Verily, verily, I say unto thee, Good Omens is officially returning for a second season over at Amazon Prime, in collaboration with the BBC. In the excruciatingly long two year gap between the first season’s release in 2019 and today, there had been occasional whisperings of a continuation, some even straight from the lips of the series’ creator, Neil Gaiman, but nothing ever seemed to pan out. Many fans had given up hope that we would ever see the future misadventures of Crowley and Aziraphale, and the first season’s fairly conclusive ending seemed to back up that dreary assumption.
Aziraphale and Crowley | bbc.com
But the long delay can now be attributed to Gaiman’s deep respect for the source material, Good Omens: The Nice And Accurate Prophecies Of Agnes Nutter, Witch, which he co-authored with the late great British fantasy novelist Terry Pratchett. Gaiman today revealed that many of his and Pratchett’s ideas for the Good Omens sequel they never got to write together will now form the basis of season two – meaning the series will continue to be as much Pratchett’s work as Gaiman’s. The first season of Gaiman’s Good Omens adaptation borrowed a couple of major characters and plot beats from this unwritten sequel, but the second season appears to be a mystery story revolving around the sudden appearance of a stray angel with amnesia in a street market in Soho, where Crowley and Aziraphale are now living quite peacefully, having averted Armageddon and prevented a war between Heaven and Hell at the end of season one.
What happens after that is anyone’s guess, but Gaiman did give fans reassurance that Good Omens will continue to explore the far-distant past, putting a quirky and humorous spin on Biblical events – this time including the moments leading up to Genesis, and the creation of all things. We’ll also presumably see more of Crowley and Aziraphale’s time on earth, meddling in human history or cautiously observing it from a reasonable distance – and most importantly, just as in season one, we can safely assume these flashbacks will give us more insight into how the unique relationship between the begrudgingly spiritual demon and the charmingly worldly angel has developed over the years, and how it will continue to grow.
Crowley | themarysue.com
Good Omens has one of the few fandoms that is almost unanimously in support of the two male (or in this case, more likely male-aligned) leads becoming an explicitly romantic couple – perhaps because Good Omens is already so abhorred by the right-wing that very few homophobes seem to watch it at all – so it wouldn’t surprise me at all if Gaiman gives the fans what they want in this case. Regarding Crowley and Aziraphale’s relationship in season one, he said that he consciously structured it as “a love story”. And with the stakes a little less high in season two (at least at the outset, it seems), there’ll be plenty of time for more cute moments between the duo, whom fans have dubbed the Ineffable Husbands.
David Tennant and Michael Sheen will return to reprise the lead roles in season two, which will begin filming in Scotland sometime later this year. We can reasonably expect to see other major characters from season one return, including Jon Hamm as the Archangel Gabriel, Adria Arjona as the good witch Anathema Device, and Frances McDormand as the Voice of God, but I’m very excited to see which new characters Good Omens has in store for us. We’ve met the literal Antichrist already, so one has to wonder if some version of the Messiah themselves – like, the real one – might pay a visit to Earth in season two. It seems obvious, but at the same time perhaps a bit too obvious? The wheel-shaped Ophanim angels, or Seraphim angels with six wings and hundreds of eyes, might offer less predictable alternatives.
They’re in love, your honor | polygon.com
With the first season of Marvel’s Loki – which I described as brilliantly emulating the spirit of Terry Pratchett – nearly over, it’s comforting to know that we’ll soon be seeing more zany comedy on our screens, and from Pratchett’s own wild imagination, no less. Now how about we finally get the Discworld adaptation we deserve?
I can’t tell what’s more mind-boggling to me: that in a single night, the Marvel Cinematic Universe went from having precisely zero canonically queer characters (leaving aside Gay Joe Russo because I will do literally anything in my power to expunge that atrocity from my mind) to having not one, but two whole canonically bisexual characters, or that it took thirteen years to do what ultimately cost Loki (Tom Hiddleston) only about ten seconds in today’s episode of Loki – confirm, in a single line of dialogue, that he’s attracted to both men and women.
Loki and Sylvie | ew.com
And yeah, thirteen years is a long time to wait, but take into account the fact that Loki has been depicted as queer in Norse mythology for literal centuries, and the MCU is alarmingly late to the party. The perfect time to organically reveal Loki’s bisexuality in the movies was ages ago – at the very least in Thor: Ragnarok, where the sexual tension between Tom Hiddleston and Jeff Goldblum was so palpable you could feel it even without the script slyly hinting that Loki had seduced Goldblum’s Grand Master, or vice versa. But remember Marvel’s excuse for why a single shot of a woman exiting Valkyrie’s bedroom had to be cut from that film, thereby entirely erasing the only hint of that character’s bisexuality? Because it was “distracting”.
Apply that same faulty logic to all instances of queerness, and it’s no wonder why Loki had to be three episodes deep in his own solo TV series before he could even so much as address his sexuality, with a line straight out of Shadow And Bone bicon Jesper Fahey’s playbook: “A little bit of both.” My hope is that, in the near future, it won’t have to take this long before Marvel characters can be queer upfront instead of having to Trojan Horse their way into audiences’ hearts for decades: and the fact that the writer of today’s episode, Bisha K. Ali, is also presiding over the writers room for the upcoming Ms. Marvel series (as concerning as some of that show’s casting choices have been) is a promising sign. I also hope that Loki director Kate Herron is able to return to the MCU after this series is completed.
And while fans had been hoping for Loki to be confirmed as queer for years because it was just the logical thing to do, I also appreciate that Marvel took an additional tentative step forward, and did the same for Sylvie Laufeydottir (Sophia Di Martino), whom last week we only knew by the title of “Lady Loki” – a title I will no longer be using for her, since it’s become abundantly clear that while she appears to be a Loki Variant, she doesn’t identify with him or many of his experiences. But like Loki, she does seem to be queer – or at least Loki says he suspects as much, and she doesn’t argue the point. It’s hard to say if that makes her canonically queer or not…kind of?
But yeah, apart from (possibly) being bi and doing crimes, Sylvie actually has surprisingly little in common with Loki. The exact details of where/when she came from, who raised her, and why the TVA wants to eradicate her from existence are still unclear, but we got a couple of hints. She was adopted, like Loki, but her adoptive parents never hid that from her. Crucially, she doesn’t seem to have had a strong relationship with her mother – which shocks Loki, given how instrumental he considers Frigga to be in nurturing his talents from a young age when Odin regarded him as a hostage rather than a son. Sylvie therefore learned magic on her own, and seems to have tapped into a vein of chaos magic that allows her to manipulate minds much like Wanda Maximoff.
Lastly, it seems she chose to live permanently as Sylvie, as evidenced by her telling Loki that she doesn’t use his name “anymore”. So the character’s gender-fluidity is apparently an element in the story, and not just on literal paper. But Sylvie mentions that the Time Variance Authority has been hunting her for her entire life, meaning she varied from the confines of the Sacred Timeline at a very young age, perhaps when she chose to live as a woman. If that’s the case, it’s no wonder why she’d get so angry at Loki for calling her by his name. It would also explain why she’s going after the mysterious Time-Keepers who supposedly preside over the TVA – because what right do they have to judge who gets a place in the Sacred Timeline, and who doesn’t? We know other timeline alterations have been authorized by the TVA, so what does ultimately inform the Time-Keepers’ decisions?
Sylvie is looking for answers to all those questions when the episode opens, and we find her infiltrating the mind of a captured TVA agent named C-20 (Sasha Lane), probing for information about how to reach the Time-Keepers, and who guards them. You see, Sylvie is still operating under the assumption that the Time-Keepers actually exist, and I simply don’t think that’s the case. It’s telling that C-20’s intel leads Sylvie straight to the offices of Judge Ravonna Renslayer (Gugu Mbatha-Raw) – the same Ravonna Renslayer who, in the comics, was the one true love of Kang the Conqueror, a tyrannical villain intent on controlling his past, present, and future, by bending time to his will. It’s not like Renslayer has historically been a TVA operative in the comics: Marvel gave her this role for a purpose, and I think that purpose is abusing the authority of the TVA to destroy anything that could threaten Kang’s chances of conquest.
Sylvie Laufeydottir | cinemablend.com
It wouldn’t be the TVA’s first shady deed. Sylvie later reveals that all of the organization’s millions of workers are Variants, whose memories of their former lives are deeply buried under layers of brainwashing and propaganda. Sylvie is able to briefly reconstruct an expensive resort restaurant from C-20’s memories during a trippy exchange accompanied by Hayley Kiyoko’s very apt “Demons”, but imagine if Sylvie – or Loki, with proper training – were to perform her trick on Mobius? I’d bet good money that in his past life, he was a jet-skier from the 1990’s.
Unfortunately, Sylvie’s attack on the TVA doesn’t go as planned, as Loki is forced to drag her through a time portal to escape from Renslayer. A lot happens in this sequence – which all takes place in the first few minutes of the upsettingly short episode – but Loki taking an opportunity to steal his daggers back from Hunter B-15’s locker, and Sylvie trying to use Loki’s life as leverage over Renslayer, only for the judge to encourage her to kill the God of Mischief, were definitely highlights of what I feel is only the warm-up to a much larger assault on the organization coming later in the series. Look back at the trailers, and there’s a shot of Renslayer standing on her desk wielding her baton that we still haven’t seen – so someone must get past her office’s gilded doors, and whatever they discover there will be huge.
The time portal unceremoniously deposits Loki and Sylvie on Lemantis-1, in the year 2077, shortly before a collision with a nearby moon is set to wipe out the purple planet’s entire civilization, unless they can escape upon a spaceship named the Ark. This survival quest gives the two characters plenty of time to bond and wear each other down a little – perhaps a little too much. Despite being given ample warning that “perverse fanfiction” would come out of the pairing, there’s still discourse around whether it’s problematic to ship what Twitter dubs “selfcest” – a thing that to the best of my knowledge is literally impossible in the real world barring any sudden advancements in cloning technology, and thus is not worth being alarmed about. That being said, Loki and Mobius are where it’s at, thank you very much.
In Mobius’ absence, however, I’ll give you that Di Martino and Hiddleston are loads of fun, and their dynamic is perhaps a bit more lively and energetic than Hiddleston and Wilson’s circuitous banter. Di Martino isn’t trying to parody Hiddleston right back at him, something that could easily have become grating: instead, her Sylvie has a world-weary frustration and cynicism that plays well off of Hiddleston’s nihilistic good cheer. There are some hilarious moments when the two accidentally discover a trait they have in common, such as when the two argue about who’s the most flagrantly hedonistic, but they also share a poignant outlook on love that comes with their timelessness, and an appreciation for sharp objects (although Di Martino carries a sword, and is a more efficient fighter all around – after shedding her burdensome cloak, ditching her tiara, and letting her hair down as she plunges into battle, she feels like she fully comes into her own).
The episode’s final battle, an experimental long-take sequence unusual for Marvel, is a beautiful display of both Sylvie and Loki’s magical abilities that makes me desperately want a video game based on the show, where a player could switch between the two characters. The frantic running and backtracking through the labyrinthine streets, the rotating camera movements, not to mention the central conceit of avoiding falling objects while progressing towards a prominent object in the middleground – the Ark – which blows up dramatically when a certain point is reached: all of it seems designed to mimic third-person gameplay, and it’s random yet glorious.
Lemantis-1 | screengeek.net
Unable to enjoy the visual splendor from their vantage point, Loki and Sylvie will have to find another way off of Lemantis-1 before it implodes. And with just three episodes left to go, I hope there’s enough time for them to explore the Multiverse that Sylvie created when she attacked the Sacred Timeline last week, while allowing for a satisfying conclusion to the mystery of the Time-Keepers. But the fact that Loki is all but officially confirmed to be getting a second season gives me hope that whatever happens, there’s more to explore in this bizarre, wonderful, corner of the MCU, and that by then Loki and Mobius will be the happy couple we honestly deserve.
The last big news out of Netflix’s Geeked Week event was the unveiling of another upcoming online fandom event, specifically directed at fans of The Witcher franchise – WitcherCon, which will take place just around the corner on July 9th, and will finally give viewers of Netflix’s wildly successful The Witcher series and players of CD Projekt Red’s bestselling Witcher video games a shared space in which to interact and enjoy news related to both. I’ll let people with a more comprehensive knowledge of the games guide the conversation surrounding that specific topic, but as a fan of Netflix’s series I believe the first full-length trailer for The Witcher‘s second season is probably being reserved to debut during WitcherCon, and I’m beyond excited to see it.
The Witcher | editorial.rottentomatoes.com
Today, however, to appease the ravenous fans baying like wolves in their comments (no, not me…well, not just me), Netflix gave us a brief taste of what to expect from season two (which you can watch at the 41:30 mark in the video above), in a twelve-second teaser video focused on the show’s central character, Princess Cirilla of Cintra, better known to fans as Ciri. After fleeing from the burning wreckage of the privileged life in Cintra she had enjoyed as a child, Ciri’s journey in season one ended with her finally meeting Geralt of Rivia, the Witcher with whose destiny hers had been intertwined before her birth. Season two will follow Ciri’s own path to becoming a Witcher, as Geralt brings her back to the ancient citadel of Kaer Morhen, where his mentor/father figure Vesemir will begin training Ciri in the ways of the Witchers, making her the first woman to be inducted into the mysterious order.
The teaser gives us a few split-second glimpses of that training, as Ciri discards the heavy, richly embroidered, Cintran robes she wore for most of season one, and shifts into lightweight, practical, armor for her fight scenes. But when she’s not running obstacle courses or hunting monsters in the woods at night, it seems she’ll be diving deeper into the magical origins of her mysterious powers, including the catastrophic events that happen whenever she unleashes her literally earth-shattering wail. She’ll probably be assisted in this search by the mage Yennefer of Vengerburg, the trendsetting icon whom I choose to believe is also responsible for picking out the luxurious white fur gown Ciri can be seen wearing in the teaser in a couple different shots.
Ciri | comingsoon.net
Unfortunately, we don’t get to see either Yennefer or Geralt in this teaser, which is mostly filled with brief flashes of significant (or in any case, haunting) imagery, like a ceremonial dagger resting on a plinth, dancing shadow-puppets, runes etched in stone, a skeletal corpse placed on an altar, and my personal favorite: a mural depicting a man having his leg eaten by a large bird or perhaps a dragon. Fantastical and horrifying monsters are a big reason for the franchise’s popularity, and season two is expected to introduce some particularly iconic beasts from The Witcher books and games into the series, including the forest-dwelling leshy, depicted in the games as a towering humanoid creature with a head modeled after a deer’s skull, and a majestic crown of black antlers. I haven’t ever played the games, but the images alone are unforgettable.
As I said, I think we’ll see much more during WitcherCon, including a full-length trailer, but this little teaser is a nice way to end Geeked Week, which also gave us the Shadow And Bone season two renewal we craved alongside some more miscellaneous reports and reveals. I think Geeked Week’s biggest problem in hindsight was a lack of footage from the shows and films being covered during the event, although I’m actually willing to give The Witcher a pass since it will be getting its very own Comic-Con type extravaganza just a month from now.
The Leshy | redanianintelligence.com
But what about you? Was this sampling of season two enough to appease you, or were you left disappointed by the lack of content? Share your own thoughts, theories, and opinions, in the comments below!
In all the hype surrounding Amazon’s upcoming The Lord Of The Rings prequel series (hype that, to be honest, Amazon themselves have done little to stir up on their own with official announcements and news, relying on hardcore fans to drive interest for the past several months), it’s hard to remember sometimes that Warner Brothers and New Line Cinema still own the rights to the actual narrative of J.R.R. Tolkien’s magnum opus, The Lord Of The Rings. The situation is messy, and who owns what exactly is still not entirely clear (whether or not Amazon has permission to draw from Unfinished Tales, for instance, is a matter of heated debate in the Tolkien fandom), but Warner Brothers clearly still has enough to create an entire stand-alone feature-length anime focusing on the ancient history of Rohan.
Helm’s Deep | the-world-of-arda.fandom.com
Honestly, this is a startlingly random announcement to spring on us today of all days, without so much as a warning – Danger! Beware Of Hype Overload! Because I don’t know about you, but my hype levels are accelerating at an alarming rate, and show no sign of stopping. It’s been six years since the last film set in Tolkien’s Middle-earth came out, and that film was The Battle Of The Five Armies, so it doesn’t count. With Amazon’s The Lord Of The Rings still only dimly visible on the horizon like the far-distant peak of the Meneltarma rising above the waters of Belegaer, it makes sense for Warner Brothers to capitalize on their long delays by giving audiences a taste for what the OG makers of Middle-earth have been up to in the mean-time. Partnering with the Warner Brothers Animation department for the ambitious project, New Line has already picked out a director in anime veteran Kenji Kamiyama, and a pair of writers in Jeffrey Addiss and Will Matthews, who previously developed Netflix’s The Dark Crystal: Age Of Resistance. If you remember my feelings on that series, you probably know that their inclusion in this project sends a chill down my spine that I can’t entirely shrug off, but luckily these writers will have help from Philippa Boyens herself.
Peter Jackson, meanwhile, is presumably still too busy navigating the fallout from a bizarre scandal in his personal life involving a vintage aircraft theft to get involved in the new film, although he apparently gives it his blessing. It’s unclear whether the anime will attempt to stay in line with Jackson’s canon anyway, although it seems fairly likely given that New Line is overseeing this project, not Amazon. That being said, the film, currently titled The Lord Of The Rings: The War Of The Rohirrim, will be set a few hundred years before Jackson’s trilogy, so the only area in which it will really be expected to adhere to his canon is in the architecture and design of certain locations.
The Rohirrim | inews.co.uk
The War Of The Rohirrim will take place in the kingdom of Rohan during the reign of Rohan’s ninth and arguably its most legendary king, Helm Hammerhand (for comparison, Théoden was the seventeenth king of Rohan, during the time period covered in The Lord Of The Rings). Helm inherited a kingdom very different from the one we saw in the trilogy: mostly due to the fact that Saruman the White had not yet settled in the ring of Isengard, nor consolidated the kingdom’s most ancient enemies into an alliance against the Rohirrim. Helm Hammerhand’s greatest foes were Freca, a powerful tyrant who lived west of Rohan in the region of Dunland, and all of his house. They claimed to be descended from Rohan’s fifth king, although Tolkien’s appendices to The Lord Of The Rings never confirm whether this claim held any weight. Either way, Freca was not very fond of Helm Hammerhand, and sought to gain power in Rohan by means of a politically-motivated marriage between his son, Wulf, and Helm’s daughter.
The marriage proposal fell through (although I won’t be surprised if it’s the central love story in The War Of The Rohirrim anyway) after Helm sucker-punched Freca in the face, killing him, and Wulf seized an opportunity to launch an attack on Rohan while the kingdom’s closest ally, Gondor, was occupied with defending their coastlines against the Corsairs of Umbar. Wulf’s Dunlending army was soon joined by warriors from the lands east of Mordor, and they drove Helm’s armies into the valley where he would fortify the foundations of an ancient Gondorian citadel which became known as Helm’s Deep. Both of Helm’s sons were killed there, but Wulf’s foes never breached the gates of the citadel. That’s an important plot-point in The Lord Of The Rings, so it can’t be altered with too much.
This siege lasted for many months, and coincided with the onslaught of the Long Winter, which left Rohan devastated by famine and blight. Tolkien describes Helm during this time as becoming increasingly dangerous and feral, venturing alone out into the snow to “slay many men with his hands”. Rumors that he had become a cannibal in his madness preceded him and sent his foes scattering whenever they heard the blast of his mighty horn from the walls of the citadel. Even when the cold finally killed him, he was found standing, frozen to death and covered in snow, on the wall. Long after his death, the ghostly echoes of his horn would still sound in the Deep, and his vengeful phantom was believed to rise again whenever Rohan was endangered.
Helm didn’t survive to see the end of the siege on Helm’s Deep, or the day when his brave young nephew Fréaláf ambushed Wulf in the Golden Hall of Meduself and achieved victory over the Dunlendings. But his legacy lived on, inspiring his descendants to great deeds of their own. The anime will have plenty of opportunities to draw parallels to the siege of Helm’s Deep in The Lord Of The Rings, where Helm’s horn marked the turn of the tide against Saruman’s armies of ravenous orcs.
And speaking of Saruman…I know I mentioned earlier that he wasn’t living in Isengard at the start of Helm’s reign, but by its end he had already taken an interest in the affairs of Rohan – assuming he hadn’t already been pulling the strings behind Freca and Wulf’s dissent. At Fréaláf’s coronation ceremony, he first appeared in Rohan and was welcomed by the Rohirrim. And with the Dunlending presence driven from Isengard, he was given free reign over the ancient stronghold and its treasure trove of magical artifacts. This ominous, almost tragic, ending would be the perfect way to tie everything back into The Lord Of The Rings proper.
Saruman the White | looper.com
So yeah, I’m definitely going to keep a close eye on this project. Voice-casting and animation is currently underway, and I’m especially interested to see the style of anime that Warner Brothers goes with, as I think that will be very important: personally, I’d be most excited for something similar to the artwork of Netflix’s Blood Of Zeus and Castlevania anime series’, both of which also come with the violence one would expect from a series following Helm Hammerhand. This could very well end up being the first R-rated Tolkien property, and I don’t know how the fandom will respond to that.
But what say you? Does The War Of The Rohirrim sound appealing to you, and would you look forward to more anime based on The Lord Of The Rings? It’s a “yes” and a resounding “yes!” from me, by the way. Share your own thoughts, theories, and opinions, in the comments below!
