#the show forces the Audience to accept change

[ssaalexblake]

The thing about saying that ‘doctor who is about change’ thing is that it’s not really true imo. Not in the show. The plots aren’t often About the people or situations actively changing as a catalyst for a story, it’s normally just a consequence of their story arcs that things do, in fact, change. Meaning that the bottom line in the equation is not change itself, but that change is a consequence of the driving forces of the stories. 

I actually think that dw is a weird tv phenomenon that forces change upon you because every few years it reinvents itself for its own survival. It is not About the change but it cannot escape change due to its very nature, so therefore it is about change. 

[apollos-boyfriend]

i quite enjoy hooky/marionetta but by god does their author have a goddamn fetish for timeskips

[aspiringwarriorlibrarian]

Taking advantage of the free Nimona video and....wow, the Director really believes her own bullshit here. Like it's not just a show for Ballister's sake (or at least, not completely), she genuinely believes that he's ultimately responsible for her actions by being common and disruptive and that he forced her to murder her queen to stop him from becoming a knight. "Today, everyone will see you for who you really are." "She thought someone like you could be a hero, and it cost her her life." She literally runs Gloreth's direct descendant through with a sword and then in the moment after he "dies", her reaction is "May Gloreth forgive you." Not me, never me, no matter how many people I have to kill. May Gloreth forgive you for existing in a way that inconvenienced me even slightly.

Like the religious aspect is not subtle, as far as the Director is concerned her every word and thought and action is the will of Gloreth herself and challenging her is a sacrilegious act. Ballister can change, Ambrosius and the knights can change, the whole kingdom can sit there watching Nimona break down and decide they were wrong about her and accept her, and the Director is still standing on the battlements demanding that they blow up the city because it's what she wants and the mere idea that she could ever be wrong is blasphemy.

Which is a genuinely good message for the film's younger audience as a whole. "Yes, people can change and become better. Yes, whole societies can change and become better. Yes, people deserve second chances. But there are some people who cannot and will not change, and you shouldn't lose sleep over your inability to convert them."

[horse-girl-anthy]

Revolutionary Girl Utena: Gender in Context

beneath the cut, I discuss the RGU's portrayal of gender in the context of 1990s Japan.

in Ikuhara's interview with Mari Kotani, he stated that in traditional Japanese society, "prince" meant "patriarch." the same is true in Western societies--there was a time when a prince would be an heir to a royal line. by 1997, this meaning had died out of large parts of the world. even the association between princes and traditional masculinity was fading. Saionji, the weakest, most pathetic man in the show, is a parody of historical Japanese masculinity, with his kendo and his blatantly regressive beliefs about women.

in RGU, prince may still mean patriarch, but in a far more subtle fashion. Ikuhara and Kotani discussed the changing expectations for men in the latter half of the 20th century--it became gauche to fight over a woman with one's brawn, so instead, power struggles were played out in the arena of looks and sex appeal. one can see this reflected in the character Akio, whose power as a prince arises from his ability to turn "easy sensual pleasure based on dependency" "into a selling point with which to control people."

Akio has his moments of showboating masculinity, but when preying on Utena, he operates by making himself seem non-threatening and soft.

not only that, but he purports to want to allow students to express their individuality and thus approves of Utena's masculine form of dress. this is a front--by the end of the show, he's telling Utena that girls shouldn't wield swords. thus, through Akio's character, the show argues that traditionalist patriarchy in Japan isn't gone, but instead has only been papered over with false progressivism.

with all that said, there seems to be more to the character. he's taken the family name of his fiance, Kanae, and whatever material power he has in the school is dependent upon her family. in Japanese society, this is considered a humiliating position to be in, something that only a shameless man would do. the show never gives the audience any insight into how Akio feels about this--is he unbothered entirely, or are his actions against the Ohtori family an expression of his repressed anger? does he harm the children under his care to compensate for his humiliation?

this aspect of Akio's character may seem irrelevant in light of the larger, immaterial social forces at work in the show. however, I would argue that it was included for a reason. Akio, despite his status as ultimate patriarch of Ohtori, is in fact a highly emasculated character, to the point where lead writer Enokido even said that he is driven by an infantile mother complex.

to explain why Akio was portrayed this way, we have to discuss Japanese history. the nation suffered a major defeat in WWII and was forced to accept whatever terms the United States laid out for it. for an examination of how the Japanese have never truly processed those events and have plunged into modernity with reckless abandon, I recommend Satoshi Kon's Paranoia Agent. to sum it up briefly, in a very short period, the nation regained its economic footing, and by the 1980s had the largest gross national product in the world. this economic boom may have allowed Japan to maintain a sense of sovereignty, dignity, and power, but it was inherently fragile.

the infamous "bubble economy" lasted from 1986 to 1991. during this time, anything seemed possible; financial struggles appeared to be a thing of the past, and capitalist excess reached new heights. the ghosts of this period can be felt across Japanese media; for instance, think of the final shot of Grave of the Fireflies (1998), where the two dead children look down on Kobe, glowing an eerie green to imply its impermanence. the abandoned theme park from Spirited Away (2001) is explicitly referred to as a leftover from the previous century, when many attractions were built and then tossed aside in a few short years.

the bubble popped in 1992, leaving an entire generation feeling cheated. the bright futures they'd been promised, which had actually materialized for their parents and older siblings, had been lost to them overnight. economic crises are often accompanied by gender panics. to quote from Masculinities in Japan, "The recession brought with itself worsening employment conditions, undermining the system of lifelong employment and men’s status of breadwinners in general. The unemployment rate was rising, and although it never reached crisis levels, men could no longer feel safe in their salaryman status. Their situation was further complicated by the rising number of (married) women entering the workforce."

with this in mind, Akio's character can be taken as a representation of masculinity in crisis in 90s Japan. he's forced to rely on women for his position in life and has failed to save his only relative, Anthy. he tries to escape his misery through hedonism, perhaps an allegorical representation of how men tried to maintain their old standard of living after the economic bubble burst.

but of course, Akio is not the main character of RGU--the story is about girls. mangaka Yamada Reiji discussed the series in the context of the 90s, stating the following:

while I opened this essay by discussing the prince, the same points could be made about the princess. despite the increasing irrelevance of royalty, princess is still an important concept. how does it relate to the socioeconomic landscape of the 90s?

in Yamada's view, RGU is full of relics of the 80s; for instance, the figure of the ojou-sama, an entitled young woman who never lifts a finger for herself. during the economic bubble, it was increasingly common for women to be entirely taken care of by the men in their lives. Yamada names Nanami as a clear ojou-sama type character: she weaponizes her femininity, demanding to be rescued, doted on, and served.

however, by 1997, the ojou-sama could no longer expect to get what she wanted. from the 80s to the 90s, the percentage of women in the workforce increased around 15%; it was no longer viable for most women to be "kept" by their families. as the men experienced the humiliation of not being able to provide for their wives and children, women were undergoing a disillusionment of their own.

Yamada blames Disney for creating the ideological structure which led women astray. obviously, the company is known for its films about princes rescuing princesses. in Yamada's recounting, during the 80s, the company was infiltrating Japan through its theme parks as well; across the country, Disneylands were opening up, and people were buying into the escapism the corporation offered. Japan, as America, became a country of eternal children. its people were waiting for a prince to appear and save them.

but fairy tales can't stave off reality forever. Yamada claims that RGU embodies the rage of young women who woke up one day and realized that they had been raised on a lie. this anger pervades the work from beginning to end.

though RGU was created in a particular social context, its lessons can be extrapolated to any time and place. as the first ending tells us:

I hope this essay helped provide more context for the series. thanks for reading!

[xqueen-of-disasterx]

The winner takes it all

𝐏𝐚𝐫𝐢𝐧𝐠: Scarlett Johansson x fem!reader

𝐒𝐮𝐦𝐦𝐞𝐫𝐲: Scarlett Johansson just hit the peak of her career, she had everything: money power glory. One thing was missing, the Oscar. After she finally won the award she found a special way to celebrate her win with her perfect little girlfriend as a helper.

𝐖𝐚𝐫𝐧𝐢𝐧𝐠𝐬: SMUT, dom!scarlett, sub!reader, alcohol use, oral, object insertion, recording of sexual activities, Oscar in places they shouldn't be, degradation

!Disclaimer English is not my first language so please excuse any grammar or spelling errors. This story is completely fictional. I do not own these characters!

𝐀/𝐍: I swear | was drunk while writing this l'm not a weirdo okay 😭

𝐌.𝐥𝐢𝐬𝐭 | 𝐍𝐚𝐯𝐢𝐠𝐚𝐭𝐢𝐨𝐧

Third times is the charm, right? That’s what Scarlett thought when she sat in the audience of this year Academy Awards. She was nominated for best actress for her latest movie, last time that had happened her award was stolen from her, but not today, she thought.

She sat in the big theatre room you, her younger co- star turned affair sat next to her, nervously she tapped her fingers over the armrest of the seat. “Scarlett” You called out the older actress had her eyes fixated on the still empty stage. “Scarlett?” You tried again hoping to reach through to her. “Huh? Yes, what’s the matter?” Her fingers still tapping the soft fabric of the armrest. “You’re so nervous” You slip your hand over hers “How couldn’t I be? Have you seen the competition this year? There’s no way I win against Emma Stone”

You chuckled intertwined our hands, it was dangerous you knew that, but luckily no one way paying attention to you. The fact that you shared so much more than just the screen was intoxicating to you, sneaking around the crew to share a few passionate minutes with the older actress. She made you feel the things none of your boyfriends ever could. How she touched you, loved you. But everything had to come to an end, and so did the affair you two had. “You blow them all out of the water” You assured her.

The alcohol did it’s job pretty well in Scarlett’s eyes she had had her faire share of expensive champagne glasses to calm her nerves. And then it got time for the category of best actress. The announcer had the all telling red envelope in hands opening it in exactly that moment. “The Oscar goes too” she slipped out the card “SCARLETT JOHANSSON” The theatre broke out into loud cheers and claps, Scarlett however didn’t even register her name being called she was still in a state of pure shock.

Both you and the director leaned in to give her a quick peak on the cheek and a small “You did it” before she made her way up to the stage to finally accept the thing she never thought she could get.

“You did it” You smiled at her when she made her way into her hotel room. You had sneaked off the after show party to surprise your older girlfriend. Nothing special really just a bit of champagne and lingerie but just seeing you spread out on the sheets made her crazy.

“Now what do we have here” She smirked she was clearly intoxicated and so were you. “Fuck baby girl” She groaned upon seeing your promiscuously clothed body. Later that night she had changed from the big dress to an expensive pantsuit. She slipped of her blazer placing it on to one of the hotel room’s chairs.

“You’re playing with the fire little girl” She chuckled her eyes never leaving your body. She sat her pretentious golden man on the bed side table. “I know what I’m doing” You breathed out. Your eyes meet and she down to kiss you.

Her hands slid over your exposed skin going onto your back. With skilled fingers she unclasped your bra slipping it off your shoulders only to throw it behind her. “Fuck you little slut, I’ve barely done anything and you’re nipples are already hard” Her degrading words forced a moan from your throat.

Her thumbs rolled over your hard nipples, she enjoyed seeing you squirm for her, under her. She chuckled before kissing down your stomach licking over the soft skin of your tummy.

She pressed her nose against your pubic bone taking in a deep breath. She tugged your panties from your legs tugging them into her pant pockets. She kissed your clit kitten licking the bundle of nerves. She paid extra attention to the spot because she knew how needy it made you.

She gave your cunt a few more bold licks bumping the crock of her nose against your over sensitive clit. She pushed her tongue inside your tight heat enjoying not only the taste but also the feeling of your muscles clenching around her.

“Fuck Scarlett” You moaned out your hands gripping tightly into the pillow behind your head. She kept on working you towards the edge of ecstasy until she pulled away letting you huff in annoyance all you wanted she just chuckled.

“Aw” she mocked you “Was my little girl just about to cum?” You shook your head still whining. Her eyes darted to the trophy next to you and a mischief grin was planned on her lips. You knew exactly what she was thinking about.

“Scarlett no” you said with urgency “What? I’m not doing anything” She reached out for the golden man upon closer inspection it had the right shape, you had taken bigger after all. “Well” She started her hands stroking over the stature “don’t you want to make me happy”

“I do but” Scarlett stopped me “No buts baby now spread your legs” You applied to her wishes spreading your legs for the older woman. She hummed in approval her fingers stroking through your slit collecting your wetness on her fingers.

She covers her trophy in your juices on her lips there was still this shit eating grin. She was more excited than a little kid on Christmas.

She held the cold metal against your entrance pushing the head of the stature past your hole, watching in an awe how your pussy ate the metal man.

“Fuck” She groaned as she heard the mewl sounds growing in volume the more the man disappeared. “That’s so hot” She shifted to her knees to reach out for her phone taking it from the nightstand

“I need this for my personal collection” She mumbled pointing the camera to where the Oscar was connected to your body. You both had agreed to her being allowed to videotape you, if she didn’t release it. You both knew that a leak of this video would make it onto every cover of every tabloid magazine. Did you care? Absolutely not. Scarlett even less

The feeling of the cold metal against your walls was intoxicating, you mewled and whimpered. She moved the stature in and out of your tight heat bringing you close to your release. With her skilled fingertips she played with you overstimulated clit loving how your body squirmed under her.

The camera was still on your glistering cunt the camera panting to your face twisted in pleasure. “Fuck I’m gonna cum” She smirked again throwing her phone away to pay more attention to your desperate body. “I know baby” She kissed your nipples with a few more thrust she made you see stars. She let you ride out your high before pulling out the award again watching in an awe how the cum dripped the golden man. “Scarlett” you breathed out still catching your breath “What the fuck”.

:)

Taglist:

@badbitchrebequinha @notaloserjustasnoozer @misscaptainchaos @tashakink @strawberrynatsstuff

[gremlingottoosilly]

Colonel!kőnig × Ballerina!reader where he accidentally watches a ballerina performance and of course falls in love with the reader who plays the role of the evil swan

Konig never understood going to performances. Yes, it's something about being more cultured, actually seeing good art instead of the same raunchy novels his whole squadron is reading instead of doing something useful. He can't believe that the higher-ups would really waste so much money to give his whole team a bunch of tickets to a fucking ballet performance - but he guesses that it was on a very good sale. Enough of a deal to force at least 30 men and women out of their usual uniforms and into something resembling the parade ones - as much as he fucking hated wearing so many signifiers of his rank. It would always bring too much attention from civilians and too much teasing from his squadmates. Their pet colonel needs at least one tactical Horangi to actually talk to the receptionist. Konig never understood art - and he continued to never understand it when the first row of dancing girls went on the stage. They were pretty, he supposed, with long legs and pretty muscles - but honestly, pin-up models interested him a lot more. Maybe if the ballerinas would actually show their legs a bit more instead of dancing like a bunch of- You lock eyes with him - a huge man sitting in the front row in the audience, it's not that hard to miss him - and everything changes. For him. Somehow, someway. He didn't even get into the performance plot fully, but once you changed from an innocent, boring, samey-looking white swan into your black dress and bold makeup, he suddenly understood everything there was to be understood. Konig is an art lover now. Even if he can't quite remember the actual name of the play you're in. He doesn't know the proper etiquette for sitting through a ballet performance, but he punches a couple of his guys when they are trying to whistle at every somewhat romantic interaction between you and the male dancer. A bunch of fuckers noticed how their colonel was looking at you - and he is pretty sure that if he isn't firm enough with them, they might as well kidnap you as a pretty little gift for their commander. A small trophy in this endless war, a feeble attempt at busting the morale by getting their boss a girlfriend. Konig thinks that he won't even be opposed to said gift if it was proposed right about now. After the performance, he eye daggers every pathetic fuck who is giving you flowers - and it's quite a lot of people since you are prima and play the main role - right before actually dragging one of the poor guys into a secluded room and lightly punching him on the face until he is out, so Konig could take the opulent flower bouquet for himself. Just for him to stumble over his words and barely even say anything as he gives you the flowers, not knowing how to elegantly say he earns more than your ballet salary and he is willing to spend thousands of euros on giving you your own dance studio if you could only accept his flowers and- You giggle awkwardly at the giant man standing in front of you - you accept the flowers with a light smile and apologize for getting a bit of heavy makeup on his hand(Konig considers never washing his hand again) Yeah, Konig is definitely a cultured man who is going to every one of your shows now. And if you'd fall out of the organizer's favor and stop playing the main role... It's never too late to ask his boys to get their colonel a little treat.

[byerseason]

some ranting

people do not realize how important the representations are and it’s really pissing me off so much. they act like byler wouldn’t be a representation just because they don’t like the ship.

talking about my own family, they’ve always been homophobic due to religious reasons. i had a friend who was lesbian, and when my mom accidentally heard about that, she forced me to cut ties with her. that was how she was in the past.

we watched st with her multiple times. and whether you accept it or not, the queer characters do make a difference. my mom started to feel empathy towards will. he was always her favorite since s1 but in s4 she wasn’t disgusted by his sexuality or anything. she was in fact feeling sad for him.

these characters give the audience the chance to see what these people go through. to see the harshness of their lives and how they can’t even accept and love themselves, and for what? for the most basic human feeling ever, love.

i was talking about will and how he changed her with my mom and she told me if i ever experience some kind of things or anything i can always talk to her. that wasn’t something my mom from 3 years ago would do.

and now if byler happens, she will see how pure the love can be even if it’s between the same gender. how hard their lives can be. just because you don’t like the ship itself it doesn’t mean it’s not making a difference for good. and we need these representations in mainstream media like stranger things. you know my mom would not sit down and watch heartstopper or any other queer-based show. it’s important to shove it to their faces. and for byler, mike’s point of view is gonna be a perfect representation of internalized homophobia since we don’t have many shows that have that. it’ll perfectly show what people thought was love all along was STILL love but a queer one, which will prove them it’s not any different.

[tealvenetianmask]

I want to take apart the use of the word, "dramatic" in the fandom a little and try to understand why it gets applied to Stolas so often and not to Blitz. Because, honestly, they both sort of are . . .

If dramatic means "oozes emotions and makes the audience feel something for them." Both have really intense emotional moments in the show.

The truth is, they also both hold back quite a lot though. (So maybe neither is dramatic?) There are tons of examples, but to save space, here's one of each. We see Stolas forcing his face serene in the middle of a drunken crying session in Apology Tour, and we see Blitz leave rather than let Stolas see him cry in Ozzie's.

And they BOTH don't let the people in their lives see that they're hurting. Stolas wears a mask for Octavia, and Blitz wears a mask for . . . everyone in his life, really . . . Until recently, both wore masks for each other pretty much constantly too. But when they're each alone, we see the truth.

Okay, so obviously it comes down to presentation, right? Specifically gender presentation . . .

Stolas gets judged as dramatic (and even whiny or self-absorbed in anti circles) because he laments in deep, lofty ballads, with make-up dripping down his face, which is honestly such a win for all the grown-up emo kids watching. He relates to soap opera protagonists and wants to be chased after while he's boarding a train. He reads romance novels.

In short, when he expresses emotions, when he consumes media about romance . . . he's being traditionally "feminine." (A note: this is also why he's often portrayed by fans as "the woman" in the relationship- and that can have its own problems, since, yes, this is a gay relationship between two men, and regardless of gender presentation, neither needs to be "the woman.")

Blitz on the other hand . . . well. He's not masculine in every way either, is he? He loves to crossdress for fun work. When he's enjoying his down time, he's watching two cutesy horses kissing.

But he expresses emotions in ways that are socially accepted as masculine. Namely, anger. It's not dramatic to do any of this, is it?

He calls listening to love ballads "gay . . ." oh, and he uses the same insult for Stolas . . . you know . . . trying to talk about emotions with him. So, for better or worse (worse- this is a bad thing), he's pretty deeply entrenched in society's expectations of masculinity. Or anyway, he performs it more convincingly than Stolas does. Well enough, it seems, to convince some viewers that he's 1) just an asshole with no depth and/or 2) just a chill and badass regular dude man.

But here's the kicker. NEITHER of these characters are wrong for having emotions and expressing them. It's a good thing actually.

In the world of the show, expression heals. Singing helps Stolas process the changes in his life. His decision to tell Blitz how he feels WILL ultimately help them both with their character development. Blitz ends up happier than he's been in a long time and manages to repair a friendship after 15 years apart once he explains his emotional experience to Fizz and cries. Accepting some emotions other than anger in Apology Tour (even if he's far from finished processing them) enables Blitz to grow profoundly as a person.

This blog is in favor of being dramatic.

[twilightkitkat]

Thinking about the role of the "love interest" in superhero media and how poolverine subverts this.

The "love interest" in most movies is just a placeholder. Boring. Tame, Predictable.

This is especially true in action media, wherein romance takes a backseat and is often seen as an add-on rather than a main plot point. Romance is either a source of conflict or motivation that serves to drive a character arc forward, but no more or less.

Take, for example, Vanessa. I love her character. Her personality and character are fascinating. However, especially in Deadpool 2 and 3, she serves more as a device to move the plot forward rather than a genuine character. The first movie established her character and importance, so it's understandable why Wade chose to hide his identity and how he slowly came to terms with his new identity. She helped move his character arc of self-acceptance forward, yes, but she also existed as her own entity.

In the movies after this, she isn't treated with the same care. She's used as a central motivation in Deadpool 2, a force that drives Wade to save Russel and confront Cable when his character motivations aren't easily tied to morals. However, that's it. She isn't fighting alongside him or given the same treatment as the other important "family" characters. In Deadpool 3, she's treated with even less care, only having short scenes at the beginning and end of the movie to give Wade a representation of "home."

This isn't to say Vanessa isn't an important character and shouldn't be treated as such. However, the purpose of having a "love interest" in an action movie's plot isn't just to have someone to love. It's almost always to have someone who can be kidnapped or killed to spring the main character into action. It's someone who fades to the sidelines so the main character can show off while showcasing their relationship success.

Consider this: in all of the Marvel comic universes, Deadpool and Wolverine have had many different partners. Different names, different faces. It's common for the "love interest" of a superhero to be seen as an accessory that changes shape depending on the comic artist or franchise. After all, they don't need a cohesive identity to serve their purpose as a "general, digestible reason for the main character to act."

Everyone understands how love can cause people to do crazy things. There is no further elaboration needed, even for morally grey or black characters. It's an easy way to make an understandable motive for the audience. Suspension of disbelief.

And yet, the superheroes remain the same. They get to keep their identity throughout different media. It's always Wolverine and Deadpool. Logan and Wade. Even if they have slightly different plotlines, their core characteristics and intrinsic identity are constant.

Logan could have Jean Gray. Or Mariko. Or Silver Fox. He can have anyone play the role of "love interest," a role that can be shapen by a ball of clay and changed entirely to fit the narrative.

But his "rival" and "best friend" in the multiverse will always be Deadpool. They're notorious for being referenced in each other's media. For fighting. For working together. They are A Set.

This is why I'm so much more drawn to Poolverine than other ships. Wade has different love interests depending on the media type. So does Logan. I can't tie in knowledge from different interpretations into the romance because the love interests are fluid. But with each other, they interact in almost every universe. Have a consistent bond. A "standard." They're soulmates, in a way, forever destined to meet and be important to each other.

This is setting aside how female love interests are treated in male-oriented media in general. They're normally seen as someone to be protected, to stay at home, and welcome back the hero when they return. Some are allowed to be strong, to have abilities, but rarely ever do they stand on equal footing with the male main character. Not where it matters.

This is exhibited in both Wolverine and Deadpool's movies. Vanessa is introduced as a "badass," someone who's part of the underworld and knows how to fight, yet she's often placed in the damsel in distress position. She could match Wade before his mutation, maybe, but after he dons the mask and becomes Deadpool, his work is over her pay grade. The same happens with Mariko in the Wolverine movie: she's initially introduced as someone who can fight, but Logan ends up protecting her almost entirely and is responsible for rescuing her from her kidnapping at the end.

It creates an emotional rift between the side of the "hero" and the side of the "love interest," because it feels like they aren't fighting together for the same cause. It feels like the love interest is treated more as a "reward" for the hero to come back to after saving the world rather than a person.

When the entire movie follows the perspective of the main character as they fight, and action scenes are primarily used to invoke emotion, it feels lackluster to have the love interest stay at home. The most intense moments of emotional connection are typically portrayed between the hero and someone else who understands their suffering who they're trying to reach, such as a villain or rival or friend.

Love interests are never on the same "playing field" as the main character and thus can't relate to their struggle. The director tells the audience that they should be happy or sad when a love interest is on screen, but they don't show the same level of emotional depth when the main point of an action movie is action. The entire premise of the main character is action, and yet the love interest is absent from it. Or a victim rather than a player.

This is why Poolverine subverts this trope. You have two people, each with their own franchise and life. Each with their own skills. Each with similarly powerful abilities.

They are equals and are treated as such by the narrative. They take each other seriously and have an emotional connection because they understand each other's suffering. They both are out on the battlefield, fighting the same war and overcoming their differences. They both are allowed to have "cool" scenes and "sad" scenes and "funny" scenes. They both are given the spotlight to experience character growth and have their own unique internal conflict because they both are strong characters who are narratively important.

They both have chemistry. Which is nearly impossible to attain when the love interest isn't even in the lab.

[markrosewater]

If Universes Beyond is "Additive" as you said a few days ago, then why not make an "additional" format rather than forcing a change to Standard?

The psychographics are about the different ways you can psychologically approach the game.

If you’re a Spike, you’re about proving what you are capable of (which often means winning, but not always). That means you focus on picking the best card for the job at hand. That’s going to be dictated by card power and not creative decisions. Whether you like a creative execution (be it in-multiverse or Universes Beyond) or not simply isn’t the deciding factor.

If you’re a Timmy/Tammy, you’re about experiencing something. That means you pick the cards that best create the experience you want. If creative choices are a big part of that experience, then you will prioritize choosing cards that match what you want for your deck.

If you’re a Johnny/Jenny, you’re about expressing something. Your card choices are about you saying something about who you are. If creative choices are important to that message, it will impact which cards you play with.

The issue about mixing in-multiverse and Universe Beyond cards is only forced for the Spikes, because they’re the one psychographic that has to make choices irregardless of the creative execution of the card.

For the Timmy/Tammy and Johnny/Jenny players, if Universe Beyond cards dilute your experience, make other card choices. Don’t play with them.

That’s what I say about the cards being “additive”. You can add them to your deck if they enhance your experience. If they lessen your experience, don’t add them.

The big question is what matters most to you. If you’re choosing a card because it will increase your win rate, then you’re making a Spike-y decision. And that’s fine, but it means you’re prioritizing mechanics over flavor.

My core message is you the player have total power over what you play. You pick the format you play, you pick who you play with, and you pick the cards in your deck.

This issue isn’t new to Universes Beyond. Some people don’t like the cuteness of Bloomburrow, or the modernity of Duskmourn, or the famous characters in cowboy hats approach to Outlaw of Thunder Junction. If you want to make Spike-y decisions, then you play the card regardless of your personal opinion of the creative choices of the card.

Maybe you’re playing a card with a cutesy name you don’t enjoy, or a piece of art that’s not your style, or flavor text that you find groan worthy. That’s a decision you make when you build your deck and you choose what to prioritize.

Everyone has a different line of what creatively is acceptable, and it’s human nature to want to believe that your line is “the line”.

I’ve been doing this for a long time. Every line we cross is somebody’s line. But Magic, at its core, is about pushing boundaries and trying new things. It’s one of the defining qualities of the game.

My message is you can choose your own line. Magic adaptability allows you to play with what makes the game the most fun for you. You can choose to not cross your own line, but it does require you to prioritize that line over Spike-y decisions.

Look, we’re going to keep adding things to the game that players demonstrate they enjoy, whether that be mechanical or creative. It’s the defining quality of the game’s growth over the last thirty-one years.

And by the way, the data strongly, and I mean strongly, shows players enjoy Universes Beyond. All the people that made The Lord of the Rings the most popular set of all time are just as much Magic players as those that never purchased it.

And why not make an additional format? Because the data says there isn’t a large enough audience to support it. If there was, we’d make it. We’re very influenced by the desires of the players.

Our goal, as it has always been, is to make the best game in the world. We iterate, you give feedback, and we adapt. Lather, rinse, repeat.

One of the big lessons I’ve gotten designing Magic is that it’s going to adapt based on the totality of the desires of the players. Enough players like something, and the game starts adapting to it.

That adaptation is not always what I personally would choose, but over the years, I’ve come to realize the fact that the adaptation is not the choice of any one person, but the totality of the playerbase is the thing that makes Magic a game unlike any other.

It’s a living breathing entity that’s constantly becoming what its players want it to be. And that’s pretty cool.

[imbecominggayer]

Writing Advice: Too Many Characters

A common advice when writing stories is "don't write too many characters". But, like with everything creative and good, there is no definitive answer to how many characters should be in a book!

So I will be discussing numerous variables in storytelling which impacts how many characters you should have and what makes something in a book "pointless".

Themes! Themes! Themes! (Omori Spoilers, Not Too Much)

The most important question that a writer has to ask themself is "what is this scene/book/media trying to do?". If your story is based on the relationships we have with others and the impact they can have on our psyche then having a close-knitted community of people will drive the message of intimate connection better then just having more people in there. If your story is focused primarily on introspection, looking inward, individuality, and other spiritual activities then the protagonist is more likely to spend longer durations of the media by themselves.

An example of these to forces is the popular game of Omori.

(SPOILERS ABOUT OMORI<3)

Omori is a game that focuses on acceptance first and foremost. Self-acceptance to be more specific. Due to the fact that the game is a piece of introspection both for Sunny and for the player, the most important moments in the game such as the "reveal" sequence of pictures and Black Space are ones that are done on your own.

However, the game also prioritizes the relationships Sunny has between his friends as this serves as motivation for the final duet. The final duet was an act of bonding as Mari and Sunny just wanted to spend time together, doing something they liked.

The introspection moments are pushed towards the end of the game because it's only when Sunny has that support and belief in his friends, can he rise above his doubt and shame and fear.

2. What Is The Purpose Of This Character?

All characters need to have a purpose in the narrative. Both within the context of the world and in the context of the book.

Within the context of the world, they need a goal that is going to impact the protagonist either positively or negatively.

Within the context of the book, what is this character giving to the audience that wouldn't otherwise be there?

Pro tip: All the characters you have need to have more then one purpose! Characters that give exposition can't JUST give exposition.

If you have a love interest that can be cut out without taking away a vital part of the story either from a thematic(theme) standpoint or a narrative(plot) standpoint, just replace them with an object and move it along!

If you have an ally character that only shows up twice and can be changed into "I went down to the store to buy these items", give that "ally" tag to someone more story relevant"!

3. Priorites?

Ask yourself this: "Do I have the book length to dedicate time to this person?"

If the answer is no, follow my next steps. If the answer is yes, here is how to make them better.

When I say "prioritize", I mean you need to figure out what type of character this character is. Are they a main character? A side character? Cannon fodder? A symbol? WHAT ARE THEY?

Also, can you give these character responsibilities to someone else? This simultaneously gives those characters deeper complexity and eliminates more characters

Example: Love Interest, after being trapped by the villain, uses their intelligence in order to provide information about the villain to the hero. (Love Interest + Ally + Informant)

Example: Friend is revealed to be a double agent on the side of the Villain. However, it's revealed that Friend was secretly a triple agent who is finally redeemed from their original believed betrayal. They're back to being an ally. (Friend + Betrayer + Ally + Enemy)

[gffa]

Disney, hire me as your Attachment Advisor, I will shove so many George Lucas quotes at your producers and writers, I will shove so many context-laden clips from the movies and TCW at your creatives, I will make powerpoint essays about how it's more Buddhist-aligned, not Attachment Theory-aligned, I will cite literally every time attachment has ever been discussed by Lucas AND in the show itself and show you that it's always aligned with fear, possessive feelings, and selfishness, I will do this work for you for free, I can even literally just point you to my Jedi Citations collection, DISNEY, HIRE ME AS YOUR ATTACHMENT ADVISOR, I CAN HELP YOU.

Everything I saw in the show aligned perfectly with my view of what the Jedi mean by attachment from the movies (especially with Episode II). You fail to understand that George Lucas words outside of the movies mean shit. You cane have the largest collection of words that has come out of Lucas's ass and it still does not change the movies. Look at the poster for AOTC. A Jedi shall not know love. Obi-Wan speaks beautifully about the undercurrent of remorse he feels for not being able to have an attachment with Satine because he lives by the Jedi Code which forbids it.

You people are so delusional.

Hi! You are so right bestie it has been way too long since I've talked about my love for Mace Windu! You are so right to have brought this up and I will meet your challenge! He is the Force's strongest soldier because the absolute nonsense he has to put up with every day, as someone who deals with the rest of the Council being hilarious assholes, who deals with Kenobi and Skywalker's nonsense, who has Yoda as a friend, and yet he seems to genuinely like all of these people?? Even when they're bonkers?? My man is stronger than I could ever be.

Not to mention, he goes on a whole ass mission with Jar-Jar, has to watch him make out with his girlfriend, the queen of the planet who told falsehoods about your family, and you have nothing but patience and kind words to say about them, and you only roll your eyes a little at Jar-Jar's antics, something even Padme does and she's worked with him even longer than you have, and by the end, you're friends with him, you like him and would probably hang out with him again if the chance arose???? Mace Windu is on ANOTHER LEVEL from what I would have done in his position!

And he's a former theater nerd! "The Council's gain was the theater's loss." Jocasta Nu says about how he didn't have time for it anymore after he got so busy with the Council, like can you IMAGINE Mace Windu doing plays? I want to know sooooooo bad how Jedi plays are different from non-Force-sensitive people's plays, I want to know what kind of cool effects they create with the Force, I want to know if they use their psychic empath abilities to literally connect with their audience! I want to know DOES MACE WINDU HELP THE YOUNGLINGS STAGE CUTE LITTLE PLAYS IN THE CRECHE? BECAUSE I BET HE DOES.

Because that man is so good with kids! Remember that Star Wars Adventures comic where he was so gentle and sweet with the little Twi'lek girl? Reaching down to help her up, smiling openly at her, walking with her back to her village to make sure she was safe, talking with her to make sure she understood how important and valuable she was in the galaxy? Because I'm still not over that!

His relationship with Anakin in canon is pretty great, too, like, yeah, Anakin should take a seat and stop borderline pitching a fit about getting a rank he didn't earn, and Mace still offered to believe him, despite that Anakin had accepted Palpatine's forcing the Council to put him on it. He still trusted Anakin to help him in that fight against Palpatine! Plus, oh, man, their banter on the Endurance when they're teaching the cadets? That was such good-natured teasing, that was exactly the kind of banter Anakin would have had with Obi-Wan, and by the end of that whole fiasco (do you ever think about when Anakin was in danger and Mace yelled, "Anakin!" and desperately yanked him to safety, because he was worried about him? because I think about that a lot), Mace complimented Artoo by saying he saw what Anakin saw in him, that he was complimenting Anakin at the same time? Or pretty much EVERY interaction between Mace and Yoda is absolute hilarity, the side-eye they give each other, the teasing Yoda does when Mace is on a mission with Jar-Jar, the way Mace holds his hand out in the comics for Yoda to springboard off of into the middle of a fight? ICONIC FRIENDSHIP, I WOULD TAKE A WHOLE NOVEL ABOUT IT, DISNEY.

Or that time even AT THE END OF THE CLONE WARS, like they are just a MONTH out from Revenge of the Sith, if that, and Mace is STILL trying to get the droids to stand down, that he's destroyed thousands of them, none of them have listened, but he's still trying, offering them a better life away from the war, a purpose again, even if he knows it probably won't work, that man still believed in compassion for anyone and everyone. Like, baby Boba Fett TRIED TO KILL HIM and Mace STILL argued for leniency and rehabilitation, rather than jail, because he saw a young child who was hurting and he wanted better for him. He was direct with Boba, he didn't try to befriend him, Boba would never have accepted that, but he told him, you're going to have to get over your hatred for me, he says this for Boba's sake, not his own, because he knows what poison the desire for revenge is, look at the path it's already leading Boba down.

Or EVERYTHING WITH THE ZILLO BEAST, he tried so hard to rescue that poor creature, he fought the Senate so hard, he was so gentle with the hand he carefully pressed to its face, even when the Zillo beast was dangerous, even when it had attacked them and could so easily kill more, he wanted leniency for it, he wanted to save it because he understood where it was coming from.

Or EVERYTHING WITH PROSSET DIBS, that guy tried to murder him, was ranting about how he would dance on their graves or whatever, and Mace looks at him and says, we need to help him, it's our duty to help him find the light again. And his big punishment is literally just library duty, because when Mace can decide the outcome, that guy always goes for helping people, always goes for the option that would bring them back to the light.

Even as a young Padawan, his greatest struggle was to temper his anger, which was sparked because PEOPLE WERE BEING HURT by the false prophet on Mathas, he was angry because he saw how many people were suffering and the people in charge just let it happen, his heart hangs heavy when he witnesses people in pain, because Mace Windu deeply, deeply cares about the people in the galaxy.

He cared about civilians, he cared about clones, he cared about his fellow Jedi, he didn't have to be bouncy or super smiley to show that, either. It was in every action he took. He cared so much.

And, okay, yeah, he was COOL AS HELL AND WOULD HAVE BEATEN PALPATINE'S WRINKLED ASS IN A FAIR FIGHT.

OR THAT TIME ON RYLOTH THAT WAS LITTERALLY THE COOLEST SCENE THEY EVER ANIMATED, THE SOUND DROP? THE ABSOLUTE BANGER PHYSICAL STUNTS MACE WAS CAPABLE OF? GODDAMN HE WAS SO GOOD.

AND LEST WE FORGET--CUTEST BB YOUNGLING EVER!!!!

[co-dependance]

I’ve seen people talk about the main theme of the owl house being acceptance, and I think they’re completely right about that. But I haven’t really seen anyone look at the sub themes depicted in the show around the acceptance theme.

Specifically how the owl house is really advocating for child autonomy. Specifically in the ways of discipline, showing that communicating and talking with children ends up being a lot more beneficial and effective than punishing them.

The most obvious example comes with the collector, where instead of talking to him, King’s dad punished the kid by putting him in essentially time out, for the actions of his siblings. Which he would’ve learned if he had talked to the collector. And then following that, every interaction before talking with Luz, has the collector being used or placated in some way instead of being treated like an actual child due to the amount of power he has. The titan trappers revering him as some sort of god, Belos manipulating him, and even king attempting to appease the collector, instead of really talking to him. Though for king it’s a bit more understandable. Even so, the show showcases the collector’s change only after he’s talked to like a person, and then shown why his views were wrong.

Luz, who’s the main focus of the show, has her character arc and journey centered around being punished for her not fitting in at school. And while, yes, some of Luz’s antics that were shown seemed to be legitimately dangerous, the real solution would’ve been to talk with her and teach her about safety and why bringing wild animals and fireworks into a school building is dangerous. It should have also been that Luz should be able to talk and negotiate with her teacher about what would be acceptable for her projects with her endless creativity. The solution was not to essentially punish Luz for being creative, and what that only did was make her feel worse about herself and more isolated from the people she thought would be on her side. And then we were shown in thanks to them and for the future, Camilla’s growth into understanding that not talking to Luz about this, and essentially forcing her into normality, was not the way to go about things.

And we see this theme again, with Willow forced into the abomination track because her parent’s thought that was what was best for her, until she was able to showcase her skills and switch to what she was actually good at. Alador realizing he missed a lot of Amity’s growth by not talking to her, and then making it up to Amity by letting her set the boundaries and reestablishing their relationship. Odalia being controlling and not listening to her children which lead to actively harming their social development, until she was confronted and then shut out. Belos manipulating Hunter, isolating him, and abusing him, not even listening to what he had to say. And all of these situations were made better and more bearable when they were given the chance to take charge and be heard.

All this, in an attempt to showcase that children can be vulnerable and malleable, but they are also smart and understanding. And instead of deciding what a child needs, it’s important to communicate with the child instead, asking what they need and listening to what they’re saying. And implementing that by guiding and supporting them, not attempting to control them to what someone else thinks is right.

Children are smart and observant, they just need to be taught how to communicate, and viewed and thought of as actual human beings.

In a way, the owl house is attempting to advocate for it’s audience, and that’s beautiful.

[lovetei]

I have been obsessed with Cell Block Tango recently, I always love stuff with the brothers reacting to Mc performing soo...

Could you write headcanons or a drabble about the brothers (Mammon, Leviathan and Beelzebub especially) reacting to mc performing Cell Block Tango?? Thanks!!! ^^

I love cell block Tango 🙈

And I hope you don't mind but I made this like the first part of the Idol AU

--------------------------------------------------

IDOL!MC: If you had been there, if you had seen it! I bet ya, you would have done the same!

Warnings: Suggestive themes, fake personality, foul language, back stage work, dark side of idol industry

Links: Masterlist

----------------- <- IDOL AU -> -----------------

You ended up taking the request on

You mean, it's hundreds of millions for just some short performance plus the birthday is private

Earning that would take months if you decided to keep your head high and refuse

And it benefits you so why not just accept right?

You'll earn hundreds of millions

And you'll increase your popularity among the socialites

"Who are the guests?" I asked as my make up artist add the final touches "The seven avatars, the prince of hell is together with his butler, the exchange students excluding the young angel, the heir of the greatest noble clan, mephistopheles, the reaper and some other nobles."

The make up artist smiled at you and signaled to leave after she's done with your make up "Damn this shit down to the dirtiest ring of hell." You cussed out as you slammed your hand to the table.

"Karasu." You called your assistants name "I can do this right?" You asked as you looked back at him with pure fear and hatred on your eyes that just makes his stomach feel butterflies "Of course..." He answered with such a love sick look.

You looked back at the mirror when suddenly hands appeared from your behind and crept itself up to your oh so precious face, pulling the corners of your lips upward to force a smile out.

"Smile now, dearest." You saw Karasu smiling through the mirror "The show is about to start." He reminded "Give them a good look of this now." He said as his hands fall from your lips to your neck and to your sides before squeezing your waist.

Inside the grand hall though, the greatest of the great are waiting for this so called monster that got almost everyone captivated.

The lower nobles are on the floor sitting on their assigned seats in a circular table.

And the higher ups are on the internal balconies.

A total of thirteen balconies sorrounding the whole hall with Levi sitting on the middle one.

And at the middle there sits a large circular platform where you will perform at and it's surrounded with some glass to prevent the audience from coming up the stage.

Lucifer is intrigued. His dear brother, Leviathan, have never asked for anything until now. He never even wanted to host a celebration for his birthday.

So when they had dinner and Levi decided to discuss this matter to everyone, they all dropped silent. The funds for this event is also extremely high as it only happens sometimes.

And he even requested a gift? "And what could you possibly want?" He asked with a smirk displayed on his face. He loved every moment on his life whenever one of his brothers show this much pride.

"Ah..." He mumbled knowingly after he made Asmodeus show him a picture of this idol Leviathan specifically asked for to perform on his birthday.

The first songs started off as innocent, not until the lights in the room turned red "Hmm?" Diavolo muttered as he noticed how the glass sorrounding the platform changed and got replaced by bars.

"How can I get them to perform for me, Lucifer?" Oh... So this idol is the currently the apple of everyone eyes?

"Slip some change and I can assure you this demon will be dancing on your lap by the end of the night." He even teased.

"And for the last performance..!" The deep voice of the host announced "The cell block Tango!" He added before red lights appeared and your silhouette is the only thing they can see.

"Is this an unreleased song..?" Levi asked himself as he eyed all of your curves before shifting uncomfortably on his seat.

You decided this, with the short span of time given to you to prepare you still managed to create a song that will be the dark horse of the night and that song is this.

Gladly, the performance ended nicely.

--------------------------------------------------

LUCIFER

His face is not showing any signs of discontentment

Instead, it's showing interest

On you specifically

Who would have thought that Leviathan knew someone like you?

He can't help but smirk at the sight of your silhouette in the red light.

Who would have thought that a mere doll like you would catch his attention?

And maybe if you play nice, he might even give you what you want.

MAMMON

He swore to himself that you'll actually be the first demon to ever have him throwing money for you

The way you would look at him from down the stage and wink at him is enough signal

Maybe after the show he'll come and meet you backstage?

Ask for a small private performance if possible

LEVIATHAN

He knew that this was the right and wrong move at the same time

Introducing someone like you will surely peak their interest

But that interest will have you included in their business, in his business

So now, he just sit quietly in his seat as he heard the butler open the door and say "MC have come to you and asked for a private audience..."

He just smirked as he looked down at the people in the hall "Send them in." Is what he replied.

SATAN

The way you have kept eye contact with him as you did a part of the routine

The way he would follow your movements as he tilted his head signaled that you have had him interested in you

He may not have you now, but he'll make sure to have his hands in you

Maybe even more?

ASMODEUS

It sure is not his first time seeing you

Everything going on in the trending list is watched by Asmodeus

And you sure caught his eyes

A young demon being the first idol in Devildom?

What a surprise.

Maybe he'll invite you for a collab or an interview later on after this event

Then maybe you can visit his room once the job is finished?

BEELZEBUB

Who is this demon?

Your face is not that familiar...

So he looked around and saw everyone else captivated

Even Belphie

So when he looked back at you

He finally felt something strange

He should meet you back stage to ask you what you did to make him feel that way...

BELPHEGOR

He's chuckling

He's intrigued

All he can say is that you better make sure what you're getting yourself in

Because the moment he got his hands on you

Those chains and bars won't be props attached to you anymore.

[lordoflucky]

Quick over-analysis of the ways Barok and Albert address one another, because ace attorney loves showing personality through how characters refer to each other, and I love analyzing it.

Easy one out of the way, Albert exclusively refers to Barok as "Barok" regardless of the situation. He is the only character to do this, with every other character referring to him as some variation of "Prosecutor/Lord van Zieks". This establishes their friendship from the get-go, while also being a bit jarring to the audience as literally no one calls him just "Barok". Even characters who are closer to him, like Gregson and Stronghart, still call him "van Zieks". As far as Albert is concerned, that's just his good friend Barok, not the intimidating Prosecutor Lord van Zieks.

Barok meanwhile has two major ways of referring to Albert:

Firstly, "Albert". This one's simple, he's just reciprocating Albert's first name address, and further cementing their friendship. This is used almost exclusively outside of the courtroom, meanwhile within the courtroom he almost only uses "Professor Harebrayne". An exception to this is right after Albert is forced to accept that the experiment is a failure Barok says:

"And as for you… …Albert. You can't ignore this any longer."

It's a sudden departure from the distant, professional address he's been using the entire trial. It's also a much kinder approach than Barok usually takes when referring to defendants (or anyone really), something Susato comments on directly by saying she's "Never heard him speak that way before." He's breaking the Reaper Persona for just a moment to give his friend a firm, yet ultimately gentle, push.

Back to "Professor Harebrayne", while on the surface it seems distant there is one scene that shows an extra dimension. During the "Laudable not Laughable" scene, a sequence dedicated to Barok giving Albert what is essentially a pep-talk, you would expect him to return to the "Albert" address as seen earlier. Instead, he continues to use "Professor Harebrayne". My interpretation is that Barok is specifically calling attention to the fact that Albert is Professor Harebrayne. He has a title which he earned that is proof of his abilities as a scientist. Following that logic, "Professor Harebrayne" isn't just for formality's sake, but also a representation of the respect Barok holds for Albert separate from their status as friends.

However, Barok actually has a third way of referring to Albert that is used exactly once. In the line directly preceding Albert's (false) confession to murder, Barok says:

"What's all this about… Mr Harebrayne?"

Mr Harebrayne. Not Professor, not Albert, Mr.

If "Professor Harebrayne" is meant to show respect, and "Albert" is meant to show fondness, then clearly "Mr Harebrayne" is the absence of both.

He's not "Brilliant Scientist Professor Harebrayne" and he's not "Dear Friend Albert", he is Mr Harebrayne and he is about to do something so, so stupid. And there's nothing Barok can do to stop him.

My chosen interpretation is that this is Barok's desperate attempt to verbally smack some sense into Albert. This is like the Barok equivalent of grabbing Albert by the shoulders and yelling "What the hell do you think you're doing???"

As an aside, this comes right before the "...Albert. You can't ignore this any longer" line. Meaning the latter can almost been seen as an apology for being so harsh moments before.

Just, Mr Harebrayne. It's such a minor change, but I adore it so much. With how much care ace attorney puts into the way characters refer to each other, I have to assume it was intentional.

[minamorsart]

Enter Merla: Queen of Darkness!!! 🖤✨

I was pretty disappointed when VLD didn't explore the culture and politics of the Galra Empire more, especially after Lotor took the throne, and I was also quite disappointed with Merla's cameo. So I decided to take a crack at her design myself! Some backstory below!!

I made her Acxa's twin sister because while I don't believe it was confirmed, I always thought that 80's Merla's character must have been divided into the four women who became Lotor's generals in VLD, so why not make Merla and Acxa related? Plus in every piece of fiction you need to have at least one set of twins ;) That's just da rules babeyy~

Acxa and Merla are from Planet Drule (a loyal territory of the Galra Empire) and are half-Galra and half-Drule. They are not of royal descent, and since they were children they were looked down on because they are half-breeds. As the oldest, Acxa takes on the responsibility of looking after Merla, who over the years begins to grow restless with the two of them settling for low-ranking positions in the army and living a less than satisfying life.

One day exiled Prince Lotor comes to oversee the planet just as Merla is planning a coup to overthrow the corrupt Drule king. The coup fails, and wanting to protect her sister, Acxa takes the blame even though she had nothing to do with it. When she is sentenced to death, Lotor, seeing the potential and skill Acxa possesses, offers to pardon her in exchange for her loyalty to him, thus saving her life (it is my personal headcanon that Acxa is the first of the generals to be recruited). She accepts and tries to convince Merla to come with her, but Merla refuses and insists on staying, saying that she wants to change things on Drule, and that by leaving Acxa is abandoning her. The two part ways on bad terms, and do not see each other for many years.

Merla eventually succeeds in taking the throne, her followers assassinate the king, and she becomes queen of Drule. She and Acxa have the occasional run-in, which is how Lotor and the other generals get to know her more. There is still lingering resentment between the two sisters, however, particularly on Merla's part. The events of VLD proceed as normal up until the end of season 5, and I personally would like to take out Lotor killing Narti and the generals turning against him. Now emperor, Lotor works tirelessly to unite his people and deal with the growing Galra factions which plot to rise up against him.

News of Lotor's ascent to the throne spreads throughout the universe, and soon Queen Merla is paying a visit to the Empire and demanding an audience with him. She knows all about the Galra factions, including Sendak's Fire of Purification, and proposes that she and Lotor marry in order to combine the forces of both the Galra Empire and Planet Drule. If Lotor accepts, the two nations will become stronger than ever and no one will dare stand against them. If he refuses, Merla will merely seek support from the factions, perhaps even form an alliance with Sendak, who will eventually try to take the Galra throne himself.

What can this mean for not only the Galra Empire, but for Voltron and the Coalition as well?? What can this mean for Lotor and Allura's developing relationship??? For those who haven't seen the 80's show, Queen Merla debuts in the US-made 2nd season. She and Lotor are actually engaged for a time! Merla is cold, cunning, and calculating like Lotor, and perhaps even a little more manipulative. She enjoys being entertained and can on occasion be condescending.

And this is not meant to create any unnecessary love triangle between Merla, Lotor, and Allura. While Merla has people in her life she cares for and she respects Lotor, her first priority is maintaining her seat on the throne and looking after her people, so she really only sees Lotor as a means to gain more power. Lotor recognizes this, because he mostly shares the same mindset as her and can see the benefits of marrying her, regardless of his own feelings. And how does Allura feel about this whole matter?? 👀 Only time will tell, though it is also likely that the princess may be too proud to ever reveal how she truly feels. At the end of the day, I just think it would be fascinating to explore more of the politics of the VLD universe and the complications that come with ruling an entire empire whilst trying to keep alliances and territories intact. Plus it would make for some fun drama! Particularly in the romance category hehe.