#as someone who's read the Wizard of Oz books and knows what is in fact canon

[okimightbecrazy]

Me every time I hear people talking about Wizard of Oz characters in the context of Wicked: Okay, but Wicked is a fanfiction of the Wizard of Oz. You know that, right?

[nerdygirlramblings]

Off to See the Wizard (2)

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tw: canon-typical violence

Your introduction didn't cause pandemonium, per se, but your effect on the rest of the team was immediate. Soap sat straight up, his eyes alight like a kid who'd been set loose in a toy store. Kyle's whole demeanor unwound, his smile softening, his eyes going glassy, as if all the tension holding him together was suddenly released. Simon tried to make himself smaller, take up less space, maybe disappear into the cushions of the couch he was on. It was clear they didn't know you were coming, and they seemed as excited - well, all but Simon, who seemed terrified - about it as you were.

Things settled down quickly after that as Price reminded everyone this arrangement was for the sake of their next mission. That took some joy out of the introduction, but the electric thrum of excitement was there. You were finally in the same place as your boys.

Your first full day is rather boring. You are only a little startled to hear voices in the hall at 4:30 but then realize the guys are simply getting ready for their morning training. You also slightly regret picking the room next to the bathroom, despite how helpful it will be when you need to shower while the others are around.

You spend your morning setting up your mobile command center with the tech you brought. You arrange the monitors to match your usual setup, pulling up the background files and current mission data across your screens. You send an encrypted message to Laswell updating her on your status. You know she wants someone she trusts here, and encrypting the email is probably overkill, but you didn't get to where you are by assuming anything about safety. You'd been a black-hat hacker before Laswell scooped you up, so you know it's possible.

When you left, she told you you'd have the same decision-making abilities in the field as she does. You've never had that much power, and you want to show Laswell her trust is justified, so your message is a concern about transports and what you'd like to do instead. You want to get her take on it before simply changing things. In your mind, roping her in on these kinds of decisions now means she'll be less likely to challenge any decisions you make when the boys are in the field.

The highlight of your first day is the knock that comes around 1:00, startling you a bit, just as you're realizing skipping breakfast after such an interrupted schedule the previous day was not a smart idea. The only person you know who knows you're here is John, so you quickly open your door, smile already in place. But you're pleasantly surprised to see Kyle instead.

"Hey doll, Cap said you should come eat." He leans against the doorframe, smiling gently at you. "Looks like you're all set."

"Got everything but the curtain," you reply cheekily.

He grins in response. "We may call ya' Oz, but you're so much better than the man behind the curtain."

You feel the blood rush to your cheeks and duck your head. You aren't behind a screen anymore; you're going to need to be more aware of your reactions to the boys if you don't want them reading you like an open book. "You said something about food," you murmur, shuffling paperwork around on your desk.

"Yea. The Captain was hopin' you'd join us," Kyle replies.

You glance up at him in the doorway. "Do I have a choice?" you ask cheekily. You need to eat, but you can't let them think you're so easily commanded. It sets a bad precedent and is at odds with what they know of you from previous missions.

Kyle's smile slides into a smirk. "He did say I might need to convince you."

You aren't sure what he might try to do to convince you, and your mind immediately jumps to some inappropriate fantasies. You're so flustered you quickly stammer, "No, you don't need to do that." You minimize your open programs, leaving a blank desktop, despite the fact you're the only person with access to this office. You turn to Kyle moments later. "I'm ready."

Kyle steps fully into the hallway, gesturing you to lead the way. You pull the door closed behind you, checking to make sure it locks. "You do remember I got the ten cent tour yesterday and don't really know where much of anything is, right?"

Kyle puts a gentle hand on your lower back, in the same way John did last night, unconsciously. He leads you through base, and you watch other groups of soldiers notice you for the first time. Some openly stare while others watch you on their perifery.

You're not sure what they think of you or if they even know who you are, but you don't like their prying eyes. Kyle doesn't seem to like it either, wrapping his arm more possessively around your waist as he guides you to the mess.

Walking through the door, it's easy to find the rest of the 141. For one thing, Simon is massive. Even seated he's nearly a head taller than most of the other people in the mess. For another, you know of their reputation, but the soldiers here have seen it first-hand and keep a wide berth in the mess. You don't know if the distance is out of fear or respect, but it means your boys have a table to themselves near the back of the room.

John and Simon are facing the door, eyes constantly scanning the room. You don't know if this is how they always are, or if they're looking for Kyle and you. You catch John's eye before turning to the food line, but Kyle steers you towards the others. As you approach, he calls out, "Look who I found? An' she's here without any coercion!" Simon looks at you and away again quickly, what is going on with him? Soap turns around, grin stretching across his face.

"Oz, mah girl, finally get ta see yer pretty face! Where've'ye been heedin'?" He pats the space next to him.

You slip onto the bench. "I've been in my office, Soap. Setting things up so I can support you while you're gone." He seems to deflate a little at the reminder that they'll be leaving soon, leaving you. You try not to read into it.

You turn and look at John, who's now across from you, and Kyle, who took the spot on your other side. You don't fail to notice that though your back is to the room, the two most imposing members of the 141 have their eyes on everything in the room, and you're flanked on either side by some of the youngest ever members of such an elite task force. Consciously or not, they've made sure you're well protected.

"So what do you recommend I get?" you ask, glancing around only to realize no one has anything to eat yet. "Wait, did you all eat already?"

John chuckles. "Nah, Oz. We were tryin-a be polite and wait for ya. 'Sides, Laswell said you'd likely skip meals, so I figured eatin' with ya would make sure yer fed." He stands, as does Kyle and Soap. "Now you sit tight with Ghost while we grab some scoff."

You watch as the others get up, leaving you with a Simon who looks anywhere but at you. You notice he has a plain black balaclava on, and he'd been wearing one yesterday too. You wonder if anyone on base knows what he looks like. You don't know what to say as you sit there in awkward silence. This is so different from your usual dynamic with Simon, it makes you uncomfortable.

Minutes tick slowly by, and you look over at John chatting with some other soldiers, Kyle and Soap with a few trays between them. Across from you, Ghost is still silent. And you finally snap.

"Simon?" You try to keep the hurt from your voice as he finally drags his eyes to yours. "Did I do something wrong or offend you somehow?"

part 1 part 3 part 4 part 5 part 6 part 7 part 8

~~

an: I'm trying to get Soap's accent, and it's hard because it's all in the vowel sounds, which have to be spelled out. Forgive me any glaring issues.

Taglist: @blackhawkfanatic

[raavenb2619]

Can you talk more about aromanticism in Do Androids Dream of Electric Sheep :o But yeah as someone who read the book before watching the movie, I thought it was weird they didn't include how animals were super important in the world as a sign of empathy and showing empathy was a status symbol.

Yes, I would love to talk more about this! I have a bunch of incomplete thoughts rattling around in my brain about Blade Runner and Do Androids Dream of Electric Sheep, including about the interesting parts of the book that were cut, like Mercerism, the importance of animals, the empathy boxes, the emotion dialing machines, the spider scene, the other police department, the use and non-use of the empathy test, the fact that multiple androids can share the same face, and the narrative/story treatment of Rachel. I'd like to organize and share my thoughts with other people, but first: I need to watch Blade Runner 2049 because I've heard it's got things for me to analyze, compare, and contrast with the original film and the novel; then I need to decide how many versions of the original film I need to watch and analyze (so far I've only seen The Final Cut, which seems to be the version most people like and recommend, but I think that having Deckard narrate sections could change the worldbuilding and potentially add roboticism that I felt was lacking in The Final Cut); then I probably need to spend some time piecing my ideas together into something coherent that other people can read and understand, but then I'd love to publish my thoughts (probably as an essay on Wordpress, though maybe something a bit more informal) and let people read it and have a conversation about it.

How long will that take? I don't really know. My Frozen essay took four months; DADoES + BR + BR 2049 might take longer because there's more material to analyze. But by asking for my thoughts, you've somehow given me the motivation and inspiration to actually write something about this. (So, thank you for that :).) I'd also like to try to share some of my progress, thoughts, realizations, and questions as they happen on Tumblr, because I'm interested in doing media analysis with other people (and because that might reduce the risk of me losing motivation while working on this), so I may end up rebranding my blog a bit at some point.

Here are some other media analysis/writing things that I'd like to do some day. It turns out that other people asking what my thoughts are on a thing is a really good motivator for me to write down what my thoughts are on a thing, so if anyone wants to encourage me to write an essay or blog post about any parts of any of the following topics, feel free to send me an ask:

Wicked (the musical). One angle I'd like to explore is looking at the musical through an aromantic lens, and reading Elphaba as alloaro/alloaro-aligned. I might broaden the scope to look at other Wizard-of-Oz media, and maybe also aro-aligned villains and aro-aligned anti-heros in media, but maybe that would be better served as a series of essays/blog posts and not an essay so long it should be a book. There's also so much musical/motivic analysis I need to do of Wicked, it has so much depth and I still find more things when I relisten to the music.

The portrayal of robots in fiction. One angle I'd like to explore is, "why are robots and aromanticism linked?" And I'm not happy with the shallow answer of "robots don't have emotions and people think aromantic means you don't have emotions"; I want to actually know "why are robots and aromanticism linked? How did the portrayal of robots evolve for there to be a link? Was that inevitable, or could robots have turned out differently so that they weren't liked to aromanticism? What does the linking of robots and aromanticism say about society and fictional depictions of humanity and lack thereof?" I also need to rewatch and actually finish Battlestar Galactica, though I think that might be more interesting through an ace lens than an aro lens.

Isaac Asimov's fiction and related works. I've been reading a lot of his fiction in publishing order in part because of my interest in the origin of robots and aromanticism, but there's definitely interesting things to be said about his novels and short stories, and also the Foundation TV series, such as how they treat love. (I also want an excuse to rewatch all the episodes just to answer nerdy music theory questions about Demerzel and does she have two musical motifs and why is one very legato and lilting and the other is staccato and halting and is that representing an inner struggle between her humanity and her roboticism?)

An analysis of @kernsing's aromantic sonnet #1 (this is still on my todo list, I got busy but didn't forget, but I have Things to say and I want to Find even More Things to say about this poem)

"Why Beauty and the Beast (1991) is fundamentally arophobic and can't be fixed." Okay, I haven't thought about this in a while so it's possible my perspective has changed and I'll find a way that the story could be changed to not be arophobic, but I know that the conclusion I came to a while ago was that the story structure itself was fundamentally problematic and that changing it enough to make it no longer be arophobic would require changing the story structure so much that it would be a fundamentally different story. This would not exactly be a fun essay to read or write, because I can't imagine many people enjoy someone digging into why a movie so many people love is arophobic to its core, but I'd still like to do it, some day.

Is "The Grinch Who Stole Christmas" a distant relative of "Beauty and the Beast"? (I mean the story structure, not genetics/family trees.)

An analysis of Walt Disney Animation Studios films over the years. After my Frozen essay I spent like a month watching almost every Walt Disney Animation Studios film and tracking how the films treated a bunch of different aspects (e.g. sex, romance, marriage, third wheel, kissing, jealousy, love, true love, meet-cutes, queerness, gender, sexism, transmisogyny, homophobia, multiple concrete aspects of amatonormativity, queercoding). But I never really tabulated or aggregated my notes.

The discarded best friend trope (this is an arophobic trope I noticed and came up with a name for), and some examples and subversions of it.

Why does High School Musical (and HSM 2 and HSM 3) lack romantic love songs despite being a loose retelling of Romeo and Juliet that allegedly preserves the central romance? What are the queer things that can be found in the movies? What would I do if I could remake it as a multi-season TV show that was overflowing with explicit queerness that touched on things that weren't shown in the movies? Can I be normal about Kelsi? (I absolutely can't)

Why does Heartstopper (the TV show) make me read Tao as aro all the time?

Fairy tales! What is a fairy tale? Fairy tales through an aro lens! Do fairy tales have a distinct musical sound/style/identity? Has the musical sound of fairy tales changed over time?

Why do stories typically have room for a heroic love interest, but not a villainous love interest? (I'm not happy with the shallow answer of "because of amatonormativity/arophobia". I want to know, why are stories like this? Does it have to do with the structure and pacing of stories? How do pure narrative reasons interact with societal forces and expectations?)

"Katniss Everdeen from The Hunger Games has always felt aspec to me, and here's why." The last time I read through the trilogy, I felt she came across as demi I think? It might be interesting to compare the books to the movies and look at what and how the adaptation changes, especially with regards to romance, relationships, and aspec coding.

Something about how you can have in depth discussions about aspec politics without using aspec terminology, and maybe using too much aspec terminology makes conversations in the aspec community less accessible to new aspecs as well as well-meaning and open-minded allos who would be better allies to us if they could more easily understand what we talk about. When it comes to things like amatonormativity and allonormativity and the societal norms and issues we face, the more people who understand us and agree with us, the easier it'll be to shift society to be better for aspecs. So, sometimes it makes sense to try to talk about complicated, in-depth aspec issues using as little specialized terminology as possible.

Something something aro Celeste. A while ago a friend joked that I should do an aro analysis of Celeste, and then I started actually thinking about it and saying words and they realized they'd made a mistake, but I never wrote down any of the thoughts I had. Just brainstorming here, but there's probably something I could say about Crystal Hearts as collectibles that gate access to more difficult content and have three different art styles depending on where they appear and how they push you away unless you dash into them and break them and how you can die after collecting a Crystal Heart, Madeline's ex, Madeline and Theo's friendship and Grannie and Theo's grandfather's friendship, Madeline and Badeline's story arc through a "Show Yourself"-like aro lens, and Theo's instagram photos of Madeline doing archery. (This essay would be more on the silly side of things, basically proving that given enough disparate pieces in media I can cobble them together with thumbtacks and red string to make shapes that don't exist. And yes, I came up with the brainstorming list in about 5 minutes off the cuff while writing this bullet point)

An aro reading of Homestuck. I would need to finish Homestuck first, and I'm going to start from the beginning at...some point. I remember really liking and getting excited by the "troll QPRs", and I'm probably going to get nerd-sniped by trying to build my own understanding of how leprechaun romance can make sense. (Yes, I know this might be another thumbtacks and red string essay. No spoilers please)

Something about Gravity Falls, The Owl House, She-Ra, Steven Universe, or other similar TV shows?

Tron and Tron: Legacy? Idk I rewatched them semi recently, and expected to dislike the sequel because I had been listening to the album totally wrong. But then I disliked the original and liked the sequel a lot. There's potentially a music theory lens here, but I'm not sure if there's a queer lens here. But that's okay, maybe someone will suggest one, or maybe I'll just write up my thoughts even though there isn't any queerness to speak of, because my media analysis doesn't always have to be through a queer lens.

Something else that I haven't listed here because I don't have an actual list of things anywhere and I've probably forgotten multiple things?

Something I haven't thought of? If you want to know my thoughts on something or want me to analyze something, feel free to send an ask or a reblog or something. No promises I'll answer in a timely fashion (or ever), but I might

[princesssarisa]

I just came across a YouTube video complaining about the changes made to the musical of Wicked from the original book.

One of its main arguments is that in the musical, Glinda is too easily forgiven – both by Elphaba and by the show's narrative – for working with the Wizard, not to mention the other morally questionable things she does.

Now, I haven't read the book, or analyzed every word of the musical's script and lyrics, but I'm not sure if I agree with that claim or not.

I agree with what @cto10121 has written in the past, that maybe the musical focuses too much on Glinda when it's supposed to be Elphaba's story, but I don't think the show glosses over Glinda's flaws or bad decisions. I've always thought she was a very morally gray character who has a redemption arc in the end. And she most definitely pays a hard price for her mistakes, ending up in power but all alone on a personal level, thinking the two people she loved most are dead because of her.

But just from scrolling a little on both Tumblr and YouTube, I think the musical's fandom might idealize Glinda, whether the musical itself does or not. I don't know how widespread it is, but I've definitely felt as if the fandom idealizes her entire relationship with Elphaba, and they do leap to defend her whenever someone misguidedly calls her "the real wicked witch"... sometimes with defenses I don't buy.

Again, again, and again, I've heard people say "The message is that there are two sides to every story and no one is all good or all bad."

(Which of course is true to an extent, but which IMHO, paints false moral equivalency between Elphaba's side of the story and both Glinda's and the Wizard's.)

I've also seen "The whole point is that Elphaba starts out as the heroine while Glinda starts out as a mean girl, but Glinda becomes a better person while Elphaba becomes a worse person over the course of the story, until they become the characters we know from The Wizard of Oz. Ultimately Glinda is the more heroic one."

(That's... not quite the way I would describe their arcs.)

And, most thought-provokingly of all, I've seen this:

"Glinda deserves more respect for her intelligence. At first we're made to think she's a dumb blonde, but it turns out that she's very clever and shrewd, and her claim that a good image is what matters most in society turns out to be totally right. It's by working within the system and pleasing the Wizard and the people of Oz that Glinda gains power, which lets her oust the Wizard and Morrible in the end, while Elphaba's rebellion crashes and burns."

Even if part of the show's message is "Society values a good image more than real merit or truth," aren't we meant to view that fact as a bad thing that needs to change, rather than admiring Glinda for knowing it all along and benefitting from it?

This reminds me of commentary I've read about Amy March from Little Women. A character who has a lot in common with Glinda in some ways, though without the political aspect. I like Amy and I don't think she deserves the hate she traditionally gets from Jo fans, but some attempts to defend her annoy me. Namely the fans who praise her for conforming to society better than Jo does: i.e. "Amy is the smartest, most mature March sister because she knows how to please her social betters and make the system work in her favor – unlike Jo, whose rebellious ways get her nowhere and who needs to learn to be a proper docile lady for her own good." Again, I like Amy as a character, but as a neurodivergent feminist who relates to Jo's independence and her failure to conform, I don't like that talk.

And Amy doesn't serve a fascist regime.

I'd like to know what bigger Wicked fans than I am think of all this. Does the show absolve Glinda too much, or if not, does the fandom? Or do both the show and fandom have a more-or-less accurate view of both her flaws and her virtues?

[theglasscat]

you are the only person whose opinion I want to hear about Wicked movie when you've seen it. signed, someone who just got out of the movie theater (I also have a lore question but will spoil nothing if you're not seeing it/haven't seen it)

I literally saw this as I was watching the end credits in the theater omg

I went in 90% blind. How do you go in blind when you've read the books and seen/listened the musical? Ignore all press releases, ads, and especially the Down the Yellow Brick Pod patreon group chat. I knew the beats and my low bar was at Oz The Great and Powerful, which is one bar below NBC's Emerald City. All I asked was that it understood the musical/book point and it's relation to other Oz media and it DELIVERED SO WELL. Sometimes in Oz media I go "so is this in my headcanon of Oz time or its own bubble universe" AND THIS ONE WAS IN MY HEADCANON.

The sets were superb, the costumes were superb, the dancing was superb I swear to god I dreamt about the Dancing Through Life choreography on the eve of my Saturn Return. I am not a singing expert and have historically inadvertently loved bad musical singing but I LIKED IT TOO.

My only complaint was how CG the monkey transformation sequence was for all its practical set pieces otherwise (I also know Maguire's monkey lore diverges from the Baum books but all Maguire/Baum divergence I accept long ago). Can you imagine if Henson Creature Shop was brought in just for one brutal stop mo/computer enhanced animatronic moment to add some Return to Oz/39 flying monkey terror? It would have been superb.

Oscar Diggs' characterization, called by name, was 10/10 just Jeff Goldblum as a charlatan pretending to be Gene Wilder as Willy Wonka. The poppy sleeping bit, the hard-core lore map, the desert's edge where any other musical heroine would be singing on an ocean cliff. This movie KNEW ITS OZ. "But the Munchkins aren't wearing blue" well one that's to connect this to the 39 film and because THIS IS AN INTEGRATED OZ THEY ARE MIXING COLORS AND SIGNIFICANTLY THERE ARE ONLY 5 COLOR SCHEMES THE ENSEMBLE ARE WEARING and also THAT SPECIFIC ENSEMBLE IS A DYING VILLAGE AT A HUB OF TEXTILE IMPORT AND EXPORT WHICH CHECKS OFF MY NEED FOR TEXTILE WORK TO BE PRESENT IN A FANTASY WORLD IN THE WHOLE FIRST SCENE

so yes I adored it, for a whole slew of other reasons I also felt seen by it a movie and it is so rare a movie I am seeing sees me back. This was one for the undiagnosed neurodivergent girls who had an affinity with Elphaba in the 2010s, this one was for the girls who wrote this comic the morning before, unknowing that Elphaba would find strength in accepting her emotional inner child at the film's climax:

This is a movie that saw me in this moment I'm at so I'm sooo biased.

Also this felt like a movie movie. My dad said "Did it feel like seeing Wizard of Oz for the first time?" and to be honest, yes? Wizard of Oz for the first time and also the world I have played in and lived in for 18 years now in high def color? I also was by myself in the second row to the screen, chair leaned way back to see everything, and absolutely overstimulated by feeling like I could walk right into my favorite fantasy world. I paid $13 to see a 2.5 hour musical and tbh? I got my money's worth.

What is your lore question???? I'd love to answer!!! Yes Boq SHOULD BE ALIVE TO GREET DOROTHY ON HER FIRST NIGHT IN MUNCHKINLAND but Maguire reflects this in the book and the stage musical mushes Boq and Nick Chopper together, but as two witches get mushed together to make Glinda in the 39 film it's sorta in character. Oz is not for the hard-core facts and continuity, it's about archetypes with similar traits and feelings.

[vinkunwildflowerqueen]

are you worried about the Wicked movie? I am.

I am also really confused why Dorothy was in the trailer!

I'm going to answer the second part of this ask first with a quote:

"I didn't realise this was to do with The Wizard of Oz! It clicked like 40 minutes in, and after that, I really started to enjoy it."

-some guy behind me during intermission of Wicked in September of 2023.

And I've seen a few comments along these lines in the YouTube comments on the trailer in the past week.

There are absolutely people out there who have no idea what Wicked is; or who just would not connect the mental dots of "green witch- Wicked Witch of the West- Wizard of Oz". Maybe people out there who haven't even seen or really heard of The Wizard of Oz. Especially younger people- I teach high school. The number of times I mention a book/film that my students have no idea what it is... nothing makes me feel older than when I have to explain to a 15 year-old what The Lion King is (true story. But the kid knew Seinfeld??)

I don't remember if this was something I read or heard someone say once, but someone once said/wrote "movie studios assume audiences are stupid".

That, and the fact it is a teaser trailer and did not appear to be Act/movie 1 specific, is my guess as to why Dorothy and co are glimpsed in the trailer. To make it very obvious to people that yes, this is connected to The Wizard of Oz.

As to am I worried about the movie?

Not... not really? At least, not in the way some people may be. I'm not worried about if they're going to make it in a way that I love, because the odds of that are very low. Jon Chu and I, to the best of my knowlege, do not share a brain. And I'm pretty easily able to just set the movie aside if I dislike it that much and ignore it- like a certain season of Scrubs or any Pirates of the Caribbean movie past #3, or all of the MCU after Endgame (actually, often including Endgame and Infinity War).

I'm also really hoping/excited for the idea that the movies will bring new life into the fandom.

What I am worried about, I suppose (not sure if worried is the right word), is people seeing the film who haven't seen the show; and then reading my fanfiction and being like "you're doing it wrong because the movie did it like this".

I'm assuming Ao3 and FFnet will add a separate category once the films are out, so that we can easily sort bookverse vs musicalverse vs movieverse, and any combination thereof that people want to read/write.

And while I'm not sure about the FF world, I did see this happen with Percy Jackson when the TV show came out- people complaining about the TV show getting things "wrong" because they were different from the movie- because they hadn't read the books.

(storytime: I once showed a class The Lion King- the 1994 version- as an end of term treat, and after the lesson a girl came up and asked me where the 'Morning Report' song was. And I realised- in horror- that her copy of the movie she'd grown up with was the special edition DVD they'd released in the early 2000s with that song inserted back in. As far as she was concerned, that was how the movie went and what I'd shown them was WRONG.)

Rationally, I know that most people won't be an issue- they'll just filter accordingly and read what they want to read. But I'm fully expecting there to be at least drops of that, because I've already had bits of it over the years; of people commenting on my fics that something is "wrong" because it wasn't like the book- even if everything is clearly labelled as being based on the musical and not the book.

So I'm not really worried, I'm just... pre-emptively tired.

[steampoweredstarsketch]

OKAY CAN WE TALK ABOUT RETURN TO OZ FOR A SECOND!?

So I just watched Return To Oz all the way through for the first time, and, as someone who has read almost all of the Wizard of Oz books in the series, can I just say….

What a marvelously accurate representation!?

So Return To Oz is based off the two books in the series following The Wizard of Oz, (The First One). The Marvelous Land of Oz, and Ozma Of Oz. And while it is a far cry from a shot for shot visual recreation of the books, it is a damn respectable representation as far as the parts it did adapt goes. In fact, most of the characters, tasks, and elements are ripped straight from the book, they’re just rearranged in a hodgepodge sort of way that still somehow maintains the sentiment each of them had in the book so authentically I might just give it a medal for most loyal book adaptation were it more linear!!

Pretty much all of the character designs were ripped straight from the original John R Neil illustrations like Jim Henson and Will Vinton brought them to life!! All the main characters, the wheelers, her returning to Oz with Billina by getting lost at sea and showing up on a shore with lunchbox trees and encountering a terrifying princess with an interchangeable head, facing off against the gnome king with her friends getting turned into ornaments one by one, the gnome king coming off as nice at first but then showing his true colors, Ozma, Tik Tok, even down to how jack pumpkin head came to be and the magic words to say that brings the Gump to life with the Alive Powder and getting it from a wizard! So much of it is so on point, even the celebration at the end!!

Of course, there are some striking differences between the two that I think they did either to save the run time, by technical limitations, or to consolidate aspects of the book together for simplicities sake. And you would think that might ruin it for a lover of the book, but I’m telling you this movie was MADE for people who loved the books!!!

Like holyfuck!! Return to Oz was made with so much love and time and effort and attention to detail I could cry!!! Even right down to jack Pumpkinheads outfit!!! They mixed up or left out some important aspects and context, and I have no fucking clue what the whole insane asylum thing at the beginning was supposed to be about, that is probably the most made up and out of place thing in the whole movie to be frank. …… L. Frank…. That is….. 😏 Okay I’ll shut up.

Also can we talk about the whole insane asylum electroshock therapy thing??? Like wtf guys??? I’d chalk up everybody’s childhood fears to the 80’s effects if it wasn’t for that weirdness at the beginning! Also, why does the doctor die in the fire and why is the nurse being carted off to jail?? I feel like I missed something there. Like, I got the feeling we weren’t supposed to like them because Dorothy was afraid of them, and we have hindsight bias about the effects of electroshock therapy, but like, they didn’t do anything wrong or evil or even particularly mean!! Like we know electroshock therapy can scramble your eggs now, (although a modified version has been proven safe and effective and is still used today for some specific circumstances) back then electroshock therapy was just another treatment, they genuinely were under the belief that they were helping their patients! The doctor tried to be friendly and make the experience less scary for Dorothy, and the nurse just came off as a little cold and not good with kids, and sort of firmly told her to lie down on the gurney, but she was never in anyway cruel to anybody, and even risks her life to save the two girls from the river in the thunderstorm in the beginning!!

And in the end they say the asylum burned down, and everyone was rescued except the doctor who went back in for his machines, and they just don’t explain why the nurse is being carted away!! I think it’s implied that it was for having people locked up there and we can hear their screams in the beginning, but once again, that was standard practice by then! And since everyone made it out okay, that specifically implies that both nurse and doctor did their jobs and ensured the safety of all the patients in their care! And once that had been done, the doctor went back in to try to safe this equipment he thought he was using to help so many people, and he fucking dies in there!! WTF!?!?

That aside, I can’t gush enough about the effects, Will Vinton is a god of his craft, and just how unbelievably smooth and creative and expressive the stone gnomes are is just eye candy, and same to Jim Henson with how he brought all the other characters to life so accurately!!!

Also, fun fact, “Princess Mombi”, from Return to Oz, is actually a mashup of two different characters from the books, The Old Witch Mombi, a recurring antagonist who debuted in book 2, The Marvelous Land of Oz, who for years imprisoned Princess Ozma as her indentured ward, except Mombi turned her into a boy named Tippertarius, Or Tipp, for short. And in the fucking end of that book?? THERES A GODDAMN TRANSGENDER MAGICAL GIRL TRANSFORMATION!!! This book was published in 1904 mind you!! No wonder why this series was claimed by the gays so fast. (Unrelated note, The Scarecrow X Tin Woodsman OTP forever, they’re so wholesome,) And by the way, this was the bit where Jack Pumpkinhead comes from. Ever wonder why he keeps calling Dorothy “Mom”?? Well Ozma created Jack Pumpkinhead while she was Tipp to scare Mombi, and then Mombi used the magic alive powder on Jack to use him as a handyman so she could turn TIpp to stone for all the trouble. Tipp turns into Ozma at the end of the book, and I believe Jack refers to Tipp as his father, and so when Tipp turns into Ozma I suppose she then became his Mother. And Ozma and Dorothy are tighter than a pickle jar and Ozma dubs her an honorary Princess of Oz, and are supper affectionate toward one another, giving off some major lesbian vibes, so in that case, as two in love co-rulers, I think they’re trying to say Jack Pumpkinhead has two moms and I’m super here for it.

So if Mombi is a witch, then what’s with the princess shtick with all the heads about?? Well that’s where the book “Ozma of Oz” comes in, which ironically is more Dorothy centric. So Dorothy gets lost at sea while sailing on a ship to Australia for a vacation with Uncle Henry, when she’s looking in the ship chicken coop on the deck, she finds a chicken named bill, they get swept out to sea in a storm, and wash up on the shore of, Not Oz! But the Country of Ev!! They dust themselves off, Bill the chicken corrects Dorothy’s pronouns and renames herself Billina, and they see big letters written in the sand saying “BEWARE THE WHEELERS” And lemme tell you, the movie was spot on with them fuckers. The designs, and the fact they talk big but are generally benign and try to scare people away from the lunchbox trees so they can have them all to themselves. BTW the lunchbox trees are also in the book and I wanna eat them so friggin bad!!!

Princess Mombi/ Princess Langwidere /

Witch Mombi

Anyway! The Country of Ev has a Princess, Princess Lanwidere, who has over 50 interchangeable heads she came across much like Princess Mombi from the movie! Also kept in glass cases, and she also expresses the desire to lock Dorothy away so she can take her head when she’s older. (Side note, Langwidere is the Niece of the Late tragic Kine Evoldo who has a really tragic story and demise of walking into the sea to drown himself!) Princess Langwidere is also narcissistic and not a very good ruler, but aside from her one run in with Dorothy she’s generally a one off antagonist in the story. But her whole deal is so interesting and memorable I see why they chose to combine both the characters together to make a really memorable knock your socks off villainess!

And lastly the Nome King, while still being made of stone with pebbles for the beard, he’s described as looking like a very jovial short Santa Claus, (L Frank Baum REALLY loved Santa Claus, and references him often in the Oz series, and even writes the life and adventures of Santa Claus) And he has a magical emerald belt. There were no ruby slippers in the books, only silver shoes, which magically disappeared when she wished herself home in the last book, but they were lost forever and never recovered.

They also got Ozma’s magical mirror correct, and she looks into it at a certain time every single day to see if Dorothy ever wants to return to oz and she will make it so.

This was such a tender an loving adaptation I demand it be given more love and more credit for all time!!

I! HAVE! SPOKEN!!!

[agentrouka-blog]

Excuse me for my poor English, but why did the others return during the time when there are multiple "saviors"? Are The others returning tide to the "Savior/Hero" born? Or the threat of the long night is there for each generation, and for each generation they have their "savior/s" ?  What if the prophesied "hero/s" being born wakes the others? 

Hi there!

That's the kind of deep lore speculation that is unfortunately not my forte at all. 

Given the hundreds or thousands of years between the different kinds of natural devastation (Long Night, Hardhome, Doom of Valyria, Long Night 2.0 etc.) I don’t think there’s a “one for every generation” dynamic at play, anyway. 

As for why this is all happening concurrently now? 

TL;DR: No idea, probably incomprehensible god shenanigans for celestial giggles.

There is obviously some kind of higher power with the ability to direct supernatural events to a point - or at least foretell future events in a compelling way. The comet is a prime example, as is the birth of six direwolf puppies with an albino in the mix and a highly symbolic maternal death-by-stag. Something is being communicated through supernaturally directed natural events.

Then there is the concept of wider, shared consciousness. The depiction of death as being aware of peacefully dissolving into nature, the fact of warging or of tree memory and the weirwood network. There is consciousness beyond the biological body. A higher plane. This life energy is a transferable currency of some kind. 

Resurrections, too. When you trade death for life, you're trading that energy with some entity - something specific for something specific. Raising the wights also requires a supernatural life force added onto something dead. All of that supernatural stuff has to be monitored or directed by something somewhere.

Prophecies appear to be self-fulfilling to an extend but clearly some people have access to a broader perspective on the timeline of past and future and potential future. Someone or something is granting them access. There is a plane of existence where a higher power can read the world of the living like an interactive book. Perhaps a book they are writing. We could think of that as an author playing with characters and tweaking a story, raising chaos for entertainment. But who knows what GRRM is really envisioning.

Our human protagonists have no access to that extremely elevated author/god sphere, and the closest we may come in their POV is through explanations given to Bran in the weirwood network.  

When comatose Bran looks behind the curtain of light into the heart of winter, I sometimes flash to the Wizard of Oz. 

North and north and north he looked, to the curtain of light at the end of the world, and then beyond that curtain. He looked deep into the heart of winter, and then he cried out, afraid, and the heat of his tears burned on his cheeks. (AGOT, Bran III)

The man behind the curtain. The wizard is, of course, a fraud. Whatever Bran sees seems more like a “going mad from the revelation” kind of reaction, though. He is first and foremost afraid. But we get no hint of what “the heart of winter” is supposed to be. Maybe something as simple as the deep indifference of a cold universe. Existential panic translated into a fantasy setting. But we may never get the full picture.

That's my sad answer. I have no idea and we may only ever get a partial answer about the motivations of that top level of involvement within GRRM’s sotry. But whatever the reason for the current and past apocalyptic events is, it's likely to be at least partially deliberate and directed from that top author/god sphere. 

Someone or something has an interest in dissolving the barriers between the living world and the magical world, they are allowing access to it for mortal beings through magical exchanges. Since magic has existed since time immemorial for living beings, this has been going on for a long time, but there have been moments of extreme escalation before, cataclysmic destruction or extreme winter and darkness. Now it’s escalating again. 

Why now? No idea. But likely humans (and children of the forest) are being very accomodating toys or tools to act out the desired chaos. Magic is the bait, and they are taking it. But something much bigger is dangling that bait and watching it happen.

It may mean absolutely nothing, ultimately. It may be nothing more than a game. 

[neopoliitan]

Theory: RWBY’s Oz allusions are played in reverse.

So by now we’re all familiar with the fact that RWBY has multiple characters based on or inspired by characters from L. Frank Baum’s Oz novels - specifically those seeming to have close ties to Ozpin and the old guard. There’s always been a sort of general idea of how each character ties into their allusion, but I’m going to attempt to convince the reader that RWBY’s Oz characters are specifically designed as an inverse or reverse of their Oz counterpart.

Let’s start with someone simple.

Professor Ozpin & The Wizard of Oz

“Pay no attention to the man behind the curtain” is what they say about the Wizard in the Oz books. In the source material, the main cast spend their adventure assuming that the Wizard is a grand magician who can solve all of their problems. As it turns out, he’s little more than a con man who can put on a decent show. 

Contrast with Professor Ozpin; while the main four cast members assume he’s just another huntsman, it’s revealed he is an extremely powerful Wizard who has reincarnated potentially thousands of times. He takes the Wizard’s concept and reverses the steps.

Leonardo Lionheart & The Cowardly Lion

Leonardo is one you have to read between the lines for. Despite his role on-screen being portrayed as a one-note coward, he remarks that he’s ‘not the fighter he used to be’, Ozpin speaks somewhat fondly of him in Volume 6 and he was trusted with the protection of a vault.

The Cowardly Lion is, well, cowardly, and at the end of his story ‘gains’ his courage by finding out he had it all along. In contrast, Leonardo seems to be a man who had courage, but lost it at the end of his story.

James Ironwood & The Tin Woodman

Ironwood is a very clear cut case. Characters like Watts remark that his heart has cost him his mind. He’s open, welcoming and apologetic at the start of volume 7. In volumes 2 and 3 he praises Ruby for going after Cinder alone at the dance and tells the students no one will fault them if they leave during the Fall of Beacon. All symptoms of a man who tries his best to care.

But after the fall of Beacon, James’ fixation on finding a solution sees pieces fall apart around him. He’s constantly backed into a corner by Salem and paranoia, and both figuratively and literally cuts himself off to find some small amount of victory, be able to assure himself that he definitely saved someone.

The Tin Man has no heart and ‘gains’ one. James Ironwood had a big heart, but he’s losing it.

Qrow Branwen & The Scarecrow

Qrow Branwen is initially presented as Ozpin’s most trusted lieutenant, to the point he has been granted a small amount of magic with which he can perform scouting missions. But as it turns out, Qrow was kept in the dark to a lot of Ozpin’s history, and the fact he had no plan to defeat Salem, and is shattered by the realisation.

The scarecrow, meanwhile, hopes the Wizard can give him a brain. If we assume the brain is reflective of knowledge, well - the Scarecrow gains it, while Qrow founds out that he knew nothing.

Of course, it’s also worth considering that Qrow’s mental state as of late volume 7 and volume 8 may be reflective of the Scarecrow losing his mind.

Oscar Pine & Tip AKA Ozma

With Oscar, you’re going to have to take my word for how he ties into the Oz lore, as even though he’s been around for five volumes Word of God still hasn’t come out and given us an allusion for him.

In my mind, he’s reflective of Tip, a young boy who lives alone on a farm with a witch-like woman named Mombi. As it turns out, Tip is actually Princess Ozma - kidnapped by Mombi and turned into a lowly farmboy so she could not ascend to the throne of Oz.

So Tip’s true form is Ozma, and Tip was merely a deception. 

Meanwhile, Oscar Pine is a young boy who lives alone with his aunt on a farm, but the responsibility of becoming Ozma’s next incarnation is thrust upon him and he resists.

In Oz, the identity of Tip is thrust upon Ozma. In RWBY, the identity of Ozma is thrust upon Oscar. In Oz, Ozma was always the true form of the character; in RWBY, the farmboy is his real self.

And if we’re going backwards... Ozma was forced to become Tip, then became Ozma again. Might Oscar be forced to become Ozma, then regain himself later? We can only hope.

Salem & the Wicked Witch of the West

I can sum this one up extremely simply;

Water is what killed the Wicked Witch of the West at the end of the story. Water is what cursed Salem to never die at the beginning of the story. What this means for her is hard to say, but how the Wicked Witch began may give us a clue on how Salem might end (but who knows).

Professor Theodore & Dorothy

So here’s the skippy - we don’t know nearly enough about Theodore other than his garish wardrobe being an extremely heavy handed reference to Dorothy, but we can still do a bit of exploring for funsies.

So Dorothy’s character arc in Oz is that she wants to get home to Kansas. “There’s no place like home” and all that. If Theodore’s arc is played backwards, it’s possible he may want to leave Vacuo - that might add reasoning to him constantly challenging people to beat him in a fight and take his role as headmaster - he wants to get out of there.

There’s a little more about Theodore that I might write about, specifically regarding that despite it all he may not actually allude to Dorothy and the similarities are a complete misdirect - but that will have to wait till another post.

For now, take what this post has told you into consideration (and also give me the benefit of the doubt because there’s probably a lot of confirmation bias), and go forth into the end of Volume 8 wondering if that Tin Man is going to lose even more of his heart.

While you’re here - maybe check out my RWBY fancomic, Team RAIN, too!

[maleyanderecafe]

Hey there was a mobile game I wanted to recommend you check out! It’s called MazM: The Phantom of the Opera. Obviously the phantom himself is a well-known character and prime example of a yandere, and this version’s Raoul also takes on that trait a little (although it’s mostly because Christine is in a life or death situation and this he’s protective over her), he’s very sweet and doesn’t wait a moment to shower her with praise. Anyway it’s a pretty faithful retelling of the original book and was extra fun for me as a yandere-lover as you play as Christine caught in between the yandere and the actual boyfriend. I think it’s coming to the switch soon as well if you want to wait for that.

...Are you sure that Raoul just takes on this trait a bit...?

Joking aside, sorry it took me so long to answer this ask. I was originally going to watch a walkthrough on youtube, but then I realized that you said it would be on switch and since I just got my switch emulator, I ended up playing with a friend. I will say that there is a lot for me to say about this game, so this will be a long read.

First things first, I'll admit that I've never actually read or watched the Phantom of the Opera before, so I genuinely have no idea what happens in the story. This is where my friend who I was streaming for comes in because she has read the story so she helped fill me in on what happens (she's also making a yandere vn in the future which I will be spamming the heck out of because yandere vn). I think from what she told me, most of the story is relatively accurate, though some parts are changed for one reason or another (for instance, The Persian has a name in this game, but in the original, he doesn't), which has some pros and cons for some characters. Overall though, the story was pretty good for a first timer like me since it really let me experience what the Phantom of the Opera is truly about. I think the creator Mazm did a good job for historical detail, which makes sense considering their platform is about creating games that reinterpret famous stories (they've also done one for Wizard of Oz and Jekyll and Hyde which I sort of want to play), and there are a lot of different notes the player can collect in the game that give more historical insight into what is going on.

The story for the most part is pretty linear. There are some choices you can choose, but except for two, they don't really affect the story. For the most part, the game plays as a visual novel, though you do have to walk around to talk or interact with things to proceed the story. There are cats and notes that lie around the game too, with the notes giving more historical insight and the cats being used as hints in case you don't know where to go. The story is about a detective trying to find out the truth of the Phantom of the Opera at a request of a client whos husband was a victim of him, but most of the story is played through a flashback.

There are also small minigames as well that aren't too difficult, though I honestly felt like some of the minigames got to be tedious at times, specifically the one minigame where you have to press the order of the mirror combo which I found really annoying because besides the fact that I'm bad at those games, you had to do it every time you wanted to enter under the Opera house, which was just... ugh. The game itself seems much more optimized for mobile than it was for switch considering how slow the characters move (and its really slow walking to different places sometimes) as well as the fact that it takes forever to load between different scenes and there's no touch screen option for switch (that I know of). Plus the buttons for moving and pressing hints were annoying to deal with (though this could just be because I'm using an emulator). I also kept getting confused when I was playing, since sometimes I would walk around the entire opera house trying to figure out what to do next, only to learn that I was suppose to talk to someone that was literally five steps from where I spawned. The last thing I found annoying was the fact that there's no option to skip dialogue which is really annoying when I wanted to replay a specific part of the story to take some screenshots. If you play this game, it's probably better to play it on mobile than on switch.

In terms of artwork, Mazm's Phantom of the Opera is really gorgeous, from the overworld sprites to the dialogue sprites to the background and CGs. I love how cute the overworld sprites are (I think Jammes and Raoul's are my favorite, they're both so cute) and every background is really nice to walk through and gives a good atmosphere of what it's trying to show. The character sprites for each characters are nice and varied. I can always appreciate characters that have recognizable faces and shapes, since a lot of times I have face blindness when it comes to characters that look way too similar. The CGs of course are super well done and I love all of them. Overall, the artstyle of this game is very solid and I love the way it looks.

The main character of the story was Christine, who looks really good ( I really love her hair), was for the most part alright initially. While I found her to be a bit naive (because she believed that there was an actual Angel of Music when it was just... the Phantom), she was for the most part alright, and even ended up saving another character from the phantom. However, I found her actions annoying after she met the phantom, specifically the part where she agreed to stay underground with the phantom for two days and would be released as long as she didn't touch his mask, and guess what. Right as she was literally about to leave, SHE TAKES OFF HIS MASK, AND FOR WHAT? YOU WERE JUST ABOUT TO LEAVE?? The other thing that bothered me was the after being trapped with the Phantom for about a month, she is given free reign to go back above ground, under the conditions that she only goes to the opera house and at home. During this time, she's expected to break it off with Raoul, so she fakes a honeymoon with him before he leaves for the artic. However, during this time, she doesn't tell anyone, not even Raoul about what the Phantom is up to. She has an entire month, an ENTIRE MONTH to tell someone that the Phantom is likely to hurt people (as previously he had dropped a chandelier on top of the audience) and she just... didn't. Understandably, she might have been afraid that the Phantom might have heard her, but still, what is he going to do to the possible 100 people that Christine could have told about him. She could have saved people from death if something like that were to happen. Near the end, she does get proper character development and learns to choose things for her sake and not others, which was pretty nice and does stand up to the Phantom after all the trauma (and doesn't get stockholm sydrome, thank goodness), but I still think that a lot of her actions could have probably been written better to make her less naive (since apparently in the original she was about 16ish while in this remake she's about 20 so it's less awkward between her and the phantom).

Raoul is the next character I'll be talking about, because even though he is very adorable, he also has one braincell and talks about Christine way too much. My friend and I actually decided to make a counter on how many times Erik and Raoul say "Christine." Erik says Christines name 128 times and Raoul... says it 340 times. This isn't even counting his introduction and only starts up to when Erik is introduced as a formal character and also doesn't count any time he says it in the overworld. 340! My friend kept on joking around that because Raoul says Christine so much, his brother Phillipe became an alcoholic because he's so tired of Raoul talking about Christine. Raoul only really has like three things going for him: the fact that he was in the military, the fact that he's part of the Chagny household and Christine, and that's it. Throughout the story, his goals are pretty much always related to Christine, whether it be to give gifts to Christine, being worried about her or trying to protect Christine from the Phantom. When the chandelier drops on half the crowd during one of the performances, instead of being worried for them or trying to get out of the Opera House, he instead looks for Christine, who is on stage and quite literally in the safest location within the theater. I would consider him a redeemed/protective yandere though, considering his priority is always Christine (he even gives up his own family name to be with her) and he's always trying to protect her. There's a part of the story where Raoul becomes really unhinged when it comes to protecting Christine, lashing out her her friends and other members of the Opera house. He does some really dumb stuff because of the Phantom, specifically throwing away Christine's ring that she got from the Phantom (that she also literally told him before that as long as she's wearing the ring she wouldn't be harmed by the phantom and he just...?? okay??). When he's tortured in the mirror room, he hallucinates Christine blaming him for her capture, and he even cries while hallucinating that Christine friendzones him (which I though was actually really funny, even if it was a tad bit stupid). His redemption comes near the end of the story where he apologizes for being so emotional and realizing that he was a bit of an obsessive beast, and in one ending he lets Christine go to travel the world. To be honest, I don't know if Raoul would continue to be as protective and obsessed with her even after the Phantom's death, but I guess there's not really any way to know.

The Phantom, or Erik (which I know is his cannon name but it makes me laugh because he really doesn't look like an Erik) is the main villain of the story. Unfortunately, in this version, I don't think I can call him a yandere, for one simple character: Melek. Melek, as far as I know isn't in the original story, is a prisoner that Erik has after she refused to marry her. As a character, I do actually like Melek since she's the one of the more sensible characters in the story and she's the more rational one between her and Christine, but her role in the story basically deconfirms Erik as a yandere, at least in this version. For one, Melek is a blind maid of Erik that he did fall in love with and trap, similar to how Christine was, which kind of comes off as Erik being the kind of person who would trap any girl that he likes. Even if this is the case, I don't understand why Erik would keep her alive even after she fell for Christine. Supposedly the reason is that Erik wanted to make Christine feel despair and he did attempt to kill her, but Melek survives and he just... doesn't do anything with her. Honestly, if Melek were straight up not in the story, I would have put him as a yandere because pretty much all of his other actions point to a more possessive/worship type of yandere, but because of Melek it's just not possible in my eyes. Besides that Erik sort of reminds me of a chunni in this version (he's like this absolute darkness is my curse! Like people with 7th grade syndrom seem to have), it was kind of hard for me to take him seriously in certain times. He is very intimidating when he threatens Christine, but his overdramatic nature (which I know is something he's always known for, just this version is uh...) really makes him seem like a child. Erik is for sure suppose to be more antagonistic in this version, considering the addition of Melek and his general actions of possession towards Christine and his disdain for Raoul, but near the end we do see more of his story and we see just how devastating his life is from the moment of birth. I did feel really bad for him when Hatim/The Persian keeps on mentioning the prince he used to work with because its really obvious that he still has trauma from it (and he keeps begging him to not talk about his past and the Persian just... keeps traumatizing him I guess) and the fact that he was treated so badly because of his appearance, but this doesn't excuse his actions in the story. Christine does try to sympathize with him using her own tragic backstory, which Erik kind of pushes away (like bro, we're not trying to see whose parents are worse, she's just trying to sympathize with you, dang) as not being tragic. I think that Mazm did present him pretty well in this story, not showing just his antagonistic side but also his more tragic side. Sadly, like I said, I can't consider him a yandere because of the addition of Melek, at least not in this version.

In terms of other characters, I really like the trio of Meg Giry, Sorelli and Jammes- the friends of Christine. From what I can tell, they're all a bit more aged up in this version, with Sorelli being the oldest and Jammes being the youngest and I feel like they gave more character to them than in the original version. Sorelli is the head of the dancers and the dating partner of Phillip de Chagny, Raoul's older brother and she's the mature and strong willed one of the group, wielding a blade that she uses to protect her friends. I like the fact that they made her a bit more protective and in one of the overworld sprites its mentioned via rumor that Phillip fell in love with her after he saw Sorelli swing her dagger, which I thought was pretty cute. At the end though, after Phillips death, she realizes that she was struggling too hard to climb up the social ladder and decides to forge her own path. In the beginning she attempts to protect her and her friends from the Phantom, declaring that she'll stab him if she sees him. Next is Meg Giry, and from what my friend told me, she was very young in the original books and kind of scardy cat. In this version, she's a bit older but maintains the scardy cat position, and is very terrified of the Phantom. She does gain more character development during the story, standing up to her mother and the managers and overall being a more assertive and confident person, which I thought was a nice touch. Last but certainly not least is my best girl Jammes. In the original story, she barely makes an appearance, but in Mazm they made her quite literally the best character. For one, the canonical reason why there are so many cats hanging out in the opera house is that Jammes keeps on feeding them and letting them in and she has named all of them after the Opera House staff. Jammes loves to spin and has a cute animation and while she can be loud and a bit strange sometimes, she can be smart and assertive when she needs to. Jammes always pushes the other three into being better and protects them when needed (for instance, when Phillip lashes out at Sorelli, she steps in and demands that he apologize for his actions) and can be really smart at times (she's the only character that attempts to at least cover her mouth when the Phantom's fragrance, a hallucinogenic gas, starts to fill up the box seat, despite others who have been in there not even trying) and is the one who stands up for Christine's abuse as well as for the dancers at the opera house being treated unfairly by the manager as she organizes a strike against them. She also becomes part of the women's suffrage after the events of the story. I could go on and on about Jammes, but instead I'll leave a cute picture of her at the end of this entire analysis. Besides those three, I did like Carlotta, the original singing lead of the opera house. Originally, she became an antagonist towards Christine after she became the lead singer, however, she did apologize to her afterwards and befriended her once more before traveling the world. I love her interactions with Raoul because she basically said that Raoul only has Christine and military training and when he gets angry and lashes out, Carlotta glares and him, causing him to cower (this actually does happen multiple times), and I just found that really, really funny. Mifoid, though useless in the story is actually pretty cute as well, I love his bouncing animation. The last character I'll talk about is Phillip because he became meme material for me and my friend considering he probably is so tired of Raoul talking about Christine (we joked that the reason he was sent to military was so that he didn't have to hear her name again) and while he is mostly a decent but strict character in the story, his last appearance really makes him out as a jerk. I did think it was kind of weird that Phillip was so willing to let Raoul go to the Artic mission considering nobody that has gone there has ever returned, and he was rather elitest towards him, not letting him marry Christine because she's of lower

class but during his last chapter before he dies, he goes on a frenzy after he and Raoul have a fight, revealing to Sorelli that he only dated her for fun and not to actually settle down with her, which is just horrible. It's a bit sad though that Raoul only saw him as someone who tried to get rid of him considering that Phillip did raise Raoul and that his last actions were an attempt to save Phillip from the phantom, and yet Raoul barely has a reaction after seeing his body and doesn't even go to his funeral. It's really sad that Raoul didn't even really cry after seeing Phillip's body, considering that he was basically his father figure.

Overall, it's a good game to play and a good retelling of the Phantom of the Opera. I wouldn't consider the Phantom to be a yandere in this game, but I do think that Raoul is one. Thank you for this recommendation!

[twdmusicboxmystery]

Notes on The DaVinci Code

@galadrieljones:

Last night I decided it was time to rewatch the DaVinci Code. I am about a third of the way through. If anything I am enjoying it as a return to the innocence of the early 00s. To think all the world could at once be so captivated by a fictional Biblical scavenger hunt! Simpler times lol.

@wdway:

I haven't watched TDVC from start to finish in a long time. I caught bits and pieces when it shows up on cable. The big tie for me is the Last Supper wooden plaque that Daryl looks at in s5 and the way that Daryl and Beth's Last Supper scene in Alone. Daryl is seated to the left of Beth (our left looking at them from the front) just as Mary Magdalene is seated to the left of Jesus. 

There is also the "V" of Beth sweater and the "V" described in the book/ movie. The fact that the Bible tells us that later in the garden after the supper, Jesus was taken away by soldiers, Beth was taken by the Grady police. This is just off the top of my head but there was a lot of focus of the apple box and there are all the apple references in TWD. I know there are many more ties, but these are what first comes to my mind. Look forward to your finds.

@galadrieljones:

I have to say the whole feel of it, with the fast-paced setting and the dark streets with the lights and Paris, just really reminded me of World Beyond, the coda especially. I'm very excited for the spin-off, and I really do think that it will be informed by the grail quest in Davinci Code.

I have read a lot of posts about the Mary Magdalene/Jesus parallels, but I know I haven't read them all. I am going to post the parallels I noticed, and just a warning that some may be repeats to things that have already been discussed. 

I also want to say that I do see the Daryl/Mary Magdalene comparison. Where I really see it is through a Daryl/Robert Langdon parallel, opposed to a Beth/Sophie Neveu parallel. I also see many parallels between what happened to Mary Magdalene and what happened to Beth. Robert's search for the holy grail is ultimately his search for Mary Magdalene, and what I like about the symbolism is that, in Sophie, the Mary M/Jesus symbolism are synonymous. She is both the divine feminine and the savior of mankind. Very interesting.

I'm going to go through my notes. Many of them are based on screenshots. First, the Louvre is holding a Caravaggio exhibit when Sauniere is murdered. Coincidence?

There are two prominent full moons shown during the course of the movie, both associated with airplanes. The first is the view from the plane when we first meet Bishop Aringarosa. The second is when they take off in Teabing’s plane for Zurich.

In Sophie’s memory of her last fight with Sauniere, who she believed to be her grandfather, she is shown running through a field of red poppies.

I once thought this was an obvious Wizard of Oz reference. Now I’m not totally sure.

Obviously, the crusade crosses, we’ve discussed. I noticed a ton of the same imagery from when I watched the Seventh Seal a long time ago, which is also a grail quest.

These phi symbols

That bank is fictional.

The white rose

@wdway:

The flower flower petals remind me of the flower petals on Beth's boots.

@galadrieljones:

!!!!! omg good call!

The name Silas.

Also, Bezu Fache. The COP. He works for Aringarosa, the head of Opus Dei, on behalf of someone called “The Teacher.” The Teacher = a quasi-sympathetic enemy, by some stretches an ally. The Teacher is Teabing. Teabing says: “People rarely notice things right in front of their eyes.” Dawn’s last name is “Lerner,” ie: Le(a)rner, ie: Student. I saw a parallel between Dawn and Fache. Both are sympathetic toward the end. Both are perhaps being misled by a greater power they believe in.

I’ve always wondered about Dawn’s last name. I found this to be an interesting lead.

The Malleus Maleficarum —> Mention of witch hunts —> Davon

The story of Mary Magdalene was interesting to me. That after Jesus was crucified, she lived out her days “in hiding.” The zealots pursued her, even in “death,” trying to destroy proof of her existence. But she always had “her knights,” ie: “brave men sworn to defend her.”

This reminded me of Snow White, pursued by the wicked stepmother for her beauty. She sends the “huntsman” to kill Snow White and bring her Snow White’s heart, but the huntsman is too enchanted by Snow White and brings the witch the heart of an animal instead. Snow White is protected by the Seven Dwarfs (her knights), who advise her never to leave the house during the day. When she does, she is pursued by the witch, who comes in disguise and gives her the poison apple. She “dies,” is placed in her glass coffin, which is watched over by the dwarfs until the prince arrives.

If Beth did receive some kind of “treatment” which allows her to survive the zombie virus, it’s possible she will be pursued for this. In the WB coda, we don’t know the identity of the man who kills the French scientist. We have since learned that there is some sort of “Nationalist” threat in France, which Daryl will have to contend with. If they are trying to protect some sort of narrative, possibly they are trying to kill anyone who has survived the virus or its various strains, or anyone affiliated with the research the brought the virus into the world. This would force Beth into hiding. Just some wild speculation for you today.

Bridal carry, plaid parallels = blue/red/yellow, snow white’s dress

 Just want to show this again, with another shot of the Still hug. It kind of struck me.

@twdmusicboxmystery:

Love it! It's so crazy to see that parallel of Beth laying her head on Daryl's shoulder and wonder if that's exactly where they got the idea from. Also, I'm always here for the wildest of speculations. Cuz many of them are mine, lol. I love the Snow-White references as well, and now I'm entertaining a head canon of Daryl as the huntsman (which I know we've discussed before, but this head canon just popped up) where he goes to kill someone for someone else (kind of like TF volunteering to kill Negan for HT in S6) and getting there to find the person he's supposed to kill is Beth. Man, I could go crazy with that premise!

@galadrieljones:

I know, right? I was very excited by the visual parallel there! And yes, the premise has a lot of possibilities. If Gimple is even wanting to touch on the grail quest as explored in TDVC, then things are very interesting right now. Also, I really can’t get over your memory, @wdway, and how you pinpointed those white flowers to Beth’s boots. I just feel like these things are very…suspicious lol

There’s a moment at the end, too, with some dialogue between Langdon and Sophie, where he wonders if she perhaps healed his trauma (from falling into a well in childhood) with her hands. It did remind me of Beth physically grabbing Daryl in Still and healing his pain. Langdon falling down a well did remind me, too, of something Daryl would have been through. Langdon was down there so long he said he thought he was going to die, and in this moment, he prayed to Jesus. Reminded me of Daryl getting lost in the woods when no one came to look for him.

There are also various apple references in The Da Vinci Code. I’m going to assume these have already been discovered but present them anyway. They visit Sir Isaac Newton’s tomb in the movie, and the code word to the cryptex is APPLE. While it’s nothing new, I really am a bit floored by the parallels here. I’m also kind of surprised by how much overlap there is with the Snow White metaphor.

In one of the clues, it talks about a “knight that a pope interred.” The knight is Sir Isaac Newton, and the “POPE” is Alexander Pope.

Another parallel between Sophie and Beth: Langdon discovers that Sophie is the “sangreal” when he finds the newspaper clipping from her parents’ accident. In the article, it says her whole family died, INCLUDING her. Sauniere, the Grand Master hid her and raised her, to protect her. So, she “died,” according to those who witnessed the accident, but she wasn’t actually dead. Her death was faked. In the end, when she discovers all the guardians who have been waiting for her arrival at the tomb, this is sort of like her resurrection.

Obviously, I could be way off, but if they do use this as a template for Beth, it could explain her disappearance.

Something special about her “blood.” Maybe she’s immune, maybe she is made immune by treatment via Project V. This makes her a target, obviously. She is hidden away for her own protection. She is told everyone in her family is dead so that she doesn’t go looking for them.

Per the Snow White parallels, the Louvre can also be viewed as a glass coffin?

Just full of random thoughts today lol. @wdway, didn’t you point out that Project V corresponds to the symbol for the chalice?

@wdway:

I believe we've talked about that a while back. It is still a good point to revisit. I've been meaning to mention that the letter "V" is the 22nd letter in the alphabet. "X" is the 24th, just thinking about the last episode of the series titled, Rest In Peace.

@twdmusicboxmystery:

Yeah, the more we explore TDVC, the more sure we are that Gimple is using it as a template. Along with Snow White and others we’ve discussed. What do you think of TDVC parallels?

[snowinthe-south]

(This post has been edited and cleaned up a little)

Why I honestly think Rosegarden could be end-game just by character hints:

So, most people by this point know about the "Oscar looks like the Little Prince" thing.

Oscar looks like the Little Prince, who fell in love with a rose. A ROSE. WHO DO WE KNOW THAT COULD BE RELATED TO A ROSE?

I mean, Oscar's coat looks cool but it looks almost exactly like LP's coat. Especially with that specific red fabric.

Part 2:

Isn't Oscar also supposed to represent Dorothy from Wizard of Oz?

Oscar is Dorothy... What is super duper ultra important to Dorothy?

The RUBY slippers.

And for extra fun, in the original Wizard of Oz, the slippers were SILVER. So we have a possible representation of ruby slippers (why isn't Ruby Slippers their ship name?) and/or silver slippers, seeing as Ruby has silver eyes and the very first thing Oscar says to her is a remark about her eyes.

Ruby is Red Riding Hood, yes, but we all know anyone in RWBY can have multiple characters that they elude to... and someone told me this fun fact, which is why I decided to edit this post.

Someone told me that in the Wizard of Oz books- which I actually received for my birthday and am in the process of reading -Princess Ozma and Dorothy are apparently "very close". 👀

Hasn't it been hinted before that Rubh could also represent Dorothy? And Oscar would obviously be Ozma...

This has been a "my break ends in ten minutes I only slept for 4 hours and I'm tired" ramble by L.

[secret-engima]

I’m kinda curious what oz and team strq’s relationship is like in your ‘always i dreamed’ verse is like. got any headcanons to share?

ABSOLUTELY.  :DDD

Now I could make this very angsty but I’m in a fluff mood so all aboard the (mostly) fluff train.

-Oz 100% becomes Team STRQ’s exasperated sibling figure and an adopted member of the team. They now refer to themselves only as Team STORQ (stork) because this is their Sad Headmaster Man. Ozpin is wary at first, but there is no stopping Raven once she decides to adopt and the others follow her lead.

-They have successfully moved into his apartment by the time they are fourth years, even if they hide this fact so Oz won’t get in any trouble for it. Just- this team of semi-feral and totally feral teens moving in and setting up shop in his too big apartment/could practically be a house inside another building that he inherited from the previous Oz. Taiyang is now the group cook, Qrow keeps flopping on the couch to play video games with the console he brought home from SOMEWHERE, Summer likes to maintain their weapons on the kitchen table and Raven is always down for sidling up next to his armchair to listen to him read aloud from whatever book he’s reading.

-Note that this is all the far side of a slippery slope for these kids, and it wasn’t an entirely fast process with Ozpin being stubbornly aloof afraid to make personal connections and Team STRQ being wary of their mysterious “only a few years older” Headmaster. But after Raven gets attached (read: breaks into his apartment at one point by accident because she had come to the conclusion someone had kidnapped him and discovered to her surprise that she could portal to him, which meant she was more attached than she thought) there is no escape. The adoption of Sad Wizard Man was inevitable.

-Team STRQ manages to hold a veneer of propriety in public right up until they graduate. Then they give it two weeks and promptly stop caring what the public will think and start openly hanging out with Ozpin. Qrow and Tai will drag him off on “guy hangouts” that USUALLY end in a narrow escape from trouble or even the police (Qrow’s luck at work), Summer will lure him into taking the day off to go book shopping with her, and if he stays in his office for too long doing paperwork when he should be clocking out and eating dinner/sleeping, Raven with calmly open a portal, march through, and then potato sack him back through the portal. No she doesn’t care if anyone is in the room to witness, Ozpin is terrible at self care and Raven is here to ensure he takes care of himself. Even if she has to force him to take breaks.

-All of Vale knows the rumors that Ozpin is in a relationship with all of Team STRQ by like- the end of the year after they’ve graduated, but these disaster children are 1000% platonic. They’re just like cats rather than conventional people. Sibling shenanigans and cuddle piles on the couch are all part of how they express affection and Raven and Qrow don’t care what society says and Tai and Summer have learned not to care either.

-Ozpin teaches all of them how to dance. Being a quasi-immortal means you know a lot of different dancing styles, and after Team STRQ gets curious he’s happy to teach them. His favorite is swing dancing but shhh.

-Ozpin is a school Headmaster and has memories stretching back thousands of years and many, many lifetimes. He knows how to comport himself with dignity and reserve, how to sit back and strategize rather than leaping into a situation before looking. He is unquestionably the Braincell of the group.

-Until he’s not.

-Qrow and Raven take far too much glee in coaxing Oz to act his *physical* age rather than the layers of mental age he has going on. And since he’s only in his twenties still when they graduate, that means they manage to talk him into doing some Really Stupid Stuff. Luckily, being a quasi-immortal and two ex-bandits means they are very good at escaping without being caught.

-Of course Team STRQ are involved in the Salem Thing, and so they do take orders from him, but off the clock they’re his gremlin siblings and he loves them fiercely. He honestly expects them to treat him differently after he tells them about Salem and the curse thing (they set up shop in his apartment back when they thought he was just a sad, too-young Headmaster who needed a Team of his own), but other than Summer acting weird and thoughtful for a few days to process and Tai stress baking to wrap his head around the “immortal queen of grimm exists” thing they go right back to treating him like they always have. So what if he’s a tangled ball of memories and magic limping around in a green scarf? He’s *always* been like that, now they just know why he can curse fluently in long dead languages.

-Ozpin still gives Raven and Qrow birb powers, Raven and Qrow proceed to take turns, when not on mission or otherwise busy, to perch on Ozpin’s shoulder for the day. All of Beacon knows about Ozpin’s “pet birds” by now and there are a lot of urban legends about it, but no one realizes that these birbs are his feral Branwen siblings keeping an eye on him and making sure he takes a lunch break while working.

-Because, as previously established, Ozpin kinda sucks at self care. Comes from having too many lifetimes worth of self-sacrificing mentality all blended around in one’s head.

-Raven fully abuses her portal powers to keep her family together. She and Tai have a nice place on Patch and Oz missed the flight over for the night when he was planning (read: ordered by Summer) to take the weekend off? No problem. Ozpin forgot something back at his apartment? Hi Glynda don’t mind her. Nice apartment by the way but Raven’s just passing through. (Glynda: sighs in annoyance but this has been happening for years and she doesn’t bother to care anymore)

-The Branwen twins were raised in a bandit camp, which means groups sharing economically sized (small) tents, which means sharing sleeping space. This means these two birbs have no concept of “propriety” when it comes to snoozing when there are loved ones around. It took a long time, but they slowly infected Tai and Summer with this lack of care too, and so when they got attached to Ozpin and discovered that this boy had possibly the largest bed ever (also inherited from his predecessor for reasons lost on Oz, since heaven knows Osamu had no interest in intimate relations), the result was inevitable. More than once Ozpin has woken up to discover that all of Team STRQ had migrated over to his bed at some point in the night and were passed out in varying positions and proximities on it. There is in fact enough room for them to all sleep without touching, but by morning Ozpin usually finds himself in the center of a tangled cuddle pile anyway with Taiyang serving as the space heater center and the others all clinging to one limb or another, either each other’s or Oz’s.

-It’s ... nice. It reminds him of lifetimes *lonng* ago when families all tended to live in one or two room houses. Or lifetimes when he had blood siblings who did this.

-Even though he knows this is flirting with death for them, because Salem would love to ruin this happiness he has, but he knows he cannot convince them to stay away, and he’s been starved for positive touch for lifetimes and he is ultimately a weak man who makes mistakes. And even knowing this will likely be one of them, he cannot bring himself to escape the pile.

-It just ... feels so good to not be alone. At least for one lifetime.

[geniedocroe]

CLOSE AS STRANGERS

(don malarkey X reader)

angst, potential fluff

wc: 4430+

you were very in love. in fact, you had been for quite a while. since your seventh birthday actually. it was a blur of memories now and you could just barely recognize it. thirteen years passed quickly. soon things began to change and the future you were seeing . . . it wasn’t very bright and happy.

donald malarkey (your best friend, soulmate, the person you were in love with) had always been very perfect in your eyes. there wasn’t much to despise about him. so you simply couldn’t. you couldn’t hate him. of course there were a few things that set you off. these were only little things though. for instance, when the two of you would share a milkshake or something of the sort and he’d accidentally drop it (he was fairly clumsy), or how he’d jokingly trip you (that ticked you off to no end), or when he’d notice everyone else but you . . .

despite these minuscule flaws you loved him. from his toes to the stunning freckles and ginger hair. he was as pretty as a picture. he truly was. you didn’t believe you were as pleasing to be around, but it was always a confidence boost when don politely asked your mother if you come outside for a while. you felt as though he cared when he did little things like that.

today was like any other. you sat on the front porch of the little house you had grown up in, reading a book.

you thought maybe that was why you weren’t as desirable as the other women in town. they all seemed so daft and boring. apparently these “men” didn’t appreciate someone who could use their brain. it frustrated you to no end.

your like any other day was actually very tedious. it was one warm day in june. your mother wouldn’t allow you to work because she encouraged you to attend college first, which you did, but it was summertime. there was not one thing for you to do. so half of your day was spent sitting on the porch, flipping through books you had appeared to have read hundreds of times.

the excitement bubbled throughout your chest when you saw a mess of red hair running your way. it was about time he had shown up. don ran through your front yard and up the steps. he stopped short of you, trying to catch his breath.

“good afternoon, ma’am.” the ginger managed to cough out with a very bad british accent. he never failed to try and turn anything into a joke.

you looked up from your book with a soft smile. you responded in the same accent. “good afternoon, my good sir.”

“the weathers quite alright today, isn’t it?” he questioned, sitting beside you on the swing.

“i guess it is looking rather nice.” you gazed towards the sky. immediately regretting your decision to be blinded by the sun, you blinked at him, seeing colors.

“nice enough for a walk?” don asked, dropping the accent.

you grinned, gently shutting the book before standing to enter the house. “let me ask my mother.”

“you’re twenty years old!” he called after you as the screen door slammed shut. your laugh could be faintly heard.

don gave a soft little chuckle at the sound of your own laughter. he thought it was quite musical. everything about you screamed peace. it was like tiny birds helped you get dressed in the morning, or mice aided you whilst cleaning the house. you were some sort of sweet dream. something that he didn’t even know he wanted, someone he didn’t know he needed.

he may have been smart at times, but he was completely oblivious to your feelings and his own. you hadn’t made it extremely obvious that you were infatuated with your best friend. however, you dropped a subtle hint every now and then. don would just seemingly dance around it, but after some time you realized he didn’t even know how love-struck you were. in fact, you didn’t think he shared that very same feeling. you didn’t think he even had a minuscule bit of that feeling.

don sure felt something, but he thought it was just nerves. his chest felt loose and fuzzy, his stomach seemed to have joined gymnastics, and he just couldn’t seem to stop wringing his hands when you were near. he didn’t hate the way it felt, then again he certainly didn’t appreciate it either.

seconds later you reappeared, slamming the screen door shut behind you. there was a distant yell within the house. don looked up at you with innocent eyes.

“she said yes, of course.”

he stood up with a grin plastered over his freckled face. you bounded down the steps with your dear friend in tow. as the two of you stepped onto the sidewalk, he looped his arm through your own. you appreciated this dearly. it was as close to holding hands that you were gonna get, but it was casual enough where people didn’t ask you too many questions. this action had also made you feel safe. like the two of you were just out of arms reach.

of course you never felt unsafe in don’s presence. you weren’t incapable of protecting yourself, he was just your knight in shining armor. don was there and you would never force him to leave.

“what book were you reading?” don asked, gazing over at you, taking you in as if there was no more time left in the world.

“the wonderful wizard of oz. i cannot tell you how many times i’ve read that book.”

don thought for a moment before replying excitedly. “do you remember when we saw the movie and you dumped that bucket of popcorn on that poor guy? his face is fried into my brain. that was truly one of your best moments.”

“i live to please.” you sighed, throwing up your free arm. “you know what i still can’t get over? how amazing judy garland is. like truly, she is perfect i think.”

“she may be judy garland, but she doesn’t have a thing on you.���

you ducked your head away as your cheeks began to grow warm. a little voice in the back of your brain was screaming at you to just tell him before it was too late. you didn’t know how much time you had left or what girl was going to come and steal him away before you got the chance.

the rest of your walk continued it silence. the empty moments were filled with tranquility. don felt as though he wouldn’t be able to experience times like this for a very long while. all he wanted was to be around his best friend. all he wanted was for you to understand. for you to hug him and tell him that everything would be alright in the end.

approaching “your spot” on this day was unlike any other. it was a beautiful maple tree in the middle of a field with one ancient looking tire swing. not a lot of people knew about this place so it was perfect to get away. to just be the both of you. this was your safe place. you loved it here. you practically grew up here.

you could faintly remember the moment everything changed for the two of you as best friends. the moment you fell in love. you wondered if don remembered it better than you did. you wondered if he even thought about it at all. because to you, it meant the world.

“hey don, can you promise me something?” you asked, hanging upside down from the tire swing. you struggled for a moment before jumping down.

“i’d promise you anything.” he smiled at you as you sat down beside him. the two of you leaned up against the tree, looking out over the field.

“promise we won’t ever be like my parents. that we’ll always be best friends. cause, my parents have no friends and i always want you around.” you wrung your hands together nervously.

“of course we’ll always be best friends. i promise.” he stuck out his pinky to you and you accepted graciously. “oh! i have something for you.”

don pulled his hand away to grab something in his front shirt pocket. the look he had on his face said everything. the excitement had built up at this point. in his hand was held a small chain with a locket hung securely on it. he handed it to you and watched as you inspected it. engraved onto the silver was “forever in my heart” with two tiny roses.

“wow, don!” you gave him a huge grin as he secured the necklace. you threw your arms around him, hugging him tightly. you spoke into his shoulder. “i love it. thank you!”

“happy birthday.” he said fondly as he pulled away. he stared at you for a moment before he made an impulsive decision.

it was quick and it surely caught you off guard, but don pressed his lips to yours in a fleeting motion. you stood their wide eyed as you blinked at your friend with burning cheeks. don’s face was almost as red as his hair. and you were sure you had never felt this way before.

even at seven years old, you fell in love.

you plopped down beneath the tree without a care in the world. dust flew up as you disturbed the spot with your presence. don stood hesitantly beside the tire swing. his hand reached out to hang onto the rope.

looking out over the empty field sent a warm sensation from the tips of your toes to the top of your head. the sky seemed to stretch for years and the grass was as yellow as ever but that never stopped you from adoring it. the soft chirp of birds was music to your ears. how could you ever learn to loathe a place like this?

“i need to tell you something.”

you looked towards don. he fiddled with the rope for a moment before looking up at you. he didn’t expect you to already be gazing at him with puppy dog eyes. the sight of you almost made his eyes well up with tears.

“i’ll always listen. you know that.”

“i know. that’s why this is going to be so hard.”

as he sat down beside you, you began to think. with the war going on you weren’t very confident in what he was meant to tell you. half the men you had gone to school with had already enlisted or been drafted. it was only a matter of time before don would be leaving too.

there was a moment of silence where the both of you gazed out into the open field. you had to remind yourself that this was the place you loved and that don was your best friend. he wouldn’t ever intentionally do anything to hurt you.

“y/n,” don turned to you, placing a hand on your knee. “i’m being drafted.”

you blinked at him once, twice, then a third time. he stared back at you with sincere, innocent eyes. he prayed that you would understand. that this would all be okay and your friendship wouldn’t suffer.

whatever preparation your mind had done was no use. not a single person on earth was ever ready to face war. it didn’t matter how old you were or how many horrors you had seen. don would come out of the other side of the war as someone else. you knew he would. he would barely make it out alive. you didn’t want to know that person.

“i have to go.” you muttered, shoving his hand away from your knee.

immediately you stood with don following suit. he looked so incredibly hurt by your sudden movements. this was not the reaction he had expected.

a part of you was telling you to turn around and hug him one last time as you stalked off. you knew he was following close behind you but you were hard to keep up with. it was like a giant black hole had materialized in your chest and was beginning to consume all of your organs.

a hand grabbed your shoulder and you whipped around at an ungodly speed. the tears in your eyes were visible. you weren’t angry. don took a step back from you. he frowned at your reaction but still managed to choke out a sentence.

“this isn’t my fault, y’know. i wish i didn’t have to go.” he tried to reach for your hand but decided against it at the last moment.

“i just hope you make it home some day. you stay safe wherever you go, kid. good luck.” you gave a small smile before turning once again.

don was quite taken aback. you hadn’t called him kid in years. it was a joke that had died away after being used one too many times. then it became something you only called him when you were hurting deep down. he couldn’t fathom that this was one of those times.

as you quickly walked through the field you saw flashes of your childhood before you. the good, the bad, all of it. you love it here. actually, loved it.

over the next few days, you and don had absolutely no interactions. you strayed away from him and he felt hopeless. any time you saw him approaching you, you ran in the other direction. however, he never seemed to chase after you. neither of you knew what hurt more.

all don wanted to do was say one last goodbye. he didn’t know if he’d ever be able to see you again. there was some part of him that needed to see you but he couldn’t understand why. so, he left.

the day after don left you had begun to regret not going to see him. that black hole in your chest never subsided and you were afraid it was permanent. you had never gone so long without talking to him. the two of you had always been attached at the hip. if he never made it home . . . this silence would become your biggest regret.

your family looked at you with annoyance as you shoved the food around on your plate. you felt selfish to not want to eat but you truly weren’t hungry. you weren’t tired. you weren’t interested in anything. you had no motivation. it was obvious.

“what is the matter, dear?” your mother asked.

“nothing, mother.” you set down your fork, resting your chin in your hand.

“elbows off the table.” your mother instructed. you did as told. “it isn’t nothing, y/n. you haven’t spoke a full sentence in over a week. you haven’t left your bedroom. i haven’t even seen donald around here. are you ill? have the two of you gotten into an quarrel?” your mother questioned you with clear worry on her face. the rest of your family was silent. they looked at you curiously.

“i ain’t ill and there’s nothing wrong with don. he’s gone off to fight in the war. we won’t be seeing him for quite a while. we’ll be lucky to even see him again.” you huffed, studying the table cloth.

your siblings exchanged a glance. they didn’t understand the war. their naive innocent brains couldn’t comprehend why the war was being fought or why some people might not ever come home. you wished you could be as angelic as them.

“are you infatuated with that boy?” your father asked. mother elbowed him sharply in the side as your head shot up.

“infatuated?” you scoffed.

“let me tell you, y/n, military men are no good to marry. i like donald, but he’ll be completely gone after this war. they never come back home with a sane mind.” your father pointed his fork at you with a raised brow. “thought it will be such a same. he had a great future.”

“yes, because you’re such a great judge of character.” your mother dismissed her husbands opinion with a wave of her freshly manicured hand. “when he returns home you will dote on that boy. i’ve seen firsthand how much warfare can change a man, he’ll need all the help you can give him.”

you looked back down at your plate before looking up once more and scanning every face at the table. they stared at you expectantly.

“may i be excused?”

dear y/n,

i know we haven’t been on speaking terms and i’m sorry for that. i miss you so much. you are my best friend. your opinion means everything to me, but i hope you have tried to come to terms with my absence. it’s been over a year and neither of us have reached out to one another. that truly breaks my heart.

i’ve finished my training as a paratrooper. i’m sure you’ve never heard of that before. to put it simply, alongside the men i have trained with, i will be jumping out of airplanes with a parachute. it sounds terrifying, i know it does. however, i have trained with the best. you don’t need to worry.

i have met some amazing people during my training. it’s safe to say i’ve also met some insufferable individuals. there’s this guy named skip. he really became my best friend over the past year (of course no one could take your place). you would love him. he’s a great guy. super funny too.

my company consists of mostly good men. i don’t think i would ever say otherwise. they have to be extremely brave to want to jump out of an airplane. i have really gotten to know these men and i’m sure i’ve made bonds that will never break.

the beginning of my training took place in georgia. we ran up this mountain more times than i could even imagine. it was so painfully hot everyday. i don’t think i’d ever want to live there.

today i’m in a camp in new york. we leave in a couple days. we’re getting on a boat that’s heading over the atlantic ocean. i don’t know where we’re going or how long i’ll be gone. i’ve always wanted to visit europe, but not like this.

i hope you’re doing well. maybe you’ve graduated from school. maybe you have a great job. maybe you’re dating the best man you could find. maybe you have a kid. maybe you don’t have any of that. what a shame that’d be. you’re a real catch. you deserve anything and everything.

even if i don’t ever come home, i want you to live the kind of life that was always meant for you. find a new best friend. move on with your life. show everyone that you can’t be walked all over. don’t think that it’s all over because you won’t be seeing me again. in fifty years you could have everything you’ve ever worked for.

i miss you. i always will.

-don malarkey

dear y/n,

in about two days we will officially be entering the war. i’m terrified and i know i should be. i’m just trying to push through everything so that one day i will be able to come home.

there’s not much i’ll be able to say. i actually don’t know what to say. training has always been rough. they claim they want us to be the best. i secretly think they just want to see us struggle.

there has been a lot of difficulty over the past couple of months. despite all of this, there’s been the usual shenanigan. skip and our other friend alex, have dragged into some odd situations. i’m glad they do though. these are some memories i’ll hold close to my heart forever.

i still miss you. you never responded to my last letter. unless you did . . . perhaps i never got your response. i hope you’re doing great.

is there anything knew happening in your life? did you graduate? have you met any peculiar people? have you met anyone who’s completely changed your life? do you still go to that diner? i know you loved it there. i miss the milkshakes so much. are you working at all? do you miss me?

i pray that you will be able to respond to me. i’ll never know what my last letter will be. this could be it.

i miss you. i always will.

-don malarkey

dear y/n,

i still haven’t gotten a response. i hope you’re okay. i don’t know if you’re even alive. how horrible would it be if i was the one fighting in the war and you’re the one who’s passed?

this war is brutal. it’s horrible actually. i cant even explain how bad it is because those words aren’t even in my vocabulary. i’ve seen some really horrifying things. things that would make your hair curl.

we’ve lost people. good people. men with lives and families back home. people just like me. it just makes me realize that my days are potentially numbered.

i ended up getting into some trouble actually. a friend of mine and i had stolen a motorcycle. we went through the country in england and honestly i haven’t had that much fun in a long time. it was nice to let go and appreciate everything that was happening at the time.

if you are reading this, please respond. i need to know that you don’t hate me. or if you do hate me, i still want to know. i haven’t gotten many letters but every single one i get, i hope it’s you.

how are you? i really want to know. it’s been so long. are you okay? i miss you. i haven’t spoke to you in over two years. i’m sure something has happened in your life. something that has changed you completely. please respond, y/n.

i miss you. i always will.

-don malarkey

“hey mal!” skip called over to his friend who sat beside george luz.

don looked up curiously. skip, alex, john julian, and babe heffron stared back. they all shook furiously from the harsh weather of bastogne. taking the piss of conversations during their sad mealtimes were the only way to get by.

“who’s that girl back home that you’re constantly chattering on about?” skip asked.

“girl back home?” george echoed skip with raised eyebrows. “why have i never heard about this?”

don rolled his eyes as everyone looked at him with curious eyes. he had only ever spoke about you to skip. he hadn’t even told alex about you. i mean, what was there to say? you were only friends.

“i gotta hear this.” joe toye leaned forward to listen in.

“there’s this girl back home and she’s . . . she’s everything. you know, we were best friends. we grew up together. she hasn’t spoken to me since i told her i was leaving though. and – and i used to think i wouldn’t need her to just exist, but now without her . . . i feel like there’s a part of me missing. it’s horrible. she’s my best friend, y’know.” don explained. beside him george burst into uncontrollable laughter. skip and alex shared a look before cracking up as well. julian looked at babe with a confused expression. “why are you laughing at me?”

“sounds like you are in love with her, my friend.” joe nodded. george took a moment to try and regain himself but he burst back into laughter a second later.

“there’s no way. i’ve known her my whole life. i just - i just miss her, that’s all.” don pushed george away. the man was all but laughing in his face.

don felt like he was folding back into himself and pulling away from his friends. he didn’t want to bring you up and then get laughed at for your friendship. you hadn’t even spoken in years.

“you said you haven’t spoken in years?” julian piped up. don nodded. “well, why not?”

“i don’t think she wanted to face the idea that i wouldn’t be around for a while. she was pretty hurt. called me a name i hadn’t heard in years. i don’t blame her.”

“oh, so she’s in love with you too?” joe suggested and don gave him an incredulous look.

“i strongly doubt that.”

“you never know until you tell her that you love her too.” julian said.

“what the hell do you know about love?” babe snorted at the replacement next to him.

“i just think it seems kind of obvious.” julian shrugged. “he can’t realize that he’s in love with her and she could be in love with him and doesn’t realize it either. if the both of them can’t come to terms with it then the other would never know. so, they’ll both be suffering while they watch the other move on with their lives. might as well tell her now.”

everyone blinked at julian. for being so young and virginal, he spoke very wisely about love. he had more of a mind than don did. perhaps he would confess to you . . .

y/n,

i’ve never felt more alone. skip & alex got hit. they’re my best friends. i don’t know what to do. please tell me you’ll still be there when i get home.

-don malarkey

don,

i’m sorry about your friends. i’ll be here.

-y/n

dear y/n,

the past couple of months and years even have been extremely difficult. the war has changed my life drastically. it’s put me through the ringer. i pray it hasn’t done the same for you.

everyday i anxiously await the announcement of the japanese surrender. i cannot tell you how exciting that news was. the war is finally over. after years of all the pain and suffering for millions of people. of course, there’s still tons of rebuilding that will need to be done and there’s still so much that needs to be change. all i want to do is come home.

i hope you’re waiting for me. if you haven’t already met someone and started growing a life for yourself, i’d love to go out with you. you’re always the only thing i can think about. which is not good in a war.

i love you. i have always loved you. you mean everything to me and it’s hurt the both of us knowing that neither of us had said it sooner.

i’m coming home soon. i promise. i’ll be home before you know it. please don’t forget about me.

i miss you. i always have.

-don malarkey

[florrickandassociates]

TGF Thoughts: 5x03-- And the court had a clerk...

Hello again! It’s nice to have this show back. This episode was a bit less of a standout than the previous two, but I’m still happy with the overall direction for this season. More under the cut (or here, because tumblr sucks). 

When Robert King tweeted the episode title, I asked him if all the titles this season were adding up to one long sentence/story, hoping he’d confirm it and give a little more information. He did! He said it’s “in the Farmer in the Dell mode” and while I think I get what he’s saying, I’m very curious to see how it plays out. Haven’t been able to track down 5x04′s title yet, but the promo is out. (As of this morning! It’s interesting they’re not putting them after the episode this year; I kind of like it.) 

Kurt’s job is up in the air given the new administration. I think this scene exists mostly just to remind us where Kurt works and the stakes.

What month is this supposed to be in? The transition seems recent but no one is wearing masks.  

Kurt spots a poster asking for help ID’ing people at the Capitol on January 6th. He thinks he recognizes someone...

And now we’re in case of the week land. This case is about a small business owner whose business went under after someone created fake news articles accusing him of pedophilia.  

I think the whole point of this (kind of long) scene is to show that this case is a pretty small deal. Low stakes, inexperienced opposing lawyer. (Not even sure why Liz would be arguing this in court, but whatever.)

Tbh I thought this was going to wind up in 9 ¾ court.

Now that we have junior level characters, we get scenes showing that there are, in fact, people at RBL who are mid-level. Liz asks an associate to work on something, he asks another associate to work on it, she delegates to other associates, and they delegate to Marissa and Carmen. This work seems terrible.  

It’s so funny to me how this is probably more realistic than most of the lawyering on the show and yet it only shows up selectively. We only see the hierarchy here to make it clear that Marissa and Carmen are at the bottom.  

David Lee interrupts and asks for Carmen. He’s very rude to her. Interestingly, she’s hesitant to leave her grunt work and follow David, even though she must know he outranks the associate who gave her the grunt work.

“Why am I supposed to know you?” David asks her as they walk through the halls. “I don’t know if you are,” Carmen responds. “Why does Benjamin Dafoe know you?” he asks. She doesn’t know who he is.  

“Who are you?” Dafoe asks when Carmen enters. She states her name, again. “Why are you important?” he asks. “I don’t think that I am,” Carmen responds.  

Then Dafoe says his top client, and it’s a name that the characters all know. I’m glad this scene is free of any “he’s the white OJ” expository lines (that’s from Sweeney’s introduction) -- it’s clear from the reactions and the discussion of police and rape that the top client is a bad guy, probably a rapist. The rapist wants Carmen to represent him.

Putting 2 and 2 together, Carmen asks if the rapist knows Rivi. He’s not, but he’s at the same prison. As soon as Carmen says she’s representing Rivi, David Lee switches gears, understanding the situation and trying to sign the new business. He’s so shameless!  

Marissa sorts ALL the papers. There are a LOT of papers. I’m swamped. Look at all this paper.

She catches the associate who assigned her the task leaving for the night just as she finishes up, and cheerfully notes she’s finished the task. Then the associate mentions this was only half of the bills. Marissa does not like that. Since her goal in wanting to be a lawyer is mostly just to give her something exciting to do and earn respect... this hierarchy thing is not going so well.

Marissa decides that after her rough day, she’s going to stop by Wackner’s court. He’s in the middle of a case about Emily in Paris fanfiction and he’s very happy to see Marissa.  

Wackner’s night court has a program—it notes the sponsor is Copy Co-op (I thought it was Copy Coop?) and the paper products were also provided by them. And “there will be regular intermissions at the discretion of Judge Wackner.” It’s very theatrical.  

Wackner takes a recess and calls Marissa to his “chambers.” He asks for her thoughts on the case. “All they want is attention and to feel like they’ve won,” Marissa notes. Wackner’s on the same wave length and compares it to the Scarecrow’s diploma at the end of The Wizard of Oz. So, he makes copyright certificates and some minor modifications to each of the fanfic books. They say “I respect you and I love you” and that’s that.

Wackner catches Marissa before she leaves and asks her to be his law clerk—part time or full time, 10% of all the legal filings and unlimited use of copy machines. She is hesitant because she “doesn’t even know what this is.”

Wackner says his court is “the future.” Marissa turns him down; notes she wants to pass the bar. “You know why all these people are here? ‘Cause the courts and the lawyers and the appeals have made justice... unattainable. Out of reach. To anyone who doesn’t have a shitload of money to wait it out. That’s why Exxon beats out Mr. Nobody. Read Kafka’s Before the Law.”  

I just read it, and you should too! It literally is a page, but tl;dr, there’s a man who wants to get to the law and instead he spends his whole life trying to win over the first of many gatekeepers on the path to the law. He never gets through the gate.  

“Justice is only just if it’s available to everyone,” Wackner says. Marissa thinks about that.

As I said last week, it’s smart that Wackner makes so much sense. Hearing him say all this, knowing that it’s true... it makes it very easy to get on board with the thought experiment. Of course there would be huge repercussions to this kind of system, but it makes so much sense it’s compelling TV!

Kurt’s showering when Diane gets home, which gives her time to stumble across the WANTED poster and notice that Kurt has drawn facial hair onto one of the pictures. “Who is this?” she asks him. “No one,” he says. “Well, you drew in a beard and a moustache on him,” Diane notes. Kurt says he was doodling, but Diane calls him out as he is the “exact opposite of a doodler.” Kurt says he thought it was someone he knew, but he’s not sure. Diane pushes him to tell the feds. Kurt reiterates he’s not sure, but it’s someone he went shooting with. “Oh my God, then it’s him,” Diane jumps to (not incorrect) conclusions. Kurt says he didn’t talk that way; he’s a veteran. “Kurt! That’s the profile!” Diane argues. Kurt isn’t convinced and he doesn’t want to be responsible for naming names. He notes he’ll be threatened with indictment for not naming names and then only lawyers will end up benefitting. Diane is not convinced.

I think this is an interesting conflict for Kurt and Diane. I understand why Kurt is hesitant to speak out before he’s sure. And I understand and agree with Diane that it’s important to identify the attackers and prevent anything like that from happening again.

I don’t mean to blame Kurt, exactly, but I feel like all of what happens next could’ve played out differently if Kurt had been just a little clearer with Diane about why he was hesitant to ID the man. Like, the threat of indictment for not naming names sounds like some typical anti-government rambling. Saying you specifically are afraid that this will turn back on you and you need to weigh your options and come up with a plan first would put Diane in a very different mode, in which they’d work together to craft the best strategy. Because this man would’ve been ID’d by someone, sooner or later, and Kurt would’ve needed to be prepared.  

Diane stares at the wanted poster at work and asks Jay to find his identity. He’s on the FBI TEN MOST WANTED? Ten!? Ok!  

Diane shares the extra information she has—the gun range and that he’s a veteran—and Jay gets to work.  

Turns out there’s no money in the case that Liz, a name partner, is working on and Marissa just spent all those hours sorting bills for. I could’ve told you there was no money in that case lol.  

Jay IDs the guy very fast. He’s faster than the feds because they didn’t know where he shot. The range had his license on file, and Jay got ahold of it.

“Well, we don’t pay you enough,” Diane says. “Oh, I know that,” Jay laughs.  

Diane says she’s going to think about calling the feds—it's definitely the same guy.

Marissa notes someone high profile (David Cord, who I presume is a thinly veiled stand-in for David Koch given the name, his role in the plot, and the fact that he is “David Cord of the Cord Brothers”) in the lobby giving a fake name and goes to tell Liz.  

David Cord is performing magic tricks for the receptionists (they don’t recognize him) when Liz and Marissa show up. “I knew your father. I hated your father,” Cord says. “Yes, well, he hated you too,” Liz says. He says he gave a fake name to see what the reception would be like since he’s kinda infamous.  

Liz introduces Marissa as one of the law clinic lawyers. Marissa knows what to say in this situation. Specifically, she knows that it is the exact right moment to name drop her father.  

“Democrats as far as the eye can see,” Cord notes. At that, Liz asks Marissa to get Julius involved.

More good expository work! (No, editor feature of Word, I do NOT want that to say “Better expository work,” that would change my meaning, go away and please stop grading my recap??? I don’t know how I brought this up but it’s telling me my score is 72%, so a C, and it’s driving me crazy. Oh, now I’m a 71%. It had me at like, 50%, because I had written “Wackner” and “Wackner” is not a word. No shit.)  

Anyway, back to the exposition. I like that we don’t get a line like, “Liz! David Cord, the Republican super donor, is here!” We just get to see Liz’s reaction, Cord’s hate of Liz’s father, and the line about democrats. Then it becomes clearer who Cord is.

Just noticed Liz is wearing an Apple Watch.

Liz stands for her meeting with Cord, likely to maintain power. Cord says January 6th changed everything to him and now he’s all about unity and loving America.  

Cord has something to say about Liz’s case, the one that’s not making any money, and he seems to know quite a lot about it. That spooks Liz.  

Then Cord offers her $12 million to continue the case for another six months (all of these months, seemingly, will play out in the couple of days the rest of this episode takes, but, whatever). He just wants them to go after the social media company that distributed the fake news... and Section 230.

Don’t know what that is? Now you do, because there is a Good Fight short! These work so much better when they’re actually needed (explaining concepts, etc.) than when they’re trying to force one into every episode (remember that Downton Abbey one? What... was that?)  

I was talking to @mimeparadox about this short and he pointed out that this short has a VERY clear POV on an issue that actually doesn’t seem to be all that straightforward. If you’re like me and only had a vague sense of what Section 230 was prior to this episode, this short is telling you what to think of it—it isn’t just explaining what it is.

I do tend to agree with the show’s POV on most things, but this is an issue I’d like to read more on. I love how Section 230 was something I hadn’t really read up on prior to this episode and now that it’s been on TGF I realize it’s something that actually, yes, I would’ve been interested in knowing about earlier. Is this because things that are on TGF are interesting to me because they’re on TGF or is it because TGF generally only discusses things that would be interesting to me? Probs a little bit of both.  

Diane asks Jay how to make an anonymous phone call and he hands her a burner phone. She calls the FBI with the rioter’s name. She doesn’t leave her name and then she dumps the phone.  

Credits! Did you catch there’s a Jordan Boatman in the credits? She plays one of the associates who passes down the grunt work to Marissa, and she’s Michael Boatman’s daughter in real life! She’s also been in one other episode, in season 3.  

I never get tired of these credits!  

The RL partners (and some associates who are on the case? I think these are the same ones who delegated the work to Marissa?) debate whether or not they should take Cord’s money. Madeline notes that he’s funded a lot of Republican campaigns; Julius notes that both Republicans and Democrats agree that Section 230 is flawed and this is an opportunity for unity.

Diane notes that the right doesn’t want to stop conspiracy theories from spreading, so is this really that bipartisan? “It would help if the boomers would stop falling for those conspiracy theories and sharing it with their friends,” an associate (I believe this is Michael Boatman’s daughter again) notes. That quiets the room and the partners all glare at her. Yeah, that was a kind of stupid thing to say. First of all, it’s just not appropriate to say to the partners, and it’s also, like, missing the point? If it’s easy for conspiracy theories to spread among boomers, maybe just expecting each member of that generation to suddenly have a millennial’s understanding of the internet is the wrong strategy? Maybe there’s some structural issue here? That maybe, just maybe, this case is actually about?  

The associate also points out that the internet is currently a place where people can speak out about sexual harassment-- “they repeal section 230, and there would be no #MeToo.”

One of the partners says he doesn’t believe that—if they regulate section 230, then newspapers can actually be competitive and there’s still free speech online.  

“We’re not going back to reading newspapers, grandpa,” some associate says. What the actual fuck, dude? Who talks like that to their boss?! It’s so condescending. He’s also wrong! “Newspapers” are not just physical things... reporting by major publications still matters and will continue to matter. Like, is he suggesting that in the future all news will just be random people tweeting things they think are true with no fact checking or curation? Sure, journalism is struggling right now—but I don’t think that’s because there’s a lack of desire for well-reported news.  

I am glad the partners call him out on saying “grandpa” and honestly I’m shocked he isn’t asked to leave the discussion after that rude remark. Unless this young looking dude is a partner too? But I don’t think he is.  

Julius notes that if they’re going to pursue this case, they need money like Cord’s. At that, Liz starts to leave the meeting. “We haven’t decided if we’re taking this Cord money yet,” Madeline protests. “Of course we are,” Liz says and leaves.  

Now that’s more like it! I’m not sure if this is necessarily the best way to handle this, but she’s a) correct, they were always going to take the money because it is $12 million and an issue of interest and b) using her authority. Should Liz be making decisions totally on her own? Maybe not. Does Liz making this decision and then leaving (with everyone accepting that she’s correct) cut through a lot of bullshit and establish Liz as the one in charge? Yup.

Diane says, “Ooh-kay” with a little bit of an eyeroll after Liz exits, but she’s still laying low. I think in a different season Diane might’ve tried to push back.  

Is it me or does Baranski get a lot of material this episode we haven’t seen before? Lots of really good reaction shots/tones in this episode I don’t really think we’ve seen from Diane before. I’m impressed there’s still new stuff after 12 years.

At some point maybe I will actually write the essay I’ve been wanting to write for ages about how TGF is still so relevant despite being in a universe that should be showing its age by now. I wish I could find the first time that I called TGW a period piece set in the present day (I know it would’ve been during season five) because I think that’s the key to TGW/TGF’s enduring success. The shows always feel timely because they try to capture the present moment (which is, of course, always changing) and don’t get stuck in any one moment in time. Further, the fact that the writers are always so tuned in to events and skilled at quickly reacting to what happens in the world makes them VERY good in a pinch, which is (I think) why they’re able to make the most of unexpected situations (Josh leaving TGW, the pandemic).  

Liz and Julius bring a suit against ChumHum to attack 230. Judge Friend is initially skeptical of their argument that 230 is unconstitutional; then she’s intrigued. I am too. This argument about the press is a very interesting one. I obviously have a lot of reading to do on 230, but my take after this episode is pretty much that social media platforms have to be held responsible in some way, but I don’t think it’s feasible or desirable for them to be responsible for every single one of billions of posts. I think there has to be some way to regulate social media giants that would allow everyday people to share things and speak out but would prevent the curated (even by an algorithm) spread of fake news and make social media giants accountable when there are very public bad actors using their platforms. What that regulation would be I have no idea. I just refuse to believe that our options are to give the social media sites full immunity or to regulate the internet so strongly that no one is able to speak freely because all the platforms are worried about lawsuits.  

Over at the VA, people are being fired. When Kurt gets into his office, Madeline Starkey (wait, are there two characters named Madeline in this episode?) is waiting for him. She’s still very quirky and scary.  

Starkey says the guy that Diane reported is now saying Kurt trained him on using assault rifles and buying ammunition in bulk. Kurt notes these were topics covered in a group setting, which Starkey knew—and what she’s really after is the names of the others in the group. (She may already know them, since she knows there were five of them.)

Kurt refuses to name names and just stares at her.  

Case stuff happens! (I liked the last two episodes a lot but it’s much faster for me to just write, “case stuff happens” for some of the scenes.)

Hey, surprise Aaron Tveit! (Not really a surprise; he is in the credits. But still yay!)  

I don’t really know why Liz and Julius are talking about newspapers specifically and not all types of fact-based journalism/press? I feel like their argument is most convincing when it’s about actual newspapers (especially local ones) but still would apply to cable news...

Marissa’s still hard at work sorting papers when the associate comes back in and informs her she can stop; they’ve changed strategies and everything she’s done is now irrelevant. She also says “I forgot to tell you” at the start of that thought, meaning that she neglected to tell Marissa this important information earlier and wasted her time. Marissa is not pleased and so she goes to Wackner’s court, where Wackner now has a deli ticket machine and is wearing super-sized novelty sunglasses. Why not!

He sees Marissa and calls a five-minute recess. In “chambers,” Marissa tells him she’d like to work for him part-time but keep her RL job.  

Wackner needs her help processing more copyright certificates. He’s priced them competitively at $20 and found that a lot of writers want these certificates, even though they have no legal value. (Neither do actual copyrights, Wackner notes. And he notes that if anyone plagiarizes, they can sue in HIS court.)  

“Marissa, I’m building something here. I want you to join me. I want your advice on cases. I want to bounce legal theories off you,” he says. “What are your legal theories?” she asks. “I don’t know. That’s why I need to bounce them,” he says.  

Marissa gives him from noon to 2 and 5-7, which seems awfully ambitious for someone working at a law firm!

“That’s how revolutions are made. Back rooms of copy shops,” he says, accepting her offer.  

Kurt is sulking in the dark when Diane arrives home. He lets her know about Starkey’s visit and she immediately goes into lawyer mode. Notably, this scene does not spend much time on how Starkey found out the rioter’s name. Curious if they’re saving that for later or if Diane and Kurt both know what Diane must have done or if Kurt think’s it’s a coincidence.  

Kurt SET UP A TOUR OF THE CAPITOL for one of the veterans in his shooting group, and that tour was ON JANUARY 6TH! I really do wish he’d told Diane that upfront.  

Maybe the long pause where Kurt refuses to tell Diane which congressperson arranged the tour even after she promises she won’t say is him letting on that he knows that Diane ID’d the guy? Or maybe it’s just Kurt.  

I do not like the dead birds in Starkey’s office, mostly because I do not like thinking about dead birds.

Starkey compares Diane and Kurt to the Conways.  

And now more case stuff happens.  

Julius gets to question a witness for the first time in two years! He’s a little shaky at first but then he does a fantastic job! Yay Julius!

When Diane arrives at the office, reception is filled with around a hundred teddy bears. “What?” she asks. “Build-a-Bears. They were sent to Marissa,” the receptionist explains. “Okay... why?” Diane asks the logical next question. The receptionist does not know.  

“This one’s a Marissa bear,” she says, showing Diane a bear wearing boots and a wig. It does not look much like Marissa and it says “Hug me.”

Diane looks confused and furious at the same time. Her look here is, like, a milder version of the death stare she gives Alicia in Outside the Bubble when she learns about Alicia and Cary’s plan to leave.  

“Why don’t we, meaning you, take all these stuffed animals and put them in the conference room,” Diane instructs the receptionist. She is NOT! HAPPY! The receptionist seemed to be having fun with the bears, but clearly the right answer was to have done something with them and... not to have put them over every surface in reception. Eeek.  

Carmen’s new client, the rapist, arrives at the firm before anyone can hide the bears. “This may not be the firm for you,” his advisor/lawyer (I’m not totally sure what this dude’s job is) warns.  

Madeline notices the rapist and glares at the receptionist. “I know. I’m putting them in the conference room,” the receptionist says, thinking Madeline is upset about the bears. She is not upset about the bears.

Diane finds Marissa, who’s working with Carmen again. She asks Carmen to give them a moment.

“Why are there hundreds of teddy bears in our reception?” Diane asks. Marissa is confused. Diane shows her the Marissa bear. Marissa looks horrified and amused. “That doesn’t even look like me,” Marissa notes, completely missing how pissed off Diane is. I don’t think we have seen Diane be this direct/no-nonsense in ages.  

“That would seem to be beside the point. What is going on, Marissa?” Diane demands. Marissa suspects this is based on some advice she offered to a client who was buying a Build-a-Bear franchise and thinks this is a thank you gift. “What client? You’re not a lawyer! Why do you have clients?” Diane says exasperatedly.  

Marissa gives her a look, and Diane immediately understands that she’s been back to Wackner’s court. “Oh my God, this is about that Copy Coop court?”

“Marissa, no. By participating in that simulacrum of a courtroom, you exposed this firm to malpractice, sanctions, and God knows what,” Diane says. If that were really true, she wouldn’t have sat there and argued. I mean, I don’t know the legality of this all, but I feel like it’s a bigger optics issue than legal issue if Diane and other lawyers are willing to even consider participating?  

“If you wish to continue your employment at this firm, you will never do anything like that again. Do you understand?” Diane says. She will not hear any arguments.  

I love that Marissa is the thing that keeps Wackner coming back. It’s a good plot for her, but structurally, it also allows the show to keep Wackner around without many contrivances. Wackner sees that Marissa would understand what he’s up to, she sees that he shares some of her frustrations with the law, and they both want to work together again. It’s not like suddenly everyone’s talking about Wackner’s court and all the cases somehow end up there or anything.

The receptionist, who is having a truly terrible day, comes into announce that Kurt and Starkey have arrived. “Don’t put them in the conference room!” Diane commands, knowing that the teddy bears will be there. It’s too late, though, because the receptionist (who previously seemed to be fine at her job if bad at recognizing public figures and understanding that partners might not find teddy bears amusing) has already put them in the conference room. I feel bad for her, and don’t think the other things were her fault, but I feel like she could’ve seen this one coming...  

I find the teddy bears HILARIOUS, mostly because the reactions to them are so funny. It’s kind of the same gag as the balloons for Lucca in season two, but I don’t really care, because I’m getting to see Diane Lockhart treat hundreds of Build-a-Bears like they are a real work problem.

Starkey jokes about the bears; Kurt is silent.  

The rioter from the poster is now accusing Kurt of coming up with the STRATEGY for January 6th, which Kurt and Diane both dismiss as bullshit.  

I could do without Starkey’s musical cues.

I can’t tell if Kurt is in trouble here or if she’s just pressing him to name names. Why wouldn’t she just have rioter guy name names if he’s so eager to blame Kurt? I guess maybe if the others were actually there, he might be less likely to name the names of his actual co-conspirators? Or, Starkey might already know the names (surely the shooting range has logs) and be using this to raise the stakes.  

No one (except maybe the partner named Daniel) is happy about the rapist in reception. “Since when are we representing people like Wolfe-Coleman?” Julius asks. Didn’t these people help both Sweeney (though I think Sweeney was in some weird police brutality case and they didn’t actually want to represent him) and Bishop? And Rivi? But they draw the line here? Sure.  

Ah, there we go, an expository line-- “he’s the next Jeffrey Epstein”. Almost made it the whole episode without one of these. I’ll forgive it since it’s so late in the episode lol.  

“Did you approve this, Liz?!” Madeline demands. Liz did not. Daniel wonders if that means Diane approved it. Liz doesn’t think so and calls Diane (who happens to be walking past) in.  

“I know, the teddy bears. I’m working on it,” Diane says when she opens the door. I think the teddy bears are a bigger issue to Diane than to anyone else.  

Diane didn’t approve representing Mr. Rapey either. She’s uncomfortable that a meeting was happening without her; Madeline notes that she is standing there specifically because they wanted to involve her.  

David Lee pops up out of nowhere with the answer: one of the new associates (not Marissa, “the real one”) pulled in Mr. Rapey. Are there only two associates now even though orientation was for a big group?  

Firth is gone, btw. David Lee is the new Mr. Firth. I have no idea why David would want to be STR Laurie’s guy for managing RL but... sure, whatever? David Lee is an effective antagonist, especially in small doses, and this allows the writers to keep him around and continue the STR Laurie plot without a key guest star. If STR Laurie is still a thing, and it seems like it is going to be a thing for a while, then having David Lee take on this role makes sense for plot. Otherwise they’re going to have to shoehorn him in to every plot somehow. At least now he has a reason to be around.  

Liz and Diane take a walk to chat. Diane is worried about having David as their boss. Liz says she has a worse worry—David Lee knew exactly when to come downstairs with information, suggesting he know what they were talking about. “Would he do something like that?” Liz asks when Diane wonders if there’s a bug. “Oh, yeah,” Diane replies. Hah, yeah. He absolutely would.  

They decide to have Jay search for bugs and Liz is frustrated with how much time they have to spend on things other than lawyering. Yup.

“What is going on with all the teddy bears in the conference room?” Liz asks as they head back to the office. “It’s a long story,” Diane sighs. I also love that the teddy bears link the various pieces of the episode together—it feels like all of these threads are happening simultaneously because of that constant.  

I don’t get RL’s approach to clients. Bishop and Rivi are ok, Wolfe-Colman is not (except that actually he is fine). Cord is okay too. Do they draw the line anywhere? I know Liz was right when she said that OF COURSE they were taking the money, but is there really nothing that differentiates that situation from this one? I feel like there should be.

Marissa goes back to see Wackner. Since someone refuses to say “I respect and I love you,” Wackner reverses his ruling. This is part of the “Bad Loser Law of last Wednesday,” so the rules of Wackner’s court are clearly a work in progress.

Marissa explains she can’t be the law clerk because of Diane. She tries to connect him with a real lawyer, still not understanding exactly what Wackner’s after. “You know just enough not to crush what I’m doing here,” Wackner explains. “A real lawyer will look for reasons why not. I need someone to look for reasons why.”  

Case stuff happens. I cannot read Cord’s handwriting. Liz and Julius lose the case because Judge Friend says what’s happening isn’t fair, but it is constitutional. (So here we have, at least in the show’s POV, a good and attentive judge who can’t make decisions that make sense because she’s bound by a document written before anyone had ever dreamed of the internet.)  

Cord is waiting for Liz in her office. He’s prepared to bankroll an appeal. Did they blow thorough that $12 million already? Impressive; it’s been like a day.  

Cord says they are definitely the firm he wants. Interesting.

Now Liz wants a meeting with Carmen, so it’s Marissa who leaves the room. This scene seems like it was meant to be a different day?  

Liz wants to talk about Mr. Rapey. Carmen is, yet again, chill about the case. “Carmen, is there anyone that you would not represent?” Liz asks. Funny, Liz, I could ask you the same. Being hesitant about it is not changing the fact that you’re representing bad people. Carmen’s just cutting the bullshit.  

“I don’t understand. Is there someone you don’t want me to represent?” I love how Carmen’s incredibly polite responses always seem very pointed. There is absolutely nothing wrong with Carmen’s reply, and yet it puts Liz in a place where she can’t dance around what she’s trying to say.  

“I’m just trying to get a sense of who you are,” Liz explains.  

Then Liz decides she’s going to help on the Craig Wolfe-Colman (Mr. Rapey) case, and they will keep talking about her career path. Liz, this does not seem like the right solution! You're worried about your associate representing bad people so you’re like, I know, what if I ALSO represented bad people? If your goal is to convince Carmen not to take clients like this, you’re kinda shooting yourself in the foot!  

“Are you worried about me?” Carmen says, again turning things on Liz. “I don’t know what I am about you,” Liz replies. Me either. Well, I know I'm intrigued, but beyond that, no clue!

All the bears have ended up in Diane’s office, where Wackner is waiting. He jokes about how his court is always seen as informal, yet this real fancy law office is covered in Build-a-Bears. Then he says he wants to hire RL—he's willing to pay. He wants consultation from Marissa (“consultation on legal issues”) and he’s prepared to spend a lot. And, if there’s one thing we know, it’s that they’re always going to take the money. So, they do.

I love that Wackner’s goal is to “perfect my little clubhouse of the law.” It’s a fun plot, and it also allows for the rules in his court to change (I’m sure we’re going to be treated to/subjected to a lot of whimsical gags around changing and ridiculous rules). It's also a good way to work through the thought experiment over the course of the season. It’s not like Wackner already has a system set up and it’s perfect—I'm sure we’re going to see his system run into issues and explore that more, too.  

Wackner monologues a bit here about why he’s running fake court, and he lets us know he’s going to monologue. Basically he thinks people no longer want to help people and are only motivated by their own self interest. He notes that no one talks about the Peace Corps anymore and asks the last time Diane heard anyone say those words. I’m sure I’ve heard a reference more recently but my mind went RIGHT to season one Cary Agos saying “Peace Corps. Belize,” as some kind of smarmy pickup line. This is likely not where my mind was supposed to go.

Wackner wants “A new Peace Corps. For America.” Diane’s sympathetic to that and agrees to take him on as a client.  

Wackner asks if he can take a bear. Diane instructs him to take two.  

Aaaand Wackner and Cord end up on the elevator together. Wackner hands Cord a bear, the elevator doors close, and the episode ends. Since last episode ended with Marissa and Carmen in the elevator together, I’m hoping this will be how every episode this season ends. I think using the Kings’ favorite liminal space to transition between episodes is kind of fun, and it fits with the ellipses at the end of every episode title.  

Speaking of... did you see today’s elevator-themed episode of Evil? It was written by the Kings. Those two have been obsessed with elevators for at least a decade.  

[witchesoz]

After Oz: Legends of Oz

I hesitated before doing this one, because this movie is mostly based on the book "Dorothy of Oz" by Roger S. Baum, and I haven't read said book. It is something that tends to get on my nerve, when people actually don't care about the original material an adaptation was based on, and consider the adaptation as its own entirely original piece of work, when in fact, a lot of it was taken from somebody's else work. I mean, the perfect exemple is Shining. Some people praise Kubrick for being a pure genius for inventing this story from A to Z, and consider Stephen's King television series a "poor attempt at a remake of the movie", when... you know, King originally wrote the Shining and Kubrick merely adapted it. In fact, people tend to forget most of Kubrick's movies were adaptation. Dr. Strangelove? Loosely based on "Red Alert". Lolita? Everyone knows it is Nabokov. A Clockwork Orange? Anthony Burgess. 2001: Space Odyssey? Inspired by shorts stories of Clarke, the co-author. Eyes Wide Shut? A 1920s German book, Traumnovelle. And so forth and so forth...

  Hum. Sorry for the rant. I just needed to explain why I always want to take in consideration the original material when tackling an adaptation.  But since I haven't read and can't get this book, I will mostly rely myself on the Wikipedia plot and other reviews I read. If you wonder, yes, Roger S. Baum is Baum's great-grandson (or great-great-grandson?), and he wrote "Dorothy of Oz" as a direct sequel to the first book, "The Wizard of Oz", ignoring all of the others, and... apparently he is not a really good writer. But anyway... I still decided to do a little something about this movie, because... well just because I wanted    Oh yeah, another thing... an elephant in the room I have to adress right now. I only discovered it this year, by doing research about the movie (because before I only saw it at the time of its released and then forgot about it). You can know it, or completely ignore it - yes, I know that this whole movie was the result of a huge scam that robbed hundreds of people out of their money, and that the case has been even brought to trial. But... well the movie is still here, people still saw it, it is still around, will be for still quite a long time, and it is now part of the Oz inheritance, that you want it or not. Anyway, a lot of Oz movies had a dark and troubled production. It seems almost like a pre-requisite: if you do an Oz movie, you'll never end happy. Maybe it is a curse? Who knows.

       So... let's get into the subject. Is "Dorothy's Return" a bad movie? (I'll use this name, because "Legends of Oz" was the name of the intended franchise of three, maybe ten movies). I wouldn't say so. A lot of people said it was crap, or worthless, but I wouldn't call it bad. People also said that it is a bland movie, and I would say yes - but only partially. I think a good lot of the extreme bad reactions were caused because of 1- people who just disliked the idea of more Oz adaptations, 2- people too old for this movie, because you have to remember that this is a movie aiming at children and 3- people who are hard-die fans of the MGM movie and not so much of the original Oz books. It may also play in account that Dorothy's Return was roughly released the same year, and played as a "rival" to "Oz the Great and Powerful".

    Now, note that it isn't a memorable movie (except for a few bits). It isn't an excellent movie. It isn't a cult classic (even though it may become it with the whole scam background, who knows?). It isn't something I would watch again and again with pleasure. It isn't something exceptionnal or groundbreaking, it is even quite generic. But, it has some good parts, and it manages to be entertaining, and honestly as a child I could have sit in front of it and watch it with no problem. Because, yes, it is a children movie. The action is rushed, the characters lack depth, some moments are too sugary-sweet or even cringy (for exemple the song "We'll work together". Seriously, I just looked away and sped up a bit because that was too sickening-sweet for me.) As a result, as a child movie they missed things that could have been really good (the old tree agreeing to be use for a boat, which is played straight up as him being killed, the characters even say so, but then it turns out he is still alive as a boat? You could have had a great, deep, fascinating almost philosophical moment, but you just waste it for a happy ending). Anyway, what was I saying? Yes, a children movie. As a result, some people called the movie "too simple". On the other side, people called the story "too confusing".

  To an Oz fan like me, it isn't actually confusing. It isn't at all - but indeed, for someone with a limited knowledge of Oz, it will be confusing. Because, while they base themselves on an Oz book that re-uses many elements from the books (the Queen of the Field Mices, the Sawhorse, the China Country...) it also decided to include a lot of elements from the MGM movie (the Wicked Witch of the West is the one from the MGM, Glinda is also quasi-identical from her MGM counterpart, the Winged Monkeys work with the evil people...). As a result, yeah, it may be confusing. But the inclusion of the MGM elements actually managed to correct some flaws of the original story. For exemple, in Roger S Baum's book, the Jester was merely a normal jester possessed by the ghost of the Wicked Witch of the West, through her magic wand. Wait, magic wand? There wasn't any magic wand mentionned in the original book! But in the movie, to use the broomstick of the Wicked Witch makes much more sense.

      I'll take a short time here to comment on the character of the Jester, who is, I think, the highest point of this movie. He is a good villain. A cliché but interesting backstory cashing on the idea of Oz vilains as siblings, a clear shout-out to the Joker which isn't so bad, interesting plans. He is also the provider of many nightmarish elements (the fate of Dorothy's companions, which I think was a very good idea, or the people turning into puppets and being used for a creepy dance) that made this Oz movie feel... well Ozian. Because a good Oz work is a work that will traumatize your kids! I guess a bit part of why the Jester works so well is that he basically repeats and remakes all his sister, the Wicked Witch, did in the MGM movie, and let's be honest, she was a great villain. (And this again makes sense when you remember the Jester is originally supposed to be possessed by the Witch's ghost). But at the same time he has his distinctive signature and style, with his Jester persona, his circus-related punishment and his personal plots to conquer Oz. [People noticed obviously the sweet irony of things in this movie. You have a double-character that, on the Earth world is a cheater and criminal trying to steal people of their houses and using several fake identities, while in Oz it is a villain that turns people into puppets he can manipulate and relies mostly on cheating and misleading Dorothy to her doom. Which is eerily similar to what the creators of the movie/franchise did with their financers and investors.]

  Talking about the Earth side... The whole "earthly" parts are all bland and not memorable. Just like Dorothy, who isn't really... anything to be honest. The songs sung aren't memorable either. All of that is a fail. A lot of people also considered the Earthly animation uncanny, or even disturbing, but I personally wasn't bugged by it at all. I saw much more uncanny animation.

    When it comes to the Oz part, I actually think they managed to create a perfect "Ozian story". As in, the general schema of the girl entering in Oz through an uncommon mean (here a people-eating rainbow, that I have to say was quite a scary scene to look at), then passing through many small kingdoms, meeting new friends, forming a team, discovering the villain and fighting him off - this plot was repeated by Baum times and times and times again, and probably comes from the original novel Dorothy of Oz. But it still works, as simple as it can be. Plus, the use of the China Country and the Candy County (I think its their name?) was quite a good choice. The China Country was one of Baum's earliest invention, while the Candy County (originating from the Roger S Baum book) is eerily similar to the Bunbury village, an invention of Baum, inhabited by living baked goods that also get angry at the protagonists for trying to eating them. Yes, all in all, the characters feel really Ozian. As for the other member of the team, "Wiser the Owl". Well... he had the potential to feel an interesting and Baum-ian character. But it falls flat because he just becomes one living fat joke. I mean, fat jokes can be funny. But when the character is mostly the joke itself well... yeah, not really working. He had a much interesting role in the prequel comic book.  

   Because yes, there is a comic book associated with this movie! As I said before, originally the project was to create a franchise of several movies, with toys, goodies, applications and video games. (Or at least that was the project the scam used). The comic is however found under the original title for the movie "Dorothy of Oz". I don't have much to say about it, outside that is was quite pleasing (even though it sometimes doesn't make sense when put in direct relationship to the movie), and that it introduced one interesting idea: that the magic of the broomstick/Witch relied mostly on manipulating the weather and nature. The Jester causes a flood to destroy the Munchkin town, he causes an earthquake to break the China Country, he uses heatwaves to melt the Candy County... And another interesting point, the role of Wiser. Indeed, in the movie he is presented as a "motor-mouth" that keeps talking about everything, knows a lot of stuff and has the tendency to finish other people's sentences. But it gets quickly overshadowed by the fat jokes (cause a big part of his character is that he used to be able to fly but now, because of his love for candy, he is too fat to fly). However, in the comic book he has rather the role of the one voice of reason and intelligence that offers down-to-earth, simple solutions to problems where the other Ozians search for more extravagant and magical possibilities. Exemple (SPOILERS: when trying to create a rainbow, the team searches everywhere, thinks of asking witches, wizards and candy makers. Wiser has to remind them that anybody can create a rainbow with just a good crystal and some light. SPOILER ENDING.)  

   (I actually read the comic book before looking at the movie, which may explain why I consider it better than the movie.) To return to my opinion on the movie... Not the greatest Oz movie, but certainly not the worst. Average, but on the good side. Entertaining and interesting, even though bland and generic. They got the feeling of an Oz story but they just didn't found a way to freshen up or make the story shine on its own. A good villain for a heroine easy to forget. Simple. Ideal for children, or to kill time, or just to inspire one for more Oz work.