#the original creators in the MCU did that on purpose

[blindtaleteller]

tags, because .... sort of? They actually made him complex on purpose, from well before T1 was finished being written, never mind filmed in 2010. It was the creators after TDW, that didn't just drop the ball.. they picked it up and literally threw it into the trash.

marvel accidentally created loki with depth and have been trying to take it back since

[prickly-paprikash]

I really enjoy secondary protagonists that carry the emotional weight of the narrative.

Zuko in ATLA.

Jaime Lannister in ASOIAF.

Aki in Chainsaw Man.

Not saying that the central protagonists don't carry their own emotionally resonating stories, but it's these characters (above mentioned) specifically that enrich the story as a whole. Like in LoTR—I love Aragorn, Gimli and Legolas' story that pushes the greater lore, but its Sam and Frodo's quest that bear the significant emotional weight.

I think that's what makes me love Guardians so much. Yes we have Peter Quill as the focal perspective of the trilogy, with Gamora acting as both deutarogonist and main love interest to the lead, and Drax, Groot, and Mantis acting more as the comedic relief of the group, but its Nebula and Rocket who truly shine the most in the more emotionally compelling parts.

Rocket and Nebula share so many similarities. It's them who was torn apart to serve a greater purpose they had no choice but to participate in. It's them who was cast aside for something their creators assumed were better (the residents of Counter Earth; Gamora). They're cold with a penchant for pushing everyone away that pushes closer to them. And it's them where you see Quill's effects the best.

Rocket, as said by Gunn, has been the secret protagonist this whole time. But I also feel as if Nebula has grown the most and has had the most surprising development out of all the Guardians. The way they grow to love this ragtag bunch of misfits is so cathartic because they're the ones who one would think is the least likely to form bonds. Rocket has a tendency for self-sabotage and Nebula has even worse trust issues than her sister Gamora.

It's also really painful that they were the ones to survive the Snap. It was them that had to carry on when everything was torn away from them. They had to move on.

It's why Rocket and Nebula are the ones placed in positions of leadership. The Guardians all get to either figure themselves out or finally be what they were always meant to be, but its mostly as individuals.

Drax gets to be a father to the children saved from the High Evolutionary.

Mantis finally gets to explore the Galaxy not as the emotional support of a team, but as her own being. To make her own way in the world.

Groot continues to be a part of the Guardians.

Gamora has found a family of her own in the Ravagers (though I do believe she considers the Guardians as another extension of that family, since the sign of being part of the Guardians is the ability to understand Groot). She can heal amidst people who love her, the way original Gamora did with the Guardians.

Peter reconnects with his grandfather, finally stopping himself from running away.

Rocket and Nebula, however, are specifically placed in roles of leadership and guidance. They've always been the two desperate to find a place to belong, and they both found that in the Guardians. And because of this they both know how to build a home for others just like them—'Ugly', 'Hateful' creatures who don't believe they're worthy of love and peace and family. Rocket continues the Guardians and Nebula sets out to build a proper home for the children and animals that were abducted by the High Evolutionary. They also both continue with a member of the founding group (Rocket with Groot, Nebula with Drax) and I really believe that as poetic.

Every single Guardian needed a way to heal, and they did so together. Now they all set out to be whole. Rocket and Nebula, arguably the most damaged of the Guardians, make it their mission to provide a home for the unloved and unwanted.

Rocket still saves the Galaxy. Nebula, brick by brick, builds a home for those without.

I really believe Gunn put the most of himself in these two characters, and I love that so much.

Another reason why GotG is the best MCU title, and why I have faith in Superman Legacy.

[lady-of-the-spirit]

OC Masterlist

Mostly made to be helpful for those taking part in the OC Creator Bingo event, but if you’re one of my followers I hope you like this little guide to my OCs! These aren’t all of them, but these are the ones I talk about the most, and some I don’t talk about but would like to.

General OCs tag: my OCs

Creations and writing tags: I'm making stuff, I'm writing stuff

Whump blog where I sometimes post oc stuff: @spirit-whump

Cut off is here because this is a long post and nobody wants to scroll past it.

Joan

Full name: Ioana, goes by Joan (no surname)

Fandom: The Old Guard (2020)

Faceclaim: Isidora Goreshter

Their main tags: Joan, Joan vibes

Fics/blurbs available: the Joan ‘verse (AO3), her post of origin, Nile dreams of her, home after a bad day, her relationship with the rest of the guard, Joan learns she’s immortal

Character bio/premise: Joan (born Ioana) died in an earthquake in the 1400s, in what would one day be Romania, and somehow did not stay dead. The Old Guard (then made up of Andy, Joe, Nicky and Quynh) were there in the aftermath, trying to help, and because Joan met them before they could dream of each other, she doesn’t know they’re immortal like her, and they don’t know she’s a new immortal. Some 400 years later, Joan stumbles upon a newly immortal Booker and despite befriending each other for a brief time, once again they part ways without realizing what the other is. 

After roughly 600 years of immortality, Joan is living a comfortable but lonely life, still unaware there are others like her. At least, until she dreams about Nile getting slashed through the throat. The dreams refuse to go away, and Joan manages to track down the young woman - and in the process, finds out not only is there another immortal like her, there’s a whole group of them, and all of them know each other. In an AU where Booker didn’t betray the team, most of her story is just her and the guard getting to know each other, trying to figure out how to make this new dynamic work, and Joan finding a place after centuries of not having anyone.

Joan is aroace.

Hestia

Full name: Hestia

Fandom: Thor movies, MCU

Faceclaim: Freida Pinto

Their tags: Hestia, Hestia and Thor (for shipping purposes)

Fics/blurbs available: first post explaining her concept, Light, however sorry they are (AO3), I thought you were mine, Hestia and her relationship with the Odinson boys, “what if” episode au, Loki series meets What If AU Hestia, what Hestia thinks of the avengers, Hestia is kidnapped

Character bio/premise: Based on the goddess from Greek mythology, Hestia is the eldest daughter and princess of Olympus, another alien civilization like Asgard. The eldest daughter, but not the ruler, Hestia has taken care of the kingdom in her own way - tending to the fires and protecting the home and family - ever since they overthrew their tyrannical and abusive father centuries ago and created a kingdom of peace and prosperity - with the exception of their rivalry with Asgard. In an attempt to avoid war between their kingdoms, Odin and Zeus arrange a marriage between Thor and Hestia. While both of them range from reluctant but willing to outright reluctant, they are married and Hestia comes to live on Asgard. She is quiet and some would say "meek" or "weak", and no one expects her to get along with the brash and bold Prince Thor. Surprisingly, her calm demeanor and hidden strength makes it easy to form a friendship with him.

While dealing with culture clashes and coming to understand her new home and her new family, Hestia and Thor become friends, and then (slowly for Hestia, very quickly for Thor) fall in love. They remain happily married for centuries - up until the events of Thor 1 take place, followed by the rest of the MCU, making their lives a whole lot more complicated.

Hestia is asexual biromantic.

Marianne

Full name: Marianne Ouellet (maiden name/preferred name), Marianne Schulman (legal name)

Fandom: X-Men prequels (First Class, Days of Future Past, Apocalypse) (Dark Phoenix does not exist on this blog)

Faceclaim: Clemence Poesy

Their tags: Marianne, Marianne Ouellet

Fics/blurbs available: Ethereal (AO3), a little fic about her and her husband, full character profile, text post edits, a little ‘cover’ I made for the fic

Character bio/premise: Born in 1931 in Montreal, moving to the States when she was 19, a single mother to a happy 12-year-old, widow of five years, and owner of a local used bookstore for 12 years, Marianne lives a hectic but normal life. She keeps her store running, her son safe and happy, and is happy to "mom friend" the kids around the neighbourhood. It's a normal existence - up until Charles Xavier and Erik Lehnsherr basically break into her store, tell her they know she has telekinesis, and ask her to save the world with them and other mutants like her.

While she initially refuses their offer, she later changes her mind, needing to keep her son safe. When she joins the other mutants, she finds herself joining a community she didn't know she needed, becoming the unofficial Team Mom of the group, and facing emotional issues she had pushed down for years.

Marianne is bisexual.

Kris

Full name: Kristina Maria Stark

Fandom: Iron Man movies, MCU (canon divergent after Avengers)

Faceclaim: Olivia Cooke (young Olivia Cooke - I've had her so long, I've seen her faceclaim age with her)

Their tags: Kris, Kris Stark, scarlet girlfriends (for shipping purposes)

Fics/blurbs available: an ask explaining her character, “You saved my life” wandaxkris fic, short krisxwanda fic, “what if” episode au, what Kris thinks of the avengers, Kris vs Alicent Hightower venn diagram

Character bio/premise: As the beloved daughter of Tony Stark and heiress to Stark Industries, Kris basically has everything she could ever want, and she loves it. Until she and her dad get kidnapped by terrorists and are trapped in a cave for three months. After returning home, forever changed by the experience, her dad wants to go out and make sure Stark Industry weapons are wiped from the planet, while Kris just wants to forget it ever happened and return to her normal life. It takes being terrorized by her honourary grandfather and her father creating a supersuit and becoming a public superhero to realize that their lives are never getting back to normal. It takes her father nearly dying less than a year later for Kris to take up the mantle as another superhero, pushing her life as far from normal as it gets.

Kris is a lesbian and dating Wanda.

Rose

Full name: Rose, codename Venom

Fandom: Power Rangers: Jungle Fury

Faceclaim: Brittany O’Grady

Their tags: Rose

Fics/blurbs available: a whole post I made about her premise, her choice of animal, her having a breakdown, what happens in Ghost of a Chance (AO3)

Character bio/premise: 10,000 years ago, Rose - abandoned as a child, then abused and tormented by her Pai Zhuq master - chooses to join the evil Dai Shi, wanting revenge on humanity for the pain she’s suffered. She’s made into a double agent, spying on the humans for Dai Shi. It goes well, until the war is won by the Pai Zhuq and Dai Shi is sealed away. To keep her safe, Dai Shi turns Rose to stone, and she waits for 10,000 years before he returns and tasks her with being a double agent once more, this time spying on the power rangers who threaten his attempts to take over the world.

It’s supposed to be an easy mission. She sews discord in the group, avoids getting too close, and reports back to her Lord with information to destroy the rangers. But slowly, the safety and kindness of her fake life starts to feel more welcoming than the cruelty she had accepted before, and Rose suddenly finds herself at a crossroads - to choose revenge and a life she’s been told is the only one she deserves, or her new friends and a life she thinks she actually deserves.

Ryoko

Full name: Ryoko

Fandom: Original content

Faceclaim: no official one yet, but either Li Bingbing or Fan Bingbing would be good, as both have roles with white hair (The Forbidden Kingdom and The White Haired Witch of Lunar Kingdom respectively)

Their tags: Ryoko, Ryoko and Ten, Ten and Ryoko (relationship tags)

Fics/blurbs available: human vs god appearance, commissioned art!, Forgotten, Never Stopped,  All Trussed Up, Traveling Companion, Ryoko and Ten being silly, Ryoko’s healing abilities, Ryoko’s immortality, kidnapped (humor), NFWMB, Ryoko needs to sleep, Ten is insecure and Ryoko’s a good friend

Character bio/premise: Ryoko was a human woman once - about 10,000 years ago. When she discovered how to achieve immortality, though, she chased after it and became the first god in her world - the god of war, fire, death and the sun. Many others followed in her footsteps, and for thousands of years, they all ruled the world as a pantheon, with her as their ruler, the Queen of the Heavens. Flashfoward to present day, millennia later, and she’s the only god left in the world after she killed the rest of them. She wanders the world, alone as she has been for centuries now. At least, until she meets Ten, who wants to be a god and knows she’s the only one who can help him achieve his goal. Although she knows it didn’t end well last time, she finally agrees to help Ten, thinking that by helping them, she’ll be able to find a way to end her own immortality. The two of them set out on an adventure and despite her best efforts, she becomes too close to Ten, despite knowing she’s using them for her own selfish purpose.

Ten

Full name: Ten (no last name as of yet)

Fandom: Original content

Faceclaim: None yet, if you have any suggestions let me know!

Their tags: Ten, Ryoko and Ten,Ten and Ryoko (relationship tags)

Fics/blurbs available: Traveling companion, premise, goals and some background of their world, Never Stopped,  All Trussed Up, grudges, piccrew appearance, Ten is a history nerd and Ryoko is unhelpful, Ryoko and Ten being silly, Ten is insecure and Ryoko’s a good friend

Character bio/premise: Uses he/they pronouns. Raised in a small farming town, and the eldest living child of five, Ten was always told by his parents - and everyone else outside of his siblings - he would never amount to anything, that he was a waste of space. Desperate to prove everyone wrong, they moved to the city to find work and support their family while also trying to find ways to achieve more, to learn and study their passion - history and legends of the world - and become more than what they are. Eventually, he crosses paths with The legendary icon of their world, the only living god - Ryoko, queen of the heavens. Knowing this is the only way they can prove everyone wrong, they convince her to show them how to achieve godhood, and to their surprise, she agrees. They set out on a grand journey together, and despite all the terrifying legends of her and her own personality, Ten finds himself growing closer to the woman, unaware of the secrets she’s hiding from him.

Ten is nb and uses he/they pronouns.

Cara

Full name: Cara Anderson (chosen name), Carina Alvarez (legal name)

Fandom: MCU (canon divergent after Avengers)

Faceclaim: Odette Annable

Their tags: Cara, Cara Anderson, my sister’s ocs

Fics/blurbs available: None

Character bio/premise: Raised by HYDRA to be an assassin, Cara never knew anything but abuse and cruelty, except for the love of her twin, Quinn. That all ended when she realized just how fucked up HYDRA was and made plans to run away with Quinn. Those plans came to an end when SHIELD attacked their HYDRA facilities and Quinn died in the attack. Grieving, but ready to leave HYDRA behind, Cara agrees to join SHIELD (not knowing HYDRA and SHIELD are one and the same) and become an agent for them after being given a second chance by Clint Barton, as well as Natasha Romanoff, Nick Fury, and Maria Ross (who would eventually become her best friend). Years go by and she’s definitely one of their best agents, although she still has a lot of unprocessed trauma and anger. Things get a little better when she finds a family with the Avengers. Things get a lot better when she meets Sam Wilson, whose good heart and entire character is a bright spot in her stormy life.

Cara is bisexual.

Valerie

Full name: Valerie Jenkins

Fandom: MCU (canon divergent after Avengers)

Faceclaim: Amanda Seyfried

Their tags: Valerie, my sister’s ocs

Fics/blurbs available: None

Character bio/premise: Valerie is just a kid when her parents die and she’s sent to live with her aunt. She’s still just a kid when her aunt is in a car accident and ends up in a coma and Valerie is sent to live in foster care, before running away and living on the streets. She’s still just a kid when she discovers she’s a mutant with the ability to control metal. For years she lives as a drifter, but eventually she’s able to get off the streets and make ends meet as a waitress in NYC - up until aliens attack. Using her powers to fight, she’s discovered by the Avengers and SHIELD and recruited, and ends up living in the Avengers tower with the rest of them. After years of not having anyone, she’s finally found herself a space space and a family - a family that gets even bigger when the Maximoff twins show up and she finds herself growing closer to Pietro.

[ciegeinc]

Movie Review...The Marvels

(2.5-3/5) An uncertain score for the MCUs latest addition, The Marvels. The movie left me with more questions than entertainment. Before all the questions or negative thoughts on the film, let's start with the positive ones. The action was there, and the character Kamala was funny. I actually haven't seen the Ms. Marvel show, but this movie made me more interested in the character and what she could bring to the MCU.

Now to some questions and bad stuff.

The power entanglement was my biggest issue with the film. Marvel explained our heroes' power entanglement just as quickly as their time travel explanation. So fast that the average movie goer would just accept it. "It made sense to them, so it has to make sense." And just like the explanation of time travel...I do not accept.

The origins of their powers are all different (ancient Kree artifacts, walking through the Scarlet Witch's barrier and Terrigen Mist/Inhuman) and although they all have the commonality of light base...that shouldn't connect them. To the point that they can teleport through space time when one uses their power. That was a poor excuse to bring these three together for the sake of pushing some women can lead an action film agenda. The other possible reason for bringing them all together is that the creators didn't think Captain Marvel had a strong enough stand-alone sequel story. Them randomly and comically switching places also "disneyfies" the plot.

Another issue with the film was with the timeline. With the abysmal Secret Invasion airing before this film. Where does this film take place? Before or after Secret Invasion. And does the actions and events of that show have any weight in the new addition to the MCU? Does events on the Tarnax and New Asgard have any connection to Secret Invasion? Does the ending of Loki season 2 have any weight on the film as well?

Now to Carol and Dar-Benn

The clarity of Dar-Benn's motives made her purpose clear but also simplistic. Wanting to gain this power to restore life to her world that was destroyed by Captain Marvel is the foundational story. But it is filled with other people's issues and obsessions with Captain Marvel along with revelations of her journeys while absent from Earth (a very Disney musical language planet...the most unnecessary part of the film).

Captain Rambeau's beef stemmed from childhood abandonment issues, which was illustrated by a cold, distant shoulder that didn't make sense initially and panned out to be childish in the end. Your mom's friend gains inhuman powers (inhuman trash...#mutantpride) and becomes an intergalactic superhero, and once she finally can come to earth, you are distant and weird for half the movie?

Girl, bye...all the stuff you went through with the Scarlett Witch and all that has happened in the MCU since...you got time to be mad still? Once Carol revealed why she couldn't come back just yet, Monica was just like, "Oh, okay."

Her reasoning for not returning was because of the guilt of destroying Tarnax. The film briefly shows her attacking the main city but never shows any evidence of her trying to reverse her actions. Instead, in the heat of battle, Monica reminds her how powerful she is and that she herself can restart a dying star which would help the planet. And again, the overall conclusion is just, "Oh, Okay."

Like what is happening in this movie.

Dar-Benn is then overpowered and destroyed by the power she sought. Her destruction led to the breakdown of the space jumping network. Monica's power was the solution to sealing the tear in space time. Instead of pulling the tear together from her side, she decides to push the tear closed from the other side. A decision that would trap her on the other side. A decision she was aware of. The reasoning behind her decision was not clear. Did she not want to live anymore? Did she want to sacrifice herself? What was the reason?

The after credit scene added more questions. Although my inner child was drooling at the mouth, my critical adult gave a skeptical eye squint. Monica wakes up to what looks to be her mother, but it turns out to be someone else from a parallel universe, and they are in the X mansion under the care of Dr Heny McCoy aka Beast.

So Kree Bangles have the power to open gateways in the same universe as well as the multiple verse?

And we just happen to find that out when Dar-Benn put them together? Make it make sense. Now the X Men have officially been introduced to the MCU for a 2nd time. But is this the way such a mighty team should be introduced to the MCU? This multiverse crap, the unclear direction of the MCU makes me nervous of what they are going to do to my XMEN.

Have you seen the Marvels?

Carol Danvers aka Captain Marvel has reclaimed her identity from the tyrannical Kree and taken revenge on the Supreme Intelligence. But unintended consequences see Carol shouldering the burden of a destabilized universe. When her duties send her to an anomalous wormhole linked to a Kree revolutionary, her powers become entangled with that of Jersey City super-fan, Kamala Khan aka Ms. Marvel, and Carol's estranged niece, now S.A.B.E.R. astronaut Captain Monica Rambeau. Together, this unlikely trio must team-up and learn to work in concert to save the universe as "The Marvels." (Rottentomatoes.com)

[moonstone27ls]

just a random thought

Anybody ever check out this youtube account called The Take? I only pass it once a blue moon. I did like their video on Cinderella. But a couple of weeks ago I noticed this video

Now I'm not gonna go into a lot of detail/or rant for two reasons. One, I'm not black. Or a minority... I think (look not getting into that can of worms). But I did sit down and listen to it because at thumbnail glance I didn't know what they meant.

But then after I listen to it... I sat down and saw of couple examples that made me think "Omg they're sooo right". And... its still a thing? " even after this video was made. Again not gonna get to detail. I'm just having an "aha" moment cause I've been watching TV.

Lets see comic wise, (and this will probably offend a Wandavision fan, no you're not welcome8B). Comic wise, Wanda aka Scarlet Witch had finally dumped Vision and I was okay with that. Comic wise he was a bore. Maybe he was fun in old years but now he's boring.

Secondly, I thought Wanda could do better. And they gave her Jericho Drumm aka Doctor/or Brother Voodoo. And I thought at first glance "Oh he's got a great design". And I don't know a lot about him. Maybe we'll get more story. Nope. Wandavision came out, Marvel suddenly forgot she had a good thing going. Now everywhere I turn its Vision, its Vision. He can't/or won't leave her alone. Even though he's made/or had two different relationships and kids which he ditched one pair.

I'm like "Why are focusing on him?". What happened to Jericho? Only analysis... Jericho's not selling. They literally scrapped him (even though they didn't finish/or get to explore it more) for Wandavision. Gah and ever since the MCU I hate Vision more cause he's a pointless trope. But anywayyyys back to another example.

Second/and third is TV examples. Second is an old entry but I'm gonna use it. Boy Meets World. Angela and Shawn were a GREAT couple and I do mean a great couple. Angela should had been the end game.

But at the end of the day the writers?/creator/or Disney?(dunno who to blame and don't care).... didn't value Angela and pushed her aside for the white chick.

Then there's an ABC show Will Trent. Season 2, I was very hopeful. Will Trent was flirting with a lovely black lady Cricket. And I thought "Oh good a HEALTHY relationship". Nope episode 1, they literally kill her off.

Whats the motivation? Only for the writers to push him back to Angie, the toxic white girlfriend. Besides that trope, I guess it also counts as fridging. Such a waste of actress.

And I'm just gonna point this out, not counting TV shows. Disney's guilty of this themselves. Now I don't entirely think they mean to do it on purpose. But just looking I'm noting this I'm looking at their FEATURE films. I think with all this whole "FEMINISM" means "we don't need a man/love story" into the movies.

Which at first I get. Now animated(2D) only three of the Disney princesses are of color with a relationship. (Sorry not counting Pocahontas thats a historical mess. Sorryyy) But since transitioning into CGI... none of the new princesses are getting a love interests. The ones of color. The white ones did aka Anna and Rapunzel. Even if we argue "Oh Elsa will get one" again she's still white. And no not counting Encanto either. Uhh cause the focus is usually Isabella and Luisa, they're single. Same for Maribel but she's a kid so not holding her to it. Do I count Dolores... pft sorry no. I blame the writers on that.

But none of the new princesses of color have gotten one. Not even Asha, Asha would have gotten one originally but they scrapped it.

Now again before someone jumps me. I don't think they mean to do it on purpose.

[mk-wizard]

“Thor” Speaks Out: We won’t take the hate that you give

First, the She-Hulk TV series’ creators admitted that they made the show with the objective of mocking fans, then Henry Cavill walked out on the Netflix Witcher because he had enough, and now, Chris Hemsworth who is famous for playing Thor in the MCU has had enough and is putting his foot (and hammer) down hard in how he is sick of being ridiculous on purpose.

THIS is what Disney, Netflix and a lot of media have to show making films and series that are not only devoid of love, but openly hate the source material and will create a media based on it just to spite it and its fans. Back when I was growing up, if someone on the set of a movie or show mocked the very piece they were creating and did not take it seriously, they got fired. If you don’t really want to be there and don’t even like what you’re working, then you shouldn’t be there. Now, it looks like insulting the media has become part of the creative process and is even encouraged. And that’s bad.

I admit that even fans laugh at the very fiction they love sometimes because we are not blind to its flaws or silly parts. It is even an art form to sit back and laugh at the silly side of our fandoms hence why we have spoof films like Dracula Dead and Loving it, the famous Naked Gun series, the Lethal Weapon TV series on Netflix, Shaun of the Dead, The Orville, the webcomic 8-Bit Theater and more.

But even then, it was still obvious that behind these parody pieces was a very obvious love and endearment towards the source material. In other words, we are laughing with them together with no hard feelings and we all still love what we love. The creators did not make these films or series because they wanted to make the original material look bad. They did it because they wanted to make us laugh. And even then, they were put together with care and with intent of making something great that all audiences could enjoy.

Now, pieces that are meant to be part of the official lore feel like hate letters to both the original fans and creators. And what do you really have to show for it when you create something with hate, resentment and with the intent to insult and punish the audience? Nothing. All you did was waste your time and made yourself look bad. Not to mention that when you make bad media on purpose, it becomes permanent on your record. Moreover, when you have a chance to work with something as big as She-Hulk, Star Wars, Superman, He-Man or other iconic figures in fiction, it would be wiser to give it your all and make it into something great like Noelle Stevenson did with She-Ra. Even if you aren’t a die-hard fan of the material, it is still honour to be picked to work on it, so it is better to treat it like an honour instead of a joke. And if you dislike it that much, it is better to kindly turn down the job.

The point is that Hollywood needs to not only remove hate from the equation, but to also put love back into the creative process. Too much of Marvel, Disney, DC and now, Netflix are plagued with meanness and hate, and the material is suffering for it. I also truly believe that deep down, these companies don’t want to be hateful or mean to anyone including themselves. They don’t really want to lose their loyal fans and don’t really want to make half-baked films or shows.

I believe that things are going to change and while I admit that maybe it will get worse before it gets better, I have faith. After all, DC, Marvel and Disney have been around long before this new wave of media came along. And it had its bad times before yet braved them. The Dark Knight rose once, he can do it again and so will all the other heroes.

After all, love is stronger than hate. If anything, the fact that these actors are taking a stand and speaking out is a sign of positive change. They are finally saying “no” and if there is one thing I have learned as a parent, “no” has love behind it.

Thank you for reading and as always, stay safe.

-Mary

[momentofmemory]

Your Meta has Meta

a response to the "canon did it first” excuse for racism

Whenever someone points out that certain metas/fics/headcanons have racist implications, the overwhelming response tends to be that it can’t actually be the product of racial bias—because it’s just “canon.” After all, if a character really is cruel, petty, or abusive in the source material, how can Fandom be held responsible for writing them in character?

On the surface, this can seem like a perfectly good argument—except that it completely sidesteps the actual implications.

Consider, for example, the following interpretations (all from real metas):

Finn from Star Wars is a predator—he’s obsessed with Rey.

Scott from Teen Wolf is a rapist—he attacked Derek.

MJ from the MCU is a fake MJ who should be replaced—her hair colour is wrong & she’s mean.

Iris from The Flash is a b*tch who should be killed off—she’s useless & whiny.

Each of these statements could be explored at length for the bad faith readings that they are, but for the purposes of this meta, let’s assume they are all correct.

What would be the implications of that?

If Finn, the first Black character with a leading role in a Star Wars film, is a sexual predator towards a white woman—a trope that has a horrific, racist history—why then is the meta using that discovery to explain why the white fave is superior, instead of a furious exposé on Disney’s racist depiction of a Black man?

If Scott, one of the few heroic Latino leads on US television, is a rapist and secretly the villain—when only 3% of all leading roles go to Latino men, as opposed to 22% of all Latino roles being related to crime—why then is the meta using that to elevate three white male faves, instead of calling MTV out for its bait and switch? Why is it not righteously angry at yet another racist depiction of a Latino character?

If Michelle, a mixed Black woman in the role of the most iconic superhero love interest of all time, is just a fake MJ and not the “real” love interest—when Black women are already relegated to less than 4% of all speaking roles in film, never mind the rarity of playing a romantic lead—why then is the meta focused on getting a “real” (white) MJ to take over her position, instead of pushing Disney to make her status as MJ as explicit as possible?

If Iris, one of the few Black women in a lead role on network television, is a b*tch who’s useless and whiny—when Black women are consistently over disciplined for being seen as louder/more disruptive than their peers—why does the meta choose to solve this by murdering Iris, instead of petitioning the writing staff to stop leaning into racist tropes?

This is only a sampling of popular metas—and only a few of the endgame conclusions that have to result—but the point is that the racism is not a bug; it’s a feature. If they were actually true, it would make the source material so reprehensible as to make supporting it unconscionable—but that’s not what they’re used for. Instead, time and time again, they’re just used to push the COC out of their own narratives.

If a meta wants to claim it cannot be racist because it’s simply restating what canon did, then it must consider whether or not that makes canon also racist. And if it does—what does it want to say about that? Is the meta going to continue that racist pattern? Call out the creators for their stereotyping? Create additional metas and fics to attempt to address the revealed problem?

And denying that—if none of those options seem tenable—then maybe the correct response is to question whether the original meta was all that accurate to begin with.

[lokiondisneyplus]

Natalie Holt's timeline was turned upside down last fall when she landed the highly-coveted composer gig for Marvel Studios' Loki series on Disney+.

"My agent got a general call-out looking for a composer on a Marvel project," she tells SYFY WIRE during a conversation over Zoom. "So, I didn’t know what it was. It was [described as] spacey and quite epic ... I sent in my show reel and then got an interview and got sent the script and then I realized what it was for. I was like, ‘Oh my god!’ It was amazing ... Loki was already one of my favorite characters, so I was really stoked to get to give him a theme and flesh him out in this way."

***WARNING! The following contains certain plot spoilers for the first four episodes of Loki!***

Imbued with glorious purpose, Holt knew the score had to match the show's gonzo premise about the Time Variance Authority, an organization that secretly watches over and manages every single timeline across the Marvel multiverse. The proposition of such an out-there sci-fi concept inspired the composer to bring in uniquely strange sounds, courtesy of synthesizers and a theremin.

"I got my friend, Charlie Draper, to play the theremin on my pitch that I had to do," she recalls. "They gave me a scene to score, which I’m sure they gave to loads of other composers. It was the Time Theater sequence in Episode 1. The bit from where he goes up the elevator and then into the Time Theater ... I just went to town on it and I wanted to impress them and win the job and put as many unusual sounds in there and make it as unique as possible."

The end result was a weird, borderline unnatural sound that wouldn't have felt out of place in a 1950s sci-fi B-movie about big-headed alien invaders. Rather than being turned off by Holt's avant garde ideas, Marvel Studios head honcho Kevin Feige embraced them, only giving the composer a single piece of feedback: "Push it further."

Holt admits that she was slightly influenced by Thor: Ragnarok ("I loved the score for it and everything"), which wasn't afraid to lean into the wild, Jack Kirby-created ideas floating around Marvel's cosmic locales. Director Taika Waititi's colorful and bombastic set pieces were perfectly complimented by an '80s-inspired score concocted by Devo co-founder, Mark Mothersbaugh.

"To be honest, I tried not to listen to it on its own," Holt says of the Ragnarok soundtrack. "I didn’t want to be too influenced by it. I watched the film a couple of times a few years ago, so yeah, I don’t think I was heavily referencing it. But I definitely had a memory of it in my mind."

After boarding Loki last September, Holt spent the next six months (mostly in lockdown) crafting a soundtrack that would perfectly reflect the titular god of mischief played by Tom Hiddleston. One of the first things she came up with was the project's main theme — a slightly foreboding cue that pays homage to the temporal nature of the TVA, as well as the main character's flair for the dramatic. "He always does things with a lot of panache and flair, and he’s very classical in his delivery."

She describes it as an "over-the-top grand theme with these ornate flourishes" that plays nicely with Loki's Shakespearean aura. "I wanted those ornaments and grand gestures in what I was doing. Then I also wanted to reflect that slightly analog world of the TVA where everything has lots of knobs and buttons ... [I wanted to] give it that slightly grainy, faded [and] vintage-y sci-fi sound as well."

"I just wanted it to feel like it had this might and weight — like there was something almost like a requiem about it," Holt continues. "These chords that are really powerful and strident and then they’ve got this blinking [sound] over the top. I just came up with that when I was walking down the street and I hummed it into my phone. There’s a video where you can just see up my nose and I’m humming [the theme]. I came home and I played it."

As a classically-trained musician, Holt drew on her love of Mahler, Dvořák, Beethoven, Mozart, and most importantly, Wagner. A rather fitting decision, given that an actual Valkyrie (played by Tessa Thompson) exists within the confines of the MCU.

"I would say those flourishes over the top of the Loki theme are very much Wagner," Holt says. "They’re like 'Ride of the Valkyries.’ I wanted people to kind of recall those big, classical, bombastic pieces and I wanted to give that weight to Loki’s character. That was very much a conscious decision to root it in classical harmony and classical writing ... There’s a touch of the divine to the TVA. It’s in charge of everything, so that’s why those big powerful chords [are there]. I wanted people almost to be knocked off their socks when they heard it."

With the main theme in place, Holt could then play around with it in different styles, depending on the show's different narrative needs. Two prime examples are on display in the very first episode during Miss Minutes' introductory video and the flashback that reveals Loki to be the elusive D.B. Cooper.

"What was really fun was [with] each episode, I got to pull it away and do a samba version of the theme or do a kind of ‘50s sci-fi version of the theme," she explains. "I can’t say other versions of the theme because they’re in Episode 5 and 6…or like when Mobius is pruned, I did this really heartfelt and very emotional [take on the theme] when you see Loki tearing up as he’s going down in slow motion down that corridor. It was cool to have the opportunity to try out so many different styles and genres. And it was big enough to take it all. It was a big enough story."

The other side of the story speaks to the old world grandeur of Loki's royal upbringing on Asgard, a city amongst the stars that eventually found its way into Norse mythology.

"I went to a concert in London three years ago and I heard these Norwegian musicians playing in this group called the Lodestar Trio," Holt recalls. "They do a take on Bach, where they’re kind of giving it a folk-y twist … [They use] a nyckelharpa and a Hardanger fiddle — they’re two historic Norwegian folk instruments. I just remembered that sound and I was like, ‘Oh, I have to use those guys in our score.’ It seemed like the perfect thing. I was like, ‘Yes, the North/Norwegian folk instruments.’ It just felt like it was the perfect thing for his mother and Asgard and his origins."

That folk-inspired sound also helped shape the music for Sylvie (played by Sophia Di Martino), a female variant of Loki with a rather tragic past. "Obviously, we’ve seen in Episode 4 what happened to her as a child," Holt says. "I just feel like she’s so dark. She’s basically grown up living in apocalypses, so she has that Norwegian folk violin sound, but her theme is incredibly dark and menacing and also, you don’t see her. She’s just this dark figure who’s murdering people for a while."

And then there were all the core members of the TVA to contend with. As Holt mentioned above, fans recently lost Agent Mobius (Owen Wilson), may he rest in prune. We mean peace. What? Too soon? During a recent interview with SYFY WIRE, Loki head writer Michael Waldron said that he based Mobius off of Tom Hanks's dogged FBI agent Carl Hanratty in 2002's Catch Me If You Can.

"There’s this thing that he loves jet ski magazines," Holt says. "I had this character in my head and then when I saw Owen Wilson’s performance, I was like, ‘Oh, he’s actually a lot lighter and he plays it in a different way from how I’d imagined.’ But I was listening to Bon Jovi and those slightly rock-y anthemic things. ‘90s rock music for some reason was my Mobius sound palette."

Mobius is pruned on the orders of his longtime friend, Ravonna Renslayer (Gugu Mbatha-Raw), after learning that everyone who works for the TVA is a variant who was unceremoniously plucked out of their original timelines. A high-ranking member of the quantum-based agency, Renslayer has a theme that "is quite tied in with Mobius and it’s like a high organ," Holt adds. "It doesn’t quite know where it’s going yet. But yeah, we’ll have to see what happens with that one."

Wilson's character isn't the only person fed up with the TVA's lies. Hunter B-15 (Wunmi Mosaku) also became disillusioned with the place and allowed Sylvie to escape in the most recent episode

"Hunter B-15 has this moment in Episode 4 where Sylvie shows her her past, her memories. I thought that was a really powerful moment for her," Holt says. I feel like she’s such a fighter and when she comes into the Time-Keepers and she makes that decision, like, ‘I’m switching sides,’ so her theme is more like a drum rhythm. I actually kind of sampled my voice and you can hear that with the drums. I did loads of layers of it, just like this horrible sliding sound with this driving rhythm underneath it. So, that was B-15 and then her softer side when she has her memory given back to her."

Speaking of the Time-Keepers, we finally got to meet the creators of the Sacred Timeline...or at least we thought we did. Loki and Sylvie are shocked to learn that the red-eyed guardians of reality are nothing but a trio of high-end animatronics (ones that could probably be taken out by a raging Nicolas Cage). Even before Sylvie manages to behead one of them, something definitely feels off with the Time-Keepers, which meant Holt could underscore the uncanny valley feeling in the score.

"When they walked in for their audience with the Time-Keepers, it was like this huge gravitas," she says. "But you look up and there’s something a bit wrong about them. I don’t know if you felt that or if you just totally believed. You were like, ‘Oh, this is so strange.’ I just felt like there was something a little bit off and musically, it was fun to play around with that."

Holt is only the second solo female composer to work on an MCU project, following in the footsteps of Captain Marvel's Pinar Toprak. Her involvement with Loki represents the studio's growing commitment to diversity, both in front of and behind the camera. This Friday will see the wide release of Black Widow, the first Marvel film to be helmed solely by a woman (Cate Shortland). Four months after that, Chloé Zhao's Eternals will introduce the MCU's first openly gay character into the MCU.

"I just feel like it’s an honor and a privilege to have had that chance to be the second woman to score a thing in the MCU and to be in the same league as those incredible composers like Mothersbaugh and Alan Silvestri. They're just legends," Holt says. "Another distinctive thing about [the show] is that all the heads of department are pretty much women. Marvel are showing themselves to be really progressive and supportive and encouraging. I applaud [them]. Whatever they’re doing seems to be working and people seem to be liking it as well, so that’s awesome."

Holt's score for Vol. 1 of Loki (aka Episodes 1-3) are now streaming on every music-based platform you could think of. Episodes 1-4 are available to watch on Disney+ for subscribers. Episode 5 (the show's penultimate installment) debuts on the platform this coming Wednesday, July 7.

Natalie isn't able to give up any plot spoilers for the next two episodes (no surprise there), but does tease "the use of a big choir" in one of them. "Episode 6, I’m excited for people to hear it," she concludes. "That’s all I can say."

[musette22]

no attack to you because I know you're still bitter about endgame which is valid but stop using the word straighwashed. I ship stucky but Bucky has only ever dated women in comics and the mcu and that's real. the situation with the "straightwashed" word is that some people are really turning it into a "wanda situation" in which they're saying that they changed basic things about Bucky when that's not true. they're attacking the character and sebastian for things that arent real, which never were. again, bucky has only ever dated women in both comics and the mcu. our headcanons really have nothing to do with real canon

Hello! Thank you for sharing your concerns, I appreciate it. I’ll admit that ‘straightwashing’ wasn’t the best choice of words here, though mostly because we have to be careful with terms like that because using them callously might diminish their value and impact in instances when they’re really applicable. So my statement was a little too bold, and it’s good that you pointed that out. But let me try to explain what I meant in a slightly more nuanced way, because I do feel strongly about this. I’ll put it under the keep reading tab though, because of course it’s long lmao

So, first of all, let me say that I’ve never read the comics and I don’t know original comic Bucky well at all, so everything I’m saying here is with regard to MCU Bucky, or at least the character as it was re-invented/re-introduced by Ed Brubaker in the Winter Soldier comics, which was then adapted for the big screen by the Marvel Cinematic Universe.

I understand what you mean when you say that MCU Bucky was posited as straight, but I some reservations about your use of the word ‘real’ here. I get that you mean ‘canon’, and on a surface level, canon Bucky is indeed straight. But if you even so much as scratch that surface, you’ll find plenty of reason to wonder if maybe he isn’t actually completely straight after all, right? It’s what drew a lot of people to ship these two characters together, you and I included. That’s subtext, and a lot of it was put there or endorsed by the creators themselves (Ed Brubaker himself even supports the reading of Bucky and Steve as romantic, so that says quite a bit, I think). Subtext is ‘real’ too, and so is homophobia, sadly, so they deserve to be treated as such, in my opinion. A romantic reading of the relationship between Steve and Bucky was frequently hinted at, initially even encouraged, and then violently shut down by Marvel/Disney when it became too mainstream of an opinion and it didn’t suit them anymore, and even started to present a real issue for them in terms of distribution to certain parts of the world. In a nutshell, that’s what led to Steve’s ending in Endgame, because Captain America (at least the MCU one, that brings in the money) cannot outwardly be anything other than straight, or he would be rejected by a significant part of their audience. That’s more or less what I meant by the word ‘straightwashing’, although ‘straightened out’ might be more accurate here.

Whether the same thing is happening to Bucky’s character remains to be seen (more than it already did, I mean – remember “Dot”?) and I’ll wait until the whole show has aired and we know exactly how they develop Bucky’s character in it before I make any more bold statements about it. I read an interesting take today that suggested they may have actually dropped a hint at Bucky being bi in this first ep (also, note how they’re like “there are even entire blogs dedicated to this pairing!” And then actually link to @steveandbvcky’s amazing tumblr blog lol). I’m pretty skeptical about this take, because even if they’re right and that really was a hint at Bucky being bi, I doubt they’re going to be exploring that any further, and only people “in the know” will have even picked up on that. It’s easy enough to ignore, and it’s very clear the date was with a woman, so in that sense Bucky is still Straight, to all intents and purposes. So while it could be an act of what you might call fanservice and we’ll probably gratefully lap it up anyway because we’re starved for crumbs and representation, if this is all it is, then it’s even more meaningless than Gay Joe Russo. But again, I’ll reserve judgement on all this until the whole show has aired and we know exactly what we’re working with, because maybe they’ll redeem themselves! (one can only hope)

Let me also just make it clear that I in no way support or endorse attacking the actors for their portrayal of these characters in a way that we’re not entirely happy with. They’re just doing their job, they’re on Marvel’s payroll – and even if they just don’t personally view the characters in the same way we do, that’s valid and fine as long as they’re not actively homophobic or anything like that. I also realise that fandom has a tendency to ‘demand’ certain things they want to see and throw a tantrum if we don’t get it. 

But I really don’t think that’s what this is. It’s more than that. Marvel has a notoriously bad track record when it comes to LGBT representation (although they’re working on that in the next phase, apparently) and in this day and age, that really won’t fly anymore (it never did of course, but you know what I mean). Moreover, read any given article about Bucky, or the relationship between Steve and Bucky, and 8 out of 10 times you’ll find some sort of acknowledgment of a romantic reading of it. It’s that apparent and pervasive. So I don’t think that being disappointed and frustrated with Marvel/Disney reinforcing a ‘just bros being bros’ reading of Steve and Bucky’s relationship time and time again since the end of Civil War (the movie, not the historical event) is outrageous or unjustified. That’s basically what I’m sick and tired of, and what led me to make a disparaging comment about not being surprised if Bucky were being ‘straightened out’ again.

P.s. A few people have mentioned Arnie Roth too, which could be a good point too although I don’t know enough about it to comment on it, but I’ll leave it to you.

[twh-news]

Loki' composer on how her MCU score reflects the main character's flair for the dramatic

By Josh Weiss

Natalie Holt's timeline was turned upside down last fall when she landed the highly-coveted composer gig for Marvel Studios' Loki series on Disney+.

"My agent got a general call-out looking for a composer on a Marvel project," she tells SYFY WIRE during a conversation over Zoom. "So, I didn’t know what it was. It was [described as] spacey and quite epic ... I sent in my show reel and then got an interview and got sent the script and then I realized what it was for. I was like, ‘Oh my god!’ It was amazing ... Loki was already one of my favorite characters, so I was really stoked to get to give him a theme and flesh him out in this way."

***WARNING! The following contains certain plot spoilers for the first four episodes of Loki!***

Imbued with glorious purpose, Holt knew the score had to match the show's gonzo premise about the Time Variance Authority, an organization that secretly watches over and manages every single timeline across the Marvel multiverse. The proposition of such an out-there sci-fi concept inspired the composer to bring in uniquely strange sounds, courtesy of synthesizers and a theremin.

"I got my friend, Charlie Draper, to play the theremin on my pitch that I had to do," she recalls. "They gave me a scene to score, which I’m sure they gave to loads of other composers. It was the Time Theater sequence in Episode 1. The bit from where he goes up the elevator and then into the Time Theater ... I just went to town on it and I wanted to impress them and win the job and put as many unusual sounds in there and make it as unique as possible."

The end result was a weird, borderline unnatural sound that wouldn't have felt out of place in a 1950s sci-fi B-movie about big-headed alien invaders. Rather than being turned off by Holt's avant garde ideas, Marvel Studios head honcho Kevin Feige embraced them, only giving the composer a single piece of feedback: "Push it further."

Holt admits that she was slightly influenced by Thor: Ragnarok ("I loved the score for it and everything"), which wasn't afraid to lean into the wild, Jack Kirby-created ideas floating around Marvel's cosmic locales. Director Taika Waititi's colorful and bombastic set pieces were perfectly complimented by an '80s-inspired score concocted by Devo co-founder, Mark Mothersbaugh.

"To be honest, I tried not to listen to it on its own," Holt says of the Ragnarok soundtrack. "I didn’t want to be too influenced by it. I watched the film a couple of times a few years ago, so yeah, I don’t think I was heavily referencing it. But I definitely had a memory of it in my mind."

After boarding Loki last September, Holt spent the next six months (mostly in lockdown) crafting a soundtrack that would perfectly reflect the titular god of mischief played by Tom Hiddleston. One of the first things she came up with was the project's main theme — a slightly foreboding cue that pays homage to the temporal nature of the TVA, as well as the main character's flair for the dramatic. "He always does things with a lot of panache and flair, and he’s very classical in his delivery."

She describes it as an "over-the-top grand theme with these ornate flourishes" that plays nicely with Loki's Shakespearean aura. "I wanted those ornaments and grand gestures in what I was doing. Then I also wanted to reflect that slightly analog world of the TVA where everything has lots of knobs and buttons ... [I wanted to] give it that slightly grainy, faded [and] vintage-y sci-fi sound as well."

"I just wanted it to feel like it had this might and weight — like there was something almost like a requiem about it," Holt continues. "These chords that are really powerful and strident and then they’ve got this blinking [sound] over the top. I just came up with that when I was walking down the street and I hummed it into my phone. There’s a video where you can just see up my nose and I’m humming [the theme]. I came home and I played it."

As a classically-trained musician, Holt drew on her love of Mahler, Dvořák, Beethoven, Mozart, and most importantly, Wagner. A rather fitting decision, given that an actual Valkyrie (played by Tessa Thompson) exists within the confines of the MCU.

"I would say those flourishes over the top of the Loki theme are very much Wagner," Holt says. "They’re like 'Ride of the Valkyries.’ I wanted people to kind of recall those big, classical, bombastic pieces and I wanted to give that weight to Loki’s character. That was very much a conscious decision to root it in classical harmony and classical writing ... There’s a touch of the divine to the TVA. It’s in charge of everything, so that’s why those big powerful chords [are there]. I wanted people almost to be knocked off their socks when they heard it."

With the main theme in place, Holt could then play around with it in different styles, depending on the show's different narrative needs. Two prime examples are on display in the very first episode during Miss Minutes' introductory video and the flashback that reveals Loki to be the elusive D.B. Cooper.

"What was really fun was [with] each episode, I got to pull it away and do a samba version of the theme or do a kind of ‘50s sci-fi version of the theme," she explains. "I can’t say other versions of the theme because they’re in Episode 5 and 6…or like when Mobius is pruned, I did this really heartfelt and very emotional [take on the theme] when you see Loki tearing up as he’s going down in slow motion down that corridor. It was cool to have the opportunity to try out so many different styles and genres. And it was big enough to take it all. It was a big enough story."

The other side of the story speaks to the old world grandeur of Loki's royal upbringing on Asgard, a city amongst the stars that eventually found its way into Norse mythology.

"I went to a concert in London three years ago and I heard these Norwegian musicians playing in this group called the Lodestar Trio," Holt recalls. "They do a take on Bach, where they’re kind of giving it a folk-y twist … [They use] a nyckelharpa and a Hardanger fiddle — they’re two historic Norwegian folk instruments. I just remembered that sound and I was like, ‘Oh, I have to use those guys in our score.’ It seemed like the perfect thing. I was like, ‘Yes, the North/Norwegian folk instruments.’ It just felt like it was the perfect thing for his mother and Asgard and his origins."

That folk-inspired sound also helped shape the music for Sylvie (played by Sophia Di Martino), a female variant of Loki with a rather tragic past. "Obviously, we’ve seen in Episode 4 what happened to her as a child," Holt says. "I just feel like she’s so dark. She’s basically grown up living in apocalypses, so she has that Norwegian folk violin sound, but her theme is incredibly dark and menacing and also, you don’t see her. She’s just this dark figure who’s murdering people for a while."

And then there were all the core members of the TVA to contend with. As Holt mentioned above, fans recently lost Agent Mobius (Owen Wilson), may he rest in prune. We mean peace. What? Too soon? During a recent interview with SYFY WIRE, Loki head writer Michael Waldron said that he based Mobius off of Tom Hanks's dogged FBI agent Carl Hanratty in 2002's Catch Me If You Can.

"There’s this thing that he loves jet ski magazines," Holt says. "I had this character in my head and then when I saw Owen Wilson’s performance, I was like, ‘Oh, he’s actually a lot lighter and he plays it in a different way from how I’d imagined.’ But I was listening to Bon Jovi and those slightly rock-y anthemic things. ‘90s rock music for some reason was my Mobius sound palette."

Mobius is pruned on the orders of his longtime friend, Ravonna Renslayer (Gugu Mbatha-Raw), after learning that everyone who works for the TVA is a variant who was unceremoniously plucked out of their original timelines. A high-ranking member of the quantum-based agency, Renslayer has a theme that "is quite tied in with Mobius and it’s like a high organ," Holt adds. "It doesn’t quite know where it’s going yet. But yeah, we’ll have to see what happens with that one."

Wilson's character isn't the only person fed up with the TVA's lies. Hunter B-15 (Wunmi Mosaku) also became disillusioned with the place and allowed Sylvie to escape in the most recent episode

"Hunter B-15 has this moment in Episode 4 where Sylvie shows her her past, her memories. I thought that was a really powerful moment for her," Holt says. I feel like she’s such a fighter and when she comes into the Time-Keepers and she makes that decision, like, ‘I’m switching sides,’ so her theme is more like a drum rhythm. I actually kind of sampled my voice and you can hear that with the drums. I did loads of layers of it, just like this horrible sliding sound with this driving rhythm underneath it. So, that was B-15 and then her softer side when she has her memory given back to her."

Speaking of the Time-Keepers, we finally got to meet the creators of the Sacred Timeline...or at least we thought we did. Loki and Sylvie are shocked to learn that the red-eyed guardians of reality are nothing but a trio of high-end animatronics (ones that could probably be taken out by a raging Nicolas Cage). Even before Sylvie manages to behead one of them, something definitely feels off with the Time-Keepers, which meant Holt could underscore the uncanny valley feeling in the score.

"When they walked in for their audience with the Time-Keepers, it was like this huge gravitas," she says. "But you look up and there’s something a bit wrong about them. I don’t know if you felt that or if you just totally believed. You were like, ‘Oh, this is so strange.’ I just felt like there was something a little bit off and musically, it was fun to play around with that."

Holt is only the second solo female composer to work on an MCU project, following in the footsteps of Captain Marvel's Pinar Toprak. Her involvement with Loki represents the studio's growing commitment to diversity, both in front of and behind the camera. This Friday will see the wide release of Black Widow, the first Marvel film to be helmed solely by a woman (Cate Shortland). Four months after that, Chloé Zhao's Eternals will introduce the MCU's first openly gay character into the MCU.

"I just feel like it’s an honor and a privilege to have had that chance to be the second woman to score a thing in the MCU and to be in the same league as those incredible composers like Mothersbaugh and Alan Silvestri. They're just legends," Holt says. "Another distinctive thing about [the show] is that all the heads of department are pretty much women. Marvel are showing themselves to be really progressive and supportive and encouraging. I applaud [them]. Whatever they’re doing seems to be working and people seem to be liking it as well, so that’s awesome."

Holt's score for Vol. 1 of Loki (aka Episodes 1-3) are now streaming on every music-based platform you could think of. Episodes 1-4 are available to watch on Disney+ for subscribers. Episode 5 (the show's penultimate installment) debuts on the platform this coming Wednesday, July 7.

Natalie isn't able to give up any plot spoilers for the next two episodes (no surprise there), but does tease "the use of a big choir" in one of them. "Episode 6, I’m excited for people to hear it," she concludes. "That’s all I can say."

[pechoraflow]

okay so people are wondering how I was able to write a Batman fanfic for one of my finals - here's the short of it:

two-part project, part one was a paper on art's purpose in a crisis (e.g. this entire year) and part two was a work of art that related to the topics discussed in the paper. I said that fanfiction was the best medium for escapist, comfort art this year and wrote a Batfam sickfic to go along with it.

so basically I argued that fanfiction is art for six pages and the only reason it is not recognized as such is because people dont recognize fanfiction when they see it.

Shakespeare. The Aeneid. The MCU. Wicked on Broadway. Every episode of a TV show after the pilot. All of these works were created by someone who did not come up with the original world or characters. The only difference is that the creators of those works were paid.

it was a fun project :)

[stonylovessteve]

Creator Reveals

We’ve reached the end of the exchange and that means it’s time to reveal the creators of all our works.

Thank you for putting so much love and effort into Stony Loves Steve 2020, you really made it a great experience. We hope everyone loved it as much as we did!

Giftees, be sure to leave a comment and kudos on your gift if you haven’t already. All our creators worked hard to make this event a success, so show them some love.

You can now post about your work publicly outside of the exchange. Tag it as #stonylovessteve2020 on tumblr and we’ll reblog you. @ us @stonylovessteve on twitter and we’ll retweet you.

Below the cut is the final list of all the works produced for the exchange and the creators.

Love thy neighbor by captainstars for picturecat  (616, 2.2k Words)

Neighbors are supposed to come around to borrow a cup of sugar; these ones take Steve’s husband instead.

Or

“So let me get this right, you came here to save me?” He asked.

Steve ducked his head down in a nod.

“But you managed to get captured by my kidnappers?” He added.

Steve paused, and then repeated the motion.

“And somewhere in the midst of all that, they turned you into a cat.” Tony pointed out, like it wasn’t obvious.

Funnel Cakes and Ferris Wheels by jehbehee for muchmoremajestic (MCU AU, 5.4k Words)

Tony takes Steve on a road trip to help him relax before his last exam.

give me something sweet by starkboi for starksnack (MCU, 1.5k Words)

Steve loves baking on his days off, there's just a missing ingredient that's been on his mind lately.

operation: grocery shopping by starksnack for avengersandco (MCU, 6k Words)

Steve, Peter, and Peter's trusty sidekick Mister Dog set off on a quest to check off everything on their grocery list. Will they find everything they need and get rewards from Tony?

Featuring cloud watching, scented markers, and Born This Way by Lady Gaga.

Moon and Stars by DepressingGreenie for march_hyde (MCU, 2.6k Words)

Steve and Tony spend the full moon at their cabin in the woods.

there's no place i'd rather be, without you beside me by ircnshield for starkboi (MCU, 10.5k Words)

“I don’t think he wants you to leave,” Natasha jokes from the couch.

“Yeah, no kidding,” Tony says as he bends down to scratch behind the dog's ear. “Look, buddy, I’ll give you a treat if you stop looking at me like that and let me go down to my lab.”

Dodger, seemingly unimpressed, walks closer towards Tony’s shoes, turns his body around, and simply drops his body on top of them.

Turn a Little Faster by Ishipallthings for b0n3l3ssm1lk (AA, 5.4K Words)

Tony and Natasha pose as a couple for an undercover mission. Steve doesn’t find this distracting. Not at all.

And yet, it all goes downhill from there.

(5 times Steve is distracted thinking of Tony, and 1 time Tony distracts Steve on purpose.)

Taking chances by hundredthousands for shcrlockholmcs (MCU, Comic)

Tony can’t resist it when Steve gets like this, and he’s feeling a tad uninhibited tonight.

say my prayers by farawatt for jayjayverse (616, 3.3k Words)

Steve gets into the motel at a quarter past nine in the morning.

You've Got That Power Over Me by stevesnarkrogers for alexcat (MCU, 8k Words + Fanvid)

“Pull it together, Stark,” Tony muttered to himself.

Steve’s chest ached at the sound of Tony’s voice. God, he missed him. He wanted nothing more than to wrap him up in his arms and see if they could—no. YOU pull it together, Rogers. You’re here to help Tony, not yourself. Eyes up, soldier.

Net of Wonder by hollyandvice (hiasobi_writes) for Syan (MCU, 2.4k Words)

"You can't control me." Then Tony whips his tail again to turn away from his father.

"You swim out that door and I'm planning your wedding and coronation myself."

Tony stills. He swallows down the way the oppression tries to pound him flat. But there's no avoiding the inevitable. He looks over his shoulder to glare at Howard. "Be my guest. It's not like you ever would have listened to me anyway."

Tony isn't expecting an apprentice when he goes to meet with Yinsen after a blowout fight with her dad, but he finds all that and more in Steve Rogers. Steve gives Tony everything he needs while Tony runs from his future, never knowing that their futures might be more entwined than they'd realized.

diastolic pressure (in between heartbeats) by firebrands for betheflame (MCU, 8k Words)

For flame, who gave the prompt "Steve and Tony have been fake dating for a while, but everyone else thinks they're *really* in love. When a mission goes terribly and Tony is presumed dead, Steve realizes he's in love with Tony and Dramatic Shenanigans Ensue."

Same Difference. by Perlmutt for Huntress79 (MCU AU, 5k Words)

Tony and Steve are the successful heads of two different divisions of SHIELD IT Security and are the walking wet dreams of all ladies in the company. Tony Stark is the elegant genius with his dark humor while the newcomer Steve Rogers is known for his gentlemanly behaviour and kindness. On the surface the two men are rivals. But there's more to it than meets the eye...

Canteen food is horrible, the intern is chaotic, and Tony goes toe-to-toe with a hyena to rescue the princess who doesn't need to be rescued...

Why Need a Thousand Words? I Prefer a Picture Instead by march_hyde for Neverever (MCU, 4k Words + Art)

Steve is struggling with a project for Tony, not that he knows of it. So of course Tony finds out and has to help out with whatever he can do.

Operation Check Yes or No by avengersandco for hundredthousands (MCU, 2.7k Words)

Steve just wants Tony to notice him, but he’s not sure how. Lucky for him, his friends help him make a plan to capture the attention of the one he wants.

When I Look At You by Syan for AvengersNewB (MCU, Comic)

Steve is always looking at Tony in very meaningful ways... Or very embarrassed ways, depending on the situation~

for god's sake, dear (just say yes). by frostfall for captainmistyknight (vicspeaks) (AA, 10.8k Words)

Ever since they’ve met, Steve has been in love with Tony Stark. So when Tony makes a marriage pact with him, he jumps at the offer, thinking that’s the only way he could have Tony.

Fast forward five years, and Steve is ready to pop the question to Tony, with hopes that maybe, just maybe, Tony feels the same.

That is, until he meets Carol Danvers, who just so happens to be dating Tony.

Honey, Keep the Sugar, You’re Enough for Me by Shamen610 for avengersincamphalfbloodstardis (MCU, 1.6k Words)

"I want you to draw me like one of your french girls." Tony had said, the very first time he had walked through his door.

Steve, who had been carrying a bag full of paints and a canvas under his arm, had barely been able to keep everything under wraps upon hearing the bold words.

Or

Steve doesn't actually have a Sugar Daddy, no matter what Bucky says.

Lullaby by alexcat for XtaticPearl (MCU, 1.9k Words)

Steve has nightmares and Tony helps.

Achromatic by captainmistyknight (vicspeaks) for firebrands (Marvel Noir, 2.8k Words)

"Steve’s life ended the moment he was born, according to the doctor’s at least. Of course, it took them awhile to figure it out, but when he was three years old, his Ma realized that on top of all the other issues he had to deal with, his eyes weren’t responding properly to light. She took him to the doctors to get tested, and they spoke his doom.

He was permanently colorblind. An achromat. He’d never know love."

A story of growing up, misunderstandings, and love in the jungle.

Easing Into Us by HogwartsToAlexandria for wingheads (MCU, 4.9k Words)

No matter how much he's tried, Steve could never find the right moment to tell Tony, to come out to him in a setting that'd be both private and allow him to flee if it didn't go as well as he hoped it would.

Until some jerk at the bar decided that Tony being an out and proud trans man was reason enough to pick up a fight. And Steve couldn't stand by and watch it happen.

Tony didn't much like that. At first. Ask him again tomorrow.

Bring Me His Heart by jellybeanforest for firelightmystic (MCU, 6.3k words)

Steve Rogers, infamous cat burglar, is hired by Tony’s business rival and ex-girlfriend, Sunset Bain, to carry out a little corporate espionage, namely to steal the original arc reactor prototype Stark had surgically removed from his chest.

Steve does steal his heart, but perhaps not in the way his employer had envisioned.

Or:

Tony interrupts Steve mid-heist in his penthouse and assumes he is the escort he hired for the night; Steve doesn’t correct him.

Memories of Us by muchmoremajestic for QueenE (MCU, 3.5k words)

An examination of three objects in retrospect as part of a scrapbook for a birthday gift for Steve.

Graphic Design is my Passion by zappedbysnow for talesofsuspense (Marvel, Comic)

Tony was about to have lunch when he saw someone he didn't want to run into inside the restaurant. He quickly backed away and snuck into a cafe nearby, plunking his ass onto a chair shielded by a wall, which just happened to be Steve Roger's art class.

Steve is an artist who does commercial work and draws comics. He spends his weekends teaching a drawing class for free at a local cafe. He doesn't recognize the guy who snuck into his class in a suit that looks like it costs more than his month's rent but he looks stressed and like he's running from someone. He can let this one slide. And no. It's not because the man looks damn fine. He's just a sympathetic guy.

The Love of Every Single One of My Lives by jellybeanforest for farawatt (616, 10.3k words)

Tony loves Steve, and he will always love him no matter how many times he has to bury the man before he gets it right.

Priceless by njava97 for kesktoon04 (MCU, 9.3k words)

Steve Rogers feels like he’s finally gotten the hang of this waking up in the future thing. He’s been dating Tony Stark for 6 months now and it's been going surprisingly well. But when an extravagant anniversary present brings up bad memories and a mission goes sideways, Steve is forced to confront the fact that maybe the first step to letting go of the past involves letting people in. Or: Steve Rogers has a series of epiphanies in a hospital bed, expresses a couple of emotions, talks about his problems and gets all the love he deserves.

AKA my love letter to Steve Rogers.

Ouanga by fundamentalBlue for venusiaries (MCU, 7.7k words)

Steve wakes up to the sound of screaming.

Take a Hand by RoseRose for HogwartsToAlexandria (MCU, 3.4k words)

Steve is single, alone, and about to give birth.

Fortunately, Tony is an amazing nurse.

Falling in Love at the All Day Cafe by betheflame for BladeoftheNebula (MCU, 3.9k words)

One of the things about the particular block they lived on was that at the corner was, quite possibly, the world’s best bakery. It was Zagat rated and everything, so it wasn’t just Tony that felt that way. People flew in from all over the world to eat at All Day Cafe - Tony had bumped into Gwenyth Paltrow a few months ago and thought it was his best friend, Pepper, and that was awkward - and their pastries were no joke.

Run by Olympic Gold Medalist Steve Rogers, the cafe specialized in classic French pastries with American twists - like a pain au chocolat that also came encrusted in pistachios - and routinely sold out of their daily specials within two hours of opening. Peter, in particular, loved their peanut butter cookies that the baker swore was nothing special but Tony was wondering if they’d laced it with kiddie cocaine or something.

Tony, in particular, loved going to stare at the owner.

That’s What You Get (for waking up in Vegas) by bon3l3ssm1lk for JehBeeEh (MCU, 1.3k words)

A dimly lit bar blasting dance music. A rugged man making conversation. A third round of beers, courtesy of the man. A fourth, fifth, and sixth round.

Steve couldn't remember much else.

laughing in bed by wingheads for RoseRose (MCU, Art)

prompt: sex with laughter

James & Barnaby by Wikketkrikket for mariana_oconnor (MCU AU, 16.7k Words) 

Steve Rogers has medical debt so ridiculous that if he doesn't do something about it, his mother will be out on the street. He swallows his pride and agrees to a 'charity marriage' with the elusive son of Howard Stark, so Howard can show off how wealthy and generous they are. Maybe it would have worked, too, if he hadn't then met the love the love of his life on his last night of freedom.

Still (Until you moved me) by GuiltyFan21 for maythecat12 (MCU, 2k Words) 

Steve hates it in the 21st century, where everything is so different. Life's a mess, the only constant thing being SHIELD coming to check on him. Until he meets Tony Stark, a brilliant genius who makes him feel more human.

The Icing on the Cake by BladeoftheNebula for Lacrimula_Falsa (MCU AU, 2.8k Words) 

Steve’s a bit low on cash this month, so he figures making a bit extra by jumping out of a cake couldn’t hurt.

If only someone had told the birthday boy that.

The Next Life by Sheron for hollyandvice (hiasobi_writes) (MCU, 2.5k Words) 

Eventually Tony had said: listen, I own an island, let's go.

artwork and email by ohjustpeachy for njava97 (MCU AU, 6.7k Words) 

Tony makes a donation to Art Reach, a non-profit, never expecting to get such a kind thank you note in response. He certainly never thought he'd find himself excited to look in his inbox every day, eager for a new message from the foundation's director, Steve Rogers, but here he is. Or, Tony falls for smol Steve over a bunch of emails and everyone knows it but him.

Hug n' Fly  by talesofsuspense for rebeccakbaa (616, Art) 

Iron Man flies Steve back to the mansion after he loses the serum.

who's that? by venusiaries for Perlmutt (MCU AU, Art) 

Quarterback Steve Rogers meets the love of his life in the hallway.

Closer Than Together by shcrlockholmcs for ircnshield (MCU, 5.6k words)

The annual Stark Industries Gala is coming up and Steve wants to ask Tony. But his efforts are of no avail and they both end up going alone. How can Steve stand by and watch everyone else take a bite out of the man he has feelings for?

Brooklyn Life by ashes0909 for himbos (MCU, 1.6 words)

Steve mentally followed his boyfriend's path across the bedroom and down the stairs into the living room

“Oh that fucking--!” Tony cried before he’d even made it past the couch. “Steve!

Objectively Perfect by AvengersnewB for Wikketkrikket (MCU, 2k words)

Going on an objectively perfect, but absolutely horrible date might be the last sign Steve needs to finally talk to the guy he actually wants to be on a date with, so desperately.

(Spoiler: The guy is Tony)

Instinctual by mariana_oconnor for DepressingGreenie (MCU, 17k words)

The true effects of the super soldier serum are top secret. Only a few people know the truth - the serum turned Steve Rogers into a werewolf. Steve still hasn't found a way to tell Tony, even though they've been in a relationship for months. He can't bring himself to explain that he's a monster.

But when they are clearing out an AIM base, that decision is taken out of his hands.

Could Never Resist a Man with Facial Hair by kenshincha for zappedbysnow (MCU, 1.5k words)

The team is tired of Steve and Tony pining for each other. They decide to do something about it.

A timely revelation by frosted_astronaut for captainstars (MCU/1872, 2.3k words + Moodboard)

Sheriff Rogers is in love with Tony Stark, the blacksmith. However, he denies it even in front of himself, until it's time for him to realize that he can't live in a lie forever.

Central (Jurassic) Park & More by cccoffee for nanasekei (MCU, Art)

A collection of art pieces for Stony Loves Steve 2020!

Something Fell From the Sky by jayjayverse for Shamen610 (616, Art)

When Tony is missing in action. Steve starts looking for him right away and when he finally finds him, it's nothing like he thought it would be.

-The art is really explicit so take care :)

I'll Catch You (If You Fall) by maythecat12 for ishipallthings (MCU AU, 10.4k Words)

New York: an artist and a superhero, an accident, and getting back together.

Just One Of Those Nights (The SLS Remix) by Firelightmystic for jellybeanforest (MCU, 6.4k Words)

Natasha's been angling to set Steve up on a date for a while now...

In Your Wildest Dreams by Neverever for cccoffee (AA, 3.4k Words)

The Guardians ask the Avengers to pick some flowers. What could go wrong with that?

Breath of a Fish by picturecat for sheron (AA, 4.9k Words)

Their relationship was courteous, as it must be for any two witches who had no interest in feuding with one another properly. But to someone he could trust not to repeat his words, Steve often complained that Stark was basically a warlock, the way he carried on with esoteric nonsense and ignoring the needs of the people. For his part, Steve had no idea what Stark’s objection to him was. He knew only that the man so obviously delighted in teasing Steve that the people of their town regularly placed bets on when they expected them to come to blows.

The Ballad of Nomad by himbos for GuiltyFan21 (MCU AU, 3.1k Words)

Set in the Old West, Steve Rogers, who moonlights as the vigilante Nomad, and his lover, Tony Stark, make a stop in the town of Extremis. Little did they know, trouble awaited.

How To Woo A Living Legend (by Anthony Stark) by Huntress79 for stevesnarkrogers (MCU, 1.5k Words)

Past the fight against the Chitauri, Tony finally finds the courage to act on his long-harbored feelings for a certain Captain. But he never, ever would have expected that the “Tactical Genius of the Century” could be this blind in regards to Tony’s attempts.

Take a number by jellybeanforest for kenshincha (MCU, 7.2k Words)

Since an unforgettable one-night stand a few years prior, alpha Steve Rogers has pined after infamously-promiscuous omega Tony Stark. He may not have much money, but he has scrimped and saved for the past couple years, determined to declare his intentions by getting the man the best courting gift he can afford, something to distinguish himself from the dozens of more well-heeled suitors gunning for the heart of the elusive billionaire.

All-American Cupcake by One and Five Nines (Obani) for frostfall (MCU, Comic)

“You’re a jackass sometimes, Steve. I’ve seen you get into a fistfight with three guys at once, but you can’t even TALK to the guy you’ve been in love with since we opened.”

[aion-rsa]

Shang-Chi and the Legend of the Ten Rings: What the Post Credits Scenes Mean for the MCU’s Future

https://ift.tt/3jDyVCH

The following article contains spoilers for Shang-Chi and the Legend of the Ten Rings.

With Black Widow set largely in the past, Shang-Chi and the Legend of the Ten Rings is technically the feature film kickoff to Phase 4 of the Marvel Cinematic Universe. With the exception of the end credits scenes, it’s the first Phase 4 feature set in the aftermath of the Thanos Snap or Blip, and it introduces a set of characters and a region of the MCU that we have not yet explored.

But like every Marvel movie, Shang-Chi also includes two scenes at the end — one in the middle of the credits, and one at the tail — and unusually, both offer important and possibly critical information for the future of the MCU. Often the very last scene tends to be a joke or a sight gag of some kind; that’s not the case this time.

While the last scene at the very end of the movie does hold some interesting implications of its own, it frankly doesn’t loom as large as the mid-credits sequence. We’ll get to that second one a little later. Right now, let’s examine the mid-credits sequence and what it could mean. And remember, we’re in spoiler territory from here on out!

Marvel Studios

The Mid-Credits Sequence

Halfway through the end credits of Shang-Chi, we fade into a room in what could be Doctor Strange’s Sanctum Sanctorum. Present in person are Shang-Chi (Simu Liu), his friend Katy (Awkwafina), and Wong (Benedict Wong). Present via holographic image are Carol Danvers/Captain Marvel (Brie Larson) and Dr. Bruce Banner (Mark Ruffalo) — although notably, Banner appears in his original form and not as the Smart Hulk hybrid he became prior to Avengers: Endgame, although his arm is still in a sling after it was fried pretty much to a crisp when he activated the Infinity Gauntlet. What happened to Smart Hulk? Can Banner change back at will or did something happen?

In any case, all five are in a circle studying the Ten Rings, which are floating in the air between them. Although Shang-Chi remarks that his father has been using them for a thousand years, Bruce says that their power signature indicates that they could be much, much older. What’s even more interesting is that the same power signature generated by the Rings looks a lot like the multiverse — the same jagged, interweaving, branching labyrinth of ever-expanding and twisting lines that we last saw at the end of the Disney+ series Loki — as explained to Loki and Sylvie by He Who Remains in that show’s season finale.

But wait, there’s one final revelation: there’s a signal or beacon of some kind coming from within the Ten Rings themselves — a signal of unknown origin.

Captain Marvel has to excuse herself and leaves, saying that Bruce has her number if she’s needed (he doesn’t). The other four are about to leave as well — but then in what does amount to a classic MCU end credits joke, Shang-Chi and Katy manage to lure Wong out for a night of karaoke instead of standing around wondering what all this means.

They’ll leave that to us.

Marvel Studios

Who or what is sending that signal?

If the Ten Rings is connected to the multiverse, then the signal could be coming from any one of the many different universes we saw forming at the end of Loki. It could also be coming from the Quantum Realm, which is clearly part of our universe.

How the Quantum Realm connects to the rest of the multiverse is a question that’s yet to be answered. But since we also know that some variant of He Who Remains, possibly the version known as Kang the Conqueror, is slated to show up in Ant-Man and the Wasp: Quantumania, there’s almost no doubt that the multiverse and the Quantum Realm are intertwined — does the Quantum Realm act almost as a secret subway between universes?

But we’re getting ahead of ourselves. Is the beacon a greeting? A warning? A distress signal? Unknown. But there are possibilities of who or what could be sending it:

Kang/He Who Remains

While the version we met in Loki (played by Jonathan Majors) was a somewhat benign madman/dictator, intent on controlling the flow of events in our universe to prevent it from splintering into the multiverse, we know that there are other, more hostile variants out there, most notably Kang the Conqueror. 

And based on the ending of Loki, we know that there’s at least one universe in which Kang reigns supreme. Could Kang be sending out the signal as a way to lure others to his universe and entrap them? Or is a variant trying to warn others away from Kang’s dominion?

Read more

Movies

Who is Kang the Conqueror? Powers and Marvel Comics History Explained

By Jim Dandeneau

Movies

Shang-Chi and the Legend of the Ten Rings Review

By Bernard Boo

The Beyonder

Many casual MCU fans may react to this with “Who?” But hear us out. The Beyonder was the antagonist behind the classic 1984 Marvel Comics arc known as Secret Wars, in which the character — an omnipotent entity that is actually the sentient remnants of an alternate dimension itself — creates a planet called Battleworld out of pieces of other worlds, kidnaps the heroes and villains of the Marvel Universe and sets them on Battleworld to fight, so it can observe and learn about the ongoing conflict between good and evil (think the old Star Trek episode, “The Savage Curtain”).

The Beyonder’s creator and Secret Wars writer Jim Shooter recently hinted that he had been approached by a legal eagle from Disney to discuss the use of certain characters, leading Shooter to believe that a Secret Wars movie in the MCU was almost inevitable. And let’s face it, it’s too good a concept not to use — especially if you can cross over villains and heroes from different universes.

So the Beyonder may be sending out that signal as a lure or trap. But here’s another theory: Marvel Studios often takes liberties with characters from the comics, sometimes combining aspects of two or more into a version expressly designed for the big screen. If Kang is supposed to be the Big Bad of Phase 4 (and perhaps even some of Phase 5), it’s not unreasonable that Marvel might graft some of the Beyonder’s powers and motivations onto him.

The Fantastic Four

We know that a new movie starring Marvel’s First Family is finally coming, this time from Marvel Studios itself. And we know that Reed Richards can find a way to travel between universes as well as through time. Plus in the comics at least, Kang is possibly a distant descendant of Richards. Since the MCU until now has given no indication that the Fantastic Four exists, could that signal be coming from a version of the Four that does exist in a different universe?

It’s long been suspected among fans that the Quantum Realm (in which signs of civilization have been glimpsed) could play an important role in the introduction of the Fantastic Four into the MCU. But that signal, generated either by the Ten Rings or from somewhere in the multiverse, could also be coming from them.

The Celestials (from Eternals)

With the mid-credits sequence indicating that the Ten Rings are much older than first thought, is it possible that they are actually technology created by the Celestials?

The Celestials, of course, have been around almost as long as the universe/multiverse itself, and have seeded countless worlds in the cosmos with life. On Earth, they created “normal” humans, as well as the Eternals and the Deviants, and return periodically — we’re talking time on a cosmic scale here — to see how their experiments are going.

What if the use of the Ten Rings activates the beacon and sends a signal to the Celestials that it’s time to come look in on their little planet-sized lab? The Celestials operate on such a vast span of time that even Wenwu using the Rings for a millennium would seem like minutes to them. With the ongoing conflict between the Eternals and the Deviants seemingly coming to the fore in this November’s Eternals movie, it seems likely that a Celestial will show up to sort things out. That Celestial might also be very interested in finding out why the Ten Rings have been activated.

Marvel Studios

The Post-Credits Sequence

This one is a lot simpler to explain. Although Wenwu is dead by the end of Shang-Chi, and Shang-Chi himself is off hobnobbing with some of the Avengers, Wenwu’s daughter and Shang-Chi’s sister Xialing (Meng’er Zhang) is seen taking full control of the Ten Rings and planning to keep the organization running — although whether she plans to use it for good or perhaps some more nefarious purposes remains to be seen (she is, after all, still her father’s daughter).

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With a large number of now free agent Black Widows running around, and Sharon Carter/the Power Broker now operating her own agenda and unknown connections from within the CIA itself (at the end of The Falcon and the Winter Soldier), there is plenty of geopolitical action for the Ten Rings organization to get involved with. Perhaps we’ll see more of their exploits in an upcoming TV series or Captain America 4 — or maybe Shang-Chi 2. But they aren’t going anywhere.

Shang-Chi and the Legends of the Ten Rings is in theaters now.

The post Shang-Chi and the Legend of the Ten Rings: What the Post Credits Scenes Mean for the MCU’s Future appeared first on Den of Geek.

from Den of Geek https://ift.tt/3mVPdZV

[seyaryminamoto]

Do you think they could make Azula gay in the netflix live-action? Many people in the fandom seem to think she had a thing for Ty Lee. I don't see it, but do you think they could retcon the show just to pander to shippers?

Somehow I knew this sort of question would pop up in my inbox one day. I just did. Such foresight powers I have (?)

Anyways, the answer got pretty long, but I hope it’s comprehensive enough in regards of why I don’t think it’s likely, why, even if it happens, we shouldn’t freak out about it regardless of if it negates our headcanons, and why, on top of it all any characterization the ATLA cast gets in the liveaction should be judged as part of a second timeline, removed from the first, and analyzed as such.

Alright, first of all... despite what popular opinion these days would have everyone believe, a character’s sexuality and sexual identity are not the only relevant and important factors in them; in fact, I wouldn’t even call them the most important factors unless you’re outright telling a story with very specific socially critical purposes in mind. Yes, you can deal with these subjects in stories that aren’t exclusively about sexuality, and yes, it offers important representation to communities that were largely unseen for the bulk of human history. But making a character’s entire story arc revolve around nothing but sexuality and their struggles because of it is actually a failure at offering good representation? The point in having media featuring representation in the form of diverse fictional characters is based on allowing minorities to see themselves in this kind of content and for majorities to understand these minorities and their stories are just as valid as theirs are. If minorities are reduced to a single aspect of their multifacetic lives, the only thing the story in question would achieve is turning a character with the potential to be dynamic and complex into some flat minority stereotype, throwing away the countless human complexities through which media can tell rich and important stories that do provide genuine, quality representation to these communities.

Ergo, if Azula were written as a gay character in this Netflix adaptation, this aspect of the reworked character should not, and frankly, CANNOT, be the only thing that matters about her. Azula has a large role to play in this story, a role related to the war, her family, her friends and her nation, and a lot of her complexities stem from how she deals with all these subjects, none of which have anything to do with romance or sexuality. Therefore, I’m pretty sure a lot of us loved her character for reasons that had nothing to do with her interactions with potential love interests, whether they’re of her same or opposite sex: Azula has always been SO MUCH MORE than whatever we’ve headcanoned her sexuality to be, and this is something I hope everyone keeps in mind for this liveaction show.

We need to stick to our priorities, to a fault, as Azula’s fans: whatever sexuality or love interests she’s given, if she’s given either thing to begin with, her story isn’t exclusively about that. So, if Bryke decide to alter this aspect of her original characterization by dialing up Azula’s love life, it’s not the driving aspect of the character and it’s not the only thing we should be concerned with when it comes to her new portrayal in the future liveaction show, regardless of whether said sexuality agrees with our headcanons or disagrees with them.

Alright, then. After that particular clarification had been made... I’m of the opinion that Bryke have indeed pandered to shippers and fans in the past, namely in their sequel show and certain later announcements related to it, announcements that were basically the LOK version of “Dumbledore was gay all along but I thought it’d hurt the book sales and that’s why I only said so in a press conference after the final book was a bestseller and my bank accounts were overflowing” (by which I mean, the last-minute sudden “Aiwei (the dead guy) and Kya (Aang’s daughter) are also gay” comments Bryke made post-Book 4 to convince people they were aboslutely pro-LGBT and their world was very diverse despite said diversity only became known in the final scene of the show and was never portrayed positively or properly through these side-and-background characters...?).

So, would I say, categorically, that Bryke would NEVER write Azula as a gay character if they thought it’d make their show more popular? Nope, I can’t. I really don’t trust them enough to think they’ll prioritize top-of-the-line storytelling over pandering to the crowd that will cheer them on most loudly.

THAT BEING SAID...!

The story they told with Azula in ATLA, despite what certain people are convinced of, had a very straight-forward message, one that I didn’t like very much, especially since that message seemed to render irrelevant the character’s incredible storytelling potential and remarkable complexities. Where Azula could have been so many things, in the show’s finale she became some sort of flat, sad warning stating: “don’t try to control people through fear or they’ll turn against you and you’ll end up all alone.”

As much as I have no doubts Bryke will want to incorporate new themes and somewhat “update” ATLA into more progressive times, I really doubt they’ll sacrifice the story they’re apparently so proud of having told through Azula only to pander to a specific part of ATLA’s audience. For that matter, there’s been a growing movement promoting many same-sex ships and trans interpretations of virtually ALL ATLA characters, so if they were to pander to the fanbase through Azula, why her? And if they do pick her, why stop there? If they do stop there, then they’re not being inclusive enough with their fandom. Why satisfy one portion of the fandom and not satisfy the other ones too? :’D

Worse yet, accusations of foul play will absolutely be guaranteed to rise when a potentially gay Azula isn’t given a redemption (because, considering the latest Azula-related comments by the creators and comic writers, they’re not likely to do it this time either), because “irredemably evil lesbian trope, that’s so sexist and homophobic!” And with that, the long, glorious time ATLA has spent as the golden, poster child of western animation will suddenly be overrun with the very same hysterical purity police that has overtaken all newer fandoms and filled them with antis who attack creators, writers, actors and other fans for creating or supporting “toxic” content.

Point and case being... if they don’t stray from the story they already told, they have a slam dunk since a lot of people will love the show if it’s virtually the same as the one they watched when growing up. All they have to do is alter a few events, maybe expand on a few things, stall the story for a few more years so the actors can age realistically and not be overworked... and tadaaaah! You have a blockbuster! Change fundamental aspects of characters by adding new factors to pander to certain fan demographics? You’d basically be poking a wasp’s nest and hoping they will turn out to be honeybees instead, ESPECIALLY if the character being coded as LGBT is either evil or fated to die, as both those tropes are what seem to incense that side of fandoms more than anything else.

If they want to write Azula as openly gay, they’d have to alter her general character message and whole arc to avoid the guaranteed problems I’ve pointed out up here. Paired with this? They’d have to retcon their recently established “the Fire Nation became homophobic in Sozin’s time!” canon imposed by LOK’s comics, so, if they stick with this tidbit of recent LGBT info, a gay Azula would most likely have to be a highly repressed lesbian who can’t even accept herself? It’s not impossible to tell that story... but it kind of feels counterproductive, and absolutely discouraging too for people who are struggling to come to terms with their own sexuality to see themselves reflected in a repressed character who most likely will meet the same depressing end she does in ATLA.

Now, my final point: again, I can’t say it’s impossible that this might happen. But EVEN IF Bryke decide that this is how their new story will work, and the new Azula will be gay, and they change everything so it’s non-problematic and they successfully avoid being chased with pitchforks by the purity police...

A new characterization doesn’t negate the one from the original show in the least. The first ATLA is what it is, a finished product that can be judged and interpreted in a thousand ways, and has been, for the past 10+ years. A new canon does NOT overrule an old one, a thought that I’m sure the very same purity and nostalgia police I’ve mentioned will absolutely adhere to once the new story changes ANYTHING and they don’t like it. Whatever new possibilities they test out with a new story don’t have to be taken as facts that apply to every iteration of the characters. For reference, imagine judging every Marvel comics character for the actions and behavior of their MCU counterparts. Imagine people raging at Peter Quill in the comic books because he’s in love with Kitty Pryde and how DARES he cheat on Gamora with her?!

... Just how would that make any sense? :’) Likewise, it would make no sense to behave this way with ATLA and its future liveaction adaptation. What happens in the liveaction concerns the liveaction. What happened in the original show can serve as a guideline for the liveaction, if anything, a frame of reference, but they can (and will) change elements in the story as they please in the new adaptation. However similar as they might be, they’re TWO stories, and they should work perfectly well as standalone shows.

Let’s look at it from the opposite POV, to further illustrate my point: if the new show SOMEHOW made Sokkla canon, unlikely and damn near impossible as it is: that doesn’t make it canon in the original ATLA. Hence, if I were to run out in the streets screaming Sokkla is real and endgame in EVERY POSSIBLE VERSION OF ATLA, the entire world would have every right to throw rotten eggs at me and tell me to shut the fuck up because it’s not true, it’s only real in the liveaction, and that doesn’t have any bearing on the original show.

Same principle applies with a potential gay Azula :’) Even if it happens, it’s liveaction only. The original show remains what it is, and her characterization there can be interpreted and derived from as we see fit.

To close this answer, I confess that I, personally, have next to no interest in this liveaction remake. I can’t even say I’ll watch any of it. For one thing, I’m really annoyed by the trend there is these days to turn animation into liveaction, because it seriously feels like an underlying way to say that liveaction is somehow the superior choice for audiovisual storytelling and that really grinds my gears. Animation has been fascinating media for me for years, I’ve always felt it’s more versatile than liveaction, and if I ever happened to write something that gets an onscreen adaptation, I’d probably choose animation over liveaction even if I’m not given a choice on the matter :’) So, for starters, I’m not happy with the notion of a liveaction remake for this show. If they wanted to remake ATLA and had chosen to do so with animation, I’d definitely be much more interested. But this way? Uh... not my cup of tea.

So, whatever Bryke want to do with this new product is absolutely their business (same as it was their business with ATLA, frankly). People will criticize it, that’s a guaranteed thing, and people will love it, and people will be angry, and people will be happy. But I’m probably not going to be one of any of these people this time around. The only way I would likely enjoy that show would be if it’s a genuine, critical overhaul of everything they did in the original show, reworking many key aspects of MANY characters, no matter if the main anecdote remains intact. And considering how highly self-critical the recent ATLA-related content has been, I doubt I’ll get my wish. So... good luck to everyone who wants to watch this liveaction, have fun, I won’t spoil it for you by dumping on it this time as I did with the comics, but I certainly won’t be joining any of your parades much either :’D

[the-citrus-scale]

I respectfully disagree. Your articles have become increasingly negative over the last few months, as if you are discouraging fan creators, making them feel guilty for loving their fandom. You go looking for problems, in a fandom. I take issue with your statement that you are the only outlet that is positively supporting fan creators. You’re a bit full of yourself in that regard. You are definitely NOT the only outlet that supports those of us who create for the fandom community.

We’d like to apologize to our readers for this exceptionally long post.

We literally know of no one else who interviews fanfiction authors and treats them with any sort of respect. If there are other sites or communities, please let us know. We’d love to hear about them! As for the increasing negativity, see below for the actual statistics. You’ll see that your arguments do not hold up. 

6 weeks ago

We began our Relaunch Week as we transitioned from The Lemon Magazine to The Citrus Scale. 

“How Stranger Things Ruined My Life” 

Tone: Positive

Note(s): The title is clearly a joke. It listed all the wonderful ways that the Duffer Brothers and Shawn Levy have taught us that women are allowed to demand more of the media and entertainment they consume.  

“Chaotic Neutrals: The Walking Dead Edition” 

Tone: Critical

Note(s): For the purposes of this exercise, we’re going to say that all critical articles automatically equal negativity. We DO NOT feel this way, nor does any news and media organization, but we talk more about that at the end of this post. 

Then we posted a game, a picture of the prize to win that day, and another game the next day.  

“Please, Sir, Can I Have Some More?”

Tone: Positive 

Note(s): Well, we will preface it by saying that it’s not at all positive if you are a white guy in entertainment who refuses to tell any story that isn’t their own and continually puts women down. If you, Anon, are one of the fanboys who whined and cried when Jodie Whittaker got cast as the new Doctor then #sorrynotsorry. We won’t apologize for calling people out for oppressing minority groups. Not now. Not ever. 

“In Defense Of… Self-Inserts” 

Tone: Positive

Note(s): It is literally “in defense of” self-inserts and authors who write them. The only thing remotely critical is at the end when we stay if you don’t like this type of work, you aren’t obligated to read it. As an overall tone, it is positive. 

“When A Villain Can’t Be Redeemed: A Study In Severus Snape”

Tone: Negative

Note(s): We do not hide our disdain for Severus Snape and his routine abuse of children.

“Adapting Comics For The Screen”

Tone: Informational (Neutral)

Note(s): Again, the only thing that could be considered critical is at the end when we discuss oversaturation in the Marvel fandom and how exhausting such a catalogue of works can be, and that reader/viewer fatigue is very real and you are allowed to take a break if you need it. 

“The Fight Against Fiction Censorship” 

Tone: Critical

Note(s): We discuss how you, as the reader, should be curating your own experience and how characters are allowed to be morally gray. That these characters do not and should not be automatically deemed as representative of writers’ actual views on sensitive subject matters. 

“Get Fridged, B*tch!: The Short Lives of Women in Supernatural” 

Tone: Highly Critical

Note(s): We discuss the fact that in the show Supernatural specifically, most women are killed for the character development of their male counterparts. We point out that this is not okay and leads to the accepted convention that this is good writing and not, in fact, incredibly lazy and sloppy. 

Then we did six posts, in a row, on our Instagram that were silly, funny, or light-hearted, but we’ll chalk those up to neutral even though they’re definitely more positive than anything. We did Signs as Quotes, Kiss. Marry. Kill., The Alphabet Game, and a D&D alignment chart with characters. 

So, at the end of our relaunch week, we were at sixteen (16) informational or neutral, four (4) critical or negative, and three (3) positive, with only one being truly considered negative and not simply critical.

5 weeks ago

We began our Pensacon 2019 Convention Coverage. We featured three (3) cosplayers we met at the convention, linked their profiles, and not one of our questions was negative. Again, we won’t add them to our positive list, but they definitely count as us being supportive. We know we’re not the only who interviews cosplayers in a positive fashion, but there can always be more. We also included four (4) fanfiction authors. There were other informational, infographic, or neutral articles (like interviews), interspersed between these articles: 

“Pensacon 2019 Intro Review” and the “Pensacon 2019 Wrap-Up Review”

Tone: Positive (x2)

Note(s): We had a blast at Pensacon, and will be returning next year as well. All our coverage was overwhelmingly positive. 

“Using Fandom To Teach” 

Tone: Positive 

Note(s): The article states fun ways that you can include fandom in the classroom to help engage the students so they don’t automatically tune you out. It was also a small summary of the panel we saw at the convention, which is clearly referenced. However, all the ideas were original or credited appropriately. 

We also had a TWD Trailer Reaction Video. As far as we know, there’s nothing to be seen as negative (unless we were talking about Rosita). If you really, really tried, you could count it negative though, since every single thing we said it in wasn’t nice to all the characters. For those keeping score, we’re at twenty-eight (28) informational or infographic, six (6) positive, and four (4) critical or negative. 

4 weeks ago

We began our Marvel-themed month here. Honestly, we’re getting tired of linking most things, so here’s how Marvel month stacks up. 

There were eighteen (18) informational articles or infographics, eleven (11) interviews, four (4) playlists, and two (2) games. This leaves us with thirty-five (35) neutral articles. 

“AUs Becoming Original Fiction”

Tone: Positive

Note(s): This article featured information on how to possibly transform an AU fanfic into original fiction, if you so desire. It included examples of popular fiction that had done just that. 

“Faithfulness in Adaptations”

Tone: Neutral

Note(s): We list the ways why it’s okay to like both and that one isn’t superior to the other. 

“Being First Doesn’t Mean Going It Alone” 

Tone: Positive

Note(s): It was written shortly after seeing Avengers: Endgame and was a glowing recommendation of the movie due to the girl power scene. However, upon further reflection we realized that thirty minutes of representation in an almost three hour movie isn’t as good as we thought it was and several other things caused the movie, as a whole, to miss the mark. As it relates to this article, though, it was positive. 

“The MCU and Buffet-Style Representation”

Tone: Critical

Note(s): We criticize Marvel’s lack of representation and how they are continually putting down any fan interpretation that sees a character as homosexual. We do end it on a positive note by saying we’re going to hold out on passing final judgment since they are promising to do better soon. We’re middling at best here, so we’ll say critical. 

“In Defense Of… Steve Rogers’ Happy Ending”

Tone: Critical

Note(s): We simply state that Steve is allowed to be happy and that him being miserable shouldn’t be his only real characterization or arc. 

“The Importance of Fan Service” 

Tone: PositiveNote(s): This one is about the importance of fans feeling like valued members of their community by original content creators, and how it only adds positively to the overall experience of fandom. 

“Rule 34: The Rise of Super Sex” 

Tone: Informational 

Note(s): It doesn’t take a stance either way regarding how we, as an organization, feel about this practice, though it could be seen as more comedic since there are many, many sex puns. 

“The Squick Factor: WinterPrincess” 

Tone: Critical 

Note(s): We break down a controversial ship in the Marvel fandom and explain why it shouldn’t be seen that way, based on the arguments given from inside the Marvel fandom itself. 

“Trope Scope: The Isolation of Being Super”

Tone: Informational

Note(s): We explain the lonely superhero trope and how to use it in your own writing. 

“All the Feels: Standing Up For What’s Right” 

Tone: Positive

Note(s): It’s called ‘All the Feels’, so… yeah. 

“Get Fridged, B*tch!: Marvel Edition”

Tone: Critical

Note(s): Again, we take a stance against using women as plot devices to further male character development. Marvel has a lot of characters, so it was easy to come up with examples. We’d like to note that we defend Stan Lee in this one as he wasn’t for fridging Gwen Stacy. 

“You Need To Calm Down: And Other Advice From Taylor Swift” 

Tone: Highly Critical

Note(s): We wrote an article in response to another from Hypable.com, where we defend binge-watching television, new or old, and list all the ways it isn’t a bad thing. As always, the responses and points in this article were well-researched and thought out. 

“Women Behaving Badly: Why the Movie Hustlers Is Important” 

Tone: Positive

Note(s): We can’t wait to see this movie and talk about why showing women doing the same thing as men, even if it isn’t prim and proper, is a good thing and helps us gain more equality in entertainment and in representation. 

“#NoHomo YouTube Video” 

Tone: Critical

Note(s): We take Marvel to task over Avengers: Endgame and we still have no desire to apologize for it. If you’d like to know why, please watch the video linked above. We can also send the talking points, if that makes it easier to follow. 

So, at the end of six weeks, which brings us to today, we were at sixty-three (63) informational or infographic, twelve (12) positive to ten (10) critical or negative. 

If you came to a different conclusion, we’d love to hear your reasons as to why. However, all we ask is that if you want to make accusations about our overall tone, you be able to back it up, as we did. It seems to us, and anyone paying attention, that we are overwhelmingly informational first. The problem seems to be that any time we are remotely critical of a character, original content creator, or a fandom, we are marked as negative. Which, frankly, is not true. We are a news and media organization. We are allowed to interpret things in a light other than positive. We will continue to bring our readers as much fandom-related content as possible and we promise to be truthful and to never sugarcoat anything. We also pledge to be respectful always. 

If there are any other concerns, we urge you to send them to our ask box as this anon did. Understand, though, that critiquing us does not mean we will blow up, act foolish, or remain anything other than responsible fandom members. We have receipts to back up everything we do, so don’t assume we’ll take accusations lying down either. We welcome all criticism and will apologize where necessary. This just wasn’t one of those times. 

[attemptingthoughtfulness]

...this is worthless, I’m rambling and procrastinating. Sorry ‘bout that.

(minor spoilers for Naruto and Detective Conan as well as major spoilers for Magic Kaito and... Avengers Endgame?)

I’m procrastinating, don’t mind me. And during that time of procrastination I have been watching a show I used to watch when I was like 12 or 13, so it’s been a while. And even though that show has some obvious flaws - flaws I will be writing about in a bit - it find myself liking it. So why?

Magic Kaito is a spin-off show of the much bigger Detective Conan anime, which was actually my first anime ever and one of the few memories I have from age 0-4. I actually went onto the wiki and looked up the episode, which was a lot harder than you can imagine: episode 282 which features (for that show anyway) rather graphic imagery of a bloody corpse and like blood in showers and stuff. I don’t know if I just randomly watched the most traumatizing episodes of animes or - which is far more likely - I just remember them darker thant they were but the Naruto episode right afterwards was the one where Gaara tries to murder Lee at the Chunin exams which is also a rather dark episode. (I know, it doesn’t really matter but that was season 3 episode 58 of the original Naruto series). I bet you could find out the exact day and station that I was watching because there’s virtually no way those two episodes would ever follow each other more than once.

I guess that’s not what it’s really about but Detective Conan was probably one of the core animes I watched when I was younger because it was well known and free online. It was also the one that got me into doing QCs for subtitles (funny story, since I had been a QC for a while and seen the really bad mistakes some translators did, I actually applied for the “job” of a translator, that was mere months before I wrote my Cambridge Certificate exam which I, not to brag, passed with C2, and I had been rejected, which probably fed into my fear of rejection but is also  very funny retrospectively.)

I don’t like Detective Conan that much, it’s a fun episodic detective story that has a very, very thin overarching plot and is probably only ever end when the writers don’t have ideas for crimes anymore. And Magic Kaito suffers from its bigger sibling immensely. In case you don’t know, and I wouldn’t blame you if you didn’t, Magic Kaito tells the story of a character that occasionally appears in Detective Conan - a thief who is also a magician (which is quite frankly the best pairing I have ever seen, it’s such a good idea!). Kaito is the son of one of the biggest magicians ever who gets killed in a mysterious accident. One day he finds out that his dad was the thief in the moonlight Kaito Kid and murdered by a mysterious organization - who he now tries to lure out of hiding to protect his father’s legacy and put them in jail.. or something? I mean, there is some revenge fantasy implied, but he’s also like 17 and it’s a children’s anime, so he probably doesn’t want to kill them. Anyway, the way he does it is dressing himself up as Kaito Kid to attract those criminals. And that’s the entire premise of a 24 episodes anime.

Before we get into anything, here some in-universe lore that has been stuck in my mind since 13. My favourite thing about Kid is that his name was also “master thief 1412″, the number being the police file number, but if you write the numbers in a certain way it looks like the word “Kid”, a name given him by Shinichi Kudo’s father (meaning Conan’s father). And both Conan’s and Kaito’s fathers knew each other and were aquantances that respected each other? Like, Conan’s mom went to Kaito’s dad for acting training and stuff which is how his dad figured out that he was Kaito Kid. And when her training ended Conan’s dad gave her a card to give Kaito’s dad with an exclaimationpoint - which was an answer to a card he had previously given him with a question mark. Excuse me if my speech is unclear, I am just nostalgic.

Okay, let’s get started: the series suffers from weak characters and the introduction of too many ideas. That’s it. To get the first thing out of the way: if you make an anime about a spin off character and the main character of the main show keeps showing up that means you don’t trust your spin off to stand on its own feet. I love appearances of in universe characters of other shows, I love the MCU, but imagine if Iron Man kept popping up in Jessica Jones. I mean, he can’t because he’s dead but still. Or Aang keept being part of The Legend of Korra. From 24 episodes, Conan/Shinichi is a major character in 4 of them and is also kinda important in another one. That does not really speak of confidence about your series’ characters which is fair considering it got rebooted. Also, every episode starts with Kaito Kid “opening commentary” the episode before the curtain opens and the actual thing starts - and it also ends with Kid shortly commenting on it and bowing in the end which more often than not features the phrase “I will keep entertaining you if you wish so.”, which is a kinda funny meta commentary of the creator’s being painfully aware of their situation.

I mean, don’t get me wrong, there are really good scenes and funny moments; the one that made me laugh was when Kid hasn’t stolen anything for like three months and since Kaito still goes to high school his friend is kinda disappointed and he thinks: “Who do you think I am? A weekly manga magazine?”, which is already funny but literally a few miliseconds afterwards his friend goes: “Oh, I know why he hasn’t stolen anything for so long! He’s dead!” and he falls off his chair. These jokes wouldn’t be fun on their own but their close proximity to each other makes them work so well. I’m like 70% sure this happened to Gosho Aoyama at some point Over all there is a lot of very good imagery, the magic tricks and heists are fun and often times we have parallel’s, call backs and very well fitting juxtapositions, but over all there’s just a bunch of not-great going on, which I will list now:

1. The Jukebox and the Poker Face: The entire show is also framed by this jukebox Kaito’s dad has left him which has 24 disk and an appendix playing some advice that is tangentially related to the episode. And what more often than not gets repeated is that “he should not forget his poker face”, which, yeah, seems like generally good advice for a magician but... why? It doesn’t serve narrative purpose at all. There is no theme or deeper meaning in the show? The idea of a poker face doesn’t even gets touched on outside of the first episode? Like, otherwise he never breaks his pokerface and there’s like no tension between his real self and the poker face which might as well be a metaphor for Kaito vs. his thief persona. I dunno, am I reading too much into this - why poker face?! Further more, because the jukebox only has 25 audio tracks in total and they play every time Kaito is up to a heist, it kinda feels like he doesn’t do anything in between the episodes? Like, if he listens to that juke box chronologically, which seemed implied, he has only gone to like 25 heists in total which.. is fine for real life statistics but doesn’t really make sense since there is no sense of time in that universe and it just feels like he’s done a lot more?

2. Magic: Yupp, in a universe with a magician reliant on smart tricks and improvisation like a magician on stage there are witches with actual magic. There is actual magic introduced to a world that has previously never had magic before and, believe it or not, magic has no purpose at all. Actually, it does kinda come up in three episodes and they do some really fun stuff the first time with the idea that an illusionist wants to trick and entertain an audience, change their hearts which has different if not more value than actual magic changing the people themselves. Really cool stuff. Would be a shame if the writers wouldn’t know how to go from there and it never comes up again.

3. Super weak as fuck characters outside of Kaito: There are, in total six characters that are not Conan which switch up being the focus of an episode. The witch that practises afor mentioned actual magic is this archetype of a seductress who uses love spells to make boys like her and because her magic doesn’t work on Kaito Kid, she’s like super into him. First, she wants to kill him because she detests his trickery but then she just kinda wants to bang him? And that’s her entire character. Then there is a detective. I didn’t even bother learning his name because he’s the “main challenge” for the first episode he appears and then just kinda stands next to the police officer occasionally to drop observations for exposition or tell Kid something he doesn’t know. I mean, you cannot introduce another high school detective into a universe that whose main character is literally a high school detective. It was as if Jessica Jones kept having Iron Man and another random play boy billionaire with a weird robot suit. There just hast to be a better character than that? Make it a very smart police officer, just anything else. It feels like most of the characters are mostly window dressing and there is just no emotional arc to them whatsoever - they’re treated like most side characters that get shown something by Kaito Kid, have a change of heart and never appear again - with the exception that they are on screen. Constantly. Doing nothing at all.

4.The last two episodes: They’re probably the worst. So, there is this “new magician-thief in town and his name is Kaito Corbeau” and he’s kind of the antithesis of Kaito Kid, dressing in the same suit but in black and probably like a joke on the fact that Kaito Kid is a magician who uses doves which are white and crows are black? I mean, it’s fun but the mirror doesn’t really work that much because the words “Kid” and “Corbeau” don’t mirror each other and Kaito Kid rarely uses doves. But I get the point, A for effort, I guess. Anyway, so. Corbeau who looks suspiciously much like Kaito’s dad and apparently knows something about his death, then challenges Kaito to a duel of thieves also being a magician asks him to solve the mistery of how he will steal some precious gem. By the end of the first episode of the two-parter, Corbeau has stolen the gem and Kaito walks home wondering how he did it. As he comes home the lights of his house are turned on, which is weird since he lives alone because his dad is dead and his mother is always travelling the world. But that unexpected visitor turns out to be his mother and my first reaction was... really? No, they would not be doing such a stupid thing, right? Nah, that’s probably a red herring. No way she’s Corbeau. (Spoiler: she’s Corbeau.) And she asks him “if he really wants to do this? If he doesn’t want to become a magician in Vegas or anything?”, which is a reasonable question from a mother: do you really want to be a thief and hunt some criminals who might as well kill you like your da? But it’s also kind of a stupid one because it is absolutely reasonable that he definitely wants to do that and that there is no grain of doubt in his mind that he does. And that is ultimately the problem of the last two episodes: they’re about testing Kid’s commitment which fails on a bunch of levels. The first one being: there is never a struggle on the side of Kid at all. He never doubts himself, Corbeau isn’t even that big of a challenge, considering he has been regularly challenged by genius high school detectives who seem to be the smartest demographic ever, an actual witch, a serial killer+thief, another differen thief and this shady organization that killed his dad. There is no escalation, no actual struggle against all odds making him question his motivations which - he doesn’t even think for longer than a second about his mother’s questions which is why, when Corbeau tells him around the end that it was all to test his commitment, it could have been substituted for literally anything else.

However, that’s not my real problem with that: Kaito Kid is a necessity, not an identity. There is no need for a commitment towards the figure of Kaito Kid because the moment that criminal organization is caught, there is no need for the mantle of Kaito Kid anymore. This whole idea of commitment of character falls apart because Kid is not a superhero. He’s not taking up a huge and never ending task that is going to take forever - Kaito could very well become a big magician in Vegas afterwards, these things are not mutually exclusive which is why that question kinda backfires and makes his mom look bad because she doubts him for no reason whatsoever? Also, Kaito is literally still in high school and 17, they somehow came up with something less rational than having him dress up as a magician at night and hunting criminals by having him drop out of high school and become a magician in Las fucking Vegas with 17. And I get that it’s the last episode and you wanna end it on a heroic note but that didn’t work at all.

(next morning thoughts: I think I kinda understand the underlying problem of those two episodes now, let me, like the show itself compare it to his bigger brother - Detective Conan. There is no similar episode to test the main character’s strength of mind, but his parents often times wonder and ask him if he really wants to do this considering he nearly died the first time, and that is genuine care and if it wasn’t a better idea to let the police handle it; Conan always answers that he needs to keep doing it. However, these kinds of episodes would actually work with Conan as the main character because for one, his parent’s reasoning is way more sensical and two: he’s inherently human. Yeah, he is super smart and knows a bunch of weird shit that helps him solving crimes, but detectives are humans and they never pretend to be otherwise. I’m not saying magicians aren’t humans, the idea of supernatural things that is beautiful and quite literally casts a spell over us, to be willingly tricked into a world where the impossible is possible is a very human thing. Magicians just aren’t, they’re entertainers and try to exceed our reality, to be exceptional and - to be not human. That’s why the show always has him being cocky and witty, rarely struggling more than a bit with a heist, because he needs to. At this point his poker face has quite literally become his entire character.)

I know, I have been rambling, what I wanted to say is: despite all of this I don’t dislike the show. And in a way it suffers from the same Detective Conan problem of having selfcontained stories but an obligation to connect them to each other, weakening the entire thing. And I don’t know why I like it so much, because I like it more than anything reasonable would justify me to. And this is kinda what I need to find out. I’m very tired now and I have three days to work on my paper and I should go to sleep. If you expected a satisfying conclusion to this whole affair: welcome to Magic Kaito and I’m sorry.