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artsyjesseblue · 1 year

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Slowly Going Mad - Part II - Honerva

Welcome to the second part of my Zarkon-Honerva-Lotor meta, focused on their gradual mental transitions along the show's timeline. Each of them are triggered by profound and very unique sets of reasons. (Here’s the link to the first part: Zarkon. Update: Lotor’s analysis is also complete.) My intention is to shine a light on the complexity of the characters and the depth of the scripts.

Just as in Zarkon’s analysis, there are two things to point out from the get-go:

1) Shiro’s statement: “Zarkon fell prey to his own evil instincts. The quintessence field didn’t create them, it revealed them.” - it basically casts the responsibility on the character, not on external factors, and that is an important point in my analysis.

2) The distinction between the entity and quintessence. The entity is a creature capable of magical stuff, whereas quintessence is a substance (highest known potency in the universe).

Honerva

Her story follows a bit of a more convoluted path. Similar to Zarkon’s, when we first meet her, she’s the High Priestess of the court, the absolute villain with frightening magical powers, capable of creating incredibly destructive machines and robeasts. Her mental transitions make a full 360 degree turn during the show, with ups and downs: 1) A rational, sane scientist. 2) Unstable Honerva, drifting into her research obsessions. 3) Haggar, completely disconnected from self for 10k years. 4) Slowly recovering old memories. 5) Post Oriande Honerva, obsessed with getting her son back. 6) Honerva completely rejected by her son - full madness again. 7) Newly awakened Honerva, ready to help restore all realities.

1) The rational scientist The oldest images of her actually date back from the time when she studied science classes along with Alfor - something shown in the last episode of the series, when Allura stirs up Honerva’s memories.

Chronologically, the next stop is during her time as a rift scientist, when Zarkon first meets her (S3E7). A young, cheerful, beautiful woman, elated about the idea of working on a science project that would revolutionize the entire universe.

2) Unstable Honerva Her passion for pushing the boundaries of science becomes her workaholic obsession, and for a large portion of her backstory, we mostly see her in front of her computer terminal, next to the rift gate. As Lotor later states, “The kinds of experiments she was conducting… she advanced science by eons.” Unfortunately, her passion - turned obsession - also becomes her downfall, just like the need for power destroyed Zarkon. She doesn’t even show up to congratulate Alfor on the birth of Allura. He seemed to have been a very good friend back in their school years. And when Alfor comes to visit her instead, she doesn’t lift her nose from her work, to look him in the eye. She is “working hard, as always,” as he notes. When he thanks her for Allura’s gift, she replies placidly: “It was a customary gesture.” Her distancing from the cordial relations with her friends are inversely proportional with her mania for science.

In fact, she declares that “we must always push into dangerous territory in pursuit of knowledge,” defying Alfor’s plea to exercise caution. Even after the “creatures” from the rift invade Daibazaal, forcing the Paladins to use Voltron to defend the planet, she still fearlessly pushes forward with her experiments.

Fast-forward into the future, Honerva becomes pregnant. As I mentioned during Zarkon’s backstory, her facial features have changed, her hair is white and her Altean cheek marks are now distorted (hint: the entity). After their lovely conversation about having a baby, dressed up in that loose poncho, she jumps back to her console and says: “There is much work to do. First, we must continue to harvest the quintessence. It will be needed for your son’s empire.”

Always about work. Always about her quintessence projects. And now, they both seem to have a higher purpose (or justification?) for their underlying obsessions: their heir. Notice how, even though the baby’s needs and mother’s health should take priority, she launches herself into more work. A mother (especially in the first trimester) is fatigued and needs rest. No, she continues with her rift project, exposing herself - and the baby - to the dangers of radiation, draining herself of energy, standing up long hours, focusing intensely on her project. And, although as a mother, one would want to balance work and personal health for the sake of the baby, she obviously tips the balance in one direction. When Alfor comes to visit, even though he cordially greets her, “Hello, Honerva. It’s been deca-phoebs,” we can see where her preoccupation lies: more work. Again, with her back at the king, she cynically welcomes him: “I hope you haven’t come to try to shut down my work.” Alfor traveled there out of concern for his friends. Due to the rift, the structural integrity of Daibazaal was weakening. Yet Zarkon’s power need and Honerva’s greed for more knowledge worked hand in hand - a self-destructive duo. As Zarkon bragged, Honerva’s team developed a space cruiser, five times the size of their largest ship - and that was nothing - meaning their arsenal of ships and weaponry was probably colossal. Instead of being received with joy, instead of giving him the wonderful news about having a baby, Alfor gets the cold shoulder. Nothing is uttered about having a child - in fact no one on Altea knew Honerva had a child until Allura found out directly from Lotor’s mouth, in Season 5. Instead, she condescendingly explains that “There is more hidden knowledge and power in this tiny fissure than you can possibly understand.” — And there they are - the two keywords: hidden knowledge and power! The two “evil instincts”, the weak spots that tore down this beautiful couple and the love for their son. Just as Daibazaal’s integrity is crumbling, this once strong family is now falling apart.

The scene with Kova follows right after this. I mentioned this in Zarkon’s analysis, but I’ll go over this again: notice king Alfor is visibly aged, while Zarkon continues to look young. Kova the cat shows up. As Honerva explains, the cat fell ill when the creatures attacked (!!), but she treated him with quintessence and Kova is now 28 deca-phoebs (~years) old. We are led to believe Zonerva’s longevity is due to the continuous supply with quintessence, but there is more at play here: the entity. Honerva says: “He [Kova] revealed the truth to us. Quintessence is so much more than you can understand. It is life itself.” Logical conclusion: entity + quintessence = life everlasting. (E + Q = L).

This is confirming to us, the audience, that Kova fell ill due to the entity, and Honerva explains that the quintessence treatment not only revived that cat, but expanded its life (indefinitely, as we know, since Kova is a character very much alive after 10k years). This is something that scares Alfor deeply, and Honerva finally turns around to face him, accusing him of being a coward. Her face… her face has changed - yes, her cheek marks look distorted, and Alfor notices right away with shock (parallel that to how Kova’s appearance has changed). Also, see how her hair is unkempt, unruly, she already has the appearance of a witch.

Preoccupied only with her quintessence obsession, she disregards her own self-care (not to mention - the baby!), and the climax of this madness comes right after Alfor leaves. Consumed with her own anger against the king (perhaps the anger fueled some sort of toxic reaction against that entity as well), she collapses on the floor. And there is no cure for this trance she’d fallen into, except… quintessence. Because Q is a fuel for life, and without it, the equation “E + Q = L” cannot be completed.

Here we are, revisiting the scene with the bedridden Honerva - looking visibly aged - hallucinating and trembling in bed, uttering disparate sentences about the immediate need for Q. Honerva: “We mu— We must… We must have… We must have it. Get back. Get back. Get back…” Zarkon: “What is it, my love?” Honerva: “Uh, quinte— quintessence. Quintessence is life. Into the— Into the rift.” Zarkon: “How?” Honerva: “We mu— We must— We must have Voltron. Voltron. Voltron! Voltron… It is the only way.” It pretty much seems like Honerva is not in control of her mind anymore in this scene. Eyes rolling, incoherent speaking, gasping for air, quivering, spastic muscles. And then she talks about herself with “we”. “We must have it.” Also… “Get back.” “Into the rift.”

Get back into the rift? But… had she ever been there so she could actually say she needed to “get back”? No. At that point Voltron had never been into the rift either. Who had been into the rift and came from there? The Entity. The Entity was the only one who had been into the rift. Who actually hailed from the rift. Logical conclusion: that was the entity speaking. The entity was desperate to get back into the rift to obtain more quintessence, because it was their food, their life. “It is the only way.” Of course it is the only way, because it follows the immutable rule of E + Q = L. You cannot obtain L (life) if you don’t add Q to E. The entity cannot survive without quintessence. The tragic fate of Honerva is, just as Zarkon’s, the complete loss of self to the entity.

3) Haggar - first madness When they wake up, after their “funeral”, they both have glowing purple eyes with motes of quintessence effusing from their orbits. She is shivering, and, unlike Zarkon, cannot remember who she is. Doctor Haggar tries to help her. Instead, she (or more likely the entity inside her) sucks out the life (quintessence) from the doctor, and, apparently, along with it, the doctor’s own consciousness, because Honerva calls herself “Haggar” after this. (Plus we know Honerva was trapping people’s minds in her own mind after killing them, because Allura discovered it during her trippy-trip inside Honerva’s consciousness.) And this is how the High Priestess Haggar is born. Ten thousand years of witchcraft follow, during which she expertly makes use of her powers and tech talents to syphon out quintessence from entire planets. But before she begins this long journey, she gives birth to Lotor. As doctors explain, it was “difficult, but successful.” Something that she also completely forgets. She rejects the little boy, maternal instinct abolished, her own self-awareness buried deep under the potent energies of the entity.

4) And then… very slowly (10k years slow)… her memories seem to come back. Bit by bit. The very first one comes during an interaction with teenage Lotor (S8E2). He wants to pet that curious-looking cat that is always around her. Out of some sort of (protective? motherly?) instinct, she tells him: “Do not touch him. He will hurt you.” Asked about the cat’s name, Haggar replies: “He has no name.” Isn’t it symbolic for how she basically lost her name, too? But then, suddenly, a flash of memory comes back. “Kova. His name is Kova.”

Her Altean instincts still subsist somewhere there. When Allura awakens on Arus in S1E1, she senses a resurgence of Altean energy. Many episodes later, when Lotor arrives at Galra central to relinquish power back to his father, she senses “a powerful energy on him,” “something ancient.” A major memory boost comes when she taps into Zarkon’s mind, to revive him (S3E7 “The Legend Begins”). She apologizes before she starts the process, which, yes, involves probing into his memories without his accord. Images of the past zoom through her vision: a Galra attack on Altea; the final fight with the Paladins; planet Daibazaal after and before destruction; then diving deeper back in time - images with the group of five Paladin friends peacefully gathered under their lions; a splendid wedding picture of her and Zarkon; the mighty comet at the crash site; and finally, a picture of her young self - a beautiful, radiant, exuberant Honerva.

She snaps out of her visions and notes, with a flat tone: “Husband. How could I have forgotten?” As probably many have noticed before, there is little emotional attachment in her demeanor. There is only one little glimmer in her reaction, right before Zarkon awakes. She says (and her voice doubles into both Honerva's and Haggar's): "You brought me back to life long ago. Now, come back for me." This is a powerful moment, which shows the beginning of her duality - Haggar and Honerva. But after this, we don’t see her being more affectionate towards her long-lost husband. Neither do we see any scenes in which she would acknowledge to him that she remembered her past. There is no grand reunion of the lost couple. Haggar continues being the placid witch, alongside her villain emperor, now fully armored in a quintessence-infused mega-suit. Some took this as a flaw in the show’s writing. I take it as a very coherent flow of her character’s arc. My wishful mind screams to see Honerva run back to her husband, rocking the walls of their dark magic cage, telling him: “Husband, I remember! We used to love each other, we were once good people!” But, realistically, that is not what an entity-possessed, quintessence-poisoned Haggar would suddenly do, would she? The fact that she is still very much under the dark spells prevents her natural instincts from manifesting. So the only thing she does is notice, coldly, as if someone else watches her life from afar. But not for long, as we’ll see.

In S4E3 “Black Site”, the episode starts with Haggar examining herself in a mirror, a reflection of Honerva instead. As she brushes her long, clawed purple fingers along the brown cheeks and chin, she notices the white cornea of her eyes and the presence of small irises. A very wistful music accompanies the scene (the very same soundtrack used in S8E2, where most of her tragic flashbacks will happen). Her expression is of utter shock, but also astonishment. The mirror motif appears frequently in madness arcs, as a means to show the disassociation between the two personas conflicting inside the character. Her sane persona begins to wake up and claim back her territory, and it is the very first time when we see her in a vulnerable state of mind. It’s the beginning of her reversion into Honerva. This state of mind is immediately suppressed once a Druid enters the room. Her harsh, sour expression and purple facial color immediately replace her Altean features, and the music shifts back to the ominous Zarkon theme.

As you’ll notice, Zarkon’s arc, compared to Honerva’s, is one of descent into the darkness (with a redemption late in S8), whereas Honerva’s is upwards - she gradually ascends towards recovering her memories and feelings. Immediately after, in the scene with the interrogation of Throk, Haggar says something that has multiple implications: “No one can completely wipe a memory away. There are always remnants deep within to claw out.” She clearly speaks from her own experience… as we just witnessed. Her memory is still there, remnants of it buried deep, waiting to be clawed out… Yet, with all their efforts, Throk’s specific memory of a particular event seems to be completely erased - courtesy of Narti’s work - but that belongs to a different meta. Not all of Honerva’s memories are back. She definitely doesn’t recognize Lotor is her son, and happily rats him out to Zarkon once she discovers he’s got his hands on a trans-reality comet. Her allegiance to the emperor is unshaken.

But here comes the next big blow to her fortress of multi-millennial oblivion. As she wallows in a pool of purple quintessence inside her space cruiser, she begins having visions again (S5E2 “Blood Duel”). It seems the dive into her memory reservoir is not without pain, as she releases a sharp scream before more echoes of the past start to surface… This time, they’re about Lotor. There is a crescendo of emotional intensity in these scenes, enhanced by the same nostalgic (almost elegiac) music that envelops her other flashbacks. Watching the tragic life of her lost son rewind in front of her eyes must have been truly heartbreaking. Her pained expression, the angst behind her glowing eyes, the eyebrows raised in incredulity and awe, but also imploring, begging to get back something she never had, her gasps in the darkness, in antithesis with the cute sounds of a cooing baby and then a giggling child, along with soul-stirring violins evolving into a more and more solemn hymn that will later accompany the most inspiring VLD moments with Lotor… these, all of these culminate with her regretful whisper, almost a question at the end, as she herself cannot believe this had actually been a living part of her life and she completely missed it: “My son… Lotor.”

I’m sure a lot of mothers watching this probably shed one or more (or a lot) of tears. How can you not? Honerva’s portrait grows more and more complex, while, sadly, her husband’s shrinks into the distorted image of a heartless monster. When she finds out Zarkon is on an exchange mission to retrieve Lotor, she immediately activates Operation Kuron Stage 4 - which, as we now know, used Shiro’s clone to spy on the Paladins (and her son). After Zarkon’s death, we were never shown any state funerals or Haggar mourning after him. Again, people would say this is a hole in the script. I would say this matters not for Honerva’s evolution. She clearly did not show emotional attachment to him before, so why would she now? The dark entity still has considerable hold of her consciousness, even though she does show empathy towards her son. But how much, actually? Well, it seems that operation Kuron is fully functional, since she is already able to watch Lotor planning to go to Kral Zera to get the throne. Again, she whispers wistfully “My son…” while her purple claw tries to possessively reach out and get him. There is a powerful symbolism here: the hand that extends out into the void - both to try to grasp him for herself (her selfish need towards her lost family) - and as a desperate gesture of reaching out from inside a dark place, reaching out into the light, to the only one who… can save her (which ties well with how the show was initially intended to end).

You’d think that a mother whose instincts have just awoken would want to see her son ascend to the throne… Instead, we see her summon Sendak, because “The Empire will only accept a ruler with Galra blood. It needs a natural-born leader, with an iron will to match his iron fist.” At Kral Zera, she actually insults Lotor in front of everyone and continues to twist the knife in that same spot where the prince has been teased about all his life: being biracial. Haggar: “Lotor, you cannot lead the Galra.” Lotor: “You think you can stop me, witch?” Haggar: “The blood that so bolsters your claim is also what quells it. You are not full-Galra. You are a half-breed. Your mother was Honerva.” It’s so mind-boggling that she is able to talk about herself as if it’s someone else. But if you get to think of it, she is still very much overpowered by the entity, which seems to speak instead of her. The snippets of her reawakening of consciousness were actually just that… Snippets. Which makes this scene even more tragic, knowing that she cannot fully connect with her son. This duality - two persons living inside a character - one belonging to the good/real side, the other one to an evil realm - this duality is characteristic of story arcs that revolve around the subject of madness. This paradoxical pairing of evil and good inside one person evolves via a gradual buildup. Usually, if it declines towards madness, there will be a buildup of negative energies and events. In Honerva’s case, it makes a sinusoidal arc - descending and ascending several times.

5) Post-Oriande Honerva Right after Allura and Lotor go through the Oriande trials, Haggar, who continued to spy through Shiro’s clone, sets a course to the same location. It seems that Shiro is telepathically linked to Haggar’s magic, because he starts having visions of her while she goes to Oriande and takes down the Sages. Notice that her cheek marks, although distorted, still glow at the entrance to Oriande - meaning she does have the marks of the chosen.

The fact that she is telepathically linked to clone-Shiro, I believe, proves that Haggar was using the entity in her clones as well, because that kind of telepathic link, as shown in S8, could only happen via the entity (Keith severs the link when he removes clone-Shiro’s robotic arm - which seemed to concentrate most of the purple energy). Oriande is a turning point in the High Priestess’s story. It is the moment of transition from witch Haggar to Honerva. Alas, not completely. The metamorphosis happens gradually, but now she is definitely more Honerva than Haggar. She’ll start thinking more and more as an Altean and as a mother. Of course, the entity is not gone (it also explains why she destroyed the Sages of Oriande). Which will maintain a significant layer of darkness over her judgement. And her witch-Haggar appearance will still coexist for a while with her newly recovered Altean countenance. Here comes S6E4 “The Colony”: Haggar/Honerva reaches into clone Shiro’s mind, rendering his consciousness inactive and fully turning on the entity-controlled subject. Notice how she retains her Haggar complexion:

In the next episode, S6E5, we discover that Haggar now has the ability to create wormholes. Allura wonders how… but we know. Because Haggar finally connected with her Altean capabilities. Which means, she is double-dangerous now. As a sorceress, and as an Altean. She can fully command her entity-possessed subjects, and she does so with Shiro’s clone, instructing him to lure Keith away. One very interesting scene in her arc is her encounter with Lotor and the way she addresses him while revealing she is his mother: Honerva (slowly taking off her priestess hood and turning around, fully showing her Altean visage; her voice trembles and sounds quite emotional): “Prince Lotor. My son.” Lotor has no reply, just a visibly vexed expression. Honerva: “The anger you feel toward me is to be expected. But understand that the events that transformed me into the witch Haggar also shrouded any glimmer of maternal instinct I may have had for my one and only child. However, you’ve continued the work I started all that time ago and have indeed seen it through to heights I could have only imagined. Your never-ending pursuit of knowledge is truly —” Lotor: “Enough. My mother ceased to exist when Honerva drew her last breath. Do not believe for a moment that I would ever accept you as a kin. You are an abomination. A twisted perversion of what was once so pure and beautiful. The end is near, witch. I know you can sense it. If you beg for your life now, maybe I will take pity on you when the time comes.” Honerva (frowning, visibly offended and pained by the rejection): “Take him away.” Acxa, after a short eye look exchange with Lotor, decides to actually aim at Honerva instead. The witch vanishes in a cloud of smoke.

Let’s unpack this heavy conversation, loaded with angst, with spite, with something that was supposed to be motherly affection. Honerva starts quite emotionally… From her voice, you can sense her tense expectation. She’s been waiting for this moment for a while, and ever since she traveled to Oriande, her Altean senses revived, she really is looking forward to reuniting with her lost son. But… there is a twist to her motherly wish…

This is her apology for ten thousand years of missing in action: “The anger you feel towards me is to be expected.” Um… No “I’m sorry”, no “please, forgive me”. Her voice is actually… quite emphatic and firm. No sense of remorse for her actions, no apologies for her mistakes. Neither does she take the responsibility, nor does she accept her guilt. Actually, she casts the blame on external factors: “the events” that caused her to become witch Haggar are supposed to be the cause. How about… apologizing for being obsessed about her scientific discoveries, to the point where she neglected everything else, including her unborn child’s needs? Also, notice her expression in the above screenshot: despite the pain in her eye squint, she looks rather arrogant. Well, that’s actually the big problem, and she still doesn’t see it. In fact, she applauds Lotor’s accomplishments, because he… “continued the work” that she started, in a “never ending pursuit of knowledge.” Again, these are her vulnerable spots - work and pursuit of knowledge. These blinding obsessions for something that she thinks is absolutely revolutionary and beneficial to the world, these are her downfall. She cannot see anything else, even after ten thousand years. In her own twisted world, these are the ultimate tools for good. Why did she pursue knowledge? Well, first off, out of pure passion - turned into obsession. She wanted to advance science. Secondly, to fulfill Zarkon’s need for power. In contrast, Lotor sought to unveil King Alfor’s knowledge in order to “better the Universe”, to bring peace and prosperity, to defend against the dark forces of his parents. There is a bit of a difference in their scopes, I’d say. This is what she doesn’t understand. And she will continue to misconstrue Lotor’s work and delude all the Alteans into her vengeful plans. Lotor is, unfortunately, right. She (still) is “a twisted perversion” of her original self. Which proves once more that Honerva’s dual personality pervades her newly displayed self. For the entirety of S7, we don’t see Honerva at all (except the caricature from the garfle-warfle episode “The Feud”).

In S8E2 “Shadows”, we get an avalanche of flashbacks - some recent, some very old, revolving around Honerva (not going to touch the subject of why these flashbacks should belong to S7 and not S8, as it’s been already discussed in other metas and reconstructions (especially the work of Team Purple Lion) in great detail. My focus is on her evolution overall, which is chronological, not based on episode order). The episode starts right where S6E5 left off… when Acxa shoots at Honerva, after Lotor’s tense conversation with her. Here, we finally find out where Honerva went after vanishing in a cloud of smoke. She’s back at the command of her cruiser. Her pained expression (after being rejected by her son) becomes stark. She pulls her hood back on and Haggar’s purple complexion and glowing eyes return, as she contacts commander Mar and orders him to track Lotor down. For a considerable amount of time, as the scenes suggest it, she’s searching for her son, who has disappeared. She finds out that commander Mar is also nowhere to be found, and we can see that her desperation grows. She’s hunting high and low for him, roaming the universe in her ship. Until she finds the wreckage of his cruiser, at Daibazaal (the location sort of doesn’t make sense, because the last place his cruiser has been seen abandoned, in S4E3, is nowhere near Daibazaal, but that belongs to a different discussion that pertains to the inter-dimensional meddling into S7-8). In his cruiser wreckage… there’s Kova. Which, once aboard Honerva’s ship, triggers more of her old memories (we already discussed them earlier - her past memories about her pregnancy and about Lotor). One of her loyal Druids tries to persuade her to take command of the empire, because “it has been phoebs [~months] since Emperor Lotor has disappeared. The empire is in a state of chaos.” Her response is rather surprising, but then again, Honerva has never been one to actually seek power. That was Zarkon’s obsession. She replies bluntly: “Tell them to look elsewhere. The Druids are but ash in the winds of infinity. Let them be led by someone of equal esteem. […] Depart my presence.”

Her focus is not ruling an empire at this moment. Her focus is finding her son. A motherly instinct, full of emotional resonance. Imagine that after ten thousand years, she is finally able to see her son through the eyes of the mother she was supposed to be. She is able to talk to him, express - in her own, still twisted way - her regret for not being beside him all this time. She finally meets him face to face, finally reveals herself to him… Only to have the rug pulled from underneath her… Not once, but twice. First, her own son rejects her. How painful that must have been!… And then… he completely disappears, along with her archenemy, Voltron, on whom she casts all blame, hatred and bitterness. How desperate must she be now, to find him, to get him back! Even after he rejected her, she still wants to reunite with him. Underneath all the dark magic and potent influence of the entity, she still finds the power to go past his wrath against her, because that’s what a mother does… But she has yet to see her own fault in this. She blames everyone else around but herself. There is this constant push and pull between the two personas inside her. She is aiming for the light, for finding her lost self, but her own weaknesses, which have been there since the beginning, prevent her from fully becoming what she once was. After retrieving commander Mar, who reveals what happened to Lotor and Voltron, she remarks in awe: “He pierced the veil.” When Mar says that “Lotor and Voltron perished”, her expression suddenly shifts to a terrified look, beads of sweat glinting on her cheek. “No! I must find him.” She summons the Kral Zera, but not to elect a new emperor. She wants to spew out all her rage and revenge on the Galra. By destroying them. Notice she changed her garments. She no longer wears Haggar’s cape. Now, she proudly dons an Altean outfit. Symbolic of her new persona.

This is her justification, standing in front of the Kral Zera flame: “This flame represents Lotor, son of Zarkon, prince turned emperor, emperor that pierced the veil. And my Altean blood coursed through his veins. But the Galra empire failed him. It was the Galra blood, deeply boiled in traditions of evil, that tainted him. Your ways weakened a god.” A Galra general pulls out his blade: “That treacherous witch!” Honerva: “The empire is weak. And now, I will end it.” Holding out her dark purple globe of magic energies, she melts away all the Galra generals in a monumental deathly spell.

*Quick pause in her analysis to point out something that the Paladins figured out in S8E10 “Knights of Light Part 2” while traveling inside her mind. While unveiling some of her old memories, they get to watch the very last moments from the lives of the original Paladins. It turns out that Zarkon was not the executioner. It was Honerva, who performed exactly the same magic as later at Kral Zera, spewing the purple energies out onto her enemies. And Pidge concludes: “That’s how the original Paladins ended up trapped in here. She took their quintessence, trapped their minds inside her consciousness.” And this explains exactly how she operates the dark entity, or, should I say, how the dark entity operates through her. The entity is constantly seeking for a source of energy, which is quintessence, or “life itself”. By draining the “life” out of others around her, Honerva was constantly feeding her entity. Bonus: she was trapping their consciousness inside her mind - which explains why the first one she trapped - doctor Haggar - became the name she adopted. Devoid of her own memories, she took the persona of the first being she absorbed. Also, notice her use of the entity in mind-controlling her subjects: clone Shiro, the Alteans on the colony, her attempts at controlling Allura after she takes the entity, as well as… robeast!Lotor.

Honerva is extremely mad at everyone that “tainted” her son. She blames the Galra blood, deeply boiled in traditions of evil, for weakening him. She not only throws the guilt at the empire, but she basically blames her husband for it. She proudly states that her Altean blood coursed through his veins, but the Galra blood threw a wrench in his destiny. This is a 180 degree shift from witch Haggar. Now, the Alteans are the saints, while the Galrans are the devils. Also, wow, she calls her son a “god”. Unfortunately, again, she fails to see her own mistakes in any of this. The next scenes in this episode are an interesting choice to juxtapose next to her vengeful actions. We’re seeing into her memories with child Lotor and the way Zarkon treats him, while she - as witch Haggar - watches impassively: Little Lotor: “Please, father, I must know where I come from.” Zarkon: “I said enough!” Then turning to Dayak: “If you do not remove his impurities, then I will find a Dayak that can.” Dayak: “He will be punished accordingly. We will sear him down to his inner fire so that he may burn the universe. Vrepit Sa!” The inscrutable visage of Haggar slowly transitions to present-time Honerva and we see the sorrow in her gaze. Sorrow for not being there to protect her little child, empathy for his innocent suffering and grief for what he had to go through. There are several of these transitions from Haggar to Honerva throughout the show. They hint at her physical metamorphosis but also, more importantly, they suggest her mental journey, her slow awakening to that initial persona, buried deep beneath, the resurgence of her emotions.

Although many of us may regard Dayak dearly due to other, more comedic interactions in the show, the fact that she needs to “sear Lotor down” tells a lot about the kind of trauma this little kid had to go through. It’s what makes present-day Honerva so angry at the Galra: these “traditions of evil” that tainted her little boy… She is now driven by revenge, against anyone that, according to her newly formed world views, is standing in the way of her grand plans. Yet she still doesn’t know her son’s whereabouts, still searching for him across the galaxies. As her cruiser hovers around Daibazaal once more, she decides on what looks like another one of her sacrificial rites… this time on Kova the cat. It seems like this is a last resort in her frantic attempt to find her son.

This pet had been around for ten thousand years and we can see Honerva’s attachment to him from the way she holds him to her chest, before setting him down on the altar of sacrifice. She is willing to lose him to get her son back. And apparently, Kova possesses more knowledge about the prince than expected. We know the cat also has the entity within. As I’ll discuss when looking at Lotor’s arc, I’m convinced he had it as well. The link that the entity formed with him was strong, because the cat was in his possession since childhood. Motes of purple quintessence rise from the floor all around, while Kova meows in distress.

The suspenseful music converges in a dramatic flow of celestial sounds and Honerva starts her dive into the depths of Lotor’s past. A tragic crescendo of flashbacks starts pouring, and Honerva finally knows where to find him: in the rift.

She wakes up again next to her altar, Kova completely gone, a few motes of purple quintessence still floating through the air. Perhaps as an homage to the defunct cat, the next scene brings more memories of little Lotor, back when he started his friendship with Kova. And right after this, we see Honerva traveling to the hidden Altean colony planet. Just a quick reminder - these scenes from S8E2 actually take place in S7, but they have been inserted in S8 as flashbacks. In S7E5, when the newly rescued Kolivan tells the Paladins that he sent a team to the Quantum Abyss and he didn’t find any Alteans - “just an empty facility”, that happens after Honerva had already been there and scooped them out for her own plans.

This is an important point of inflection in Honerva’s arc, because finding out that her son has died creates a powerful motivator in her actions and this motivator is called grief. Her world has been shattered by this devastating news. A mother that has just been awoken from 10k years of self-unawareness tries to reconnect with her one and only son, only to lose him to such a tragic death. A character put in this kind of situation would want to fix the world, in order to bring things back as they were (she will want to resurrect him, as we’ll see), and/or get back at the enemies who did this (she will want revenge on Voltron). And Honerva decides on both.

Her speech in front of the Alteans tells us only a part of what her new beliefs and plans are. Honerva: “Lotor is gone.” Merla: “How did he die?” Honerva: “Voltron. To all of you who believed in my son so justly, your faith will be rewarded. I have come here today to continue my son’s mission. And for that, I need you all.” Luca: “We are your humble servants, as will be the members of our sister colony once we inform them of the news. Do you know of their whereabouts?” Honerva: “Unfortunately, they have also fallen to the evils of Voltron. Voltron and the Galra will pay for what they have done. With your help, I will resurrect my son’s dream.” Merla: “We pledge our allegiance to you, Honerva, mother of Lotor.”

So she wants to “continue” her son’s mission. After linking with him through Kova, she got a comprehensive view into Lotor’s life, so she (allegedly) knows what his intentions are. Based on what she will say in the next episodes, and also based on what Lotor uttered in S6 while fighting Voltron, it all seems to boil down to creating a “new Altea”, one that can rule the universe and reverse the evils of the Galra (one in which Honerva wants revenge on anyone she considers her enemy). Which… unfortunately sounds a lot like the alternate reality where the Paladins traveled in S3E4 “Hole in the Sky” (Yes, the one with Sven and the other Slav, where the Alteans are turning everyone that stands against them into “non-cogs”. The one where Allura concluded: “That is exactly why my father sent the Lions away so many years ago. To avoid this reality.”) But was this really Lotor’s initial plan with Altea? I’ll discuss more when I’ll get to his meta. An interesting detail is the mention of the “sister colony”, where Honerva casts the blame on Voltron for their death. Which we know is not true. This so-called canon pours all guilt on evil!Lotor. But was it really his doing? The garfle-warfled S8 that we got (thanks to Bob!akaWEP) left a lot of loose ends. In any case, she wants to use the Alteans to “resurrect” her son’s dream. In fact, she actually doesn’t only look for a revival of his dream, she intends to literally resurrect him. And she does tell the Alteans that she intends so, because Merla confirms it in a conversation with her at Oriande: Honerva, overlooking the magical landscape of Oriande: “This ancient land was created through powerful magic. Alteans would travel here to learn the secrets of our race. We have a long and difficult road ahead of us, but our path is true.” Merla: “We will do anything to bring Lotor back.” Honerva: “I know.” This little snippet of conversation with Honerva, as well as the previous one, shows the level of devotion these Alteans have, towards Lotor, towards his mother. They are willing to go above and beyond for him, and this is an incredibly powerful description of their community. But, as Allura noted when discussing about the acolyte Luca, “If she were so desperate for something to believe in, it may have made her susceptible to being manipulated.”

The next scenes depict the mega-lab that Honerva created inside Oriande, where she melts the statues of the Sages in order to build her Komar mechas. Here we find out something that S7 teased us about, in the last episode: the Komar machines that Honerva built have an Altean inside them, an Altean that is used as “its power source” (direct quote from commander Holt). A battery source? (clears throat - certain VAs spoke about Lotor using Alteans as “batteries”. Well… Honerva is “continuing [her] son’s mission”. But how much is she continuing, and how much is she actually altering for her own agenda?) She asks Merla: “Find me the most faithful amongst us.” So the mech pilots are the most zealous believers, which… yes, it makes them susceptible to being manipulated. After the tragic flashback scenes with Lotor and Ven’tar’s planet (where, again, we see Haggar exerting her abominable sorcery upon her own son), we switch back to Honerva (disguised as Haggar) receiving news from Sendak: the Lions have returned. She commands him to destroy them. Immediately after, she activates the first Komar mecha, piloted by the most faithful acolyte, Luca. Her words towards the Alteans clearly speak of her vengeful intentions: Luca: “Voltron will pay for what they have done.” Honerva: “May the light guide you. Rise and avenge my son.” Chronologically, after these scenes, the order of events belongs to S7 E7-13: Earth versus Sendak, then Luca’s Komar mech attack, defeat and capture. After a few episodes in S8 in which we find out that Honerva has been pumping more of these Komar mechs across the universe, while also destroying the Olkari planet in order to get their cubes, we have another view of Honerva at the Oriande pyramid, addressing her Altean people before she begins her mega-magical ceremony:

“For eons, our people have suffered, cast out from our home, driven mad by the cursed Galra. We have sacrificed much. You have sacrificed much. But Lotor gave more than any of us. And today, his ultimate wish will be fulfilled. The Galra will pay for what they have done to the Alteans. The end for anyone who dares oppose us is near. It is time to begin. May Lotor’s light guide you.” Hmmm… “driven mad”…? Then she adds: “But Lotor gave more than any of us.” “Lotor’s light”… I keep hearing Honerva talking about it. Does it have anything to do with… the “enlightenment”? (aka the “wisdom about the quintessence and the entity”, as mentioned by Honerva in her youth). Also, here it is, again, her vengeful stance: “The end for anyone who dares oppose us is near.” A very absolutist declaration. Politically, although anti-Galra, it actually mirrors their doctrine. So, if the universe were to be ruled by this new Altean order, what difference would it make from the previous oppressors? Now, do you see the purpose of the alternate reality episode? Also, Honerva makes use of her Komar mechs to syphon out quintessence from entire planets (while Matt and the Coalition struggle to save all the planet inhabitants), in order to gain galactic proportion energies for her Oriande magic. These are not even Galra, they’re innocent people, caught in the midst of this war, but according to Honerva’s twisted logic (which the Altean acolytes follow blindly), she can sacrifice anything and anyone in order to bring her son back.

A comment on Honerva’s statement regarding Lotor: “Today, his ultimate wish will be fulfilled. The Galra will pay for what they have done to the Alteans.” So, her opinion is that Lotor’s ultimate wish was to make the Galra pay for the genocide against the Alteans. Which, since she connected with him via Kova, means that she inferred it from his final words uttered at the rift battle with Voltron: “I’m ready to wipe the Universe clean of all my enemies: Voltron, Haggar and the rest of the Galra.” What she fails to recognize is that Lotor uttered those pronouncements in an unfortunate state of mental breakdown (“driven mad”). Nothing prior to that indicated that he ever intended to end the Galra. On the contrary, he told Allura that he wants to return the Galra Empire to a “bygone era of peace. […] This isn’t a zero-sum game. Meeting the needs of the Galra Empire means bringing peace to the universe.” Also, he stated that he does not want to make use of the “barbarism of the Komar.” Well, Honerva clearly still does. So much for Honerva walking in the footsteps of her son… And I shall return to this controversial subject when analyzing Lotor’s story, which is the most nuanced of all, precisely because of the suffering he’d been through, precisely because “he gave more than any of [them]”.

During the battle at Oriande, we have a one-on-one encounter between Allura and Honerva. I’ll discuss more about Sincline’s reaction to seeing Allura during Lotor’s arc, but just note that the mech prepares its aim then lowers the weapon at her sight. Lance attacks him to protect Allura, only to be pushed away by a Komar robot. The Altean quickly becomes a casualty of Sincline’s seemingly indiscriminate violence. As Lotor’s mech swings its blade at the Red Lion, Honerva commands: “Still.” Sincline complies, as if remote-controlled. Concomitantly, Allura plunges at Honerva with her bayard, only to be pulled into a dark space where the two of them will have a captivating chat, suspended in time. Honerva: “Altea’s wayward daughter.” Allura: “Don’t you dare mention Altea to me.” Honerva: “This is just the beginning. Join me and our people. Together, we will go back to Altea.” Allura: “We cannot go back. It is destroyed because of you.” Honerva: “Think of your father. I knew Alfor well. This is what he would have wanted. Join me and the Alteans.” Allura: “Never! You cannot keep me here forever. And the moment you release your hold, I will end you. Honerva, holding a sphere of purple magic, depicting Sincline in frozen-motion: “Then you will end your friends as well. I am the only thing keeping my son at bay. Join the right side of this war.”

As we’ve been shown across the many episodes, Honerva frequently makes use of that purple sphere. If you haven’t guessed yet what it is, let me remind you: [the power of] the entity (the entity itself is spherical and purple, as Allura will discover in the episode “Clear Day” S8E8). Honerva actually makes double-use of the entity in the same scene: she’s “keeping her son at bay”, and she’s also holding Allura trapped in that dark place, where they have the little conversation.

A few things worthy of analyzing in Honerva’s current state of mind:

She actually wants Allura to join her quest. The one that has been her enemy for so long, the princess she hated with all her might, yet Honerva wants her as an ally… Why? Well, first off, most likely because she is Altean, and now the newly awakened Altean Honerva wants to recruit every kin possible. Secondly, most likely because she values Allura’s immense powers. Together with her, they’d be invincible. I don’t believe Honerva has any emotional attachment to her; it’s purely a tactical decision.

Honerva wants to resurrect Lotor, not just bring an entity-possessed son back from the rift. She knows Allura has the real Oriande knowledge. (Speculation, but…) maybe gaining Allura as an ally will help her fully resurrect her son…?

She blackmails Allura so she can force her to join her side of war. Which, again, proves my point, that Honerva has no feelings towards the “wayward daughter of Altea” (actually note the snarky tone), and she uses any means to achieve her scope.

She believes she knows what Alfor would have wanted. Allura already explained to us that Alfor wanted to avoid this kind of reality, so we know Honerva is on the wrong side.

She is keeping her son at bay. Well, well. Logical conclusion: her son IS in there. She uses her entity powers to remote-control him just like she does with all the Alteans piloting the Komar mechs when she telepathically links with them. This, right here, blatantly contradicts S8's official stance, that Lotor was dead.

Some of you might say: yes, but the Komar pilots also have free will, they are still conscious of their actions, they are able to speak freely and express their thoughts and concerns (as we see Merla do, noticing “something’s wrong with Lotor”). You might say the mad!Lotor inside Sincline is something completely different: a being devoid of consciousness, indiscriminately violent, fully on remote-control (psst: except when pointing the gun at Allura). Taking a deep breath... Well. What did I just talk about all along this meta, and during the full length of Zarkon’s meta? What is the title of these essays? “Slowly going mad.” The entity’s takeover happens as a GRADUAL progression towards complete disconnect from self. Zarkon and Honerva prove it to us during their arcs: the entity does not take full control of someone’s consciousness right off the bat. It takes time, years actually. We know the Komar pilots were possessed by the entity because we have the example of Tavo. Honerva exerts bursts of remote-controlling over them, when they do become, temporarily, completely someone else. In time, they would have turned out exactly like Zarkon and Honerva. That is my analytical take on how the writers built the entity’s behavior, based on examples that clearly demonstrate that. Which, again, logical deduction, means that Lotor right now is at the far end of the spectrum - fully gone mad, fully possessed by the entity. And I’ll come back to that during his analysis.

No mother would want to have her child perpetually in this state. And I’ll further suggest that she wanted and intended to wake him up, with examples. Examples which, unfortunately, due to the garfle-warfled S8, made little sense in the context in which they were placed. I’ll put the next few paragraphs under an indented format, because they’re more ‘speculative’ in nature, due to the aforementioned scramble-warfle.

S8E11 “Uncharted Regions” is probably the most scrambled of all, as many others noted before me. It seems to be an episode patched up with scenes from different other (chopped out) episodes. In any case Honerva suddenly wakes up after Allura traveled inside her mind.

She then goes to the bridge of her pyramid-ship and orders her Altean pilots: “Exit at coordinates beta-four-ex-seven. The Paladins are aware of our plans.” Merla asks: “Is that a problem?” Honerva: “No, it’s an advantage.” We’ve heard Lotor utter a similar phrase when cunningly using Voltron to retrieve the trans-reality comet. What advantage is Honerva seeking to gain? Was it just to use the powers of Atlas’s crystal and the Balmeras? I suspect it actually had to do with using Allura’s powers to wake up her son. Which we never got in this S8 edition. But we witnessed other little details: During their trip inside her mind (S8E9) the Paladins see a glimpse of how Honerva interacts with her son (all throughout S8, we are led to believe he is deceased - because we see what appears to be a cORpSe, but there are motes of purple quintessence rising from his body - similar to how Honerva and Zarkon wake up after being ‘resurrected’ by the entity. Also, logical questions: 1) why would she talk to a dead body and 2) why would she even carry around a corpse inside a mech robot while fighting the Paladins? I don’t believe a kids’ show would employ such an insane, horriffic, mind-twisting scenario, and, again I posit that this is a butchered version of the #realS8).

Pay attention to what she tells him, face to face (while he supposedly is dead): “Lotor. We’ll all be together soon.” Again, in S8E11, Honerva facing Sincline: “We will be back on Altea soon, my son.”

The intent is to show us that Honerva wants to get him “back”, to be “together” with him, in the environment in which she grew up, her perfect version of an Altean reality. She desperately yearns for a normal family, just like they unveiled during the trip in her mind. Her deepest desire is to have what she never experienced: family love, connection to her son, to a caring husband. Which means she wants to bring Lotor again to a normal, sane being, one with which she can communicate and share her emotions and thoughts. But she cannot do that anymore, can she? Because the only place where she could have done that, the place that helped her recover her own memories and (partially) her sensibility, Oriande, is gone. She destroyed the guardian Lion, she took away the quintessence from the Sages, she melted their statues. All the magic of Oriande is gone. But there is ONE more person left in the Universe that retains the wisdom of Oriande. One person who can probably resurrect Lotor. And that is Allura. (she’d done it with Shiro, hadn’t she?). Which, once more, proves my point that Lotor is actually there, alive (albeit fully possessed by the entity), his consciousness buried deep, deep under (and only Allura can trigger a small flicker of it), tragically resembling his father Zarkon, fully collapsed into madness (for completely different reasons, but we’ll get to that in his own meta). And (speculating - yes, I know) Honerva bets on Allura’s “life giving” powers (“Alteans are life-givers”) to bring him back for her.

Here are some extra snippets of how Honerva interacts with Merla and the other altean acolytes. Note how the order of events makes no sense chronologically: Beginning of E11, Honerva tells her Alteans to set a course to beta-four-ex-seven. Once there, she pulls up her own mech and starts sorting through all realities, using her purple-winged rosette. Nothing major happens there, just some of her robeasts eliminate a few Coalition scouts. Next, she orders Merla, while inside her mech:

Honerva: “Preparations are complete. Set a course for Altea. It’s time” (wait, set another course? She just made a pit stop to sift through a few realities and then off they go again?) Just a bit later, when Allura wakes up, Honerva is suddenly not in her mech anymore (why?):

Honerva: “The princess has awakened.” The next scene we see her in, she’s back in her mech again (huh?), the Sincline is next to her robot, and she’s about to fuse them together.

Then, she uses her telepathic powers via the entity to summon her Altean acolytes on Atlas (Allura is caught in the midst of it, debilitating headache preventing her from operating the teludav): Honerva: “Arise, my children. The time has come to act. Repent for your traitorous ways. Lend me your quintessence and all will be forgiven. […] Deliver me the power I need to return to our homeland. Give your energy along with the ship’s crystal. All of it.” Merla: “My people. Honerva, transferring that much energy will destroy them!” Honerva: “Their lives will be sacrificed for their savior.”

Merla interrupts the process, turning against Honerva. Later, she tries to directly attack Honerva, but - as implied from the animation of Merla's (clearly) exploding mech - Honerva kills her:

Paradoxically, we see Merla again in the next episode, asking the paladins not to harm her fellow acolytes - the subtitles confirm it’s Merla - and she pilots her Komar mech… um, again. Did she just, like, survive the explosion then just go grab another robot? (which, no surprise here, is another proof of the S8 garfle-warfle).

Anyway, apologies for the detour, let’s return to analyzing Honerva: She is willing to sacrifice anyone, including Alteans, to reach her goals. As we see from her facial expressions, although not Haggar anymore, she is basically back to her state of madness. But why is she so mad? She looked more calm and confident at the beginning of the episode. After all, didn’t she just bring her son back from the rift? Is it just her frustration against the annoying Voltron? Or is it more at stake here?

Speculating once more - I infer that she reverted to a high level of mental instability after Allura presumably saved Lotor, because the newly awakened son most likely rejected her… again. Deeply hurt by his refusal to accept her as his mother after she worked so hard to bring him back from the rift, she furiously decides to check out other realities and find her version of Lotor that would fit her selfish needs. So she sets her eyes on a reality where Lotor is an orphan child, because he’d be naive enough to believe she’s the good mother. This would infuse more tension buildup into her arc, creating an even more credible trajectory towards full-blown madness. Also, let's give this a logical spin: let's do a reductio ad absurdum. Why would Honerva rescue Lotor from the rift then completely abandon him (knowing that he IS in there, possessed by the entity) to go search for a child-Lotor in another reality?? It makes no sense.

6) Complete rejection But, surprise… Little boy Lotor is just as intelligent as his adult version: “She’s not my mother.” Honerva tries to plea with him, but eventually, the suppressed anger and madness that she tries so hard to mask does come out. She demands with a harsh tone: “Come to me.” And Lotor denies her again, with the same stark voice. “No. My mother is dead. And you cannot replace her.” This, this is the last straw that breaks the dam. She collapses into an unleashed mental breakdown: “[…] I’ve spent lifetimes trying to get back. Countless worlds have fallen in the wake of my effort to return to you. And this is how you welcome me? My own child, my own husband question who I am? I have sacrificed more than you will ever know! […] If there is no place in this universe for me, then there will be no universe at all.”

Honerva dramatically reverts to her state of insanity, this time amplified to multiverse proportions. The buildup of emotional distress she goes through ultimately collapses into this apocalyptical unleash. Her son’s rejection across realities is… world-shattering for her already fragile state of mind. If no one loves her, then everyone should perish. This extremist vision, completely disconnected from reality, devoid of empathy, filled with unrestrained violence and rage, is typical of what we simply define in lay terms in stories as madness - the kind of madness that is violent, completely devoid of any rational behavior (clinical definitions encompass a wide range of mental and psychotic disorders and I shall leave the exact diagnosis to experts). This climactic point of madness in her arc happens in an episode called “The Zenith” - or a “high point”, the time when someone is most powerful. She reached the “zenith” of her madness… She breaks the dam of mental disarray, letting herself completely go on the other side. Disconnected from from herself and from all realities, she intends to obliterate all of them - and her own life - in the process. It parallels what happened to Lotor in S6.

7) Redemption The last episode brings the Paladins face-to-face with Honerva, in the Connected Consciousness, after she scorches all realities in her wake. The Paladins give Honerva a moralizing discourse, trying to convince her that everyone deserves to live. She bluntly dismisses them: “You think your words mean anything to me? I’ve lived multiple lifetimes, and all of them filled with pain and loss. If I cannot experience the simple joys of life, why should anyone else?” Translation: If nobody gives me what I want, then screw you all. But then Allura approaches her and does a mind meld (remember the tempestuous mind meld with Zarkon? Well, this one’s more peaceful, actually suspiciously peaceful). She reminds her of her past life: “There was a time when you loved more than just your family, a time when your fascination with how vast the universe is gave way to your desire to help and uplift others.” Honerva’s distorted cheek marks suddenly reshape into their original Altean form. A short recap of Lotor’s life ensues, and Honerva bitterly concludes: “He deserved better. Better than I could give.” She weeps sincerely when Allura asks her to change everything back. “I’m sorry… but the damage is done. There’s nothing left to save.”

Although the scene is emotional and uplifting, I believe it lacks the buildup and intensity needed for a redemption of this magnitude. And that is because…

There has been much discussion around the edits made in these last scenes, including my own analysis - here and here. A recent tweet (2023) suggesting Shiro was drawn over Lotor in this last scene - liked and shared by Shiro’s VA - also sparked more interest in this subject. My opinion is that Lotor was drawn over with multiple characters, depending on the scene. They used Shiro, they also used Allura, and who knows who else. S8 was profoundly altered, the original message erased… Starting from that premise, here’s what I think really happened in this scene, which would have elevated the last part of the show to a truly remarkable ending: instead of Allura, it was Lotor who revived Honerva’s consciousness, as a follow up on what Lotor told her in their interaction in S6: “[…] maybe I will take pity on you when the time comes”. It would mean the ultimate family reunion and both son and mother would heal their multi-millennial wounds. Because, like I said, this mind meld looked suspiciously peaceful coming right after Allura and Honerva had fought a trans-reality life-and-death battle. Honerva allowing Allura’s hands over her head feels a bit unrealistic, but if Lotor were the one approaching her, the mother would be more receptive. This is speculative, of course. But keep in mind more and more evidence has started to emerge, supporting this version. And I’ll discuss more about this during Lotor’s analysis.

No matter, this ending that we got still partially preserves the original intent for Honerva, which was forgiveness, redemption through her own participation in the salvation of all realities.

Honerva finally reverts to her original self and the beautiful story arc closes.

A more complex arc than Zarkon’s, for sure (this took 3 times as many pages). Complex, interesting, diving into subjects such as ambitions versus obsessions, mental illness, motherhood, love, various emotional stages and subtle transitions, suppressed feelings, tension and accumulation of negative emotions, culminating with mental breakdown. And let’s not forget the artistry of Studio Mir in rendering the vast array of facial expressions, and the VA’s exceptional job with Honerva’s nuanced script.

Many of these nuanced emotional transitions will be found again in Lotor’s analysis, although effected by completely different reasons.

Thanks for taking the time to read this long, long analysis. Thoughts and opinions are always welcome!

#honerva #honerva meta #vld meta #voltron meta #lotor #voltron legendary defender #madness in vld #jesseblue writes #a bit of lotor meta in here as well #whew you survived this long post congrats!#even if only a handful of people will read this my message remains the same:#the writers and EPs were done so wrong #the story they created is clearly still there buried under the garfle-warfle #the best proof will come with Lotor's meta

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millecrepe · 1 year

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gundam suisei no majo been killing me i just caught up on the 5 eps of s2 today and wooo emotional rollercoaster i will talk in the tags but here i’ll just say the pacing and stakes of the story and characters arcs have been so consistent i wonder how they’ll wrap it up i’m going coocoo

#gundam suisei no majo #ready to rumble #the elan in s1 had me crying like stupid and sulettas affection for him was so endearing #not shipping here but suletta discovering different kind of likes through different people was such good writing sob #anyways i thought for the first 4 eps of s2 that the new elan was also stupid ass cute but i don't support his crisis in last ep #should have not done that bitch ass #guel and the earthians ptsd being credible and well written too woah #the political buidling of it all with different ideals clashing BETWEEN TEENAGERS is crazy #idt i can really hate any of the main cast no matter how devious some of them may seem bc writers understand gray morality for real #okay bye

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eldragon-x · 1 year

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well anyway

#I'm just gonna ramble in the tags a bit #I put Pacifica lower in the og list because her development was just. gone in weirdmageddon but man. I do like her and wish the writers-#-didnt bungle it 😔 SAD! well theres other sad rich girl characters #wendy has being the character who I wanted to be like as a child privileges and also she literally deserved an episode #I dont Dislike gideon but man he was done dirty after being the s1 main antagonist #like the ep before the s1 finale builds up to gideons peak in the season finale but it mostly consists of introducing bill who was-#-summoned by gideon and immediately steals the show. especially once gideon gets shelved for most of s2. and only really becomes relevant-#-again to help bill with weirdmageddon for a little bit. do you get what I mean with gideon ended up so far in bills shadow in terms of-#-major antagonists #its fine tho. gid's just an over the top comedic child villain anyway. cozy glow type beat except he got redeemed.#I talked so much about gideon despite caring so little for him lmao #anyway I dont care for robbie. they couldve been onto something with him in love god but No.#Like The Concept of mabel seeing that hes miserable and trying to help was nice but the episode sucks #and outside of it he's basically just dippers rival mostly with the whole wendy crush storyline so. yeah.#normal about this show btw #gf

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artist-issues · 6 months

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you guys it's possible for an actor to be disappointed in his character's new direction without that character's new direction actually being bad

#I'm talking about Mark Hamill and his upset about Luke Skywalker in TLJ #Hamill excuses it with “well the new trilogy isn't about my character anymore”#but like #why didn't he just see that Luke died fulfilling the greatest lesson his character ever had to teach:#that there's hope for everyone #and by choosing not to kill Kylo and have the “ends justify the means”#Luke Skywalker is finally FOCUSING on the future in its proper place: hopeful because of the here and now #that was always Luke Skywalker's big character flaw even in the 80s #he looked at the future like it was something slipping away out of his reach and he had to ACT to fix that #“gotta go to the academy. gotta go save Han and Leia. Doesn't matter if I'm 'needed' doing something that feels less-important”#“I gotta control the future!!”#And in TLJ that leads him to some sad places sure #but ultimately he does the most hopeful thing his character could do and finally fulfills the lesson he started championing in EP VI #come on #just because an actor can't see what the writer is doing correctly doesn't mean he knows what his character should do better than the write #the last Jedi is an example of that #the last Jedi #the last Jedi hate #Jake Skywalker #He's not the only actor who's been wrong about his character but still done a good job before #the last Jedi defense #Rian Johnson #I do think Rian Johnson's should've taken more time to explain and show Hamill how good his character's conclusion was #and sometimes I think he did but Hamill just chose to be in this funny “Jake Skywalker” lane and stay there once fans ate it up afterwards #Anyway

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kindaorangey · 1 year

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guess who watched the storyboard version of the finale

#thunder rambles #ME!!!!!!!!!! ME :DDDDDDDDDDDDD #well actually it was ep 24 #not technically finale terrritory #but holy shit you guys #i think s5 is gonna have the freatest finale yet #greatest*#spoiler time #like okay first of all. im glad that even with the confirmation of more seasons theyre still wrapping lots of things up #like i assume they wouldve done anyway if it had only been 5 seasons #theyre not using it as an excuse to drag shit out #much apreesh #also they got their pg-13 rating and immediately said 'heres 3 canon lesbians and a mlm couple'. slay #more than more writers do i'll tell you that much #never settle. anyway where was i #oh yeah. youve had apt warning to stop reading if u wanna avoid spoilers so here we go #ADRIEN KNOWINGLY FIGHTING HIS DAD. GODDDDDDDDDDDDDD #its one of the central points of the series. that hes unknowingly fighting him. and even without any identity reveals theyve managed to #a) get him to a point where he resents his dad and b) construct it so they can hash it out #before you know. the big final fight where they both know each others identities or whatever #its such a sweet taste of everything to come and GOD they went all in #uhhh what else. oh yea #the duality of this episode being like. canon marc/nath. everyones celebrating. feligami made an interpretive dance/play together.#marinette watches said play and is so enraptured that she misses the whole battle. meanwhile #ADRIEN FIGHTS HIS DAD. ALYA PUNCHES GABRIEL AND HE YEETS HER. ADRIEN JULEKA AND ROSE ALL SEE THEIR WORST FEARS.#NATHALIE IS LITERALLY ABOUT TO DIE.#you guys. im so excited for the finale. and i had more tags but i ran out of space and i need to spoiler tag </3 #ml spoilers #ml s5 spoilers #ml leaks

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thegirlisuedtobe · 1 year

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I finished angel last mission and I was thoroughly disappointed

#me myself and i #miss hye sun was great but god after four episodes of her crying and crying and crying i was done #and she cries very well ehich is great but the pacing in the last four eps.... couldve been two episodes max #the ballet aspect of the show was rly terribly done like tbh what was the point of setting it up like that whej it was so sparingly used #more teerible is that they picked litcherally the wrong theater to be staging a fucking ballet of all things in #that place is a concert hall 😭😭😭 it doesnt even have wings!! joo hyun held her fly higher concert there!!#i have issues with the christianity aspect of it too but thats for another time #idk why but the show gave me this feeling of webtoon writer which isnt to say there arent good webtoons but so many webtoons have this #problem of putting scenes they want to see together and cliches and tropes without a clear and concise directive for it #it felt tired and cyclical

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pastryjay · 6 months

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I remember reading that David Jenkins had always planned for a 3 season story. Unfortunately, S2 was hard to get, has 8 episodes instead of 10 and S3 is uncertain. David knew this so changed plans to make S2 have satisfying conclusions in case we didn't get a S3. Which is a really good call. Imagine if we got an ending like Good Omens S2 and didn't get renewed? Nightmare.

Bearing those facts in mind, it's like we and the writers didn't just loose 2 eps but a WHOLE SEASON and 2 eps to tell this story. That is not their fault. OFMD S1 and S2 have done so well, been massively watched so should have been instantly renewed but HBO sucks, so no.

There's room for S3 and I hope we get it but if we don't, what the writers did to make it satisfying is incredible. It's like they took everything that fans needed and made sure to spend at least a scene giving it to us; love confessions, kisses, hand-holding, saving each other, sex and more. I know some characters and relationships were sidelined but it had to be done to prioritize the main story; Ed and Stede's relationship. Ultimately the writers did more with their relationship in the 4 hours of S2 than other shows have done with main pairings across several long seasons.

#ofmd #our flag means death #ofmd s2 #ofmd spoilers #ofmd season 2 spoilers #edward teach #stede bonnet #gentlebeard

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klinejack · 2 years

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something weird happened here....

#helen slater/susan coyle/susan carter explain yourself #both these eps are about incest leading to murder (s)#both have the same guest star with the same character names and both sons of said character look super similar #both actors who played said young sons went on to act in bigger roles and became more well known than the adults #neither show nor episode have anything else in common (no writer/producer/anything worked on them both)#but i watched family remains for that horror set i posted today #and when i saw her and heard the names susan and brian and they both started with the hard C i just...#my brain popped #because that svu ep is one of my very faves simply because of the shock of that plot twist its just so well done #and as a result you guys get this sloppy collage of #coincitainment #law and order svu #supernatural #spn adjacent #posts for an audience of 1 #death mention cw.#incest mention cw

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slavghoul · 7 months

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Interview from Sweden Rock Magazine 10/2023

Hi, hi. There is an interview with Tobias in SRM’s newest issue, but it’s in the subscribers only section, so I thought I’d translate/share since I guess not many people will be able to get their hands on it. It is about Prequelle and it’s part of SRM’s „200 best Swedish hard rock albums of all time” series. Prequelle placed #68. The other albums may have scored higher, but for now we don’t know the whole list. Either way, enjoy. Very insightful.

„Do you think that "Prequelle" is Ghost's worst album?” Now that’s an unusual opening question. Especially when the interview is about an album that Sweden Rock Magazine's writers and qualified Swedish hard rock musicians (including Tobias Forge) have voted as one of the 200 best Swedish hard rock albums of all time. The question wasn’t planned, but comes spontaneously, as a reaction to the first thing Tobias Forge says when we sit down on opposite sofas in the record company office. I'm here for a two-part interview, partly about the EP "Phantomime" (published in #6 2023), partly about "Prequelle". Neither record companies, artists, voters, nor even our writers who conduct interviews for this series of articles have any idea what placement an album has received. Interviews are often done well in advance and we simply don't want placements to leak and become public long before publication.

No Ghost album has ever been on the list before. The idea is actually to end the day with the "Prequelle" talk, but when Tobias Forge suddenly starts with a funny little comment that this album is probably the one that those who have voted think is Ghost's worst or least popular album, I just have to take the opportunity to ask the question: Do you think that "Prequelle" is Ghost's worst album?

No, absolutely not, he says and laughs. If I'm going to be completely pragmatic, I'd say: "How many songs do we actually play from that record?" There are songs that work damn well live and sit where they should. So it's a pretty strong album.

But is this what you are basing it on? "Prequelle" was released after Ghost had become really big so it can't be compared to "Opus Eponymous" and "Infestissumam" which you don't play many songs from. I mean, no matter what kind of record you had released when "Prequelle" came out, you would still have played many songs from it and they would have worked precisely because Ghost's songs nowadays are moulded more to the arena format.

I don't know how to answer that, it's difficult. If the album had been different, it would have been. If I'm going to talk somehow both artistically and practically, I know that for every record we have become exponentially bigger. "Prequelle" was definitely no exception, but it also took us a big step forward and upwards and we became bigger and broader. To the extent that when we introduce old songs in the live set, you notice that there are elements on albums one and two that make some songs more difficult to play. Not technically, we can play the songs, but they don't work in quite the same way as the later songs, which means that there is a slight favouritism.

I asked the original question about whether you think it's Ghost's worst album only because you directly said that this means it's the least popular one.

I'm just so full of myself I assumed all the other albums are also in the top 200, which may actually be incorrect. This might be the best album and the others aren't even there, haha.

It wasn't long after "Prequelle" was released that you were self-critical of the album in interviews, saying that it was too ballad-heavy and a bit too soft. I haven't noticed that before, you being so self-critical shortly after the release.

Yes, but I still feel that way. If, as an artist, I am only going to look at the work with the criticism that one can feel towards one's own work, I think that if things had been different or if I had more time, I might have wished that I had managed to get maybe two more hard songs. Maybe one more hard song would have fit on the album and another harder song might have phased out one of the ballads. Now five years after the album came out, I know that the two ballads ("Pro Memoria" and "Life Eternal"), which I may not think are bad, are one too many. But I know that many of the people who like the band like both of them, so it's kind of a useless argument.

Who sets the length of an album? Have you set a limit, that it can't be longer than this and have no more songs than that?

No, but it must fit on an LP disc and there is a physical limit. I think the absolute pain threshold is 46 minutes and that's 23 minutes on each side. Now maybe Mikkey Dee (co-owner of Spinroad Vinyl Factory) will raise his hand here: "But I can make it longer!" And it's maybe 48 minutes, I don't know, but I do know that when a disc starts getting so full that you start getting close to the sticker, it starts to sound bad. Especially nowadays, because recordings today are so very maximalist in scope. It's one thing if you record 60s music with drums, a guitar and bass where the sound is cleaner and finer or if you play acoustic stuff with just vocals. Bob Dylan records could have eight songs on each side and it worked all the way through. But this kind of fairly compact music doesn't work well. Not only am I a militant vinyl advocate, I think we should respect the fact that most artists don't manage to create more than 45 minutes of good music on a regular basis. A lot of famous double records are not that good. I don't think the Rolling Stones "Exile On Main St" is very good. It might as well have been on one disc. And if I'm actually going to turn it into something completely mundane, I'd say that I think it's irresponsible to sit and make records with twelve songs if it results in the record being 63 minutes long and you automatically have to make a double record. It's pretty wasteful.

When you said that it's irresponsible, I thought you were going to say that it's irresponsible to print a double vinyl because of the environmental destruction that it entails.

Of course, if we're going to be completely straightforward and not do anything that harms nature, we shouldn't even release any records, so I say this with reservation. But with that in mind and for the sake of art, I think more people should embrace the actual given format that has been the most prevalent in rock history. There is a reason why a film is usually one hour and 30 minutes. You can’t take any more. There's a certain dramaturgical structure and there’s a certain comfort in it. Then the CDs came along they screwed that up, and suddenly there weren't two sides anymore but it started one way and ended another. Now that the CD is no longer important and we've gone back to vinyl, creators should follow suit and start embracing the physical rules.

Are there songs that have been rounded off just because you thought „I have to round off here, because if I continue, it won't fit on the vinyl disc"?

We actually had that problem on the last album. „Watcher In The Sky” ended the A-side and the outro is much longer on the CD and digitally. Two minutes longer I think. Much, much, much longer. It's long, noisy and has all these dives. It's a very chaotic soundscape. You get the feeling that it goes on and on, and on the vinyl it's just the beginning of an outro and then it drops almost immediately. I think that was a huge mistake.

So the overall sound quality was more important than vinyl buyers getting everything? Because you could have pressed the vinyl and it would have fit, but you would have had to compromise the sound quality.

Yes, exactly. You can get the song to just keep going until the vinyl simply runs out. Then it just starts spinning in the middle, depending on what kind of record player you have. But the problem then, if you want to anticipate events at a creative stage, is that people today buy and listen to vinyl records and are sensitive. It's quite common for people to complain that the record is broken. I don't just mean our records, but people complain a lot about the presses. If you make ten songs, it's therefore stupid to have a too thick soundscape towards the end of song number five and song number ten. If you want to be really good and old school, that's where you put a piano ballad because it's an easier sound to handle so far into the record. This is what I think about when I make records. But clearly sometimes I miscalculate.

This must cut right through the record collector Tobias Forge's whole body and soul, that "Watcher In The Sky” is shortened by two minutes on the vinyl of all versions.

Well... I don't toss and turn and wake up in the middle of the night thinking about it anymore. But when it happened, I was livid. Luckily it was just an outro. It would have been worse if it had continued with some kind of narrative into the next song. Now I can't remember in my head how long "Prequelle" is, but if I'd had to go back in time and just re-construct it, the re-construction wouldn't have had much to do with the existing material, I would have just wanted to add a scene. And it's not a scene that's missing, it's just for the sake of balance. It became asymmetrical in a way that bothers me a bit.

You've talked about this before, but it was before "Prequelle" that you really started to talk a lot about how you were thinking about what kind of new songs might suit the live show. Can you get stuck in that mindset, thinking more about what songs are needed live right now rather than creating an album that will last 30 years?

Hmm... (long pause)... The reason I'm sitting here thinking is because I'm trying to come up with examples of other bands that I think might have gone through something similar. I’m looking for examples to the answer I'm about to formulate and that is that: yes, I think there comes a point in the career when most bands make a record because they simply feel they need to… Because what we're talking about is that when you go from playing in small smoky clubs in front of an already inveterate audience that already understands the perhaps a little more chewy expression, that experience can change if you start playing in front of a larger and especially a different type of audience. When a different type of audience comes and you play in a different format, you discover that this song doesn't work very well, it doesn't sound very good and it's difficult to get the sound right. Then there's usually a record or two or three during your career when this transition happens where you start filling in with songs that work better live. Look at Piece of mind", "Powerslave" and "Somewhere in time". There's a reason why Iron Maiden didn't play a lot of the first two albums there and then, because it was easier to play the new songs. You get to that point somewhere in your career and it's very difficult to say when it is - there's no given rule and there are artists who continue to release relevant records and have an amazing ability to release new records and just play the whole new record. Well, now Iron Maiden does that and tests their audience a little bit in that way, but then they will always compensate by doing like a "best of" set the following year so everything is forgiven. Now we're in the middle of the "Impera" period here and have a very strong set, but I'm starting to feel that now that I'm about to start writing a new album, it feels like it's not really on my agenda to write three more albums that will change the live setlist ten years ahead. I think we already have the blueprint for what is Ghost's setlist, especially if you include the entire catalogue. After a while, each new record you make becomes a little less important. It's really hard to know when that point comes, but the truth is that new records don't matter in the same way. Slayer didn't have to release "Divine Intervention”. They definitely didn't have to release "Diabolus In Musica". I didn't care about it and I just wanted to hear the old stuff. If they had just come up and played "Reign In Blood" I would have been soooo happy. And that's the way it is with most bands. Nobody would be sad if the Rolling Stones came up and didn't play anything from "Emotional Rescue". And that's just the way it is. In the future, I can see a scenario where there is probably a basis to possibly build up an alternative setlist. There are so many songs that we do not play and that I have nothing against - I love them too! But it would almost be easier to build up a completely alternative setlist and run a show with only the odd songs. There are so many songs now. There's no reason not to build on that. But when I want to make a new record, it's irresponsible for me not to consider that there might have to be some songs that are a bit more direct. But it doesn't hurt me if we have more songs that we don't play live. I don't know if this answers your question...

I would actually like to ask exactly the same question again, because I wonder if you yourself feel that you get stuck during the making of the record. You said that you would have liked to include another hard song because "Prequelle" doesn't have the balance that you would have liked to have in retrospect.

Exactly, but the explanation for that has more to do with my mental capacity there and then. I simply couldn't cope. I felt that I had probably maxed out… It was probably about as much as I could do that year. That's the simple explanation. To get another song that would have fit and that would have fulfilled this requirement that I now in retrospect would have wished I had, it would have required something that I did not have there and then. The only thing that could have made it easier is if I had more time. It is difficult to reason about it, you see.

I was in the studio for a few days during the recording and it's one of the few times in all these years that I've done interviews where someone has started crying during an interview. It was quite obvious that everything that had happened with the split of the band affected you.

Yes. Of course. It did.

Is "Prequelle" a difficult album to listen to for you? Can you sit and listen to it all the way through?

Well, at the moment I have to do that from time to time, and listen to all the records, because we're just about to start rehearsing again and then I sometimes have to go back and just listen to the record to go: "Fuck, is that really how I sing?" Especially when we start rehearsing, I can be a bit like: "Damn, who changed this bit?” Then I usually sit down and it hits me: "Oh, it's me who has changed my song!" You simply do that over the years, you start singing it in a slightly different way. So sometimes I have to go back and listen, but it’s more practical. I don't think it's fun to listen them. I do it until they are finished. I listen over and over and over again and really try to listen with all the imaginary ears and all the imaginary perspectives you can have. "How would I have listened to this if I had heard it from this perspective?" Just to get as "objective" a perspective as I can until I'm satisfied, but then it's like „No, I don't want to hear this anymore". But I have to say that I think "Prequelle" is a very tolerable disc despite everything that interfered with the process. Therapeutically, it works quite well considering that we are still playing at least half of the album. For every artist there are songs that you want to play, and there are songs that you don’t want to play because they feel too personal. I don't feel that way about this one, it's more like: "Ah hell, they're part of the setlist and people like it and it sounds good. So that's what we're doing."

On a personal level, was Tom Dalgety the perfect producer for you, the way you were feeling at the time? Tom feels like the kindest, sweetest producer you can meet. He wasn't the kind of producer who pushed you very much, it was more of a nice atmosphere between you.

Yes, really, and it would have been different if Klas Åhlund, who is more confrontational, had been in the room. Now Klas and I are great mates, so it would certainly have been very therapeutic also, but it would have been a different process. If an artist comes in who is in such bad shape that they can't make a record, or a band where the main songwriter has just left them, then a Bob Ezrin goes in and says: "If you don't make the record, I'll make the record myself.” And he goes and makes Kiss "Destroyer" or Alice Cooper records. I'm not saying they didn't make them, just that you hear that Bob Ezrin made "Beth". It's a type of producer that's very different from a lot of other producers who maybe act a little bit more like buddies and cheerleaders and make the atmosphere good. Bob Ezrin doesn't care so much about the atmosphere in the room. Klas is somewhere in between, I would say. Given the condition I was in during "Prequelle", the result could probably have been different if Klas had come in. Ironically, there was actually talk of him doing it, but he didn't have the time and we'll never know how it would have turned out. I only know that it would have been different, but right there and then Tom was fantastic. I know that a lot of bands like to work with him because he is technically brilliant. He's really good at those typical sounds that people like: cool drums, guitar, bass, tone and clarity. He is also very "happy go lucky", a nice guy who sits and jokes all the time. Even if he has a bad day, it doesn't affect anyone else, which is convenient.

Let me compare it to when a writer contacts me after an interview and says "that was such a nice interview". For me, "nice" is not something positive in such a work situation and the result is often better when there is a little friction.

Mmm, and that is more Klas. There is more friction and more confrontation. And I was much better equipped for that at "Meliora" and later at "Impera". I felt better and was simply stronger. There wasn't the same survival instinct as on "Prequelle". If I think back, not about how the album turned out and how I have to live with it, but if I think back to the situation I was in, I was very anxious all the time. Even though I'm happy with the result, I wouldn't want to go through the recording again, even though Tom was great. Because it's hard to work when you're under attack. I realised that now when I made "Impera", when it was no longer like that. You are much more comfortable, it doesn't feel the same, you are more mature, you make better decisions, you are more controlled or dare to be uncontrolled. When things are this serious, you can end up in a freeze mode. Maybe that's also why there wasn't another song. The song that I miss doesn't exist because I simply squeezed out everything I had. If I had been in a different emotional state, I might have been more comfortable working out something at the last second from bits and pieces. But I felt that I really just wanted to get it done, deliver it, get back out on tour and start over again.

When you described being more mature during "Impera" you sounded like a 70-year-old, kind of like all the Aerosmith-like bands that have been fighting all their lives and now that they're in their 70s they say "we're soooo mature,” haha.

I think with all artists, especially when they're required to work in a group, there are many recordings that have been a collision with a wall because you're expected to function in a context all the time, whatever and whenever. But you do change and from one year to a few years down the line there can be a huge difference in a person's drive, hunger and priorities in life. Whether you have the same band structure as I do or whether you play in Metallica, people come in one state and they may end up in another, because you have different priorities at different times. It's unfortunately against the whole rock myth. I think that's the biggest problem for bands and businesses, that you always have this idea that if you just get to a certain stage - not just monetarily or career-wise, but you get to a certain stage of fun - then we've reached the status quo. But that is never the case! Never! There’s always something. Even in the best moments when everything is working, the band is awesome, everyone is working well, the crew is awesome, everyone is laughing, it's just a party all the time mentally, you have the world's best tour manager, everything is flowing and the tickets are selling, there will always be someone who doesn't like it and then has to break away and want to do their thing because it's no longer fun. It's usually somewhere in the lead-up to a stage where it's interesting and then once you've achieved it, it all becomes a bit boring. Just like in a relationship some people may eventually think, "well, that's a bit boring, I have to go out and do something else".

Since I was in the studio when you were laying down guitars on "Witch Image", my heart beats a little extra for that song and I thought it would be a great live song, but you've barely played it (at the time of writing it's Ghost's forty-fourth most played song live).

We did it during the "Prequelle" tour, or "A Pale Tour Named Death" as it was called. Then we did quite a few "an evening with" concerts, for better or worse. The advantage was that if you were a big fan of the band we actually played a lot of songs and actually a lot of the first albums, like "Idolatrine" - or "Witch Image". We did a set, a break and then a whole other set. That was a bit of a taste of what I was talking about earlier: doing a slightly larger set and then a slightly smaller one. You just shouldn't do it on the same night because it gets a bit stale. We played for two hours and 30 minutes or something and that wasn’t a good idea, haha. At least we did "Witch Image", but it has fallen behind a bit and it doesn't mean that we will never play it again, just that we don't do it right now. What I've been happy about is that there has been a feeling for the records that we've made recently, "Prequelle" and "Impera", that people still want to hear the new stuff. We haven't gotten to that stage that I talked about earlier when it doesn't matter anymore. Then it's very fun to try to find a new way to perform the songs, not technically, but suddenly a song like "Witch Image" might fulfill a very nice purpose between a completely new song and another song.

Let me speculate: in 30 years, I think "Rats" will be considered the great hard rock song, "Dance Macabre" the great hit and "Life Eternal" the great ballad. What do you think? Will this in the future be seen as the three big songs of the album?

Yes, that makes sense, I think. I understand that an instrumental song automatically ends up in the wake of a "best of" collection, in the sense that you do one in 30 years. I realise it's not a hit but the instrumental "Miasma" is a big part of our live show. It's strong and feels like such a keeper. Now we don't play "Life Eternal" very often actually, but it was very well received. For some reason people like to get married to it, I don’t know why, hehe. It's nice but it's also a bit like U2’s „I still haven't found what I'm looking for" and you don't use that one at a wedding. But people like it and I guess interpret it differently to me. It’s also a song that I don't think is fun to play live.

And why not?

Because I find it hard to play ballads. Physically, they don't feel the same as rock songs. I miss the "dunka dunka". Now everyone who plays music today knows what I mean - sorry, readers who don't play music - and it's that there's a small problem with having in-ear monitors. This means that you have to reach a certain frequency of beats in order to feel the music, unlike when you played at clubs with only a guitar amp behind you. You felt every single note you made and it just went through your body. Nowadays, I think it's sometimes hard when you play slow songs, because you have to trust that it sounds good, whereas when you play a rock song, you feel that it sounds good.

Does it also apply to "He Is” which is such a huge ballad, not least live?

Well, just the intro and then it gets going quite quickly and suddenly becomes a hard and rather fast-paced song. The classic ballad concept has always been that you play so-called edge beats to make it sound soft, while "He Is” is actually a rather hard-played song considering that it is a ballad. Once the drums come in – boom, boom – it's got AC/DC bite to it. It has a rock feel to it that "Life Eternal" doesn't really have. As I said, I don't think that "Life Eternal" is a lot of fun to perform, but that doesn't mean that it isn't quite good to listen to. It’s just that when I play "Dance Macabre" or "Mummy Dust" I feel that I can express myself physically more in line with what the text says and what it means.

#the band ghost #tobias forge #interview #prequelle era

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piratecaptainscaptainpirates · 6 months

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I've been thinking about the pacing this season, and I think a lot of the issues with telling instead of showing we've been noticing come down to two big factors.

ALL the episodes this season are sticking very strictly to 30 minutes or less. Most of s1 did that, too, to be fair, but some of the most important episodes - 4, 8, and 10 - are all closer to 35 minutes. It doesn't sound like a lot but that's extra breathing room that we're not getting now, it means some things that were almost important enough to make the cut had to get chopped. We're probably missing a lot of little lines that would've rounded things out because the writers had to bank on us getting it from context.

I wouldn't be surprised if the writers went in expecting a 10 episode second season and Max hit them with cutting down to 8 eps, or they had to make the hard choice to save as much money as possible to increse the odds of getting renewed and decided to cut it to 8 themselves. Either way, I definitely think they'd planned on 10 episodes and because of that some things feel rushed; it's really starting to show in ep 7 and I think that's because they just haven't had the space to set things up they thought they'd get.

I really think that we're missing an episode here, and I'm pretty sure it would've gone between 5 and 6. That would've been the logical place to let Ed and Stede's relationship breathe a bit between their second kiss and having sex in 6, and it would've been the right spot to wrap up some lose plotlines (when did Ed get off probation? How does he feel about it? The crew seem so much more comfortable with him in 6, does that make him feel safer and more loved?) and forshadow what's coming up (literally just one line with Olu feeling bad about what happened with Zheng Yi Sao would've made that so much less jarring).

On the whole, I genuinely think the writing this season has been smart and efficient, but not to the same standard as season 1 (which, to be fair, was a very high standard, but still). And I really think the things that matter (Ed and Stede's arcs) are largely done very well.

But it has still been so obvious that they tried to make this season as cheap and palatable for Max to produce as possible. I really hope it pays off. I think it will - like I said, I think the writers always managed to keep sight of what matters, and that's Ed and Stede's story. And I'm grateful that, despite trying to make this show an easy one for Max to make the decision to renew, they didn't compromise on the queerness.

But it stings. You know any other show that's so successful and has not only such a devoted fanbase but such a deeply invested cast and crew would've been renewed a long damn time ago. I am so, so happy we got s2, and I've loved it, really I have, but I'm still a bit sad thinking about what we could've had.

#ofmd #ofmd s2 spoilers #our flag means death #really hope it pays off and we get s3

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keyaho · 2 months

Text

II. You Give Me Butterflies

summary: hotel rooms are becoming commonplace with the pair, however, getting to know each other at such a pace leads Nashae to tell Leati how she really feels about him touching her.

Coco sat in her home studio avoiding the eyes of her team of producers. She leaned forwards, her elbows resting on the desk space and her head in her hands. Her black hoodie was open, showing off a gift from Joe. The company that made the hoodie he gifted her, had a new maxi dress, and the fitted brown material molded to her skin. She knew he went above and beyond when her personal assistant remarked on how the item didn’t come out until the fall. Topped with the hoodie and tan sheepskin slippers, Coco was ready for bed more than she was for the studio.

“Alright, what ideas do you have?” Gerrie, her main producetress, asked. “You said, new year, new ideas.”

Though she kept to herself in the industry, her team was close and she trusted them, especially Gerrie. She had multiple songs where Gerrie’s heavy and soulful vocals were in the layering. It was rare the producer stepped up to the mic, but when she did, Coco was always grateful. There was something about the blend of their voices that always made Coco happy and excited to sing with Gerrie. However, when Gerrie was in her producer mode, she was all about keeping Coco moving forward with innovation and newness.

“So, if I say I haven’t thought about it, would you all yell at me?”

“No, but we’re side eyeing you girl.” Alicia, another close industry friend snickered. “We give you a damn deadline and you’ll drop a project ten minutes after agreeing to our plan.”

Coco’s head shot up and she pursed her glossed lips. “That was one time and it worked!”

Five years ago, Coco dropped her “self-titled” album, Yayha, on a Wednesday morning, with no promotion. This time she wanted a “self-titled” album, but with her real name attached to it. Everyone knew her as Yayha, when her fans were being funny they used Nashae. However, she hadn’t produced any music in her whole career where her real name was listed as the writer or producer.

“I don’t want to do what I’ve already done,’ Coco hummed.

Then it hit her.

“I might not have thought about what the next project will be, but, there are some songs I have been creating and thinking about. It’s more pop based, though, however, I think I want to do small EP projects through out the year. Maybe four?”

“Are we touring this?” Alicia asked.

“Probably, but the tours would be small. Intimate. I’m not trying to go on a world tour right now.”

“So, these four projects?”

Coco opened up a document folder that had different songs saved. “I want to do a show four times. So, each set of songs get it’s own show.”

“When do you want to start these?” Gerrie asked. She had her own notebook out and had begun jotting notes.

“First show in March? Probably in Atlanta. The band, some dancers…’

“When are you going to drop the EP?”

“Late February, the show is a surprise.”

The creative juices began to flow. Ideas for stage, costumes, and all began to fill notebooks. She had already reached out to her choreographers and would bring them in for a meeting in a week. Coco felt her phone buzz and she saw Joe’s name and a text flash across her screen.

Can you talk?

Not at the moment, in the studio.

You going to let me hear the new music?

Maybe.

“So you want to put out a new EP every three months?”

“Yeah,’ Coco replied. “After this year, I want to do a world tour and I mean, the world.” She put her phone down and faced her team.

She had plans of taking some time off to spend with her family. She felt like her career had taken her from them. She had nieces and nephews growing fast and she wanted to spend time with them. As well as her parents.

“Well, we need to get started. Once you have a date, I will book the venue,’ Gerrie stood and gathered up her things.

Alicia follow suit, already on the phone with the choreographers since Coco had given her a list of potential songs. The songs would be mixed, but they could get a gist of what the dancers should be doing.

Jumping back into work, she knew this year was going to be crazy. Glancing down at her phone, she picked it up and sent Joe another text. His reply gave her butterflies.

I’m always going to make time for my pretty girl.

January 11th, 2024, the night before Friday Night Smackdown

It was rare, but, when she could fly normally and under the radar she would. Having thwarted people by posting photos as if she was in another country, she booked the first flight that would take her to Lincoln, Nebraska. Grabbing her duffel bag, she slung it over her shoulder. It was a bit chilly when Coco stepped through the doors of the airport terminal. As soon as Joe said he would love for her to come to a show, she booked her flight ticket. It was a long flight of nervousness as they spent most of it talking. Her lips were still tingling from their last kiss and her dreams had been blessed with Joe and his mouth.

She looked around and there he was, leaning against the hood of a Cadillac Escalade. Like her, he was in a mask and dark clothes, his hands folded in front of him. Even this far away, she could see his dark eyes had landed on her.

Taking a deep breath she walked over, clutching the strap of her bag tightly. However, the closer she got to him, the bigger her smile grew behind her mask. Her feet shuffled a little faster until she was almost skipping into his arms. Those same thick arms she missed wrapped around her waist as she dropped her bag and fell into them. His head dropped to her shoulder, breathing in her scent while she wrapped her arms around his neck.

His hands rubbed up and down her sides, pulling her as close as he could.

“Wassup pretty girl,’ he whispered while pulling down her mask and his before sealing their lips in a kiss.

He tried to pull back, but Coco grabbed his head and brought him back in for another kiss. He smiled against her lips.

“Na ou misia foi oe, Nashae.” (I missed you too, Nashae.)

“Ou te valaau atu ia te oe Leati?” (Do I get to call you Leati?)

“As long as you are calling my name I don’t care.” He reached down and picked up her bag. “Come on, let’s get you warmed up.”

She stepped aside as he opened up the passenger door for her. Behind her, on the backseat, he dropped her bag and slid into the driver seat before pulling off the curb. Lincoln night time wasn’t as vibrant as they bigger cities, but as they drove through downtown, the bars were full and music was blaring. Even on a Thursday night.

“I hope I won’t be in the way or distracting,’ Nashae said, ‘I’m sure you need to focus.”

It was then he reached over and placed his hand on her thigh. His thumb rubbing small circles into the fabric of her jeans, but igniting a fire against her skin. He had saw them when she walked over, but the heels he’d gifted her for Christmas were on her feet.

“Nah,’ he replied while turning onto another street, the hotel in the distance, ‘when you asked to come to work with me, I was more than happy to accommodate.”

“You hungry?” He asked, turning down the heat as she slipped out her jacket.

“I could eat,’ she replied.

He reached into the arm rest between them and pulled out a few restaurant menus. She flipped through them and settled on Whataburger, a place she hadn’t had in years due to her dieting for tours. He found the drive through and joined the line, glad to be able to focus a little more on the woman in his front seat.

Before she could speak, Leati cupped the side of her head, tilted it to the side, and laid one of the nastiest of kisses he could manage on her lips. Her hand came up and gripped the back of his head, pulling him closer as she leaned into it. He tasted like mint and she was sure it was from his gum. Regardless, she sighed into his mouth before a soft moan filled the car from her.

“Mmmhm,’ he spoke against her lips, ‘my pretty girl.”

A honk behind them made them separate and Leati pulled forward to the speaker box. He ordered a few patty melts, she skipped on fries, and two shakes.

“Why do you call me that," she asked around her straw. “I mean I like it! Just wondering….”

Leati pulled to the next window and paid for their order. The car rolled up slowly to the next window. Once he had their food, he headed towards the hotel.

“I like the way you grin and get all shy on me when I say it. Your nose gets all scrunched up like a bunny.”

He slung her bag over his shoulder after parking while she fitted her mask to her face. Her hair was in it’s natural state, and she pulled out the band holding it in the bun she flew in. Her curls caught him off guard and he reached out, tugging on one of the curls.

“You know what I want to say,’ he teased and just as he said, her nose scrunched up and she looked away with a soft giggle. “But I will say you are beautiful like this.”

“You really had a crush on me, huh,’ she whispers, reaching out to tug on his beard.

Suddenly called out, Leati laughed. “Jey?”

Coco nodded. “You were inside helping get the fire wood and he came and told me. He thought you were being weird because of me so he told me about the crush.”

“I’ll kill him,’ he cheesed. His pearly whites shining as he licked his lips.

“You won’t!” She smacked his chest, stepping around him while holding her shake.

Leati grabbed the rest of the food and she held his drink in her hand as well. When they stepped into the hotel, she walked on his left side which somewhat hid her from the front desk. Leati was grateful that the area was empty and so were the halls towards the elevators. It wasn’t rare for the roster to bring women or men back to their rooms, but he didn’t want anyone to know the woman that was with him.

Behind him, his stride took off, Coco nearly skipping to keep up with the man in front of her. The halls were long, winding it seemed, and he kept stopping to make sure no one was around a corner. They had finally made it to the room when she leaned against the wall beside him, breathing just a bit too hard.

Leati looked down at her as he opened the door.

“You okay?”

“You,’ she panted suddenly, ‘have long legs!”

He looked down at her flustered expression. When she allowed herself to relax around him, she was so cute and very expressive. She was comfortable and he wanted her to always be that way with him.

Playfully, he looked down at her and leaned forward so they were eye level. “Nah, that’s because you’re short.”

He kissed her quickly before she could reply. Laughing, Leati opened the door but stepped aside so she could go in first. She dunked under his arm and was instantly smacked in the face by the scent of man. Heavy, strong, the hotel room smelled like him. That’s that pheromone shit folks were talking about. She thought. There was nothing artificial about what she was smelling. He came up behind her and kissed the side of her head. She had stopped just in front of the door way.

“Shy?”

Leati placed her bag in his room of the suite. He had all intentions of letting her have his bed alone for the night. He was always wired the night for a show and would pay a gym to get a few hours in to blow off enough steam to get a few hours of sleep.

When he came out of the bedroom, he stopped and watched Nashae stand and begin to eat. She swayed side to side, shoes gone, the patty melt in one hand and the shake in the other. The jacket was on the arm of the couch and he licked his lips at her outfit. The most simplest of outfits; black yoga pants with the matching jacket, cropped and fitted to her chest. Her hair fell to the middle of her back, the brown curls moving as she swayed. He gave her a long once over. From the top of her head to the heels of feet, she had his full attention and didn’t even know it. Well, until her hand started digging around the bag for what she knew was his fries.

She had them in her hand, ready to bring them to her mouth when a hand curled around her wrist, turned her hand a bit and dropped them in Leati’s mouth.

“Ms. I don’t want any fries.”

“Yours looked good.”

Nashae pulled out two more and quickly put them in her mouth before he could stop her. She swayed side to side again, stopping when she realized how close Leati was to her. Her back was pressed up against his chest.

“I don’t think I’m the only one that had a crush on you though.”

Arms around her middle, Leati leaned down so his head was on her shoulder. He felt her tense at his closeness. She didn’t pull away, but he could tell she was still nervous.

“You’re the only one that matters,’ Nashae replied. “It does come with the territory though.”

“I guess I have to earn my keep. You have a lot of admirers.”

Nashae shrugged, his lips right beside her ear. His beard rubbing against her cheek.

As they finished up their food, she was sitting between his legs as they watched TV in the bed. Well, she was trying, he was kissing the back and sides of her neck. She leaned back, head rolled to the side as he tasted her skin. Her chest rose and fell very visibly.

“You’re so sensitive,’ he remarked, nosing along the length of her neck as she shivered. “You get so worked up just from my touch.”

To prove his point, he placed his hand on her stomach, his thumb right under her top. Her stomach fluttered and she grabbed his wrist.

“Is it me?” He asked.

“A little.”

“Noted.”

He pulled away with a smile and leaned back against the pillows, his hands behind his head. She sat up, miffed, and turned to look at him confused.

“What-’

Nashae turned around and looked at him. He avoided her gaze, pretending to watch the movie.

“Leati!”

“O le a?” He asked.

“E le mafai ona e pa'i mai ia te a'u ona toso ese ai lea faapea.”

“Manaia tele le leo Samoa i ou laugutu.”

She folded her arms across her chest and pursed her lips.

“E te mana'o ou te pa'i atu ia te oe?.”

“Ou te le iloa le mea ou te manao ai, ae ou te fiafia pe a e paʻi mai ia te aʻu.”

“You told me you were a virgin,’ he said, ‘and I’m not going to do anything that you aren’t ready for. So when you ask me to touch you, what do you mean?”

The switch to English and the focus on her virginity made her grimace. She hated this talk. It was always the crucial moment in relationships and it determined whether they wanted to deal with a relationship or not.

“Leati,’ she whispered, ‘I-’

“If I am going to be the one that takes you to bed, I want you to be ready for it. For me, you know?”

“Yeah, I know I just, I don’t have much experience in this.”

Standing up, Nashae rubbed her hands on her pants. They were suddenly clammy.

“I’ll go as slow as you need me to, baby.” He watched her pace.

“Yeah, there are moments when I don’t want you to go slow.” She admitted.

She wouldn’t say he made her feel so submissive, but she was sure he could pick up on it.

“I just know that I don’t know what I’m doing and would probably be a disappointment.”

“Woah, woah, woah,’ he beckoned her back to the bed. Patting the spot between his legs, where she had been, he took her hands in his.

“We don’t have to think about that right now. The fact that you want me to touch you is enough. I get to kiss you as much as I want so for right now, just lead me where you want me.”

Translations:

“O le a?” - What

“E le mafai ona e pa'i mai ia te a'u ona toso ese ai lea faapea.” - You can't touch me and pull away like that.

“Manaia tele le leo Samoa i ou laugutu.” - The Samoan voice on your lips is very nice. (literal) I mean't it sounds good coming from her*

“E te mana'o ou te pa'i atu ia te oe?.” - Do you want me to touch you?

“Ou te le iloa le mea ou te manao ai, ae ou te fiafia pe a e paʻi mai ia te aʻu.” - I don't know what I want, but I like it when you touch me.

#roman reigns x black reader #roman reigns x black!reader #roman reigns x oc #roman reigns fanfiction #roman reigns fanfic

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