Frequently Asked Questions About “The End of the Magical Kingdom”

“Who are you people?”

The End of the Magical Kingdom 1: The Evil Princess is a book by author L. M. Warren.  It’s the “Tragic Parody” comedy-horror-fantasy book about a princess falling in love with a witch.  Future episodes are entitled, “The Saint of Science” and “The Watchmaker’s Child”.

“What is the Magical Kingdom and why is it ‘ending’?”

Ten years ago, three little princesses-in-waiting were childhood friends. In the first scene of the book, three protagonists of the story are established: Mary Melancholy, Sweet Blossom and Wendy. Notice how they interact, how they understand the concept of time passing, and realize a new generation is coming. Their parents used to believe in the ‘Magical Kingdom of Old’. But the children believe in nothing.

“Is this a book for children?”

Not really, and the story opens with a haunting image: a fairy tale princess emerging from the darkness who just so happens to be DEAD. She was once beautiful, a belle, and now limps along looking like a zombie princess from Hell.  This warns the reader of tragedy, violence and much suffering to come.

“That all sounds really gay.”

Yes, it is. For years, people have been calling for a “gay/lesbian fairy tale princess”. While that hypothetical movie may be years in the future, that doesn’t mean that we can’t use our imagination right now. Through original artwork, song lyrics, a quirky narrator and a little bit of magic, we get the definitive fairy tale musical experience, but this time reflecting our own real world and the issues that matter in the 21st century.

“So since I’m straight am I allowed to read it?”

“The End of the Magical Kingdom” series goes beyond that. This is a series that will boldly challenge the status quo of young adult and middle-grade fiction. Future books will introduce Lesbian, Gay, Bisexual, Transgender, and Questioning characters into the cartoon epic, as the struggle for freedom and happiness continues throughout the land of Cadabra.

“Is this Disney fanfiction?”

Not really. But now that you mention it, here is a synopsis in meme form.


“Why is it for 13 and up?”

This is a book that not all parents will appreciate, given the depiction of LGBTQ themes as well as themes of sex, drugs, and violence. However, this is a caricatured world that reflects our own. This series is for teenagers over the age of 13. The book comes with a warning label because of extremely violent scenes and harsh emotional intensity.  However, because there is no pornographic depiction of sex the book is technically not for Adults Only. Many in the literary industry have been asking for an official “ratings” system for literature, but nothing has happened as of yet.

“Agent says, who’s the target audience?”

“The Evil Princess” is a book that aspires to mash up the most extreme elements of across the board fiction, from surrealism and comedy to the bleakest of drama and social criticism. The book series is not just a parody but also a caricature of humanity’s frail existence, offering readers a roller coaster ride of laughter, tears and rage. 

The target audience is not just LGBTQ, but outliers, anti-socials and people that don’t quite fit into modern society. It’s cool now to say on Facebook that you’re a ‘freak’ or ‘weird’ or ‘nerdy’, but the truth is most popular people don’t know what it’s like to be rejected by society, or be mocked by their peers, and to lose all self-confidence because of other people’s judgments. This is a book about not feeling connected to anyone you know, even the people who are nice to you. All of the protagonists and antagonists in the coming series have trouble relating to other people. How they get along with others, and what they do about their obstacles, is at the heart of the story.

“What is this book and who is it for?”

An Angry Book for Outliers and Outcasts!

Socially awkward is the voice of the new generation. Historically speaking, great writers always created literature and eloquent characters who spoke just as wittily as the narrative itself. But we wanted to give a voice to characters who are ‘socially awkward’ types.

We had three goals in mind.

  • To write anti-heroes; characters and behaviors you’ve never really seen in mainstream books before.
  • To embody the anti-establishment personality of the Gen X, Gen Y & Millennial generations.
  • To write a book about all the major personality disorders.

We wanted to write a fairy tale book where all the major characters were hard to like, but fun to hang around. Each one suffered from major personality disorders. None of them are role models. There’s a lot of trolling going on among these characters…they pick on each other. They bring out the worst in each other.

Just because characters speak the same language doesn’t necessarily mean communication is always clear and friendly, between such differing cultures.

We wrote the trilogy as a tribute to outliers and misfits of society of which the writer is a lifelong, card-carrying member.

We can’t speak for everybody but we know it’s common to feel like you don’t fit in with any crowd, any group or any club, in school or out of school. Thoughts like “I always seemed to make people nervous. My comments were always so outside the box, I don’t think people knew what to make of me.” A lot of us today can relate to that.

One of the main points is just because you are not going to get along with a lot of people in life, you CAN actually find a really good friendship among your fellow outliers. There is a great spirit of tolerance in our culture, which transcends just age or social class. We are rebels, revolutionaries and oddballs and yet we take pride in what we are.

“What if I don’t like to read?”

The book is written “Tragic Parody” style, a book for people who don’t like to read, and would rather imagine the story as a movie or screenplay.

That’s why there’s mostly action in the narrative, more dialog, more humor and shock value. Not as much boring introspection, internal writer speak, and long verbose descriptions that keep a lot of teens/millennials away from thick novels.

The book uses more gonzo writing techniques that you rarely see in modern teen and YA novels today. Some people who read it classify it as mishmash because it’s too funny to be serious, too dramatic to be a comedy. The secret to writing good comedy is to realize the characters never understand they’re existing in a comedy world. They think of their lives every bit as painful as we would our own.

The worst thing a book can be is boring. So if you laugh, get pissed off, or feel scared, then mission accomplished.

“What is a tragic parody?”

The story is a parody of Disney fairy tales but with the darkness and psychological horror of the original Brothers Grimm fairy tales. The genre is officially a tragic parody, that is, a Shakespearean tragedy with harsh emotional intensity…but written like a sitcom or a Comedy Central cartoon.

The story was intended to be a comedy series in the style of Susan Harris’ Soap TV series and other shows that mixed absurdist comedy with tragic elements. Just because characters are funny and situations are farcical doesn’t mean there is an absence of tragedy. Tragedy is all around us and especially in comedy, because our pain brings out our deepest survival instincts. And laughter will always be a great way to cope with despair.

“Is this a fairy tale or a satire?”

The Fairy Tale Parody Genre allows the author to teach with comedy. Parody has historically been associated with writers who wrote scathing criticism of their society. The humor or satire of such a book is often biting, slanderous and obscene, just enough to provoke a world of readers into rebellion or protest.

Miguel de Cervantes, Marquis de Sade and William Shakespeare all made use of the parody genre. It was written similarly to comedy, but wasn’t so “light”. Parody usually allows for more exaggerated violence or plot twists, that border on disturbing and upsetting—a definite turn off in light-hearted or juvenile comedy. These lampoons are supposed to be stories that criticize some aspect of society that the author believes to be unjust.

No one wants to read a depressing story about social injustice. So our first thought was to make it funny. Satirical, of course. But funny in that Disney style throw-caution-to-the-wind capriciousness that we enjoy.

Creating a fairy tale satire is a great way to discuss social issues in a safe context. It’s also a genre that plays to younger audiences or adults who don’t want topical issues of the day taken so seriously. Under the guise of fairy tales, writers and artists can use satirical humor to comment on today’s most important social issues.

Gay marriage, religious intolerance, misogyny and political injustice…these are the issues people care about. But many readers are tired of being bashed over the head with dogma about how we ought to feel about this or that. One of the goals of fiction is to tell a story objectively, leading the author to form his or her own opinions about the moral of the story.

The Brothers Grimm stories, which Disney films are loosely based off, could well be considered a fairy tale satire, since they’re written to be allegorical and as cautionary tales for youngsters and adults. Ironically, the Disney films themselves that re-imagine these old morbid tales into something happy and quirky, could be called a family-oriented parody of a parody.

“Why all the allusions to war?”

The series is partly a biblical epic and a war novel or an anti-war novel. We believe in pacifism and are third-party supporters, very much opposed to commercial war and imperialism. War is ugly, War is Hell. War is rape and tyranny no matter who wins and if it was justified. Our generation needs to be reminded of this.

In order to be honest we had to empathize with the consummate politician.  Why must they lie? Why must they kill and why do they think they are doing a greater good? Because they are essentially playing God. And in telling their story, we can hear their soul, in agony, and living with such a moral burden.

The war satire is a somewhat retired genre, because of political correctness and WWIII paranoia. But Dr. Strangelove or How I Learned to Stop Worrying and Love the Bomb was definitely an inspiration. We can still laugh at dark things. Laughter is sometimes the only way to process pain.

Salem the Witch is labeled a “horrorist” because of her anarchic views and refusal to cooperate with any of the four kingdoms of “Cadabra”, the island in which the series is set.

The intention was to make Salem dangerous and not have the book resemble the typical good guy, good girl that fall in love in the Disney fairy tale type movie.

In essence, we’re exploring the concept of “terrorism”. Salem wears the label of “witch”, and that rolls up so many persecuted minorities of people, from lesbians to Jews to atheists, to suicide bombers, to vegetarians and the poor. There was an intentional effort to make Salem seem like all of the above, in terms of ‘difficult’ personality types. The kind of all stereotypes in one character that bigots are just itching to hate. But her lack of apology to the world, her flippant rejection of society, is her outstanding feature.

“Did this series start as a gay Disney princess musical?”

Like so many people, we wanted to see a Disney movie with a lesbian princess. Of course, Disney is taking forever because they’re afraid of offending people and getting banned in countries around the world. But we’re like, who cares?  Let’s offend the whole world. Gay marriage is awesome.

While the first lesbian and gay Disney fairy tale might someday hit theaters, one animated romance you will probably never see on a Disney screen is the relationship between Salem the Witch and Mary Melancholy.

Even if Disney ever produced such a gay cartoon, it wouldn’t really deal with the issues that we as a society face today. They would probably make it a little bit like Frozen; something a bit patronizing.

Then we started to think of an animated musical that went beyond the G-rated world of Disney. A social satire that combined pathos, danger, and tragedy happening in a comedy and almost childlike world.

The story began to explore the deeper questions of humanity, such as what causes bigotry and where hate and suspicion comes from.

The fact that Salem is not persecuted because she’s gay, but because she’s a ‘horrorist’ witch is significant. We insist upon creating divisions and labeling those whom we don’t understand because we’re afraid to question our own values.

This is what The Brothers Grimm were going for – social criticism piece meets horror, all the while happening in a fairy tale world for young minds to better comprehend. So we’re modernizing the concept.

One could say that the “princess mythos” carried an altogether different connotation in the days of the Brothers Grimm than in the overproduced modern age of Walt Disney-whitewashed love stories. To some, a princess is merely a debutante, a young woman entering into the world and struggling to fit in and failing to be a good role model.

To the more jaded among us, a princess represents entitlement. The delusional viewpoint that a monarchy will last forever because of the royal family’s good intentions. To jaded audiences of today, the very idea of capitalistic or oligarchic societies of the rich dominating and abusing the poor is not only trite, but insulting. The word princess understandably takes a more ominous implication.

The character of Mary Melancholy, a Disney-archetypal princess is raised in royalty, but is oblivious to the political chicanery happening around her, including an uprising of protesters against the “Golden Elite”, the rich monarchy that obviously caricatures capitalist society in America.

“The story concludes with the touch of the macabre, as the singing and dancing stops cold and the story descends into a fairy tale straight out of Hell, as the Brothers Grimm might have imagined it, with death, darkness and dirges by Alan Menken.

“Is this a Disney fairy tale or a parody of a Disney fairy tale?”

The Anti-Disney Novel will no doubt become an even more popular genre as the Walt Disney Empire (every bit as evil as the House Lannister of Casterly Rock) continues to monopolize the entertainment business. No one can seem to stop the almighty claw of Mickey Mouse and Disney’s ruthless corporate policies that continue to starve artists while making marketing the focal point of every new movie.

Disney’s commercial stranglehold is hard to fight indeed. Whenever an independent production or talent starts to rise, Disney buys them off and hires them to promote their own projects. On the other hand, if you’re still striving to make a little noise as an independent voice, Disney, now the omniscient owner of Star Wars and Marvel Comics, will come after you with lawyers.

This is why the intent was to create an Anti-Disney Novel, parodying Disney Princess culture, and the anti-feminist movies that they’ve continued to push. A lot of people are tired of Disney’s patronizing attitude towards the arts.”

“Why do some people call this a political satire disguised as a YA fairy tale?”

Because obviously some people are just trolling. Who would ever think that?


Confused? You won’t be after checking out our Cadabra Wiki Travel Guide, detailing what to expect when you visit the fictional island of Cadabra – safety not entirely guaranteed. You can also start reading about the plot and characters of all four books to find out what’s so special about an innocent romance between a princess and a witch and how it escalates into chaos.