HER MAJESTY'S MOBILE AIRSTRIPS

... with some assistance from Francesca “Franky” Cook (Angelina Jolie), commander of a mobile reconnaissance outpost for the Royal Navy.

With insufficient fuel to make it there, they run into a Royal Navy flying aircraft carrier commanded by another of ... ex-flames, Commander Franky Cook.

Franky leads the attack on the island lair ...

•  Commander Francesca "Franky" Cook: She commands a Royal Navy flying aircraft carrier. Jolie had just arrived from the set of Lara Croft Tomb Raider: The Cradle of Life (2003) and agreed to work on the movie for three days. Despite her small role, she reportedly had conducted hours of interviews with fighter pilots in order to absorb their jargon and get a feel for the role.

1. "Finding Frankie" – 5:02

Mobile Airstrip

The Mobile Airstrip was a atmospheric craft designed partly by Dexter Dearborn as an aircraft carrier capable of moving to areas out of reach for sea-faring craft.

A Mobile Airstrip could be used as a mobile command post, a missile launching platform or a mobile aircraft command base. A standard airstrip carried as it's main defense force a large squadron of amphibious fighter craft, making it usable as a way of launching a large amount of craft into enemy territory. These craft proved critically useful in raiding an Island Base, where the amphibious craft escorted an allied vessel through a army of crab robots.

A Mobile Airstrip is known to have at least a large amount of cannon, including small guns around the edge of the flight deck and 4 large turrets at each corner of the craft. It is safe to assume the airstrip has plenty more weapons than are visible, considering the size of the ship. Four rotors provide main thrust. The airstrip has radar and can launch radar imager missiles in addition to it's main radar.

Mobile Airstrip Runway

Rule Britannia

The movie has the following Awesome, but Impractical machines:

• Airborne Aircraft Carrier: Franky's heliocarrier, which serves as mobile recon outpost for the Royal Navy. The Royal Navy has a lot more of them, as seen in the end of the movie.

Action Girl:

• Commander Francesca "Franky" Cook of the Royal Navy, who sports an Eyepatch of Power. She is also part of a Love Triangle in the movie.

• Advertised Extra: Angelina Jolie's Frankie appears for about fifteen minutes despite the very heavy presence of Jolie in the film's marketing. Disappointment over this has been blamed for some of the film's negative audience reaction.
• Alternate History: The entire movie is obviously Alternate History. There were no flying British naval squadrons (in 1939). 

• Never Trust a Trailer: Angelina Jolie is in the movie for all of 15 minutes, but you'd think she was a main character.
• Noodle Incident:  when fellow fliers (and implied ex-lovers) Franky ...  share an incomprehensible nostalgia moment.
  ... and Franky: PROTECT THE RABBITS!!! PROTECT THE RABBITS!!!
• • Redshirt Army: Additionally, Franky's troops.
  • Franky and the Mysterious Woman however are typical modern Action Girls.
  • The rudder has jammed on a submersible plane and now it's heading right at the torpedo-spewing mechanical monstrosity guarding the underwater cave which is the destination. The robot fires a barrage of torpedoes, the amphibious craft seems done for...then Frankie passes her own plane in front of him, drawing the torpedoes off. Then she turns and bears down suicidally on the robot herself — but just before she and the torpedoes hit, she ejects, her ejector seat propelling her up through the water, then after she bursts out of the surface turning into a jetpack and flying her safely to the flying base. Happens in such quick succession it's kind of dizzying.
  • Fake Nationality: (US) Angelina Jolie plays "Franky". Jolie's accent was mocked by some critics, though she's merely riffing on the stiff-upper-lip jargon of British war propaganda.

  
  

Commander Francesca "Franky" Cook

Commander Francesca "Franky" Cook is a Royal Navy officer that runs the Mobile Airstrip.

How will Mobile Airstrips factor into my 'verse?

FYI, I am an absolute sucker for period military uniforms and outpost settings (also, secluded settings in general)...

Maybe the manga/graphic novel adaptation of my Othello opera libretto (the one I translated last year) will take place IN THE SKY in such a Mobile Airstrip, with an equal-opportunity (when it comes to gender and sexual options) cast all in military uniform.

--As I have said before, this is only a possibility--

Critical evaluation of Verdi's Othello

Critical evaluation of the opera

In Otello, the flow between the set pieces is much smoother than in any of Verdi's earlier works. Whereas in his earlier masterpieces he had made significant strides away from the aria-recitative structure, here Verdi did away with it entirely. Verdi's librettist, Arrigo Boito, was extremely faithful to Shakespeare's original play, though act 1 of the drama was omitted and the other scenes were condensed in length. The roles of Otello (Othello) and Iago are among the most fully developed in all of opera, as much so as in Shakespeare's original drama—especially the character of Otello himself. (Iago is much more a standard villain in the opera than in the play). Verdi's orchestral writing in Otello is more highly developed than in any of Verdi's previous masterpieces. Though the orchestra plays a significant role in his earlier works, never before had Verdi, or Italian opera in general, been so daring and complex in orchestration. Throughout the score instances of dissonance appear, and Otello's entrance is marked by a cluster chord made of C–C♯–D. It has been argued that Otello was influenced by Richard Wagner's work, whereas others believe it was pitted directly against it.

Musical analysis

Act 1

The storm which dominates the opening chorus is portrayed vividly by the orchestra. Rapidly changing sixteenth notes played by the lower strings and woodwinds create an image of a turbulent sea while rising and descending scales in the upper woodwinds represent the unpredictable patterns of the wind in the tempest. Frequent interjections from the brass and percussion portray the bolts of lightning and thunder which accompany the storm. Otello's first entrance is marked by brass instruments for a sense of grandeur. Verdi adds to the anxiety by having the organ hold its three lowest notes in a cluster (C–C♯–D) through the entire scene. At the end, the woodwinds gradually calm down to portray the fading of the storm, and finally the release of the low organ discord completes the feeling of relief. When the chorus sings of their joy, the high woodwinds now portray the sparkling, cheerful flames.

In the drinking song that follows, Verdi makes use of the bassoons and other low instruments in order to represent the internal effects of alcohol upon Cassio. However, this is gradually eclipsed by the merry themes which follow in the orchestra and chorus ("Chi all'esca ha morso"). The merriment of the celebrations suddenly become frantic, as Cassio challenges Montano to a duel. The full orchestra builds up to a climax as they fight whilst Iago orders Roderigo to go and alert the entire town until the ordeal is interrupted by a loud statement made by the entering Otello.

Accented notes in the orchestra, particularly in the strings, reflect the annoyance of Otello at having his sleep disturbed. Notes played piano and pizzicato by the strings accompany Iago's account of the events, giving his account a feeling of false remorse and unhappiness. Upon Otello's orders, the disturbed islanders return to their homes, accompanied by legato notes in the upper strings and woodwinds depicting the calm that has once more been reestablished.

The great love duet which ends the act commences with a statement from Otello accompanied by cellos playing pianissimo. Desdemona's reply to him is accompanied by the violins and violas, providing a contrast to the statements made by Otello previously. When the duet proper starts ("Quando narravi"), sixteenth notes played by the harp and quarter notes played by the horns and bassoons give the music a sense of motion as Desdemona describes the narrations that Otello had given her about his life. As Otello commences to speak about how he narrated the battles in which he fought, thirty-second notes in the strings in addition to the inclusion of the lower brass instruments reflect the violent topics of Otello's previous narration. However, upon Desdemona's next vocal entrance several bars later, this immense energy is translated to an overall sense of the passion of the two lover's love for each other through the use of some of the more expressive wind instruments such as the English Horn. The duet continues to build up in passion until its climax, the appearance of the "kiss" theme which reappears twice more in the Opera near the end. After this, the music begins to tone down until the act ends with a trill in two of the first violins and a plucked chord on the harp.

Act 2

The act commences with a series of dark threatening statements from the bassoons and cellos followed by repeats of these in the clarinets and violas. Quickly, a theme forms that appears to reflect the calm that has remained in the castle after the brawl the night before. However, this tone is only superficial; repeated descending chromatic scales in the strings during the brief orchestral prelude create a darker atmosphere associated with the plotting of Iago.

Iago's brief conversation with Cassio is marked by the theme from the act's introduction, making Iago appear strangely affable when he suggests that Cassio consult Desdemona; however, as before, an underlying dark tone remains.

Upon Cassio's exit, this dark tone rapidly becomes predominant as the gestures which opened the act repeat, but this time, will a full string and woodwind section. The famous aria that follows ("Credo in un Dio crudel") is marked by trills in the lowest clarinet register and quick yet powerfully accented notes played by the full orchestra at several intervals that portray the evil of Iago to its fullest extent.

Nevertheless, Iago's evil reverie is interrupted by the appearance of Desdemona and Cassio. The urgency felt by Iago in the situation is reflected in the staccato eight notes in the strings which accompany his witnessing of the situation. However, upon Otello's entry the music suddenly becomes much calmer. Otello's response to Iago's question about the preexisting relationship between Cassio and Desdemona is a typical love melody which would have been standard in an earlier Verdi opera, yet it lacks the passion that would typically accompany it and is cut short by Iago's interjection. Otello's annoyance with Iago for not directly stating his "suspicions" is suddenly reflected by an outburst in the orchestra. This is the second instance in the opera in which Otello's potential anger has been made apparent. As Iago gives the equivalent of the famous Shakespearean line from the play ("È un'idra fosca"), the low strings and woodwinds create a dark tone during this scene.

This darkness, however is interrupted by the appearance of a chorus. The chorus is accompanied by folk instruments such as the mandolin and guitar in order to give the music a more authentic feel. However, the music is slow and intentionally sweet in quality, reflecting the kind innocence of Desdemona.

The quartet that follows the episode begins with a similarly sweet statement by Desdemona, asking for Otello to forgive her if she has done anything. This is overshadowed by the aside brooding of Otello about his perception of her guilt, which is marked by shorter, more separated phrases in the strings. Meanwhile, as Iago and Emilia join into the music with their quarrel, the music darkens until it is strangely sad towards the end, even when the orchestral accompaniment ends. After the end of the quartet proper, the music once again regains its sweet nature, as Desdemona's farewell statements are accompanied by the violins and oboe, however soon after her departure, it rapidly darkens, Otello broods to the incessant notes of the bassoons and lower violin statements. However, this is immediately transferred into an anger towards Iago which is reflected in the accented statements made by the full orchestra. Otello's distress is reflected by his farewell to fame and glory ("Ora e per sempre addio"). Repeated lower chords on the harp along with triplet movement in the lower strings give the portion a dark tone, despite the majestic interludes of the brass and the melody (which would, on its own, be cheerful).

During Iago's untruthful account of Cassio's dream, strings and high woodwind instruments are used in order to create a dream-like atmosphere in the music. Descending chromatic scales both add to this atmosphere and maintain the dark overall tone which has pervaded.

The act ends with an energetic finale in which Iago and Otello swear to have vengeance. The energy of this final duet is provided by the full orchestra, which accompanies it.

Act 3

The brief prelude to the third act uses the theme which had accompanied Iago's warning to Otello about jealousy in the second act. It begin with the lower strings, immediately creating the dark theme that will be present throughout the act, even if in a hidden subsurface manner. The prelude gradually builds up until its climax with the entire orchestra.

Desdemona's appearance in the act is once again accompanied by a sweet melody, however, this is quickly subdued as Otello, in his frustration, calls her a "vil cortigiana" at which point the anger of Otello is once again portrayed by a full orchestra with brass. The music that accompanies Desdemona's reaction to this sudden outburst is sad, yet the woodwinds give it an oddly noble character, which again reaffirms her overall innocence.

After Desdemona's departure, Iago stages an interrogation of Cassio in front of Otello. This interrogation takes the form of a friendly conversation and is accompanied by jocular sixteenth note runs in the woodwinds, reflecting the joy of Cassio about his love interest with the woman Bianca. This happily playful tone is contrasted with the dark asides of the watching Otello. Throughout this scene, the dark tone pervades.

The full scene that follows is grand in the orchestration, with abundant use of brass throughout. However, following Otello's angry outbursts near the end, it quickly becomes dark and sad after Otello strikes Desdemona.

After the departure of all of the members of the scene, the turmoil within Otello's mind is reflected by the restlessness of the orchestra, which becomes increasingly violent as he falls into his trance. The dark singing of the triumphant Iago is contrasted with the majestic brass and external choral interjections praising Otello..

Act 4

The act begins with a brief prelude of woodwind instruments, particularly the English horn and oboe, which bring a sad and mourning atmosphere to the act, reflecting the sentiments which manifest themselves in Desdemona. All the while, clarinets playing in the lowest register on repeating chords create a sense of impending doom. The theme upon which this prelude is built is that of the later "Willow Song".

In the brief recitativo between Desdemona and Emilia which begins the act, the despairing tone begun in the introduction continues.

The "Willow Song" ("Mia madre aveva una povera ancella") which follows is marked by an increasing orchestral sound, with woodwinds and strings adding to it, yet what compounds the sadness of the piece is the wail-like cries of "Salce" made by Desdemona followed by similarly despairing, yet softer "echoes" played by the English horn. Near the end of the song, Desdemona's fear, which has been hidden up to this point by a veil of sadness, is made apparent; she mistakes the noise of the wind for that of an intruder. The orchestra immediately builds to a fortissimo, reflecting the genuine worries possessed by Desdemona. The music that gradually lessens with the comforting of Emilia and returns for a final repetition of the theme of the "Willow Song".

Afterwards, Desdemona begins to bid Emilia adieu. This goodbye is initially accompanied by repeated notes on the lower woodwinds and strings such as those in the introduction of the act but in a much more noticeable and dominating manner. This reflects the increasing expectation of Desdemona of her death. Initially, she attempts to keep these feelings to herself, but the orchestra reveals her increasing inner thoughts. These feelings finally reach a point at which they can no longer be contained and Desdemona lets out a loud passionate cry of goodbye to Emilia, one that is reinforced by the full orchestral accompaniment.

Following Emilia's departure, Desdemona prays. Like many of Desdemona's earlier vocal appearances in the opera, these prayers contain a sweet nature, reflecting, for the final time, the innocence of the wrongly accused woman. The melody within the strings that appears later in the prayer scene adds significantly to the poignancy of the situation.

After she goes to bed, a sinister theme appears in the string bass, depicting Otello's entrance. This effectively replaces the sad tone which was present throughout the first portions with the dark one which marked much of the second and third acts. The low theme begins very slowly, but gradually accelerates until there is a sudden outburst with the full orchestra. However, soon afterwards, the music drops down to a soft tremolo in the strings. Above this, a theme that evokes Otello's longing for Desdemona appears in the English horn and bassoons. This theme builds up until it finally gives way to the "kiss" theme from act 1, as Otello embraces the sleeping Desdemona. However this second appearance of the theme is even more passionate than the first one and adds to the poignancy of the tragedy.

Once Desdemona awakens, the music retreats to the theme that accompanied Otello's entrance, but with a more threatening feel this time as brass instruments are added. As Otello demands that Desdemona confess, the music accelerates, reaching a climax at the point where Desdemona is strangled. After this, though the power of the orchestra lessens, it maintains its darkness throughout the scene of Emilia's discovery of the murder and Desdemona's final death.

The scene with that follows is marked by a theme that is somewhat majestic and proud, however, as it is limited to the woodwinds, it seems weak. This reflects the loss of power and honor that have faced Otello.

As Otello laments his actions to the theme of his longing, he decides to commit suicide. Just before he dies, the orchestra plays the "kiss" motif one final time before the opera ends.

LE COMMENCEMENT DU NOIR

Kirakira Precure à la Mode
Episode 46 - My Own Review
LE COMMENCEMENT DU NOIR
(The Start of Darkness)

Happy New Year 2018 (and Akira in a hakama)!

At the KiraPâti, the girls discuss what they are going to do with their futures. They all seem to have something in mind.

Noir and Elysio return to being one

Elsewhere, Noir is about ready to stain the world in darkness. It turns out that Elysio was actually part of him (the id/Mr. Hyde/the dark side), but now they’ll go back to being one.

Later on, the girls end up splitting up into groups. Aoi and Yukari board the same bus, and Aoi asks how long Yukari plans to stay abroad for. Yukari doesn’t have an answer, though she may travel somewhere else (Paris? A Grand Tour of Europe?) after she’s done with Confetto. Yukari also tells Aoi that is cool (kakkoii), which leaves her blushing.

Akira goes to Ciel's place to check out chocolates for Miku. Ciel asks her about her plans for university – Akira knows that she will end up being apart from her sister, but they’ll be together in spirit.

Bilberry helps decorate the KiraPâti

The usual suspects gather to celebrate, and even a few KiraPâti customers join the celebrations as well. Quite unexpectedly, there’s one more visitor – and this one is unwelcome. It appears to be Diaval, who steals the kirakiraru of the customers.When the girls step outside, they discover who it actually is.

Noir/Elysio arrives and stains the world in darkness

The icing on the cake would have been a MORSMORDRE!! 

Unfortunately, Noir has never been a literal Death Eater.

Ciel sticks close by Bilberry

Noir blasts both Bilberry and Giulio/Pikalio, and then it’s PreCure transformation time. We get an abridged version of the transformation sequence, without the usual music. Instead, we have a more ominous theme playing.
PreCures launch an attack on Noir, but ultimately it does nothing. Noir retaliates, but his attack is stopped.

A fragment of Lumière’s soul protects the PreCures

NOIR: You shouldn't have saved me...

Time for a flashback to how Lumière first encountered Noir. She ended up taking that young military man in and looking after him, nursing him back to health, when he suddenly collapsed on the street in Ichigozaka town. She taught him how to make sweets, but the sweets he made didn’t retain their kirakiraru.

NOIR: Why do you make sweets?

LUMIÈRE: To share my happiness with others.

Noir tells Lumière to make sweets only for him. Like Anakin controlling Padmé, this bodes no good...

Noir is never able to make sweets that retain their kirakiraru, so he does the next best thing and demands that Lumière makes sweets only for him. She refuses, so he decides to cover the land in darkness.
Of course, that led to Lumière carrying out her duty as a PreCure, and know how all that ended up.

Noir immediately showed the girls a flashback of how he was brought back to health by Lumière and her love of sweets. Noir wanted Lumière to make sweets only for him; however, she wanted to make sweets for everyone. Which led to Noir turning evil (What? How?!) and turning the world into darkness.
In the present day, Noir gives the typical villain spiel about how feelings are useless. Of course he is told that isn’t the case, and his desire to make sweets was born from selfless love (ai).

Chocolat and Macaron giving it all on the frontline!

Lumière entrusts the current PreCures with her power, and asks them to save Noir. The kirakiraru of the feelings of both sides clash. The PreCures use their Finishing Move. Noir holds it back, but then something utterly unexpected happens.

Elysio emerges, and he turns both Lumière and Noir into cards. He then turns the world into one without love or hatred, without light or darkness – a new, empty world.

Elisio was able to carry out his plan... but what shall happen to the Cures in this drab, grey reality? Now that they are amnesiac and unable to transform...

MY OWN HUMBLE OPINION:
A good start of darkness can make the story of any villain and the villain of any story get more spice. It's the test that makes or breaks any antagonist. And, for a Dark Overlord shrouded (literally) in so much mystery... finding out what lies beneath that mask always keeps us on tenterhooks, right? What lies beneath the mask... Resentment? Thirst for revenge? An inferiority complex, perhaps? Or a broken heart?
Previously, I had posted a series of theories on the relationship between Lumière and Noir... and finally the truth comes out!! It falls somewhere between the Scrooge and Snape theories; Noir being in an abusive relationship with Lumière and wanting to impose his will upon her, which caused them to drift apart and go separate ways... in fact, Noir reminds me more of Anakin than of either Snape or Scrooge. And also of Othello... Elysio playing the corrupter's part of both Iago and Sheev... Noir, like Othello and Anakin, has an inferiority complex, a wounded ego, a broken heart... which makes him a selfish abuser who drove away the one he loved... Also, that military background of Noir's, like Anakin's and Othello's, is responsible for a lot of frontline trauma, and for that inferiority complex...
And that finale with Elysio creating a nihilistic world, completely devoid of both positive and negative emotions, feels like WHAM. Like Iago and the Snow Queen, Elysio is an utter nihilist. I can actually picture myself Elysio's theme song being my own translation of Iago's Creed:

IAGO (turning left, facing the audience, gradually more and more ominous):

Right there!

I see your goal in my mind's eye...

Your evil spirit leads you,

and that evil spirit's me...

And I'm led by my own god,

the dreadful and relentless one I believe in...

I believe in a cruel God,

who made us apes in his own image so odd...

From a filthy infectious 

germ and the soil-dust 

I was created;

I'm reprobate, due to

human affections...

honour's and virtues' striving I mock indeed!

Yes... that's my very own creed!

I believe in the Only Son

who has inherited his Lord Father's penchant for all things wicked...

which means all wickedness I have quietly thought of

ensures my fruit's reached and picked!

And I believe in the Doubtful Ghost,

that strips away delusion;

in righteous' hearts' confusion,

for the righteous are all liars

in laughing, in crying, love's fires,

kisses, and sacrifice the most!

We're playthings in a game, there's no denying,

from cradle to the gravestone,

as long as we can tell...

Then all of us are equalised in dying,

and then? Post death there's nothing,

neither heaven nor hell...

The Good: First thing was the girls greeted the viewers with a Happy New Year message and the girls were planning... Aoi and Yukari were sharing their dreams of what they are planning to do in the future-Aoi with her singing career and Yukari studying overseas. Ciel presenting some chocolates for Miku as Akira is heading for future studies.

On the day of the party, a raven-haired Elysio crashed the party and sucked the kirakiraru energy from some customers. Bilberry and Giulio could sense that it is Noir who is in control of Elysio's body and the two of them also got their kirakiraru energy sucked out (for being traitors).

The girls went into battle when Lumière appeared in spirit form and both her and Noir seem to know each other. Noir immediately showed the girls a flashback of how he was brought back to health by Lumière and her love of sweets. Noir wanted Lumière to make sweets only for him; however, she wanted to make sweets for everyone. 

Which led to Noir turning evil (What? How?!) and turning the world into darkness. In the present, the girls managed to overwhelm Noir and (what a twist!!) Elysio, who was originally a spawn created by Noir, betrayed him and sealed him in his cards. He did the same to Lumière and, with one spell, a bright light flashed before the girls...

The next thing, everything was in grey...

This is where the episode ends, and I believe I mentioned something about Elysio potentially betraying Noir during one of these previous episodics. I’m glad he did, though – Elysio is a more interesting villain than Noir. Well, that’s what I think anyway.
I quite enjoyed this episode, mostly because it is set up for the inevitable final confrontation.
Learning more about the connection between Lumière and Noir was also interesting, and I did enjoy the interactions between characters that we don’t really see too much – Yukari and Aoi, as well as Akira and Ciel. 

The world has changed for the worse, which means that somebody will have to put it right next time.

 I get it that Elysio was created by Noir to be his eyes and ears and when he was defeated in the previous episode, Noir decided to merge him back to become the Raven-Haired Elysio. Although I am wondering did Elysio plan his betrayal to Noir all along? Did he act weak to let Noir absorb him back and when the time was right, Elysio betrayed him? (Yes, that's a ruse de guerre indeed... right?)

I know Elysio is scheming but to do it out of the blue was very shocking to the viewers! (Including me!) But then, this is Precure. Usually the last general before the final boss tend to do something outrageous for shock value. 

Which led me to another question. Noir looked human and from his conversation with Lumière, he seemed to be a military man. What kind of soldier? If based on the timeline, a foreign/enemy soldier during World War 1? If he is only human, muggle, then how did he started using dark energy to attack the town? Did he learn from somewhere? Did he found something or someone that make him like that? Too many questions not enough answers. (Which hopefully it can be explained in the final three episodes!)

The way Lumière rejected him, Noir seemed to take rejection to a whole new level by plunging the world into darkness which basically means this whole story is about a guy who couldn't handle rejections and threw a big tantrum. (Literally) Our Final Boss, everyone! "The Dark Overlord!"

Which brings us back to my own translation of the libretto for Verdi's Othello:

OTHELLO (delirious, back on his chair):

There's no escape alone... Bloodshed!!

Ah... Despicable thought, that... "I don't like this..."

(Even more delirious, getting up from his chair but reeling): To see them clasp each other...

...that silken tissue... that silken tissue... that silken tissue... Ah! Aah! Aaagh!!!

(He falls backwards, struck by another grand mal seizure, then keeps on tossing and writhing on the ground.)

(Fanfares from outside.)

COMMONERS (from offstage):

Long live Othello!!

IAGO (to himself, listening to the crowd):

My poison is effective...

(Looking down on the epileptic, unconscious Othello.) Glorious and victorious,

loudly ring his praises...

(He puts a foot to the nape of Othello's neck, as if to tread on it. Pause. Othello ceases to writhe but is still lying unconscious on the ground, Iago moving to the side Othello is facing... and putting a foot to his commanding officer's face. Silence, Iago frozen in place, as if toying with the idea.)

IAGO (at the end of the pause): Who can stop me from leaving

footprints upon his forehead?

(More, and louder, fanfares and cheers from all over the fortress.)

COMMONERS (from offstage, each time closer and louder):

Long live, long live Othello!

Send our Lion victorious!!

IAGO (defiantly, standing upright, treading on Othello's face with his left foot, pointing down at the general's lifeless form, now more sinister than ever):

LO AND BEHOLD!!!

(SERIOUSLY, I PICTURE MYSELF NOIR AS OTHELLO AND ELYSIO AS IAGO IN THIS SCENE!!!)

Anyway, this episode is a big surprise... with Elysio conquered the world, leaving everyone and everything bereft of feelings, and the girls have lost their memories of being Precures.

NEXT EPISODE (47):

How Elysio betrayed Noir and what will happen next to the girls in this new world?

With everyone trapped in this new world with no memories or emotions, Pekorin decided to do the impossible to restore the girls' feelings and memories back! Thanks Toei for spoiling the preview since Pekorin also become a Precure to save the day!

Glaive resurrected to be in charge of the military, during Elysio's new regime? FOR REAL!!??

And what is that crest on his bracelet...? Looks like an interdiction sign, but interdicting what? Emotions? Sweets?

Cure Pekorin? Shucks, she's ad <3 rable...