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"Culminating" doesn't make grammatical sense here.
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* Loki's HeroicSacrifice in taking over He Who Remains is accompanied by the aptly named [[https://www.youtube.com/watch?v=TYrfrqMVsm0 "Ascension]]". A stunning and epic piece that begins both ominous and tragic and culminating elements of Loki's theme, before slowly building up from melancholy to an absolutely captivatingly powerful arrangement as Loki becomes the almighty God of Stories and holds the timelines together with all his power.
to:
* Loki's HeroicSacrifice in taking over He Who Remains is accompanied by the aptly named [[https://www.youtube.com/watch?v=TYrfrqMVsm0 "Ascension]]". A "Ascension]]", a stunning and epic piece that begins both ominous and tragic and culminating incorporating elements of Loki's theme, before slowly building up from melancholy to an absolutely captivatingly powerful arrangement as Loki becomes the almighty God of Stories and holds the timelines together with all his power.
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Changed line(s) 29 (click to see context) from:
* Loki's HeroicSacrifice in taking over He Who Remains is accompanied by the aptly named [[https://www.youtube.com/watch?v=TYrfrqMVsm0 "Ascension"]]. A stunning and epic piece that begins both ominous and tragic and culminating elements of Loki's theme, before slowly building up from melancholy to an absolutely captivatingly powerful arrangement as Loki becomes the almighty God of Stories and holds the timelines together with all his power.
to:
* Loki's HeroicSacrifice in taking over He Who Remains is accompanied by the aptly named [[https://www.youtube.com/watch?v=TYrfrqMVsm0 "Ascension"]]."Ascension]]". A stunning and epic piece that begins both ominous and tragic and culminating elements of Loki's theme, before slowly building up from melancholy to an absolutely captivatingly powerful arrangement as Loki becomes the almighty God of Stories and holds the timelines together with all his power.
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None
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* Loki's HeroicSacrifice in taking over He Who Remains is accompanied by the aptly named [[https://www.youtube.com/watch?v=TYrfrqMVsm0 "Ascension"]]. A stunning and epic piece that begins both ominous and tragic and culminating elements of Loki's theme, before slowly building up from melancholy to an absolutely captivatingly powerful arrangement as Loki becomes the almighty God of Stories and holds the timelines together with all his power.
Is there an issue? Send a MessageReason:
None
Changed line(s) 29 (click to see context) from:
* In her self-described "culmination of all the music from the last few years working with the show", Season 2's penultimate track, "[[https://x.com/filmmusicholt/status/1723032491357884567?s=20 History Is Now]]", perfectly reflects the {{bittersweet|Ending}} nature of the TVA (and multiverse as a whole) being allowed to continue free of He Who Remains' influence at the cost of Loki being stuck at the End of Time, maintaining the branches himself for all eternity.
to:
* In her self-described "culmination of all the music from the last few years working with the show", Season 2's penultimate track, "[[https://x.com/filmmusicholt/status/1723032491357884567?s=20 History "[[https://www.youtube.com/watch?v=0KOZ3VbPB0k Purpose Is Now]]", Glorious]]", perfectly reflects the {{bittersweet|Ending}} nature of the TVA (and multiverse as a whole) being allowed to continue free of He Who Remains' influence at the cost of Loki being stuck at the End of Time, maintaining the branches himself for all eternity.eternity.
* "[[https://www.youtube.com/watch?v=MjYwF_0EhTU History Is Now]]" also takes us into the GrandFinale's credits, as Loki embraces his Glorious Purpose.
* "[[https://www.youtube.com/watch?v=MjYwF_0EhTU History Is Now]]" also takes us into the GrandFinale's credits, as Loki embraces his Glorious Purpose.
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Punctuation fix.
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* In the second season finale the FailureMontage of Loki's constantly futile attempts to save Victor Timely from spaghettification is set to [[SoundtrackDissonance "A Fifth of Beethoven"]] by Walter Murphy. The bouncy remix of a familiar classic helps bring the viewer to a point of being just as frustrated as Loki is.
to:
* In the second season finale finale, the FailureMontage of Loki's constantly futile attempts to save Victor Timely from spaghettification is set to [[SoundtrackDissonance "A Fifth of Beethoven"]] by Walter Murphy. The bouncy remix of a familiar classic helps bring the viewer to a point of being just as frustrated as Loki is.
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None
Changed line(s) 29 (click to see context) from:
* In her self-described "culmination of all the music from the last few years working with the show", Season 2's penultimate track, "[[https://x.com/filmmusicholt/status/1723032491357884567?s=20 History Is Now]]", perfectly reflects the {{bittersweet|Ending}} nature of the TVA (and multiverse as a whole) being allowed to continue free of He Who Remains' influence, at the cost of Loki being stuck at the End of Time, maintaining the branches himself for all eternity.
to:
* In her self-described "culmination of all the music from the last few years working with the show", Season 2's penultimate track, "[[https://x.com/filmmusicholt/status/1723032491357884567?s=20 History Is Now]]", perfectly reflects the {{bittersweet|Ending}} nature of the TVA (and multiverse as a whole) being allowed to continue free of He Who Remains' influence, influence at the cost of Loki being stuck at the End of Time, maintaining the branches himself for all eternity.
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None
Changed line(s) 29 (click to see context) from:
* In her self-described "culmination of all the music from the last few years working with the show", Season 2's penultimate track, "History Is Now", perfectly reflects the {{bittersweet|Ending}} nature of the TVA (and multiverse as a whole) being allowed to continue free of He Who Remains' influence, at the cost of Loki being stuck at the End of Time, maintaining the branches himself for all eternity.
to:
* In her self-described "culmination of all the music from the last few years working with the show", Season 2's penultimate track, "History "[[https://x.com/filmmusicholt/status/1723032491357884567?s=20 History Is Now", Now]]", perfectly reflects the {{bittersweet|Ending}} nature of the TVA (and multiverse as a whole) being allowed to continue free of He Who Remains' influence, at the cost of Loki being stuck at the End of Time, maintaining the branches himself for all eternity.
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* In her self-described "culmination of all the music from the last few years working with the show", Season 2's penultimate track, "History Is Now", perfectly reflects the {{bittersweet|Ending}} nature of the TVA (and multiverse as a whole) being allowed to continue free of He Who Remains' influence, at the cost of Loki being stuck at the End of Time, maintaining the branches himself for all eternity.
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None
Changed line(s) 28 (click to see context) from:
* In the second season finale the FailureMontage of Loki constantly futile attempts to save Victor Timely from spaghettification is set to [[SoundtrackDissonance "A Fifth of Beethoven"]] by Walter Murphy. The bouncy remix of a familiar classic helps bring the viewer to a point of being just as frustrated as Loki is.
to:
* In the second season finale the FailureMontage of Loki Loki's constantly futile attempts to save Victor Timely from spaghettification is set to [[SoundtrackDissonance "A Fifth of Beethoven"]] by Walter Murphy. The bouncy remix of a familiar classic helps bring the viewer to a point of being just as frustrated as Loki is.
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None
Added DiffLines:
* In the second season finale the FailureMontage of Loki constantly futile attempts to save Victor Timely from spaghettification is set to [[SoundtrackDissonance "A Fifth of Beethoven"]] by Walter Murphy. The bouncy remix of a familiar classic helps bring the viewer to a point of being just as frustrated as Loki is.
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added example
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* In "Science[=/=]Fiction", as reality literally unravels around Sylvie, the eerily-appropriate "[[https://youtu.be/yhwSPRY51gs Oh! Sweet Nuthin']]" by Music/VelvetUnderground moans in the background, perfectly matching the leisurely destruction but also Sylvie's confused feelings after finally managing to convince Loki that the TVA isn't worth saving.
-->'''Lyle:''' This will either cure what ails you or make it a whole lot worse.
-->'''Lyle:''' This will either cure what ails you or make it a whole lot worse.
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Not true. The title refers to what Loki says when he teleports in front of He Who Remains. Natalie Holt has denied all allegations in an interview that she is against Loki/Sylvie as a couple
Changed line(s) 23 (click to see context) from:
* [[https://youtu.be/ulWCRAWn_ms Stop]] plays during Loki and Sylvie's Nexus Event and partly during Loki's interrupted love confession in Episode 4, and during their kiss in Episode 6. It is beautifully romantic but also melancholic, and perfectly illustrates Loki and Sylvie's complicated feelings for each other. It starts off with a soft melody played on a theremin and swells up to become orchestral, only to turn soft and ominous as Sylvie prepares to and goes through with killing He Who Remains. Bonus points for the title, which encapsulates Natalie Holt's feelings about said kiss.
to:
* [[https://youtu.be/ulWCRAWn_ms Stop]] plays during Loki and Sylvie's Nexus Event and partly during Loki's interrupted love confession in Episode 4, and during their kiss in Episode 6. It is beautifully romantic but also melancholic, and perfectly illustrates Loki and Sylvie's complicated feelings for each other. It starts off with a soft melody played on a theremin and swells up to become orchestral, only to turn soft and ominous as Sylvie prepares to and goes through with killing He Who Remains. Bonus points for the title, which encapsulates Natalie Holt's feelings about said kiss.
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Fixing assorted spelling, grammar, and indentation errors.
Changed line(s) 12,13 (click to see context) from:
* [[https://www.youtube.com/watch?v=5Qgewp_Pbl4 "Lamentis-1, 2077"]] scores Sylvie and Loki's introduction to the actual moon, and captures the desolate lonliness and the beauty of this dying world. The main motif itself is a fun riff off the show's main leitmotif and it's played on the perfect instrument. It even manages to make a ''metronome'' sound intimidating.
* [[https://www.youtube.com/watch?v=T8IW4H3gXW8 "Very Full"]] is a treat. A delightful Norse folk song lightens the darkness of the dying moon and compells even the rich assholes in the train car to clap along, before suddenly dropping back for a mournful solo. As Loki serenades Sylvie, the violin from "Frigga" comes in and punches you and Sylvie right in the feels. Suddenly, Loki bursts back into the chorus and rushing to a climax. For bonus points, the song even includes his toast to Sylvie and request for "Another!" The lyrics even focus on an unnamed maiden who, whenever she sings, she sings, "Come home." ''[[TearJerker]] Loki's singing about Frigga.]]''
* [[https://www.youtube.com/watch?v=T8IW4H3gXW8 "Very Full"]] is a treat. A delightful Norse folk song lightens the darkness of the dying moon and compells even the rich assholes in the train car to clap along, before suddenly dropping back for a mournful solo. As Loki serenades Sylvie, the violin from "Frigga" comes in and punches you and Sylvie right in the feels. Suddenly, Loki bursts back into the chorus and rushing to a climax. For bonus points, the song even includes his toast to Sylvie and request for "Another!" The lyrics even focus on an unnamed maiden who, whenever she sings, she sings, "Come home." ''[[TearJerker]] Loki's singing about Frigga.]]''
to:
* [[https://www.youtube.com/watch?v=5Qgewp_Pbl4 "Lamentis-1, 2077"]] scores Sylvie and Loki's introduction to the actual moon, and captures the desolate lonliness loneliness and the beauty of this dying world. The main motif itself is a fun riff off the show's main leitmotif leitmotif, and it's played on the perfect instrument. It even manages to make a ''metronome'' sound intimidating.
* [[https://www.youtube.com/watch?v=T8IW4H3gXW8 "Very Full"]] is a treat. A delightful Norse folk song lightens the darkness of the dying moon andcompells compels even the rich assholes in the train car to clap along, before suddenly dropping back for a mournful solo. As Loki serenades Sylvie, the violin from "Frigga" comes in and punches you and Sylvie right in the feels. Suddenly, Loki bursts back into the chorus and rushing rushes to a climax. For bonus points, the song even includes his toast to Sylvie and request for "Another!" The lyrics even focus on an unnamed maiden who, whenever she sings, she who sings, "Come home." ''[[TearJerker]] home," whenever she sings. ''[[TearJerker Loki's singing about Frigga.]]''
* [[https://www.youtube.com/watch?v=T8IW4H3gXW8 "Very Full"]] is a treat. A delightful Norse folk song lightens the darkness of the dying moon and
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* [[https://youtu.be/ulWCRAWn_ms Stop]] plays during Loki and Sylvie's Nexus Event and partly during Loki's interrupted love confession in Episode 4, and during their kiss in Episode 6. It is beautifully romantic but also melancholic, and perfectly illustrates Loki and Sylvie's complicated feelings for each other. It starts off with a soft melody played on a theremin and swells up to become orchestral, only to turn soft and ominous as Sylvie prepares to and goes through with killing He Who Remains.
** Bonus points for the title, which encapsulates Natalie Holt's feelings about said kiss.
** Bonus points for the title, which encapsulates Natalie Holt's feelings about said kiss.
to:
* [[https://youtu.be/ulWCRAWn_ms Stop]] plays during Loki and Sylvie's Nexus Event and partly during Loki's interrupted love confession in Episode 4, and during their kiss in Episode 6. It is beautifully romantic but also melancholic, and perfectly illustrates Loki and Sylvie's complicated feelings for each other. It starts off with a soft melody played on a theremin and swells up to become orchestral, only to turn soft and ominous as Sylvie prepares to and goes through with killing He Who Remains.
**Remains. Bonus points for the title, which encapsulates Natalie Holt's feelings about said kiss.
**
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* [[https://www.youtube.com/watch?v=4zI_tr-OUcM "Frigga"]] plays when Loki has to watch his mother die in the Time Theater and learn about Ragnarok in the archives. The violin solo at the beginning ''alone'' will leave you in tears. It sounds like Loki's mom is calling out to him across time and space. Then a transition into a gloriously ominous horn motif building up to silence, then some truly unsettling voice-adjacent sounds to close out.
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* [[https://www.youtube.com/watch?v=5Qgewp_Pbl4 "Lamentis-1, 2077"]] scores Sylvie and Loki's introduction to the actual moon, and captures the desolate lonliness and the beauty of this dying world. The main motif itself is a fun riff off the show's main leitmotif and it's played on the perfect instrument. It even manages to make a ''metronome'' sound intimidating.
* [[https://www.youtube.com/watch?v=T8IW4H3gXW8 "Very Full"]] is a treat. A delightful Norse folk song lightens the darkness of the dying moon and compells even the rich assholes in the train car to clap along, before suddenly dropping back for a mournful solo. As Loki serenades Sylvie, the violin from "Frigga" comes in and punches you and Sylvie right in the feels. Suddenly, Loki bursts back into the chorus and rushing to a climax. For bonus points, the song even includes his toast to Sylvie and request for "Another!" The lyrics even focus on an unnamed maiden who, whenever she sings, she sings, "Come home." ''[[TearJerker]] Loki's singing about Frigga.]]''
* [[https://www.youtube.com/watch?v=T8IW4H3gXW8 "Very Full"]] is a treat. A delightful Norse folk song lightens the darkness of the dying moon and compells even the rich assholes in the train car to clap along, before suddenly dropping back for a mournful solo. As Loki serenades Sylvie, the violin from "Frigga" comes in and punches you and Sylvie right in the feels. Suddenly, Loki bursts back into the chorus and rushing to a climax. For bonus points, the song even includes his toast to Sylvie and request for "Another!" The lyrics even focus on an unnamed maiden who, whenever she sings, she sings, "Come home." ''[[TearJerker]] Loki's singing about Frigga.]]''
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** Bonus points for the title, which encapsulates Natalie Holt's feelings about said kiss.
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Formatting an entry as "[Title], which [does X]" instead of "[Title] [does X]" is Word Cruft.
Changed line(s) 20 (click to see context) from:
* [[https://youtu.be/ulWCRAWn_ms Stop]], which plays during Loki and Sylvie's Nexus Event and partly during Loki's interrupted love confession in Episode 4, and during their kiss in Episode 6. It is beautifully romantic but also melancholic, and perfectly illustrates Loki and Sylvie's complicated feelings for each other. It starts off with a soft melody played on a theremin and swells up to become orchestral, only to turn soft and ominous as Sylvie prepares to and goes through with killing He Who Remains.
to:
* [[https://youtu.be/ulWCRAWn_ms Stop]], which Stop]] plays during Loki and Sylvie's Nexus Event and partly during Loki's interrupted love confession in Episode 4, and during their kiss in Episode 6. It is beautifully romantic but also melancholic, and perfectly illustrates Loki and Sylvie's complicated feelings for each other. It starts off with a soft melody played on a theremin and swells up to become orchestral, only to turn soft and ominous as Sylvie prepares to and goes through with killing He Who Remains.
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Changed line(s) 20 (click to see context) from:
* [[https://youtu.be/ulWCRAWn_ms Stop]], which plays during Loki and Sylvie's Nexus Event in and partly during Loki's interrupted love confession in Episode 4, and during their kiss in Episode 6. It is beautifully romantic but also melancholic, and perfectly illustrates Loki and Sylvie's complicated feelings for each other. It starts off with a soft melody played on a theremin and swells up to become orchestral, only to turn soft and ominous as Sylvie prepares to and goes through with killing He Who Remains.
to:
* [[https://youtu.be/ulWCRAWn_ms Stop]], which plays during Loki and Sylvie's Nexus Event in and partly during Loki's interrupted love confession in Episode 4, and during their kiss in Episode 6. It is beautifully romantic but also melancholic, and perfectly illustrates Loki and Sylvie's complicated feelings for each other. It starts off with a soft melody played on a theremin and swells up to become orchestral, only to turn soft and ominous as Sylvie prepares to and goes through with killing He Who Remains.
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None
Changed line(s) 20 (click to see context) from:
* [[https://youtu.be/ulWCRAWn_ms Stop]], which plays during Loki and Sylvie's Nexus Event in and partly during Loki's interrupted love confession in Episode 4, and during their kiss in Episode 6. It is beautifully romantic but also melancholic, and perfectly illustrates Loki and Sylvie's complicated feelings for each other. It starts off with a soft melody played on a theremin and swells up to become orchestral, only to turn soft an ominous.
to:
* [[https://youtu.be/ulWCRAWn_ms Stop]], which plays during Loki and Sylvie's Nexus Event in and partly during Loki's interrupted love confession in Episode 4, and during their kiss in Episode 6. It is beautifully romantic but also melancholic, and perfectly illustrates Loki and Sylvie's complicated feelings for each other. It starts off with a soft melody played on a theremin and swells up to become orchestral, only to turn soft an ominous.and ominous as Sylvie prepares to and goes through with killing He Who Remains.
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None
Added DiffLines:
* [[https://youtu.be/ulWCRAWn_ms Stop]], which plays during Loki and Sylvie's Nexus Event in and partly during Loki's interrupted love confession in Episode 4, and during their kiss in Episode 6. It is beautifully romantic but also melancholic, and perfectly illustrates Loki and Sylvie's complicated feelings for each other. It starts off with a soft melody played on a theremin and swells up to become orchestral, only to turn soft an ominous.
Is there an issue? Send a MessageReason:
Anything That Moves is a disambig site now
Changed line(s) 10 (click to see context) from:
* [[https://youtu.be/jix-u8h4KEU "Demons"]] by Music/HayleyKiyoko scores the opening scene of "Lamentis". After the tense flashback to the second episode, we're instead greeted with a very [[LyricalDissonance dissonant]] and upbeat track that [[FridgeBrilliance suits Sylvie's character]] quite well both in the context of the scene that it plays in as well as the later reveal that Loki -- like the source material -- is bisexual (or [[AnythingThatMoves more than that]] if we're talking the Loki from the original Norse myths).
to:
* [[https://youtu.be/jix-u8h4KEU "Demons"]] by Music/HayleyKiyoko scores the opening scene of "Lamentis". After the tense flashback to the second episode, we're instead greeted with a very [[LyricalDissonance dissonant]] and upbeat track that [[FridgeBrilliance suits Sylvie's character]] quite well both in the context of the scene that it plays in as well as the later reveal that Loki -- like the source material -- is bisexual (or [[AnythingThatMoves [[ExtremeOmnisexual more than that]] if we're talking the Loki from the original Norse myths).
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"Rather" as an adverb is Word Cruft of the "bogus qualifier" variety in this context.
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* The [[https://www.youtube.com/watch?v=pp8zGxMTYwM first trailer]]'s theme is a rather sinister and chaotic theme befitting the God of Mischief.
to:
* The [[https://www.youtube.com/watch?v=pp8zGxMTYwM first trailer]]'s theme is a rather sinister and chaotic theme befitting the God of Mischief.
Changed line(s) 10 (click to see context) from:
* [[https://youtu.be/jix-u8h4KEU "Demons"]] by Music/HayleyKiyoko scores the opening scene of "Lamentis". After the rather tense flashback to the second episode, we're instead greeted with a very [[LyricalDissonance dissonant]] and upbeat track that [[FridgeBrilliance suits Sylvie's character]] quite well both in the context of the scene that it plays in as well as the later reveal that Loki -- like the source material -- is bisexual (or [[AnythingThatMoves more than that]] if we're talking the Loki from the original Norse myths).
to:
* [[https://youtu.be/jix-u8h4KEU "Demons"]] by Music/HayleyKiyoko scores the opening scene of "Lamentis". After the rather tense flashback to the second episode, we're instead greeted with a very [[LyricalDissonance dissonant]] and upbeat track that [[FridgeBrilliance suits Sylvie's character]] quite well both in the context of the scene that it plays in as well as the later reveal that Loki -- like the source material -- is bisexual (or [[AnythingThatMoves more than that]] if we're talking the Loki from the original Norse myths).
Changed line(s) 16 (click to see context) from:
* [[https://www.youtube.com/watch?v=BTj3s05e5Uw "If You Love Me"]] by Brenda Lee plays at the end of the fourth episode, punctuating the entire sequence of Loki and Sylvie's "sentencing"--much of which is heartbreaking due to a) Mobius being pruned after standing up for himself, and b) Loki just being pruned by Ravonna as he was on the verge of [[AmbiguousSituation admitting something]] to Sylvie that [[AnguishedDeclarationOfLove is clearly emotionally charged]]. It's also rather nightmarish given the lyrics about what they'll do if the world ends, considering the sheer apocalyptic horrors that are unleashed by the season finale...
to:
* [[https://www.youtube.com/watch?v=BTj3s05e5Uw "If You Love Me"]] by Brenda Lee plays at the end of the fourth episode, punctuating the entire sequence of Loki and Sylvie's "sentencing"--much of which is heartbreaking due to a) Mobius being pruned after standing up for himself, and b) Loki just being pruned by Ravonna as he was on the verge of [[AmbiguousSituation admitting something]] to Sylvie that [[AnguishedDeclarationOfLove is clearly emotionally charged]]. It's also rather nightmarish given the lyrics about what they'll do if the world ends, considering the sheer apocalyptic horrors that are unleashed by the season finale...
