#// feel free to reply if you want!

[murdermade]

@fiendishfinesse sent ✩  Grooming, brushing, or tending to their hair.

For once, the Changling is not trying to push Raphael's buttons, she is no everywhere all at once simply because she is bored. Instead, she is calm, sitting with her hands in her lap as Raphael tends to her very long hair.

Hair that had been recently washed and now Raphael is brushing through it. Her hair had specks of blood in it beforehand, washing it had been difficult but she has managed, brushing it is even harder.

She'd been struggling with it when Raphael had approached her, sitting down behind her and taking the brush from her. While she's not sure what brought on this moment of softness, she's not about to stop him.

She likes having her hair played with.

The long blonde hair seems even longer, thicker, when it is in a braid spanning down her back and past her butt. One might wonder since she's a Changling why she doesn't just change her hair if it gives her such trouble - she likes it like this.

Her eyes flutter closed and she relaxes under his actions, he is firm but gentle in an attempt to brush through her hair and get the tangles out. Perhaps she should have him brush her hair more often.

"How unusually nice...." She's not complaining, not at all and in fact goes silent again. It is far calmer than he's ever seen her and she tilts her head forward, granting him better access to her hair.

[poorly-drawn-mdzs]

In the world of heavy metals, love is denser than hate!

[charmtale]

sailor moon episode 200 .. revolutionary girl utena episode 39

[raiiny-bay]

some WIPs from the 80s AU i never finished

[a2zillustration]

The final day

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[destinationtoast]

🐈💔

I'm sad to report that Little Kitty Fantastico, aka "Tico," passed away earlier this week, at age 9, after a heart failure. He died at home, surrounded by love and cuddles.

He was such a good and beloved little guy. He was bonkers for lettuce & other greens, and he absolutely could not be trusted around salads. His skills included perching atop walls and keeping watch on everything below. Like his sisters, he was long and had arms that went on forever. He was usually both the goofiest and the floofiest of all his sibs, especially when he was begging for belly rubs.

He was exceptionally sweet and snuggly. (Especially with Winter, who is very sad now. 😿) We will miss him so much.

[nattikay]

friendly reminder that Neteyam is a well-adjusted kid who has a good relationship with his parents, that he tries his darnedest to be a good warrior because he genuinely looks up to his dad and wants to be like him, and that the idea that Jake and Neytiri are "forcing" him to be perfect, that they "stole his childhood" or that he's "not allowed" to be a kid, etc. are all pure fanfiction with little to no evidence in canon thanks bye

[uber-dawn]

chat i'm having random thoughts about eos post-game and eevee protagonist. it's no secret that eevee is a popular pick for this game and imo no matter what you choose to evolve them into there's a very poetic explanation for each (though i'm not sure how well i can articulate my thoughts lol). like,

- Flareon: coming from a world of darkness and sharp hostility, the hero chooses to become a soft and fluffy fire type. the hero is so smitten by the sun in the past (and so horrified by the lack of it in the future) that they become a fire type to bring that warmth and light wherever they go! (plus flareon's my favorite :])

- Jolteon: similar to flareon, wanting to bring light to the people of the past. there's also something to be said about the fact electric type are immune to paralysis, as well as the idea that hero was gone for months after defeating dialga, then once they come back they're alive! they want to run, and jump, and celebrate that they're here!

- Vaporeon: the fact that Grovyle and hero were seperated in a storm, that they met partner for the first time on a beach, that the hidden land is across the ocean, (smth smth manaphy, ive never played that far), that water doesnt flow in the future, eeeeverything about chapter 5, and that the partner found comfort in the krabby's bubbles. water in eos is important when it comes to partings and reunions.

- Umbreon: they're a dark type. do i need to explain.

okayifyouinsist, hero comes from a world of darkness!! even if they don't remember it, that darkness affected them on such a deep level that their body never forgot! as well, umbreons and dusknoirs have lots of golden rings on their bodies, and umbreons have a type advantage against dusknoirs your partner still loves you in your new form, but everytime they look at you they can't help but remember Him, and shudder. it's about being forced to reckon with the fact you placed your trust in Dusknoir, and he took advantage of it and betrayed you.

- Espeon: right this wasnt just about umbreon. espeon and umbreon were made to be parallels; where umbreon has high defenses, espeon has a high special attack (+ dark type is immune to psychic). where umbreon has a type advantage on Dusknoir, espeon has a weakness. an umbreon hero will never trust Him again; and espeon hero chooses to believe in second chances.

- Leafeon: GROVYLEEE, it's about choosing to change your very dna so that you never forget your friend! in the short time you know him, you fully understand why your past self stood by his side! there's sorrow in that without your memories you'll never fully understand your relationship with him, but your soul remembers, and you still love your friend. deep down, a leafeon hero is ashamed they ever considered Grovyle a criminal, and wishes they could have had more time with him, in less dire circumstances. last note, the fact that the world of the future was so barren and lifeless without the sun, and the fact you become a leafeon to reflect how the future is alive. :)

- Glaceon: the fact that the hero comes from a world that was frozen, and still becomes an ice type, the future was cold, but a hero glaceon still found beauty in it. it's about remaining hopeful and that with or without fixing the future, you still need to survive in this world. it's about understanding your situation and making peace with it, while still striving to make it better.

- Sylveon: i remember that when fairy type came out, people were trying to justify why it was strong against dragon, and my favorite explanation for it was that in "fairy" tales, the hero slays the dragon. the sylveon hero did it! they slew the dragon, and their story has finally come to an end! as well, it's about wanting to give off a cheery look. it's about saying "don't look at the violence and darkness, look at me, smile! i'm here to help you!" (we'll have Explorers DX someday, trust 🙏. )

[maxwell-grant]

im researching Scarecrow hench-people and the DC wiki is really unhelpful, can you give me a list of a few notable ones. Also who's this Autumn from the Audio Adventures people keep mentioning. Is she a canon character or is she an OC

thank you! also loved the list you did of your favorite hench people

Thank you! Now that you mention it, it does seem like Scarecrow's kinda lacking in terms of notable henchmen, even purely in terms of visually distinct one-offs. It might have something to do with how little he's been traditionally focused on crime and coalition building, per se, and more so on lone terrorist campaigns and experimentation. Besides Scream Queen, who I already went into in the other post, these are the ones that I can think of:

Autumn / Miss Autumn is canon to TBAA, she just never showed up in the show. We hear about her in S1 via two scenes where Miss Tuesday talks about her friend in Scarecrow's gang, another villain assistant named Autumn that she always texts with and coordinates with, and then later she'd appear in issue #6 of the Audio Adventures comic, kidnapping Dick while he's disguised as a Burma Shave Boy and bringing him over to the Scarecrow as part of his plan. She claims to be a scullery maid in charge of the "kitchen" and is instructed by Crane to prepare a new batch, and Dick finds an Arkham Asylum physician's clearence and security badge that might belong to her, given Miss Tuesday in the show claims to have grown up in Arkham and the two seeming to be fairly close friends.

The Audio Adventures Special prequel comic released along with S2 also showed that, along with his biker gang to peddle in the street, he employs dealers hidden in plain sight such as the elderly librarian Mrs.Elliot, who we don't get to know much more about other than her being known by Dick and his friends, and a willing enthusiastic participant in the Scarecrow's plans to sell drugs to kids, as well as kidnap and experiment on them.

In terms of notable henchmen I think the first one he ever got were the Strawmen from Batman #296: said to be named Otto and Raymond, former students of his who've joined him and became students of the Scarecrow, serving as the muscle to his operation.

There's Linda Frittawa / Fright, introduced in a Judd Winick arc by the name of "As the Crow Flies", who became his assistant and confidant, while secretly manipulating him under a deal she made with the Penguin. She's the one who turned Scarecrow into the Scarebeast, and eventually showed up later working for Jeremiah Arkham Black Mask.

Not quite a henchwoman per se but there is a character named Haunter who showed up in the 2017 Batman (vol.3) annual, who's able to kill people with her DNA and who coordinates a small-scale fear gas with Jonathan to make her escape from Arkham, and it's said the two had a "twisted mutual admiration thing" before Batman put her away. She's only made two appearences in total, in two anthology shorts penned by her creator Scott Bryan Wilson, and I'm including her because given her name and gimmick and lack of prominence, she might as well be a Scarecrow henchwoman or partner or extension of his deal.

There's a fairly long pattern of Scarecrow being responsible for the creation of new villains with his experiments even if they don't necessarily go on to become henchmen - Madame Crow from Tynion's run was a former student who was tortured with fear toxin for months and took over a year to recover, before embarking on her own fear toxin campaigns. Colin Wilkes from Streets of Gotham was an abused orphan kidnapped by Scarecrow and given Venom injections before being ordered to attack Batman, and who was freed and became a hero. The Gotham Knight movie states that this version of Killer Croc was experimented on by Jonathan Crane, who caused his condition to worsen and seems to have kept him around a sewer hideout as an attack dog. The Titans show had him behind the resurrection of Jason Todd and his transformation into Red Hood, and Gotham had him create the show's version of Joker Toxin that kicks off Jeremiah Valeska's transformation.

And finally, we'd be remiss not to mention that a couple of times in his older appearences he's had a pet raven named Nightmare, a concept that's come up again in more recent kid-friendly books where it's named Croward instead, who assisted him in his criminal endeavors. I suppose that raven evidently doesn't make too much sense given Crane's backstory revolving around the crow trauma inflicted on him by his grandmother, or that trained birds are still very much Penguin territory in spite of him never using them anymore, or it clashing too much with the darker tone and vibe he's supposed to have, but there's a self-evident charm to the scarecrow-themed villain having a pet raven circling him.

[malenjoyer]

Sorry I’m not replying to messages. I do see them. I’m answering some asks and posting a bit of random thought stuff on twitter but I’m feeling kind of like I’m retreating to my old hermit state of internet usage.

These past few weeks I haven’t had energy to do a lot of stuff. It currently takes a lot out of me to reply individually because I’m trying to secure a job for myself again. So a lot of my energy is put there and worrying about my finances and future…

Thank you for the support as always and I’ll try to respond as soon as I feel I can give a decent response to DMs.

As for art stuff, I thought about starting to post again but due to the recent AI stuff that was released about sketches being converted to lineart easily, I got a bit paranoid again so it might take a while. I’m reading comics between breaks and rediscovering my love for stories so that’s good

[ilk-insolence]

Leo Analysis

There’s a popular reading in the Rise fandom that Leo is the strategist of his brothers, but I’d like to propose a counter-theory that, while Leo can be strategic, his actual skillset is in deception, manipulation, and perception. In other words, Leo is good at things involving people.

(Hey, uh, this is pretty long)

In the show, Leo shows a preference to following others’ leads rather than strategize himself. In One Man’s Junk, Leo is the only brother that doesn’t actually think up a plan to find more mystic metal, instead picking sides on who’s plan he thinks is better. This is seen again in Late Fee, where Raph and Donnie being the ones who formulate a plan to return the DVD. Again, in the season 2 finale, E-Turtle Sunshine of the Spotless Mind (god that is long), Leo doesn’t come up with a plan to defeat the Shredder, he instead made everyone turn to Raph for one [2:15]. This all follows a pattern that Leo admits in Battle Nexus: New York, "And we'll do it with our special brand of teamwork: where my brothers do the work but we share equal credit" [1:10]. He’s very lazy (I mean this affectionately), and prefers to follow someone else’s lead. The final nail in the coffin is the movie, where Leo is very distinctly not the one who comes up with the plan to lock away the Kraang. While admittedly that moment is from him learning to build others up rather than try to do everything himself, Leo is clearly characterized to not tend to strategize.

However, there are episodes where he does plan. A notable example being Many Unhappy Returns, where Leo planned ahead around Big Mama to trick her into giving them the mystic collar. Another is The Hidden City Job, where Leo pretended to be a statue to get into Big Mama’s vault in her auction. There’s also Origami Tsunami, where Leo briefly took the leader position, and planned the fake paper shop to catch the paper thieves. Smaller examples include, Man Vs Sewer (two attempts of snapping Raph out of his savage state), Bug Busters (freeing his brothers), and the movie (teleporting Kraang Prime into the portal). However, one commonality in all those schemes is that they’re all deceptions (okay, except for Man Vs Sewer but I have a whole other reason for that). In Many Unhappy Returns, Leo isn’t so much as being strategic but manipulative, understanding who Big Mama is, foreseeing that she’ll shove him in the arena with his dad, and planning around that by appearing stupid. He tricked her into cutting a deal in his favor (allowing him to have a weapon in the arena [17:25]). In The Hidden City Job, Leo’s plan is basically tricking Big Mama again, pretending to be something valuable enough to belong in her vault (almost worked too well there). Origami Tsunami, Leo surmised that the bad guys would want more paper and created the fake paper store. All of those plans involved tricking the opponent based on what Leo understood of them, and they worked. Of course, planning moves around an opponent could be qualified as strategic, but these events highlighted Leo’s skill in reading and manipulating others, not as a tactician.

Again, I’m not saying Leo can’t be strategic. In Flushed But Never Forgotten, Leo’s plan to fighting Piebald is to camouflage himself with sewer sludge (gross). That’s strategic. In Bug Busters, Leo distracting the guards with an empty laundry bin to trip them into a portal he created behind them is strategic. Leo’s whole stunt with Kraang Prime and teleporting them both into the portal was sick as shit, and strategic. Hell, his whole power with the teleporting/portals requires Leo to think tactically. But, in comparison with his brothers, particularly Raph, Leo doesn’t seem that much better than them at strategizing.

What Leo is characterized to be, is manipulative. Two main examples are Air Turtle and the infamous Lair Games, where, in both, poor Donnie gets tricked by Leo to do something for Leo’s benefit. In both stunts, the emphasis was put on to Leo’s deceptive nature. In the Lair Games, Leo intentionally put his room up as a prize with the knowledge that his brothers wanted to take something important away from him, hiding the fact that that was exactly what he wanted [12:45]. In Air Turtle, he lied to Donnie’s face that he could make the last shot in order to get his own opening/spotlight [10:16, and 11:14]. Unlike with strategizing, these events are made out to be points of distinction for Leo. He’s also shown to be extremely perceptive, as @/our-happygirl500-fan user pointed out in their post of him realizing Splinter had some history with Big Mama. And being the only one to suspect Raph throwing his fight with Donnie in Sparring Partner [9:54]. This all lines up with Leo's role as a faceman, somebody who's good with people. Combined with his performance in Many Unhappy Returns, Leo is shown to be someone extremely skilled in deception, and reading others.

Tldr, I think Raph is the strategist of the group, closely followed by Donnie. And Leo’s actual strength lies in his ability with people, his perception and manipulation. He’s not a strategist, but a trickster. A lying liar who lies (I love him).

Of course, I could be extremely wrong so I would love any input or commentary, especially regarding Leo's strategist status, because I could be glaringly missing something. Thanks.

[wreckedhoney]

MASSIVE SPOILER for one of the endings.

it's been a while since i tried looking, but i did hear that something like this happens last year and over time started to think, "was it a fluke?" bc no one posted footage or caps of it then, and i aimed for a completionist run in my first playthrough. turns out it's real! and definitely shines a new light on a character that, for most other types of playthroughs, will not give this much emotion! EDIT: transcript now included, and some stillshots under the cut

[0:28] Marie: Henry, this is the man who kept you from doing the right thing tonight. Kill him. [0:15] Forrest: Henry, you don’t have to do this. If you’ve not killed anyone yet, there’s still time to make the right decision. [0:05] Out of shot: (Gunshots) Henderson Police! Freeze! Marie: No! Henry, get out of there!

[stormbros]

Alright folks, I'm curious:

(Note: if you are part of the group that thinks Robbie and Liam could be trolling us and they are already a couple, I am referring to an on screen romantic confirmation rather than the beginning of their romantic relationship 💕)

[chororine]

let's talk about Cubert Farnsworth

something nobody said during the production of season 7

The most striking thing about Cubert, to me, is the fact that in the most literal sense possible, he had no childhood.

Well, no early childhood – in “A Clone of My Own”, we see Cubert spring into existence as a fully-formed twelve-year-old, having only previously existed in a “mentally undeveloped” state in a tank in Professor Farnsworth’s basement. This is obviously convenient from a writing standpoint, allowing Futurama’s showrunners to introduce a new character effectively out of nowhere (their original plan to do so in “A Big Piece of Garbage” having fallen through) – but I think it also explains a lot about Cubert from an in-universe perspective, and makes an interesting lens through which to view one of the show’s most divisive characters.

Generally speaking, we as viewers are used to meeting characters and then witnessing their backstory, either all at once or in small chunks scattered across episodes - Futurama itself goes as far back as Fry, Leela and Bender’s births in seasons 3, 4 and 3 respectively – but Cubert is in the unique position of his “birth” (so to speak) also being his introduction to the audience. While most of that audience simply brushed that character off as “annoying” and that was the writers’ intention according to the audio commentary for his debut episode, I want to set authorial intent aside for now and focus strictly on what the text shows us: someone who was artificially created for a specific purpose, like Bender, raised without a traditional family, like Leela, and who entered the world of the 31st century through a glass tube, like Fry.

Despite having a surprising amount in common with our three main heroes, Cubert is markedly different from them in his actual personality, which (at first) is driven largely by reason and logical sense, and that… well, makes logical sense. As with most of the sci-fi concepts Futurama employs in the service of good stories and jokes, the show glosses over the finer details of how Cubert can emerge from the cloning tank with all his motor skills and the ability to form sentences, but it’s reasonable to assume that whatever arcane scientific process the Professor used prioritises imbuing the clone with concrete knowledge over anything subjective. Cubert’s behaviour corroborates this: the very first piece of knowledge he displays is (in a quiet subversion of cloning tropes) self-knowledge, namely the knowledge that he’s a genius.

ok so the park line isn’t strictly relevant but cmon you can’t quote this scene without it

Cubert’s approach to suddenly springing to life with a ready-made body and personality is to engage with the adults around him head-on: said personality is pompous, pedantic and pugnacious (...as in “confrontational”, not as in a crack about his nose). He struts into Planet Express like he owns the place (which, of course, he will one day) right in the middle of season 2, the point where it’s safe to say the audience and characters (even fish-out-of-water Fry) have both adjusted to the show’s status quo: Professor Farnsworth can create anything as long as it’s funny or convenient to the plot (or both); Bender is an integral part of the “family”; Leela can beat up anyone who deserves it. But Cubert, who was abruptly thrust into the midst of that status quo, relentlessly questions it: how exactly would scientists “increase the speed of light”? What use would a delivery company have for a bending unit? Should Leela really fly with just one eye? Audiences and characters alike generally like sticking to the status quo (as this ever self-aware show pointed out back in “When Aliens Attack”), so it’s really no wonder Cubert rubbed people on both sides of the fourth wall the wrong way.

you know someone’s being insufferable when not even Turanga “it’s not his fault he’s an unstoppable killing machine” Leela likes them lol. believe it or not this IS a pro-Cubert post stick with me here

Questioning established norms is no bad thing, but the way Cubert goes about it is very... blunt, and far from endearing: he’s dismissive of the Professor’s “junk heap” of inventions and viciously mocks the Planet Express crew, painting people he’s only just met as incompetent and, later in the episode, calling Fry an idiot to his face. Make no mistake, this is… as we say in my neck of the woods, it’s not on. But while Cubert’s lack of socialisation “growing up" doesn’t excuse his tactlessness, it might very well explain it - along with him lacking the childlike wonder his fellow suspended animation survivor, Fry, felt at being thrust headlong into a world where the only limit to science is imagination. To use the episode’s Arc Words, “nothing is impossible”... except, it would seem, Cubert fitting in with the misfits who make up Planet Express.

Professor Farnsworth is eager to take Cubert under his wing, but also demonstrates where the latter gets that bluntness, being transparent about his intent to have his clone “spend his life finishing his inventions”. With that in mind, perhaps it’s not surprising that Cubert initially attempts to distance himself from the Professor, coldly referring to him as… well, “Professor”.

This is a detail that’s easy to miss or overlook on first viewing of the episode, but it effortlessly and efficiently explains what kind of relationship between the two Cubert initially desired: he acknowledges that they share DNA, but would prefer a “creator-creation” dynamic – perhaps akin to a robot and their maker - over anything familial. He states his disinterest in fulfilling his intended purpose as an inventor without a trace of the self-doubt that plagued Bender upon quitting his job and meeting Fry (or in the face of being replaced by a more up-to-date robot, or of being forgotten, or…), creating the impression that Cubert has a good deal more confidence and self-awareness than even an adult in a similar position to him, but also that he’s – let’s be fair to him – a complete dick, pointedly declaring himself the Professor’s “only half-decent invention”.

But as is often the case in fiction, that complete dickery serves a purpose in creating the catalyst for the episode’s fast-paced third act: the dejected Professor checking himself into cyber-retirement. In a perfect example of the characters’ recently-found comfort with the status quo, Fry immediately expresses a desire to rescue his boss who causes him more problems than he solves (what with the potentially fatal delivery missions and all), but who’s also family - a sentiment his non-blood relatives, or at least Leela, seem to share.

The only person at Planet Express who questions this desire is - who else - Cubert, but Fry brushes off his concerns with a well-placed “nothing is impossible” (the episode’s second use of the phrase). As an implicit reminder of Cubert’s status as a misfit among misfits, he, as a child character among a cast of adults, lacks the agency to avoid getting dragged along on the rescue mission for reasons that aren’t initially clear, to him or the audience.

It turns out Cubert’s purpose on the trip to the Near Death Star is to be both a DNA donor and part of Fry’s 160-year-old man disguise. Our three heroes do most of the heavy lifting (literally in Fry’s case), relegating Cubert to what he initially does best: complaining. While he does express a bit of (at this point) uncharacteristic concern for the comatose Professor, it comes after he airs his grievances about the ridiculousness of Leela’s plan, having to be Fry’s hump and the “stupid robot” – so maybe it’s a bit of well-placed karma that he gets knocked out mid-chase scene by a passing space station door, neatly excising him from the episode’s narrative.

...or so it would seem: in reality, the episode’s final two scenes circle right back to Cubert and his character arc. He springs awake to deliver the episode’s third and final “nothing is impossible”, having finally internalised the truth of it - and the secret of how to fix the ship’s damaged engines - thanks to a conveniently-timed dream (a borderline deus ex machina that may be an allusion to Groening and Cohen’s inspiration for Cubert, Wesley Crusher of Star Trek: The Next Generation – I did say at the beginning I was going to set authorial intent aside “for now”). Despite this apparent 180, Cubert demonstrates that he’s still fundamentally himself by shooting down Bender’s labelling of his discovery about the ship’s engines as “a complete load”. Evidently, Cubert’s nocturnal, almost divine revelation enabled him to use his sharp tongue for good rather than evil, as this discovery and Cubert’s quick repair of the engine is what allows the main trio and Farnsworths to safely escape from the Sunset Squad.

The episode’s conclusion uses a few well-chosen words and pieces of animated-acting to bring many aspects of Cubert’s character full circle. Most obvious among these is the conflict of whether or not he’ll fulfil his intended purpose; the Professor granting Cubert permission not to is a noble but ironic gesture, as the latter admits to having accepted his destiny, but only on his terms: not as a copy, but as a family member. Futurama, at its best, is masterful at showing and not telling; for instance, because Cubert initially addressed his creator as “Professor”, him switching to “Dad” completely unprompted feels like a display of agency as well as love.

And because Cubert had no childhood, him smiling with his whole face for the first time in the episode also marks him doing so for the first time in his life.

Let’s take a brief step back outside the text itself and look at it in relation to the various reactions viewers have had to it, because the episode’s resolution is something that… well, viewers have had varying reactions to. Looking up the episode on Wikipedia, you’ll find a citation of The A.V. Club’s review: one Zach Handlen wasn’t a fan, claiming that “[Cubert’s] shift from “This is stupid and doesn’t make any sense” to “Anything is possible!” doesn’t make a lot of sense”. YouTuber Johnny 2 Cellos seemed to enjoy the episode and Cubert’s character considerably more, but still said of Cubert’s decision to follow in his father’s footsteps that he’s “not sure [it] was the best lesson” - and honestly, they both raise valid points. Cubert’s change of heart is rather abrupt, and a step removed from the typical feel-good narrative of choosing your own destiny and becoming whatever you want… but nonetheless, I do think it’s a plus for his character, and to explain why I need to go back to the very first episode of the show.

The aforementioned “choosing your own destiny” narrative is so prevalent that Futurama itself has played with it from the beginning – and I do mean “played with”, not “used wholesale”. This is, of course, a fantastical show, but it always keeps a degree of emotional realism close to its heart; part of that realism is Fry’s one-way trip into the future not being the straightforward wish fulfilment he initially expected, as his new life still involves having a job, and it’s nominally the same dead-end job he once longed to escape. But Fry isn’t resigned to this: instead, he accepts the hand the universe has dealt him and makes it work for him…

…in fact, the theme of accepting one’s fate on one’s own terms is a theme that runs through Futurama all the way to the end of the original run.

And right in the middle of that run lies Cubert, perfectly exemplifying that nuanced theme with little more than the word “Dad.”

That choice to – again - show and not tell the change in how Cubert views his creator-father is something that I feel mitigates the suddenness of his change of outlook: wanting to emulate one’s father is a different feeling than wanting to emulate one’s creator, and a very human feeling... as is having sudden, eye-opening experiences in one’s preteen years. Cubert’s arc in this episode could be seen as a microcosm of growing up, and as a story of someone who thought he knew everything realising he still has growing up to do… and about a season later, we get to see him do some of that growing up.

Much like Cubert himself was initially intended as one thing and grew into another (on both meta and in-universe levels), I started this post with the intent to analyse him as a character but it ended up more focused on “A Clone of My Own” specifically – I might as well continue on this path and analyse “The Route of All Evil” as well. However, I don’t feel the need to do so quite so meticulously simply because Cubert is a far more straightforward character in the latter episode - and that in itself speaks volumes about what’s going on under that ginger muffin-shaped haircut.

This episode provides an explanation of Cubert’s absence throughout the second half of season 2, a glimpse into the life he’s been living off-screen at boarding school and something any good character needs: a companion to bounce off of. Dwight has less distinct characterisation than Cubert (partly as a result of having one less episode worth of development at this point), but I do think what he does have is worth analysing. I won’t do so too deeply, at least not here, simply because it’d be outside the scope of this post, but I will touch on the aspects that are relevant to my point: the ways in which he complements and contrasts Cubert.

Cubert and Dwight are similar in their intellect, precociousness, love of retro video games (really retro by the year 3002) and in being besieged by a bully, but the latter is less talkative and more chilled-out (as exemplified by him having no visible reaction to his best friend being sent flying by a mail tube), yet more business-minded: his immediate reaction to being presented with something new (always a fun way to tell us about a character) is to question its value as a product… while Cubert’s reaction to the same new thing is to use it for a prank.

As he demonstrated with Bender at the end of “A Clone of My Own”, Cubert hasn’t lost his fire in gaining respect for his father’s line of work: again, him addressing the Professor as “Dad” says a lot with few words, and remembering the context of his debut episode makes his “useless contraption” comment feel more like playful ribbing than genuine dismissal. Indeed Cubert spends much of the first act of this episode causing annoying-but-ultimately-harmless problems for the adults around him, along with Dwight, who evidently shares his interest in pranks. That interest of his wasn’t explicitly shown in his debut, but feels like a natural offshoot of his sarcastic sense of humour... and could also be chalked up to the change from the ultimate sheltered upbringing to a “normal” school environment. That in itself is a refreshing approach for the show to take: while probably done for simplicity’s sake, it shows that Cubert’s clone status is no barrier to him enjoying a normal childhood, as Leela’s orphan status was to her, or Bender’s robot status sometimes is to him sharing his adulthood with his organic friends (but the specifics of Cubert’s school life are more within the realm of speculation and headcanons, so I won’t dwell on them here).

Of course, the main thrust of “The Route of All Evil”’s plot is Cubert and Dwight’s business endeavour: Awesome Express. Again, I don’t need to analyse their motivations for founding their own delivery company too closely, because… well, Dwight outright states them in the episode.

Most people can relate, on some level, to wanting a loved one to be proud of them; a desire so universal is a perfect demonstration of Cubert’s newfound normality. It’s a sharp turn from his apparent superiority complex over his father and future employees in “A Clone of My Own”, but clearly one that made him happier: the permanent smug grin of his debut episode has given way to laughter at Hermes’ expense, casually sharing Dwight’s game console, celebrating their victory over Brett Blob (or rather his window)… I could list more, but you get the point. Enjoying the childhood that started twelve years too late without really dwelling on it feels like a natural evolution from where we left Cubert in season 2 – but not a wholesale change, as he still possesses the spark of madness he inherited from his father.

In the process of running Awesome Express, Cubert and Dwight make both upstanding and underhanded decisions: they have the prodigious business skills to quickly become more profitable than Planet Express, and rather than frivolously spending their earnings, they put them towards fair wages for their new employees Leela, Bender and Fry… and the absolutely vital flame decals for the ship.

Not all their decisions are that ethically sound or badass, though: Cubert and Dwight ultimately kick out and fire their fathers, respectively. Professor Farnsworth becoming homeless (though Hermes and LaBarbara are willing to at least temporarily put him up) as a result of his son’s hubris is another time I can see where Cubert’s haters are coming from, along with his moments of ableism directed at Leela’s vision problems and Fry’s… er, That Brain Thing – but karma swiftly comes down upon him and Dwight when they grow overconfident with their workload, leading to the first time we see Cubert cry on-screen (one of only two unambiguously canon times in the entire show) and the aforementioned admission of their motivations.

Luckily for the boys, their fathers recognise the purity of their motivations enough to forgive them for their questionable behaviour, and are quick to “do a little father-son weaselling out of this”. Professor Farnsworth and Hermes prove their love for their sons with actions, not words, solving their problem with the former’s arsenal of gadgets and the latter’s perfect aim as a “paper-man”... and ultimately put themselves through the ringer by attempting to fight the father of their sons’ bully, Mr. H. G. Blob. This one-sided “fight” results in slapstick humour, but also a show of Futurama’s emotional realism shining through its often cynical sensibilities.

This episode’s ending focuses more on “three fathers, enjoying a day out with their sons” as a group than Cubert or Dwight as individuals, but that in itself is a nice way to bring this duology of episodes full circle: Cubert is Professor Farnsworth’s son, no different from how Dwight and Brett are Hermes and H.G.’s sons. Perhaps he does fit into the abnormal, non-traditional family that is Planet Express after all.

fun fact: “Planet Espresso” dropped while I was still writing this post and it made “The Route of All Evil” hit different now I know Hermes in particular was working extra hard to end the cycle of parental neglect. not relevant to the whole “Cubert good” point but still interesting, at least to me

Now, you’re probably thinking that this is the part where I talk about “Bender Should Not Be Allowed On TV”, and… yeah. You’re technically right, I will briefly touch on it – but it won’t be complimentary.

Someone being “out of character” is a common complaint when it comes to TV show writing, but I’ll be completely honest: in my opinion, having Cubert, a character whose whole deal used to be questioning the status quo and authority figures (and in “The Route of All Evil” trying to surpass them), open the episode by admitting he and his equally precocious best friend want to mindlessly emulate what they see on TV goes beyond “out of character”. Cubert and Dwight’s intellectual-yet-rebellious nature would’ve served this plot perfectly, as it would’ve provided an opportunity for the writers to call attention to them not acting like themselves as a result of Bender’s influence – but the key gap between idea and execution is that the adults around them don’t treat their mindless viewing habits as something out of the ordinary for them. A simple “this isn’t like you” from the Professor or Hermes would’ve gone a long way, but as it is, it feels as though the boys’ past characterisation was intentionally ignored in order to more easily execute a storyline that could’ve been done in The Simpsons, with Bart and Milhouse succumbing to the allure of a newly-famous Homer’s bad influence.

In particular, the line “we can celebrate the day I extracted you from the cloning tank” kind of breaks my brain: we’ve seen that day in the show, and the more I go back to this episode, the more I feel like there’s nothing left of the Cubert the Professor extracted from the cloning tank – the one I just spent five pages analysing - in this specific Cubert (or the Dwight who crushed Planet Express with Dwight Lightning in this Dwight, for that matter). No scientific skills, no use of his trademark snort, no biting-but-good-natured jabs at his adult companions… nothing. To be fair, the episode does have a few nice ideas (the concept of a Growth Scraping Day itself, Tinny Tim becoming the third member of the kids’ friend group and them getting to do a little crime as a treat), but they’re so thoroughly surrounded by… well, everything else that I personally choose not to incorporate this episode into my mental picture of Cubert (or Dwight).

I’ll be the first to admit there are a lot of duds and weird writing choices among the post-revival episodes of Futurama, but I also think fans of the show have a tendency to put the Fox era on a pedestal while completely dismissing the later seasons - even though “Bender Should Not Be Allowed On TV” (along with “Bend Her” but that’s a rant for another time) proves that even season 4, often touted as the show’s peak, can be as guilty of bad characterisation or formulaic plots as the Comedy Central or Hulu eras. Conversely, season 6 in particular was flawed but did plenty of things right, and one of those things was using Cubert in interesting ways: “The Late Philip J. Fry” is the most famous example, but “A Clockwork Origin” and “Overclockwise” are both notable for succeeding at building on the foundation laid out in “A Clone of My Own” and “The Route of All Evil” - where Cubert’s last outing of the original run failed.

Whether that foundation was laid down intentionally or simply as a compromise between multiple creators, writers and directors that happened to meet a particular subjective reading, to me it’s an incredibly strong one: a fish-out-of-water who was abruptly thrust into the chaotic world of the 31st century but survives and thrives in his own funny, interesting, slightly unhinged way, just like Fry, Leela or Bender. Cubert isn’t for everyone, but I hope I’ve demonstrated why he resonated with me so much when I watched the show at his age, and why thinking of him as simply “the annoying kid” was… well, impossible.

This post is long enough as it is, so rather than analysing “The Late Philip J. Fry” (well, enough people have analysed that one already that I don’t really need to) and the two “clock” episodes of season 6, I’ll leave you with the suggestion to (re)-watch them yourself with an open mind… and to keep an eye out for Cubert in the Hulu run. As I alluded to at the top of this post, season 7 conspicuously pretended he didn’t exist outside of one dubiously canon skit, so maybe it’d be too much to hope for future seasons to explore him in detail… but as a wise old man and his son once said, nothing is impossible.

Not if you can imagine it.

THANK YOU FOR READING (or at least skimming) ALL THE WAY TO THE END OF THIS POST!!! as a reward for indulging my autism please treat yourself to a nice turducken spread with your found family. merry hulurama to all and to all a good night

[thespookybean14]

I forgot if I’ve ever posted this here but I have an Alien (1979) personality uquiz if y’all want to take it! I might redo it a bit and such since it’s kind of old now but I think y’all would enjoy it :)