"I aimed at the public's heart, and by accident I hit it in the stomach." - Upton Sinclair Isaiah 11:6 NKJV “The wolf also shall dwell with the lamb, The leopard shall lie down with the young goat, The calf and the young lion and the fatling together; And a little child shall lead them. (Porn accounts blocked and reported) This is a place where I, an outsider looking in, puts in my personal findings about MONARCH and related topics. I'm barely an adult, so much of what I know will be surface-level to some. My plan is to write a story (The Monarch Effect) that compiles my research into a narrative that would make sense to other "outsiders." I'm compelled to be careful and thoughtful, particularly to the innate humanity each character has, even the abusers. (The logo is outdated; I was 14 when I made it. It's supposed to represent the combination of science and the occult.)
This is a classic double entendre, meaning both "Wicked now and forevermore" and "Wicked for the sake of goodness," reflecting both Elphaba's view of herself and how she is viewed by the citizens of Oz.
More below the cut, of course.
She is a witch who hides in the darkness to usurp a power that uses internal evil for the sake of external good. On the surface, it's about sticking it to the man and how propaganda is made to villainize and oppress those who are different, sewing distrust amongst citizens of a previously unified nation. The people in power are not all that they seem.
But what are we learning by this? We all know politicians lie. We should always stand against evil, even if it means being labeled as hateful or "evil."
There are two things I noticed about the movies: the amount of ads and collaborations promoting the movie, and, most importantly to me as a Christian, the complete removal of the Clock Dragon.
Wicked and its sequel are a very well-made pair of movies. The art direction and use of steam-punk art-deco is absolutely an aesthetic I might visit in the future (for context, TME will have elements of a dreamy 80s liminal space). The use of asymmetry in the wardrobe is fun and makes sense within the colorful utopia of Oz. Boq's transformation will never fail to sadden me, and the mechanism of Galinda's bubble is fitting for her character as a political puppet. I am reminded of Pricess Diana, who used the power she was born into for good and died young. But, as Elphaba sings, no good deed goes unpunished.
But, when you have the elites of the world actively takes part in witchcraft and take an active part in spiritual warfare, Wicked takes on a different tone. The story has been streamlined and compressed into propaganda.
Elphaba is a special child born of magic. In a strange way, I appreciate that Galinda isn't, so that the title of the "TRUE Wicked Witch" goes to Ms. Morrible within the movie. But, the ending with the Grimorie puts into question as to whether she can redeem herself and use her power and influence without it. It fits the narrative - being Wicked for good.
It's no wonder to me as to why Wicked is being pushed. It's the same reason as to why Persey Jackson has and Harry Potter is getting TV shows - its easier to immerse yourself into a story when it's on screen. It's easier to commit to memory.
In the context of Project Monarch, it's easier to train with. It pairs well with the original film, and the books, which you can buy anywhere, possibly alongside dolls of Galinda and Elphaba, are incredibly graphic.
Of course, most movies have sponsorships and ads, but when Ulta and Pottery Barn, a home goods store, are collaborating, I get suspicious. It's not just a treat for Broadway fans—It's mainstream and well-cared for because it has to be. Not even Oz the Great and Powerful had this much buzz, probably because Wicked is basically Disney live-action adaptation in terms of its marketability.
I have yet to finish the original novel - I got about half-way in back in high school. It is my curse as a writer to have difficulty reading. I started reading it again after watching the first film, but not very far.
The very first scene is that of a preacher of the "Unnamed God" being humiliated by a clockwork stage-show puppeted by a steampunk dragon automaton. The Munchkins are more attentive to it while the preacher speaks against it. Meanwhile, his wife remains unfaithful to him anytime he's away from home.
While not as prominent, the original stage musical keeps the dragon as a setpiece above the stage that moves at the beginning and end of each act— a literal framing device. While not the focus of the show, it is always there, watching and biding its time.
So why was it removed completely?
As I said earlier, these movies have been gutted and streamlined to appeal to a wide audience, ripped of the uncomfortable nuances that I would argue the broadway adaptation tried to preserve within its limitations (mind you, its been a long time since I've seen the stageplay). There is a moment in Wicked: For Good where they have propaganda flags portraying Galinda as Glinda the Good with her chin up and The Wicked Witch as swooping down, creating a pink & green yin-yang.
People want to watch the witch lady stick it to the man up top without thinking about how they could ever be the angry mob in the Emerald City.
I think its important to remember that Gregory McGuire, the author of the Wicked series, is a gay man who grew up in a time where homosexuality is not as accepted as it is today and his perspective of the world. When you're demonized for merely being attracted to the opposite sex, it's not suprising that you'll relate to the witch of the story rather than the innocent girl in the blue dress. Now, this is just my immediate thoughts post-movie, not a research paper, so I don't know the full story, but there is a reason why the Munchkins kicked away the priest in favor of the entertainment. Within the universe of Wicked, neither are good, but one is worse than the other.
I was shocked when Elphaba sang with the Animals about fighting for your country rather than leave. Animals are citizens of Oz, natives. Seeing her encourage nationalism against a tyrannical system was a bit curious in a film so blatantly liberal. The Wizard of Oz is a tyrant invader from a foreign land causing division and strife amongst the people, and Elphaba is ousted for fighting back. That's pretty conservative, if you ask me. Oscar and Dorothy are sort of faces for the white savior complex—ironic given that you never see the girl's face in the movie. The only reason Oscar became the Wizard is because of his nickname, Oz, being similar to that of Ozma, their goddess, if I remember correctly.
I enjoyed what I could of the movie, but I also know what's going on around it. The powers that be need this movie to be good. Ariana Grandé gets to be Glinda, but should it cost her her and her cast mates' health? Should Judy Garland have been starved to look younger than she was? Should they have used lead paint an asbestos?
And, if your at all like me, should we ignore the signs of the times and leave discernment at the door for entertainment?
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Random sidenote unrelated to my last post but I should probably say it:
Samuel is a German-American. He's a small, skinny, deadbeat alchoholic uniquely effed over by a specific sector the American burecratic system. I apologize in advance to any future German readers. I give you Martin Glasmacher as atonement, and Fritz Bahre as a sacrifice (he and Samuel have basically the same past and what does he do? Smh...)
So, of course, you have the Wicked cast becoming sleep deprived, starved, probably drugged and overall emaciated...
This poor guy...
Well, I'm watching stranger things, and, of course, Holly, the new Will, dresses up in a blue dress and pigtales, Vecna need 12 children (he really is the Anti-Christ, huh) and a mention to a Wrinkle in Time. I hope Max isn't a red-hair-ing cause honestly I'm a bit disappointed. I'm hoping there will he a script-flip, but the way it's going, probably not. Just more reason to make The Monarch effect overtly Christian, I guess.
Also, why does Henry look like my OC??
Just imagine Martin(above) in beige with round glasses. One can see demons, one *is* a demon.
This is all just to say, when you first see it, you can't unsee it. I'm disappointed but unsuprised.
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This is Hasse, or Bunny. She's what you might call an EP, or Emotional Part. She was purposely created for sex work. However, she has a protector named Wolf, who keeps her subjugated and in line. If something is too much for her, he will take her place.
White rabbits have lots of meaning for Samuel. Alice in Wonderland has one and they were part of his diet growing up. She is also loosely inspired by Playboy Bunnies and may have dressed as one. She also has a rabbit form.
"80s dream sequence" is the vibe I'm trying to go for in some areas of Samuel's internal world. The shower scene in 16 Candles and The misty wonder of the world in The Neverending Story are some inspirations. Also glam photos. Can’t forget those... (I wonder if Samuel used/uses AquaNet...)
This is The Monarch Effect. It's about a short man discovering his horrible past and coming to terms with it. I realized that I never posted the main art piece that I did a long time ago, mainly because I didn't want to risk anything happening to my account. Why?
There's a swastika in the middle of it. I hope people read the poems.
Idk I might redo it to be more lore-accurate. My art appreciation teacher called Samuel a Roman figure and I'm like, "He's German. I think parts of his system would be offended by that statement."
Also, the figure in the back is supposed to be his dad but I didn’t have a proper design for him yet so I went with "vague toxic figure that he calls 'Father'." His name is Josef and he was hired by the CIA. They say he's dead but I'm not entirely sure about that.
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Hello. Can you please please write down how to properly say Richard's name in German? I hear Ri-xard and Rish-xard. Help! And no, hearing him saying it does not help! 😭
Hi 👋🏻
Who would have thought that the linguistic-phonetic part of my studies would one day pay off for fandom work? The /ch/ sound is quite difficult for English-speaking people since there is little to no comparable sound in English. In linguistics, the /ch/ sound is classified as a fricative, specifically a voiceless palatal fricative. The tongue approaches the hard palate (palatum), causing the air to escape with friction - over the tongue, not past it.
Here is a graphic showing how the sound is produced in the mouth:
and the tongue's position for the /ch/ sound:
The German /ch/ could perhaps be compared to the initial sound of "huge" or "Hugh."
This tutorial, from which the graphic is taken, is a bit longer but explains the articulation of the /ch/ sound very well.
If it doesn't help listening to Richard himself saying it, maybe Olli can help you a bit? He really has a nice and clear pronunciation here 😄
Plus, we have an absolute expert when it comes to German pronunciation in our midst, so maybe the lovely @m---e---l has something to add 🤲🏻
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Okay hey! Let’s play a game. Let’s play “Analyze a Universally Refreshing New Movie.”
Answer this series of questions and see if you can do it from what the movie says, not what you interpret it as saying based on the fact that you like it mixed in a deadly combo with your own worldview— and SPECIFICALLY answer from what the says when speaking through character turning points, character motivations, and tone.
Here’s the question list.
What are the Huntress’ duty?
What are the demons—first, what do the Huntrix believe a demon is, and then what do they find out a demon ACTUALLY is, according to the movie?
How do the answers to the first two questions define Rumi’s (main character’s) two halves? Now you can infer that she’s got a war going on between duty and what-a-demon-is.
Why are the Huntrix friends, initially? Which scene shows, first, why they mean so much to each other?
What keeps Jinu from turning on Gwi-Ma before he meets Rumi?
What exactly bonds Jinu and Rumi, assumedly?
What about “the fans” empowers the Huntrix? What about them empowers the demons?
Okay, now. Rumi does not give up immediately when her voice starts getting demon-infected and ruined. She doesn’t give up when they lose a train full of innocent people to demons. But she does give up at one point in the movie. Why?
When she gives up, what solution is proposed but then rejected?
Why is it rejected? What does she want?
What brings them back together?
Now, big question. Big one. Final one. What resolves the war going on between Rumi’s Huntrix duty and her demon-half? I’ll give you a hint. The answer is the same as the answer to this other question: what was the whole theme of their final song, and the whole theme of the movie?
Answer Key Below.
What are the huntress’ duty?
To protect humanity from demons by creating a magical net that holds them at bay. The net is made out of soul-energy that ignites when humanity is united. The huntress’ key to uniting humanity is through music.
What are the demons?
First the Huntress’ believe that demons are emotionless monsters with no ability to feel—and what they mean by “feel” is specifically “feel empathy toward others.” I can tell that’s what they mean because when they find out what demons really are, it’s because there’s a sympathetic character who is a demon, and the surprising thing about him—the trait that the main character finds herself warming to—is his shocking ability to relate to her. Not just feel any emotion, but specifically, feel a connection to others.
So they’re wrong about what demons are, because it is possible for demons to connect to others. Because Jinu does it. Which calls into question what the Huntress’ believe: are demons 100% worthy of death and irredeemable tumors under the earth’s skin that have to be eradicated? If they can feel empathy, Rumi says “no.”
So what does the movie say demons actually are? According to Jinu, (during the time he was being manipulative, but actually, the evidence of the rest of the movie in no way proves he was lying when he said this:)
Demons are actually all people who have let themselves believe that their badness is all they are, so they feel shame, so they sell themselves to the bad guy as a desperate attempt to escape that shame. The bad guy gets ultimate control over them. And in return, the bad guy feeds them souls.
Please pay attention. 1st comes doing/being something bad. 2nd comes shame over that. 3rd comes willingness to sell out to escape the feeling of shame, but never the identification with evil.
How do the answers to the first two questions define Rumi’s two halves?
Okay, she’s part Huntress. That part wants to save people’s souls from demonic murder, by connecting with them. That idea of connection comes with a further idea of belonging, acceptance, and unification with others. Empathy’s in there, too.
What’s her other part? Demon. Doesn’t want to connect, wants to steal. Monster. Evil. Of course, demons are also supposedly 100% convinced that all they are is worthless because of shame over mistakes or, gee, let’s just say it: brokenness!
So the war going on between Rumi’s “two halves” is, she wants to connect and belong and do good for others, versus, she’ll do just about anything to feel something other than shame, and she’s constantly running from the fact that deep down she believes she’s worthless because of her parentage.
A desire for connection and doing good versus a belief that she’ll never truly connect because she’s not worth it.
Why are the Huntrix friends, initially?
The first time you see them straight-up define for the audience, in an exposition-heavy scene, why they’re special to each other and love each other? It’s after their first big argument, after Rumi’s evolving worldview has driven a wedge between them.
They all sit on their couch and one by one talk about their flaws. One says she’s got a temper and she’s too blunt, but around the other two, “she feels like it’s okay.” The other agrees that they make her feel like she’s not inadequate or weird, but that she “belongs.” And of course Rumi says nothing about how she really feels, but we know that the most important thing to her is preserving her relationship with those other two girls.
So why are they friends? Because they feel like they can have flaws but still belong when they’re around the other two. You know where I’m going but let’s run the gamut.
What keeps Jinu from turning on Gwi-Ma before he meets Rumi?
He’s discovered he can’t win by hate. And when he appears to be tempted to leave Gwi-Ma after he sings his little carefully-not-a-love-song with Rumi, Gwi-Ma threatens him with having to “hear the voices” of “his demons” (flashbacks of his biggest sin) forever. And then entices him once again with the idea that he can forget it all if he’ll keep betraying Rumi.
So what kept Jinu from being a good guy, what caused him to NOT do what Rumi does by the end of the movie, and overcome Gwi-Ma?
Belief that he is what he is ashamed of. He was convinced by the villain that all he ever is or can be is The Guy Who Sold His Family. That’s what he screams at Rumi when she confronts him, basically. “All I am is this!!’ So, if you can’t be anything else, might as well get what you can and erase the memories.
Belief that he is what he is ashamed of is what keeps Jinu a bad guy. A demon.
What exactly bonds Jinu and Rumi?
Their love song is all about how Rumi thought she was worthless but he makes her feel like she’s not. How does he do that? Here’s how: he is the only other person on the planet besides Selene who knows Rumi is part-demon. But UNLIKE Selene, the demon-markings make him get closer to her, and show her compassion, instead of locking it down or pretending that part of her doesn’t exist (which, to beat the dead horse, is what Selene did.)
Mmmkay so what bonded Jinu to Rumi? She knew a tiny sliver of his backstory (not the whole thing but a version that still painted him in a negative light) and still kept meeting with him and singing love songs to him.
They are bonded because of the same thing the Huntrix are bonded by: they know some of each other’s flaws, but they accept one another anyway. (On some level. Not fully till the climax.)
What about the fans empowers the Huntrix and demons?
The Huntrix are empowered when they “bring people together” by “igniting souls through songs of courage and hope.” It’s a connection that comes from souls.
Demons are empowered by the adoration of fans by the last song, but every other time a character’s soul is swallowed, it’s when they’re alone. You can’t connect to people if you’re alone.
Why does Rumi give up?
Rumi gives up because the Huntrix stop accepting her and turn their weapons on her. That’s it. Her friends find out her flaws—not just that she’s a demon, but that she’s a liar, annd by the way, same thing, because remember all a demon is is someone who identifies with their sin— and they no longer accept her.
That’s it. Once she believes her friends don’t love her anymore, she gives in to the idea that she’s not only unlovable from birth, but that unloveableness can never be fixed in the future.
So she gives up.
When she gives up, what solution is proposed and then rejected? Why is it rejected?
Selene proposes that they just keep on lying about Rumi’s brokenness to solve the problem and fix the Magic Connection Net. Won’t look at her while she’s all mostly-naked and covered in demon tattoos.
Rumi rejects it. She rejects that because she’s been doing that and it led to losing her friends. It doesn’t work. And she was miserable while lying. Plus she got a tiny glimpse of what it might be like to not lie and still have someone love her with Jinu (even though he backed out of it at the last second.) So now she wants that. Leading us to:
What does Rumi want?
Rumi wants to be seen for all of what she is—warts and all, or demon-tattoos and lying, self-protective sins and all—and still be accepted.
You can tell, because she screams at Selene, “why couldn’t you love all of me?”
(Which of course, when you remember that her demon heritage is supposed to be the foil to Jinu’s sins, would be like Jinu saying to the mom he abandoned to starvation: “why couldn’t you love all of me?”)
Anyway. If she hid the bad parts of her, she’d be doing so out of what? Out of shame. And Shame is what demons are all about. So she’s not doing that anymore. Instead, she’s going to go and tell the truth.
What brings them back together?
Is it truth? Sure. But what exactly are we saying about the truth? Which truth?
Rumi walks into the arena and Gwi-Ma says truth, too. He lists off facts about how she’s part demon and the magic connection net is gone and she can’t fix it. The bad guy uses truth.
So what is it about Rumi telling the truth that wakes the other two Huntress’ up and brings them back together? I’ll tell you. She agrees with the truth of her badness and failure. Instead of hiding it.
That’s all. That’s all it takes. She does not fix the net she broke first, and then her friends return. She does not become fully human first, and then her friends return. She doesn’t even fight the demon by herself, proving she’s willing to do it alone, and then her friends return.
no. They start moving because she starts telling the truth—through that connecting music—and they can relate—so by the time she’s actually doing anything, she’s not doing it alone.
What brings them back together is a song where flaws are declared, but not fixed. Just declared. Boldly.
What resolved the war going on between Rumi’s demon-half and her Huntress-half?
She just decides to accept that she’s flawed but not undeserving of love, so why should she be ashamed? And then that bold declaration sets her friends free too, because they can relate to being flawed, and so they kick demon tail and meet together for a big group hug.
So what’s KPop: Demon Hunters trying to tell you?
The same old tripe the rest of the world and the forked tongue from the Garden have been trying to tell you.
1. You want to be perfect ✅
2. But you’re not ✅
3. There’s nothing you can do to fix that ✅
4. You will hurt yourself trying to fix/hide it. ✅
5. But let’s all be okay with imperfections and hug each other anyway— because we’re all imperfect, anyway! ❌
Gets steps 1-3 right. Drops the ball at 5. Just like Inside Out. Just like all the other near-misses of the past three-ish years.
The problem is, it masquerades Number 4 as a solution. It does. It says “you never needed to change. Your perspective on yourself needed to change. What you believed about you needed to change.”
See, in Beauty and the Beast self-SACRIFICIAL love TRANSFORMS the Beast into his true self, a prince. He doesn’t just find a girl-version of Gaston who can adore him for his selfishness and has like, a furry fetish. Someone who can “love him as he is.”
Instead, He encounters a woman who sacrifices herself for her father, and then sacrifices herself again for him, when he’s a Beast. Her self-sacrificial love transforms him. He is not PART BEAST, PART PRINCE by the end of the movie. He is done with being a Beast. He is a new creation.
In KPop: Demon Hunters there is no self-sacrifice. No. Jinu does not count. I don’t care if his arms were spread in the shape of a T to block the wrath of the demon king from hitting her. It is not the same. Why? Because Jinu is not giving anything up by saving Rumi. He was already living in eternal torment and there’s been no evidence a demon can ever escape that. So what;s the difference between erasing his memories and ending his existence by jumping in front of a fireball? Also, he deserved that. And this is the other thing:
Not only is there no transformation in KPop Demon Hunters—what happens to the Shame?
Shame is the correct response when you do something wrong.
Should you stay there? …yes, you should,if there’s nothing and nobody paying for it. That’s the whole point. The whole point is, you did something wrong, and you can’t pay it back. When someone does something wrong, they’re sentenced to a punishment. Usually it’s some kind of restitution. When that is done, THEN their record is sponged clean.
The thing is, Jinu’s mistake is portrayed, by the movie, as believing he is 100% evil. But you need to understand—he is. We are. That’s the point, you HAVE to admit that in order to be saved.
But this lie is that you are still partly-good and that’s enough. In fact, maybe you’re all good. Maybe brokenness doesn’t mean brokenness, maybe it’s just how you are, whatever the absolute DOGWATER that means. It’s a lie.
Stop watching these movies where they sell you 90% of the Gospel but take Jesus out of it, take the self-sacrifice and the transformation into a new creation out of it, and then go “oh thank goodness, some Truth!”
No. It’s the Ape convincing you the Ass in a Lion’s Skin is Aslan. Then he convinces you Tash is Aslan.
This movie is pretty (sometimes, they can’t blend realistic facial expressions with “pushed:” stylization to save their lives in emotional moments, they can’t lip sync to save their lives, the writing of the dialogue is some of the most Miss Miss Miss SURPRISING JOKE HIT Miss Miss Miss I’ve ever heard in my life) but it is unoriginal. It is pushing the same stuff on you that Steven Universe and Inside Out 2 did.
“You’re Broken, But That’s Okay; What We Need is To Embrace Brokenness, Not Transform.”
It’s a lie. A filthy lie. And I’m afraid I’m watching my favorite band believe it, by the way.
I really loved the movie the first ti.e I watched it but then I actually started thinking about what the message of the movie actually was rather than what I trying to make it mean because of my own worldview and it just makes me really sad tbh because they were so close to truth but they ended up going with "shame/guilt is the problem, not sin itself, and the solution is to 'accept' all your flaws without any sort of change" and honestly it doesn't even work within the context of the movie itself. We know the demons are bad, and even the ones who are humans-turned-demons are that way because they did something wrong and never "repented" or escaped their shame or whatever, and then we have Rumi who never did anything but still has that same shame??? Like they try to push the comparison between the two because they're both demons but there's a very big difference between the "I sold my soul and betrayed my family" and "I was born with this but never gave into it" and they act like both are equal and both need to just "get over" the shame. No, Jinu needs to actually repent (and seek redemption), and Rumi shouldn't live in that shame but she also needs to not just embrace being a demon.
Idk I'm not as eloquent as you OP but the movie had so much potential and it hurts that they left it at "accept yourself no matter what" when they could have actually given us a glimpse of truth.
No that was great! Same thing I said but more succinct.
You’re actually not the first to point out that Rumi didn’t “do anything to deserve her shame,” but you are one of the only ones to point out that she and Jinu’s shame are being compared.
I think the key thing people need to realize is this:
Humans are corrupt and imperfect from birth and can only ever fight-and-fail to fix it—and they also choose to corrupt themselves and do bad things in the course of their lives.
Rumi and Jinu are two sides of the same coin. Flawed creatures, in need of a savior. Yeah, Rumi didn’t choose to be part demon, but guess what, Jinu didn’t choose to be born into poverty. Yeah, Jinu chose to betray his family, but guess what, Rumi chose to continue lying to her friends even after they told her they felt like they could “be real” with her.
Ultimately, Romans 7-9 addresses all this. Sin comes from without—and within. We’re fallen, and we’re in a fallen world. The real question is, how do you solve it? By pretending it’s not that bad? By pretending it’s not bad, at all? By pretending trying to fix it is somehow the same as actually succeeding in fixing it? By pretending there’s no such thing as flaws by calling them “beautiful?“
No. It’s by admitting what you are, admitting what you’ve done, and shrugging off the “why I did it” question because it doesn’t matter. Ultimately, like Bucky says in Captain America: Civil War (I know, vibe check) “I know (that I didn’t have a choice.) But I did it.” The point is, you’re corrupt, you have done wrong and been wrong, and you can’t fix it.
But there’s Someone who can. And wants to. And does love you—even when you are unloveable, even when He knows how flawed you are beyond even what YOU can feel shame for—but He won’t leave you there. He won’t just make your patterns iridescent. He’ll erase them and give you new ones. And the way He does that is by not erasing your crimes—but paying for them. Fully and completely. Himself. Because you couldn’t. But He loves you, so He does it for you.
His name is Jesus Christ and everybody should know Him and let His love transform them into what they really are by repenting of your sin, turning away from what you used to identify with/as, and giving everything to Him. There’s no other way.
