed in school (shit that many of us have experienced) and built my whole personality around being smart and having my life planned out as a shield against it. I was going to do [thing], I was really good at it, and it was all clear. Not to mention I loved this subject. So when I got into a prestigious university my life was sorted, right? Except... all of the hideous self-esteem issues and perfectionism I'd been papering over came crashing down all at once, and I was in an incredibly unforgiving environment, in a very male-dominated subject where other (male) students would literally be like huh, isn't it weird more women don't study this subject? Why do YOU think that is? I felt like I was worthless, stupid and useless, and that I stuck out like a sore thumb - and I was carrying the weight of every woman who wanted to do my subject and was afraid they weren't good enough. My life plans crumbled before my eyes, and I was severely depressed, alongside other health issues - which my uni did not give two fucks about, at all.

Which is to say, I draw many parallels between my own arc and Rolan's - being an outsider, the precarity of having your own talent validated only to have your entire future rest on it, and being vulnerable to really shitty messaging about how hard I should be working and how it was obviously my fault if I wasn't succeeding already, when they were one of the best universities around. And then I realised I was writing similar experiences with Catrin and SW Tav - discovering, and appreciating, that you're more than this one crutch you cling to, this singular skill that you desperately need to hold you above the maelstrom of life. And I promise that, like Rolan, this has a happy ending - I personally took some years out after battling through undergrad, faced my demons, and returned to the subject that I loved as a far more well-rounded person, better equipped to deal with failure. I'm not perfect, and I never will be. I'm neurotic and perfectionistic and all the rest. And that's probably why I keep writing, and exploring this theme - to remind myself that I want to avoid that trap, and to deal with the ways I feel when I'm in it. I was gonna write about kink here too, but I think this is enough, lol.

What is your reason for writing?

Joy. I love exercising my creative drive. And I love re-reading what I've written!

Obsession. These fuckers, these plot points, occupy every spare inch of brain and will not stop until I vent them.

Learning. Honing my skills is a frustration and a pleasure.

Connection. I'm so, so grateful to have people who read and care about my work. It means the world.

Horny. Um. Yeah. I have no further explanation for this one lmao. Except. Fantasies are amazing, but then writing them down makes them even better because now you're really thinking about the specifics and those specifics come to mind more easily next time you're [REDACTED. CABBAGE STOP. ENOUGH!!!]

Is there any specific comment or type of comment you find particularly motivating?

I can’t pick just one! A balanced diet of comments is the best ;)

I joke but - I love them all. Shouting about the plot? You're invested, and I'm grateful. "Additional kudos" twenty chapters in? You've stuck with me this far, and I'm grateful. I guess if I had to pick a few:

1. Strong emotional responses. Kicking my feet/biting my keyboard/stressed/blushing/screaming - whatever fits the mood of the scene. I’m so happy my writing evoked strong feelings. That’s a good chunk of the point, right?

2. Writing analysis. Picking out individual lines or highlighting certain aspects - characterisation, dramatic tension, etc. The day someone said that I "had a knack for showing character in a single action" and then provided examples, I nearly exploded. Augh. I particularly love comments on my OCs because they're especially precious to me. My own brain children, and you LIKE them? heaven for reader. heaven for reader for 1000 years.

3. “I should be sleeping but instead I read this” AND I AM KISSING YOU. That’s all.

4. Just straight up compliments. "I love this" thank you I'm crying. ahhhhhhh. Cute lil kudos graphics (you know who you are). I'm over the moon you enjoy my work. <3

How do you want to be thought about by your readers?

Well, I know for certain that a large swathe of my readers perceive me as “the one who writes good subby Rolan porn” and frankly? I love that reputation. If nobody appreciated the SFW elements of my work, I might feel differently, because thoughtful storytelling is also really important to me - but I feel seen in that regard too, so I can delight in knowing my writing has a distinctive flavour. Kinky chilli ice cream, spicy and sweet.

I would also love to hope my readers think of me fondly when they get the next long fic email, and are excited to continue the story. Oh, and I hope my readers enjoy chatting in my comment section, because I do. All I can aim for is to be the friendly author who "rites gud". Fingers crossed I meet that bar :)

What do you feel is your greatest strength as a writer?

You know what? I might not have said this once upon a time, but I actually think I’m pretty decent at plotting. I think I wind various threads together quite well, and with purpose.

I think I’m pretty good at observing character too. I hope. I’ve written so much Rolan that he’s really taken on a life of his own, but I do often rewatch his cutscenes (I know, such a chore 😉) and think I have a good sense for him. I also think that although Catrin started out difficult to write, I developed a very distinct character for her too, which I’m glad about.

When you write, are you influenced by what others might enjoy reading, or do you write purely for yourself, or a mix of both?

90% of what I’m writing is for me. I want it to be the best it can be, for me; I want it to cover the themes I care about. I want to tell the story in my head. Before BG3, I wrote for a teeny tiny fandom, inaugurating its fandom tag, and that inoculated me a little against writing for stats because well, thirty kudos felt like an INCREDIBLE achievement in that fandom.

Also, I want to write my kinky filth and not dilute it. That means actively CHOOSING not to worry about whether people are put off, because they absolutely, certainly will be in cases.

However, I do also care about my readers; I love comments and I want to give them the best story I can. I really enjoy my NSFW prompts; since my tumblr connections know the baseline of what I’m into, they can throw out AMAZING ideas that I love writing and am deeply grateful for. I’ve also definitely pushed harder on fics and oneshots because I knew a particular commenter or mutual was super excited for them ❤️ (shout out to my piss kink cheerleader lol, and everyone who has kindly - or ferally - expressed interest in my longfics).

How do you feel about your own writing?

Mostly very good! I do struggle with writer’s block sometimes, but my particular combination of perfectionism and obstinacy means I don’t tend to publish my work until I’m happy with it. I can see imperfections in my work, especially my past work, but I do genuinely enjoy the process of learning even if it frustrates me sometimes. I really enjoy re-reading what I’ve written later, because by the time it gets out there into the world, I’ve always beaten it into something I’m proud of.

I can't deny that I do, occasionally, get bitten by the little green monster though. Seeing someone else's Rolan writing get called "the best" or whatever has me nursing a tiny stab of pain. And I know it's valid - I'm not *the* best writer of all time, I'm just writing my reasonably-good stories out here, but I can't deny that small oof. (I'm tipsy so you're getting rather honest Cabbage tonight). I'm also very aware that I get many wonderful comments and treasure them, so I just accept my limitations a bit and try not to think too much about other peoples' writing that is along similar lines to my own. You're all writing beautiful stuff and I support you, but I will go NUTS if I spend my life reading closely-related fic. (If I have read your fic, know I fought my inner demons to do it, lol). Idk. I write what I want to write, as well as I can, and I'm grateful that people want to read it. Seriously. You have no idea how much every bookmark and subscription and lovely comment mean to me <3 And all I can do is my best to master this lovely art form and carve out from the marble an approximation of what I see in my head.

[autumnwoodsdreamer]

Who are your favorite side characters in The Mandalorian?

The Mandalorian is one of those rare instances where I enjoy almost all the side characters. Especially in the first one and a half seasons, the side characters feel so grounded and real—even when their concepts are full-blown quirky sci-fi (dear, dear Frog Lady). They fit the world, they support the story, they have heart, and enough of their own stories leak through to convince us they had lives before we (and Din) meet them.

But I have favourites, of course. And reasons. I have many reasons.

Side characters I love absolutely and have no notes on:

Kuiil

He wins your heart so fast, old Kuiil. His calm willingness to help Din is endearing, in and of itself, but the fact it stems from this beaten but not dead hope that if someone can just get that prize, then his home can enjoy peace—the very thing he set out to find after a life of slavery? Heart-breaking.

Cara Dune

Strong female character with an actual story arc? Who gets to be strong physically in a very believable manner but at the same time has a backstory and shows a healthy range of human emotion (which includes *gasp* empathy)? In my Star Wars?

It’s more likely than you think.

Omera

One episode. Just one episode in the entire series and she is forever remembered. There’s still so much about her I want to know. Why does she know how to use a blaster in a village that doesn’t have weapons? What was her life before Sorgan (assuming she came from somewhere else, which is highly likely?)

I don’t want them to answer any of that in the show or movie (I don’t trust ‘em), but what we saw of her in Chapter 4 is enough to make me want to explore this character over and over again in fics.

Peli Motto

Really thought she was just gonna be a swindling mechanic but she consistently lets her heart of gold and her eccentricity shine through and, for that, I love her forever.

Migs Mayfeld

Remember watching Chapter 6 the first time and hating this guy? Then watching Chapter 15 the first time and hating him in the beginning but then slowly, begrudgingly warming up to him until he cemented himself as a good guy forever in the end?

I’ve been chasing that high for four years now. Nothing’s come close.

Characters I have some notes on (it’s not their fault; season 3 did them dirty)

Greef Karga

Oh, I adore Greef.

I really wanted to put him in the first category, I really, really did, and seasons 1&2 Greef belongs there for sure but season 3 Greef… I don’t know what happened. They played it off for laughs but that sudden pompous attitude and the ridiculous attire and the strange tone in the interactions with Din… it didn’t feel like the competent guild leader and boss/friend/father figure he was previously.

IG-11

I’m actually not sure if he belongs in this category or not. Bit of a paradox. Can I say his character did anything wrong when, technically, he was dead and other characters reanimated his dead chassis and turned it into a glorified Iron Man suit for the baby?

Paz Vizsla

Again, it’s not him; it’s season 3’s treatment of him. He didn’t do anything wrong except die.

The Armourer

I really loved her in the first season. She was such a pleasant surprise. But every appearance since has left a weird taste in my mouth. She quickly became a tool for the writers to cram in lore (which in itself didn’t always seem too well fleshed out which only made her seem weirder), and whatever beliefs she had held with such devotion seemed sacrificed to suit the plot (“she gets to take her helmet off and walk both ways, that’s totally fine, I’m endorsing it, even; but if anyone else dares show a glimpse of their chins, it’s a trip to the skanky cave water for you.”)

[animasti]

Animasti: Unleashing the Fun in Anime and Animation

Welcome to Animasti, the ultimate fusion of anime and masti! Here, we dive into the vibrant world of animated storytelling, where every frame is a burst of color, creativity, and pure fun. Whether you’re a seasoned otaku or just starting your journey into the animated universe, Animasti is your go-to destination for all things anime and animation.

The Magic of Anime: A World Beyond Imagination

Anime isn’t just a genre; it’s a cultural phenomenon. From epic adventures and heart-wrenching dramas to slice-of-life comedies and supernatural thrillers, anime offers something for everyone. Let’s explore some must-watch series that capture the essence of anime’s diverse charm.

Epic Adventures and Fantastical Worlds

Naruto: Follow the journey of Naruto Uzumaki, a young ninja with dreams of becoming the Hokage. With its deep lore, intense battles, and heartfelt moments, Naruto is a classic that continues to inspire. Attack on Titan: In a world where humanity is on the brink of extinction due to giant humanoid creatures, the story of Eren Yeager and his friends is a thrilling ride of suspense, action, and unexpected twists.

Heartfelt Dramas and Emotional Journeys

Your Lie in April: A touching tale of a young pianist who rediscovers his love for music through an unlikely friendship. It’s a beautiful exploration of love, loss, and the healing power of music. Clannad: After Story: This series delves into the complexities of family, love, and life’s challenges. It’s a rollercoaster of emotions that will leave you deeply moved.

Light-hearted Comedies and Slice-of-Life

My Hero Academia: In a world where nearly everyone has superpowers, or "Quirks," follow the journey of Izuku Midoriya as he trains to become the greatest hero. It’s filled with humor, action, and a whole lot of heart. Daily Lives of High School Boys: A hilarious look at the everyday antics of three high school friends. It’s a perfect blend of absurdity and relatable humor. The Animation Revolution: Beyond the Anime While anime holds a special place in our hearts, the world of animation extends far and wide. From Western animated series to global hits, let’s celebrate the creativity and innovation in animated storytelling.

Western Wonders

Rick and Morty: This sci-fi comedy follows the misadventures of an eccentric scientist and his good-hearted but easily influenced grandson. It’s a wild, irreverent ride through space, time, and existential crises. Avatar: The Last Airbender: A beautifully crafted series that blends elements of various cultures and philosophies. Follow Aang, the last Airbender, on his quest to bring peace to a war-torn world. Global Gems Maya and the Three: A vibrant, action-packed series inspired by Mesoamerican mythology. It’s a visually stunning journey with strong characters and a rich cultural backdrop.

Wolfwalkers: An enchanting Irish animated film that tells the story of a young hunter and her unlikely friendship with a girl who can transform into a wolf. It’s a tale of magic, friendship, and the clash between tradition and change.

The Spirit of Animasti: Fun, Creativity, and Community At Animasti, we believe in celebrating the joy and creativity that animation brings into our lives. It’s a space where fans can come together, share their love for animated stories, and connect with a community that values fun and imagination.

Engaging with the Community

Fan Art and Cosplay: Share your creative expressions through fan art and cosplay. It’s a great way to showcase your talent and connect with fellow fans. Discussions and Debates: Join discussions about your favorite series, characters, and episodes. Whether it’s a deep dive into the themes of a show or a fun debate about the best anime of the season, there’s always something to talk about.

Celebrating Creativity

Creator Spotlights: Learn about the artists, writers, and directors behind your favorite animated works. Understanding their inspirations and processes adds a new layer of appreciation for their creations. DIY Animation Projects: Get inspired to create your own animations. From storyboarding to final edits, explore the basics of bringing your animated ideas to life.

Embrace the World of Animasti

Animasti is all about embracing the joy and creativity that anime and animation bring into our lives. It’s a celebration of the art form, the stories, and the community that makes it all so special. So dive in, let your imagination run wild, and enjoy the ride in the wonderful world of Animasti!

[bluesstorycorner]

Book rating and info:

Fanart:

Here’s my first book review/fanart post I’m putting on Tumblr! I’m hoping to do more of these in the future :) Also there aren’t any spoilers in this review but I do go into a lot of details about the story and characters, so if you want to be surprised, I suggest reading the book first. But if you want a detailed review about this book before reading it, keeping on reading. ✨

ALSO also, please support the amazingly talented writer who wrote this book! Here is his link tree:

Review:

I had so much fun reading this book. It reminded me a lot of Hitchhiker’s Guide to the Galaxy with all of its wacky humor and crazy space adventurous, but with its own twist and writing style. Everything about this story is colorful from the world, to the technology, to the characters and more. It had found family, crazy cooperate politics, diverse characters, relatable struggles, and a really unique depiction of the future. I found myself laughing and cheering on the characters for every page and looked forward to reading it whenever I could. I would say my only critiques are related to the prose and world building. There were a lot of times where I didn’t understand what was going or had a hard time imagining things because of the way things were described which, in turn, made some of these colorful places and things get lost in the narrative. But I believe a lot of the errors I found will be resolved in the final draft, and I honestly had such a perfect image in my head most of the time that it wasn’t hard to connect the dots during the more difficult moments. I imagined everything like a cartoon because of the energetic, over the top, and sometimes slap stick type descriptions and situations which, in my opinion, is some of the best ways to tell a story. It’s so imaginative and creative and I wish more books took that approach honestly. It makes everything seem so colorful and clear in my head.

Regarding the world-building, it felt like it lacked a tad at times since I was unsure of why a lot of things were a certain way, but all in all, I was able to pick up on the way things worked eventually. The story knew what it wanted and did a pretty good job maneuvering us through this insane galactic world.

I think where the book lacked in prose/world-building, it made up for in its characters.

Oh. My. God. These characters. I love them unbelievably. They felt like family to me and I think I almost cried at the end lol. I loved seeing how these characters developed and how they each worked together to get their happy endings. They are all such a tight-knit family who love each other dearly, and each has their own unique, 3D personalities.

First, we have Jolene, a determined, hard-working waitress at Galaxy Waffles who also does a lot more work on the ship than her job requires, but that’s just the way she is. She’s reliable, and will always go above and beyond to help her ship and her crew no matter if it’s her duty or not. I related so much to her frustration as an overworked and underpaid staff member who just wants the best for her loved ones while also struggling as a minority in this world, being held back from opportunities because of her status. I think that part specifically hit very close to home and I loved how the book covered real-world topics like that but in its own fictional way. It was a great allegory and I think, as a minority myself, it approached it realistically, respectfully, and in a way that is digestible and understandable to younger audiences while also showing it in a way where older people can be like: “yeah I understand and/or sympathize with that.”

Then we have Boris, the veteran Robot and chef of the ship, and also probably my favorite of the crew. He’s such a kind-hearted, lovable sweetheart who’s witty, sarcastic, playful, and caring. He’s always got his heart in the right place and does what he can to help his crew mates and ensure they’re all safe and happy. He warmed my heart in every scene, and I wish I could be friends with him irl lol!

Next on the list is Murph, a quirky blue alien with a jelly body and shifting abilities. They’re such a crackpot with a huge personality. Whether they’re talking/acting like a mobster from their favorite old movies, turning their hand into a calculator, or shifting into hilarious creatures/beings, they always got a laugh out of me.

Lastly, we have O.D. and Erabella. O.D being the ship’s AI, usually appearing like a holographic, sentient waffle. And Erabella being a mostly Android prick in charge of the crew’s every move. Although I hated both of them at first because of their mean-spirited and spiteful personalities, I came to love O.D. as his arc progressed and was satisfied with Erabella’s ending.

I could go on and on about more characters, but you get my point. I also really enjoyed how the book read maturely but also cleanly at the same time. It’s NA, and it did a really good job at finding a middle ground between mature content that adults could relate to while also being clean enough and digestible for teenagers.

This book was such a colorful, whimsical, chaotic adventure that had me smiling, laughing, and feeling sad for these characters every step of the way. I really recommend this book to anyone looking for an easy-to-read space adventure with humor and heart, and I hope a sequel comes out because I’d love to see what these guys do next!

A/N: I was an arc reader for this book back in July, and though I’ve already posted my review on Goodreads and Amazon, I MEANT to post it along with this fanart on my accounts too but life got into the way. Better late than never I guess 😅

[lokiondisneyplus]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Credit: Charlie Gray for EW

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[nymphofnovels]

hey, saw the post about podcasts and ace rep, and as someone not well versed in the podcast world, I was wondering if you could point me to a couple podcasts you liked that had ace rep? thanks!

I'll admit, I partly reblogged that just to be memey but at the same time... the number of times I've started a series and later learned that a character is canonically ace seems way higher in podcasts than pretty much any other media I consume. So yeah, I'll give this my best shot.

Off the top of my head, fiction podcasts with a canonically ace main character:

The Magnus Archives (scripted fiction, horror)

The Strange Case of Starship Iris (scripted fiction, sci-fi)

Critical Role, specifically campaign 2 (actual play, D&D)

Rusty Quill Gaming (actual play, Pathfinder)

More about each podcast below the cut

I'm sure there's other podcasts out there that I haven't listened to, so please add on if you have recs!

Scripted Fiction

The Magnus Archives- Starts off as a horror anthology podcast and gradually builds a plot. Genuinely one of my all-time favorite podcasts.

This is the big one for me because the main narrator/protagonist is biromantic asexual and his relationships to other people really define his character journey, whether through friendship, conflict, or romance. Writer confirms the Archivist's orientation in podcast feed Q&As and the story also makes a point to demonstrate his orientation organically. The ensemble casts also has a lot of queer characters.

There are some mixed feelings about how the ace part is brought up in story because it's part of office gossip and strikes some people as an uncomfortable outing, but I'm personally okay with it.

The biggest thing that this podcast opened for me is not *just* the fact that it had the first Bi-Ace protagonist I'd encountered after realizing that's my orientation, but also the fact that it has/had a fairly large fanbase who by and large are respectful of his asexuality. The amount of complex fic exploring asexuality through the lens of Jon/John "The Archvist" Sims is truly a gift imo.

The Strange Case of Starship Iris- Sci-Fi podcast that's not quite as polished as some bigger names but has a lot of heart and intriguing plot. One of the main characters, Arkady Patel is gray-asexual and that is a noticeable component in her growing romantic relationship in-story. Features a lot of queer characters.

Tabletop Actual Plays

Critical Role- Dungeons and Dragons Actual Play livestream/podcast, possibly the most famous. I love it, but it's not for someone without a lot of time on their hands.

Very late into campaign 2, Caduceus Clay in character mentions his lack of interest in pursuing romantic and/or sexual relationships (it's a pretty funny moment). Every campaign so far has a few mlm and wlw relationships, either between player characters or in the background with NPCs.

Rusty Quill Gaming- Pathfinder Actual Play Podcast

Created by the same company and many of the same people working on The Magnus Archives. Ben Meredith (player) makes a point during one of the last few story arcs to say that Zolf Smith (character) is biromantic grey-asexual. It's a case of the player clearly putting thought into his character's orientation and how he relates to other people, and I really appreciate how Zolf is depicted.

I believe that another player character, Sasha Rackett, is also depicted as aro/ace, but she exited the campaign partway through so it's been a while and I can't remember.

[meggannn]

forbidden west spoilers ahoy, do not read if you don't want to hear my negativity about this game. i'm not posting this to debate, just to get my thoughts out

I was gonna reply to a reddit post about HFW being a power fantasy against capitalism (complementary), and why I feel that’s actually a step back in this story, but decided maybe I didn’t feel like seeing downvotes and defending myself all day, so here is a post about one reason of many why I thought FW’s main story was uhhhhhh a marvel movie turned video game (derogatory)

so first off, just to explain where I’m coming from, the Zeniths in the spotlight as main antagonists is a big reason why the main FW story had no interest for me. I felt my heart sank at the end of Death's Door because 1) Old Ones secretly surviving the apocalypse, 2) space people, 3) Those Hints We Gave You Were A Lie! was exactly what I was not interested in. and it’s a big reason I resisted the game’s story, and still find myself disinterested in FW’s reveals: more clones, immortal billionaires from space, forgettable faces who are capital-e Evil, Faro devolving from a selfish guy driven mad by guilt (infuriating but realistic) to a selfish narcissist who mutates himself to live forever (yawn)... I feel like I've seen this movie before. when I think back on the main themes and story beats of FW, it all devolves into an uninspired mush in my head.

Horizon was always sci-fi, but it carved out an identity for itself in ZD, in my opinion, by consistently blending the old and new world and emphasizing the overwhelming emotional theme of “moving on from loss.” she cannot save Rost. she cannot save Ersa. her mother is dead. she cannot reunite with Gaia. Apollo is gone. the old world is over. Aloy finds a renewed interest in the past to celebrate the PZD's sacrifices for the sake of her biological predecessor, but she can and must find a way forward without Liz to make the planet better in service of the people today.

except actually the old world isn’t dead, but the worst people from it survived and also they want to kill you! Odyssey survived, Old Ones are still around (but not like the good ones like Stanley Chen! sorry!), Faro survived, Gaia doesn’t need to be rebuilt and is just sitting around waiting to be found, Apollo’s knowledge is fine and totally recoverable for the good guys, all you have to do is pick up a clone—who comes straight to you—and attach the Apollo database to Gaia’s kernel in an endgame cutscene. like… at some point I just wanted to shake the writers and go “STOP WALKING BACK WHAT YOU TOLD US IN ZD” because every main Zenith development was just another exercise in my patience. I like twists, but I’m a big believer in “yes, and” twists, not the “no, actually”s and FW was full of tons of “no, actually”s.

in case you didn't catch them, cause they really hit you over the head with it, FW's themes seemed to be "Aloy learns to rely on her friends" (she already learned that lesson in ZD imo, but also, how do the Zeniths reflect that purpose at all? what bothers me is that of her companionship in FW, in cutscenes she primarily draws comfort in the things that tie her to the old world, like Gaia and Beta, not the new world, happening today...) and... I guess "Aloy learns how to step out from underneath Liz's shadow" (imo Aloy already did this by saving the world, but OK, fine, that's realistic; in FW they have to toss in a predatory lesbian to drive that idea home, but OK). except the story beats contradict the themes, because Aloy agrees to let her friends help, but her fears that her allies will get hurt because of her are fully justified when the Zeniths kill Varl and kidnap Beta because Aloy couldn't bring herself to shoot her, and there's like... no acknowledgment? that this was what she was afraid of???

(and imo in a major step backward of ZD brilliance, in FW's main plot the old world does not blend with the new; Beta, the best possible resource to connect the two worlds, sits in the base and does not interact with the new world and cultures, isn’t shown wanting to, idk, even eat or wear contemporary food or clothes. compared to how in ZD, Sylens (new world) manipulated the Eclipse (new world) to worshipping Hades (old world) because he wanted knowledge (old world), like. that was an origin of a villain that fit the themes of the story! defeating the Eclipse/Hades was not a conquering of new over old, it was a fight against a mimicry of the Faro Plague genocide with new/old world aspects (Carja genocide of the Nora, Hades genocide of the world) to emphasize Aloy’s past and present colliding and her unique situation as a child of both worlds, and that quest to stop it culminats in her entering the Eleuthia cradle to find she is the key to the old world and saving the new! like! Guerrilla! look at what you did, you wrote these story beats so right in ZD!!!)

look, other writers have done clones, the ethics of immortal life, and space capitalism before, and they’ve done it better. what made Horizon so unique to me in ZD, the themes I mentioned above and how they wove into the main conflicts and villains, was missing in FW. FW felt like it was a collective project written by the fans in the horizon subreddit trying to make their theories come true. people compliment it there for making them feel good/cool/like a badass, and frankly yeah it was fanservicey and a power fantasy (derogatory) in everything from the story to the mechanics (now that we can fly on machines will everyone PLEASE find something else to talk about?).

if FW had been a new IP without ZD setting the stage, I’d probably be more forgiving, but even if it was a fresh story, the overarching beats still made FW feel like the script was written in 2003 but just sat around on a shelf until it had a Sony PS5 budget. right up to the pairing off of Aloy’s potential wlw and love interests of color with other straight pairings (Varl and Zo, Talanah with Amadis, arguably Vanasha with Uthid? I read a bit of flirting there but IDK if I was imagining it). and of course the black companion getting killed by a one-dimensional villain for absolutely no reason and leaving behind a baby (Of Course They Did That) with Zo, who is probably gonna be too busy or out of action to be a companion in horizon 3. so, yeah, I'm assuming they've written two black characters out of being companions in the next game... the only potential upside is that we might have gained Sylens.

anyway we can talk about it being “a power fantasy about destroying capitalism!” but in ZD, capitalism was so obviously the villain that it was a background feature in the world-building; they trusted that the audience understood that billionaires were the reason the world died. it didn't need spelling out. capitalism was already over because everyone who’d made the planet this way was already dead, and (we were led to believe) they were dead before the first game was even started.

ZD’s “the old world is over, everyone who killed it is dead, let’s focus on how to make things better NOW because WE are here now” appealed to me a lot more cause it felt like the writers trusted the audience knew what happened in the past was a result of awful people with unlimited power. ZD was an exploration on what happened next, how to continue in the ruins of a broken world. I was hoping FW would continue that thematic exploration on rebuilding from the broken pieces, but FW felt like a major step back thematically with its villain; I didn’t want to see a villain I thought was dead Akshully Is Alive and Here to Kill You! I didn’t feel like the Zeniths needed or deserved to be in the spotlight. they’d already fucked up the world, I didn’t want to see more of them. let them rot in history, completely forgotten. same with Ted Faro; what new info or insight did Faro’s fate give us that complements Aloy’s goals or the story's themes to heal the earth? how was Faro's Tomb not anything more than a revenge fantasy for people who wanted begged and pleaded to see Ted burn alive? what new depth was given to Faro that didn't make him feel like any other generic movie villain who wants to live forever? how did fighting the Zeniths support the themes of techno-environmentalism being the way forward, rebuilding life from nothing, negotiating with AIs as necessary skills Aloy will need to utilize in game 3?

I don’t know. I’m just so disappointed in everything about the main quest that wasn’t Gaia. I was so excited to see more of the subfunctions, but for all their importance they were relegated to one-liner macguffins. Sylens and Regalla, two players who were majorly promoted and had great potential to serve as antagonistic figures of the new world, were missing for like 90% of the story. (imagine having Lance Reddick and Angela Bassett on your payroll and benching them for the whole game. what were they thinking??)

anyone who reads this will probably think i hated the game, but I guess I should clarify I guess that I didn't hate FW—as a game, it functioned very well, the side activities were great, many things were a major improvement to ZD, and fun factor was high—I just thought the overall story was dumb lmao. and unfortunately that was a big reason why I was so invested in the series in the first place.

[incomingalbatross]

Positivity for the Twin Pines McFly family, because I want to.

Lorraine: loves her family!

She got a cake to celebrate her baby brother getting out of jail before they even knew if he was getting out of jail.

She wants her kids to write to him since he didn’t make parole.

She made a sit-down dinner for them all, and everything in that scene suggests that this is the norm for them.

Called Dave back so she could kiss him goodbye.

Tells her kids the story of her and George’s romance enough that Linda knows it by heart.

Marty calls for her every time he wakes up disoriented and hurt from a “nightmare,” implying that he’s used to turning to his Mom when he actually has nightmares or is sick/injured.

In general, Lorraine clearly wants her family to be healthy and happy, and puts in work to that end, even if she doesn’t know how to get there from here.

I only have a few points each for everyone else, but I still have them.

George: does everything ineffectually, but he does try to make Marty feel better with peanut brittle and poorly-constructed consolation.

Is also aware enough to know what Marty’s thinking after the scene with Biff, and while he does make excuses, he doesn’t get defensive or angry about Marty’s criticisms

(And Marty feels secure enough to express his upset feelings openly, which could go in the “doormat” section of George’s personality but I feel still requires a certain level of genuine trust, given it’s a kid talking to his dad)

Dave: Has a job, and makes an effort to get there on time.

ALSO, though, doesn’t use the night shift as a reason to miss family dinner.

Comes back to let his Mom kiss him goodbye when she calls him, even if he grumbles.

Kisses his Dad goodbye after that without being prompted.

Linda: ...Okay, we have very little information on Twin Pines Linda, except that she’s grumpy the one time we see her and she wants a chance at a social life. However, we also have no reason to believe the worst of her. I choose to believe she’s a nerd who inherited her dad’s taste for sci-fi, because why not?

And finally, Marty!

Marty: loves his family. (And not in a sad, kicked-puppy sort of way, but in a normal teenager-y way.)

He carries a photo of himself and his siblings in his wallet. That’s adorable.

He derails his established plan to find Doc in 1955 to go chasing after his Dad instead—even though he doesn’t seem to have had much of a reason, his impulse is to stick to George, and I think that says something.

Again, every time he wakes up hurt and confused, his first instinct is to call out to his Mom! This implies that he wants her comfort and that he’s used to her being there to provide it when he’s hurting. Yes, I’m including it twice, because it’s important.

Look at most of his reactions to Teen George, honestly. Aside from the imminent-nonexistence frustration, he likes him. He wants him to do well for himself, not just for Marty. Especially, look at his genuine delight when he finds out his Dad is a writer! He’s so happy to be getting to know him better!

His rage at seeing Biff hurt his Mom in 1985A

Similarly, his utter distress once Biff is gone, both at his Mom’s situation and at the idea of a reality where his parents aren’t together.

How just...shattered he is by the discovery of his Dad’s death. How much he Cannot Deal with it, and how that pushes him through the rest of the second movie’s plot.

When he burns the Almanac and looks at the newspaper again. “Doc! DOC! MY FATHER’S ALIVE!”

In short, Marty McFly's family means a whole lot to him, thank you for listening.

In conclusion: Do the Twin Pines McFlys have their familial issues and dysfunctions? Indubitably. Is that all there is to them? I certainly don’t think so.

[whatwillyoudodifferently]

Look, Louts! Lilies! - Yuri For A Hope-Flung Present and Hopeful Future

Look, I’ll be frank. I typically try to keep to a more formal tone when I write for this blog. I’m not in a formal mood. It is June October 2020, and I, like the rest of you, have been under quarantine for a little over three almost seven months now due to the Covid-19 virus. Throw in a eensy, teensy bit of massive political movements and change in response to police violence and racism, and an increase of police violence and racism in response to those movements, and I think it’s fair to say it’s been a tumultuous couple of months. Except, strangely, it also hasn’t been, because so much of this time has been characterized by ennui and isolation. Stressful, yet soul-numbing. In short, it’s been a very weird place to be in.

So, we’ve all found our different ways to cope. My sister’s way has been getting really into succulents(?), and my way has been buying digital manga and video games. I’ve finished stuff I’ve put off for literal years and bought stuff I had heard was good but wasn’t that hyped to get into. And somehow, the one thing I’ve really gotten into has been yuri? 

Now, yuri has a very long and rich history, as well as its own sets of conventions and nuances, so it is with a great, great, GREAT deal of respect that I say that I’m going to simplify it for this essay as “Japanese media with a particular focus on romance between women” for brevity’s sake. If you want to know more, there’s actually quite a lot that’s been written about it in English, but I’m aiming this essay at English-speakers who have had at least a little experience with yuri and more than just passing knowledge.

Because you see, I’ve found that yuri fans have a lot of things to say about yuri! And a lot of those things really bug me!! “Yuri is only fetish quasi-porn written by men,” “yuri is only bland wholesome fluff,” “yuri is only high school drama,” so on, so on. It made me mad, but it also made me realize something: a lot of people simply must not know how big this field of lilies truly is! How else can we get people saying “yuri is oversexualized” and “yuri is sexless” as gospel truth? Something’s not adding up here, guys!

So, all that is to say I’m doing something different for this blog: I’m writing up a recommendation list of yuri. A large chunk of it will be stuff I’ve read and can officially give my seal of approval to, while some of them are just titles I’ve heard of that I think will interest others. All of them have been specifically chosen to counter common untrue things I’ve heard about yuri as a whole. I hope you can find at least a few things on this list that you will enjoy and help you keep your head as the encroaching darkness lurches yet a few inches closer!

1. “Yuri is all schoolgirl stuff! Where’s the sci-fi, the period pieces, the action, the fantasy?”

Otherside Picnic

What It Is: A light novel series written by Iori Miyazawa (illustrated by shirakaba). Ongoing, four volumes at time of writing. The story is being adapted into a manga by Eita Mizuno, and an anime adaptation directed by Takuya Satou will be airing in January 2021.

What It’s About: It was on her third trip to the Otherside that Sorawo Kamikoshi almost died, and it was on that same trip she was saved by an angel. Toriko Nishina is a beautiful and confident young woman who also happens to have intimate knowledge of the Otherside, a dangerous yet captivating world that Sorawo can’t help but being drawn to. Toriko convinces Sorawo to join her on her expeditions to the Otherside, fighting off bizarre creatures that have somehow been ripped out of Japanese urban legends and finding strange artifacts in order to make a little extra cash-- all the while keeping an eye out for someone dear to Toriko’s heart.

What I Think: Otherside Picnic is heavily inspired by the novel Roadside Picnic by Arkady and Boris Strugatsky and features several creatures and scenarios from ghost stories, net lore, and-- there’s no other way to put this-- creepypasta. On paper this sounds deeply unoriginal, so it’s pretty surprising that OP has an incredibly strong identity. The idea of fusing horror with a yuri love story excited me enough the moment I heard about it, so when I finally got to read it for myself, I was delighted to find that the horror elements and the romance elements are both quite strong. 

I will say that thanks to the author’s commitment to following his sources of inspiration to the letter sometimes causes him to undercut his own writing (good example: in one arc there’s an ominous train that keeps being mentioned, causing the reader to dread its arrival with each passing page, but seeing what’s on the train will inevitably fall flat in comparison to the reader’s imagination), but those moments are made up by the more original moments-- the things that are left unseen and unexplained.

The place where the story truly shines is the relationship between the two leads. Sorawo and Toriko are great characters, both incredibly charming and deeply flawed, and they achieve a great chemistry with each other right off the bat. Sorawo is a very interesting protagonist, one who turns out to have a deeply tragic past that has made her into a reclusive, somewhat selfish young woman. What’s great is that Toriko, vivacious and confident, everything Sorawo isn’t, accepts this part of her, in a way. Toriko flat out admits she’s not looking for a particularly virtuous person to accompany her, but an “accomplice.” A big part of the appeal of OP is seeing these two “accomplices” bounce off each other, and eventually come to care about each other, all playing against a background of some genuinely spine-crawling horror. Otherside Picnic is a truly underrated series, and I deeply hope that the anime adaption next year will finally get it all the eyes it deserves (menacing phrasing very much intended).

Where To Get It: The light novels are published by J-Novel Club and can be found via various digital platforms and bookstores. The manga will be published by Square Enix Books starting May 2021. The anime will start airing on January 4th, 2021.

Goodbye My Rose Garden

What It Is: A manga by Dr. Pepperco. Three volumes, complete. It inspired a stage play that ran for a while in Japan, but not much information is available about it in English. 

What It’s About: Hanako has two goals: to meet Victor Franks, the mysterious author who pens the books she adores, and to become a writer herself. Despite having the mettle to travel to England on her own to pursue her dreams, she soons finds that it’s difficult for a young, unwed Japanese woman to dream in 20th century London. However, her luck seems to turn around when she meets Alice Douglas, a noblewoman who offers her a job as her maid-- as well as a surprisingly warm friendship. Alice even offers Hanako a way to meet her idol… but at the price of a horrifying request.

What I Think: In the afterword of Volume 1, Dr. Pepperco openly admits that Goodbye, My Rose Garden was the result of them trying to marry all of their favorite tropes (“Victorian maids! Loads of frills! An English family manor!” are some standout items), and this is apparent in the best way possible. GMRG is a lush period piece that will likely appeal to fans of movies like The Handmaiden and Portrait Of A Lady On Fire, with loving attention paid to details like clothes and settings. 

The relationship between Alice and Hanako is quite charming, with Alice supporting Hanako as much as she can while still taking every available opportunity to tease her, while Hanako constantly surprises Alice each time she shows her moxie and strength. It’s an adorable, sweet dynamic, yet a dark, melancholy weight lurks in the background in the form of Alice’s request-- in short, it’s a relationship that feels tailor made for me. Still, I believe this “darkness” never threatens to overwhelm the story, only enhance it in such a way that the reader will soldier on, hoping for a happy ending for our two leads. With an engaging plot and gorgeous art, this is a great manga for both longtime yuri fans and newcomers looking for an introduction to the world of yuri.

Where To Get It: Seven Seas Entertainment has translated the first two volumes, with the final one coming to English soon all three volumes into English.

Seabed

What It Is: A visual novel by paleontology, a Japanese doujin circle.

What It’s About: Mizuno Sachiko is a designer who is haunted by visions of Takako, her vivacious childhood friend and former lover. Narasaki Hibiki is a psychiatrist who wants to help Sachiko make sense of these hallucinations. Takako is… confused, trying to figure out why she keeps losing her memory and why she and Sachiko drifted apart despite being so close. Seabed is a story that spans the pasts and presents of these three women as they attempt to find and understand the truth.

What I Think: At first glance, Seabed seems simple, but it’s a bit of a hard story to explain. In a way, there isn’t much to explain-- it’s a very slow, down-to-earth story that gets almost tedious at times. I think it would be a hard sell to someone who isn’t used to visual novels, but I could imagine it being challenging even for fans. All I’ll say is this: if you give Seabed a chance, it will draw you into a surreal, gentle, melancholy tale akin to slowly sinking beneath the water of a strange, yet not unfriendly sea. For its simplicity, it’s got quite a few surprises in its long, long runtime, and any attempt to explain further will just ruin an experience that’s meant to wash over the reader over time. The only thing I’ll say is the one thing I think everyone knows: the climax will make you cry.

Where To Get It: Seabed is published in English through Fruitbat Factory and is available on Steam, Itch.io, and Nintendo Switch.

SHWD

What It Is: A manga by Sono. Ongoing.

What It’s About: Sawada is one of the few women working for the Special Hazardous Waste Disposal, and the only one in her office. But that changes when the stunningly-strong yet staggeringly-sweet Koga is hired, and the two become close in no time. Sawada trains Koga and soon the two go on their first mission to dispose of the “hazardous waste” left after a recent war… the dangerous, organic anti-human weapons known as the Dynamis.

What I Think: SHWD opens with several close-ups of Sawada’s arm muscles as she works out. I have found that page alone is sometimes enough to convince someone to read SHWD, and if not, pictures of Sawada and-- especially-- Koga are often enough to do the job. In all seriousness, what I love about SHWD can be summarized by something Sono said in an interview about the manga:

‘The first motivating force was "I want to write a yuri manga featuring strong women." I was very drawn to strong female characters by watching "PERSON of INTEREST" and "Assassin's Creed Odyssey." However, I felt that I should differentiate myself by doing something other than a "strong woman" and "weak woman" dynamic. So, I thought about coupling women with different types of strength. This is why all of the SHWD main characters are "strong women."’

It’s a mindset I love a lot. Koga is remarkably strong in a physical sense, but her mental fortitude is fragile due to her past experiences with the Dynamis, and as such, it’s Sawada who uses her immense mental strength to support her. Indeed, every character in SHWD so far bears intense trauma born of the Dynamis in some way, and it’s hard to see how their pasts still hurt them in the present. But that just makes it satisfying to see these women come together to support one another. SHWD drew me in with a unique and often dark action-oriented story with horror elements, but it’s this idea of “strong women” who make up for each other’s weaknesses that really makes it dear to me. 

Also, it can’t be stated enough that Sono is so so so so so (etc) good at drawing muscular women. 

On a completely unrelated note, there’s a side story about Koga and Sawada playing sports together. This includes judo. I am saying this for no reason.

Where To Get It: The English translation of the manga is released in chapters by Lilyka Manga.

Sexiled: My Sexist Party Leader Kicked Me Out, So I Teamed Up With a Mythical Sorceress!

What It Is: A two volume light novel series by Ameko Kaeruda, illustrated by Kazutomo Miya. Possibly complete.

What It’s About: Tanya Artemiciov is an absurdly talented Mage. So why the hell was she kicked out of her adventuring party? Her leader and former friend sums it up in four words: “You’re a woman, Tanya.” In a fit of rage, Tanya channels her anger into a “venting” session that involves swearing her head of and casting a volley of Explosion spells into the wasteland… and accidentally releases a legendary sorceress! Luckily, Laplace is actually quite nice, and just as powerful as the legends say, so the two decide to team up so Tanya can have her revenge!

What I Think: So, this is a silly one, but after a couple of darker entries I think it’s a good palate cleanser. Sexiled is a loud, not-even-remotely subtle, unabashedly feminist take on the “power fantasy” light novel, especially the “revenge fantasy” subgenre-- and even if that sounds awesome on paper to you (ex. me), it will probably feel over-the-top at times to you (ex. me). But in a way, that’s actually kind of its charm. 

I like that Kaeruda utterly refuses to let up on what she wants to tell you, especially because the story was inspired by a real case in Japan. One may be tempted to think “this story is ridiculous, no one would ever be this cartoonishly sexist!” and then you read a news article about how in a famous Japanese medical university was found rigging the test scores of women, and you realize, “oh, people are still this cartoonishly sexist.” So I’m fine with Kaeruda letting it all out in this story. At the same time, I think Sexiled is best when it’s focused not on Tanya’s revenge but on her kindness, and the way her compassion, her strength, and yes, her anger inspires the women and girls around her. 

Sexiled is a fun and often very funny romp about assholes getting theirs, with some surprisingly deep and nuanced moments hiding in a very unsubtle story.

Where To Get It: The light novels are published by J-Novel Club and can be found via various digital platforms and bookstores.

BONUS: Other titles with sci-fi/fantasy/action elements that may interest you!

The Blank Of Describer: A one-shot manga by kkzt about a pair of two dream-builders. They’ve taken all kinds of commissions in the past, but one job they recieve throws them for a loop: a request for a shinigami that can predict and report death. And then comes the kicker: the customer asks the two of them to give it features that the both of them “adore the most…” (Published in English by Lilyka Manga)

A Lily Blooms In Another World: A light novel by Ameko Kaeruda (illustrated by Shio Sakura), author of Sexiled, about Miyako, a Japanese wage slave reincarnated into another world based on her favorite otome game. However, she’s not interested in her would-be love interest, but in Fuuka Hamilton-- the game’s villainess! After Miyako confesses her love, Fuuka decides to give her a challenge: if Miyako can make her say the words “I’m happy” in fourteen days, she’ll stay by her side! (Published in English through J-Novel Club, available on various platforms)

Superwomen In Love: An ongoing manga by sometime about the sentai villainess Honey Trap and her infatuation with the masked superheroine Rapid Rabbit. After being kicked out of her evil organization, Honey Trap decides to team up with her former nemesis to fight evil-- and hopefully, find romance! (To be published in English by Seven Seas Entertainment, coming in April 2021)

2. “Yuri is all stories about teenagers! Where’s the stuff about adults?”

Take a look at the previous section: there’s the stuff about adults! Otherside Picnic, Goodbye My Rose Garden, Seabed, SHWD, Sexiled, The Blank of Describer, A Lily Blooms In Another World, and Superwomen In Love are all stories with adult-aged protagonists! But if you’re searching for a more down-to-earth romance, I’m happy to report there’s quite a bit of options to look into!

Still Sick

What It Is: A manga by Akashi. Three volumes, complete.

What It’s About: Makoto Shimizu is an office lady with a secret: she’s a yuri fan who draws doujinshi. She’s able to keep her two lives separate, all until the day she comes face-to-face with her co-worker at a convention! To Makoto’s horror, Akane Maekawa is amused by her nerdy secret, but Akane may have some secrets of her own...

What I Think: This one was a roller coaster for me: I loved the premise of the manga, but wasn’t sure about the dynamic between the leads… that is, until near the end of the first volume, where something happened and everything changed. Without giving too much away, I implore people to give Still Sick a chance-- it has a much deeper story than one might initially guess, as well as an interesting character dynamic between the two leads with some surprising turns.

Where To Get It: The first two volumes of Still Sick are published in English by Tokyopop, with the final one coming soon All three volumes have been published in English by Tokyopop.

After Hours

What It Is: A manga by Yuhta Nishio. Three volumes, complete.

What It’s About: After being ditched by her friend at a club, Emi Ashiana is ready to write the whole night off. All that changes when she meets Kei, a DJ who seems to be everything Emi is not-- cool, confident… employed.... But Kei and Emi hit it off and Emi’s life changes as Kei draws her into the world of Japan’s club scene!

What I Think: It’s hard to explain exactly why I like this manga, but I reeeeally like this manga. 

There’s just something about the sleek art, the amazing atmosphere of the scenes set in nightclubs, the chemistry between Emi and Kei, the focus on more mature topics.... it’s a manga that’s remarkably magnetic for how down-to-earth it is. It’s also just interesting to read stories about subcultures that don’t normally get a spotlight in comics. To sum it up, After Hours is just a lovely manga that’s severely underrated that’s perfect for someone who’s looking for a story that’s both fun and mature.

Where To Get It: All three volumes are published in English by Viz Media.

How Do We Relationship?

What It Is: A manga by Tamifull. Ongoing, five volumes at time of writing.

What It’s About: Miwa and Saeko’s first meeting is… interesting. But despite that, and despite their clashing personalities, the two of them become fast friends. Well… actually, perhaps more than friends. You see, pretty soon the two of them learn that the other is into women. With that in mind, Saeko suggests they try dating each other-- might as well, right? “Might as well” seems like a strange place to begin a relationship, but perhaps even something like that could end in true love?

What I Think: “Why do romances always end when they decide to start dating?!” That’s the question Tamifull poses in the afterword of Volume 1. And it’s a great question! What makes How Do We Relationship? an interesting manga is how oddly realistic it is, highlighting things like the compromises people make in relationships, people who get into relationships for pragmatic reasons rather than love, the whole “thing” about sex… as well as highlighting the additional issues queer people have to deal with. That may sound like a heavy story, but it’s actually quite light-hearted, as well as very, very funny at times. With a cute art style and surprisingly deep premise, HDWR is a great manga for older yuri fans who are craving a more mature story.

Where To Get It: The first volume has been published in English by Viz Media, with more on the way.

BONUS: Other titles with adult protagonists that may interest you!

Even Though We’re Adults: A manga by Takako Shimura about two women in their thirties. Ayano and Akari meet each other in a bar and almost immediately feel a sense of chemistry between them. There’s just one problem: Ayano is married to someone else. (To be published in English by Seven Seas Entertainment, coming in January 2021)

Doughnuts Under A Crescent Moon: A manga by Shio Usui. Uno Hinako wants nothing more than to be seen as a normal young woman, but she just can’t seem to make a “normal” romance work. But maybe Sato Asahi, a woman who works at the same company as her, can show her a new kind of normal? (To be published in English by Seven Seas Entertainment, coming in February 2021)

Our Teachers Are Dating: A manga by Pikachi Ohi. Hayama Asuka is a gym teacher, Terano Saki is a biology teacher. One day, they come into work both looking suspiciously happy… because they’ve started dating! (Published in English by Seven Seas Entertainment)

I Married My Best Friend To Shut My Parents Up: A one-volume manga by Kodama Naoko. Morimoto is sick and tired about constantly being badgered about finding a man to marry, so her kouhai from her high school days offers a solution: marry each other to make her parents back off! (Published in English by Seven Seas Entertainment)

Now Loading…!: A one-volume manga by Mikan Uji. Takagi has just snagged her dream job at a games publisher, but being put in charge of a mobile game that’s barely pulling in any attention isn’t exactly what she was hoping for. What’s worse, she’s drawn the attention of her strict higher-up Sakurazuki Kaori… who also happened to design her most favorite game of all time?! (Published in English through Seven Seas Entertainment)

3.  “Yuri is all schoolgirl stuff! Where’s- wait, didn’t we already do this one?”

Yes we did. And you know what? I’m making a stand! There’s a lot of really, really good yuri stories set in high schools, and I think more people need to give them a chance! Here are some high school titles that I think are worth a second look for one reason or another!

Bloom Into You

What It Is: A manga by Nakatani Nio. Eight volumes, complete. A twelve episode anime aired in 2018, covering about the first half of the series. A three volume spinoff light novel series written by Hitoma Iruma was also published.

What It’s About: Yuu Koito has long dreamed of the day she’d find That One, Storybook Romance that would make her feel like she was walking on air, but the day that a boy confesses to her, her feet remain firmly planted on the ground. When she meets Touko Nanami, a girl who seems to have the same strange, distant relationship to romance as she does, Yuu feels like she has found a comrade. But what will happen when the next person to confess to Yuu… is Touko?

What I Think: What can I say about Bloom Into You that hasn’t already been said? There’s a reason it’s basically considered a staple of yuri despite being only five years old. The art is beautiful and delicate, the story has a deft mastery of comedy, drama, and romance, and the characters are deeply loveable. Really, the only reason this one is here is to tell you to get to reading this manga (or watching the anime) if you haven’t already. So get to it!

Where To Get It: The entire series-- as well as the spinoff light novel series Regarding Saeki Sayaka-- has been published in English by Seven Seas Entertainment. The anime is currently streaming on HiDive.

Yuri Is My Job

What It Is: A manga by Miman. Ongoing, seven volumes at time of writing.

What It’s About: Hime wants nothing more than to be adored by everyone and to someday bag a rich husband. Of course, being loved by all takes a lot of work, and she prides herself in keeping her perfect, adorable facade so well-maintained. But of course, the one time she slips up, she ends up injuring the manager of a local cafe! Hime finds herself strong-armed into working for this cafe under their star employee, a kind, graceful girl named Mitsuki. But things aren’t quite so simple-- you see, this cafe has a gimmick in which all the employees are constantly acting out yuri-inspired scenes for the customers, so in a way, the employees also have their own facades. And under her facade, Mitsuki… hates Hime’s guts!

What I Think: Yuri Is My Job is an odd duck, but in a good way. It’s advertised and initially framed as a comedy, but it becomes a surprisingly thoughtful drama about the personas people adopt and why they do so (though, luckily, the comedy never truly goes away). There’s an interesting web of relationships between the girls, and having those interactions take place in a setting where they must act out a completely different sort of drama adds an extra level of drama and intrigue. The cute, polished artwork is just the icing on the cake. YIMJ is a good manga for those who are already familiar with yuri tropes and those who are interested in a drama that doesn’t get too heavy.

Where To Get It: Six volumes have been published in English by Kodansha comics, with the seventh on the way.

Riddle Story of Devil

What It Is: A manga written by Yun Kouga and illustrated by Sunao Minakata. Five volumes, complete. A 12 episode anime aired in 2014.

What It’s About: At Myojo Private School, an elite all-girl’s academy, Class Black has a secret. Twelve of the thirteen girls are actually assassins who have been offered a dark deal-- one wish will be granted to whoever manages to kill Haru Ichinose, the thirteenth student. But there’s still hope for Haru in the form of Tokaku Azuma, one of the assassins who has decided to defect to Haru’s side-- and defend her from the other girls at any cost.

What I Think: I’m not sure… if I can say Riddle Story of Devil is “good.” It’s definitely something. Although its premise is vaguely similar to Revolutionary Girl Utena, its tone and atmosphere remind me a lot more of the Dangan Ronpa series. It’s schlocky and ridiculous and often over-the-top and at times exploitative. It’s pure junk food, basically… and I believe that’s where the charm comes from. It’s my guiltiest of guilty pleasures. It may not exactly be good, but more often than not, it’s fun. It’s hard not to be immediately interested in a yuri battle series, you have to admit. 

And if it does have one undeniably good element, it’s Tokaku and Haru’s relationship. They contrast each other nicely, and while one might expect Haru to be boring and helpless, she’s actually quite proactive at times, and some of the most interesting, engaging parts of the series come from seeing how the two work together to fend off the latest assassin. It’s a short read and if anything, it’s worth it to see how each girl ends up. I recommend it for older viewers who are okay with violence and ludicrous battle scenarios.

Where To Get It: All five volumes are available through Seven Seas Entertainment. The anime can be watched through Funimation.*

*Please don’t watch the anime.**

** At the very least, please don’t watch the anime unless you’ve read the entire manga. Riddle Story Of Devil was one of those unfortunate cases where the anime adaption was produced before the manga reached its conclusion, and as such it has a very strange, rushed ending that includes none of what I enjoyed about the actual ending. Several scenes were also changed, and if I recall correctly, fanservice was added in several places where there was none previously. All in all, I’d really only recommend it for big fans of the series.

Side By Side Dreamers

What It Is: A light novel by Iori Miyazawa, illustrated by Akane Malbeni. One volume, complete.

What It’s About: Saya Hokage has been suffering from insomnia, but one day finds relief in the form of Hitsuji Konparu, a strange girl who can put people to sleep. As it turns out, Hitsuji is a person who has the special ability to move freely in their dreams, known as a “Sleepwalker.” The Sleepwalkers have been battling beings that possess people through their dreams, and it turns out they want Saya to join them in the fight.

What I Think: Side By Side Dreamers is short and… well, dreamy. I really enjoyed the premise and I think it’s a good novel for people who think Otherside Picnic may be a little too much for them. I also enjoyed each dream sequence-- I tend to find that the writing in light novels is a little dry, so the use of figurative language to describe these scenes was really refreshing and interesting. SBSD is a fun oneshot that I think is especially ideal for newcomers to yuri.

Where To Get It: Side-by-Side Dreamers is published by J-Novel Club and can be found via various digital platforms and bookstores.

Cocoon Entwined

What It Is: A manga by Yuriko Hara. Three volumes, ongoing.

What It’s About: Hoshimiya Girls' Academy is a strange, almost otherworldly paradise with a peculiar tradition. For all three years, each girl grows out her hair to absurd, breathtaking lengths, in order for it to eventually be cut and weaved into uniforms for future students. Perhaps it is these strange uniforms that seem to whisper about the past that makes the school seem frozen in another time… picturesque, yet stagnant. But one day, a shocking incident shatters the quiet peace of the academy, and the tumultuous feelings that have long been hidden in the hearts of these girls come rushing into the light.

What I Think: Cocoon Entwined is, in a word, eerie. It’s not marketed as a horror story, and I don’t think it’s intended to be one, but I’ve seen some that say they get horror vibes from it. I definitely understand that-- there’s a deep sense of unease that permeates the entire story in a way that’s a bit hard to articulate. The running thread of uniforms made from human hair definitely doesn’t hurt (it does-- I’ve seen many people understandably turned off by this element), but it’s more than that. It’s the sense that everything at Hoshimiya feels frozen and fragile. It’s the sense that everyone is burying their true feelings under countless layers. It’s the fact that in one scene, Saeki reaches out in a dark room full of uniforms and feels her arm touched by countless hands made of hair. 

Cocoon Entwined is a strange manga, and I feel it’s not for everyone-- besides the way many are put off by the central premise, the way that the story jumps around in time can be a bit confusing to follow. But in my opinion, I love it for these elements: the uniforms and their marriage between beauty and grotesque, the sense of frozen time, the delicate artwork that feels like it might be shattered by the weight of your gaze, the strange, airless atmosphere, the girls and their clear exhaustion of having to be ideal women. It’s a strange little series that I think should be given a shot, particularly if you want something a little more out there, or a darker take on Class S tropes.

Where To Get It: Yen Press has currently published two volumes in English.

BONUS: Other high school titles that may interest you!

A Tropical Fish Yearns For Snow: A manga by Makoto Hagino. Konatsu Amano has just moved to a new town by the sea, and must deal with her new school’s mandatory club policy. Luckily, she meets Koyuki Honami, an older girl who runs the Aquarium Club. Recognizing her loneliness, Konatsu decides to join her club. (Published  in English by Viz Media)

Flowers: A four-part series of visual novels published by Innocent Grey. Flowers focuses on Saint Angraecum Academy, a private high school that prides itself on overseeing the growth of proper young ladies. One notable thing about the academy is the Amitié program, a system that pairs students together in order to foster friendships between the girls. But friendship isn’t the only thing blooming… (Available in English from Steam, J-List, and JAST USA)

Adachi And Shimamura: A series of light novels written by Hitoma Iruma and illustrated by Non that has recently received a manga adaptation and an anime adaption. Adachi and Shimamura are two girls who encounter each other one day while cutting class. Little by little, the two girls become a part of each other’s lives, and feelings begin to form. (The light novels are published in English by Seven Seas Entertainment, the anime is licensed by Funimation)

And there we go! 24 different yuri titles. I didn’t even go into the series that I tried but personally didn’t like that still might interest other people. I primarily made this list to gush about yuri that I liked, but I also tried to include a fairly wide range of things so that, hopefully, any random person who read this whole list could find at least one new title that interests them. And I hope that includes you!

The yuri scene is quite large and wonderful if you know where to look, and it too often gets a bad rap. I hope that this list could give you a new perspective on what kinds of titles are available, and I hope it gives you something new to try. And remember: if you want something specific, try looking for it! There’s a good chance the story you’re craving is already out there, waiting to be discovered!

[sabugabr]

Why the Clone problem in Star Wars animated media is also a Mandalorian problem, and why we have to talk about it (PART 2)

Hi! I finally finished wrapping this up, so here’s part 2 of what has already become a mini article (you can find Part 1 here, if you like!)

And for this part, it won’t be as much as a critic as part 1 was, but instead I’d like to focus more on what I consider to be a wasted potential regarding the representation of the Clones in the Star Wars animated media, from the first season of The Clone Wars till now, and why I believe it to be an extension of the Mandalorian problem I discussed in part 1 —  the good old colonialism.

Sources used, as always, will be linked at the end of this post!

PART 2: THE CLONES

Cody will never know peace

So I’d like to state that I won’t focus as much on the blatantly whitewashing aspect, for I believe it to be very clear by now. If you aren’t familiar with it, I highly recommend you search around tumblr and the internet, there are a lot of interesting articles and posts about it that explain things very didactically and in detail. The only thing you need to know to get this started is that even at the first seasons of Clone Wars (when the troopers still had this somewhat darker skin complexion and all) they were still a whitewashed version of Temuera Morrison (Jango’s actor). And from then, as we all know, they only got whiter and whiter till we get where we are now, in rage.

Look at this very ambiguously non-white but still westernized men fiercely guarding their pin-up space poster

Now look at this still westernized but slightly (sarcasm) whiter men who for some reason now have different tanning levels among them (See how Rex now has a lighter skin tone? WHEN THE HELL DID THAT HAPPEN KKKKKKK) Anyway you got the idea. So without further ado...

2.1 THE FANTASY METAPHOR

As I mentioned before in Part 1, one thing that has to be very clear if you want to follow my train of thought is that it’s impossible to consume something without attributing cultural meanings to it, or without making cultural associations. This things will naturally happen and it often can improve our connection to certain narratives, especially fantastic ones. Even if a story takes place in a fantastic/sci fi universe, with all fictional species and people and worlds and cultures, they never come from nowhere, and almost always they have some or a lot of basing in real people and cultures. And when done properly, this can help making these stories resonate in a very beautifull, meaningfull way. I actually believe this intrisic cultural associations are the things that make these stories work at all. As the brilliant american speculative/science fiction author Ursula K. Le Guin says in the introduction (added in 1976) of her novel The Left Hand of Darkness, and that I was not able to chopp much because it’s absolutely genious and i’ll be leaving the link to the full text right here,

“The purpose of a thought-experiment, as the term was used by Schrodinger and other physicists, is not to predict the future — indeed Schrodinger's most famous thought-experiment goes to show that the ‘future,’ on the quantum level, cannot be predicted — but to describe reality, the present world.

Science fiction is not predictive; it is descriptive.”

[...] “Fiction writers, at least in their braver moments, do desire the truth: to know it, speak it, serve it. But they go about it in a peculiar and devious way, which consists in inventing persons, places, and events which never did and never will exist or occur, and telling about these fictions in detail and at length and with a great deal of emotion, and then when they are done writing down this pack of lies, they say, There! That's the truth!

They may use all kinds of facts to support their tissue of lies. They may describe the Marshalsea Prison, which was a real place, or the battle of Borodino, which really was fought, or the process of cloning, which really takes place in laboratories, or the deterioration of a personality, which is described in real textbooks of psychology; and so on. This weight of verifiable place-event-phenomenon-behavior makes the reader forget that he is reading a pure invention, a history that never took place anywhere but in that unlocalisable region, the author's mind. In fact, while we read a novel, we are insane —bonkers. We believe in the existence of people who aren't there, we hear their voices, we watch the battle of Borodino with  them, we may even become Napoleon. Sanity returns (in most cases) when the book is closed.”

[...] “ In reading a novel, any novel, we have to know perfectly well that the whole thing is nonsense, and then, while reading, believe every word of it. Finally, when we're done with it, we may find — if it's a good novel — that we're a bit different from what we were before we read it, that we have been changed a little, as if by having met a new face, crossed a street we never crossed before. But it's very hard to say just what we learned, how we were changed.

The artist deals with what cannot be said in words.

The artist whose medium is fiction does this within words. The novelist says in words what cannot be said in words. Words can be used thus paradoxically because they have, along with a semiotic usage, a symbolic or metaphoric usage. [...]  All fiction is metaphor. Science fiction is metaphor. What sets it apart from older forms of fiction seems to be its use of new metaphors, drawn from certain great dominants of our contemporary life — science, all the sciences, and technology, and the relativistic and the historical outlook, among them. Space travel is one of these metaphors; so is an alternative society, an alternative biology; the future is another. The future, in fiction, is a metaphor.

A metaphor for what?” [1]

A metaphor for what indeed. I won’t be going into what Star Wars as a whole is a metaphor for, because I am certain that it varies from person to person, and everyone can and has the total right to take whatever they want from this story, and understand it as they see fit. That’s why it’s called the modern myth. And therefore, all I’ll be saying here is playinly my take not only on what I understand the Clones to be, but what I believe they could have meant.

2.2 SO, BOBA IS A CLONE

I don’t want to get too repetitive, but I wanted to adress it because even though I by no means intend to put Boba and the Clones in the same bag, there is one aspect about them that I find very similar and interesting, that is the persue of individuality. While the Clones have this very intrinsically connected to their narratives, in Boba’s case this appears more in his concept design. As I mentioned in Part 1, one of the things the CW staff had in mind while designing the mandalorians is that they wanted to make Boba seem unique and distinguishable from them, and honestly even in the original trilogy he stands out a lot. He is unique and memorable and that’s one of the things that draws us to him.

And as we all know, both Boba and Jango and the Clones are played by Temuera Morrison — and occasionally by the wonderful Bodie Taylor and Daniel Logan. And Temuera Morrison comes from the Maori people. And differently from the mandalorian case, where we were talking about a whole planet, in this situation we’re talking about portraying one single person, so there’s nowhere to go around his appearance and phenotypes, right? I mean, you are literally representing an actual individual, so there’s no way you could alter their looks, right?

(hahahaha wrong)

And besides that, I think that is in situations like that (when we are talking about individuals) that the actor’s perspective could really have a place to shine (just the same as how Lea was mostly written by Carrie Fisher). In this very heart-warming interview for The New York Times (which you can read full signing up for their 5-free-articles-per-month policy), Temuera Morrison talks a little bit about how he incorporated his cultural background to Boba Fett in The Mandalorian:

“I come from the Maori nation of New Zealand, the Indigenous people — we’re the Down Under Polynesians — and I wanted to bring that kind of spirit and energy, which we call wairua. I’ve been trained in my cultural dance, which we call the haka. I’ve also been trained in some of our weapons, so that’s how I was able to manipulate some of the weapons in my fight scenes and work with the gaffi stick, which my character has.” [2]

The Gaffi stick (or Gaderffii), btw, is the weapon used by the Tusken Raiders on Tatooine, and according to oceanic art expert Bruno Claessens it’s design was inspired by wooden Fijian war clubs called totokia. [3]

And I think is very clear how this background can influence one’s performance and approach to a character, and majorly how much more alive this character will feel like. Beyond that, having an actor from your culture to play and add elements to a character will higly improve your sense of connection with them (besides all the impact of seeying yourself on screen, and seeying yourself portrayed with respect). It would only make sense if the cultural elements that the actor brought when giving life to a fictional individual would’ve been kept and even deepened while expanding this role. And if you’re familiar with Star Wars Legends you’ll probably rememeber that in Legends Jango would train and raise all Clone troopers in the Mandalorian culture, so that the Clones would sing traditional war chants before battles, be fluent in Mando’a (Mandalore’s language) and some would proudly take mandalorian names for themselves. So why didn’t Filoni Inc. take that into account when they went to delve into the clones in The Clone Wars?

2.3 THE WHITE MINORITY

First of all I’d like to state that all this is 100% me conjecturing, and by no means at all I’m saying that this is what really happened. But while I was re-watching CW before The Bad Batch premiere, something came to my mind regarding the whitewashing of the Clones, and I’d like to leave that on the table.

So, you know this kind of recent movies and series that depicted like, fairies in this fictional world where fairies were very opressed, but there would be a lot of fairies played by white actors? Just like Bright and Carnival Row. If you’ve watched some of these and have some racial conscience, you’ll probably know where I’m going here. And the issue with it is that often this medias will portray real situations of racism and opression and prejudice, but all applied to white people. Like in Carnival Row, when going to work as a maid in a rich human house, our girl Cara Delevingne had to fight not to have her braids (which held a lot of significance in her culture) cut by her intolerant human mistress, because the braids were not “appropriate”. Got it? hahahaha what a joy

Look at her ethnic braids!!!

One of the reasons this happens might be to relieve a white audience of the burden of watching these stories and feeling what I like to call “white guilt”. Because, as we all know, white people were never very oppressed.  Historically speaking, white people have always been in privileged social positions, and in an exploitative relationship between two ethnic groups, white people very usually would be the exploiters  —  the opressors. So while watching situations (that every minority would know to be very real) of opression in fiction, if these situations were lived by a white actor, there would be no real-life associations, because we have no historical parameter to associate this situation with anything in real life — if you are white. Thus, there is less chance that, when consuming one of these narratives, whoever is watching will question the "truthfulness" of these situations (because it's not "real racism", see, "they're just fairies"). It's easier for a person to watch without having to step out of their comfort zone, or confront the reality of real people who actually go through things like that. There's even a chance that this might diminish empathy for these people.

Once again, not saying this is specifically the case of the Clones, majorly because one of the main feelings you have when watching CW is exactly empathy for the troopers (at least for me, honestly, the galaxy could explode, I just wanted those poor men to be happy for God’s sake). But I’ll talk more about it later.

The thing is, the whole thing with the Clones, if you think about it, it’s not pretty. If you step on little tiny bit outside the bubble of “fictional fantasy”, the concept is very outrageous. They are kept in conditions analogous to slavery, to say the least. To say the more, they were literally made in an on-demand lab to serve a purpose they are personally not a part of, for which they will neither receive any reward nor share any part of the gains. On the contrary, as we saw in The Bad Batch, as soon as the war was over and the clones were no longer useful as cannonballs, they were discarded. In the (wonderful) episode 6 of the third season of (the almost flawless) Rebels, “The Last Battle”, we're even personally introduced to the analogy that there really wasn't much difference in value between clones and droids, something that was pretty clear in Clone Wars but hadn't been said explicitly yet.

In fact, technically the Separatists can be considered to be more human than the Republic. But that's just my opinion.

So, you had this whole army of pretty much slaves. I know this is a heavy term, but these were people who were originally stripped of any sense of humanity or individuality, made literally to go to war and die in it, doing so purely in exchange for food and lodging, under the false pretense that they belonged to a glorious purpose (yes, Loki me taught that term, that was the only thing I absorbed from this series). Doing all this under extremely precarious conditions from which they had no chance of getting out, actually, getting out was tantamount to the death penalty. They were slaves. In milder terms, an oppressed minority. And again, I don't know if that was the case, but I can understand why Filoni Inc would be apprehensive about representing phenotically indigenous people in this situation. Especially since we in theory should see Anakin and Obi-Wan as the good guys.

(and here I’d like to leave a little disclaimer that I believe the whole Anakin-was-a-slave-once plot was HUGELY misused (and honestly just badly done) both in the prequels and in the animeted series  — maybe for the best, since he was, you know, white and all that, and I don’t know how the writers would have handled it, but ANYWAY — I believe this could have been further explored, particularly regarding his relationship with the Clones, and how it could have influenced his revolt against the Jedi, and manipulated to add to his anger and all that. I mean, we already HAD the fact that Anakin shared a deeper conection with his troopers than usual)

Yes, Rex, you have common trauma experiences to share. But anyway, backing to my track

As I was saying, we are to see them as good guys, and maybe that could’ve been tricky if we saw them hooping up on slavery practices. Like, idk, a “nice” sugar plantation owner? (I don’t know the correct word for it in english, but in portuguese they were called senhores de engenho) Like this guy from 12 Years a Slave?

You know, the slave owner who was “nice”. IDK, anyway  

No one will ever watch Clone Wars and make this association (I believe not, at least), of course not. But if we were to see how CW deepened the clone arcs, and see them as phenotypically indigenous, subjected to certain situations that occur in CW (yes, like Umbara), maybe some kind of association would’ve been easier to make.

I mean, come onnnn I can’t be the only one seeing it

You see, maybe not the whole 12 Years a Slave association one, but I don’t think it’s hard to see there was something there. And maybe this could’ve been even more evident if they looked non-white. Because historically, both black peoples and indigenous peoples went through processes of slavery, from which we as a society are still impacted today. And to slave a people, the first thing you have to do is strip them from their humanity. So it might be easier to see this situation and apply it to real life. And maybe that could lead to a whole lot of other questions regarding the Clones, the Republic, the Jedi, and even how chill Obi-Wan was about all this. We might come out of it, as lady Ursula Le Guin stated in the fragment above, a bit different from what we were before we watch it.

Maybe even unconsciously, Filoni Inc thought we would be more confortable watching if they just looked white (and because of colonialism and all that, but I’m adding thoughts here).

And of course I don’t like the idea of, idk, looking at Obi-Wan and thinking about Benedict Cumberbatch in 12 Years a Slave or something like that. Of course that, if the Clones were to play the same role as they did in the prequels, to obediently serve the Jedi and quietly die for them, that would have been bad, and hurtfull, and pejorative if added to all that I said here. But the thing is that Clone Wars, consciously or not, already solved that. At least to my point of view, they already managed to approach this situation in an incredible competent way, that is giving them agency.

2.4 AGENCY AND INDIVIDUALITY

So, one of the things I love most in Clone Wars is how it really feels like it’s about the Clones. Like, we have the bigger scene of Palpatine taking over, Ahsoka’s growth arc, Anakin’s turn to The Dark Side, the dawn of the Jedi and rise of the Empire and all that, but it also has this idk, vibe, of there’s actually something going on that no one in scene is talking about? And this something is the Clones. We have these episodes spread throughout the seasons, even out of chronological order, which when watched together tell a parallel story to the war, to everything I mentioned. Which is a story about individuals. Clone Wars manages to, in a (at least to me) very touching way, make the Clones be the heros. 

Can you really look me in the eye and say that Five’s story didn’t CRASH you like a full-speed train???? He may not have the same amount of screen-time as the protagonists, but his story is just as important as theirs (and to me, it might be the most meaningful one). Because he is the first to break free from the opression cicle all the Clones were trapped into. 

His story can be divided into 6 phases.

1 - First, the construction of his individuality, in other words, the reclaiming of his humanity. 

2 - Then the assimilation of understanding yourself as an individual of value, and then extending this to all his brothers, not as a unit, but as a set of individuals collectively having this same newly discovered value.

3 - This makes him realize that in the situation they find themselves in, they are not being recognized as such. This makes him question the reality of their situation.

4 - Freed from the illusion of his state, he seeks the truth about it.

5 - This then leads him to seek liberation not just for himself, but for all the Clones (it's basically Plato's Cave, and I'm not exaggerating here).

6 - And finally, precisely because he has assimilated his individuality and sought freedom for himself and his brothers, he is punished for it.

His story is all about agency. Agency, according to the Wikipedia page that is the first to appear if you type “agency” on Google, is that agency is “the abstract principle that autonomous beings, agents, are capable of acting by themselves” [4], and this abstract principle can be dissected in 7 segments:

Law - a person acting on behalf of another person

Religious -  "the privilege of choice... introduced by God"

Moral -  capacity for making moral judgments

Philosophical -  the capacity of an autonomous agent to act, relating to action theory in philosophy

Psychological -  the ability to recognize or attribute agency in humans and non-human animals

Sociological -  the ability of social actors to make independent choices, relating to action theory in sociology

Structural - ability of an individual to organize future situations and resource distribution

All of them apply here. And this is just the story of one Clone. We know there are many others throughout the series. 

Agency is what can make the world of a difference when you are telling a story about an opressed minority. Because opressed minorities do exist, and opression exists, and if you are insecure about consuming a fictional media about opressed minorities, see if they have agency might be a good place to start. So that’s why I think that everything I said before in 2.3 falls short. Because the solution already existed, and was indeed done. Honestly, making the non-agency representation of the Clones (the one we see in the prequels) to be the one played by Temuera Morrison, and then giving them agency in the version where they appear to be white, just leaves a bitter taste in my mouth.

And honestly, if they were to make the Clones look like Temuera Morrison, and by that mean, take more inspiration in the Māori culture, maybe they wouldn’t even have to change much of their representation besides their facial features. As I said in part 1, I am not by any means an expert in polynesian cultures, but there was something that really got me while I was researching about it. And is the facial tattoos. More precisely, the tā moko. 

2.5  TĀ MOKO

Once again I’ll be using the Te Ara: The Encyclopedia of New Zealand as source, and you can find the articles used linked at the end of this post. 

Etymologically speaking,

“The term moko traditionally applied to male facial tattooing, while kauae referred to moko on the chins of women. There were other specific terms for tattooing on other parts of the body. Eventually ‘moko’ came to be used for Māori tattooing in general.” [5]

So moko is the correct name for the characteristic tattoos we often see when we look for Māori culture. 

These ones ^. Please also look this book up, it’s beautiful. It’s written by  Ngahuia Te Awekotuku, a New Zealand academic specialising in Māori cultural issues and a lesbian activist. She’s wonderful. 

According to the Tourism NewZealand website, 

“In Māori culture, it [moko] reflects the individual's whakapapa (ancestry) and personal history. In earlier times it was an important signifier of social rank, knowledge, skill and eligibility to marry.”

“Traditionally men received moko on their faces, buttocks and thighs. Māori face tattoos are the ultimate expression of Māori identity. Māori believe the head is the most sacred part of the body, so facial tattoos have special significance.”

[...] “The main lines in a Māori tattoo are called manawa, which is the Māori word for heart.” [6]

Therefore, in the Māori culture, there’s this incredibly deep meaning attributed to the (specific of their culture) tattooing of the face. The act of tattooing the body, any part of the body, is incredibly powerful in many cultures around the globe. The adornment of the body can have different meanings for these different cultures, but all of which I've come into contact with do mean a lot. It’s one of the oldest and most beautiful human expressions of individuality and identity. 

And in the Star Wars universe, the Clones are the group that has the deeper connection to, and the best narrative regarding, tattoos. In fact, besides Hera’s father, Cham Syndulla, the Clones are the only individuals to have tattooed skin, at least that I can recall of. And they do share a deep connection to it. 

For the Clones, the tattoos (added to hairstyles) are the most meaningful way in which they can express themselves. Is what makes them distinguishable from each other to other people. Tattoos are one of the things that represent them as individuals.

And I’m not BY ANY MEANS sayin that the Clones facial tattoos = Moko. That’s not my point. But that’s one of the things I meant when I said earlier about the wasted potential of the representation of the Clones (in my point of view). Because maybe if it were their intention to base the culture of the clones after the polynesian culture, maybe if it were their intention to make the Clones actually look like Temuera Morrison, this could have meant a whole deal. More than it’d appear looking to it from outside this culture. Maybe if there were actual polynesian people in the team that designed the Clones and wrote them (or at least indigenous people, something), who knows what we could’ve had. 

Even in Hunter’s design, I noticed that if you take for example this frame of Temuera from the movie River Queen (2005), where we can have a closer look at the design of his tā moko

Speaking purely plastically (because I don’t want to get into the movie itself, just using it as example because then I can use Temuera himself as a comparison), see the lines around the contours of his mouth? Now look at Hunter’s. 

I find it interesting that they choose to design this lines coming from around his nose like that. But at this point I am stretching A LOT into plastic and semiotics, so this comparison is just a little thing that got my attention. I know that his tattoo is a skull and etc etc, I’m just poiting this out. And it even makes me a little frustrated, because they could have taken so many interesting paths in the Bad Batch designs. But instead they choose to pay homage to Rambo. And I mean, I like Rambo, I think he’s cool and all that.

Look at him doing Filipino martial arts

But then, as we say in Brasil, they had the knife and the cheese in their hands (all they had to do was cut the cheese, but they didn’t). Istead, it seems like in order to make Hunter look like Rambo, they made him even whiter??? 

2.6 SO...

Look, I love The Clone Wars. I’m crazy about it. I love the Clones, I love their stories and plots. They are great characters and one of the greatest addings ever made in the Star Wars universe. They even have, in my opinion, the best soundtrack piece to feature in a Star Wars media since John Williams’ wonderful score. It just feels to me as if their narrative core is full of bagage, and meanings, and associations that were just wiped under the carpet when they suddenly became white. It just feels to me as if, once again, they were trying to erase the person behing the trooper mask, and the people they were to represent, and the history they should evoke.

I don’t know why they were whitewashed. Maybe it was just the old due racism and colonialism. Maybe it was meant for us to not question the Jedi, or our good guys, or the real morality of this fictional universe where we were immersed. But then, was it meant for what?

The Clones were a metaphor for what? 

(spoiler: the answer still contains colonialism)

Thank you so much for reading !!!! (and congratulations for getting this far, you are a true hero)

SOURCES USED IN THIS:

[1] Ursulla K. Le Guin, 'The Left Hand of Darkness', 14th ACE print run of June, 1977

[2] Dave Itzkoff, 'Being Boba Fett: Temuera Morrison Discusses ‘The Mandalorian’', The New York Times, published Dec. 7, 2020, https://www.nytimes.com/2020/12/07/arts/television/the-mandalorian-boba-fett-temuera-morrison.html (accessed 15 September 2021)

[3] Bruno Claessens, 'George Lucas' "Star Wars" and Oceanic art' , Archived from the original on December 5, 2020, https://web.archive.org/web/20201205114353/http://brunoclaessens.com/2015/07/george-lucas-star-wars-and-oceanic-art/#.YEiJ-p37RhF (accessed 15 September 2021)

[4]  Wikipedia contributors, "Agency," Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Agency&oldid=1037924611 (accessed September 17, 2021)

[5] Rawinia Higgins, 'Tā moko – Māori tattooing - Origins of tā moko', Te Ara - the Encyclopedia of New Zealand, http://www.TeAra.govt.nz/en/ta-moko-maori-tattooing/page-1 (accessed 17 September 2021)

[6] Tourism New Zealand, ‘The meaning of tā moko, traditional Māori tattoos’,  The Tourism New Zealand website, https://www.newzealand.com/us/feature/ta-moko-maori-tattoo/ (accessed 17 September 2021)

[uhlikzsuzsanna]

SPOILER WARNING: Do not read if you haven’t seen all of Season 1 of “Loki,” currently streaming on Disney Plus.

Ever since “Loki” first premiered in June, Kate Herron, who directed all six episodes of the Marvel Studios series, has had to pretend like she knew far less than she really does. For one, she couldn’t acknowledge that the homages to sci-fi classics like “Blade Runner” and “Brazil” that she’d baked into the elaborate sets for the Time Variance Authority — the cosmic bureaucracy tasked with maintaining the sacred timeline — were “meant to be sinister” rather than just “playful and quirky.”

For another, Herron was delighted to see fans theorizing after the very first episode that Kang the Conqueror — a character already set to appear in the Marvel Studios feature “Ant-Man and the Wasp: Quantumania,” as played by Jonathan Majors — was really pulling the strings of the TVA. But until the finale streamed last Wednesday, she couldn’t even hint that those fans were only half right: Majors does play the mastermind of the TVA, but he’s a variant of Kang referred to as He Who Remains. It’s only after He Who Remains encounters Loki (Tom Hiddleston) and his female variant counterpart Sylvie (Sophia Di Martino), and Sylvie plunges a blade into his heart, that the multiverse is reborn, creating the possibility for Kang the Conqueror to emerge.

Again, though: Herron couldn’t acknowledge any of that, even to those closest to her.

“Nothing has prepared me better for working with Marvel than playing tabletop games with my friends,” she says with a laugh. “It definitely taught me how to have a good poker face. You have to hide your hand — and sometimes lie.”

Now, thankfully, all of that is behind her — as is “Loki” itself. Despite receiving widespread acclaim for her assured, ambitious, and visually sumptuous work directing the show, Herron says she has decided not to return for Season 2 of the series.

“I gave it everything — in my soul, in my heart, everything,” she says. “I feel so proud of the work we’ve done. And yeah, I’ll be enjoying Season 2 as a fan.”

She’s quick to sing the praises of everyone she worked with at Marvel, and she says she’s “sure” she’ll work again with the studio. For now, however, she’s ready to take a holiday, and then turn to a project she’s writing herself “that’s really close to my heart that I really want to make.”

“It’s my own decision, but I just feel like my part with ‘Loki’ is finished now and I’m just excited to see where his story goes,” she says.

Before she parts ways for good, however, Herron spoke with Variety about bringing Jonathan Majors into the Marvel Cinematic Universe, what she thought of the shocking revelation about infinity stones and what she would like to see happen in Season 2.

She always knew “Loki” would introduce Kang and the Multiverse…

From the very start, Herron says, she and head writer Michael Waldron knew that their six-episode run of “Loki” would always end with Loki and Sylvie meeting He Who Remains at his citadel, the result of which would cause the creation of the multiverse.

As Episode 6 makes clear, both of these events were massive turning points for the future of the MCU — and Herron still can’t quite believe she got to be the one to make them a reality.

“We were just, like, waiting to be told, ‘Actually, guys, we’ve had a change [of heart],'” Herron says. Instead, Herron says she and “Quantumania” director Peyton Reed participated in casting Majors in the role.

“I was just like, pinch me,” she says. “I can’t believe I was at the table for that, because I know it was such a big decision for them all.”

Herron also decided to have Majors provide the voices for all three “Timekeepers” who are supposedly at the head of the TVA, but are revealed by Sylvie to be nothing more than “mindless androids.”

“We didn’t have someone cast for those voices,” she says. “I remember thinking, well, ‘Wizard of Oz’ is clearly a reference for us. We should have the wizard. It’d be great if it’s Jonathan. So we sent him all the art of the timekeepers. And he just kind of came up with these incredible voices for each of them.”

…but not with a cliffhanger.

The most significant decision of the season, though, may be that it ends with a giant cliffhanger, when Loki discovers he’s in a brand new reality for the TVA in which Mobius (Owen Wilson) and Hunter B-15 (Wunmi Mosaku) don’t even recognize him. But while Herron knew how this season of “Loki” would end, at first, she did not know that there would be any more seasons after it.

“When I started, there wasn’t a discussion of Season 2, exactly,” she says. “It was just that season of ‘Loki.’ As we got deeper into production, everyone was very happy, and obviously there’s so much to explore with Loki. It felt like we should continue the story. So I think the cliffhanger ending came in later in the process.”

Herron says she sprinkled in some hints to viewers that Loki is in a new timeline, like redressing sets to look slightly off, and recasting Eugene Cordero’s TVA receptionist Casey as a hunter headed to the armory in a blink-and-you’ll-miss-it moment. But her favorite bit is that the final line — said by Mobius to Loki — is the same as the first line spoken in the show, by a woman in the Gobi desert, also to Loki: “Who are you?”

“That was kind of the question of the whole first season,” Herron says.

She was just as shocked about the Infinity Stones as everyone else.

In the first episode, Loki discovers to his horror that not only does his magic not work inside the TVA, but Infinity Stones — heretofore believed to be the most powerful objects in the known universe — are just inert rocks there. The revelation sent shockwaves across the Marvel fandom; Herron was right there with them.

“That was in Michael’s script when I first got it to pitch [for the directing job],” she says. “I remember being like, ‘WHAT?! You put me through so much!’ But then I thought, ‘Oh, it’s kind of genius, because it shows how powerful the TVA are. Who are these people? What is this place?'”

Herron especially appreciated how her shock — and the audience’s — mirrored Loki’s own as the rug gets pulled out from under him. “I was quite excited by it,” she says. “It really shows you that there’s a new power in the MCU — and it’s not what we we spent the last decade dedicating our lives to.”

She told Kevin Feige she wanted gender parity among her crew.

Prior to “Loki,” Herron’s most high profile job was directing the second half of the first season of the Netflix dramedy “Sex Education.” She got the “Loki” job thanks to a 60-page pitch memo that filled out just about every detail of the world of the show. After hiring her, she says Marvel Studios chief Kevin Feige asked her, “What are your terms?”

“This was the first time I was gonna get to hire my heads of department on a television show I worked on,” she says. “I was like, I’d really love [the crew] to be 50/50 across gender.”

Herron says she wasn’t out to fill any jobs on the film with a specific gender. But, she says, “There aren’t enough women in these roles. They’re out there. It’s a lack of opportunity. It’s not a lack of interest.”

She did end up hiring two women for critical roles that are still rarely occupied by women: cinematographer Autumn Durald (“The Sun Is Also a Star”) and composer Natalie Holt (History’s “Knightfall”).

“I felt like she was inside my mind,” Herron says of Durald. “We have the same taste. And I love the way that she talks about light as a character.”

Herron hired Holt unusually early for a composer, after she’d completed editing the first episode during the pandemic shutdown. She knew that the particular sci-fi film noir look of the show that she was developing with Durald needed similarly unique music, and she liked that part of Holt’s pitch was focusing on Loki’s identity as a character.

“Her music then started to inspire how I wanted to shoot other scenes,” Herron says. She’s especially enamored of Holt’s vision for her dynamic and foreboding theme for the TVA.

“She was like, ‘Oh, let’s have that theme be Kang’s’ — well, He Who Remains, I guess, in our show. But I hope that will go on to be Kang’s theme. That was the real fun of it is that you feel like he’s really played a hand now across the whole show, because you realize that music is his music.”

Herron, Durald, and Holt all deliver distinctive and superlative work that’s nothing like the MCU has quite seen before — and nothing quite like anything previously in their careers, either. And that’s entirely the point.

“I think for us, it was about just showing people what we could do and that we could do it at this level,” Herron says.

The episode in which Loki comes out as bisexual was inspired by Alfonso Cuarón and Richard Linklater.

Every episode of “Loki” features multiple extended scenes of two characters just talking to one another, a rarity in a comic book production. Herron says that cutting Episode 1 together during the pandemic lockdown and seeing the scenes between Loki and Mobius (Owen Wilson) play out so well “definitely gave us confidence” to continue that rhythm for the rest of the show.

That was especially true for Episode 3. Written by Bisha K. Ali (who went on to create the upcoming Marvel Studios series “Ms. Marvel”), the episode is essentially an extended meet-cute between Loki and Sylvie as they get to know each other on a planet doomed for total annihilation.

“Bisha’s reference was ‘Before Sunrise’ and ‘Children of Men,'” says Herron. “And it lit my brain on fire. It was kind of weird. It was almost like a bottle episode in the sense that we’re just with the two characters, but obviously, it’s Marvel, right? So they’re bonding in this Apocalypse, which also feels very Loki at the same time.”

That episode is best known for making Marvel Studios history, when Loki casually mentions that he’s had dalliances with both men and women. Herron says that when she first interviewed for the job, she asked if the show was going to acknowledge Loki’s sexuality, which had long been established in the comics as bisexual or pansexual.

“I think everyone wanted to acknowledge it,” she says. “It was just really about giving a care and consideration and doing it in the right way. I think everyone knew it was gonna be quite a big moment. So it was just really about doing it in a way that felt respectful. And honoring it.”

Herron also confirms what many fans had suspected, that she deliberately made the lighting scheme for the scene evoke the blue, purple and red of the bisexual flag. “We knew what we were doing with that scene,” she says with a smile.

She has a lot of ideas for what she’d like to see in Season 2.

Since Herron will be watching Season 2 of “Loki” only “as a fan,” she is also free to wildly speculate as to what she’d most like to see happen — like how, wherever Loki story leads, “we’ve opened the door” for the character to explore his sexuality with men as well as women.

Otherwise? She says she wants to know where Judge Ravonna Renslayer (Gugu Mbatha-Raw) goes to when she leaves the TVA in search, she tells Mobius, of “free will.”

“I love her,” Herron says. “Gugu used to always call her an indoor girl, which made me laugh, but she is. She’s in the office, but she used to be this kick-ass Hunter. So I’m like, Okay, well, where’s her path going?”

Herron is also keen to learn more about Hunter B-15’s backstory — since she deliberately decided to hide it in the scene in Episode 4 when Sylvie shows B-15 her repressed memories as a variant.

“I was like, we shouldn’t see her memories,” Herron says. “It’s a character that thought they had power and realizes they have no power. It felt really powerful to at least give her some power in that scenario. The memories are private. They’re hers.” She pauses. “Also as a fan, I’m like, ‘Oh my God, who is she?!'”

“And obviously, you know, Loki and Sylvie?” Herron continues, on a roll. “He’s in a completely different reality. What’s going to happen to him? How will he get back? Or will he get back? And where’s Sylvie? She’s still in the Citadel? And the multiverse of it all. What the hell is going to happen?!”

Herron chuckles at her own excitement. “So I think there’s so many questions to be answered, and so much more road to travel with all our characters,” she says. “You know, I’m really proud that I got to set up Loki’s story here. But there’s so many different aspects of his identity and personality that’s yet to be explored. I’m excited to see where it goes.”

[thesaltofcarthage]

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

from Entertainment Weekly

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

By Chancellor Agard May 20, 2021 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Additional reporting by Jessica Derschowitz