original script of The 10th Kingdom: A Forgotten Fantasy MASTERPIECE. check out the video
So, I want to grant you the gift of a perfect fantasy movie series I can almost guarantee none of you have ever heard of. In fact, this series is probably older than a few of you, which blows my mind, and frankly I don’t want to think about that too long.
When I consider the various film epics we’ve come to love dearly, the iconic fantasy series which we consider cultural touchstones, what comes to mind are the obvious—Lord of the Rings, Harry Potter, Star Wars, and dare I say it, even the Twilight franchise.
But what if I told you that there exists a perfectly-formulated five-movie fantasy franchise based around the secret world of fairytales? Does that interest you at all? Then let me tell you about The 10th Kingdom.
The 10th Kingdom, categorically speaking, is actually considered a mini-series rather than a franchise or saga, but each episode rounds out to be approximately an hour and a half long, and they all contain their own separate story beats united under a complex overarching plot, not unlike, say, Star Wars.
As a side tangent, I remember the first time I watched Lord of the Ring’s Fellowship of the Ring, I was under the impression that Frodo and his friends would reach Mordor by the end of that first movie, and the rest of the series would explore other plots not focused on this ring business.
But no, obviously it’s a task that requires an entire trilogy to complete, and The 10th Kingdom has a similar expansive goal in the sense that our main characters are trying to get from point A to point B, except there are all of these detours which impede their progress along the way.
After the first leg of the series, or the first movie, our cast of characters from New York are thrust into a fantasy world made up of nine kingdoms, all of which used to be run by the famous women in Grimm’s stories—Rapunzel, Snow White, Little Red Riding Hood, Sleeping Beauty, etc.,
After stepping into this world, every enemy they face and every town they visit are all in an effort to find a magical traveling mirror, which will, in so few words, allow them to return to New York City, where the people are normal and they’re not trying to be killed off by trolls and evil queens. But I’m jumping ahead of myself.
To pull back, The 10th Kingdom first aired on NBC in February of the year 2000, and I remember my mom actually had the box set of this series on VHS. After a few years I managed to get my grubby little hands on the tapes, and when I was a kid all the way into my teen years, I’d play them on my shitty little cube of a TV, the kind with the built-in VHS player and the thick backside. I wore those tapes out.
I think my mom also had the companion novelization of the film, but I never put in the effort to read it, and still haven’t. From what Wikipedia tells me, when the film was airing, during commercial breaks they would advertise a toll-free number where you could order the package deal of the movies, the book, and the CD all as one. I don’t recall our family having the CD, but we had everything else.
I haven’t asked her about it, but I can just imagine my mom—hi mom—calling in and ordering it as soon as the series concluded, or maybe she got it as a gift, I don’t know. She’s super into fantasy series and either scenario makes total sense in my eyes. Regardless, I love that I now know about this series, because it’s secretly like forty percent of my personality.
So! When it comes to how I’ll be structuring this video, I do want to challenge myself to not spoil every plot detail from beginning to end. However, in order to have a coherent discussion about the series at all, I do need to lay a basic groundwork for the characters and the premise.
For this reason, the very first point of discussion on my fancy numbered list will be a review of the first two hours of the series. You might say, two hours? That’s a lot! But rest assured, I’m still glossing over a lot of material within those two hours, and in the grand scheme of the series, that’s only about a quarter of the watch-time.
Even still, I’ll be providing various checkpoints for you to pause this video in case you haven’t seen the show and you find yourself intrigued. As a big positive, this series is available on YouTube for free, so there’s literally nothing stopping you from typing it in the search bar above me right now.
So without further adieu, let’s jump into point number one, which I have lovingly titled:
#1: WHY THE HELL IS EVERYONE RUNNING AROUND?
So I’m moving around a few details, but the plot really kicks off when we see a shot of a fancy carriage traveling across an ambiguous but idyllic landscape. Inside this carriage is the first of this movie’s four main characters, and arguably the least relevant when considering character development and focus. However, without him, though, the entire plot would never have started rolling in the first place, so he’s still pretty pivotal.
I’ll dive into the mysterious fantasy world we are witnessing in just a moment, but for now, what you need to know is that this is Prince Wendell. In so few words, he is the grandson of Snow White herself, who, after the happy ending of her fairytale as we know it, lived on to rule her own kingdom, which will plainly be called “the fourth kingdom.”
Of what we’re told by Wendell’s assistant, he is traveling to an outer province of his kingdom, a small village called as Beantown, to meet his people and collect the gift of a throne for his upcoming coronation. See, not only is Snow White long dead, but Prince Wendell’s parents—the king and queen—have also been dead for, I think, seven years.
Where Snow White died after a long and successful reign, Wendell’s parents were poisoned and killed by a very important woman in the story who us viewers will simply know as “the Queen.” I’m not sure how the Queen gained that title—at one point Wendell does call her “stepmother,” but we never hear about the drama of their family ties. It’s not the point of this story.
But we know the Queen killed the actual king and queen, and she’d planned to poison Wendell as well so she could wrest control of the fourth kingdom. Luckily, she was caught in time and imprisoned indefinitely.
As it so happens, Wendell and his assistant, before visiting Beantown, are set to make a detour to the Snow White Memorial Prison to pay the Queen a visit and deny her plea for parole.
But things aren’t so honky-dory in the prison right now. Not long before the prince’s arrival, we meet an ugly creature known as the Troll King. The Troll King, as far as I know, isn’t aware that Prince Wendell is also on his way into the prison, it mostly seems like a very lucky coincidence. See, the Troll King is sneaking his way into the prison in order to rescue his three idiot children.
I’m gonna talk about the troll children later, because they’re positively the funniest part of the entire series—or at least, they have the most obvious jokes and gimmicks in the series. They’ll have their time in the sun when I talk about him later.
Also, second side note, the Troll King uses a series of very fun magic accessories and items to sneak into the prison unannounced. The nine kingdoms is absolutely riddled with random mystical energy, and spells, and magical objects, to the point that me trying to give shape to the complex magic system, sort of like a Harry Potter or Lord of the Rings, is absolutely useless.
In short, he has two tool at his side: one being troll dust, which is this magic pink dust that can knock people out in a pinch for days, and the second being a pair of magic shoes which can make him invisible for a limited amount of time. Surprisingly, despite his brutishness, the Troll King does not strong-arm his way into the prison.
The Troll King does in fact run an entire kingdom on his own, and has an entire army to back him up, but I don’t know, I guess he wanted to keep this low-key. So, having successfully rescued his children and knocked out the entire staff with troll dust, you’d think they’d leave, but no.
The Queen, who is locked away in a very high-security wing of the prison, magically calls out through the ether to the Troll King, and essentially bewitches him to her. In so few words, he lets her out of her cell and strikes up a deal that, if she follows through with a plan she wants to carry out, she can offer him half of Prince Wendell’s kingdom. Big stuff, I know.
So back to Wendell, he enters the prison to find himself captured by the evil Queen and the Troll family. Now, here’s one of the most integral pieces of magics to play into the story line:
For whatever reason, I guess years prior, the Queen requested to have a pet dog, and don’t. ask me why the prison would allow her to have one, but they do. It’s this really pretty golden retriever, and you see him very consistently throughout the series, and oh my god, he is such a good boy.
When everyone is in a room together and the Trolls are holding Prince still, the Queen sics her dogs at him, and when they make contact, they switch bodies. So from part one to part five, Prince Wendell is just running around with our gang of misfits as happy puppy who very slowly loses his marbles.
The Queen’s plan is to then kill the prince-turned-dog and keep the dog-turned-prince as a puppet which she can rule behind—or at least, at first. I always found this particular scene very strange because the Queen knows she wants to kill Wendell immediately in dog form, but as she’s teasing him, she like, turns away completely? And that allows Wendell to flee the scene.
So the queen sends the Troll Children to chase the dog, but the dog, running into the basement, knocks over another very important piece of magic—a magic mirror. You’ll notice, by the way, most forms of magic in this universe don’t typically have special names, so we’re gonna hear a lot about magic rings and magic combs and magic fish, without much differentiation. The word magic is going to get old real quick.
So Prince Wendell knows the trolls are quickly on his tail, and when he knocks over this mirror, he opens a portal to what we see is New York City, specifically Central Park. The Prince has no other option in front of him, so he jumps inside, and here ensues a very magical, very fun teleporting graphic.
Are you with me still? Okay. Well, here is where we meet our main character: Virginia Lewis, a disillusioned young girl in her mid-twenties, who lives on the edge of the park with her dad in a shitty apartment, working as a waitress to make ends meet.
Virginia is easily the most complex character in the series, and I have a lot of, like, “end game” analysis I really want to get to regarding her character growth and the challenges she faces, but you’ll have to stick with me to the end of the video to really hear my thoughts on character.
But for now, what you should know about Virginia is she believes she’s going to live a boring life. She considers that she might have a husband some day, and dare I say it, move out from her dad’s place, but all things considered, Virginia has resigned herself to mediocrity. Some of her first dialogue is in narrative form, and she states plainly,
“I guess you get to a certain age and you realize nothing exciting is ever going to happen to you. And maybe that’s just the way it is. You know, maybe some people just have quiet lives.”
And right as she thinks that to the audience, Prince jumps through the portal and collides with Virginia’s bike path, making them both crash to the ground. For better or for worse, Prince has now made a detour to the tenth kingdom, New York City.
It turns out, Virginia was actually biking to her waitress gig, and because she can’t miss her shift, she walks her bent bike to the restaurant with Prince following behind her. She tries to get rid of him, but he won’t leave her alone. For now, I’m going to put a pin on the Virginia story thread, because we need to go back and introduce one more absolutely key character.
So if we’re thinking back to the evil guys, the Queen and the Troll King have forged an alliance, where the Troll King puts his trust in the Queen to cause some shenanigans and take over the fourth kingdom. But in order to succeed, she needs to have the Troll children follow her orders, and as faithful to the Queen as they may be, she knows she needs someone more substantially on her side. Someone who isn’t faithful to the Troll king.
So even though the Troll children are on the prince’s tail, pun intended, the Queen releases another prisoner—a character who we will know by the name of Wolf—to also follow the Prince.
And oh my god, I love Wolf. For many reasons, I love Wolf. He’s just a spunky, mischievous little guy. If the name didn’t give it away, Wolf is actually part werewolf, though the most we see of a wolf-form from the guy is a fluffy tail, yellow eyes, and riled-up hair.
If you’re wondering what his real name is, it is actually Wolf. Which is a little confusing, because Wolf isn’t the only werewolf in their world, so it sorta feels like when someone names their son Guy. At one point in part three he does use the fake name Warren Wolfson, so it’s like, is his name Warren? No.
But Wolf is easily the second most complex character in the series. In the very beginning, having been imprisoned for who-knows-how-long, Wolf is positively pent up with energy. And by energy, I mean he’s incredibly hungry for a good meal and he’s incredibly… frisky, to put it best. Later, when he’s more mellow, he explains to Virginia that, quote,
"Putting a wolf into a prison cell with nowhere to bound, only able to stare at the sky through bars, now that's inhuman."
What Wolf deals with throughout the entire series is the compromise between his wolfish tendencies and his human ones. He never seeks to overrule or mask one half of himself, it’s more a matter of striking the appropriate balance, because denying his wolfish side would be to deny half of his existence. And he’s all the better for it, because he’s an absolute goofball. I’d go so far as to say that Wolf holds many of the traits of a himbo—he’s handsome, he can be dumb at times, and he’s very kind.
To give away a bit of Wolf’s character which we’ll get to in a moment, yes, he’s tailing Prince Wendell, and by circumstance, Virginia too, but the moment he sets sights on Virginia, he’s fallen head over heels in love with her, and forgets about the Queen’s instruction completely.
He doesn’t know how to handle his love for her, and in fact goes about it in very inappropriate ways in the first episode, and this is a testament to the fact that he can’t control his wolfish side. But I want to set it into stone now—Wolf’s motivation throughout the entirety of the series is: do right by Virginia.
Love her, care for her, accommodate to her. Virginia markedly doesn’t love him in the first half of the story, so he takes it upon himself to show Virginia what kind of man he can be, and prove they’re soulmates. This means striking that balance between wolf and human, and calm down those raging energies being in jail left him with. See how it all comes full circle?
So the Queen releases him from prison. But before he leaves her sight, she places upon him this invisible magic: the magic of the Queen’s evil will. Whenever the Queen is in one of these sinister modes, you’re always going to here very haunting female vocals and like, a glittery noise.
Submitting to the Queen’s will, in short, essentially means she can call upon him from afar, invading his mind so she can communicate with him and enforce her desires. Because he’s so one-track minded in the beginning, and frankly, a bit stupid, he says yes and goes on his merry way, following Prince and the Troll children through the magic portal in the basement.
The last of the four main characters, and the one I probably need to give the least bit of explanation to, is Tony. Tony is Virginia’s father, the one she lives with, and he’s a janitor for the building they live in touching Central Park, which is the only reason they’re able to afford their apartment.
Tony, to spare myself the need to monologue about him, is the bumbling buffoon of the series, but that’s perhaps giving him too little credit. He’s the Zeppo—he’s the one who constantly has bad things happen to him, whether it’s his own doing or the world itself punching down on him.
In trying to describe Tony, I’d say he’s fairly conservative-minded. Not politically conservative, I mean— the series isn’t remotely political, but I mean he’s conservative in the sense that he doesn’t think outside the box a lot. He has good ideas on occasion and plays a mean hand of Old Maid, but his faults often overshadow his positive qualities, and unfairly so.
A few things we know about Tony: he’s long divorced, he’s overworked and underpaid, he ruined a once-thriving business he upstarted through a bad investment, and when prompted to make a few magical wishes, he makes selfish and poor decisions. There’s a fair few other disasters that Tony initiates later in the series, but this is what we know going in.
But the thing about Tony is that he’s sincerely undervalued, especially by Virginia, but also in part by the other main characters as they travel through the nine kingdoms. And when they realize that at the end of the series, Tony as well, it’s only then that Tony receives his flowers. Otherwise, Tony’s character growth is pretty static from start to finish.
Now, indulge me for a bit while I recount some of the shenanigans that go on in the tenth kingdom. The rest of the story after what I’m introducing to you, you can reliably count on the fact that all four of our heroes stick together and are attempting to a reach a semi-agreeable goal. And if they’re apart, they’re still trotting along in the same general direction.
But part one sticks out because it does all the heavy lifting in terms of defining the characters—they scramble around on their own without an exact goal in mind, simply goofing off or trying to solve smaller problems. The latter is very true for Virginia, who doesn’t know what to do with this dog she found, and is getting harassed all around the city. Let me explain.
When Virginia finally gets to work, she keeps Prince in the storage room. Also, this scene—where she first shows up to work, I have no idea why nobody protests or scoffs that someone walked a dog into a room where they’re preparing food.
But it’s fine, I guess. When he’s eventually in the storage room, nobody goes back there, and only Virginia has the key to the door for some reason. She tries to do her job, but hears Prince barking back there, and has to pause work to go make him quiet.
But look at this—when she walks in, Prince has left a message for her. She thinks it’s a prank, but through testing out Prince’s intelligence, she freaks out when she realizes the dog is responding to her with one bark yes, two barks no. By indicating she’s in danger, Wendell convinces Virginia that they must leave, and she travels back home.
Meanwhile, the troll lchildren are around, but they aren’t making much progress. Like I said before, they’re idiots, like, verified doofuses, so even though they possess the physical strength to apprehend and kill a dog, they have absolutely none of the wits.
One of the best bits in the series is that, while they’re hunting in central park, they pointlessly assault a couple sitting on a bench and steal their stereo, believing it to possess some kind of magic simply because it plays “Night Fever” by the Bee Gees. They take this stereo back with them when they return home, and when the stereo eventually dies, they’re relegated to singing of this magical folklore instead. It lasts even into part five.
But Wolf, on the other hand, is on the hunt. At first, he’s so hungry that he completely forgets about Prince Wendell entirely, and when he’s in New York, he’s overwhelmed by the smell of meat and follows his nose to, very coincidentally, Virginia’s workplace at the edge of the park. But then, good news:
“I smell dog! Would you believe it? Work and pleasure combined.”
So when he’s sitting down as a guest of the restaurant, he talks with one of Virginia’s coworkers and remembers to ask about the dog. She spills the beans that Virginia is holding onto a golden retriever, and believing Virginia to still be at work, the coworker leads Wolf to the kitchen.
And this scene confuses me, because when she realizes Virginia’s gone, Wolf is like, give me her address, and then she’s like “no,” and then things get weirdly sexual? Nothing is shown of the restaurant or the girl after this scene, but it is confirmed later that Wolf obtained Virginia’s address, so I’m like… how did he accomplish that? Did he eat the blonde girl?
Wolf, after all, is known to conflate hunger with sex or sexuality simply because of his wolfish nature, and the last shot we see of the two of them is when they’re standing very suggestively close to one another, in the private back room. Even weirder, the next scene Wolf is in, he’s calmed down remarkably.
His lucidity and charismatic persona always appear more present and refined when his hunger is sated, and after this story beat, that hunger is less insistent. He’s still obsessive over food and love, but it’s not messing with his head so dramatically.
If you’re wondering, by the way, Wolf was not imprisoned for eating people. He later describes his crime was, quote, “sheep worrying,” so he caused nothing more than mischief. Overall, wolves in this series are alluded to having eat humans at some point in history, but wolves also face serious discrimination within the nine kingdoms in the present day, so it’s possible this is just some disparaging folklore.
In that same breath, I believe in part three, Wolf describes his parents to be especially ravenous, and that this was the cause of their persecution on a burning pyre. Whether their crimes were legitimate or not, remains unexplained. Which is all to say, I really don’t know if he ate that girl. But he had to have sated his hunger somehow.
Virginia returns home with Wendell, but when they arrive, Virginia discovers that her place—infact, her entire apartment floor—has been ransacked, and various neighbors of hers are knocked out on the floor covered in troll dust. Tony, even, is conked out ina recliner when she walks through her front door.
Yeah, the trolls found her apartment. But only through brute force—in the beginning, they managed to find Virginia’s missing wallet and a patch of dog fur on the bike path, which eventually led them to her door after threatening a New Yorker to commute them.
As much as I like them, they’re mostly a distraction, so I’ll leave this scene by saying that the trolls try to catch Virginia and Wendell, but she manages to trick them by trapping them in a broken elevator and fleeing with Wendell to her grandmother’s house. She leaves Tony behind, because even though he’s unconscious, he’s relatively safe.
And here is probably my favorite sequence of events that occurs in the first episode, and part of the reason why I went through the effort of chronicling everything thus far. Virginia stays at her grandmother’s decked-out apartment overnight, and the next morning, having learned of where Virginia is staying, Wolf makes a visit.
He poses as Virginia’s rich suitor and fiancé so that grandma lets him in the door, and after that… [video no audio of grandma being seasoned] well, he gets a bit distracted. But when Virginia wakes up, Wolf does what any sane fairytale wolf would do and dresses up as grandmother and hides in her bed.
At this point, you don’t really know what he’s trying to do? Like, you know he’s infatuated with Virginia, because prior to this scene, he visited Tony’s apartment and obtained an image of Virginia, who he now finds to be the most beautiful woman in all the kingdoms. Whether that means he wants to start a happy family with her or turn her into dinner, remains to be clarified
But he doesn’t even try to capture Prince. Instead, well… [what big teeth you have, etc.]
Instead, when Virginia realizes it’s a strange man in her grandmother’s bed, she naturally treats him like an intruder and tries to fight him off. Meanwhile, Wolf is waxing very manic poetic about his feeling for her, which really, at this point, is just very exaggerated infatuation.
“Now that I’ve seen you, eating you is out of the question! Not even on the menu! Now, I know this is going to come out of the blue, but—how about a date?”
Luckily, Virginia manages to toss him out of, like, her grandmother’s second story window. The way Wolf feels about her remains very conflicted even after their first confrontation, because not long after, in a very inconsequential scene with a French therapist, he laments about his feelings—
“Doc, I met this terrific girl and I really, really, really like her, but the thing is that… I’m not sure whether I want to love her or eat her.”
Moving on, though, I can skip a lot of the subplots in this episode, specifically involving Tony, because, functionally speaking, yes they help build his character, but plot-wise it’s very inconsequential. In short, Tony has harnessed the power of six wishes, all of which he completely wastes on selfish, questionably immoral things. And they all come back to bite him in the ass.
The crux of this episode is when Virginia leaves her grandmother’s house with Wendell, she takes him back to central park and tries to leave him where she found him, because she’s tired of being chased by weird trolls and sexually ravenous home intruders.
Just to pause, when I first wrote that line, “sexually ravenous home intruder,” it sounded awful. I’m describing Wolf, and I can’t say that I’m describing him incorrectly, but a thing about Wolf is that, while yes, he’s very riled up, he also feels very innocent.
Sort of like a puppy who doesn’t know how to play correctly yet, like if you left him alone in the house for a while, you’d come home to find all your couch cushions torn open and stuffing everywhere. You’d punish him, but you also might think, “ah, that little rascal.”
In that way, I think a viewer can rationally suspend disbelief on the questionable behavior of Wolf, simply because of his wolfish hormones. But in the same breath, I also think that unfairly absolves him from his ogling and infatuated monologuing.
It’s played off for laughs fairly well, I think, but at the end of the day I still think a viewer should interrogate those flaws in Wolf’s writing.
The point beyond that critique is, in attempting to drop off Wendell in the park, we experience a confluence of all the character in New York. Tony, because of his own shenanigans, is running from the cops in the park [it’s funnier if I don’t explain why], meanwhile Wolf is on their tail and the trolls have escaped from the elevator.
Tony meets up with his daughter and Wendell, and the only good wish Tony ever makes (which is also his last one) is that he wants to understand the dog. This is very important—Tony becomes the only individual in the series who can understand Wendell, who seemingly telepathically talks to Tony.
Which, thank god they never try to animate the actual dog’s mouth. Such a good visual effects decision. After that point, Wendell leads them back through the portal in central park to escape the cops. And so concludes our time in the tenth kingdom. Even though it’s the title of the series.
Rest assured, Wolf and the trolls do make their way back through the portal in their own time, and then the magic mirror portal is closed, keeping out the rest of their real world.
Remember, now, that the mirror itself is stored in the basement of the Snow White Memorial Prison, so they’re not exactly freely walking in the country. They have a bit of time before the bad guys catch up with them, so they walk through the prison and find that all the guards are still knocked out with troll dust.
Wendell takes the opportunity here to describe the nine kingdoms to them, and all the politics involved, but I’m going to wait to explore those elements in point number two, which is right around the corner. After the exposition, instead of immediately escaping, the three of them inspect the Queen’s prison cell.
Which, don’t ask me why. This ends up screwing them over because the trolls find them. And because they’re incompetent, instead of capturing the dog like they’re supposed to, they close the cell door on Tony and Prince, meanwhile they knock out Virginia and steal her, fleeing thereafter to the Troll kingdom.
[shrug] I really don’t know why they couldn’t just do their job. Blabberwart, the sister, says it’s because the troll dust on the guards will wear off any moment and they have to act fast, but it’s still an incomprehensible decision. They think Virginia’s a witch because of the elevator debacle, but that’s about all we get in terms of real motivation.
So Tony and Prince are for-real imprisoned when the guards wake up and find them, and the troll children flee to the troll kingdom with Virginia over their back. I’m not covering the prison arc. I actually think it’s quite boring and unremarkable. Like, can you imagine your first foray into a magical dimension was in a prison? Ugh.
Instead, we’re going to follow Virginia as she’s taken to the troll castle and tied up. She’s going to be tortured for information because the trolls believe she’s some big-league conspirator for what they dub the tenth kingdom, which is NYC itself, and want to know who its king is.
But here’s the rub: Wolf comes in and saves her, using the troll’s stupidity against them. The troll king is out on the town and planning shit out with the evil Queen, so for whatever reason, he’s left his magical shoes on display in the troll’s shoe collection. It’s this big weird feet joke, it’s really not that important.
What is important is, on her way out, Virginia nabs the shoes without Wolf knowing. By the way, she absolutely does not trust Wolf and plans to escape his side as soon as she’s able by wearing the shoes, but she never gets far because Wolf knows her scent and can follow her anywhere. It’s very romantic.
The shoes are very weird—as they’re escaping through Jack’s beanstalk forest of all places, Virginia is constantly enthralled by the shoes, practically drunk on their power, or potential power. But the shoes, unlike most magics, has a battery life, and must recharge for hours on end, so in large part if she’s not wearing them, Virginia is fawning over them.
There’s a really nice character beat for Wolf here, because it’s brief switch in their lucidity—Wolf is now in his element in the nine kingdoms, and maintains a fairly level head, meanwhile Virginia, when Wolf is holding the shoes, tries to seduce Wolf while under their enthrall, trying to get them back.
One of the reasons I really like Wolf is that he doesn’t play into Virginia’s weird sexual advances because he knows they’re hollow. Instead he continuously rebuffs her until she finally drops the act and returns to her usual self.
And here’s the first scene where the two of them really actually bond for the first time. I’d say this is important because, if they were not allowed this moment to hide from the troll’s hunting party, they likely wouldn’t have stuck together through the rest of the story.
Virginia, understandably, finally asks Wolf why he was involved in the chase, and intuits that he, too, was a prisoner set free, but doesn’t actually ask who set him free. That’s left out of their conversation. He explains what put him in jail, but then the conversation shifts to something very vulnerable—Wolf’s tail.
The thing is, this scene has some very present sexual innuendo attached to. In parts three and five, this innuendo is played up again in different ways, so it’s not exactly an accident on the writer’s part. Wolf’s tail, in so few words, is regarded as a fairly intimate erogenous zone, which Wolf himself roughly equates to breasts in terms of… acceptability of exposure, I guess?
And I don’t know, I guess it’s testament to the fact that I first watched this series as a kid, but I never considered this scene very sexual, despite the writer’s heavily leaning into it. What I see in this scene is that Wolf’s tail is a very corporeal representation of Wolf’s immediate decision to be open and vulnerable for Virginia.
Once he’s able to calm down significantly and join Virginia’s side, he really does come to terms with the fact that he loves her and wants to be with her, and he never shies away from showing her every aspect of who he is, both the good and bad.
Knowing that wolf-kind are actively discriminated against, persecuted, and in many cases killed in the fourth kingdom, including his parents, Wolf allowing Virginia to even see his tail, let alone give it a pet, shows he’s not trying to hide from her, even if it’s dangerous.
We’re nearly at the end of my opening review. The plan at this point is to return to the prison, use the shoes to sneak in and release both Tony and Wendell, and then find the mirror to go home.
But the prison’s been up to some shenanigans. After the guards wake up, they determine that the basement was disturbed or ransacked while they were sleeping, and thus cast suspicion on all the antiques stored down there. So they set up a trash boat outside the prison walls and throw all the junk on it to later be moved away. This includes the mirror.
On his own, Tony discovers that his prison-mates have painstakingly been carving away a tunnel to the outside for years, and he convinces then to let them escape as well. Luckily, Wolf and Virginia find Wendell and escape as well, so now the entire cast is unified as a group, finally.
Unfortunately, Acorn, one of Tony’s prison mates (that’s played by Warwick Davis of all people), takes the trash barge with the mirror and travels off to god-knows-where while Tony isn’t looking. And so initiates the much less complicated journey our characters will embark on to find the mirror and go home, and in the same breath, so ends this introductory review
I’ve alluded to it already, but nearly every character in this foursome, besides Virginia and Tony, have different goals in terms of what they seek to accomplish. Of course Virginia and Tony want to go home, but Wolf’s single desire is to make Virginia fall in love with him, or rather, make Virginia realize she’s already in love with him.
There’s no literal point A and point B for Wolf, but if assisting with Virginia’s adventures means he can get closer to her, then he’s on board.
Meanwhile, Prince Wendell’s prerogative is entirely different. He, of course, wants to be turned human again so he can resume his coronation, become king, and probably get revenge on the evil Queen. To do so, he forcibly enlists Tony, who is the only person can understand him, to be his manservant, much to Tony’s disagreement.
He’s not seeking the mirror, and in fact regularly complains that Tony shouldn’t be looking for the mirror because he should be helping Wendell instead. I like that Prince has entirely separate motivations, but I also feel like the writers didn’t take these conflicting motivations far enough.
Seemingly against Prince’s personal goal, Wendell will often assist in Virginia and the team’s schemes to find and obtain the magic mirror, even though he has virtually no incentive to do so. I think I would’ve liked to see a bit more conflict in that regard, but Wendell, for the most part, is relegated to having the least complex character arc among the main cast, so his use as a pawn largely goes unchallenged.
With all the characters and the main adventure set up, let’s finally move onto point number two:
#2: WHERE THE HELL ARE WE?
So, I’ve described that the tenth kingdom is New York City, and I’ve talked about the fact that the fourth kingdom is run by the lineage of Snow White, so what else do we know? Well, in part one, when our characters have just entered through the portal and all the guards in the prison are still asleep, we see a map of the nine kingdoms.
Prince Wendell describes to Tony that the stories we learned of Snow White, Cinderella, and all the other great fairytales occurred about 200 years prior, and the audience can reasonably deduce through this explanation and the map that the other great women went on to run their own kingdoms. This gets later validated when Wolf explains the lore of the five great women who changed history—
“She became a great queen. One of the five women who changed history.”
Virginia: “Five women?”
“Snow White, Cinderella, Queen Riding Hood, Gretel the Great, and the Lady Rapunzel. They formed the first five kingdoms, brought peace to all the lands. But they’re all dead now. Some say Cinderella’s still alive, but no one’s seen her in public in nearly forty years. She would be nearly 200 years old. The days of ‘happy ever after’ are gone. These are dark times.”
Also apparently Sleeping Beauty is still around, but if you look at [this really blurry map] of the nine kingdoms, she wasn’t even a great ruler, she actually appears to just be a citizen of Cinderella’s kingdom, so that’s sucks, she got demoted, and for what? We don’t know.
So you might be thinking, “this is so exciting! We get to explore the nine kingdoms, I can’t wait to see a little bit of everything!” Well I hate to break it you, but we don’t. Like, we see nearly none of them. We stay in the fourth kingdom for virtually the entire series except for two story beats.
One of these deviations is near the beginning, with the Troll Kingdom, also known as the Third Kingdom, and the second instance is in the fourth movie, when our characters unwittingly trespass into the mines of the ninth kingdom. But this kingdom doesn’t even have a great queen! It’s just run by dwarves who make magic mirrors in an underground cave system.
They appear to be some derivative lineage of dwarves from Snow White’s story, and this proves to be more legitimate of an idea because Snow White’s grave is magically hidden in one of the fancier caves, but other than that, there’s absolutely no glamor or intrigue. It’s an important pit stop, but in the grand scheme of things, a very disappointing end.
However, the final chapter does give us a glimpse of what all the various royal lines look like. We see the descendants of Red Riding Hood, we see some elves and ice queens, and there’s even a special cameo from the only living great queen, Cinderella, so it’s a fair enough consolation prize. I just think it was a completely wasted opportunity
That said, the fourth kingdom does have a diverse series of towns, bogs, and castles for our main characters to travel through. Among the various sets our characters visit, we have Little Lamb Village, Kissing Town, the Palace of White, the Disenchanted Forest. Evenly dispersed along the way, we also encounter various iconic locations from Snow White’s story.
The fourth kingdom itself, to refer to that map again, is situated in the very center of the fairytale world, with most of the other nations bordering it. Its location is highly coveted by the other kingdoms because of that strategic central location, and while it’s not commented on more than once, the other kingdoms are essentially nipping at the fourth kingdom’s heels to gain its territory.
Beyond that, not much is known about the other kingdoms. In reading the wiki a little bit, there are actually some interesting descriptions about the other kingdoms, and I’m assuming these come straight from the book, but they also read like it could be complete fanfiction.
As a regular peruser of these “wikia” pages across various fandoms and titles, I’m aware of the fact there’s very little fact checking and revision which goes into them.
I would say, correct me if I’m wrong, but I’m rebuking that. Yes, big franchises will probably have highly scrutinized wikia pages, but the same can’t be said for any title that even remotely falls into obscurity... Wikia is the real wild west Wikipedia we were warned about in high school.
And that about sums it up for my second point! Yeah, these other points, we’re probably going to run through them much faster.
So, to move onto point number three!
#3: MAGICAL OBJECTS, SPELLS, AND OTHER RANDOM CRAP
So, as we’ve already partially observed, the nine kingdoms are absolutely riddled with various magics, mystical energies, and generally fantastical creatures that can help or hurt Virginia and the team on their quest.
As I was viewing the series I made sure to take note of every consequential piece of magic which affects the plot, regardless of whether it’s incredibly important, such as the magic traveling mirror, or it’s the mere aura of magic, lightly nudging a character along.
I knew, going into this, that I could simply review the magic like I do everything else, but because I’ve done that enough with the plot itself, what I want to do, instead, is a tier list.
[Off-the-cuff, unscripted tier list of magic objects, spells, etc. I did not transcribe this.]
Moving onto point number four:
#4: ALL THE BIG BADS
I really just wanted to spotlight them, and give them their flowers before moving onto the rest of the video.
Let’s start with the trolls. The troll king is arguably the most boring antagonist the heroes have to face, and that’s saying something because the way he’s just really cruel and nasty is still kinda fun to watch. And the more I think about, I’m pretty sure the heroes never actually have to face him. The Troll king essentially sells out his children to the queen, yes, and the children are a nuisance to Virginia nad her crew, but the troll king serves an entirely separate purpose in the story.
So he lets the queen out of her prison cell, right? They make a tentative alliance to keep the circumstances of the queen’s escape secret (AKA the whole dog prince thing) so she can take over the fourth kingdom. For helping her escape, as well as the use of his kids, she tells the Troll king she’ll give him half of the fourth kingdom, just not the half with the castle.
But the troll king is impatient, and as we obviously know, the troll children fail to find and kill Prince Wendell, much less capture him, so there’s some rising ill will between both parties. In addition to that, in order for the fake dog prince to take the throne during his coronation, the Queen herself must train him to stop acting like a dog.
I’d say those scenes are some of the weakest in the series because the plights of this poor dog turned into man are very sad, and they use a little bit of gross humor, which I’m not a fan of. At one point you see him lift his leg to pee against a pillar, and then you see the pee on the ground, as if that wasn’t enough.
And then there’s another even more dramatic scene with the poor dog when he’s so tired of behaving like a human that he threatens to hang himself in front of the queen. The dog’s hanging attempt is laughably foiled, but it leaves a sour taste in my mouth. Maybe that’s the point, but it takes all the whimsy out of what could’ve been an interesting half of the story.
Anyway, the training of the new prince s taking far too long for the troll king’s liking, so in the meantime, instead of laying low and letting the queen enact her plan, he useless starts pillaging and terrorizing some of the outer provinces, such as Beantown.
He does this because he knows the real prince is incapacitated, and let’s just say this sets up a big hurdle for the queen. In many ways, the troll king is an antagonist and a substantial distraction for her and not Virginia. She has to be doing something interesting before the climax of the series, after all, and this makes enough sense.
Then there are the troll children, and honestly, I really love these guys. They’re the comedic release of the series, which is saying something, because it’s not exactly a super tense series the whole way through. There are plenty of other light and funny moments.
Blabberwart, Burly, and Bluebell are basically bumbling idiots throughout the series, and on rare occasion, whenever the characters get too comfortable, the Troll children will pop up and terrify them, and spur them onto the next big set piece.
The only criticism I have for the trolls is that, one, they’re the ones who name New York City the tenth kingdom, and they make some feeble attempts to maybe raid the tenth kingdom with a troll army, I guess, but by the end of the series, that motivation’s been completely nuked.
The other is that there is no conclusion for the trolls. I feel comfortable saying that because the final conflict between the trolls and our heroes is a very simple fight before the climax, and they lose, and are knocked out. And that’s the last we see or hear from them.
Which I understand on some level, because they were just entertaining time filler, but in a series that otherwise feels very tightly knit, they’re a loose thread, in my opinion.
The last enemy I’ll talk about is, essentially, a weapon working under the Queen. Unlike Wolf, who the Queen tries to vest control over, the huntsman works willingly. Where the trolls have some levity to them, and their threat is downplayed significantly, the huntsman represents a very legitimate mortal threat.
We learn of him in part three, and I’d say I really like his entrance because he’s an important figure between the Queen and Virginia. Virginia is often made parallel to Snow White through her behavior, and like the original story, Virginia at one point faces the huntsmen individually.
The huntsmen serves as the perfect middle man from the Snow White fairytale. In that story, at least the Disney iteration, we know the huntsmen to serve the evil Queen, and she sends him out to kill Snow White because she’s the fairest of them all. But as he raises his axe over her, he falters and instead lets her flee into the forest, keeping it a secret from the queen.
The interesting difference with this huntsmen, however, is that he’s become disillusioned, and it’s made fairly obvious when Virginia first meets him that he’s not one to turn over a new leaf. A large theme in the world of the nine kingdoms is that, understanding we are 200 years out from those iconic tales, the world has sobered up.
Wolf, at one point even, says that “happily ever after” didn’t last as long as we’d hoped, and the huntsmen represents the downward descent of their world into villainy. We talked about it briefly in the tier list, but the huntsmen possesses this magical crossbow, which, when fired, cannot stop until it hits the heart of the living being.
Don’t ask me how the logic works, but when the huntsmen was still a normal dude cutting trees in the forest, the evil queen comes by and offers him this crossbow, but only if he shoots it in a direction he chooses. He takes up that offer, takes position, and shoots off the arrow.
The thing is, the arrow hit his son, presumably hundreds of feet away, and kills him instantly. When the axeman pulls the arrow from his son’s chest, somehow that confirms that he is now the queen’s personal huntsmen, and he accepts the role willingly. End of story
Don’t ask me how that works, it obviously sounds like backwards logic to me. But in the same breath, I kinda like how backward it is, because it reminds me of those old fairytales where characters make very bad but very symbolic decisions.
Fairytales, historically, aren’t inherently moralistic stories, because we know that they weren’t initially targeted towards children, much less teaching them a lesson. But obviously with newer iterations and the shifting of the fairytale paradigm into our modern-day understanding, leaving out a moral is virtually impossible. Heroes now make rational decisions because they represent models of good character, which children are meant to aspire to.
But the huntsmen’s tale, despite how briefly it enters the story, represents some of those more ambiguous stories without a proper lesson. The huntsmen’s story is about destiny, sure, but a kind of destiny that’s incomprehensible to our main characters because he isn’t following human logic. He’s following the contrary conventions of the oral tale. When Virginia hears that story, she calls him crazy because he doesn’t understand it.
And finally, there is the queen. She is the main antagonist in the series, and as things develop, she becomes Virginia’s opposite, even though they don’t meet until the finale.
And here is where I have a major, major spoiler for the final chapter of the series, which you may have already guessed if you watched the movies up to the point, but I don’ know, I just recommend pausing for a while if you’re still watching the movies.
In light of telling the story’s big twist, I think this is a good time as any to say that I’m going to analyze some of Virginia and Wolf’s big character arcs later down the line. This means character conflicts, story beats, and the conclusion at the end of the series, all of which are massive spoilers.
So… [pause]
Okay, are we all back? Are we one board for spoilers?
Alright, so the grand reveal we get near the end of part four is that the Queen, who we’ve only vaguely known as the queen, is Virginia’s long-lost mother. I know.
It was impossible to really talk about the queen because, if we’re looking at her origins, it’s directly tied to her history in New York. In the first wave of being enlightened in part five, we understand the Queen, who once went by Christine, fled her home for some unknown reason.
Virginia doesn’t know, Tony hasn’t said anything, but she’s fled in distress to Central Park. From what I can glean, she had some sort of emotional break, but I don’t feel comfortable assigning any other kind of mentality to her. It just doesn’t seem appropriate. We just know she’s not well in the head
So as she’s fleeing in distress, she receives a call from a distant voice, an elderly woman’s voice, and suddenly we see a floating, amorphous portal, with an old hag on the other side, coaxing her in. This is the original witch, the original stepmother to Snow White herself.
In the nine kingdoms, the iteration of the story they go with is that Snow White wins out of the queen, and she marries the king and they live a happy life. But t he evil queen, as punishment, was forced to wear white-hot iron slippers on Snow White’s wedding day and dance for them.
I find this interesting, because when Virginia is first captured by the troll’s children in part two, before Wolf saves her, they prepare the same kind of white-hot slippers to torture her. In terms of parallels, this is interesting, given that Virginia is parallel to Snow White and not her mother.
Maybe it’s a retrospective comment on lineage and shared traits, or maybe it’s just a clever way for the writer’s to insert the imagery much earlier into the story. Whatever the case, after “dancing” for Snow White, the queen is able to drag herself out to a bog, and she calls upon Christine from the other dimension to pick up the mantle of being evil.
The old queen essentially teaches the new queen all of her evil magicks, and bestows all her magic mirrors upon her in the hopes that Christine will destroy the house of White in revenge. Hence the later killing of Wendell’s parents.
In the grand scheme of things, this coincidence of lineage entering the nine kingdoms must be fate, right? Everything that occurs happens because destiny calls for it. I do like the idea of destiny in this story, as it sort of validates the truth that Virginia has something to offer the world around her, lifting her out of the mediocrity she feels relegated to. We’ll get to that comment later.
But it also feels restricting in that same way, in how it takes away one’s personal choice, and the idea of miraculous circumstances taking place due to the whimsy of story, rather than it being ordained by fate. I want Virginia to feel like she has something to offer the world—not because of a magically-enforced coincidence, but because she takes it by storm.
Back to the queen, after the issue with the troll king has been resolved and she’s able to focus more on the dog-turned-prince, I do start to wonder why exactly she turns her sights on Virginia’s crowd. She’s never able to see Virginia or Tony through her spying mirrors because Snow White has placed a magical veil over them both,
what we do know is she becomes informed of these two through the huntsmen, who previously captured and lost Virginia, and through Wolf, who never so much as claims Virginia is out to stop the Queen. In fact, the Queen is barely on the team’s radar for the first half of the series, if not longer.
The only reason the Queen and Virginia are even forced to be in proximity to one another is because Virginia learns Christine has one of the traveling mirrors which can lead her back home. At some point along the way, Christine just designates Virginia as a threat without much explanation or reasoning.
I think as an audience member we can rationally assume that Christine has gained some foresight on Virginia without knowing the details. She learned of Snow White’s veil magic and assumes this strange girl must be a key threat to her, she just doesn’t know how or why.
Near the end of the story, the troll children do, in fact, capture Wendell the dog and bring him to the Queen, but at the point she’s like, “I don’t need this guy anymore, I need that girl, and I need her dead.” And it’s like, do you even know why yet?
Beyond that, there are some traumatic experiences which unfold between Christine and Virginia, both from the past and in the present, but I’ll get to those in the moment.
In light of nearing some of my more thorough analyses on Virginia and Wolf, I want to make a pit stop at point number five:
#5: THE TENTH KINGDOM: OUT OF CONTEXT
Instead of just describing all the random bits and quotes that I love to you, I put together this compilation for you guys to enjoy and perhaps convince you to watch the show, so please enjoy.
[compilation of favorite funny clips]
That was nice, wasn’t it? So moving onto point number six,
#6: A RETURN TO OUR MAIN CHARACTERS
We’re nearing the end of the video, and now that we’ve gotten past the point where I had to skirt around spoilers, I really wanted to dive into who Virginia is, and who Wolf is. I don’t think I properly gave them their dues when introducing the series, and that’s because you can only say so much without giving everything away.
To start slightly smaller, I want to give focus to Wolf, who uniquely straddles the line between good and… well, it’s difficult to call him bad, because even at the one point where you think he may make a downward descent into evil, it’s never because he actively wants to become evil.
On all other accounts, Wolf is just “some guy: who just happens to be tagging along with the gang because he wants to. As I described previously in the video, Wolf’s motivation in the series isn’t to find the mirror and help Virginia home.
Rather, his ultimate desire is to make Virginia realize he’s the one for her, and make her see that she loves him. Wolf begins the series in this manic state, so when he first encounters Virginia, he’s very wild, and he confuses his attraction for her with his desire to capture prey. He’s mostly just hungry, in every sense of the word. He wants to be sated and comforted, and to feel full—both with food and love.
It's only after he’s been out of jail for a while and he’s able to loose all this manic energy that he starts to think more rationally. It’s here that you may wonder as an audience member, is Wolf going to forget about his infatuation with Virginia and do something more in line with the Queen’s will?
After all, she was the reason he’d been released. He effectively owes a magical debt to her, and in the meantime, he has to pay the price of that debt by getting harassed by the Queen as her face shows up in the moon, or sticks out of a water trough. It’s weird.
But no, he doesn’t abandon Virginia. And I think what’s so bizarre and interesting about Wolf is that, once he sets his sights on Virginia, even while he was trying to eat her grandmother, he recognized something real and powerful within himself: love.
Wolves in the nine kingdoms have an innate sensitivity. Mostly this is just to make them aware of scents nearby or when someone’s feeling a certain way. But I think it also gives them a very powerful sense of intuition, to trust in one’s instincts and their aspiring will. In effect, this makes Wolf the master of his own emotions.
But we also learn that Wolf has never been in love. It seems like hat’s the norm for people of wolfkind—that once they meet their first lover, that’s it for them. They become mates for life and live happily ever after, or as he describes, they die of terrible causes.
The thing is, with Wolf, he lays all his feelings out on the table, even when those feelings aren’t fully developed. It allows for honest and open communication, like when you’re excited after a first date and can’t help but text the other person like five times in a row.
Wolf sees what he wants, and he isn’t afraid of revealing that fact, even if it makes him vulnerable, and he shrugs at what other people might feel ashamed in admitting so plainly.
While this may be called honesty, I’d also call this naivete, which may partially be because he’s never connected to a girl like this before. And this holds fairly strong repercussions for Wolf and Virginia down the line, when these emotions become more serious and Wolf receives the first sign of mutual affection.
So let’s enter the story around the time our heroes enters Kissing Town. By this time Wolf and Virginia have bonded platonically together on various occasions, and Virginia has allowed herself to trust Wolf. Wolf, on the other hand, is continuing to express his desires for Virginia romantically, but this behavior slowly becomes more restrained as they travel along.
I would say entering Kissing Town is something of an unfair advantage for Wolf when it comes to his and Virginia’s budding relationship. Kissing Town seems to pump this aphrodisiac of love through the air to all of its citizens and tourists, and what we know is that no two people can start falling for each other in this town unless seeds of romance are already in place.
But I’d say that visiting Kissing Town runs the risk of advancing affections way too quickly. In a way, as a viewer I’m a bit uncomfortable at the idea that I could swoon under circumstances I wouldn’t usually swoon. So I want to say, yes, the way Virginia is treating Wolf is genuine. But her responses and affections seem provoked in a way that, in retrospect, makes me side eye the entire town.
I also want to give Wolf the benefit of the doubt, because while he leans into these exaggerating emotions, I don’t think he’s pushing Virginia along intentionally. This is just the way their world works, and both of them are aware of the magic in the air, so they effectively consent. But when Wolf can see a potentially romantic happily-ever-after on the horizon, things go awry.
So let’s back up again. Virginia’s big goal in this series is to get home, no matter what. Wolf’s, however, is that he simply wants to “win” the girl of his dreams. Previous to this section of the plot, their motivations coincide because Wolf can simply assist Virginia in her plans.
Consider also: there’s this running gag during their travels that Wolf is reading a seemingly endless pile of self-help books he stole from a book fair in New York City, all which focus on self-improvement and winning the girl of his dreams.
Their entrance into Kissing Town perfectly coincides with Wolf reading the last page of the last book, and with their guidance, he feels equipped to moderate himself, and reign in this off-putting carnal behavior to become a better man.
Previously he’s uselessly, openly pined for Virginia, but there hasn’t been much emotional heft or maturity to it, so Virginia ignores it or looks past it. But finishing that last book propels Wolf into finally stepping up and making a move on Virginia, and this is where their motivations noticeably begin to split.
In short, the rift plays out in very ugly fashion once Virginia realizes Wolf is acting selfishly. Let’s bring in some context to set the scene:
The reason they are in Kissing Town in the first place is to obtain their magic mirror. However, its magic is discovered while it’s being stored at an auction house, and the mirror is appraised at 5,000 Wendells, which is the currency in the fourth kingdom. And that’s way too expensive.
In an effort to make up that money before the auction, the team divides their measly thirty Wendells amongst the three humans and they split up at a casino, aiming to hit it big. Tony and Virginia separately fail, but Wolf ends up winning ten thousand gold Wendells while no one is watching.
Instead of giving Virginia this money or even telling her about it, he dreams up a plan to woo her and convince Virginia to marry him. Following through with that plan entails spending a ludicrous amount of money on a carriage ride, a luxurious nine-course meal, and an anthropomorphized engagement ring that speaks in rhyme. This also leaves him with nothing to spend on the auction.
What you can evidently observe of Wolf’s behavior is that he fails to take into account the reality of who Virginia really is, and prioritizes the idea of loving her and living happily together rather than the reality of what she wants and values: to get home.
Self-help books and written advice can of course teach us how to improves ourselves, genuinely, but in Wolf’s case, many of these books are laughably superficial, and lack substance compared to real human connection. Devouring a book called “How to Marry the Girl of Your Dreams” isn’t going to help when Virginia’s first goal isn’t to fall in love.
So while he may be learning to hold in his panting tongue and act like a trained pup, he isn’t considering either person involved—not Virginia’s wants and needs, nor the person inside himself who needs to grow up a little rather than curb a few surface-level mannerisms.
In a situation such as this, Wolf’s understanding of love is portrayed as sickly sweet, idyllic—their arrival in Kissing Town, where gentle music is playing and heart-shaped fireworks shoot off, bolster this idea, is no coincidence. Wolf’s definition of love is confronted as false when his actions betray Virginia entirely—revealing it as superficial, hollow, and more than anything else, selfish.
He may love Virginia, but more than that, he childishly loves the idea of being in love, and that ultimately leads him to not having Virginia at all. They lose the auction, they lose the mirror, and Wolf wasted their one chance of getting home. So they break up.
This is when he looks in a mirror and the Queen tempts him to join the dark side, and he tearfully, silently accepts. So let’s put a pin in Wolf for a second and shift our discussion to Virginia.
The problem Virginia faces on a character level works twofold within the overarching narrative: first, she’s complacent in her personal world; she feels stuck, permanently relegated to mediocrity, destined to live a boring life.
As we remember, she lives with her dad in a run-down apartment and works as a waitress. As far as we know, she has no professional or romantic prospects, and what we do see is that she faces her world with a concerningly ambivalent disposition—it leaves her no room to grow, only to dwell in what she already has, and has lost.
Expanding on this, Virginia has some compelling narration lines in part one before Prince runs into her:
“I guess you get to a certain age and you realize nothing exciting is ever going to happen to you. And maybe that’s just the way it is. You know, maybe some people just have quiet lives.”
It’s kind of sad. The second half of that fold is Virginia is also angry at her world for being this way, and angry about the circumstances that led her here, allegedly—the loss of her mother, affecting her potential, and the ineptitude of her father, making her feel stuck in place.
In effect, Virginia feels a loss of power, or more accurately: a complete lack of agency, and she blames it on everyone without attempting to make change. Whether that judgment is fair or accurate gets confronted in the story itself, but this is where she begins.
Virginia feels the circumstances of her world are out of her control because they are not perfect, so she effectively resigns herself to leading this boring life to spare herself from the possibility of trying her hardest and experiencing failure, heartbreak, or loss.
Later, in Kissing Town, when she starts falling for Wolf, Virginia even admits to him this exact sentiment before kissing him, which just goes to show how much effort she put into letting down her emotional walls:
“I have hard time trusting people. I just never wanna jump unless… I’m sure somebody’s gonna catch me.”
This ties in especially well with a line from Wolf in part three, where we see how a full moon dramatically affects his disposition, making him mean, and at certain points, brutally honest:
“You’re pretending to live, Virginia! You’re doing everything but actually living! You’re driving me crazy!”
Lastly, and I’d say the first time this anger is revealed, comes in part two, when Virginia is having her fortune told by an enchantress, and the enchantress plainly states Virginia never forgave her mother for leaving them.
At that point, it was shocking to the viewer, because up until then, we mostly understood Virginia to be this meek character, who shies away from the harsh reality of a progressing world so she can relegate herself to mediocrity and avoid the risk of trying her damnedest. In many ways, the nine kingdoms is just an active, lived-world confrontation of her own mental baggage.
To continue that though, in a larger sense, we can consider Virginia’s goal throughout the story—to get home—is, in large part, motivated by her need to return to that boring world, to try less again, to be unchallenged.
We can safely say that this anger is a plot point which survives into the end of the series, but the complacency and lack of agency is confronted earlier, in part three, not long after Wolf angrily yells at her that she isn’t living.
I won’t dive too much into this section because it involves a very good mystery I don’t want to spoil, but at one point, in order to obtain the mirror, Virginia has to dress up like a shepherdess in order to… well, win a shepherdess competition.
Virginia initially protests and wants to say no to the idea, but knows she has to take extreme action to reach her goal. Instead of employing shady tactics like stealing the mirror under everyone’s noses, Virginia finally, confidently leans into her world’s fantastical circumstances. She approaches the competition in full shepherdess regalia and faces her opponents with a head held high.
I think this hurdle she faces is truly overcome when she sings a farm animal rendition of Queen’s “We Will Rock You,” creatively re-titled “We Will Shear You,” which for copyright reasons I have to leave out entirely. I’ll leave that whole half of the arc there.
The other half, this anger, which we know is primarily aimed at her mother, is really only confronted in the final act of the story when Virginia must be in proximity of Christine.
For context, Virginia, Tony, and Wendell are trying to locate a new traveling mirror, and learn that it resides in the Palace of White, which, coincidentally, is the same place the Queen is currently staying. Previously, the Queen has been hiding in the dog-prince’s coattails as he prepares for his coronation, and he’s just recently arrived at the castle after a long disappearance.
But where did they learn this information? You might ask. Well, Virginia learned it from Snow White. Like, actual Snow White, which the story has confirmed to be dead for quite a while.
To spare you the details, Virginia, without the presence of her father, encounters Snow White’s final resting place, which is a snowy cave deep in the underground of the ninth kingdom. Snow White appears out of a flurry of white, to help impart some wisdom and assistance to Virginia on her journey.
Snow White really is the bad bitch that calls out Virginia on all the shit she’s been repressing since her childhood. Snow White reveals that she, in her new role as pseudo-fairy godmother, has been the one to veil the queen from the image of Virginia and Tony. But Snow White warns Virginia that now is the time to see and be seen.
This is calling back the dregs of Virginia’s complacency and lack of agency in the world, and it’s obvious that despite her evident growth within the story, idealistically, she’s still clutching onto her old ways, hoping uselessly that the status quo can return once she reaches New York. But Snow White effectively says that’s impossible:
“That is why you must now take charge. He needs you to save his kingdom, we all do.”
Virginia: “Me? No, I think you have the wrong person.”
“I have the right person. I’ve been waiting for you, Virginia.”
And here is where Snow White imparts her own story, her very own fairytale and the embedded moral therein, to Virginia. She describes being antagonized by the queen, nearly killed by the huntsmen, and soon protected and cared for by the seven dwarves.
Then there’s the part where the wicked queen attempts to visit her and kill her, which I really don’t think I can paraphrase well without losing some of the gravity of the story, so I’ll just play the excerpt now:
“Her mirrors found me eventually. She dressed as an older peddler and climbed over the seven hills to my house. Twice she came, once with a corset to crush my ribs, and then with a poison comb to drug me. But the last time she came, she brought the most beautiful basket of apples that I ever saw. And this time she stayed to watch me die. And to be sure, she held me in her arms until I died in front of her choking on a piece of poison apple.
“And I often think, ‘Why did I let her in? Didn’t I know she was bad?’ I did. Of course I did. But I also knew that I couldn’t keep the door closed all my life, just because it was dangerous, just because there was a chance that I might get hurt.”
The way I respond to Snow White’s version of the fairy tale is complex. My first response, because I like to put faith in the good intentions of the screenwriters, is that I really like it. This does apply to Virginia’s narrative in a very integral way.
Again, Virginia’s problem is that she thinks she’s stuck in mediocrity, and she’s fearful of what could happen if she tried to live life fully and failed at it. In that respect, Virginia’s personal growth is largely about taking charge of one’s own story, and taking those risks for the betterment of one’s self.
Moving past complacency, for better or for worse. In this way, Snow White’s advice is really moving, because it’s general life advice.
But more practically speaking within the series’ overarching narrative, it’s only at the end of part four that we truly see how Virginia’s character development will be put to the test. When Virginia, Tony and Wendell escape the ninth kingdom’s mines, Virginia learns that the evil Queen at large is her mother, the one who ran out on her family when Virginia was a child.
So thinking back now, when watching Snow White’s scene for the first time, the lesson for Virginia in the caves understandably wouldn’t or shouldn’t be perceived as literal guidance. It exists more as an allegory which Virginia could potentially apply to her character and gradually learn from.
But now it’s become a very one-to-one narrative between evil queen and daughter, and at that point you really have to turn back to Snow White and interrogate her story less as a floating moral and, perhaps partially, as a piece of concrete instruction.
In that sense, Snow White’s direct advice to Virginia is that she needs to face someone who once abused her, controlled her, and ultimately neglected her. Virginia doesn’t remember that she was a victim of abuse because she’s repressed those memories, but Snow White, being a magic fairy godmother, likely possesses some knowledge of Virginia and the Queen’s past.
She’s advocating for Virginia to risk her health and safety, and even in a magical universe with fantastical circumstances, that doesn’t sit right with me.
So sure, face your metaphorical demons, learn about yourself from intense self-reflection and grab life by the horns. But my second response is that maybe this is completely out of pocket. Snow White fully died, at least temporarily, in her retelling of the fairytale, so what are the moral implications in advising Virginia to allow the same (or similar) to happen to her?
Previous to this, I haven’t really touched on this reveal of abuse either, because I felt it was a touch early. But we have talked about how Christine ran out to Central Park in a flashback, in distress and clearly having some kind of emotional break.
And that’s because, just prior to this, Christine is giving Virginia a bath while Tony is at work. Virginia is stated to be only seven in this scene. The water appears to be near boiling, and when she’s in the bath, Christine ends up trying to drown Virginia.
The only reason Virginia even survived is because Tony came home and caught Christine in the act, and presumably feeling ashamed and erratic, Christine flees. Obviously there’s no excuse for this violence, but we never properly get an explanation for what provoked this behavior in Christine.
At the end of the day, I get it—that detail isn’t important. What’s important is Virginia, and how this affected her life moving. But it still leaves me with a lot of questions. This abuse turns out to be a reveal to Virginia because she repressed the memory, so all she’s left with is both admiration and unplaced anger for her mother.
Now, Snow White had given Virginia a small hand mirror to ask a single question, and to answer, the mirror reveals the face of the Queen, Christine, who senses someone is watching her. This is what spurs on this recollection of resentment and childhood trauma. Tony can’t hold off the truth from Virginia because they need to get to the bottom of this.
And honestly, up to this point, yes, this series is iconic for me because of its world building, its magic, its comedy and it funny characters. But seemingly out of nowhere, as a culmination of all these more series scenes, we get a genuinely compelling monologue from Virginia, where she finally opens the floodgates:
“Well I knew she'd come back 'cause she'd left all her clothes, you know, she loved her clothes more than anything in the world. And I kept going into her room and checking on them. And then after a few months you suddenly said that we had to get rid of them all, so…
“I remember folding them all very neatly, and I kept hoping that there was going to be a, you know, a secret note or something that would be written for me, you know, just to me, telling me that she loved me and explaining the secret magical reason why she had to go, you know?
“... and I miss her. And I hate her. And I miss her. And I feel like I was on a train and it crashed or something, and no one came and rescued me.”
I think the power and value of this scene extends far past the confines of the magical world the story itself works within. When I previously heard Tony describing that a younger Virginia only wanted to hear the good things about her mother, I think, “Oh, that naïve-sounding behavior seems to contradict all the anger we heard about previously,” but this monologue from Virginia really lays out all of her feelings in a complex, human way.
The thing is, real human emotion is often complex and contradictory and, in that way, can feel incomprehensible to a person, and the feelings themselves often feel irreconcilable within one’s self. How are you supposed to feel when a person who was supposed to love and care for you more than anyone else in the world up and leaves without reason? How do you negotiate feeling hatred for a person who you so desperately want love and validation and connection from?
One of the strongest lines in this monologue, I think, is the simple repetition of, “I miss her, and I hate her, and I miss her.” These feeling work in tandem, and this brief mantra actually reveals the fact that what Virginia is feeling isn’t incomprehensible or irreconcilable.
She hates her because she misses her, and what’s left behind is scorn and scars which affect how Virginia approaches the world.
You can only really feel loss and betrayal and hurt when it’s about a person that really means something to you, and having to learn that lesson in such a concrete way might make you never put your trust in other people ever again. The possibility of feeling that same hurt is worse than just living your life without passion or genuine connection.
So I get why Virginia acts the way she does, and as a viewer, I’m able to rationally and empathetically reconcile how someone can come across as meek and hopeful, while also coming across as disillusioned to the world and resentful of the people in it. It’s not a reveal or a twist in the traditional sense, but part five of this story really gives you the catharsis necessary to understand and connect to the characters.
Being honest here, if you’ve ever come from a broken home, or struggled from a sense of abandonment, following Virginia’s story and being hit with this surprisingly honest narrative really helps to put in perspective one’s own emotions, and I’m really grateful to the series—I’d say it’s one of the main reasons I keep it close to my heart.
After this point, all we really have left is our team’s travel to the Palace of White, where the coronation is set to happen on the same evening they plan to enter the building and use the mirror, sort of like a cover.
I’ll keep the rest of Wolf’s narrative vague simply because I can, but along the way to the castle, Virginia and Tony are saved by Wolf, and he rejoins their last leg of the journey. Yes, the last we saw, Wolf submitted to the Queen’s will, and you can keep that in your back pocket.
But for all intents and purposes, Wolf is a good man. He’s taken time to reflect, and he’s matured, and he’s there for Virginia in her time of need, supporting her because he loves her, rather than thinking selfishly.
Virginia still has an impending battle she must face, but just before the climax, the two truly make a proper reunion, and having learned a lot about herself with the help of Snow White, Virginia is ready to let go of her unnecessary precautions. The two of them are able to face each other as honest equals, and they consummate their relationship in the woods outside the castle.
In moving onto the real finale of the series, I hesitate in addressing Virginia’s actual confrontation with her mother. Virginia has effectively grown, fully, as a character, and mostly needs closure on this relationship she came to resent so much.
It’s more interesting, I think, to take the perspective Christine with the last few moments, because in finally seeing Virginia in front of her, her reactions range from cruelty to denial to, at least by the queen’s standards, a kind of empathy.
In their first meeting, it’s when our team of heroes is first caught on the palace grounds. At this point, the Queen has taken over the castle from the inside, having threatened the entire staff into silence and submission. So they’re brought to the Queen pretty quickly, and Christine receives a flashback of Virginia, of bathing her.
She starts in a place of complete denial, thinking Virginia is using some strange magic to trick her memory, but it’s interesting after that. Without even a visual indicator of revelation, once Virginia starts asking the Queen questions about their history, she immediately claims that past as her own, but twists it.
Virginia: “Why did you leave me?”
Queen: “You were unwanted. That’s plain to see. Haven’t you always known that? Secretly? That you were the ugly duckling? The sad thing is, your little quest has given you delusions of grandeur. You started to think you’re capable of great things. You were right in the first place—you’re plain. Plain, and ugly.”
She makes herself out to be a proper one-note antagonist, rather than the complex human person she really was, and still is. She was legitimately abusive and mentally unwell, but in the same breath, there was a part of Christine that really loved Virginia. I think that’s the toughest part of the entire series, the way abuse and love are consistently interwoven.
Instead of confronting that complexity, Christine uses their past as a weapon to separate herself even further from Virginia. Living in this world and becoming the evil Queen effectively works as a mechanism for Christine to distance herself from the responsibility of her actions, from her humanity and the faults of being human.
In many ways, Christine’s disposition mirrors previous commentary I’ve observed about Faith from the Buffy series, who takes the route of evil as a means of repression and deflection. In that same scene, Christine deludes herself so greatly that she tries to kill Virginia, but when Virginia successfully defends herself, instead of properly going on the offensive, she stays vulnerable.
This is where Virginia’s new lesson, of trying your damnedest despite the possibility of failure, really shines through. She asks her mother, very simply, “In your whole life, did you ever love me?” Knowing that she could be hurt again, knowing that she could be rebuffed.
This, in effect, triggers the flashback of a younger Christine running away in central park, and the memory effects Christine:
“Oh, that’s not me!”
She looks almost repentant, but the expression fades away when the huntsman approaches and brings her back.
After that scene, and feeling conflicted enough, Christine doesn’t kill her. Instead, she tells the Huntsman to lock her up with Tony. That in itself is the empathy Christine shows, I think. It’s the bare minimum—letting Virginia live—but it’s nothing a truly evil Queen would’ve allowed.
I’ll spare you the political conclusion to the story with Wendell, because I think it’s fun and also, Wendell’s story of personal growth is pretty simple, so I don’t feel the need to explore it in depth. It’s better to watch and feel thrilled than hear me dryly explain it away.
But midway through that arc’s conclusion, we do receive our final scene with Virginia and with the Queen. She and Tony have escaped from the prison cell, but yet again, Virginia is caught and brought to the Queen by the Huntsmen.
Again, instead of opting to have Virginia killed, the Queen makes an uncharacteristically sympathetic decision and decides to let Virginia go:
V: “Are you gonna kill me as well?”
Q: “I was going to let you go. I don’t know why—”
V: “You know why.”
Q: “Go. Leave me, get out while you can.”
V: “No.”
This objection from Virginia is a reflection on her character growth. To try and love despite the possibility of heartbreak. Christine can’t handle it, and tries to deny her more blatantly:
Q: “You were nothing but an accident! You should have been killed at birth.”
[Virginia takes charge and slaps her..]
V: “How dare you. How dare you speak to me like that.”
I think that final slap really shows in practe how Virginia has taken to being an active participant in the world. She’s able to express vulnerability, she has an emboldened sense of agency, and she’s able to stand up against her abuser.
I’m going to spoil the last big plot twist of the series. So take that as your warning, pause now. That means you, Cheyenne.
After she slaps Christine, they get into a tousle, and the Queen tries to strangle Virginia. But do you remember that poisonous comb we briefly mentioned in the tier list? Christine is wearing that in her hair as a fascinator, and both women know that it’s laced with a deadly poison.
In order to, you know, not die of asphyxiation, Virginia takes the single opportunity available to her and grabs the comb, and lightly scratches Christine on the cheek. But it’s enough to do damage:
[Scene where Queen walks away and collapses]
“It’s too late… don’t cry, my little girl. My little girl… I gave away my soul.”
Oh yeah, and not to disparage this scene, but I recently spotted the lace on this damn wig, and oh my god, it’s so bad. Not to ruin the mood or anything.
So yeah, Virginia kills her own mother. The evil is dead, and Christine, in the last moment of her life, is able to be the woman she once was—or at least, the good part of her, the loving part of her, no matter how small or tucked away it was.
And that’s all I wanted to analyze in terms of the plot. Feel free to sit back, take a breather, and resonate in the emotional moment of the climax. Because we’re moving onto the end pretty quickly.
So! Point number seven:
#7: MY IDEAS FOR A SEQUEL
In the denouement of the series, we see Wolf and Virginia return to New York City to live out their life in peace. Tony, in the end, did not go with them because Wendell offered him a very integral role in his royal cabinet, so our two lovebirds are on their own. Here is the very last monologue we receive from Virginia:
“But that’s not this story. This story is done. And, when you live every day with all your heart, then you can be happy ever after, even if it’s only for a short time. My name is Virginia, and I live on the edge of the forest… and this is the end of the first book of the tenth kingdom.”
Did you hear that? Did you hear that little bit about the first book of the tenth kingdom? I know I did when I was like, seven. And also when I was twelve, and fifteen, and twenty-two, and today. Basically, any time I ever watched this series. And every time, I hoped that there was some sort of sequel in the works.
But no! It never happens! However! If you look up Simon Moore, the creator and writer of the 10th Kingdom and find his AngelFire site page, you can see he did have plans, or at least a plot synopsis, for a part two of the series. I assume it was stuck in development hell or NBC and Hallmark never really gave it a shot.
Apparently it would be called House of Wolves, and it was set to take place in the kingdom of little red riding hood, the second kingdom. Wolf and Virginia happily run a restaurant together, and they have small a wolf baby, and Virginia wants to place a charm or something on her baby to make it look human. I don’t know.
Anyway, besides that, the second kingdom has intensive prejudices against wolves, which makes sense given the original fairytale, and there’s a school for young ladies, and Virginia and Wolf are set to get married under a full moon. There’s a lot of working parts, and it all sounds very exciting, but without a proper plot breakdown from Moore, it sounds like a big jumble
But I don’t know! I have faith in the guy. I think the story he crafted the first time around is incredibly memorable.
That said, when I think about how much time has passed since the series originally launched, naturally, much of the cast may not want to take part because they’ve moved onto other projects, and the cast that remains likely looks markedly old.
And while they could recast the main characters and continue on with this story as-is, I can’t help but excitedly dwell on the alternatives.
My fantasy sequel would be that we get the main cast back, but given it’s been twenty-two years since the premier, we accept that twenty-two years have passed in-universe rather than a six-month time skip. Maybe it’s selfish, but I want to see what a fully-grown adult raised by Virginia and Wolf looks like.
To continue with this idea, maybe this son of theirs has never been able to visit the nine kingdoms since he was a child, and the entire family has effectively been cut off from the other dimension for unknown reasons. After all, the New York portal is amorphous and temporary, and is only available when engaged with on the opposite end.
Before I move on to the rest of my idea, I did take notes throughout my original viewing of the series of loose threads or details that I find interesting and want to bring back around for a sequel.
We know that three traveling mirrors exist. The first was accidentally destroyed by Tony in Kissing Town, and the second one is now pristinely taken care of in the Palace of White. We learn through an anthropomorphic, all-knowing mirror that a third traveling mirror exists in their world, but it’s been long-lost in the great Northern Sea, sitting on a bed of barnacles.
The troll children are still alive. We don’t know what happens to them, but last we see, they are knocked out by Tony in the basement of the palace. However, there’s never any news that they’ve been apprehended, so we can safely assume all three escaped.
When Virginia is talking with Snow White in the cave, Snow White says this very vague line: “You will be a great adviser to other lost girls.” Who are those lost girls? We don’t know. That could be a throwaway line, but for our sake, that’s sequel bait.
Prince Wendell pardons all wolves in the nation. And while this is nice, this mostly seems like a hollow gesture, and something that would be difficult for their nation of people to accept. Knowing now what Simon Moore’s plans were for a sequel series, we can roughly say this is in line with his ideas.
Wendell hires Tony to singlehandedly bring upon an industrial revolution in the fourth kingdom. I’m not exactly a superfan of steampunk, but what I can get behind is steampunk with a magical twist.
So if we’re thinking back to our version of the sequel, I’m going to say that, unbeknownst to Wolf, Virginia, and their unnamed son, (let’s just call him Andrew, for simplicity’s sake) the second mirror that was pristinely kept by the palace of White has been destroyed by unknown insurgents.
Having been cut off from their world, Wolf, Virginia, and Andrew don’t receive any communication for years on end. That is, until they receive a trans-dimensional message from Tony, who indicates he is in trouble, and needs their help. But the message is fairly vague.
At the same time, Central Park inexplicably floods with oceanwater, and overlooking the scene from the now-refurbished apartment Virginia once lived in with Tony, our family understands that something miraculous has occurred: the ocean portal has been opened.
I’m not exactly a screenwriter, so I don’t have a fully fleshed-out idea on how they accomplish this yet, but I want them to travel through the portal and get shot out on the other end, finding themselves in the open ocean, trapped in the fishing net of some swashbuckling pirate trolls, along with the barnacle mirror.
Through hijinks, once they’re collected on board, I want there to be a separation of Virginia from Wolf and their son. Maybe they negotiate their freedom so long as one person stays behind, and taking responsibility, Virginia volunteers herself, much to the others’ dismay. In the aftermath, Wolf and Andrew are abandoned on the shores of the second kingdom.
Through a series of events, we learn that the second kingdom has invaded the fourth kingdom and vested control of its palace. We know the fourth king itself is very desirable land because of its strategic central location on their continent, so this isn’t a complete shock to Wolf or Andrew, who has been filled in on the old politics.
The rest of my plot a lot more loosey-goosey. I want there to be a new a character, a rogue, nymph-like girl wearing a red clock who has defected from a ladies school in favor of rebellion, and knows where Tony—along with Wendell, and a smattering of other royal cabinet members—are secretly sheltering.
Part one, the first movie, would deal with the mystery of a flooded central park and our family’s travels through the portal, and the troubling negotiations with the pirates. Meanwhile part two begins with meeting this girl, who we’ll call Red, and traveling through the second kingdom.
I want them to be chased and caught by second kingdom-appointed bounty hunters in league with the ladies school. I think this would also be a good place where it’s revealed that Red is the younger sister of the second kingdom’s queen, who is occupying the palace of White.
In order to continue their journey, Wolf and Andrew have to perform a heist and rescue her. Meanwhile, Virginia effectively vests control of the pirate crew by appealing to the female trolls and spouting feminist rhetoric, and talking about the advances of society in the tenth kingdom. With their help, they drop her off in the port town they last left Wolf and Andrew, and she’s accompanied by two of her troll crew.
Part three, perhaps Wolf, Andrew and Red come across Tony and the gang. My plot gets a bit vague here, because in truth, I only just came up with this as I typed up my script, so it’s really all in the air.
There would be army of the second kingdom’s forces led by Red’ sister terrorizing the landscape, and maybe Virginia makes a detour to the troll kingdom and appeals to the three troll children from the first series. They know she didn’t kill their father, so perhaps things are fine.
They’re still stupid, and while they don’t care for Virginia, they love chaos and war, so they back her by supplying her with an army. I don’t know. This is starting to sound like some Game of Thrones shit and I might be losing some of the magic and whimsy, so I’ll leave my ideas there.
The point is, the series is absolutely rife with sequel, or even series potential, and I’m mad at the world for letting Simon Moore and myself down. I need the content. Someone hire me for the content. I’m a writer. I have a master’s degree for it and everything.
And that leads me to the end of this video. We can call this point number eight simply for the sake of ending on a structured note:
#8: CONCLUSION
As a review of this entire video and the process of putting it together, I have to say I absolutely had a blast, especially because reviewing a smaller amount of content really gave me a lot of room to talk about the characters and the plots in more detail. I didn’t want this channel to just be a one-off: it’s something I really look forward to doing and have a lot of passion for,.
Beyond that, I’d like to thank you guys for watching, I sincerely hope you enjoyed. Please give this video a thumbs up and consider subscribing if that’s the case, because this is just the beginning. Also, comment if you’re a fan of the Tenth Kingdom, or gave it a shot because of this video, because I look forward to hearing what you guys have to say. Talk again soon.
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