We've Done It Again Folks

For any relocated TikTok users

you can say sex and kill its fine

If you don't have a profile picture people will assume you're a bot

theres barely an algorithm, if you want to see cool shit reblog things instead of just liking them

follower count doesnt matter

tumblr fame gets you one thing and it is Yelled At

no one knows what the fuck the nsfw policy is

block anyone that annoys you even a little bit

And most importantly:

post cringe

In Defense of Loki (Masterpost)

Last updated:

April 20th, 2020

Since Tumblr mobile is a little bitch and won’t let people navigate to custom pages, I’ve decided to convert my Ragnarok Sucks compendium to a masterpost for mobile access. So here we go.

A long, long time ago in a galaxy far, far away…

Wait, no. Wrong universe. Sorry.

Once upon a time, I—like so many other filmgoers—enjoyed Thor: Ragnarok. If you dig deeply enough into this here Tumblr, you may even come upon instances of me defending it or celebrating certain aspects of it. So I absolutely understand that some people prefer to view it uncritically or to take what good they can find in it and leave the rest. It was reading the vast number of meta posts others within the anti-Ragnarok community here have penned that really opened my eyes to just how offensively flawed this film is. In the past few years, I have gone from uncritically loving Ragnarok to despising the movie with every fiber of my being.

Travel anywhere within the Marvel fandom on social media—be it Tumblr, Twitter or elsewhere—and you will inevitably find incredulous people asking, “Why do Loki fans hate Ragnarok so much??” With respect to the people posing such questions, our reasons are numerous and well-documented—perhaps nowhere moreso than in this masterpost. If answers are what you truly seek, you will find them below.

To be rather blunt about it, Thor: Ragnarok was an objectively insulting and out-of-character deviation from established canon. It dropped character arcs left and right; it misrepresented itself as anti-imperialist when its messaging was mixed at best; its brand of humour was immature, bullying and albeist; and it sought to actively punish and demean one character over any other: Loki. I know how conspiratorial and ridiculous that sounds, believe me. But if you stick around until the end, you will see how and why a certain portion of the fandom has arrived at that conclusion. I promise it is not coming from nowhere. Ragnarok’s Loki was a caricature, done in bad faith—and I can prove it.

Through this collection of meta-analyses, I will attempt to illustrate how and why Thor: Ragnarok was a slap in the face to Tom Hiddleston, Loki’s longtime fans, and basically every writer and director who worked so hard to create the three-dimensional, complex antihero we came to know and love over the past decade of the MCU. One part of demonstrating this betrayal by Marvel Studios will be to explicitly detail who Loki had shown himself to be from his introduction in Thor (2011) all the way through to The Dark World. We will then be directly contrasting this Loki with that of Waititi’s Thor: Ragnarok—so as to illustrate that these are not different facets of one individual character (a claim often echoed within pro-Ragnarok circles), but rather that Waititi’s “Loki” is often in direct conflict with the version that Tom Hiddleston and Kenneth Branagh built from the ground up. Additionally, we will be looking at how Thor: Ragnarok as we know it came to exist, as well as breaking down direct quotes from Tom Hiddleston, Taika Waititi, Chris Hemsworth and more—with a special focus on the precise nature of where Loki has come from and how his experiences have shaped who he has become.

One final note: I recognise that this page can be rather abrasive to read for those who love Ragnarok. While I’ve tried to tone that down somewhat in my more recent edits of its contents, there is a reason I made the initial choice to write it in the style I did. Critics of Ragnarok are frequently accused of either wanting everything to be deadly serious all the time or of simply not understanding Waititi’s particular brand of irreverent humour. I hope the irony of my creative decision here is not lost on anyone—because it was entirely intentional.

Now without further ado, let us begin.

The Odinsons: An Asgardian Soap Opera

How Not To Talk To Your Son About Being A Tiny Blue Spoil Of War

New Brother, Who Dis?

Thanos Is A Big Purple Turd

No Rest For The Wicked

BREAKING: Odin Is Still A Jerk

What Makes Someone A Villain?

Everything Wrong With Ragnarok

Tom Hiddleston, Professional Thespian™

Chris Hemsworth, Professional Wanker™

How Taika Waititi Knowingly Sabotaged A Beloved Character

Why the “Ragnarok Shows Another Side Of Loki” Argument Is Crap

Ragnarok Is Crap, Part Deux

A+ Meta & Stuff

On Thor & Loki’s Broken Relationship and Odin’s A+ Parenting

Loki: Villain or Victim?

How Hero™/Villain™ Coding Robs Your Critical Thinking Skills

With All Due Respectful Disrespect: Taika Waititi F%#(ing Sucks

Ragnarok Stan Bingo

So much love to everyone who has contributed to these links (intentionally or otherwise, haha). You’re doing the lord’s work.

ʀᴇᴀʟɪᴛʏ ꜱʜɪꜰᴛɪɴɢ

𝐀 𝐆𝐮𝐢𝐝𝐞 𝐓𝐨 𝐒𝐜𝐫𝐢𝐩𝐭𝐢𝐧𝐠

This post will be an introduction to scripting - you can also use scripting for manifesting but this post will mainly talk about scripting from a reality shifting point of view. I will start off with some general calcifications for the people who are new to reality shifting itself.

𝐖𝐡𝐚𝐭 𝐈𝐬 𝐑𝐞𝐚𝐥𝐢𝐭𝐲 𝐒𝐡𝐢𝐟𝐭𝐢𝐧𝐠?

“Simply put, reality shifting is the movement of your consciousness from one reality to another (...). Think of yourself not as one physical body but as one conscious being that expands over all realities. When you shift, you tune into that consciousness in another reality.” - @astra-nomy

𝐂𝐨𝐦𝐦𝐨𝐧 𝐀𝐛𝐛𝐫𝐞𝐯𝐢𝐚𝐭𝐢𝐨𝐧𝐬

DR (desired reality) - The reality you want to shift to. You can have as many DRs as you want.

DR self (desired reality self) - This refers to yourself in your desired reality.

CR (current reality) or OR (original reality) - It’s the reality you’re shifting from to your DRs and back. Basically, the reality you're living in right now.

WR (waiting room) - This is a reality you can make up and use as something like a lobby where you can go to before shifting to your DRs. You don’t need a waiting room but many use it to spend some time there when they want to 'escape' their CR for a bit but also don’t want to go to their DRs.

-> ꜱᴄʀɪᴘᴛɪɴɢ

In the following paragraphs I will explain what scripting is and how to do it. I will also try to give you some ideas for scripting and answer some common questions.

𝐖𝐡𝐚𝐭 𝐈𝐬 𝐒𝐜𝐫𝐢𝐩𝐭𝐢𝐧𝐠?

If you want to shift realities you can write a script to define what you would like to experience in your DR - how you should look like, how you want things to play out or how you want the reality to look like etc. Whatever you script will happen in your DR.

𝐃𝐨 𝐈 𝐍𝐞𝐞𝐝 𝐀 𝐒𝐜𝐫𝐢𝐩𝐭?

No, not really. Scripting is completely optional and you don’t need a script to shift. As shifting mainly operates on the bases of your subconsciousness, you don’t need to script everything because your subconsciousness already knows what you want - because it's you. It's just that scripting helps most of us with visualizing certain things, organizing our thoughts and committing to our idea of what exactly we want to experience. Reading your script before attempting to shift can also make the process of shifting easier for you.

𝐖𝐡𝐚𝐭 𝐃𝐨 𝐈 𝐍𝐞𝐞𝐝 𝐓𝐨 𝐊𝐞𝐞𝐩 𝐈𝐧 𝐌𝐢𝐧𝐝 𝐖𝐡𝐞𝐧 𝐈 𝐖𝐚𝐧𝐭 𝐓𝐨 𝐒𝐜𝐫𝐢𝐩𝐭?

Actually, you don’t need to keep anything in mind while scripting. There are no rules on how to do it and there are many different ways to script. Just find a way of scripting that you enjoy.

The format doesn’t matter. You can find yourself a cute notebook and use it for scripting or you can make a digital script.

You don’t need to care about your way of phrasing things. You don’t need to write from a specific perspective. You can write it as if you're creating a character or you can write it from your point of view. Also, you don’t need to write full sentences. You can just write ‘brown hair’ instead of ‘I have brown hair’ or you can just use an emoji that shows someone with brown hair - it really doesn't matter how you do it as long as YOU UNDERSTAND WHAT YOU MEAN.

It is not always about writing, you can also use pictures to express what you mean. For example you can make a moodboard or create a file on your phone with pictures representing what you want. Or you can even make a presentation or a short video.

You don’t need to script every detail! The length of your script doesn’t matter! You could just write ‘I have brown hair.’ as the only thing to script and anything else in your DR would still include all the other things you want. I often see people who get anxious when they try to shift because they feel like they haven’t scripted enough - that is totally unreasonable! As I said before, your subconsciousness already knows what you want and making a script is not even necessary to begin with. So please be careful with getting obsessed with making your script ‘perfect’. If you can’t decide on something just leave it open instead of being unhappy with what you scripted- your subconsciousness will fill in all the gaps. Just make it enjoyable for yourself!

𝐖𝐡𝐚𝐭 𝐂𝐚𝐧 𝐈 𝐈𝐧𝐜𝐥𝐮𝐝𝐞 𝐈𝐧 𝐌𝐲 𝐒𝐜𝐫𝐢𝐩𝐭?

You can include anything you want! But I will give you some ideas on what to include but just know that they are not necessary.

ꜱʜɪꜰᴛɪɴɢ ᴀꜰꜰɪʀᴍᴀᴛɪᴏɴꜱ:

Here you can write down just normal shifting affirmations. You can also script how you shift like with a certain method or with a certain action like tapping your wrist free times and saying the name of your DR whatever.

ʏᴏᴜʀ ᴅʀ:

You can define how your DR looks like, what the living circumstances are, you can make up new stuff in your DR (especially if you're shifting to a series/movie). You can script that racism or homophobia and stuff like that doesn't exist there or just that everyone is being treated right. If your DR is based on a movie/series you can script that certain events don’t happen and you can make up new events/situationships. You can script certain scenarios you want to happen. Also, some people write down their first shifting moment - when and where they shift to and how they want it to play out. I also saw some people writing down stuff like ‘No one finds my behavior weird the first time a shift’ etc.

ꜱᴀꜰᴇ ᴡᴏʀᴅꜱ/ᴀᴄᴛɪᴏɴꜱ:

A safe word in shifting is a word or action or phrase you can say when you quickly want to go back to your CR or WR! It works instantly and it can be anything you want - many use something weird that you wouldn’t say normally in your daily life but something you can easily remember (something like ‘Hakuna matata’ or ‘Back to the ghetto’ lmao). If you want, you can also script that your safe words will only work when you want it to and/or you can script that you always remember your safe words.

ᴛɪᴍᴇ ʀᴀᴛɪᴏ/ᴛɪᴍᴇ ᴇQᴜɪᴠᴀʟᴇɴᴄᴇ:

Here you define how much time passes in one reality (CR/DR) when you’re in another reality. For example, you could just script that ‘1 Week in your DR equals 30 minutes in your CR’ or that ‘1 year in your DR equals 1 hour in your CR’. Also, you can script that no time passes in your CR when you're in one of your DRs. And the same goes the other way around (how much time passes in your DRs when you’re in your CR). There are some rumors going around that a huge time difference would strain your body once you come back to your CR but that doesn’t necessarily have to be the case. You could script that everytime you shift back to your CR you’re well rested and healthy - or something like that.

ʏᴏᴜʀ ᴅʀ ꜱᴇʟꜰ:

You can list personal details (name, age, birth date etc.). You can describe how you look like, what your personality is like, what kind of powers or skills you have, what kind of background you have, your life circumstances, your housing, your family etc.

ɪᴍᴍᴜɴɪᴛʏ/ꜱᴀꜰᴇᴛʏ ᴀꜰꜰɪʀᴍᴀᴛɪᴏɴ:

Really useful is also to script a certain immunity. I know that many people want to shift to certain realities that are a bit dangerous and where you have to fight and stuff so you could script something like ‘I am immune to being attacked/hurt. I am always safe and protected. I am immortal. I am immune poison or dr*gs.’ etc. I would also advise you maybe to script that you are immune to bringing trauma from your DRs to your CR and back or that your mental health stays unaffected. Also, you could think about what you would like to happen in the case of you dying in one of your DRs. I, for example, have scripted that I always wake up in my waiting room once I die in one of my DRs. It’s pretty much up to you what safety affirmation you use and it I guess it also depends on where you're shifting to.

ᴄʜᴀʀᴀᴄᴛᴇʀꜱ ᴀɴᴅ ʀᴇʟᴀᴛɪᴏɴꜱʜɪᴘꜱ:

You can make up new characters in your DR or include people from your CR (like your best friend). You can script their appearance, personality, abilities, your connections with etc. The same goes for characters that are already in your DR, you can change them completely or you can script how you are connected to them, what kind of relationship you have with them or how you get to meet them etc.

ᴍᴇᴍᴏʀɪᴇꜱ:

It could also be interesting for you to think about how you deal with your memories. I saw someone writing down that they forget their CR memories for a certain period of time to really experience life in their DR and then get their memories back at a certain time (for example after they went through the main plot). You can also script that when you’re in your DR that your CR is a distant memory but you’re aware that you need to return to your CR. Regarding your life in your CR: You could script that the memories of your DRs are stored in a library in your Waiting Room or you can script that your DR memories are just like fainted memories (like that of dreams) in your CR - so that it doesn’t affect you too much in your daily CR life. If you have romantic/close relationships with people in your DR, I would recommend to script that you don’t feel these feelings as intense or not at all when you're in your CR (so that you don’t struggle with missing them or get ‘homesick’ in your CR). Another tip from me is that if you have a waiting room, try to shift to your WR first. There you can process the experiences of your DR and try to rest for some time and mentally prepare yourself for your CR life before shifting back to your CR - because many often struggle in their daily CR life after shifting back especially if they stayed in their DR for a long period of time - and you can avoid that if you give yourself enough time in (for example) a waiting room.

ᴏᴛʜᴇʀ:

As there is no limit to what you can script you can also include magical items (magical watch/bag etc) for your DR or stuff like ‘I don’t get my period in my DR.’ to make your life more easier there.

𝐒𝐜𝐫𝐢𝐩𝐭𝐢𝐧𝐠 𝐓𝐨𝐨𝐥𝐬

Again, it’s your choice on how to do it. Here I’ll just list some ideas for inspiration.

notion (it’s pretty famous in the shifting community and you can create your own templates and so on)

google docs

paper notebook

canva

pinterest (for pictures and for creating pinboards)

tumblr (I like creating moodboards like this or this )

picrew (for creating characters or scripting appearances)

artbreeder (also for creating faces and for defining your looks)

powerpoint (for making a presentations)

and many more :)

𝐒𝐢𝐝𝐞 𝐍𝐨𝐭𝐞

You don’t need to feel bad for what you script. It’s your choice. You can decide what you want to experience. Just keep in mind that you will really LIVE in that reality you scripted. So, don’t underestimate this and stay safe! <3

I hope this post is helpful to you guys. If you have more questions regarding scripting, I will add it to this post! - Just send me your questions. :)

© daisys-reality

spin this list of all of the pokemon. you are now that pokemon.

you ever see someone so coked-up on adulthood that they've replaced every shred of interiority with a regurgitation of normative power structures

in case someone hasn't mentioned it already, a group of parrots is a pandemonium, so do with that what you will

Alternatives to “system” when choosing a collective name

There’s nothing wrong with keeping things simple and just calling yourself “The ___ System” when choosing a collective name! But some want something that represents themselves a little better. So here are some alternatives to the word system for y’all to try out! (I’ll add more if y’all have suggestions)!

General: 

- Group / Grouping

- Collective / Collection 

- Cluster

- Bunch, Bundle

- House (of) / Home (of)

- Band

- Club, Crew, Class, Clique

- Company

- Crowd 

- Party

- Ring

- Team, Unit

- Pack

- Caravan

Formal:

- Assembly

- Congregation

- Formation

- League, Division

- Sect, Sector

- Coalition 

- Convocation

- Court

Political (some of these may have negative connotations):

- Faction, Clan

- Gang, Bloc

- Squad / Squadron, Troop, Platoon, Posse, Fleet

Animals (names used for groups of animals): 

- Pod (of dolphins, whales)

- School (of fish)

- Flock (of birds)

- Murder (of crows)

- Sleuth (of bears)

- Parliament (of owls) 

- Parade (of elephants)

- Cackle (of hyenas)

- Conspiracy (of lemurs)

- Cauldron (of bats)

- Romp (of otters)

- Tower (of giraffes) 

- Flamboyance (of flamingos)

- And tons more! 

- Classification names: Kingdom, Phylum, Class, Order, Family, Genus, Species

Other:

- Constellation (a group of stars that forms an image in the sky)

- Asterism (a group of stars that is not a constellation) 

- Tributary (a river or stream flowing into a larger river)

- Confluence (where two bodies of water meet)

- Range (a group of mountains)

- Strata (a group of volcanos)

My personal conspiracy theory: RFK’s brain worm isn’t dead. It’s piloting him Ratatouille style. It’s been steering him to a government health office for years as part of a grand plan to deregulate food safety so more and more people get parasites and the brain worm reigns supreme over a population that is slowly being eaten away.

while this is an absolutely great take on this issue, and i completely understand you frustration with the showrunners for royally screwing up our favorite character (as we probably all do on this side of the fandom), i would like to quickly remind the class of that time tom mentioned in an interview that he only had ~5% input in the series despite being an executive producer who should've had much more power (i really wish that i was able to find the picture of it that i had found as a source but i've somehow lost it in my files).

i personally cannot find it in myself to blame him for the destruction of his character because he has shown in multiple instances how much he cares about loki and his story (see his knowledge of loki in the comics as well as his understanding of norse mythology, especially compared to the rest of the cast in the thor movies alone). all of the issues that have occurred after 2013 usually can be directly connected back to the writers fundementally misunderstanding (or just not giving a fuck about) loki, or the director changing things last minute to make him look bad - as op said above about nerfing and deleting crucial scenes for his character, even since the very first movie.

as i previously said, your feelings on the matter are completely valid, and i respect your opinion. however, based on the information that i have as a fan (because we will likely never know about all of the decisions that went into this), it is unfair to be blaming tom for decisions that were originally out of his hands, or even ones that were taken away from him.

EDIT: I FOUND THE PICTURE GUYS

Any time I see someone say "Marvel knew what they were doing when they cast Tom Hiddleston" I feel a bit like...they didn't though? I think you're projecting some 4D chess grandmaster stuff onto Marvel Studios that doesn't really exist.

Tom was cast via Kenneth Branagh and yes it was PHENOMENAL casting but let's not pretend like Marvel Studios didn't spend the next near-decade and a half deleting Loki's scenes, killing him then instantly reviving him, deleting yet more of his scenes, killing him again, retconning killing him, sticking him off-screen for almost half a decade, removing yet another scene and not even compensating his fans with a DVD extra, killing him again, then suddenly remembering he's popular (again) and coming up with something to use a now-for-real-dead character as the lead but it wasn't exactly the same character (just another version of him) and now they're apparently done with him again when it's pretty obvious he'll be wheeled out of that tree at some point.

I love Loki. I love Tom's portrayal of Loki but the only people who have consistently genuinely seemed to care about the character are the fans. Because we've been given nothing but crumbs by Marvel and yet produce all this beautiful fan art, fan fic and meta. Marvel have just kinda stumbled around Loki like some perpetually confused pigeon in a hall of mirrors that keeps crashing into its own reflection shrugging "huh...what IS this? Ooh shiny!"

Knew what they were doing? More like lucked out with a very talented and charismatic actor and a dedicated fanbase that formed 2011-12 and is somehow, despite everything still here.

Here's THE masterpost of free and full adaptations, by which I mean that it's a post made by the master.

Anthony and Cleopatra: here's the BBC version, here's a 2017 version.

As you like it: you'll find here an outdoor stage adaptation and here the BBC version. Here's Kenneth Brannagh's 2006 one.

Coriolanus: Here's a college play, here's the 1984 telefilm, here's the 2014 one with tom hiddleston. Here's the Ralph Fiennes 2011 one.

Cymbelline: Here's the 2014 one.

Hamlet: the 1948 Laurence Olivier one is here. The 1964 russian version is here and the 1964 american version is here. The 1964 Broadway production is here, the 1969 Williamson-Parfitt-Hopkins one is there, and the 1980 version is here. Here are part 1 and 2 of the 1990 BBC adaptation, the Kenneth Branagh 1996 Hamlet is here, the 2000 Ethan Hawke one is here. 2009 Tennant's here. And have the 2018 Almeida version here. On a sidenote, here's A Midwinter's Tale, about a man trying to make Hamlet. Andrew Scott's Hamlet is here.

Henry IV: part 1 and part 2 of the BBC 1989 version. And here's part 1 of a corwall school version.

Henry V: Laurence Olivier (who would have guessed) 1944 version. The 1989 Branagh version here. The BBC version is here.

Julius Caesar: here's the 1979 BBC adaptation, here the 1970 John Gielgud one. A theater Live from the late 2010's here.

King Lear: Laurence Olivier once again plays in here. And Gregory Kozintsev, who was I think in charge of the russian hamlet, has a king lear here. The 1975 BBC version is here. The Royal Shakespeare Compagny's 2008 version is here. The 1974 version with James Earl Jones is here. The 1953 Orson Wells one is here.

Macbeth: Here's the 1948 one, there the 1955 Joe McBeth. Here's the 1961 one with Sean Connery, and the 1966 BBC version is here. The 1969 radio one with Ian McKellen and Judi Dench is here, here's the 1971 by Roman Polanski, with spanish subtitles. The 1988 BBC one with portugese subtitles, and here the 2001 one). Here's Scotland, PA, the 2001 modern retelling. Rave Macbeth for anyone interested is here. And 2017 brings you this.

Measure for Measure: BBC version here. Hugo Weaving here.

The Merchant of Venice: here's a stage version, here's the 1980 movie, here the 1973 Lawrence Olivier movie, here's the 2004 movie with Al Pacino. The 2001 movie is here.

The Merry Wives of Windsor: the Royal Shakespeare Compagny gives you this movie.

A Midsummer Night's Dream: have this sponsored by the City of Columbia, and here the BBC version. Have the 1986 Duncan-Jennings version here. 2019 Live Theater version? Have it here!

Much Ado About Nothing: Here is the kenneth branagh version and here the Tennant and Tate 2011 version. Here's the 1984 version.

Othello: A Massachussets Performance here, the 2001 movie her is the Orson Wells movie with portuguese subtitles theree, and a fifteen minutes long lego adaptation here. THen if you want more good ole reliable you've got the BBC version here and there.

Richard II: here is the BBC version. If you want a more meta approach, here's the commentary for the Tennant version. 1997 one here.

Richard III: here's the 1955 one with Laurence Olivier. The 1995 one with Ian McKellen is no longer available at the previous link but I found it HERE.

Romeo and Juliet: here's the 1988 BBC version. Here's a stage production. 1954 brings you this. The french musical with english subtitles is here!

The Taming of the Shrew: the 1980 BBC version here and the 1988 one is here, sorry for the prior confusion. The 1929 version here, some Ontario stuff here, and here is the 1967 one with Richard Burton and Elizabeth Taylor. This one is the Shakespeare Retold modern retelling.

The Tempest: the 1979 one is here, the 2010 is here. Here is the 1988 one. Theater Live did a show of it in the late 2010's too.

Timon of Athens: here is the 1981 movie with Jonathan Pryce,

Troilus and Cressida can be found here

Titus Andronicus: the 1999 movie with Anthony Hopkins here

Twelfth night: here for the BBC, here for the 1970 version with Alec Guinness, Joan Plowright and Ralph Richardson.

Two Gentlemen of Verona: have the 2018 one here. The BBC version is here.

The Winter's Tale: the BBC version is here

Please do contribute if you find more. This is far from exhaustive.

(also look up the original post from time to time for more plays)

Thor. (Thor 1)

Thor is a brother. A prince. King. Lover. Fighter. Avenger. His identity is wrapped so tightly around these fragments that if he lets go, he’ll fall to pieces. But he’s fragmented because he shattered. And he shattered because of what happened in Thor: God of Thunder. 

Thor’s arc in the first movie, I believe, centers around the idea of consequences. It’s not falling in love with Jane, it’s not Asgard, not someone slapping him over the head. It’s the fact that his choices suddenly have weight and meaning. 

Thor gets banished for slaughtering Jotun unprovoked. 

Thor’s relationship with Jane, Darcy, and Erik is poor because he’s treating them like crap. 

Thor fails to capture his hammer because he’s not worthy. (To whatever standard Odin has set.) 

Thor, as he’s told, is the catalyst of his father’s death. 

There’s this moment in this scene when you can watch his face go from earnest to oh. That was me. I did that. Me. Not you. ME.

Thor is the prince of Asgard, which is basically an empire of nine worlds. He is used to having diplomatic immunity. He could do no wrong. With that ripped out away from him, Thor doesn’t talk. He shuts down, and settles inside himself, thinking. 

Not reacting. Thinking. 

Thor isn’t an idiot. He’s impulsive, there’s a difference. His first reaction is violence, because he was raised in a society where slapping your enemies over the head brutally was just something that was done. As much as I love Frigga, when Thor was banished, in the deleted scene, she didn’t go to Odin so tell him oh my gosh, our son killed all these Jotuns, why didn’t we teach him better? She complains that Odin’s punishment was too harsh. 

Thor has never been told to stretch this much, and had it stick before. And Loki does it. He does it in a way that’s a little cruel, and cold, but he tells Thor to stop being such an idiot. 

And Thor, miracle of miracles, actually listens. 

This is not a story of Thor becoming worthy. This is the story of Thor realizing where his priorities need to be. It’s the story of him growing up. 

And this is where we get to my final point. I think that almost none of this–none of it–would have sunk deeply into Thor’s psyche if Loki didn’t fall of the Bifrost when they fought. 

Look at them. Loki is dangling. Thor is being held onto by his foot. 

And Thor doesn’t care. 

Because the only thing he’s focused on is his little brother. Hanging there. Dying. His best friend that just tried to kill all the Jotuns. His confidante that just disowned him. His biggest supporter that fought him. And Thor doesn’t understand. He doesn’t understand. He doesn’t know what Loki uncovered at that point.

This is just his brother who is going to die if he doesn’t do anything. 

And then Loki addresses his last words to their father. Not him. Their father. And Odin rejects him. It always struck me that Thor sees Loki’s face close off and then immediately knows what Loki is going to do. He’s not surprised, he’s not shocked. He knows. Loki lets go, and Thor can’t catch him.

Thor can fly. Odin didn’t let him go until Loki was beyond any chance of recovery, and Thor blamed himself. He’s solemn after Loki’s death. He rejects his parents’ and friends’ comfort. He goes to Heimdall to start looking out for Jane, because he is not going to let someone else he cares about slip beyond his reach. 

Thor’s consequence for his actions in Thor 1 was his brother. And that nearly killed him. Thor 1 was never, never about becoming worthy. At least, not for Thor.

“How is he?”

“He mourns for his brother.”