#disney wishes they could write something as complex

[annes-andromeda]

Wish Rewrite

I have this tendency for rewriting material I either don’t like or think had wasted potential. At the time of writing this, Wish hasn’t come out in theaters but I did pirate it as there was an early screening. I also read the junior novelization and bought the concept art book. Needless to say, I was disappointed by what I read/saw.

I feel like Wish could’ve been better. Granted, the story and characters are not terrible, but they certainly leave much to be desired. This is literally Disney’s 100th anniversary, yet it doesn’t really feel like it. Not only that, but the movie felt incredibly rushed. Yeah I know that most Disney movies try have a run time of 90-100+ minutes, but I think a few more minutes could’ve been added to this film.

So, I decided to indulge myself and outline some changes that I think could’ve made the story slightly better. These ideas are by no means perfect, and in the end, this is all in good fun.

Spoilers ahead btw

The main story of Wish is essentially that Asha wants to get a job as Magnifico’s apprentice so that her grandfather’s wish is granted. But Asha finds out about the King’s true nature, and after questioning him, doesn’t get the job, and Magnifico vows to never grant Sabino or Sakina’s wishes.

Asha makes a wish on a star, and the star comes down, Magnifico tries to hunt down the two of them, he uses an evil spell book to create a staff, Magnifico destroys some wishes, Asha gets help from her friends, they sing a song to defeat Magnifico (I ‘wish’ i was joking), Star gives Asha a magic wand, and all is well.

Oh, and Amaya is… there.

It’s nothing complex, pretty cut and dry. And I don’t have a problem with a simple story! But this feels like it’s… missing something.

Firstly, I’d change the title. Disney already has a boat called Wish, and not every movie needs to be one word like Tangled, Frozen, and Brave (amongst others), so the story could be renamed “Asha and the Wishing Star” or “Asha and the Kingdom of Wishes”. Idk, something that evokes a classic fairytale book feel (or that does confuse people with a boat).

((Side note #1: I honestly enjoy that the story started off with a book, as a nod to classic disney movies, especially Snow White. That was cute))

Secondly, and I know I sound like a broken record at this point…

AMAYA👏🏼SHOULDVE👏🏼BEEN👏🏼A👏🏼VILLAIN👏🏼ALONGSIDE👏🏼HER👏🏼HUSBAND👏🏼

The original plan, according to the concept art book, was to have Magnifico and Amaya to be a villain couple who were partners in crime and owned a black sphinx cat named Charo. However for… reasons, the creators took the ‘safe’ route and made Amaya the good one out of the two.

But the problem is, by erasing Amaya’s evilness, the creators of Wish essentially removed any purpose or personality she may have had and thus, she was left to become a literal ‘supporting’ character. First supporting both Magnifico and Asha, then leaving Magnifico to prop up solely Asha.

Deadass, you can literally remove Amaya from the story and nothing would change. Which is probably why she was exempt from much of the promotional stuff minus the dolls. Because she literally serves no purpose but to be… there.

So, in my version of Wish, Amaya would be a co-conspirator to her husband and yes, I’m adding Charo too. Her personality would be inspired by classic female villains such as the Evil Queen from Snow White, Lady Tremaine from Cinderella, and Maleficent from Sleeping Beauty.

Vain, glamorous, cunning, and unabashedly evil, Amaya would be the Morticia to Magnifico’s Gomez, the brains to his brawn. She’s the girlboss, he’s the wife instigator. Magnifico spoils Amaya rotten with countless gifts and praises, whilst Amaya is the more calm and collected evil compared to her husband’s ever-growing temper.

While she starts the story with no magic, Magnifico just can’t leave his wife hanging and shares the power of the evil spell-book with Amaya. And yes, even Charo gets in on the fun, turning from a small house cat, to a massive shape-shifting beast who breaths blue fire similarly to a dragon (shut up i think it’d be cool)

Magnifico and Amaya essentially keep the wishes of Rosas locked in the castle as a form of obedience. By giving the citizens false hope, it makes them more dependent on the royal couple, and the two have more power over everyone.

Anyways, let’s get to the main characters: Asha and Star.

I don’t have much of an issue with Asha’s character, more so her design. I already made a post showing my redesign of her, so that’s out of the way. Tbh tho, I also have an issue with the rest of the costume design of Wish, being a big costume nerd myself. The movie’s supposed to take inspiration from the Mediterranean, primarily places such as Spain and Morocco (and the Amazigh people for Asha), but the fashion feels like generic European medieval fashion.

I feel like the whole storyline of Asha’s interview with Magnifico was pretty pointless, so I would have it that she just starts off as the kings apprentice, whilst also working as Amaya’s scullery maid.

The couple took Asha in when the girl lost her father at the age of 12 (according to the film), and she’s been working for them for five years. Asha works not only to support herself, her family, and her community, but also as a way to distract from the grief of losing her father. Which is no issue, as Amaya always bombards the girl with chores, and Magnifico only teaches Asha the most basic of magic for fear of her growing more powerful than him.

I made Asha work as a scullery maid not only as a reference to princesses such as Snow White and Cinderella starting off their respective stories as maids, but also because scullery maids acted as assistants to the kitchen maids. Dahlia works in the kitchen, Asha and Dahlia are best friends, I figured it made sense.

But anyways, on the day of Sabino’s 100th birthday, Sakina tells Asha to take a break and return home, as she hardly visits anymore due to work. Asha says she’ll try asking the king and queen to get off early, but that she can’t make any promises.

Asha meets with Magnifico and asks for the day off, but the king refuses. However, wanting to keep her loyalty, Magnifico finally shows Asha the wish chamber, and even allows her to witness the wish ceremony that night. But once Asha starts questioning the king on his methods, any goodwill between them begins to fade.

Another thing I’m disappointed in, is that originally Star was going to be a shapeshifting humanoid inspired by the Genie and Peter Pan, and may have even had a romance with Asha. But, the idea was scrapped for the more cutesy, ‘marketable’, version of Star.

In my retelling, I’d choose to do this human shapeshifter version of Star, but I’d name him something else. The star Earendel was mentioned in the concept art book, which is the farthest known star from Earth and not only means ‘morning star’ in Old English, but is also named after the Tolkien character, Eärendil.

I would call this shapeshifter Star Earen, and because Disney loves their animal/cute sidekicks, Earen can have the ‘Kirby’ Star as a companion, just like how Asha has Valentino and Magnifico and Amaya have Charo.

((Side #2: Anybody else notice that Star lowkey looks and sounds like Kirby😶))

Earen and Star journey down to Rosas once they hear Asha’s pleas for guidance. Once Asha tells of Magnifico and Amaya’s lies, Earen reveals that he actually met Magnifico decades ago. The amount of years shocks Asha, as she realizes that the King and Queen might be far older than what they are.

((Side note #3: I didn’t realize this till someone mentioned it, but if Sabino is 100 and he gave Magnifico his wish at 18, then he’s been waiting 82 years for his wish to be granted. Which means it’s likely that Magnifico might be immortal. That, or Disney didn’t think this shit through (most likely)))

Anyways, Earen actually attempted to stop Magnifico and Amaya’s ploy to keep the wishes of Rosas locked away, but he was sealed within the heavens until he and Star heard Asha make her wish.

We can have it that the king and queen spun the story so that Earen was made out to be an evil that once threatened Rosas, but Magnifico banished him and saved everyone, essentially making himself out to be the good guy and manipulating the narrative.

Asha and Earen must now work together to expose the lies of the royal couple, and along the way, the two begin to fall in love. Earen disguises himself as a peasant boy so as to remain inconspicuous, while Asha tries to go about her job as if nothing happened, evading the King and Queen’s suspicions.

Star gives Asha a stick infused with stardust once finding out she is, quite literally, the sorcerers apprentice. It is also so that she may defend herself, as Earen has his powers and a sword (similarly to Peter Pan).

Unlike Magnifico, Earen and Star teach Asha the wonders of magic and the potential she wields, showing that there is no need for her to hold back when her gift can help so many, including those she loves.

The three manage to sneak into the kings study, but only have time to retrieve Sabino’s wish and return it to him. However, Magnifico and Amaya, now strengthened by the powers of dark magic, find Asha and Earen and threaten to destroy all the wishes should Earen not surrender to them.

And as a way to ensure that Asha doesn’t foil their plans, Magnifico destroys both Asha and Sakina’s wishes, despite Asha not being eighteen yet. However, the evil magic allows him to do so. This act weakens the two women, and infuriates Earen.

Earen then willingly complies despite Asha’s opposition, and Sabino takes Asha and Sabina to the seven (well six) teens for aid, who are in hiding after Simon ratted them out and who now serves as a puppet to the king and queen.

Despite loosing her wish, Asha finds the strength to carry on through the memory of her late father, enlisting the help of her friends and Star, who managed to evade the royal couple’s grasp. The team must work together to save Earen, whose power will be drained by Magnifico and Amaya. And if such a feat were to happen, then Earen would die and Rosas would be lost.

The five teens go into the woods to distract one of the royals, with the aid of the forest fauna and Star. Amaya chases the group alongside Charo while Magnifico tortures Earen and begins stealing his power. With the help of Dahlia, Asha sneaks into the castle to confront her former mentor and save Earen before it’s too late.

At first, it seems that the heroes have the upper hand with Magnifico neutralized, but then, Amaya swoops in riding Charo, who now takes the form of a giant dragon. Earen transforms into a dragon himself and battles Charo and Amaya, while Asha continues battling Magnifico. Star even comes to help after the original plan fails.

However, the unholy trio have the upper hand, and Amaya strikes down Earen, giving Magnifico enough time to not only drain Earen’s power, but to trap Star within his staff. With their combined powers, Magnifico and Amaya gather all of the peoples wishes, even stealing the wishes of those not yet of age, which includes the teens.

With all the wishes gathered, the couple and their pet destroy all the wishes, taking their energy for themselves.

Asha falls into despair as she watched her friends, love ones, and community succumb to the grief of loosing their wishes. The king and queen force Asha to apologize to the people, mocking her and making her feel even more guilty.

However, Earen comforts Asha despite his weak state, telling her it’s alright and that she shouldn’t be ashamed of wishing on Star, as he brought the two of them together. The two kiss, the strength of their newfound love and hope shining through the darkness and inspiring the people of Rosas to rise up.

As the sky and stars become alive, Magnifico’s staff is destroyed, releasing Star in the process. All the evil magic he, Amaya, and Charo used is sucked out of them and vanquished, and Earen is restored to full vitality.

Think of this as the transformation scene from Princess and the Frog. Asha and Earen get new outfits, with Asha even gaining a crown and a new wand from Star.

((Side Note #4: The “transformation” in the finale of the film is so stupid. Asha could’ve literally gotten a new dress once she becomes a fairy godmother, but instead, Star just made her sparkly. How magical🙄))

Rosas rejoices, as they realize they don’t need the king to make their wishes come true, and they can pursue them themselves. With Magnífico and Amaya banished from Rosas, Asha and Earen become the new rulers, being names Prince and Princess respectively.

And that’s basically how I would’ve done Wish. It’s not perfect, but it’s just an idea. I’m just disappointed that Disney do something better for their 100th anniversary.

#disney #my writing #disney wish #wish 2023 #king magnifico #queen amaya #magnifico x amaya #princess asha #asha wish #star wish

[christinaroseandrews]

A lot of people are talking about how Disney didn't get nominated for their flagship 100th animated feature, Wish. Which is a big deal, I am not disputing that. This was a stellar year for animation and the academy had a glut of good options that did not include Wish. (I would have liked makoto shinkai's Suzume to be nominated but...)

But I want to talk about something else that is probably sticking in Disney's craw.

None of their Animated movies, in particular Wish, were nominated for "best original song."

Starting in 1940 with "when you Wish upon a Star", Disney's animated features could be counted upon to receive a nomination for best original song often winning the Honor. This includes movies such as Bambi; Saludos Amigos; Cinderella, and that racist mess that Disney would like you to forget, Song of the South. Even during the years after Walt's death a bunch of songs were nominated from things like Pete's Dragon and The Rescuers. But it wasn't until The Little Mermaid and the animation Renaissance that Disney's almost stranglehold and expectation that they're animated films would get nominated for an Oscar for best song really came into the forefront.

Take a walk through the best song nominations from 1989 to now and pretty much the majority of Disney and/or Pixar movies put out in those years has a best song nomination. There are a few exceptions, there always are, but generally when Disney includes original songs in its Animated properties it gets nominated.

That makes this year so odd. Disney technically has a nomination with Diane Warren's song for Flamin' Hot, which I suspect has more to do with the fact that the academy loves to nominate Diane Warren and then never give her the Oscar. ~_^ The big thing I noticed was that there were no nominations for Wish or even Elemental. And even more crucially, there was no one setting up a hue or cry that these movies (particularly Wish) didn't get nominated for best song.

Wish had all of the ingredients to be both an Oscar Bait for best animated feature and best original song. And the academy ignored it.

And frankly, I think this is 100% deserved. Wish was an okay movie. It wasn't good it wasn't bad it was just okay. And it's songs were forgettable.

Worse than that, in my opinion, they were unsingable. And what I mean by that is the songs were so complex so lyrically and musically difficult that a four-year-old in a princess dress would struggle to sing them. There were too many jumps and the lyrics were incredibly tongue twisty and they even sounded difficult for an accomplished singer like Ariana DeBose to sing. Seriously, the chorus of This Wish has so many jumps and drops that it is almost impossible to stay on key and also follow the melody. The music is just there.

When I walked out of the theater, I couldn't remember any of the songs. I still can't. And as most of my friends can tell you I have a bloody musical memory. I remember songs.

The first time I saw Barbie, I had three of the songs (What was I made for, I'm just Ken, and Pink) wrestling for dominance over who was going to be my earworm for the day. The same thing was true with Frozen, Moana, Encanto, beauty and the Beast, and even Tarzan. I still can't remember the music from Wish at all. To even write this, I had to go on YouTube and listen to the songs. And after listening to them, I still can't sing them. But just typing "I'm just Ken" has put that song in my head.

So rather than just celebrating Wish being excluded in a very good year for animation (it was so good, y'all) we should also be laughing and pointing that the Disney's attempts at getting a best song nomination for that movie also went unheeded.

Because I sure am.

#wish #disney wish #academy award nominations #oscars 2024 #best original song #best animated feature #wish was ingored #as it should be

[kleinblue52]

I just finished the last season of Young Royals, which I adored. Truly one of the best shows I’ve ever seen. It also… kind of made me think of something. I’m sure people have brought this up before but I’ve never really seen this take anywhere, and if you can recommend anyone who wrote about it better than I’m about to I’d be eternally grateful, because it’s something that I find truly fascinating and I’m sure I won’t be able to fully explain what I mean.

What I was thinking is that… openly queer storytelling in mainstream media has never gone through, and will never go through the kind of archetypal, sometimes naïve storytelling that straight love stories often went through up until six or seven decades ago, simply because today’s audiences do not understand archetypes and look for twists and turns that simply don’t belong in traditional cinematic fairy tales.

I recently completed a rewatch of the whole Disney canon and maybe it’s the combination of a modern fairy tale like Young Royals and the recent memory of all those Disney classics that made me really think about this, because what I mean is that something that is as archetypal (maybe naïve) in its storytelling as, say, the original 1937 Snow White has never been made and will never be made about a gay couple.

Of course we’ve had queer comedies and fairy tales. But even without bringing up something like Young Royals, which was always intended to have mature themes and adult situations, you have things like Heartstopper or Red White and Royal Blue which, while generally more lighthearted and romanticized, also don’t shy away from more or less complex psychological themes.

Which is a GOOD THING, because writing something as straightforward and rooted in archetypal tradition as Snow White would not make sense nowadays, unless it’s experimental. I’m thoroughly convinced that each era has its own distinctive storytelling requirements that make sense in the cultural context in which they were developed, even though they can still be appreciated by new generations when understood within that cultural context.

At the same time… I find it really sad that queer stories will never experience that kind of storytelling simply because when that storytelling made actual cultural sense, our stories simply were not allowed to be told.

I’m not saying that that kind of storytelling is better than what we have now, it had its problems both by an artistic and an ethical point of view, even though I think there’s a conversation to be had about how modern audiences seem not to have a grasp on the concept of archetypes and contextualization and seem not to understand that not everything needs to be analysed through the lenses of modern sensibilities.

But at the same time… straight love stories get to have that history. Gay love stories don’t. I don’t want a gay Snow White in the style of the 1937 animated movie to be made now, but I wish such a story could have been allowed to exist back when it was actually culturally relevant, so that we could also have that kind of history behind our modern stories.

I love Wille and Simon. I love Charlie and Nick. I love exploring the complications, turmoil and realistic emotions of their love stories. I wish I could have had those stories when I was a teen. But I also wish that gay people could have been allowed to believe in true love’s first kiss.

#young royals #red white and royal blue #heartstopper #fairy tales #fairytale #gay stuff #gay love #gay art #gay history

[abucketofweird]

I have a feeling they left Baylan with a very open ending in the series (wether we see him in the finale or ep 7 was his last appearance). I think they were definitely planning some sort of spinoff with the character and his ‘quest’.

He keeps talking about this ambiguous power and goal without any payoff so far. Which definitely leads me to think they wanted to show his search for that power later.

Ray has been absolutely phenomenal as Baylan. I think he is one of my favorite new characters they have introduced in this mandoverse. He is so complex and his feelings are on display at the same time he is closed off. I really wish Ray could have retuned to the role. Especially with how wonderful his performance has been.

Sadly I don’t think we will get his full story. I definitely think Disney will treat his character the same way they choose to handle Chadwick Boseman’s death as Black Panther in the MCU. (Which I personally think was a respectful way to go about it)

Though I wonder if they could write a novel about his character. Or even about how he became the way he is and took Shin on. I would love to see something like that.

#star wars #ahsoka show spoilers #ahsoka spoilers #ahsoka #ahsoka series #ahsoka show #ray stevenson #baylan skoll

[checkoutmybookshelf]

You Have My Attention: Artemis Fowl First Lines

In this house, we pretend that the absolute atrocity of a so-called film adaptation of the first book that Kenneth goddamn Branagh and Disney bitchslapped fans of the book with does not exist. Cool? Cool.

Artemis Fowl was one of the first series that I followed religiously and was one of the first fandoms I found myself in. There is something dry and absolutely sassy about the writing of these books, the character work is A+, and I dearly wish these books were better known, because they deserve to be read and loved. The audiobooks are also excellent, so if you (or your kiddos) are listeners rather than physical book readers, give those a shot. Let me introduce you to Eoin Colfer's first lines for all eight books.

"Ho Chi Minh City in the summer. Sweltering by anyone's standards. Needless to say, Artemis Fowl would not have been willing to put up with such discomfort if something extremely important had not been at stake. Important to the plan."

--Artemis Fowl

"The loss of her husband had had a profound effect on Angeline Fowl. She had retreated to her room, refusing to go outside. She had taken refuge in her mind, preferring dreams of the past to real life. It is doubtful that she would have recovered had not her son, Artemis the Second, done a deal with the elf Holly Short: his mother's sanity in return for half the ransom gold he had stolen from the fairy police."

--Artemis Fowl: The Arctic Incident

"Artemis Fowl was almost content. His father would be discharged from Helsinki's university hospital any day now. He himself was looking forward to a delicious lunch at En Fin, a London seafood restaurant, and his business contact was due to arrive at any moment. All according to plan."

--Artemis Fowl: The Eternity Code

"The J. Argon Clinic was not a state hospital. Nobody stayed there for free. Argon and his staff of psychologists only treated fairies who could afford it. Of all the clinic's wealthy patients, Opal Koboi was unique."

--Artemis Fowl: The Opal Deception

"Happy was not a word often used to describe Artemis Fowl's bodyguard. Jolly and contented were also words that were rarely applied to him or to people in his immediate vicinity. Butler did not get to be one of the most dangerous men in the world by chatting with anyone who happened to stroll past, unless the chat concerned exit routes and concealed weapons."

--Artemis Fowl: The Lost Colony

"Artemis sat on an oxblood leather armchair, facing Beckett and Myles. His mother was in bed with a slight case of the flue, his father was with the doctor in her room, and so Artemis was lending a hand in entertaining the toddlers. And what better entertainment for youngsters than some lessons?"

--Artemis Fowl: The Time Paradox

"Vatanjokull is the biggest glacier in Europe, with an area of more than five thousnad stark blue-white miles. It is, for the most part, uninhabited and desolate and, for scientific reasons, the perfect place for Artemis Fowl to demonstrate to the Fairy People how exactly he planned to save the world. Also, a little dramatic scenery never hurts a presentation."

--Artemis Fowl: The Atlantis Complex

"From the case notes of Dr. Jerbal Argon, Psych Brotherhood.

1. Artemis Fowl, once self-proclaimed teenage criminal mastermind, now prefers the term juvenile genius. Apparently he has changed. (Note to self: Harrumph.)"

--Artemis Fowl: The Last Guardian

And to those of you who hung in through this whole post, please enjoy with me the original Artemis Fowl covers, because honesly, as cover design goes, I will never not love these:

#artemis fowl #eoin colfer #holly short #domovoi butler #opal koboi #julius root #books #books and novels #books and reading #books & libraries #book recommendations

[andoqin]

Sooo I've been watching Till the end of the Moon... and I'm at episode 11 where they've just entered the dragons dream and I know this bit of the show is a bit uhhh divisive so I'm pausing here to gather my first impressions before I can take my time and binge through that bit.

And man, man man man Luo Yunxi is fucking killing it in this role huh? Don't think I've seen him go this hard in something before, granted I don't think any previous role has allowed him to be this multifaceted.

Unloved husband, exiled prince (and disney princess)

Turned king (and kinslayer)

To possible destroyer of all realms...?

Truly we love to see a man who can do it all. I can already tell that while they're allowing him to be somewhat evil, they're gonna tone him down which is gonna make me sad. Guess we'll always have Mortal Arc TTJ though, so that's something.

I've liked seeing Susu be conflicted about killing him, because he has not done anything majorly bad (offing his shitty bro was honestly objectively a Good Thing and I cackled at the way he did it) and maybe there is a chance to change course somewhat for him, but I wish the writing was more consistent at times when it comes to her.

I'm not feeling the mega chemistry, yet, but I'm delighting in every scene where she makes him do his little smirky-smirk because she is the one thing that he planned on and used and now she's completely deviated from what he knew about her and every act of kindness she does for him knocks him down even if he can't admit it to himself yet.

Further I wish they had allocated the CGI resources better, for example, I'm completely fine with sabertooth kitty, but why do TTJs fireball attacks look like something *I* could have done in Photoshop and it's an effect we see so often so it became kinda glaring to me.

On a more positive note I am very much into Huli Jiejie and her possible romance with Goody2shoes bro, but i've already been spoiled on their ending so i'm just gonna enjoy the flirting while it lasts.

Bingchang and her blank bore of a man can disappear off the face of the universe now, god I already dislike Bingchang so much already and I wouldn't even be unsympathetic to her plight? She's the unloved concubine daughter who gets abused by her legitimate sister and finally gets the chance to marry her bf who actually seems to understand her plight, but it goes somewhat sideways. Otoh, idk girl he's a fucking prince and you're the daughter of a concubine. You being the main wife was highly fucking unlikely no matter how much he promised you. Plus her persecution complex and her refusal to let go of the idiot ball make watching her akin to watching someone purposefully steering their car into a tree in slow motion and yet somehow blaming it on some non-existent hurdle on the road.

Anyway. So far so good, otoh I've already started rereading the novel bc now I have fantastic visual aid and mmmmm I wish they could have let Tantai Jin be truly Tantai Jin (and likewise Susu be Susu) but alas c-ent (and censors) nowadays does not have the balls to do that.

#till the end of the moon #cdrama

[secretsofthestorymakers]

Ok, last post about Wish for now, I promise! A few years ago, I was writing a lot of short-ish analyses on various Disney Movies, and I remember I actually wrote one for Wish based only on the song This Wish! So I thought it would be fun to go through my analyses from over a year ago and see how correct I was now that I’ve actually seen the movie…

The black text is all direct quotes from what I wrote over a year ago. The purple is my comments on it now.

09/12/22

Considering that it is over a year until this movie comes out (the current date is 9/12/22), I am fully aware how ridiculous it is that I’m already writing an analysis on it. The main character, Asha, appears to be princess-like, although she may not be actual royalty. (I personally think she isn’t royal or high-ranking at all, since I think that will work better with the story and themes). That is actually true, although I still think she is Disney Princess coded. When I listened to More for Us (This was the original title for This Wish) the other day, I was literally crying, and that is with it out of context. It is a beautiful song that combines the simple magic of The Golden Age with the power of the universal truths and complex themes of The Revival Era. It is a perfect I-want song, and showcases Disney at its heart as a beautiful celebration for its 100th anniversary.

09/13/22

I finally found the lyrics to More for Us! (This Wish) Now that I have the lyrics, I can analyze the song properly. Also, after reading the lyrics, I’ve changed my mind about what I think the themes will be and where the story will go. Seriously, by giving us the I-want song, Disney gave us the most valuable single piece of information they could give. I have a LOT to say about these lyrics. Who is “us”? Now, I’m thinking that either she is part of a minority group in her kingdom, ehhhh, that is not true or that this is kind of a kingdom where the rulers (presumably the people who live in the tall palace-like building on the left side of the concept art) control/harm the people in some way. That was spot on. Knowing Disney, I would assume the first option, but the way she says “open their eyes to all lies” implies some sort of combination of the two options. I’m thinking that themes could be something like, action, making choices, standing up, etc. I will stand by those themes, in a way. They certainly aren't the only ones, but they are definitely present (think “if not us, then who and when” from Knowing What I Know Now. I would also say a theme is how knowing the truth can change your perspective. And a bit about willful ignorance in the way that the people unquestioningly gave their wishes to Magnifico because it was easier than trying to pursue them themselves. It appears that Asha is on the edge of something when she sings this. She’s had some sort of realization that sets her apart from everyone else in her world, but she hasn’t taken the step to act on it yet (“I’m past dipping my toes in, but not past diving in”). By challenging Magnifico and learning about the wishes, she’s gone too far to go back to her life just as it was, but she hasn’t made a decision on how to act on this yet, but she knows she needs to. By the end of the song, she has made her decision to act on her realization/feelings. Mhhhmmm not quite. I think she knows she needs to act already when she starts singing, she just doesn't know how. And that’s what Star shows her. She gains strength and confidence throughout the song. It acts as an I-want and a catalyst, as most of the recent I-want songs do. Yeah, that is definitely true. I find it interesting that the I-want itself was the catalyst, but I love it. It feels very Disney. Asha says “the way you always taught me to.” Who is “you”? My guess would be some sort of (likely dead) mentor figure like a parent or grandparent. Yeah, Disney’s pretty predictable with the dead parents. It does make sense story wise though. Whether this is the case or not, whoever “you” is has clearly had a significant impact on Asha, her personality, her values, and how she views the world. They will be an important part of the story, even if they’ve died before the movie begins. Her father was actually mentioned directly less than I predicted, but I still think that what he taught her about the stars’ guidance stuck with her and is the reason she wished on one to begin with. So in a way, her dad did have a big impact on the story, just in a less obvious way. And he definitely affected how Asha views the world and how she chooses to respond to what she learned while in the palace.

#Disney #disney 100 #wish #wish spoilers #wish analysis

[skewbforty]

Doctor Who 2023 series thoughts (spoilers)

I've been a fan of Doctor Who pretty much since I knew of its existence which was when the series rebooted in 2005. I was totally obsessed with the show for many years afterwards too, but things don't always last. In fact, they usually don't.

Matt Smith came onto the scene and the show exchanged lead writers, and while I thought his first series was absolutely amazing, I felt like the writing took a sharp decline since then. Series 6 and 7 were kinda the transition between what I call the golden era of Doctor Who and the... Era I don't like to think about. Capaldi and Whittaker's era.

Right from Capaldi's first episode, I was appalled by the writing, I thought it was boring at best, downright disgusting at worst. Whittaker's era had better writing, but not by a huge amount. But by this point I was so annoyed by Capaldi's era (no flac to Capaldi or Whittaker btw, their acting was fine as far as I'm concerned, just the writing, man) that I really didn't care. The show was dead to me.

But, I subscribed to Disney Plus and gave the new specials a chance anyway. Because I had a tiny amount of hope with the direction the show was going in behind the scenes, including the return of Russel. And well...

The show's fuckin' back baby.

Don't get me wrong, it's not perfect. I have gripes with all 3 episodes. But they're really minor gripes, and they far from outweigh the good.

The first episode was an extremely clever way to bring Donna back. And it shows some love for the enbies which I thought was brilliant. I understand some may have issues with the notion that enby was kinda half portrayed as male + female when it's somewhat more complex than that, but honestly, I love the gender-non-conforming rights. I didn't however, like the line bashing on men towards the end, calling male time lords inferior or something. Luckily this is the last time in this series that's all like "Men. Boo." so, I'll let that slide.

Episode 2 was one of the weirdest episodes of Doctor Who I've ever seen. Bit hard to follow, and I kinda wish they'd touched more on the "You're not from Galifrey" thing, at least in a later episode. But maybe that was the point, perhaps Russel was trying to re-establish a sense of mystery. I just think that could have been done in better ways. That said, my eyes were glued to the screen. I love the idea that beliefs, however daft, can become reality that far out in the universe. Yes, I'm talking about the salt.

The 3rd was probably my favorite. I haven't seen the episode the Toymaker was originally in but I think this was a good introduction to what's pretty much a crazy god. Of course he had to have a weakness, which in this case is that he can't cheat at a game. This did lead to a somewhat anticlimactic ending where he was like "oops I didn't catch the ball, guess I'll die", but this is by far the smallest gripe I have with the episodes, cause I've known far bigger stories to have much worse final fight climaxes cough cough Harry Potter book 7, and I understand that there's not much you can write in a scenario like that, so it's fine.

But like

The whole thing is absolutely choc full of spooky moments and amazing gags that made me howl with laughter, and clever moments, and realistic real-life struggles and emotional moments and so many throwbacks, some of which are to moments in the show I doubt most remember or have even seen (Like "Love the moles"). The ending is just so sweet and is a wonderful way to close off Donna's story (that is if it is over, I wouldn't be surprised if the two doctors clash again) and I'm just so glad that my favorite show has risen back to such heights after I practically buried it in the graveyard of my mind. The new doctor also looks like he's gonna be a great time to follow and I can't wait to see where the show goes next. It's far from perfect. But let's face it, the show wasn't perfect back in 2005 either, I was just too young to see its flaws.

[twh-news]

We spoke to Tom Hiddleston about Loki, PowerPoint presentations and the nature of free will

Despite a decade of playing Loki in several Marvel movies and now a TV show, Tom Hiddleston isn’t tired of the role. “There is always something new to be found,” he says The edge.

This week is the premiere of Loki on Disney Plus, a six-episode series that marks the character’s first lead role. It is a story of time travel and branched timelines as Loki is captured by an organization called the Time Variance Authority (TVA). It combines action, humor and some old-fashioned detective work, while tackling serious topics such as the nature of free will. There are also some new faces on board as Hiddleston is joined by Marvel newcomers Owen Wilson, who plays a TVA agent named Mobius, and director Kate Herron, best known for her work on the first season of Sex education.

Prior to the show’s premiere, I had the chance to talk to Hiddleston about his time as a character, a presentation that made him feel like an “amateur academic giving a thesis on Loki,” working with Wilson and Herron, and whether our lives are predetermined. Typical Marvel stuff.

The following interview has been edited and abbreviated for clarity.

We are now at a decade where you play Loki. How have your feelings about the character changed or grown over that time?

I’m honestly just thankful that I’m still here. I find that I am always surprised and happy that I get another chance in it. Long before I was cast, Loki was just the most fascinating and complex character with such depth and range, and he’s been in Marvel comics in several iterations for 60 years, and he’s been in our thoughts, in stories we tell as humans, for hundreds, if not thousands of years. I find that even though it has been 10 years, every time I come back, there is always more to discover. There is always more to dig because these impostors are kind of mercurial and shape-shifting. So there is always something new to be found.

"“Loki is out of control. He’s a man on the run.”"

Now that you’ve focused this six-episode series on Loki, what were you looking forward to exploring with this? What were you hoping to dive into?

I think he’s really opening up and bringing out his many different identities and facets. In my preparation to play the character, I’ve always seen him have so many different and seemingly contradictory characteristics. You think, “How can all these characteristics exist in one person, in one being?” And yet they do.

Loki has always been a character in all MCU movies that seems to be very controlled. He seems to know what cards he has in his hand and how he is going to play them. And Loki, in the TVA – this organization that rules time – has gotten out of hand. He’s a man on the run. And he is motivated by a desire to understand. Suddenly he discovers that there is all this information that he does not have, and he has to get his hands on it. And that actually gives the series great momentum. Loki is on the back foot, everyone knows more than him, and seeing how he adapts, seeing how he improvises after that – if improvisation is possible in the TVA. That’s a question we’re trying to raise, whether you have free will.

I read about the Loki school you led to prepare the team for the character’s history. How did you prepare for that? Did you actually know it all, or did you have to do a lot of research?

I wish it wouldn’t be 10 hours long. I knew I had to summarize what I found useful to tell the crew. It came about thanks to Kate Herron, our director who has done an extraordinary job on this whole series, and he thought maybe it would be a good idea to get everyone together because there were so many department heads, different crew members – production design, costume design, cinematography, camera, sound, stunts – and wanting to make sure everyone had the same information about Loki, and it might be helpful to listen to my experience. I was trying to explain how we constructed Loki’s arc across the six movies he’s in the MCU and figure out what was useful in that arc and what we could leave behind.

I suddenly felt extremely nervous, as if I were an amateur academic writing a thesis on Loki. You’ll have to ask the others if it was helpful at all. But at least we synchronized the watches and we started from the same place.

"“If I were tall enough to use PowerPoint, I could retire and become a full-time professor.”"

So is there a PowerPoint file out there somewhere that will leak out one day?

If I was highly skilled enough to use PowerPoint, I could retire and become a full-time professor.

I did have a few clips. I thought there were some clips from the movies that could be helpful. It was interesting, even though it was about how the costume had changed over the years and why. And when does Loki wear the horns? Are the horns a casual thing? Are they a ceremonial thing like a crown? Is it an extension of an inner intention? Do the horns come out if he’s particularly evil? Why is her hair different? Sometimes he wears a cape, sometimes not. Sometimes he uses magic, sometimes he uses his own body to fight in combat. All questions that people were curious about.

I know this was meant for the rest of the crew, but was it helpful for you to go through this again as you prepared to jump back into the role?

Oh yes, absolutely, just to refresh myself about certain decisions we had made and why certain things were changed… sometimes you try to bring very elaborate and beautifully illustrated comic book panels into a physical reality on a movie set and figure out how to merge these two worlds. It was interesting. I got some great questions about how he moves the way he does and where certain things showed up in stunts, especially hair, makeup and wardrobe, how the clothes changed and why we made those choices.

It was interesting to refresh myself on the extraordinary input, because I carry the inspiration of great people with me. [Thor director] Kenneth Branagh and Alexandra Byrne, our costume designer; Bo Welch who designed the first Thor movie; Charlie Wood who was production designer on The dark world; the whole crew of Ragnarok; Mayes Rubeo, the costume designer of Ragnarok; and people like Douglas Noe, who has been doing makeup on Loki for a long time. So there was a lot to unpack.

Both Kate Herron and Owen Wilson are newcomers to the Marvel machine. Is it helpful to have such an external perspective?

Absolutely. Both Kate and Owen came in with so many questions because they hadn’t lived in Loki’s head for 10 years. They have a fresh take on it. Kate was so well prepared and so well researched; she even brought in new Marvel Publishing material that I’d never seen before, about Loki’s inner world. Owen came in and asked me a lot of questions about my experience. I remember him saying, “Tom, why should I?” you do you like to play Loki?” And I found myself saying, “Well, he’s just got this whole range. He can play the light keys, but he can also play the heavy keys in the bass clef. And somehow the character has both.” And he loved that way of thinking about it, he said, “I think I could say that on the show.” And so it was really his very intelligent question that took us elsewhere in the story.

Given the themes of the first two episodes, I have to ask: do you believe in free will?

I hope so. Free will is such an interesting, eternal question. I think people have asked to what extent we have the power of self-determination, self-realization, choice about our actions and whether we can control the course of our lives. It goes back to evolutionary or psychological arguments about nature and nurture and why we are who we are. Maybe it’s the journey of a lifetime to find out, to really take the wheel of your own life. Because we are set on a path in childhood, I think, often by accident – the misfortune of birth, where we were born and when – and we are propelled in many ways by the unconscious.

That’s a complicated answer. It’s a complex question. So I hope so. I hope true free will is possible. But for all of us, I think it can be a long journey of self-discovery.

#tom hiddleston #loki #loki series #interview #article #whatsnew2day

[nautiscarader]

2020 in animation - recap

So, 2020. 

Yeah, I have to say I’m not entirely satisfied. Would not recommend, 1 star. 

But I would be willing to bump it to 1.5, if only because of one factor: the animation. 

Because I have to say, this was the best animated end of the world so far! And if there was something that kept our spirits up, it was the cartoon industry!

Just like last year, I should preface this by saying that this is highly subjective selection. Even when one is confined to their Hobbit holes for better part of the year because of *waves hands* everything around, 

day still only has 24 hours, so I have missed a few shows. (I should also apologise for omitting a few major ones last year, like Milo Murphy’s Law S2, Ducktales, or She-Ra. This is why I started keeping a track this year). I’m sure I will catch up with those I missed this year some time in the future, but for now, let’s see what this year has gifted us with.

And right from the start, January opens the race with very interesting propositions. We were still riding on an incredibly high wave from last year, with Infinity Train season 2.

This one focused on Tulip’s mirror, and pushed the season towards a much darker and complex story, diving deep into one’s personal journey and identity. There were tears, math, deer, and cops being murdered. Brutally. 

t was followed by two newcomers: The Owl House and first season of Kipo and The Age of the Wonderbeast. Both of them would dominate first half of the year, with The Owl House’s traditional, week-to-week airings, and Kipo's seasons appearing in  June and October.

The Owl House, a strong contender in "What will be the Next Gravity Falls?" contest, invited us to a world full of magic, mystery, elongated owl demons and some dark secrets. It has also created a milestone for Disney, introducing an LGBT couple with characters of bisexual Luz Noceda and lesbian Amity Blight. Their Grom dance has risen to the top of my animates scenes, polling very closely to the unforgettable Kataango.

On the other hand, Kipo has taken us to the post-apocalyptic world filled with mutant animals, revealing that despite the end of the world, our old vices and animosities have survived in underground burrows, and we have infected the overworld of giant doggos and suit-wearing frogs with them. 

Kipo did not pull any punches regarding commentary about our society, at the same time giving us hope in the form of the main protagonist, who was able to spread friendship and understanding amongst the mutes, as well as the humans that had to survive. And in the world that we have found ourselves in, it was a pretty darn good lesson.

February would bring end to two seasons of airing cartoons, Big Hero Six season 2 and Miraculous season 3, as well as another newcomer that won the hearts of fans: Glitch Techs, with its "second" season arriving in August. And while in my opinion he show wasn't as good as the other two new titles, I am clearly in minority, as the show about Ghostbuters-like team of game console technicians gained huge popularity... though not enough to keep the show afloat. As of writing this, it is currently in limbo, which is a shame, as the second set of 10 episodes finally added some much needed ongoing story.  

in March, another show from last year ended - Steven Universe Future. As we have expected, it tackled slightly more mature themes, showing how much Steven needed that therapy we have wished him, telling an important tale of finding one's worth and one's self. its ending might not have been as explosive as those of the original show, or the movie, but it left Steven’s story as open as an open road, and deep in our hearts, we all knew it would look like this.   

March was also the time when majority of western world caught the coronavirus, and that caused quite a turmoil with the movie and animation industry. One of the first victim of changed schedule was Disney's Onward, which was released on-line on Disney+ quickly after its theatrical release.

I have mixed feelings towards “Onward”. For such interesting promise, I think it made a few questionable and down right boring turns, though the unorthodox message at the end of it was its strongest point, and it was one I haven’t seen in a while, so it was worth watching just for that.  

April was relatively quiet (aside from more end of the world stuff); brought us third season of Ducktales that spread throughout the year, while May gave us final, fifth season of She-Ra and the Princesses of Power. 

To my eternal shame, I missed on this show when it premiered, and due to the lockdown, I binge-watched the previous four right in time for powerful and explosive season 5. And even though Catra and Adora finally gave us exactly what we needed, some fans felt slightly unsatisfied, calling for a movie, like the Steven Universe one to be made. And I’d be all for it, the rest of universe needs saving from the Horde! Also, cats in space - hilarious. 

May also revealed a new player on the streaming field: HBO Max, who surprised us with new Looney Tunes Cartoons, much more in the spirit of the legendary originals than the often-criticised Looney Tunes Show from 2011-2014. And in my opinion, it did; one could feel the same fluidity in animation, dedication to slapstick, and synchronisation with music than in the very first cartoons with Bugs and Daffy.

HBO Max would, however, return in June with first of series of Adventure Time original movies called "Distant Lands". The first centred around BMO, with second one - Obsidian giving us a glimpse into Bonnibel and Marceline's lives.

Distant Lands allowed people to revisit the odd, odd world of Ooo and learn about its colourful inhabitants, taking turns to seeing their past and the future, an, as usual, showing us that post-apocalyptic world can teach us valuable and meaningful lessons.   

Just in time for full lockdown in our burrows, aforementioned Kipo season 2 premiered in June, together with another cartoon movie, this time featuring We Bare Bears. While their movie wasn't anything to write songs about, it was exactly like the show, providing some wholesome content right when we needed it.

And just in case you needed more wholesome adventures, Craig of the Creek's second season ended, and its third season began, reminding us of HOW COOL LIFE WAS WHEN OUTERNET WASN’T SCARY AND WE COULD STILL WALK OUTSIDE FOR FUN AND NOT TO HUNT TOILET PAPER.

Just like last year, July was not dogs' days, but frogs'. Amphibia season 2 started raining on our heads, but unlike last year, its schedule wasn't a daily one, spreading the episodes throughout the Summer and early Autumn, with its second part arriving in February of 2021. There were more roadtrips, more mysteries and MORE MARCY.

August was equally strong: aforementioned Glitch Techs "season 2" premiered, offering better and more plot-heavy episodes than the first ten episodes. Unfortunately, the show's future is unclear; the uneven divide of plot between the seasons probably contributed to the show not being renewed. 10 new episodes apparently are written, but await in sleep mode, until Nickelodeon remembers about it.

HBO MAX picked up Infinity Train for its third season, after being derailed by Cartoon Network. And if you thought that killing a mirror cop was shocking... then this season has pushed the limit of what can be shown in modern children's cartoon to a frightening degree. The schedule was once again, weirder, with first five episodes airing on the day of the premiere, ending with a cliffhanger (literally) that only contributed to the shock factor and made us wait anxiously for its conclusion. It was bold, it was dark, it was memorable. 

And just like Glitch Techs, Infinity Train waits on a side track, unsure if it will be picked up, or will it be abandoned and left as a canvas for graffiti artists.

However, to end the Summer, a truly amazing TV movie has arrived on Disney Plus, where we came back to good, old Danville and could witness Candace against the universe. The new Phineas and Ferb movie brought back the glorious memories of this fantastic show, with the same humour, writing, abundance of catchy songs and a surprisingly deep moral.

In September we have seen the start of Big Hero 6 season 3 and a odd change of format. Instead of standalone 22-minute episodes, the show now consists of two 11-minute segments. In opinion of many, this weakened the stories, forcing them to be more comedy-oriented, and shortening the potential emotional drama. Still, it gave us funny, short stories, but they did clash with the two previous season, not to mention the movie.

However, if that wasn't up to your taste, Ducktales season 3 also started airing, and continued its first part up until December with more action- and plot-driven episodes, including the Darkwing Duck crossover, serving as a pilot of the spin-off. 

Later in December fans have learned that Season 3 will be its last, which broke the hearts of many duck fans; however, it seems that the season has been written as the last one in mind, and the news of the ending was known to the creators, which gives us hope for a kick-ass finale somewhere in 2021.

Miraculous New York, telling arguably one of the most mature storylines, opened the "Heroez" world to some new characters and new opportunities, with two more specials, taking place in Shanghai and Brazil, meant to air somewhere next year. AND I DO HOPE WE WILL SEE MORE LOCAL FOOD VENDOR SUPERHEROES LIKE HOT DOG DAN. 

October was the month of two season 3's: Carmen Sandiego and Kipo. In case of Carmen, as it is usual with Netflix, the "season" was only a half-one, with just a handful standalone episodes, and just a dash of more ongoing plot. 

For Kipo, however, season 3 was the end, and what a glorious one it was. Fans were saddened to learn of it, but Kipo was always imagined as a 3-part story, and it showed. The finale proved more than satisfying ending to the plot, elevating Kipo to one of the smartest cartoon characters we should all try to aspire to.

In November, Distant Lands: Obsidian aired, focusing on everyone’s favourite candy/vampire couple, and the long and complicated love between Bonnibel and Marceline. And as usual, it showed us that relationships are not always as straightforward as we would like them to be, but with enough music and teamwork, no enemy is big enough. 

For the next new show, I’ve waited with the most amount of excitement and anxiety. Because while I was completely fine with other reboots and re-imaginings to take creative takes, new Animaniacs, (airing on Hulu) had to be perfect and had to be the lightning that struck twice. 

And sadly... it wasn’t. It was still good, but some people criticised (incorrectly imho) the amount of political topics, while I mourned almost total cast-ration of additional characters, aside from Pinky and the Brain. This truly weakened the possibilities it could have had. It was still very good, but you can feel that some of the original charm was lost, due to these odd, odd limitations. 

December brought us a new original Apple TV movie, Wolfwalkers. A beautifully animated folk tale of friendship and social divides, and how short-sight can cause the collapse of both arguing sides, reminding me very much of the intelligence and heart of original “How to Train Your Dragon”.  

We’ve had to wait two years for the return of arguably one of the most wholesome shows out there: Hilda. Second season dived into deeper mysteries that permeate the rich and colourful troll-ridden land, we saw the return of some familiar characters, and introduced a whole new storyline, that ended with a surprising cliffhanger. Still as wholesome, but now with a tiny bit of Police incompetence. Also Twig, lots of Twig.   

Just like Onward, Pixar’s highly anticipated Soul aired on Disney+, telling a very mature story about finding one’s purpose in life, what that purpose actually means, and whether it exists at all. Beautifully animated, with fantastic soundtrack, it was a stunning tribute to creativity, and it never dumbed down its profound, open message about following your dream.   

And just if you thought that Soul was going to be 2020′s last note (pun very much intended), right before the year ended, DC Super Hero Girls concluded its first season on a rather anti-climactic two-parter. That being said, the season, running from March of last year, was packed with short, bite-sized, funny stories, taking interesting spins on existing comic book characters. For a comic book noob like me, it was perfectly fine, and I can’t wait for the second season next year. 

And so, we have reached the series finale of humanity. 

2020 ends in just under a day. What will 2021 bring us? I do not know, and if the animated shows of this year have taught me anything, is that the future is an always open book, full of worries and challenges, but also opportunities and possibilities. 

...

And in reality I was too lazy to check any news sites about upcoming projects.

#infinity train #glitch techs #amphibia #kipo and the age of wonderbeasts #animaniacs #carmen sandiego #hilda #DuckTales #big hero 6 #distant lands #dc super hero girls #Miraculous Ladybug #spop #The Owl House

[mk-wizard]

Big Hero 6 The Series: It could have been better

Hello, friends. Today, I will be analyzing a TV series based on a movie that I fell in love with for its colourful themes, deep plot, compelling characters, great CGI and memorable messages. Before I get into it, I want to take a moment to say that I have quit doing videos. They are too big of a pain in the petunia to make and I write better than I speak, so I will stick to writing essays, reviews and more. Anyway, onto the analysis.

All I can say about Big Hero 6 the series is that it had a great concept, it presented some great ideas and tried hard to be a cartoon of the times, but it could have and should have been a lot better. The show’s downfall all centers around trying too hard to be kid friendly which makes the shame sting all the more because Big Hero 6 was already kid friendly even with its dark themes, sharp edges and intelligent writing. If anything, even the brightest kid friendly cartoons (Steven Universe, She-Ra, etc.) had those things and actually benefitted from them. By needlessly trying too hard, character development got scrapped, the edges were all smoothed out, storytelling was subpar, the humour was too silly and the executive meddling in the end produced a dismal final season. However, I don’t want this analysis to be one lengthy negative rant about how awful the series was because in its defense, awful is an unfair word. It did have potential and ideas which are worth carrying over to a reboot that I hope will be done someday in the future. Also, we should root for a reboot because Big Hero 6 would not be the first story that needs it before striking gold. Just look at how many times Spider-Man was rebooted in film before MCU found the version that worked. Anyway, I will list all the things in Big Hero 6 that could have been better in my opinion;

1- Go easy on the laughs and be more generous with the action. - I love adding comedy to my own writing because I think a good sense of humour makes everything better, but Big Hero 6 is not a stand up comedy routine. It is a superhero story where we expect action, suspense and life or death situations that are to be taken seriously first. The comedy should be for relief and with the right timing. Also, the chibi cutscenes and having characters act like fools aren’t funny. Ren and Stimpy are the exception not the standard and their way of making you laugh doesn’t fit an action series. In a show as big as Big Hero 6, real life physics and danger matters.

2- Make the villains menacing and gritty. - I admit that after having a movie villain like Yokai who was the stuff of nightmares, it is going to be a challenging act to follow, but it was obvious that the writers were trying especially with some villains who could have easily gone into some dark relatable territory. For example, Mr. Sparkles (the gentleman in the photo above) embodies social media and Internet personalities. Right off the bat, you have a long list of things which embody the dark side of that like scams, fraud, using social media to dox or harass, driving people to suicide, online predators, the Internet personalities being very depressed people in real life, and much more horrifying things. When you stop and look at it, Mr. Sparkles even looks like the Joker which hints how dark and scary he could have been if the stops were removed. The same goes for enemies like Hardlight who embodies online gaming, Liv with cloning, Obake an amoral and insane scientist, and Trina and Noodle Burger Boy (more on him later) being evil robots. Globby especially should have been painted and written in much darker colours rather being played off for laughs because he has many parallels with Clay Face. The only two villains who I can say were supposed to be campy, charming and comical were Baron Von Steamer and Supersonic Sue because they were a satire of the Adam West style villains.

The rest of them needed to be dark and threatening including Mr. Sparkles. In fact, I would love a rebooted version of Mr. Sparkles who gives me the heebie-jeebies. Going back to Noodle Burger Boy, I must confess that I was actually excited when I heard that he was going to be the main villain of the final season because I thought he was going to fulfill his master’s final wish and as a reminder, Noodle Burger Boy was based on a super robot for military purposes.

It would have been fantastic if Noodle Burger Boy was upgraded into a full military war machine with a new threatening look. For that, I think all of the villains deserve to be rebooted and have their full potential unlocked for better or for worse.

3- A show about geniuses merits genius level art quality. - I am usually forgiving towards art styles, but in the case of Big Hero 6, the oversimplified style with minimal details and lack of textures did not suit the show. The characters blend in with the background which makes them look flat and the special effects were extremely dulled down. I also know for a fact that Disney can do a lot better than this because I saw how superbly Tangled the Series was drawn.

You can see and almost feel the difference in quality, the number of layers and level of detail between the two styles. I think there was no excuse Big Hero 6 was not done in the same style and at the same level if not better as Tangled.

3- Don’t dumb down or flanderize amazing characters. - I absolutely detest it when characters are flanderized because it makes them one dimensional and grating. For example, Go Go is tough as nails and extremely calm, but she is not cold or hesitant towards helping her friends. She doesn’t require very special episodes for us to know that. If anything, the movie version of Go Go reminded me a lot of Garnet in how she deconstructed the broody character. She isn’t cold or emotionless. Just calm and mature. Another good example was how Honey Lemon was rewritten to be overly positive to the point of toxicity, naïve and oblivious with a juvenile obsession with stickers. Then you have poor Fred who was rewritten to be an incompetent fool. The spark that makes Big Hero 6 shine is that they are a team of geniuses meaning they are all intelligent. Even Fred is genius in his own way just not a scientific one. He has a vivid imagination, he is resourceful and can get himself out of tight spots. Please, don’t turn characters into dummies especially if their intelligence is a part of them. It doesn’t make them better or funnier. It ruins them.

4- Tadashi needs closure and honour. - I am all for Hiro making peace with the loss of his brother, but Tadashi is to the Big Hero 6 team what Uncle Ben was to Spider-Man. His loss was the catalyst if not the reason. He should never be forgotten. Moreover, there was never any true closure to him especially with the possibility that he may still be alive up in the air. After all, like Callaghan, his body was never found and it turned out that Callaghan was still alive.

With that said, who is to say that Tadashi was not secretly still alive and just hiding or being hidden? This is something that Disney really needed to clear up if not for the fans, then at least as a service to such an important character. Never just forget about them.

5- The format can only be episodic with a deep plots, continuity and character development. - Random episodes with a mere monster of the day is an outdated format which doesn’t fit Big Hero 6′s modern and bright setting. In seasons 1 and 2, when the episodes were plot heavy with character development, the series shined brightest. It also helped move the story along, but with the final season, plot was removed, closure was abandoned or poorly written if any was given, and characters were disallowed from growing. A good example at how plot and character development could have made this series and its characters better was the relationship between Hiro and Megan. Would it have truly survived or would they have broken up?

Would Richardson Mole have eventually lost interest in his obsession with besting and bullying Fred or would his obsession consume him compelling him to become a super villain? I do see quite a few similarities between Mole and Reverse Flash.

Then you have Karmi who is in my opinion, the biggest wild card of the bunch. She was intentionally introduced as an arrogant, prickly and unlikable yet complex character who rivaled Hiro bitterly.

Yet had a huge crush on his alter ego and as time went on, started to grow up and even form a friendship with Hiro. What would have happened further down the road with her? Would she have become a super hero herself? Or maybe even another love interest for Hiro kind of like how Black Cat is for Spider-Man?

Is Obake really gone?

What does the future hold Diana (Liv’s clone), Liv herself or the Sycorax the genetics company?

Is Alistair Krei going to become an ally to Big Hero 6 or an antagonist? There is also the issue at how little we know about the other Big Hero 6 characters other than Fred, Hiro and Baymax. What are Honey Lemon, Wasabi and Go Go’s backstories? These questions matter and while not every mystery can be solved, leaving none of them solved is lazy writing.

6- Executives, kindly stay out of the writing and any other part of the creative process. - I’m sorry, execs, but there is no nice way to say it. History itself proves that every time executives got involved in the creative process of any media, it got worse not better. Leave the writing to the creative team and the execs should only handle the legal stuff. Please. We understand that TV is a business, but writing itself is not. It is an art which you just don’t have a talent for. Let the creative people do their thing with the freedom necessary and you do your thing, deal? Deal.

7- Focus on Hiro and Baymax. - The are the main characters so keep them at the heart of the series no matter what happens around them. That is all I can say.

And that sums up all the things that could have made Big Hero 6 the series better, but this is all just my opinion. What is yours?

PS: I am well aware that the Big Hero 6 series is being retconned because a new series called Baymax is in the works as well as the long awaited sequel to the first movie. I am looking forward to both with an open mind. PPS: I also am aware that some people liked this show the way it was including the art style and I am cool with that. An analysis for art that includes cartoons is never right or wrong. It is solely based on opinion. I may have thought this series could have been better, but there are people who make arguments that it could have been worse.

#big hero 6 #big hero 6 hiro #big hero 6 the series #big hero 6 wasabi #big hero 6 fred #big hero 6 gogo #big hero 6 tadashi #big hero 6 baymax #baymax #hiro #tadashi #honey lemon #gogo #krei #obake #noodle burger boy #analysis #character analysis #diane #live #sycorax #karmi #megan #richardson mole #reboot #sequel

[rachelbethhines]

Tangled Salt Marathon - Happiness Is

This is possibly my favorite episode of season two. Yet, it is also the point the where the series starts to fall off a cliff. Only that’s not something that you would realize upon a first watch; just in hindsight and only with some basic knowledge of the behind the scenes drama that led to this and the fall out with the fandom that followed afterwards. 

Summary:  Rapunzel begins to feel homesick for Corona when she finds an old letter written by her father in one of the many lanterns sent from her previous birthdays. In attempts to uplift her spirits, Rapunzel explores the island and comes across a magical idol that brings instant happiness to whomever possesses it. Rapunzel begins to hallucinate her family and friends back in Corona and soon shares the idol with the rest of the group. However, everyone starts to become obsessive over the idol, desperately wanting it for themselves. Rapunzel tricks everyone into giving her the idol, but when the Lorbs try to help Rapunzel, they fall under the idol's control and soon begin to terrorize the village.

Let’s Start with the First Elephant in the Room; Frederic 

So throughout the episode Rapunzel is struggling with being homesick. Which is fair enough, that’s an understable reaction to being on the road for months by now. However, to showcase this Rapunzel keeps seeing hallucinations of her father. There are some other characters too, but her dad is the first person she sees and the only one in Corona with speaking lines. He’s the one to tempt her with the idol. 

Did we just forget that Frederic is her abuser? 

Look, even if you accept his apology in Secret of the Sundrop and believe he has learned his lesson, that doesn’t just erase the pain he caused her. Her thoughts about her father should be more realistically complex then this. Now add in how she makes a such a clean break from her other abuser, Gothel, but still holds him on a pedestal shows a disturbing bias on the part of the writers. 

Also where’s this love for Arianna? You know the only real mother on the show? The show that’s aimed at little girls? The one parent who hasn’t flat out abused the main character yet? 

Seriously, Chris, what the fuck? 

This is a Missed Opportunity 

So part of the reason why I like this episode is that we get insights into each of the characters and their desires. As such this is one of the few episodes where the group actual feels like a group friends. However, Cass’s vision is wasted here. 

So at first glance this seems to aline with what we know of the character thus far. She loves her dad and wishes to impress him. That’s only if you take season one into account, though. Later episodes will contradict this goal. If you wanted to set up praise and validation in general as Cassandra’s motives, then here is where that should have happened. 

Show her getting a medal, have cheering crowds surround her, have her be a hero, or something. You can’t claim her relationship with her parents as the driving force of behind her later actions if you don’t actually involve one of those parents as part of the resolution to her arc. 

Either she lacking attention from her dad or she’s jealous of Rapunzel. You can’t have it be both because those two things don’t intersect. Rapunzel is not and never was a threat to her relationship with her father. 

So Umm...I Don’t Think This Plot Point Has the Impact That the Writers Think It Does 

So this hilarious, and it is intended to be funny, but it’s not for the reasons that the show gives. 

The idea is that this is some shocking revelation. That Rapunzel would never do this under normal circumstances and it’s a hint that the idol is corrupting her. 

Only the rest of the series doesn’t aline with that at all. This is just the real Rapunzel behaving as the she normally would but without the usual veneer of excuses. 

It’s funny because it’s the show calling out Rapunzel hypocrisy for what it is plainly, not because it’s out of character. 

But funny only gets you so far. The show is perfectly happy to play up Rapunzel’s awfulness for laughs, but then conventily ignore it when it comes time for the characters themselves to call her out on it so that she can grow and learn.       

The show runs under the sitcom idea that comedy excuses all sins; which then backfires horribly when it tries to be serious and mature. 

You can’t joke that the king threw a random person in a stockade for little reason and then expect us to still like him when he persecutes a child. Same applies here. 

The sitcom set up only works when there is minimal at stake and all parties involved are equally awful in their own ways. 

Then Why Not Just Go Home?

Once again, there’s nothing at stake in season two. Rapunzel has no real reason to be on this trip. Nothing is stopping her from just going home if that’s what she wants. The idol only makes her happy because it shows her want she wants, but she could actually have what she wants as soon as the next ship arrives. So what’s the issue here? 

This is why you need external conflict in order to make internal conflicts work. There’s has to be something preventing the main character from achieving her goal or otherwise she just comes across as a dumbass. 

And Now Here Comes the Second Elephant; Varian 

I have several things to talk about here, and none of them actually concern the scene itself but the creator’s treatment of the character and the show’s fan base.

For you see, Chris did a very, very stupid thing.  

He wrote the character driving the plot out of the show. The character who also happens to be the most popular person in the series. Only to then use said character’s VA and this one cameo as promotion for this whole season. 

Needless to say, fans were disappointed.   

However, the Tangled fandom is exceedingly polite; more so than most. The lack of Varian was met mostly with confusion, and maybe a few off handed jokes, rather than anger. When opportunity arose people naturally had questions concerning the character.     

And that’s when Chris put his foot in mouth. 

This Tumblr post details how Chris got kicked off the Tangled The Series Discord by bullying a bunch of Varian fans while on there. 

https://starxapple.tumblr.com/post/617852117763391488/zhantiri-uuugh-fine-since-people-are-getting

I shan’t get into it fully, but for those who discovered the show after season two had aired, this caused a massive backlash from the fandom. 

A good chunk of the fandom just walked away, and rightly so. The few that stuck around despite these remarks found themselves harassed by certain sections of the fandom who saw Chris’s bullying as permission to pursue the same behavior. However, most importantly, the ratings plummeted. 

Season one hovered around the the 1 million mark, give or take a five point difference. The first part of season two dropped to half of that, and after this episode and the hiatus it sunk even lower, down to the mid-thirties. That’s over 20,000 people who just jumped ship over this. That’s not a normal decline. 

No matter what your personal feelings are of the character of Varian or how he was handled in the show, that’s still a massive PR fassico that cost the series big time. 

To add to this mountain of bullshit, there was also a massive walk out of crew members after season one had finished production. Most of them women. They even desperately threw out ‘we’re hiring’ calls to cover this. Which given that’s it’s Disney and that nepotism is usually how one gains employment in the entertainment industry, something unusual must have happened behind the scenes. Especially if most of the people who left were women. 

We’ll probably never know what really happened. People don't usually talk about behind the scenes stuff like that due to contracts and the aforementioned nepotism. However, all clues point to Varian.   

Something changed at the last minute concerning his story. Chris himself had confirmed as much when discussing the note and the Brotherhood. We also gotten other hints that content was edited out at the last minute. Plus the writing becomes more shoddy as the series goes along, showing how slapped dashed everything is together.  

Then there’s the rumors. 

I must stress to you that this is only a rumor. As pointed out earlier, most animators aren’t in a position to talk freely about what goes on behind the scenes. Do NOT harass them over it or make things awkward by asking them to clarify this. However it’s been suggested that the female crew warned Chris that removing Varian from season two and re-writing his story, along with making Cass the villain, would be a bad idea before they left and Chris didn’t listen. Much to his folly. 

Chris is no longer a Disney employee and has yet to move on to any other projects. He says he left, but I more suspect that Disney just didn't renew his contract and no one has picked him up since. I take no joy in the idea that someone may have lost their job, but if true, then Chris has little to blame but himself. 

So What Did Change?

We don't know anything for sure. We know from discussions about the note that there was a proposed Brotherhood plot that involved Varian that was then cut. There was also talks about a Cass and Varian team up in season three. 

This was then changed to the Saporian take over, which is foreshadowed in this scene. However even that got edited down and under the flimsiest of excuses. 

One of the writers, Ricky, suggested that they thought cutting back to Corona would be too confusing for the audience; which is a load of bull. I mean how poorly do you think of your audience’s comprehension skills that they wouldn’t understand a change of scene or a flashback? Yet you fully expect them to pick up on your lazy foreshadowing involving the mirror? So much so that you sent them on a quest to find it between seasons two and three.

Then there’s this gem from Chris. 

Ok ignoring the fact that you so totally could have featured both Gothel and Varian, seeing as they serve two different functions in the story and mean different things to Rapunzel.... What guilt?!!! 

Rapunzel doesn’t ever act guilty over anything involving her treatment of Varian. 

That’s when you realize Chris isn’t talking about her feeling guilty about Varian’s predicament. He’s saying that Rapunzel feels guilty of leaving her father behind with this ‘dangerous’ criminal. Which is a big fuck you to everyone. 

That’s why Frederic is the center focus of Rapunzel’s hallucinations. Why she’s more concerned for his safety over Varian’s trauma. Chris really be out here trying to use the abused 14/15 year old orphan as a scapegoat for the grown ass dictator who ruined countless lives. Because he thinks a grown woman should feel guilty for leaving her abusive father behind and pursuing her life’s dream.

Dude, I try not to assume the worst of people just cause they write fictional characters that I dislike, but Chris really makes things hard not to when he treats his self insert this way. 

Oh but we’re not done yet. 

When Varian Fans Complain About the Lack of Varian; We’re Complaining About the Lack of a Coherent Plot. 

Certain sections of the fandom, bolstered by Chris’s BS, try to act like simply being a Varian fan is grounds for dismissal of any criticism of the show and it’s writing. As if having personal preference for something makes you automatically ‘entitled’ or some such bull. Yet doing so ignores the fundamental complaint that they are making. 

We’re not whining about our favorite character not getting enough screen time. No one would have complained about his lack of presence in season two if they had properly resolved his story in season three and had Chris not been a dick to the fans. But it becomes evidently clear as the series goes along that removing Varian left a major hole in the plot. One that makes the entire story and the rest of characters suffer as well. 

Think season two is boring? That’s cause they cut out their main villain at the last minute and failed to replace him with anything. 

Upset that Hookfoot was brought along for zero reason?  He’s the replacement character for Varian who no doubt was going to appear in season two originally. 

Wish there was more on the Brotherhood and the Dark Kingdom?  Their story impact was greatly reduced when Varian was written out.

Are you a Eugene fan and mad about how the Dark Prince plot went nowhere?  That’s cause the original Brotherhood/Dark Kingdom plot was dropped when Varian was.

Dislike how Cassandra’s character was ruined with her villain arc?  She was originally meant to be possessed but was changed last minute to be a Varian rip-off in the hopes that she would gain some of his popularity.   

Wish Zhan Tiri, Demantius, and the Disciples actually went somewhere and that ZT had coherent plan?   That plot were changed last minute to make Zhan Tiri a scapegoat for Cassandra now that her story was changed to replace Varian.

And of course let’s not ignore the character who suffers the most from lack of Varian.... Rapunzel. 

Chris’s defense for leaving Varian out of S2 is that it’s “Rapunzel’s Story” and that Varian was only ever a plot device meant to push her along on her quest.  Which means that Rapunzel no longer has anyone pushing her along on her quest!!!

All characters are plot devices. If they aren’t there to serve a story function then they need to be cut. Even Rapunzel herself serves a plot function. She’s meant to be the protagonist of a coming of age story. Which means she needs both an external conflict to face and an emotional arc where she grows as a person. Varian is the plot device that serves both of those functions but he’s now been removed and is no longer allowed to serve his original purpose. 

Chris reached into the machine while it was running and pulled out one of the main gears and acted like he always meant to do that. He legit sat there and pretended that everything was running smoothly even as smoke poured out and warring alarms blared. He then tried to shove bubble gum in its place hoping no one would notice as everything fell apart around him. 

Cause he’s the thing; no idea is without merit. It’s all about presentation. Removing Varian from season three still could have worked, but it required A.) replacing him with another foe and B.) making sure his arc still got a proper conclusion. 

I’ll talk more about Varian’s half-arsed redemption when we get to it; but for now let's focus on the more immediate problem. No one thought to give season two an actual overarching conflict in light of Varian’s absence. 

That’s a fundamental oversight that pretty much signals that season two was re-written at the last minute. You have an overarching plot in an action adventure show but no main adversary? I refuse to believe that everyone involved was too stupid to do that on purpose; but if they were rushed and lacked a crew because they walked out due to last minute story changes....yeah that’d I buy. 

Because there’s more than enough options to go around; Lady Caine, The Baron and Styalan, Hector and/or Adria, Zhan Tiri’s Disciples ect. were all options. So was keeping the rocks a threat, or have Cass start her villian arc earlier; with proper motivation this time. They could have even come up with someone entirely new. 

You had over four years to plan this shit out; why is it not more well put together?! 

How Come Rapunzel Can Easily Admit Fault to Pascal But Not Anyone Else? 

Pascal should have sat perched on Varian’s and Eugene’s shoulders giving Rapunzel ‘I’m done with this’ looks all throughout season three. It’s apparently the only thing that she responds to. 

Why is the untalkative camelanion the only one allowed to call out the main character’s BS without going villain? 

Conclusion

That’s all there really is to talk about in this story. The actual episode itself is good. It’s the behind the scenes crap that bubbles underneath its surface that needed to be discussed. That way when going forward with the marathon you’ll better see what I’m talking about when I explain how future episode suffered from the lack of planning and foresight. 

#Varian #tangled #anti-tangled #anti-rapunzel #cassandra #tangled the series #rapunzel's tangled adventure #tts #rta #king frederic

[thefinalcinderella]

Hello I’m feeling salty again

Disclaimer: I don’t condone hate towards the creators, that’s just wrong and at the end of the day it’s just a fictional game

Yes this is long again, it probably doesn’t make sense

...but that being said...

I don’t like how people are dismissing people getting mad at/hating Rook for his actions by saying “that’s his role as the hunter in Snow White” or “lol you didn’t see that coming? it’s foreshadowed!” or “it’s on brand for him” or “lol you’re just salty NRC didn’t win”. It dodges the issue of “why were things specifically written that way?”

Yeah it’s foreshadowed, yes it’s in character, and yes “believe in your beauty” is something that Vil needs to hear (probably not right after he lost though, that’s just rubbing salt into the wound)

But remember that Twisted Wonderland is a fictional creation created by actual people, and that everything you see, read, hear in game is specifically made that way by someone--the characters have no “autonomy” of their own, they can’t make decisions. The author can’t control what the reader thinks. 

The Twisted Wonderland characters are, for all intents and purposes, human(oid)s, who are expected to have human emotions and motivations. Yes they are twisted from Disney characters and play the corresponding roles in their stories, but that’s not all they are. They are given their own traits outside of what they’re twisted from. We the players are also humans with our own personal views which inform our reading experience. We aren’t objective robots. If a character does something we deem wrong, we have the right to dislike them for it, even if it is in character and makes sense. That’s why seeing people dismissing others for not liking Rook, who backstabbed someone he supposedly admires very much, gave a flimsy sounding excuse and then getting forgiven a bit too easily, pisses me off. Part of this, I think, is due to how you never know if Rook is completely sincere or if it’s all an act. We still don’t really know anything about him

There are debates over whether or not authorial intent matters. It’s especially murkier in the twenty-first century when the author can be easily reached for comment on their work. 

So I think it’s fair for people to get angry at the depiction of Rook at the ending or RSA’s win because it was deliberately like that instead of any other way, as well as the framing of the events. 

Why was “Heigh Ho” chosen as the RSA song that’s supposed to beat NRC’s? They could have given them a song that’s a good match for “Absolutely Beautiful” and showcased what makes Neige and the dwarfs more appealing than NRC: their strong bond and pure desire to have a good time. Why was it purposely shown that the dwarfs are messing up their performance and that they were just doing that for fun? I have theorized that it’s supposed to show that Neige wins because he doesn’t care what people think, because he’s the “good guy” who’s favored by the system of “heroes and villains” that may or may not be running Twisted Wonderland, but I also can’t help but think that it’s might also be a cynical dig at the “power of friendship” and the mainstream preference for safe and familiar art over originality and innovation...which I have mixed feelings about. In any case, it makes the whole thing feel rigged (which might be the point?) and inspires hatred towards the hero’s side (which may also be the point)

Why was Rook’s reveal of being a Neige fanboy who voted for him after we see Vil’s struggles, overblot, etc, and why was Neige nonchalantly coming over to Vil and commenting on his tears preceding Rook’s reveal? The whole crying while Neige’s song plays in the background really tops it off. Is it supposed to be pure comedy? Is it to show that the deck will always be stacked against Vil? The intent may be to show Rook as an eccentric and difficult to understand but loyal friend to Vil who has his best interests at heart, but the sequence of events makes that hard to swallow and I find it hard to believe that the writers wouldn’t be aware of that. Since Vil forgives Rook quickly, are we supposed to do the same as well? Are we supposed to forget that betrayal by Episode 6? Whether you think that betrayal was the right thing to do or not it’s honestly kind of messed up if their relationship goes right back to normal after that. I’m not even a Vil stan but that really made me feel bad for him. It is times like these that I really wish that MC has more of a role or at least inner thoughts that question the events that happen. I don’t expect the story to spoonfeed us on what to feel but...like...a comment or two would be nice

The emotional manipulation seems to be part of twst, which is not a bad thing since a story is supposed to be make you feel things, but the question is if we’re supposed to feel the emotions the story seems to want us to feel, or if we (the player) are just supposed to be watch what happens without putting our feelings into it

At the end of the day Twisted Wonderland still hasn’t shown all its cards yet. There’s still a lot we don’t know about the setting, and I think that’s part of the game’s appeal--the mystery and gray morality, the sense that there’s something wrong but we don’t know what’s causing it. I think this complexity is intriguing. Obviously me writing this long ass essay proves that. But I also think it’s frustrating that we really don’t know whether there really is something deeper beneath what we’re given, or if it’s just pointless overreading. What I do know is that this fandom sometimes dismisses criticism of the writing too easily. 

TL;DR: People have the right to be mad at Rook ok

#twisted wonderland

[imnotcameraready]

more than beliefs (5: mother knows best)

A/N: still trying at this ! i still don't own any tables so honestly, writing has been kinda hard :') but i'm still up to a polished chapter 7 and know VERY well what is happening in chapter 8, so we're looking pretty good. i wrote all of chivalry chapter by chapter so.....hoping this goes well :'D

WARNINGS: manipulation, plotting a murder, paranoia description, blunt force trauma, assault, amnesia, blood, graphic description of violence — this chapter’s the first doozy! if i missed anything, please let me know!

Words: 4378

AO3 link!

enjoy!! <3

“Now, this might be a controversial opinion, but the second Little Mermaid movie is a top-tier Disney sequel,” the Director said, idly mixing a teaspoon around in his hot chocolate.

Roman scoffed. He was sitting on the Director’s couch, wrapped in a blanket while they watched 2005’s Just Like Heaven starring Mark Ruffalo and Reese Witherspoon. The Director had suggested they watch something from Disney, but while Roman loved the whole library of Disney movies lining his shelf, he couldn’t choose which one he wanted. To his surprise, the Director didn’t have a favorite, either. He’d said he was fond of the cookie-cutter damsel in distress narrative of older Disney stories, which Roman tried (and failed) to take offense to, but did agree that many modern movies like Big Hero 6 had interestingly complex and developed stories.

“I just prefer the expansion on oceanic lore. And I’m a sucker for a good parental storyline, when the former protag takes on the motherly role.” The Director took a sip of his coffee.

“And here I thought you weren’t one of my creative advisors,” Roman said with a smirk, crossing his arms upon his pillowy throne.

The Director scoffed, and as he rolled his eyes Roman could have sworn that he was blushing. Maybe he was embarrassed. “Just because I’m not David doesn’t mean I can’t have opinions on works of art,” he sounded dejected—Roman guessed that was fair. The Dragon and Damsel and Child, most obviously, had strong opinions on art yet no artistic inclinations.

It was still up in the air if the Thief did. It didn’t seem like he had many opinions on things that weren’t consequential to Roman’s direct safety, but he was very quiet. Roman didn’t rule out the possibility of the Thief just not wanting to share that information with him, which was….well. Unfortunate.

Roman wished he got to know his advisors better. Ever since they were separated from him, Roman feels like he’s been at the grinding stone with them all. The Thief had spent the whole wedding either swearing or screaming suggestions angrily, and when he wasn’t, he was comforting an incredibly distraught Bard. The Damsel and Playwright tried to help the most but... He had barely even seen the Artist outside of their creative sessions. He had barely seen the Dragon or Child, period.

The Director was an interesting one. Roman had everyone’s phone numbers, because, well, he wasn’t about to use carrier pigeons. Though that might be super cool to try one day. But the Director was just about the only advisor to casually reach out to him. He would send Roman memes. How did he even get memes? Roman and Remus had created an Imagination-version of the internet, so it was likely from their co-sponsored Imagination Tumblr or something. The Director putting in the effort and time to think of Roman during such small instances was what made Roman feel more comfortable here, though. That’s what made him trust the Director with these sorts of situations. Almost made them closer...

Was that selfish? To favor one part of oneself over others? Surely not. It was similar to recognizing flaws, or pimples and blemishes. Not to say any of the others were blemishes. Drats, even Roman’s internal monologue was demeaning to himself.

“Do you want any more coffee? I’m going to go refill,” the Director’s voice jolted Roman out of his stupor, and he looked up with wide eyes.

“No, I’m okay,” and after a small beat, he added, “Thank you again for housing me. I can’t imagine what Phillip would want to say after yesterday’s debacle.”

The Director scoffed. Roman snuggled into his blanket more, listening to the Director pour himself another mug and reply. “Anytime, Roman,” he chuckled, then put on one of the most outlandishly fake accents Roman’s ever heard. “I live to serve~”

“Sto-op,” Roman groaned, throwing his head back and shooting the Director a glare—well, glaring at the kitchen door. There were walls around all of the rooms here, unlike the Mind Palace.

The Director laughed even more when he returned, sitting on the couch with his legs crossed on the cushion. He held his mug in his hands for a few seconds before talking, tone much more sober.

“I do have to say. I’m surprised I was the one you came to.” The Director’s voice is a little more quiet. “I thought for sure you would have sought comfort with Cadence or Gavin before me.”

Roman blinks. “I guess….I didn’t want to be judged again.” He looked back down at his lap, at the blankets piled up there and his own coziness. “Every time I come back after an argument, or after making a fool of myself, it seems everyone has an opinion on how poorly I handled a situation. None of them really acknowledge….It must have been….”

He’d been a little confused about it, too. The trust issue.

“Janus has strung my emotions along enough for it to be fair that I don’t trust him,” Roman said, voice soft as he tried to put how he’d been feeling into words. “Right?”

That was as close an explanation as he could get to. Because it all boiled down to the trust issue, in his understanding of the situation. As much as Patton wanted him to let go of the situation, Patton was focusing on the mustache quip rather than the whole trust thing. Janus knew Roman had wanted to go to the callback. But Roman also wanted to be a good person, if that’s what Thomas wanted. Thomas wanted to be a good person so Roman also wanted to be a good person.

But when being a good person directly went against Thomas’ dreams, Janus stepped in. And sure, he argued that they weren’t supposed to be self-sacrificial, but wasn’t that a hero’s job? When did a hero ever get to keep anything before sacrificing everything? Isn’t that what made sense?

Janus didn’t even do a good job at explaining it, not until all the damage had already been done. This was different from just giving Roman the perfect set up for a theater display, this was Janus pretending that he wanted what Roman wanted. This was Janus pretending to be his friend but wanting Thomas to...be a bad person?

He didn’t understand. Maybe Patton was right. Maybe Roman just didn’t understand. And that’s what made his disgruntlement so confusing, because in his heart, Roman knew Janus was trying to help, he knew that, he understood. But then why did it hurt so much?

“Oh, honey, he’s gone way past that. Don’t gaslight yourself into thinking he’s been helpful,” Macbeth’s icy voice cut through the thoughts wrangling Roman’s mind.

The Director was so self-assured. It was comforting. He was sitting on the couch, arms crossed as he explained.

“And Patton, Logan, turning around just to say you should let it go and listen to him after he’s lied nine times out of ten?” the Director threw his head back and let out a sharp “Hah! No, your anger is rational. And defensible.”

“Why won’t any of the others agree with that?”

The Director starred at Roman for a minute. Just a little too long. His eyes seemed to press Roman into a corner, under a box. Scrutinized.

They both knew that “others” wasn’t a reference to the other Sides. The Director kept his distance from Roman’s other advisors, he knew that, but Roman didn’t know how far. The Director wasn’t the kind to just watch them, was he?

“They all have their opinions. About Disney and otherwise.” He took another drink of his coffee then shook his head, standing up, motioning for Roman to follow, “May I show you….something. Without you thinking I’m crazy?”

Now, that’s always a fairly worrying question to hear. “No, no, I trust you,” Roman said with a slight grin.

The Director must have been able to see how it waned, because he chuckled, smiled back. “I think we’re all a little zany. But that’s the charm. Phillip is undoubtedly the scariest, as much as Draco tries. The Prince, Damsel, whichever you want, has a noticeable villain complex.”

Wait, what?

The Director raised his hands in mock defeat. Showing his hands, like he were trying to assure Roman that he wasn’t being suspicious. But the hairs on Roman’s neck rose. He led Roman to the door just besides Roman’s room. When he first started visiting the Director, he explained that this was his study. Roman had never gone in. Because, you know, when you respect someone you also respect their privacy.

“I’ve only ever spoken to Marlowe, but, you know. I’m the Director of players I can never meet. I had to take notes,” he added the final part quietly.

He glanced over the combination button pad on the door. Roman hadn’t noticed that. What room would require a combination lock? And who would be….Was it to keep him out? Or someone else? Maybe the Playwright, the Director mentioned he’d been over before. Keep anyone out, it seemed.

“I….notes?” he was flabbergasted. What the fuck was happening?

“Yeah.” The Director opened the door slowly and motioned for Roman to follow.

Inside were papers. One wall was a large tackboard, photos and sticky notes and papers pinned up, connected with lines of colored yarn. Roman felt his mouth fall open as he inspected it. There were notes on all of his advisors, all seven of the others, even some of people Roman didn’t know. There was someone with four eyes. Someone with antlers. Who were they? How did this all fit together?

Why in Athena’s name did the Director have corkboard notes on the other advisors? That was a lot more than a little weird.

“I...You’re wonderful, Roman. So productive and pristine and princely, as you deserve to be. But there are some areas where you can stand to improve.” Roman was probably only processing some of the Director’s words as he rolled up his sleeves and pulled out a metal stick, one that looked oddly like a wand.

He held it in one hand, and suddenly it extended, until it was a pointer. The Director held both ends of it and watched Roman for a reaction, a response, something.

“I would have to agree,” Roman stumbled over his words a little, eyes still glued to the notes—there were some by the Child that read ‘Naive/Trusting/Problem?’—before he slowly turned back to the Director with a weak grin once again. “I mean, I might be pristinely princely, but those P alliterations don’t include perfect. No one’s perfect.”

“It may be an unattainable dream, but we’re well familiar with those. We can only strive for improvement! And when improving you and yourself, that means making changes to them,” the Director gestured up at the wall of photos, of the parts of Roman’s self, and smacked the Child’s photo with his pointer. “I actually only thought I would be reading these notes, so forgive me for any, er. Sharp language.”

Roman knew that self-improvement meant adopting new mindsets, but he had no idea that putting parts of himself into characters involved changing them as well, though it did make sense. Self-insert characters had to change if you were changing the self that was being inserted. Right?

If he wanted to improve….it made sense. He had to change himself, including the facets of himself.

“That’s fair,” Roman murmured, “Okay. These….You could take these notes to the other advisors. Surely they’d accept it?”

“At this point, I don’t know who would kill me faster,” the Director scoffed, then gestured at the Damsel’s notes, a cluster of sticky notes and drawings and photos of the Damsel at a well enough distance that it was closer to stalker-ish. “Phillip wouldn’t want competition. Marlowe agrees that he can be quite standoffish when threatened, and a newcomer claiming to be one of Roman’s advisors? Someone who doesn’t have his respect in a royal manner?”

The Director pointed to the Thief now, a even more grave expression adorning his face. “And Eric. Tell me you think he would accept a newcomer of any kind. Just tell me. Especially near Gavin. And the Child himself probably wouldn’t like me.”

Well, that sounded off. Roman leaned on the wall besides the door, back against his hands as he continued to inspect the wall. There were notes on the other advisors’ behaviors, their antics.

For some reason, Roman could almost imagine Janus or Logan doing this. It was something close to weird and something else close to endearing. Was that weird?

“Why not? Gavin’s pretty trusting.” Roman didn’t look away from the wall as he replied.

“In fairness, he might like me, but I don’t know if I could ever come around to liking him. He’s the root source of all our issues, especially our present issue with Janus, Patton, Logan. Even past issues with Remus, if I’m remembering them properly. What Gavin represents allows us to be easily swayed.”

That got Roman to look away, look down at the Director. He was glaring up at the Child’s photo with something fierce, which startled Roman enough. I mean, that was a whole child there. What would inspire this much hatred?

“Really now?” Roman wanted to know.

“He gets us to let our guard down. It’s at Gavin’s behest we take chances, but it’s that same honesty that leads us to broken promises, taking in lies like they’re candy. I don’t know what I would do with him,” the Director sounded disappointed.

That was a fair analysis. All of the advisors—the Playwright, the Thief, the Child, Bard, Artist, Dragon, Damsel, Director—they all represented different parts of Roman, similar to how the Sides represented parts of Thomas. In theory, they worked together. In practice, that was far from the truth, but Roman knew for his sake that they were trying their best.

They all oversaw different parts of Roman’s psyche, too. The Playwright, for example, was most similar to Logan in that he represented Roman’s research and organization, on a creative and egotistical level. The Playwright—Marlowe—could be trusted with knowing how many liters of blood were in the human body as well as every one of the Sides’ favorite karaoke songs, even the exact time and date they met Nico.

The Child was Roman’s belief, his ability to dream. It was fair to assume that that made him the most naïve part. Perhaps it was even a fair conclusion that the debacles with Janus were caused by what the Child represented.

Roman hadn’t thought of it like that. The last time he’d talked to the Child, Gavin, about the situation, he had seem incredibly disappointed.

He’d never stopped to ask what the Child was disappointed in, though. Was he disappointed in Roman? Or in himself? Did the Child know he was the one who had pushed Roman to trust Janus? Did….There was no way that this was….the Child’s fault. Was it?

“Huh.” Roman’s voice echoed emptily to himself. A pit opened in his stomach, something difficult to grasp. The root cause of his burdens couldn’t be his ability to dream. His dreams themselves, his hopes, his beliefs. He….he was the daydreamer, the creator. That couldn’t be a flaw, could it?

The Director watched him, but Roman hardly noticed. It was only for a few seconds, too, of stoic silence before the Director interrupted his thoughts with a huff, looked across the board. “This is quite a bit of insight at once. Maybe we should finish the movie.”

“Director?”

Roman and the Director both turned to the open doorway, the later slapping a hand over his own mouth immediately. With a flick of his wrist, the door closed quietly, clicking just loud enough for the both of them to hear. They also heard the Playwright in the living room, footsteps echoing faintly on the stone floor.

“Director?” the Playwright called out again.

“Fuck,” the Director whispered. This must have been an unplanned visit.

“What? We can just go out and say hello,” Roman said back, though his demeanor and body language spoke of worry, almost fear.

The Playwright was well known to be a pacifist. And the Playwright knew about the Director, knew about Roman knowing the Director. He was a little surprised to find that the Playwright didn’t know the Director’s name was Macbeth, but Roman knew the Director to be a man of secrets.

“He doesn’t know I….He doesn’t know you’re here. He barely knows we talk,” the Director looked around the room and pressed a hand to one of the walls, “Fuck. How are we going to get him out?”

The rock beneath the Director’s hand morphs into a doorway and he opens it. The Playwright was standing in the living room, close to the front door to the home. He looked up at them both, eyes widening when he met Roman’s. Before Roman could say anything, even think of something to say, the Playwright spoke with ease.

“Roman’s here? Thank goodness. Virgil’s come looking for him,” he gave Roman a small smile, strained but caring all the same.

“Ah.” Roman stiffened. Virgil came looking for him? In the Imagination? Why? How? He didn’t have his own passage into this space yet, how’d he get here?

He didn’t want to talk to Virgil. As supportive as he’d been, especially when it came to taking care of Thomas, there were still some areas where Roman wanted to be alone, wanted to process his thoughts alone. Virgil was...vindictive. Which was a strong word to use, but an apt one. Virgil’s distaste in Janus made it hard for Roman to form his own thoughts, which was why he often tried away from Virgil as much as Patton.

He wasn’t ready for that kind of confrontation, and the Director must have been able to tell, because he physically looked like he didn’t want Roman to go.

“I actually didn’t expect to find you here, though I’m not entirely surprised,” the Playwright must not have been privy to these feelings, glancing between the Director and Roman, shock still gracing his features.

“Really now,” the Director said, tilting his head, “Why not?”

“I just didn’t know Roman had met you, but of course, even I’m not as omniscient as Creativity himself,” the Playwright stepped closer, reaching toward Roman. “You have to come up, though. Virgil said everyone’s worried.”

Roman starred at the Playwright’s hand, unsure of what to do with the gesture. He knew everyone would be worried, on a baseline. Closed doors didn’t do well around the Mind Palace, especially his, especially after his splitting incident, but that didn’t mean he had to cater to everyone else’s worry. He was allowed privacy.

Before he formulated a response, though, the Director placed a hand in front of Roman. His smile toward the Playwright turned sour, lips pursed in a mix of thought and anger.

“He doesn’t have to go see Virgil if he doesn’t want to.” Roman felt some of the tension in his shoulder alleviate at the Director’s statement, as basic as it was.

The Playwright, on the other hand, didn’t seem to understand. He looked between Roman and the Director again, surprised even further by how familiar they seemed. There had been a fair amount of transparency in Roman’s relationships with all of the other advisors that there must be some dissonance to see him be so familiar with someone he hadn’t even expected Roman to know. Something about that surprise, the bait and switch, the lie, felt fulfilling.

“It wouldn’t be difficult to alleviate Virgil’s worried and tell him to leave again,” the Playwright explained slowly. “I’m sure, if Roman told him he wanted privacy, he would understand.”

“I’m sure, if Virgil could understand that, then he wouldn’t have tread where he shouldn’t. You can’t make him do anything.” The Director’s voice grew darker, hand unwavering.

“Make him?” the Playwright sounded so confused.

Roman was also confused where the Director’s notion came from, but it was validating to hear reminders that Roman’s decisions were his to make. But nothing in the Playwright’s tone was forceful.

For a moment, it seemed as though the Playwright would drop his confusion.

Until he took a step forward, toward the Director and Roman, with one hand outstretched. Roman didn’t know what he’d been planning, but he knew the Playwright wasn’t a sporadic man. He hated adding physicality to situations where debate and discussion could suffice. So, in hindsight, it was likely the Playwright was reaching out to make peace.

The moment passed in mere seconds.

He was taller than the Director by a noticeable few inches, so the Director bent his knees. He pushed Roman behind him with his outstretched arm, acting faster than either Roman or the Playwright could react to. The Director stuck his leg out and grabbed the Playwright by the fabric of his shirt, behind his neck. The Playwright, surprised by the sudden movements, tripped on his leg and let out a sharp gasp of surprise.

Besides them was the living room coffee table. As the Playwright fell, the Director redirected his head toward the table, shoving him away from Roman.

It felt very spur of the moment, and it happened in a true moment. The Playwright let out a scream, sharp and fearful, before his forehead collided with the edge of the metal table. He fell beneath it unconscious. Blood pooled at the Director’s feet as he stood back up.

Roman’s hands shot to his face immediately, as soon as the Playwright started falling, and he could only stare in horror at the scene. The Director, too, seemed shocked at his own reaction. He starred at his blood-stained socks for a little while, breathing heavy enough for Roman to hear. It must be the adrenaline.

“I,” the Director’s voice caught in his throat.

Roman watched. Just watched. The Director swallowed, turning around to face Roman with a mirroring horrified expression, eyes wide with surprise. “You have to make him forget.”

“What?” Roman’s voice was strained, almost a whisper, and he cleared his throat to repeat. “Excuse me?”

What kind of request….?

“If Marlowe remembers this, we’re fucked. He knows you’re here. He’s going to think I attacked him. I-I did attack him,” The Director took a slow breath, turning to look at the body on the ground before shaking his head—unable to look. “David is going to kill me.

“Make him forget. He can stay here. For a bit. We can figure this out,” he put his hands up towards Roman. “We-The other Sides’re gonna follow Virgil. We both know that. And, uh. Only Marlowe knew I was here. So we’ve got time to figure out how to, uh. Play this off.”

Roman starred at him with wide eyes. The past two days had been such a long mess, he didn’t know what to do. Physically, he could remove the Playwright memories. He’d be a blank slate of a character, only backstory. What would that do? The Playwright’s backstory was that he was the Playwright. He didn’t have some elaborate parent-death or chosen-one-esque story that he could fall back on. Poor bastard wasn’t even the one who had Roman’s memories prior.

But the Director was right, in a way. If they wanted more time to think about everything—the other Sides were looking for him? How did Virgil get in here? Why would he be looking for Roman, it wasn’t uncommon for him to stomp away from a verbal duel, why now?—then they couldn’t have the Playwright ratting them out.

When he manipulated the Imagination directly, his powers were red. Remus’ were green. It was distinctive. So when Roman sank down, put a hand on the back of the Playwright’s head, his hand turned red.

It blended in with the blood.

Roman felt vile. He had to do this, or else the others would find him. A quiet, dull part of his mind told him that didn’t matter but….he didn’t want to be found. He didn’t.

He pulled gently, as though tugging the thoughts out, and something glistened red and gold as he did. Then, Roman let it go, and it disappeared. It reminded him a little of Dumbledore pulling his own memories out in Harry Potter. Roman didn’t feel much the chosen one, either, though.

“There,” he said quietly.

The Director let out a soft breath. It didn’t sound like either of them knew what to do, to be fair. Maybe the Director hadn’t even expected this.

“I’ll….here.” The Director looked up and pointed at the wall behind the couch.

The couch scooted forward a little, enough for there to be a walkway behind it, and the room simultaneously pulled away from the couch. Then, a door formed on the wall. It clicked once, then swung open. Another room.

Roman stood still, staring at his hands—was that magic or blood?—while the Director leaned down to pick the Playwright up. The man hadn’t moved since being bludgeoned by the table.

“Under the sink in the bathroom is a first aid kit,” the Director said, voice stoic, taking the reins on the situation, “I’ll make him a bedroom and bandage his head. Then he can stay for a day or two. We must figure out what to do, about the other Sides and about Marlowe.”

That was fair. He’d only stay a little.

Dimly, Roman remembered that this was the Imagination, he mastered this world, so he could technically get rid of the Playwright’s wound. He could get rid of his memory and the wound and send him right back to his home, right back to the Artist, good as normal and none the wiser.

But….something in the back of his head stopped him. And the Director pulled him into the other room faster than Roman could overcome whatever clouded thoughts were plaguing him.

#chivalry au #roman #roman sanders #ts roman #sanders sides fic #clap clap clap clap #tw blood #tw violence #tw assault #tw blunt force trauma #tw amnesia #AND WE HIT ONE OF THE BIGGEST ISSUES IN THIS FIC #LMAOOOOOOOOOOOOOOO THIS WAS THE FIRST CHAPTER I WROTE LKGJKHJGKJGH #marlowe goes through it #its okay he needed a cognitive recalibration

[cooltrainererika]

A Star Wars Noob’s ideas for fixing the Disney sequels

Okay so just to get this out there, because it won’t leave my mind.

So I’ve been binging on SW lately and the sequels only annoy me more and more by the day. So just wanted to throw my character ideas out into the world. Focusing on characters because I like writing characters way more than plot. Hopefully if I ever actually write this thing, or even somehow pitch it to someone with the right connections to animate it with the actors as voice actors, this wouldn’t have gone viral. But since no one looks at my blog it probably won’t lol. Hopefully.

But just in case, I’ll say that this will probably contain spoilers for a story which may or may not exist by the time you read this.

I’ve deliberately been trying to avoid as much emotional spoilers and normal spoilers as I can before the sequels despite the temptation, so sorry if some stuff is a bit off. Augh I hope I can get the time to watch the full OT and PT soon. I was too tired from hiking when I watched SW4 and I now really wish my dad didn’t show me when I was half-asleep.

Rey: Rainbow of possibilities; Cynical Scavenger, Adventure-seeking Audience Surtogate Geek, or Lawful Good to the core Paladin Padawan with a personal grudge, and may be descended from a family line, maybe not, but currently most likely a Skywalker by blood. Story and other character arcs change dramatically depending on which route chosen.

Finn: Stoic soldier man learns power of friendship, finds meaning of life, causes Stormtrooper mutiny, probably becomes a Jedi and second main character and hooks up with Rey. “What‘s a joke?”. Awkward dork and stunted socially but doing his best. May instinctively find it hard to disobey orders. He may be the one wanting to find his family; but that’s dropped soon enough to focus on what’s ahead. 

(Alternatively: Proud warrior guy who acts like a stereotypical North Korean soldier who finds himself outside the First Order, learns power of friendship etc. The rest is the same)

Poe Dameron: What we Japanese people call The Aniki. The funny charismatic ace pilot who keeps everyone sane, overall bro. Wholesome but a bit rough, that guy you would want to share a beer with. But within that easygoing nature burns a hotblooded, determined, dutiful streak, and an even stronger snarky streak. The one with the social skills. Loves his droid like his son though Cynical!Rey and Finn find that initially kind of stupid/strange. 

Kylo Ren/Ben Solo: Appears to be yet another quietly imposing Star Wars villain with added edgelord factor, but actually a mentally unstable, borderline yandere berserker of a man crushed under the weight of a legacy, with a horrifying inferiority complex, identity issues, and an unhealthy obsession with familial honor, constantly stuck between Dark and Light. Despite his high rank, basically the First Order’s attack dog. Usually has the emotional maturity of a 16-year-old, if not younger. If anyone is, he’s the damsel in distress of this story.

Luke Skywalker: Cuddly sunshine headmaster sage doing his best, has been on many adventures before that are hidden ads to future Lucasfilm projects. May have gone to search for answers as to what is causing recent events, or is still present at the beginning. May survive at the end. He could be anywhere from kind of jaded but at his core still that sweet optimist, to Basically Uncle Iroh, to can-literally-summon-Porgs-by-whistling/Space Sage Mr. Rogers.

Han Solo: General of the Republic Armed Forces or courier who decided military life just wasn’t for him and now delivers important messages through still unstable areas of the New Republic, a war hero, and a dad doing his best. Wants to hold hope but may have at least outwardly given up on Ben, with Poe filling in the void. Has gone clean from his life of crime and still married 30+ years strong with Leia. He would be the one who is the closest to Poe if he’s still in the military and Leia is a Jedi, with Poe being seen as his likely successor. He might die at the end of 8? Maybe Hamill and Carrie would somehow talk him into sticking around past 7? He might still die in 7?

(Side note: I wish we could have seen Old Harrison Ford in a military casual coat-cape. He would have looked awesome in it. I mean no one would really complain that he plays fast and loose with the dress code if there even is one, he’s Han freakin’ Solo and he gives no f*cks.)

Leia Organa-Solo: Preferably a Jedi Knight, leader while he’s away if he’s away as well as their tactician, or senator considering her personality; maybe have basically what Colin Trevorrow planned for her (I mean… why not just use CGI at this point? They’ve done it before. I’m sure Carrie wouldn’t have wanted her swan song to be such a passive role either), with her bond with Luke being a major factor and us actually being able to see it in practice. May have outwardly given up on her son as well, but still is at the end of the day a mom doing her best. Basically a strong, smart lady like how she’s always been.

Chewbacca: How he always is, but he plays more of a role than basically the guy bussing the cast around, an active combat role definitely. Han’s second in command and maybe fellow dad. Possibly the part-time chaperone of the mess that is the new main duo. Also was Ben’s first friend, and you bet there will be drama here.

Lando Calrissian: Business mogul who probably helps the heroes out, maybe by selling them stuff and using his many connections to get information. And/or he’s basically an economic diplomat for the Republic. Has known Ben since he was a child and may have snuck him on too many joyrides without telling Leia, to her chagrin and Han’s amusement. 

Grand Admiral Armitage Hux: Basically how he was in SW7. Calculating, manipulative, coldhearted, intelligent, and ruthless, the brains to Kylo’s brawn. Son of former Imperial officers, killed his own father to get where he is. Gives no f*cks, except when he goes full ham. Maybe even he goes cold and pale if Kylo starts getting angry, just to show how terrifying he can be, but I also like the idea of him being one of two people who can manipulate Kylo out of a tantrum and not end up a pile of flesh or choked to death. 

Captain Phasma: How she is in supplemental material probably. A walking chrome machine of merciless death. Probably not very talkative, and probably does not take defectors lightly. She may defect at the end or not depending on how truly evil she’s portrayed to be, but I’m thinking she’s likely this cruel disciplinarian who expects complete and utter, machine-like obedience to the end, and Finn flinches at the mere mention of her, though she herself is equally as extremely loyal to the cause.

Snoke: A mysterious being, the likes of which are not of this galaxy. Probably some kind of ancient eldritch abomination who can torment vulnerable minds with an untraceable curse. Not your average Sith, and despite how it may seem it may not be connected to them at all… Or perhaps it is. Or perhaps it itself serves a larger master. It wants to use Kylo Ren for… something. Just what it is is what Luke has been trying to find out for years.

Knights of Ren: Idea borrowed from Thor Skywalker (check him out on YouTube!); possibly a military cult of Sith/Vader worshippers who see Ben as the second coming of Vader, and have aligned themselves with Snoke. Probably basically Kylo’s personal guard and troops. Or possibly directly liked to whatever otherworldly entit(ies?) Snoke is, not being of this galaxy themselves.

Anakin Skywalker: Determined grandpa doing his best for his kids, grandkid(s), and the galaxy. Doesn’t appear often, but plays a major role in the story; maybe he’s the one who led Rey to his lightsaber, and maybe he advises Luke while training Rey, or secretly follows Kylo, trying to speak to him but unable to be seen or heard by him. He’d be the one who ultimately convinces Ben to return to the light, and to, in an echo of the words Ben heard when he was being impersonated, “finish what I started”.

Rose Tico: A probably relatively new, wide-eyed young recruit in the Republic Military, and maybe seeks revenge on First Order for killing or kidnapping her sister. Not sure if she will be needed, but if there’s room for her she might be interesting. Maybe she’s one of Poe’s friends or part of his squad. She could also be the resident girly girl because there aren’t many of those here. 

Vice-Admiral Amberlyn Holdo: She’s in the Aftermath books, and those seem pretty good, so she’s probably how she is there. A quirky mostly background character that is probably at most there for Han and/or Leia and Ackbar to give commands to and salute back, but most importantly she actually does her job properly, even if she’s still a bit of an odd person. Also Poe knows her and they have a way more amicable work relationship. Also give her something which actually looks like something military personnel would wear. She could even be a legitimately good tactician who comes up with off-the-wall tactics.

(Side note: I heard that she basically has the Star Wars version of Autism, and while I’d appreciate that as an Aspie myself, I’ll also have to say that Autistic people would probably be terrible military leaders due to us not being able to adjust to sudden changes well and our bad communication skills. So yeah, sorry, unless she’s recast to something like, say, a mechanic or logistics or medic or any other more Autistic-friendly job, that’s going to have to go)

Maz Kanada: …Admittedly not sure what to do with her. But she’s more likely to be an acquaintance of Lando before Han, if she doesn’t know both. In fact, Lando may be introduced early alongside her. But she would still have the important role of keeping Anakin’s saber; how she has it, either Lando found it, or basically what was cut from TFA showing that she’s indeed pretty awesome. 

BB-8: BB-8 doesn’t have to change. He’s perfect as he is. Maybe what he can do should be more consistent though. Poe and him are basically Ash and Pikachu, they stick together whenever possible. If Rey or Finn need a droid to tag along and Poe isn’t in the party at the moment, R2 is right there. I once read a fanfic in which BB-8 was actually a droid Luke made for Ben and I liked the idea… though it probably would be a bit of an unnecessary detail in practice.

R2-D2 and C3P0: They’re basically business as usual. They would still have that boke-tsukkomi dynamic they had going on, sometimes with the added childlike cuteness of BB-8 in the mix. If there’s any extra time left for comic relief scenes, or if they’re sent on some kind of mission together, I can see these three messing around doing their thing (or rather, BB being childlike, cute and curious, Threepio being overly nervous, and Artoo being too old for this sh*t and/or BB’s cool uncle/older brother) being both cute and hilarious.

Also Worldbuilding stuff will be featured at the bottom

Elaboration on the “big four” of the sequel cast:

Rey: Aged 19, speaks with Daisy Ridley’s normal accent, not RP (I mean really, her accent isn’t that hard to understand). A whole rainbow of possibilities with this lady, though many don’t realize it. I might be leaning towards her being Luke’s daughter, though her being Just Rey may also be interesting, and her still being a descendant of Palpatine or the main villain could also have potential, though if Finn is a Jedi I don’t think there’s any need for her parents to be nobody. But the three main routes I can think of for her are these three: Cynical!Rey, a Rey with a backstory identical to the canon Rey from her abandonment onwards, Fangirl!Rey, a sort of estimation of a dorky female Star Wars nerd in-universe and the most lighthearted start out of the three, and Padawan!Rey, a Rey who is already Luke’s Padawan at his academy. Maybe making her starting point less crushingly bleak and Fangirl!Rey could work, but it might dilute both ideas, and that characterization might be a bit too similar to ANH Luke. 

As is apparent, Cynical!Rey, is, well, cynical. She’s strong and independent, but extremely distrusting, on-edge, and not used to friendly interaction. Think Female SW4 Han Solo but even more antisocial and probably not even bothering with the bravado, and basically with Anakin’s upbringing except she doesn’t even have a loving mother like Anakin did. Fangirl!Rey was my initial idea but I’m starting to become less partial to it because of the aforementioned similarity to ANH Luke, but my idea was she’s basically Harry Potter, living with stepparents who hate her, or she’s still used as basically child labor but her conditions are nowhere near as bad as Cynical Rey’s, and she would have grown up on stories about the Rebels and the Jedi and everything else in the past movies, collecting every single bit of memorabilia she can get her hands on. If one wants to go for very lighthearted and slightly meta for SW7 this is the route. Padawan!Rey could go anywhere, but I’m thinking she would basically be our D&D Paladin; ever since Ben Solo went berserk and ran off to join the First Order, she’s become very protective of her fellow students and has a really understandable personal grudge against him. She might be the strongest pupil left after the Second Jedi Massacre, and by the end maybe she becomes the successor to headmaster of the academy. It is possible that she was found abandoned on Jakku or Luke’s doorstep, however, so the theme of growing up lonely is there, and because being a Jedi is what has given her meaning in life it means a lot to her. But while I don’t want her parentage to be revealed early if it is Luke, it does raise the massive plot hole of why this was never disclosed to her or to Ben. 

And yes, I did say fellow students and academy. Wiping the new Jedi Order feels really cheap and it makes the whole hopeful Jedi Starting Anew implication that I’m 90% sure the OT ended on feel very pointless. I’d prefer them still being there, though their inclusion would be obviously way more natural in the Padawan Route. This also has tons of marketing potential for Disney, because I wanted to take IRL realism into account; what’s in it for Disney? Maybe potential to expand on other students and Luke’s academy? It could be like a smaller Jedi Hogwarts/Xavier Institute basically. Though the survivors wouldn’t be too numerous; just, like, four at most. Maybe there would be elements of an Avengers/Infinity War/Endgame-esque team movie, even if the rest are a bit out of focus.

I did think maybe the heroes would still go to Ahch-To after SW7 where Luke would have been hiding with his students researching the new threat, but maybe I could have him stay and sort of take a few cues from Harry Potter by introducing the heroes to the world of the Jedi early and giving them a break in the action as they settle in their new homes, so there’s more time to develop the padawan side characters, what the academy is like, and Luke gets to appear in SW7 as well so there can be a OT trio “reunion” (not a reunion in-universe). Though that kind of messes with other parts I want to include like Rey and Finn having to take on Kylo and getting completely whipped because he’s a rampaging madman before having to be saved by Luke. Also Rey getting kidnapped has potential for developing her trust in others, and her and Finn getting a breather moment at the Republic after the heroes and Han regroup would kind of remove a point where that could be easily slotted in the story. It would also require everything before this to be crammed in the first act. 

(Newer edit 5/27/21)  I also like her getting a golden double-bladed saber like many fans depict her. It’s not only awesome looking (because she only gets her own saber at the end of TROS… Why?), but it’s more toys for the moichendise! It fits her starting with a staff, it has more reach, and it would fit Cynical Rey especially for her to have a style centered around keeping as much of herself defended as possible. Watching Battlefront 2 footage has made me think about fighting styles a bit, and if she and Finn are a duo how their styles of combat might compliment each other, especially as their relationship develops (coincidentally she and Finn apparently are a very good combination in BF2). A Cynical Rey would probably contrast the most, with a fighting style based on keeping enemies away, trickery, and defense (a good choice for a blade made of light), maybe a bit wild at first but initially her goal in fighting would be to hold out until there is an opening to get the hell out, only staying to fight if she has no other option. Fangirl Rey wouldn’t really have a fighting style initially, and it’s gonna be very dependent on where her arc goes. Padawan Rey would have the most Prequel Jedi-esque, choreographed style, showing a lot of skill though not quite mastering it and with tons of openings at first. A Cynical Rey may have an uncanny skill to detect suspicious people, which would make her trusting the heroes easier, and though this ability isn’t super strong and is more “a slight gut feeling but it could be nothing” than “human lie detector” it could maybe be honed more. And while not quite wall vision like in BF2 (because wat? Where do they come up with this stuff?), maybe she’s good at detecting people’s presences too. These are very apt ambient skills for someone in her position. Meanwhile, Fangirl!Rey would have probably suspected she had the Force already, and her ambient abilities could be whatever, just rather passive abilities unless trained. 

If she is Luke’s daughter though, that would open up the can of worms of who her mother is. Just making it so that she died before the events of SW7 might seem a bit… unfortunate? I kind of want Luke to have found love sometime (and seriously with how much of a bombshell young Luke was, in addition to him being such a hero, I’m shocked that he never got one. I can see why Mara Jade wanted a piece of that. *wolf whistle*), but then I’d have to figure out how to incorporate her in this already character-dense story without her having cheaply died offscreen. I might be able to think of something? I could always go digging in the dusty pile of old fan theories, I might find something good. Thor Skywalker did hint at her but his story stopped at the end of where SW8 would have. If I do name her Mara there’s probably going to be extra pressure to do something with her. …But I can’t be the only one who thinks that Daisy Ridley kind of looks like Natalie Portman. Then again I’m pretty face-blind. I guess blond hair and blue eye color genes are also recessive traits for Star Wars humans. Though it seems the height genes skipped a generation because she’s actually pretty tall for a woman at 170 cm - I’m sorry what. That’s as tall as the average Japanese man! Holy sh*t Daisy! She only looks a bit small because she’s often depicted with Kylo and Kylo makes everyone not Phasma look diminutive. I guess Ben would get it from Anakin and Han (though he’s still taller than both of them…), so maybe a taller actress would be cast as Mara (?). And despite Rey’s malnourishment in the Cynical route, this actually isn’t that implausible, because stunted growth apparently only happens if children are deprived from gestation to about 2 years of age. 

And again, why wouldn’t Ben know about this? But if this isn’t the Padawan!Rey route (the hardest to incorporate Rey The Actual Skywalker into), maybe Ben took Rey’s assumed death as even more of a reason to burden himself with the entire Skywalker legacy? This would give him a reason to already care about her.

Further edits: According to the Aftermath books, Jakku was a “Lightside Nexus” planet. Maybe this has to do with her powers? (Perhaps she was kept sane by the Force speaking to her on occasion, in dreams or as she lies staring at the ceiling after a long day, showing her the loving life she used to live and unknown to her she will return to someday). Or why she was dropped there? Maybe she was supposed to be living with Lor San Tekka (the old guy Kylo kills at the beginning of TFA), but got lost one day or was kidnapped by bandits to be a scavenger because her small size would have been perfect for getting loot from small spaces? Why not take her back then? This probably is one of the biggest plot knots in the Cynical Rey Skywalker route, alongside who her mother is.  

Small detail lightning round before moving on: I once read a Japanese fic, and in it she mentioned she hates alcohol because she saw how it turned people into monsters. I actually kind of liked this headcanon, and maybe a bit unexpected. Though there’s also the route of her just being too used to it, setting her apart from previous more wholesome protagonists even more.  Also Daisy would have to start hitting the gym and protein shakes because I think her character design evolving from her thin build to a very athletic, Wonder Woman-esque body type would be pretty good in representing her growth as a character, and combined with her height she would be so very badass looking. 

Finn: Probably around 23? Infamous for lost potential, so his backstory is the same. However, I’m thinking that due to his dehumanizing upbringing, he’s a bit robotic and pretty stoic initially, a total opposite to Poe. He doesn’t understand jokes or sarcasm, and now that he’s completely left the life he’s always known, he feels pretty lost. He would basically act like a male Rei Ayanami, though I was going more for Drax at first. Alternatively, he’s a proud warrior type, imagine a stereotypical North Korean/Prussian soldier. He’d be a bit more emotional and probably less cartoonish here (I mean I have compared Star Wars to anime but full-on anime tropes in live action probably looks super corny), and he’s a massive hardass who also doesn’t get sarcasm or jokes and fanatical and would have thought of his fellow soldiers as a collective as his band of brothers and comrades, collectively serving the FO like a smoothly running machine. My initial thought was that after a life of war crimes and the influence a certain pilot whose cell he was guarding who gave him his name, and maybe witnessing the death of a comrade, he had defected from the FO, but I started thinking it would be plausible if he defected from the FO probably by accident. Highly likely to be the second protagonist, if not POV character, and if so I think it’s logical that it’s Finnrey that becomes the canon ship here. In the Padawan!Rey route, he’s the newcomer protagonist, not Rey. If they’re shipped, or even as friends, they may bond over their dehumanizing, harsh backgrounds and the feeling of being lost in the world. Also he likely starts a mutiny. Like it was such an obvious plot point but they never use it for some bizarre reason. It’s like the DM didn’t read his character sheet at all. Actually one didn’t and the other kept forgetting it in the third campaign.

There’s two ways I think his arc could go; first would be a focus mainly on his search for identity and becoming his own person. Second, his guilt about having done the First Order’s bidding for so long. Probably a combination of the two, though I’m not sure how to address them both. He also wants to see his colleagues free from slavery. But I am sure about I’d that he’d have to overcome his conditioning, learning to regain his humanity.

Especially if Rey is a Skywalker and he becomes a Jedi, he’d be the one who the movie makes a point about being from nowhere. He has no idea who his parents are, but it would not even matter in the end, it’s what he makes of his life from here on out. And if he and Rey end up together, which is extremely likely in this scenario, he not only finds his family in the figurative sense with the other Jedi and his new friends plus girlfriend, but in the literal sense as well, going from nameless Stormtrooper FN-2187, to just Finn the ex-Stormtrooper, to Finn the Padawan and then Jedi Knight, to finally, Finn Skywalker, Jedi Knight; maybe the last movie ends with one of them proposing to the other, with SW8 having previously ended with the climactic big damn kiss that cemented that they are a thing now. (Cue Luke jokingly asking when he’s getting grandchildren and How It Should Have Ended!Anakin squeeing over him getting great-grandchildren lol) His name would have this real symbolic value to it with how it changes as he goes from nobody to somebody. Not to mention “Finn Skywalker” is just a freakin’ awesome name. If they make up the leading duo, he and Rey may have some kind of inherent connection, or they progress into two parts of the same whole, even attaining something like a Dyad.

I thought an interesting thing to do if Rey is a Skywalker, and this is Cynical Rey, is a twist on the expected pattern by making him the one who sees the good in Kylo, not Rey. Because while Rey might be his cousin, she’s also a very distrustful person who couldn’t afford to think deeply about people act the way they do when she was growing up and fighting to survive. Meanwhile, Finn knows Kylo, and he also knows what it’s like to be determined to be a killing machine from a very young age, and if he has to forgive himself, or if he’s able to see the light, that Kylo deserves a chance as well. It would be the ultimate show of kindness from him, to show him forgiving the man who works so loyally under the same organization that enslaved him. I can also see Kylo being angry at himself for being unable to sense the Force-Sensitive in their midst. 

Maybe he was born on a “Lightside nexus” planet too so that it makes sense that he can keep up with other characters? Presuming he’s in his early 20s, I don’t think him being raised by the Order since he was a baby is that plausible, so maybe he was already an orphan? I can see the First Order spinning their Stormtrooper program kidnapping street orphans as “rehabilitating” them, which combined with good old Victorian style citizen apathy to street children allows them to get away with it. But if he was, say, around 6 years old when he was taken away, it would make sense why he was able to break out of his programming. Perhaps Poe showing him friendship awoke the humanity long dormant in him. But on the other hand, the younger, adolescent soldiers may be beyond saving, and I can see that being absolutely heartbreaking. 

I can see his fighting style with a saber being direct, forceful, and pragmatic, but unlike Rey the emphasis would be on engaging and keeping up the fight, and be very disciplined, calculated, and controlled in contrast to Cynical Rey. At least he’d attempt it while he gets used to the properties of a lightsaber, before there would probably be a lot of awkwardness as John is directed to swing this weightless prop blade with a weighted hilt like he would a club or sword. If he isn’t a Force Sensitive, he’s a good sniper just like in BF2, in fact this would be his primary combat ability, though still able to hold his own in melee combat. Though even as a Jedi he’d probably still use a gun as a sidearm, and his good aim would also translate to him being very good at spotting openings and spotting danger from a distance, as well as enhanced ability to dodge. 

Poe Dameron: Age 29 (?). A total bro. I’ve kind of come to think of him as this embodiment of the good, wholesome side of traditional masculinity. I can best describe him as the guy you expect to think of when you think of the guy who takes the boys to the bar for beers on the house and hosts Super Bowl night (for the Americans out there). Basically just that big bro/cool uncle everyone likes. I think he’s the least changed from how he is in SW7; he’s a laid-back pilot with no special powers, and while he’s probably the most static and admittedly flat character (and unfortunately more minor than the other two) he has tons of charisma and optimism to compensate, though being the one who keeps everyone sane definitely helps. Not to mention his piloting skills; which, note, are never eclipsed by Rey, because that’s dumb. His skills are a bit more downplayed here, but he’s still extremely good, especially for his age. Despite being the pilot he’s the most down-to-earth, and may be the only one of the big four with any social skills, even if he’s a bit dorky, especially regarding BB-8. 

Son of Rebel pilots, graduated top of his class in the Republic Flight Academy, and his background is squeaky clean, no drug trading involved, though he spent a lot of his adolescence and his adulthood in the Academy or in the military, just like in pre-TROS supplementary material. He’s the main source of jokes and wisecracks out of the trio in all but the most dorky of Fangirl!Rey routes probably, teaching Cynical!Rey and Finn what it’s like to smile and laugh. He still has a close relationship with Leia and Han; possibly closer to the latter due to the latter being a pilot and likely still a General. Not sure about him keeping his rank because him starting and staying at the top might mesh awkwardly with the rest of the trio, but maybe he’s still a Commander; whichever makes his inclusion in the main cast most plausible. Due to an adorable Pixiv comic I found he may have been inspired to become a pilot by Luke or Han. I’d like to think that he breaks the hotshot pilot cliché a bit by not being too overly arrogant, immediately setting himself apart from Han by being a wholesome guy there for his buddies from the start, even if he is fond of wisecracking and snarkiness (probably from hanging around Han and Leia), and inside that laid-back personality lies a hotblooded, passionate, unwavering core. Like, he’s not exactly hotheaded like a Latin stereotype (*ahem*), but he’s got this more subtle, but still apparent, underlying fiery hotbloodedness to him, something that especially makes itself apparent in high-stress situations and when it comes to his loved ones. He’d also be Rey and Finn’s mentor of sorts in stuff that doesn’t involve the Force, being their role model for what a functional member of society is. He may make some self-depreciating jokes about being “normal”, but I think mostly he’ll take it in stride. Though I can see him and Han having a chat about this in a more quiet scene. 

Ironically, out of the trio he could maybe be said to be the most suited to be a Jedi personality-wise, despite the fact that he has no Force Sensitivity whatsoever; he goes with the flow, he isn’t troubled, he’s happy with the simple pleasures in life, he’s just a good, genuine guy who does good things, passionate but not obsessive, and he’s forgiving, willing to give even an enemy soldier a chance, appealing to the humanity in him. The last one is particularly Luke-like, don’t you think? Oh, to elaborate on the escape; I still like the idea of him giving Finn his name (though another idea I love is a fallen friend giving Finn his name, that would change stuff around a lot from what I am thinking at this moment). I also think that perhaps supplemental material or some flashbacks, or even an animated short could be made showing just how Poe broke Finn’s programming; by showing him genuine kindness, because somehow, despite his lack of Force Sensitivity, he saw that FN-2187 could be talked out of his programming if he was constantly nice to him, befriending him, starting up casual chatter with him, and after a while the trooper starts opening up to this pilot. …Yeah, Luke-like indeed. Though since there is the plot hole of why Finn could be convinced in mere days and why he’s the only one guarding such a high-profile prisoner, a more realistic idea may be that they talk to each other this way a few times, then Poe escapes and Finn goes after him before they both crash on Jakku and have to work together, with Poe immediately being friendly with Finn and later Rey, to his (and her) confusion. (I can just imagine Poe being all chipper and trying to engage Finn in conversation, or telling him “Good job, sport!” after they fight off bandits or something, and Finn just is all deadpan and “We are enemies, we have no reason to fraternize” and I find that kind of cute).

He may ultimately be the most static of the main cast, but I can see him having a huge impact in more subtle ways; like maybe Rey and Finn think of what Poe might do in a given situation in their training, and he could be the catalyst behind why Finn thinks that Kylo can be redeemed, just like how Poe was able to light another way when it felt like there was only one path for him. He also definitely wouldn’t be the type to be so reckless with his men like he was in TLJ, if he’s still a Commander; he cares about his men a lot, and in fact they may be the reason why he tends to act like an older brother. I can imagine a pretty poignant scene with Finn where Finn sees Poe by himself and BB-8 paying respects to his fallen comrades by this handmade cenotaph, as he sets some flowers down and pours a drink to them, and Finn once again is able to see how different the culture outside the First Order is, as he would have never been mourned like that if he died on the battlefield, nor can he imagine he ever would have done so himself. Or maybe Rey is there too, because if this is Cynical Rey she’s only known a life where people exploited each other. Maybe other characters like Jessika (who he’s already close to I think? Did she show up in the movies though?) or Rose would have the opportunity to be more than background characters by being part of his crew, and we’d get some charming scenes about the bond he has with his squadron.

Again, admittedly he’d be the least deep character out of the big four, with his feelings not being explored nearly as much. But he probably doesn’t really hide his feelings much anyway. For any supplementary shorts involving him, they would be mainly lighter stories about his relationship with the OT cast and their families and his friendship with BB-8 and his crew, or action-y ones about missions he’s gone on; as opposed to, say, Finn, which would show his life as an expendable trooper who knew nothing but war, Cynical!Rey and her crushing loneliness and growing disillusionment to the world as she struggles to survive, or Padawan!Rey and her anguish and grappling with the Dark Side in the aftermath of the Jedi Massacre. 

I can also imagine him being this adorable Shipper On Deck for Finnrey lol. Just looking at his two friends, all proud, maybe even tearing up like “*sniff* I’m not crying Buddy, you’re crying!” when the inevitable big kiss scene happens. I can also imagine him being the one to tell Finn that “Hey Finn, what you’re feeling is love!”…And then he has to spend hours trying to explain what love even is to him lol. He always has his friends’ back after all. Again, he’s most likely the one guy who isn’t completely socially inept among these dorks. I’ve also had the potential idea that he could maybe be a good cook, and he’d be the one who introduces Rey and Finn to actually good food. Some fics I’ve noticed tend to show him cooking stuff probably for that reason. It’s just kind of cute, and it sets a good example if despite his traditionally masculine, salt-of-the-earth character, he likes some less “manly” stuff like such and sees no shame in it.

He may sacrifice himself in a blaze of glory towards the end, especially because quite frankly he may lose his plot relevance as the story goes on, though it would definitely be way more respectful than a lot of deaths were treated in the sequels. But I also want him to stick around because I want to imagine him being all proud of Rey and Finn after they propose to each other and giddily planning their wedding, and I feel he could have some very good interactions with Ben to build on for any spinoffs taking place after the trilogy. Speaking of…

Kylo Ren/Ben Solo: AKA Yet Another Ball Of Lost Potential: Anti-Villain Addition. This is gonna be a doozy, so strap in. He was probably the most developed character here but that just makes his lost potential stick out even more, so I have so much to say about him.

About 27 probably. While people complain about it, I actually like him being a manchild. It makes him a bit unique in this series. It’s kind of like Vader if he didn’t get stuck in that suit and kept acting like Anakin. In fact, that could make him even more terrifying if that feeds into how destructive he can be; at first he seems like your typical intimidating SW villain, not even that bad a leader with a seemingly calm if tense, imposing air, but it eventually becomes clear he’s this terrifying, volatile berserker who can throw some of the most destructive tantrums ever, and is ultimately a pathetic, broken, pitiful shell of a man. …He just happens to be a very powerful shell of a man. Maybe if he becomes emotional or angry enough, he can unleash powerful shockwaves that basically blow up everything around him, or cause mini Force Storms, or cause any number of unpredictable effects. Though he’s not quite constantly raging either; these berserk states are indeed triggered by anger, but I’m thinking that they are also basically weaponized panic attacks, there’s a sense that it’s also a self-defense mechanism that he lapses into when emotions overwhelm him or when he otherwise feels threatened (though whether it’s necessarily involuntary all the time I’m not so sure; but while he’d definitely want to be able to trigger them voluntarily, there will always be some sense that he doesn’t have full control over it). Also a lot of his rage is directed inwards as well, much like with his grandfather. I thought that maybe his unpredictability in these rages would be the key to his destructiveness, though I can see how someone who is out of control would also pose a problem, no matter how powerful; so maybe this is when he becomes the most focused, becoming locked onto the elimination of the perceived threat at all costs, and/or he can be controlled by his Master more directly like some kind of attack animal. 

Luke’s first padawan, or at least after Leia or Grogu (I might make him show up as Luke’s first knighted pupil and allude to this, providing more exposition on Kylo, and being one of the Jedi who help fight in the final battle as the Skywalkers go on to take on the final boss (and Grogu’s name being revealed would be a massive hype moment in The Mandalorian)). Due to his storied family, plus the name of his uncle and grandfather’s own master, he had heavy expectations on his (at the time) small shoulders from an early age. However, he had long been tormented by the Dark Side due to an untraceable curse placed upon him by Snoke, and probably a pre-existing anxious personality. The expectations placed on him, or maybe perhaps just self-imposed expectations, only worsened his turmoil, resulting in a festering mess of self-hatred, extreme perfectionism, and an obsession with familial honor and obsessive attachment to his family, especially Luke, that is a nasty combination of hero-worship and the abovementioned complexes and may border on almost incestuous.

There’s three ways for his backstory to go; “Underachiever Ben”, where Ben is either mediocre as a Jedi or still good but outperformed by others, or “Elsa Ben”, where he’s basically like Elsa from Frozen, possessing an extreme amount of power but barely able to control it, possibly due to Snoke’s curse, and a sort of middle ground, where Ben was super strong and a quick learner, but the dark side in him made Luke feel mixed about Ben’s increasing power, which Ben sensed. If the former, Ben becomes increasingly frustrated at himself for being such a “failure”. If “Elsa Ben”, there’s that, and also the added pain of him growing up terrified of himself and able to sense the terror he causes to those around him, so he was taken in by Luke so hopefully Luke could figure something out; he could have been destructive from the start, or maybe he started to become increasingly destructive despite his training. If the middle ground route, he takes Luke’s mixed emotions to mean that he doesn’t think he’s good enough. How severe Snoke’s curse would have been I’m not fully sure on; he could have voices in his head and nightmares keeping him up for days, chipping away at his sanity, tempting him to accept the darkness, or it may have just been an amplifying of his already unstable emotions. They could have even started as the latter and escalated to the former. But I’m thinking that to best explain his behavior I’m leaning towards the Elsa route. Eventually, his nightmares morphed into repeated visits by Darth Vader, his grandfather, who told him about the truth of his lineage and how he became Vader, slandering everything and everyone he ever admired or loved, telling him of his “true” destiny, and how he should give up and embrace it; unable to hear the real Anakin’s ghost screaming at him to not repeat his mistake. This extended campaign of mental torment stunted his emotional growth in many aspects, and at times he may seem to regress even more. Maybe other padawans were afraid of him because of this dark side presence, avoiding him, and/or were jealous of him because of his lineage and relation to Luke. He often felt entitled to be Luke’s right hand, getting jealous at other students and taking any reprimanding, no matter how gentle, extremely personally. Luke would have needed to struggle between not seeming to be biased towards his nephew and giving him the attention he needed, especially because Ben would feel like Han and Leia abandoned him because they weren’t able to help him, but considering how attached he is to Luke this would hurt him. So when Luke went to speak to him one night, or rushed in sensing an overwhelming dark side presence in his room, and was suddenly attacked by Snoke with a vision of what his nephew would become and making him go into fighting mode for a split second, drawing his weapon to protect Ben, and/or earlier admitted in anguish that he had no idea what was tormenting him despite his efforts, the straw broke the pedestal and he resigned himself to his “destiny”. Ironically he’s just exchanging one sky-high ideal for another, but he’s too emotionally immature to realize this, nor does he fully realize the fact that Snoke merely sees him as a malleable, gullible means to an end. Yet he still feels that pesky pull to the light, and he becomes increasingly frustrated with himself that even as a Dark side user, he still can’t be “perfect” or “worth” anything, not even able to sink himself into the darkness and finally rid himself of his pain. For all the privilege and power he has, or because of it, he always feels worthless. 

Basically I want to break him down and make his pitifulness obvious, but that’s what makes him sympathetic. He’s nowhere as far gone as Vader, even if he wants to be, kind of like a reverse Jekyll and Hyde situation where the Hyde is dominant but Jekyll hangs on, so to speak? Maybe? Is that the right analogy? Or I guess it is kind of like Anakin but sort of not, but he’s rapidly going down the same route of hurting his family like his grandfather. 

From researching a bit, his proposed behavior seems pretty close to the symptoms of BPD, which is actually pretty fitting because I was thinking Luke’s philosophy on the Force would be influenced by a more modern understanding of psychology, and Dialectical Behavior Therapy actually seems pretty in tune with what I understand to be how the Light Side of the Force works (I mean it even has basis in religious meditation…). Perhaps a mystical version of DBT was one of the things Luke was studying in exile. Though obviously it isn’t exactly BPD; portraying an actual, named mental illness not only has way too much baggage behind it, but it breaks immersion. And with him a lot of it will be the influence of the curse, though I think I would rather him have a personality that made him vulnerable to it from the start, so the curse had something to latch onto. 

Going with the “Elsa Ben” scenario, his “real” personality is anxious and even a bit shy. While I like the idea of him being cheerful when he was very little, the shyness always being there is also a characterization I like. Combined with his lumbering physique from his teenage years onwards, this made him a kid who gave off an impression of being extremely dorky (an act that would probably be very natural for Adam Driver to pull off lol) and/or withdrawn and aloof, the latter of which may have made some other padawans think he thought highly of himself and start to resent him. Unlike Anakin he’d be probably a dutiful student, almost creepily obedient, probably actively distancing himself from rebellious behavior, though his way of speaking isn’t exactly super formal either because of the influence of the adults around him. In his obsessions lies a genuine love, even if twisted, of his “favorite person” so to speak. He was also a genuinely sweet kid who wanted to please these special people in his life. He could be said to be actually really selfless in a weird way, because ultimately he values familial honor and being “good enough” for whatever higher purpose more than he values himself. TROS implied some sassiness with that Han-like shrug, and while I can maybe see some of Han rubbing off on him like that, that might be something that started from him trying to copy his parents’ air of confidence, and another coping mechanism. He might, like Vader, have a 501st legion 2.0 which Phasma is in charge of and Finn is part of, and show a more nicer side to them. Perhaps he opened up one or two times to Finn specifically; I can see this image of him venting to him while Finn stands still like how someone might vent to their dog, not really expecting Finn to be listening (also sarcasm might help Kylo obscure his true anguish from Finn, because FO troopers don’t understand sarcasm probably).  

He will be redeemed at the end… and live. Even if not necessarily paired with Rey. I’m neutral on Reylo (though admittedly I have a weak spot for pairs involving a strong woman and a troubled guy, so it’s kind of growing on me), but I really think this ship, or even centering the story strongly around a platonic relationship between these two, could have worked if it was built up strongly (Though if I were to go this route Finn would have to be established as a secondary character from the start, with Rey as the definitive main character, to focus on this). But either way, he’s definitely going to have to face the consequences of what he’s done, make up for his atrocities at least somewhat, and think about what he truly wants to do from now on. I can imagine him quietly reading stories to younglings as Rey, Finn, and Luke train some other pupils outside, or thanklessly working behind the scenes in other ways. For his haters out there, I could make the pill easier to swallow not just by making the reasons for his fall and how he was slowly and meticulously gaslit more clear, but also making him not as awful. Yes, he’s extremely destructive, but he could show more reluctance, or pause after his berserker rages, staring at the destruction he’s caused as the weight of what he’s done sinks in. He’d of course resent that he still has mercy left in him though. I don’t think that there will be a Starkiller Base, but even if there was he might argue with Hux a bit over whether it’s really necessary, until Hux sneers at him for having mercy, saying that Vader never hesitated when blowing up Alderaan, and Kylo reluctantly backs off.

…Actually, what about making him and Rey cousins? On one hand, if Rey is a Skywalker by blood, a direct daughter of the Master himself no less, Ben is now suddenly freed from carrying the weight of the family legacy on his own. On the other hand… He basically loses the thing he has spent his entire life building his identity around; since his fall would have partially been because of his obsession with Luke, he may become jealous and extremely resentful of her, and/or take this as even more reason for Luke to not “need” him anymore. Or perhaps, he pulls a reverse of “I sense the conflict in you” with her, wanting to “save” her from embracing the Light and wanting her to embrace the “true” Skywalker destiny with him. He could even be overjoyed that he could have someone else alongside him to carry on the legacy with; in this scenario he could have an unhealthy obsession with her that might also start crossing into “are you sure this isn’t incest?” territory. Yeah it’s a “join me and we can rule together” scenario again, but it would be done differently. Or perhaps it’s a mix of some of those. Exploring that and how he chooses to take it could be extremely interesting. Maybe it’s resolved when Anakin tells him to “finish what he started”… not just by saving the galaxy, but by also living the rest of his life loving his family not as an ideal, but as family, like Anakin wasn’t allowed to. And platonic Reylo sounds nice too. Though that’s going to make all that shipping fanart so awkward lol. Well it’s not as if Star Wars shippers haven’t been cockblocked by incest before (though his obsession with family and extremely questionable mental state would probably make such shippers go nuts anyway…). 

And going off of Poe being close to his parents, while the main interactions with Kylo from the heroes would be Rey, Finn if he’s the second protagonist, Luke, and his parents, I can see potential for an interesting dynamic and some interesting conversations between them too. Much like how he might react to Rey being Luke’s daughter, I can see him being jealous of Poe and resenting him for being his “replacement”, but after his redemption I can see potential for seeing the start of a friendship between them in epilogue comics, novels, or a mini-series. It would be pretty in-character for my version of Poe to want to help rehabilitate his sort-of stepbrother. Also I now have the adorable mental image of Ben quietly helping Poe (and maybe the rest of his squad) decorate and arrange Rey and Finn’s wedding, or the two surprising Finn with a very elaborate bachelor party, though I’m not sure if those exist in this universe. And because of a certain Inside Llewyn Davis scene I’m also imagining Poe getting Ben to sing with him and BB-8. It’s adorable. 

Also if both Rey and Finn are the main heroes, he might have some kind of link with both of them, and the main duo would both contrast him in their own way (lonely scavenger who no one expected anything of and nameless trooper who defected from the First Order vs. someone who grew up in greatness but seemingly threw it away and chose to be in the First Order; and much like Kylo Finn in particular has been manipulated from childhood to do heinous things, so he may sympathize with his situation). Maybe he’s the missing piece needed for both him and the leading duo to reach their full potential, or the main duo are the last piece needed to finally break Snoke’s curse on him, or something. Or it could simply just be Finn showing his growth and strength of character by understanding and forgiving Kylo, despite him now understanding just how badly the First Order treated him, which makes Rey (who, again, might start as this super cynical scavenger or may have seen Kylo go berserk and massacre her friends and betray her Master) come around to the idea. In this scenario it may actually be even more important to emphasize that Rey and Finn are two making up a whole, so as not to bog stuff down. It’s possible to ship Finnrey and want Kylo to have a better ending, what a shock! 

Maybe Rey and Kylo could switch places, and he comes back to the light in SW8, which is an idea I’ve seen floated and is something that would make the story truly unique. He would seem like basically a less stable Vader 2.0 at the start, but over SW8 he could be seen breaking more and more out of his own terrible mindset, coming to a head in a cathartic realization that bring him back into the arms of his beloved family. It would also add an interesting dynamic that he and Finn have to be equals now. But that may mean that Rey would have to be killed off and I’m not so sure about that. 

Though speaking of her, since in all these scenarios a common thread is that she understandably doesn’t like him, it would be a bit of a twist if Finn sees the good in him but Rey, if she’s a Skywalker, his cousin, doesn’t. 

And to bring up Poe again, I also really like the idea of them having been childhood friends and thus knowing each other before the events of SW7; after all, they’re around similar age, it isn’t that far-fetched to think that former Rebel families would be still pretty close to each other, and I’ve seen some adorable fanfics with the concept. It also adds connection between them and adds even more tragedy, even if this relationship may have to be elaborated more in supplementary material due to time. I can definitely Poe speaking like an old friend to Kylo and constantly calling him “Ben”, to his irritation. The abovementioned feeling of being replaced could be what caused Ben to suddenly break off the friendship. And making the main cast kind of tight-knit like this might also help make the cast easier to manage. 

Granted, there is the possibility of killing him off, though. I heard that one of the initial ideas for TFA was apparently that Kylo would be a reverse Vader, falling deeper and deeper into the Dark Side as the trilogy goes on. In fact, this may have been where Kylo killing Han may have been leading to. This actually sounded like a super cool idea, but considering the backstory I laid out I thought it would be way too bittersweet for the concluding movie of the saga, and if one were to say Kylo basically has BPD… That might lead to some unfortunate implications. I mean nothing is stopping me from not using the Elsa backstory, and if I didn’t use it maybe this route would be pretty viable, but I’m kind of starting to get attached to it. 

—

Other characters:

Hux: I’ve never really been a villain person. I mean I liked sympathetic villains, yeah (but even then I preferred anti-heroes for a while; I’m talking like nothing beyond N from Pokémon levels of “evil”), but straight-up villains I just have merely seen as obstacles. Like back in my Smash fic days I was often like “Eh… They’re there… Because they want to take over the world I guess?”. It’s why I’m having trouble with Snoke probably lol. But for some reason Hux interests me. If I take a guess it’s probably because of the potential he had as an actual foil to Kylo in his own faction. He had so much potential as a villain, and in having this tense dynamic play out. In fact he does seem to have been set up that way in SW7. But yeah, I imagine him as one coldhearted bastard. His backstory, though not elaborated on in the movies, would be much like TFA supplementary material set him up; he’d still have killed his father, but while yes, Brendol was abusive and strict, Armitage didn’t kill him completely because he was a young man who wanted to break free from his strict father, but also genuinely because he knew doing so would be good for his standing. Unlike Kylo when he (most likely) kills Han, he doesn’t regret killing Brendol at all. While he might have a tragic backstory kind of explaining his behavior, it doesn’t bother him at all, while Kylo, who considering what happened to him and how he’s literally under a curse you’d think would have a much steeper fall into unabashed evil, is constantly conflicted. It’s a very Sith Lord-like backstory funnily enough… In fact I’m pretty sure that Palpatine had a backstory very similar to this with his parents.  

He’s a very logical, analytical, brutally pragmatic person, and he looks upon Kylo’s emotional state with condescension. I’m increasingly starting to like the idea that he’s somehow able to talk Kylo down, while still being hardly nice. Perhaps he preys upon Kylo’s constant need for approval from others, even if he doesn’t like the person in question (this may also be why Kylo reacts so strongly to Finn escaping as well, in fact. He genuinely cares about people’s loyalty, even from literal no-name soldiers). Though I can’t decide whether he’s this deceptively charming snake or basically an evil Spock. I also can’t decide between him being in this constant state of “Why do I have to babysit this manchild” or giving absolutely no visible f*cks around Kylo no matter what happens, or even straight-up trolling him often, toying with his emotions because it amuses him; preferably two or a bit of all somehow? I can see him using having met Vader as a child to mock Kylo for how much of a pale, childish imitation he is, or reminding Kylo of how much better he is as a leader objectively; perhaps that’s what he holds over Kylo’s head. Or him explaining to Kylo how he was raised by less than stellar parenting and tried so hard to live up to his strict father too… So he brutally murdered Brendol in cold blood (possibly with Phasma’s help), became a better admiral than he ever was, and got over it “Like an adult. Unlike you.”. They’d be in this constant state of delicate, tense equality; Kylo can easily overpower Hux if he pisses him off a bit too much, but Hux is able to walk that fine edge seemingly without much effort. 

But when he realizes whatever grand cosmic plot he and the entire First Order has been participating in this whole time is when, ironically, there would probably be a really dramatic villainous breakdown from him. It’s kind of a Zuko and Azula situation with Kylo and Hux perhaps? Or is this Hux more a mix of Azula and Zhao’s roles rather?

——

Worldbuilding stuff: Since I’m more a character person, there isn’t much here, but because the worldbuilding was another issue in the movies I’ll also be adding these.

The New Republic isn’t nuked in the first movie. In fact it stays there for the duration of the trilogy and the hero faction is now its armed forces, not The Resistance (Also that name makes no sense. Seriously. At least name them The Peacekeeper Corps or Vigilantes or something, or since they’re basically Leia’s personal military maybe the Organa Free Army or Organa Corps or something of that sort. No wonder people mistakenly call them The Rebels sometimes. It’s a similar setup to Chrom’s Shepherds in Fire Emblem Awakening, albeit with a better relationship with the kingdom; it would be downright strange if the Shepherds called themselves The Resistance despite literally existing with the queen’s permission, and it still is here. Hell, Leia’s Shepherds is a better name). There would be elaboration on the political stuff going on behind the scenes, and if Leia isn’t a Jedi that’s her plotline probably, though a big part of me wants her to be part of the action instead of being stuck on the homeworld. 

Meanwhile, The First Order is made up of Imperial Remnants and people and planets who were unsatisfied with the democratic but still new and fragile New Republic. Basically think White Russians if the Soviets weren’t also awful. It happens a lot in history. While it may have some mining planets in its orbit (not literally, you know what I mean) so it can plausibly refurbish anything Kylo wrecks with his tantrums, Starkiller Base is probably a bit much, and a lot of their equipment might be old Imperial or Rebel stuff, or stolen from the New Republic, with new stuff being produced but not in overly high quantity. Some of the equipment deemed less important might even be kind of crappy due to how old they are. They’d probably be at most an equally powerful faction to the Republic, if not smaller than them, seeming more like a terrorist cell. I don’t have much of an idea why Snoke would want to be involved in it yet though. 

But while the First Order might be smaller, the New Republic is hindered by it just now finally gaining its footing, and the military previously only having been used for peacekeeping and sniping stray Imperial remnants. Because it’s peacetime, it might have been kept pretty small, and also the military academies are literally not even 30 years old at this point, so new that it’s possible Poe, despite his youth, was one of the earliest graduates; one of the military’s most high-ranking officers is literally a scoundrel with no formal training - even if he is good at his job - it isn’t exactly a well-oiled machine, though its less rigid, casual structure also does benefit it in some aspects. Also the FO can easily use Kylo as intimidation, and its upper staff is nothing if not driven and motivated as well as ruthless. They may engage in more underhanded actions like sabotage and suicide bombers, or rely on small elite units like the Knights of Ren or small companies of troopers, to poke holes in the enemy just as much as open combat. And maybe if all else fails Snoke causes something really bad to happen seemingly out of nowhere. 

While I do think that making the baddies an Empire 2.0 is an… uncreative decision, I want to keep Finn’s backstory, plus it fits Kylo’s story too so blah, I kind of have to keep it. Plus I want to do Phasma and Hux justice. Maybe Snoke or whatever it serves turns into a giant Eldritch abomination and have no use for the FO anymore. And again, reactionary forces are a thing that have existed throughout early modern history. But as already mentioned, due to the nature of the First Order’s existence, maybe the Stormtroopers aren’t kidnapped, but they were orphans picked off the streets, and/or some more dedicated Imperial parents gave them their children? I had the idea that Troopers like Finn are “Junior Troopers”, the child slave type, while older members, “Senior Troopers”, would be legit Imperial revanchists and former troopers. Maybe there’s a separate company of Juniors who think they’re cool by fighting for the First Order, but generally Juniors would be the lowest on the social rung, though some might make it into higher positions, and don’t know any other life than what they have now. Though I also like the idea that Finn was part of an elite unit directly connected to Kylo Ren like the 501st, so he has a reason to be particularly hurt by his betrayal (but that could throw a wrench in the whole Finn was a faceless cog in the machine thing). They’re pretty Prussian in command structure; officers work under mission-tactics, but the rank-and-file are machine-like in their discipline, more than even some actual droids. The Republic’s forces also probably engage in mission-tactics a lot, except how far it is acceptable goes way further down the chain of command, so stuff like the Holdo situation doesn’t happen. If that situation were to happen when mission-tactics were to be expected Poe’s independent action would be seen as reasonable. This would have potential for very interesting battles and tactics, though I’d need a lot of help with those because I’m the furthest thing from a tactician you can find (but even I can tell the bomber scene from TLJ was dumb, which should say something).

I kind of realized that it’s possible that the four OT legacy characters may end up basically representing four major aspects of the New Republic; the Jedi (Luke), law and justice (Leia, if she’s a senator), the military (Han, if he’s a general), and economics (Lando). I think some worldbuilding into how the republic functions should be explored through these characters as they move the story forward, except for the Jedi since they’re obviously a central focus, and Luke might very well be introduced after them, and the military will also get focus for obvious reasons, and Poe exists. The information definitely needs to be conveyed as efficiently and organically as possible through the story, because there’s two, likely three, equally important main characters and an unholy amount of secondary characters who aren’t exactly minor. 

May write more later idk. I need to be doing other stuff…

#Star Wars #rey skywalker #Rey #finnrey #Finn #poe dameron #Kylo Ren #Ben solo #star wars sequel trilogy #anti tlj #anti tros #luke skywalker #han solo #leia organa #erika's thoughts #writing stuff #Erika’s 10PM thoughts #Why can’t I stop stumbling down fandoms WHY #I hope I haven’t spoiled too much of the 1 - 6 movies for myself for this... #disney star wars #remake #Ben solo deserved better #Luke Skywalker deserved better #finn deserved better #spoilers?

[dramatist23]

Alright you know what? I think Tangled the Animated Series is good and I've watched all of it, but it really seems like the more you think about it, the more issues with storytelling come up.

The thing I'm thinking about currently is Rapunzel re-growing all of her hair. Now, I could write something different about how I feel having her hair grow back and her cutting it off herself at the end feels like it cheapens Eugene cutting her hair in the movie. (Not to mention giving fuel to the people that dislike Eugene for cutting her hair seemingly just because they dislike Rapunzel's short hair.) But I digress.

Rapunzel's hair and healing powers were the reason that she was held captive by Gothel, so yes, even though she did rightfully freak out about her hair growing back, I think the series as a whole tends to gloss over how affected she would be by everything that happened to her.

Yes, it's a kids show, but there are multiple Tangled stories that Disney has put out that actually do talk about Rapunzel's trauma that are marketed towards kids. Just check out the Tangled Christmas story where Rapunzel has to learn to love Christmas because she's only ever been told lies about it meant to frighten her by Gothel.

I just wish the series showed her working through her past more instead of reducing her to being "always happy, always right, always trusting, always forgiving" she was none of those things in the movie and she didn't pretend that she was either.

So it's cool to have the hair back, but as a concept I dislike it. And if they were going to do it, they should have highlighted how deeply affected Rapunzel would be by suddenly gaining back the reason that she was stolen from her family and locked away all her life. (Also I mean if I were her my brain would jump to wondering if it also means that Gothel is back)

The series as a whole does a disservice to Rapunzel's character in my opinion. She's far more complex than the show makes her out to be and she lacks a lot of character development throughout the series. She should've been shown dismantling the views that were imposed on her by Gothel. The show perpetuating the idea that Rapunzel never giving up on anyone and always giving second chances is right, ignores the fact that she thinks that way because she was emotionally manipulated by Gothel into always forgiving her.

I could really go on about that point, because Rapunzel really needs to learn that being kind does not mean that she has to forgive everyone at the drop of a hat and she shouldn't feel guilty for that. A show that teaches people its okay to be angry and upset and take a while before you're ready to forgive the people that have hurt you I feel would be far more empowering and is a very needed message.

What we got instead was saying that we shouldn't be too upset by the people that deeply hurt us because maybe we just didn't understand them well enough and they have reasons for acting the way that they did. (Yes this is about Cass)

Justifying toxic behavior isn't a good look Disney.

Telling survivors of abuse that they're the ones that need to be more understanding and forgiving isn't a good look and is actively hurtful when pushed by media.

#this turned into a rant #oh well I said what I said #tangled series #tangled the animated series #tangled #rapunzel