#but like. those episodes were not made to appeal to kids

[sickgraymeat]

I really enjoyed teen titans go but like in retrospect these are the things I really liked:

When Cyborg takes his head off and has the little ball of wires for a body (I love that shit so much)

The fact that Robin never “””wins””” Starfire

The ttg vs tt movie which… is mostly bc it reminded me of Obsidian

Hynden Walch

Hynden Walch

[shorthaltsjester]

the thing is that the “laudna or delilah” debate i think actually misses the complexity of laudna as a character — which i think actually gets magnificently illustrated when marisha talks about and chooses her actions as laudna. like in the game, she tends to act comfortably as laudna even in those delilah filled moments once the initial indication has been made by matt that laudna feels that presence particularly in a given way. but the vehicle of a ttrpg as the medium in which laudna exists and interacts means that there is intractable ambiguity in the “did laudna do this or did delilah?” because the answer is always at the same time that both of them chose it as it is that laudna did, because matt always brings in delilah as a reaction to the choices made, either by laudna in the narrative or by marisha as the creator orienting laudna’s choices. like tonight, marisha certainly didn’t say I’m Looking At This Sword Appealing to Delilah, but she did have laudna who was traumatized by that sword engage with it while also engaged with an action she has pointedly and continuously accounted as a coping mechanism from years of solitude with nothing but the voice in her head. laudna didn’t choose to have delilah in her mind, but she did choose to ask for more power, she did choose to act without orym’s input, she did choose to use her form of dread, whether or not she chose the form which it took. especially with the the indicators that this is a storyline alluding to addiction (something i’ve long suspected but has now been affirmed by marisha in the cooldown), it is extremely compelling that laudna is both insistent of her own responsibility when it comes to intentions but is absolutely avoidant to the point of absolute denial when it comes to consequences. this was especially apparent when imogen asked if laudna’s choices and actions were all her own and laudna insisted they were, but then ended the episode with a form of dread the image of delilah briarwood fading from around her as she repeated “i didn’t mean it.”

it is particularly interesting when she is alongside imogen because i think the thing that is the most compelling to me about them right now si something that laura (iirc) alluded to in the cooldown about how imogen has chosen a significant turn away from predathos at the same time laudna has leaned in hard to delilah. in a lot of ways imogen has been very like laudna when it comes to the importance of intentions vs. consequences, at least insofar as her experience with her powers led to a different kind of isolation than laudna’s but still led imogen to experience situations in which she was confronted by the cruelty of thoughts much more expediently than she was with the cruelty of actions. and while laudna has experienced the cruelty of actions, she ties those intensely to bad intentions as well — cruel actions come from cruel thoughts. i mean, that’s what fun scary refers to — in that first interaction with those kids, we get a clear though undoubtedly unintentional insight into the perspectives that laudna and imogen both have on the cruelty that the world contains. laudna sees no harm in the fear she instills in those children because she loves kids, her intention was fun, her actions can’t be truly harmful if she never intended it. and interestingly, imogen disagrees that laudna is fun scary at all, she actually points out that laudna is scary scary, but in a good way.

and so we have this dynamic between two characters who have been the balms to one another’s solitude — which, as has been expressed in other posts, in both cases emerged from their commitments to their outlooks: laudna continued to appear as a witch on the outskirts of town, likely engaging in haunting behaviour if her actions throughout the campaign have been any indicator, and continued to run until, interestingly, someone who could read her mind was the first person to truly realize she meant no harm. imogen isolated because she was inundated with thoughts and turned misanthropic because of how often those thoughts were negative and cruel, until someone (who partakes in actions that can very easily be considered at least appearing to be negative or scary) had thoughts that were good. and they fell in love — with a confession scene where laudna raised concern that she might be a bad person, because she herself had ill intentions in reaction to bor’dor (absolutely mediated by deliliah, but her own emotional reaction that prompted that mediation). and imogen’s rebuttal isn’t a reference to laudna’s choices or her actions but to the thoughts she’s had that imogen has been witness to.

except. except it’s been months and imogen has a mother who had the best of intentions to start with . intentions that look a lot like imogen’s own, but now she stands at the side of a man willing to risk the entire world so that he can (ostensibly) no longer have to deal with divinity. imogen’s mother who allows the murder of countless people, of every member of the hells themselves except imogen, of oryms family, to get the answers and the solution that imogen herself is looking for. and as imogen has gotten further in the journey, the role of thoughts and intention has become apparent in its limits. because it’s true that they are important, it marks a difference between ludinus and liliana absolutely when it comes to likelihood that they might have a path for redemption, but it doesn’t mark much of a difference for the lives lost. and imogen has become much more concerned with this, i think maybe most clearly in her decisions around her last few predathos diving dreams because her hesitation hasn’t been that they need to consider the sides more, it’s been that, regardless of her intent to come back to the hells, to get information for their mission, her will might still lose the fight against the pull of predathos and if she’s forced to be this vessel which might allow it free, it might not matter as much what her intentions are when she dreams.

and at the same time. laudna has been confronted with the same evidence that her worldview might not paint a complete picture, but she’s still looking at that incomplete image as the whole. as is clear in her reaction to liliana, where she sets up her position to imogen by referring to her own love for her — for laudna, liliana must not actually love imogen, couldn’t possibly if the outcome of her actions is imogen growing up without her mother and liliana aiding and abetting (even if occasionally Maybe limiting) exandrias mage criminal of the decade. except, as imogen who has started to be checked on her flawed thoughts > actions perspective points out, that inconsistency isn’t one that laudna is immune to — laudna loves imogen and the hells and undoubtedly wants to see them live in a world they can thrive in, but she’ll also give up pieces of herself and make decisions without their input that have implications for those she chooses to exclude as evident in her choice with the sword,

and so tonight’s everything was delicious . when marisha’s interparty conflict beam hits it hits and it did tonight but the conversation between laudna and imogen was truly truly fantastic and so compelling because you get both laudna so locked into the familiar comforting behaviour that thinking that her intentions are all that matters is and being confronted by the fact that right now the consequences seem so enormous that the comfort is cold and imogen realizing that the thing that she’s been struggling through with her mother — and don’t get me started about imogen’s response to her mother saying she’s made her choices for imogen and the fact that laudna’s first explanation of why she chose this was a similar appeal to protecting imogen — is the same thing that has a hold of the woman she loves, though in different forms. and god, not to add another unnecessary sidebar, but laura is truly so good at coming up with heartwrenching prompts? dialogue? i dunno what to call it but the way that taliesin is insane with one liners, laura is like that with setting up conversations and then eventually spiking them into my heart because jesus the “i just watch. [as she plunges a dagger into her heart]” “i’ll always love you, i just don’t know what to do with it” “i didn’t mean it” “i know” because that’s the thing, that’s the struggle . ethel cain voice directed at laudna and liliana. imogen temult loves you but not enough to save you. because it doesn’t matter how much anyone loves laudna if she still believes in the necessity of delilah, it doesn’t matter how much anyone loves liliana if she still believes her presence at ludinus’ side is a requirement. and that’s not to reduce the degree to which they both have undoubtedly been trained to believe those things, but it is to say that both in the text and in the real world situations to which people love to refer when reducing agency to make characters more girlboss or whatever — it’s actually explicitly the role that laudna ascribes to her own emotions and choices and value that will lead her to a life where delilah does not have full reign.

the ambiguity and complexity is that as long as laudna wants (which translates to a need for her) her power, she wants delilah and whatever words that delilah will feed her to validate the need for and/or increase that power, which means that her actions are always her own, and the consequences are always hers to bear. the messiness is her continued insistence on separating intention from consequence — because laudna never means harm, for her it’s about protection, even power doesn’t seem to be power for its own sake. even with orym tonight it was about protecting orym from the sword, but also of course about finding power for delilah so that deliliah might also grant her more power so that she can help save imogen and the hells and the world. but that means when she explains to others she can make claims like i didn’t mean to, or that the choice was all her own because as incorrect to anyone else, laudna has completely committed to her founded belief that intentions matter more than anything else when it comes to the judgement of someone and their actions.

[icedbatik]

I saw this opinion piece in the New York Times and, while I don't normally copy and paste entire newspaper articles, this is an excellent (if scary) read.

Aside from the sections on how much lack of consent there is in today's sexual landscape, hockey fans -- who should be well aware of the dangers of concussions -- might take particular note of the section in which "choking" during sex is linked to brain damage on par with concussion damage.

The Troubling Trend in Teenage Sex

April 12, 2024

By Peggy Orenstein

Debby Herbenick is one of the foremost researchers on American sexual behavior. The director of the Center for Sexual Health Promotion at Indiana University and the author of the pointedly titled book “Yes, Your Kid,” she usually shares her data, no matter how explicit, without judgment. So I was surprised by how concerned she seemed when we checked in on Zoom recently: “I haven’t often felt so strongly about getting research out there,” she told me. “But this is lifesaving.”

For the past four years, Dr. Herbenick has been tracking the rapid rise of “rough sex” among college students, particularly sexual strangulation, or what is colloquially referred to as choking. Nearly two-thirds of women in her most recent campus-representative survey of 5,000 students at an anonymized “major Midwestern university” said a partner had choked them during sex (one-third in their most recent encounter). The rate of those women who said they were between the ages 12 and 17 the first time that happened had shot up to 40 percent from one in four.

As someone who’s been writing for well over a decade about young people’s attitudes and early experience with sex in all its forms, I’d also begun clocking this phenomenon. I was initially startled in early 2020 when, during a post-talk Q. and A. at an independent high school, a 16-year-old girl asked, “How come boys all want to choke you?” In a different class, a 15-year-old boy wanted to know, “Why do girls all want to be choked?” They do? Not long after, a college sophomore (and longtime interview subject) contacted me after her roommate came home in tears because a hookup partner, without warning, had put both hands on her throat and squeezed.

I started to ask more, and the stories piled up. Another sophomore confided that she enjoyed being choked by her boyfriend, though it was important for a partner to be “properly educated” — pressing on the sides of the neck, for example, rather than the trachea. (Note: There is no safe way to strangle someone.) A male freshman said “girls expected” to be choked and, even though he didn’t want to do it, refusing would make him seem like a “simp.” And a senior in high school was angry that her friends called her “vanilla” when she complained that her boyfriend had choked her.

Sexual strangulation, nearly always of women in heterosexual pornography, has long been a staple on free sites, those default sources of sex ed for teens. As with anything else, repeat exposure can render the once appalling appealing. It’s not uncommon for behaviors to be normalized in porn, move within a few years to mainstream media, then, in what may become a feedback loop, be adopted in the bedroom or the dorm room.

Choking, Dr. Herbenick said, seems to have made that first leap in a 2008 episode of Showtime’s “Californication,” where it was still depicted as outré, then accelerated after the success of “Fifty Shades of Grey.” By 2019, when a high school girl was choked in the pilot of HBO’s “Euphoria,” it was standard fare. A young woman was choked in the opener of “The Idol” (again on HBO and also, like “Euphoria,” created by Sam Levinson; what’s with him?). Ali Wong plays the proclivity for laughs in a Netflix special, and it’s a punchline in Tina Fey’s new “Mean Girls.” The chorus of Jack Harlow’s “Lovin On Me,” which topped Billboard’s Hot 100 chart for six nonconsecutive weeks this winter and has been viewed over 99 million times on YouTube, starts with, “I’m vanilla, baby, I’ll choke you, but I ain’t no killer, baby.” How-to articles abound on the internet, and social media algorithms feed young people (but typically not their unsuspecting parents) hundreds of #chokemedaddy memes along with memes that mock — even celebrate — the potential for hurting or killing female partners.

I’m not here to kink-shame (or anything-shame). And, anyway, many experienced BDSM practitioners discourage choking, believing it to be too dangerous. There are still relatively few studies on the subject, and most have been done by Dr. Herbenick and her colleagues. Reports among adolescents are now trickling out from the United Kingdom, Australia, Iceland, New Zealand and Italy.

Twenty years ago, sexual asphyxiation appears to have been unusual among any demographic, let alone young people who were new to sex and iffy at communication. That’s changed radically in a short time, with health consequences that parents, educators, medical professionals, sexual consent advocates and teens themselves urgently need to understand.

Sexual trends can spread quickly on campus and, to an extent, in every direction. But, at least among straight kids, I’ve sometimes noticed a pattern: Those that involve basic physical gratification — like receiving oral sex in hookups — tend to favor men. Those that might entail pain or submission, like choking, are generally more for women.

So, while undergrads of all genders and sexualities in Dr. Herbenick’s surveys report both choking and being choked, straight and bisexual young women are far more likely to have been the subjects of the behavior; the gap widens with greater occurrences. (In a separate study, Dr. Herbenick and her colleagues found the behavior repeated across the United States, particularly for adults under 40, and not just among college students.) Alcohol may well be involved, and while the act is often engaged in with a steady partner, a quarter of young women said partners they’d had sex with on the day they’d met also choked them.

Either way, most say that their partners never or only sometimes asked before grabbing their necks. For many, there had been moments when they couldn’t breathe or speak, compromising the ability to withdraw consent, if they’d given it. No wonder that, in a separate study by Dr. Herbenick, choking was among the most frequently listed sex acts young women said had scared them, reporting that it sometimes made them worry whether they’d survive.

Among girls and women I’ve spoken with, many did not want or like to be sexually strangled, though in an otherwise desired encounter they didn’t name it as assault. Still, a sizable number were enthusiastic; they requested it. It is exciting to feel so vulnerable, a college junior explained. The power dynamic turns her on; oxygen deprivation to the brain can trigger euphoria.

That same young woman, incidentally, had never climaxed with a partner: While the prevalence of choking has skyrocketed, rates of orgasm among young women have not increased, nor has the “orgasm gap” disappeared among heterosexual couples. “It indicates they’re not doing other things to enhance female arousal or pleasure,” Dr. Herbenick said.

When, for instance, she asked one male student who said he choked his partner whether he’d ever tried using a vibrator instead, he recoiled. “Why would I do that?” he asked.

Perhaps, she responded, because it would be more likely to produce orgasm without risking, you know, death.

In my interviews, college students have seen male orgasm as a given; women’s is nice if it happens, but certainly not expected or necessarily prioritized (by either partner). It makes sense, then, that fulfillment would be less the motivator for choking than appearing adventurous or kinky. Such performances don’t always feel good.

“Personally, my hypothesis is that this is one of the reasons young people are delaying or having less sex,” Dr. Herbenick said. “Because it’s uncomfortable and weird and scary. At times some of them literally think someone is assaulting them but they don’t know. Those are the only sexual experiences for some people. And it’s not just once they’ve gotten naked. They’ll say things like, ‘I’ve only tried to make out with someone once because he started choking and hitting me.’”

Keisuke Kawata, a neuroscientist at Indiana University’s School of Public Health, was one of the first researchers to sound the alarm on how the cumulative, seemingly inconsequential, sub-concussive hits football players sustain (as opposed to the occasional hard blow) were key to triggering C.T.E., the degenerative brain disease. He’s a good judge of serious threats to the brain. In response to Dr. Herbenick’s work, he’s turning his attention to sexual strangulation. “I see a similarity” to C.T.E., he told me, “though the mechanism of injury is very different.” In this case, it is oxygen-blocking pressure to the throat, frequently in light, repeated bursts of a few seconds each.

Strangulation — sexual or otherwise — often leaves few visible marks and can be easily overlooked as a cause of death. Those whose experiences are nonlethal rarely seek medical attention, because any injuries seem minor: Young women Dr. Herbenick studied mostly reported lightheadedness, headaches, neck pain, temporary loss of coordination and ear ringing. The symptoms resolve, and all seems well. But, as with those N.F.L. players, the true effects are silent, potentially not showing up for days, weeks, even years.

According to the American Academy of Neurology, restricting blood flow to the brain, even briefly, can cause permanent injury, including stroke and cognitive impairment. In M.R.I.s conducted by Dr. Kawata and his colleagues (including Dr. Herbenick, who is a co-author of his papers on strangulation), undergraduate women who have been repeatedly choked show a reduction in cortical folding in the brain compared with a never-choked control group. They also showed widespread cortical thickening, an inflammation response that is associated with elevated risk of later-onset mental illness. In completing simple memory tasks, their brains had to work far harder than the control group, recruiting from more regions to achieve the same level of accuracy.

The hemispheres in the choked group’s brains, too, were badly skewed, with the right side hyperactive and the left underperforming. A similar imbalance is associated with mood disorders — and indeed in Dr. Herbenick’s surveys girls and women who had been choked were more likely than others (or choked men) to have experienced overwhelming anxiety, as well as sadness and loneliness, with the effect more pronounced as the incidence rose: Women who had experienced more than five instances of choking were two and a half times as likely as those who had never been choked to say they had been so depressed within the previous 30 days they couldn’t function. Whether girls and women with mental health challenges are more likely to seek out (or be subjected to) choking, choking causes mood disorders, or some combination of the two is still unclear. But hypoxia, or oxygen deprivation — judging by what research has shown about other types of traumatic brain injury — could be a contributing factor. Given the soaring rates of depression and anxiety among young women, that warrants concern.

Now consider that every year Dr. Herbenick has done her survey, the number of females reporting extreme effects from strangulation (neck swelling, loss of consciousness, losing control of urinary function) has crept up. Among those who’ve been choked, the rate of becoming what students call “cloudy” — close to passing out, but not crossing the line — is now one in five, a huge proportion. All of this indicates partners are pressing on necks longer and harder.

The physical, cognitive and psychological impacts of sexual choking are disturbing. So is the idea that at a time when women’s social, economic, educational and political power are in ascent (even if some of those rights may be in jeopardy), when #MeToo has made progress against harassment and assault, there has been the popularization of a sex act that can damage our brains, impair intellectual functioning, undermine mental health, even kill us. Nonfatal strangulation, one of the most significant indicators that a man will murder his female partner (strangulation is also one of the most common methods used for doing so), has somehow been eroticized and made consensual, at least consensual enough. Yet, the outcomes are largely the same: Women’s brains and bodies don’t distinguish whether they are being harmed out of hate or out of love.

By now I’m guessing that parents are curled under their chairs in a fetal position. Or perhaps thinking, “No, not my kid!” (see: title of Dr. Herbenick’s book above, which, by the way, contains an entire chapter on how to talk to your teen about “rough sex”).

I get it. It’s scary stuff. Dr. Herbenick is worried; I am, too. And we are hardly some anti-sex, wait-till-marriage crusaders. But I don’t think our only option is to wring our hands over what young people are doing.

Parents should take a beat and consider how they might give their children relevant information in a way that they can hear it. Maybe reiterate that they want them to have a pleasurable sex life — you have already said that, right? — and also want them to be safe. Tell them that misinformation about certain practices, including choking, is rampant, that in reality it has grave health consequences. Plus, whether or not a partner initially requested it, if things go wrong, you’re generally criminally on the hook.

Dr. Herbenick suggests reminding them that there are other, lower-risk ways to be exploratory or adventurous if that is what they are after, but it would be wisest to delay any “rough sex” until they are older and more skilled at communicating. She offers language when negotiating with a new partner, such as, “By the way, I’m not comfortable with” — choking, or other escalating behaviors such as name-calling, spitting and genital slapping — “so please don’t do it/don’t ask me to do it to you.” They could also add what they are into and want to do together.

I’d like to point high school health teachers to evidence-based porn literacy curricula, but I realize that incorporating such lessons into their classrooms could cost them their jobs. Shafia Zaloom, a lecturer at the Harvard Graduate School of Education, recommends, if that’s the case, grounding discussions in mainstream and social media. There are plenty of opportunities. “You can use it to deconstruct gender norms, power dynamics in relationships, ‘performative’ trends that don’t represent most people’s healthy behaviors,” she said, “especially depictions of people putting pressure on someone’s neck or chest.”

I also know that pediatricians, like other adults, struggle when talking to adolescents about sex (the typical conversation, if it happens, lasts 40 seconds). Then again, they already caution younger children to use a helmet when they ride a bike (because heads and necks are delicate!); they can mention that teens might hear about things people do in sexual situations, including choking, then explain the impact on brain health and why such behavior is best avoided. They should emphasize that if, for any reason — a fall, a sports mishap or anything else — a young person develops symptoms of head trauma, they should come in immediately, no judgment, for help in healing.

The role and responsibility of the entertainment industry is a tangled knot: Media reflects behavior but also drives it, either expanding possibilities or increasing risks. There is precedent for accountability. The European Union now requires age verification on the world’s largest porn sites (in ways that preserve user privacy, whatever that means on the internet); that discussion, unsurprisingly, had been politicized here. Social media platforms have already been pushed to ban content promoting eating disorders, self-harm and suicide — they should likewise be pressured to ban content promoting choking. Traditional formats can stop glamorizing strangulation, making light of it, spreading false information, using it to signal female characters’ complexity or sexual awakening. Young people’s sexual scripts are shaped by what they watch, scroll by and listen to — unprecedentedly so. They deserve, and desperately need, models of interactions that are respectful, communicative, mutual and, at the very least, safe.

Peggy Orenstein is the author of “Boys & Sex: Young Men on Hookups, Love, Porn, Consent and Navigating the New Masculinity” and “Girls & Sex: Navigating the Complicated New Landscape.”

[sokkastyles]

As the eldest daughter in my family, I've always kind of related to Katara in some ways. I wasn't parentified like she was, but whenever I saw her trying to keep things together for the Gaang in the show or whenever I see her being the emotional anchor for the Gaang in a way, I could really relate to that, especially because Katara is sort of always expected to be that person for everyone and she never really gets a break from it. I'm nowhere near as incredible as Katara is, but I have experienced being the person who was always expected to be kind and forgiving, always willing to compromise and understand, and never really being allowed to be mean or angry or even make mistakes in the same ways that some of my other family members were allowed to do. I've heard my family members say things like "that's just what that person is like, that's just what their personality is like, nothing you can do about it." It still frustrates me to hear that, because it often feels like I've never been given that same margin of error. I'm not an ideal older sister or daughter by any means and I've definitely made mistakes. I'm sure there must be other girls and women who can relate to this too. And I think one of the main reasons Zutara has always been, and still is, appealing to me is because Zuko sees Katara for who she is, the good parts and the less than perfect parts, and he doesn't ever make her feel guilty about any of it. He takes her seriously, gives her a lot of care and emotional support, and is very good at meeting her where she is and trying to understand her rather than dismissing the parts of her personality that he doesn't understand or are more complicated. That's the type of emotional support I would like from a partner one day, and I wish Katara and Zuko had ended up together for that reason too.

Tbh, when people (usually KA shippers) talk about Katara getting to be a child with Aang, they talk about in based on the idea that what she needs is to be like Aang. They want her to be carefree and do cute things like penguin sled. And even though Katara enjoys doing those things, when she penguin sleds with Aang, she doesn't actually experience herself as a kid again. Her reaction is "I haven't done this since I was a kid," and Aang points out that she talks as if she isn't still a kid, because she doesn't feel like one, and going penguin sledding doesn't magically transform her. If anything, that scene emphasizes how much Katara does not consider herself a kid. Which doesn't mean she isn't one, but Katara's attitude towards penguin sledding highlights her parentification, not reverses it.

When Katara acts like a kid, she often acts in ways that get her hated by the fandom. In what scenes does Katara actually get to experience being a kid again, I ask you?

Katara's inner child is not happy-go-lucky like Aang. Katara's inner child is selfish and full of anger and grief and fear. And validating that child is just as important as Katara getting the opportunity to play. I just find it interesting that certain people scream about letting Katara be a kid when she's doing the things that Aang wants her to do, and yet one of the episodes that show Katara the most in touch with the child she is is an episode where she gets accused of acting in a way that is not herself or too adult or too dark.

Katara avenging her mother and confronting the man who murdered her is an acknowledgement of Katara's stolen childhood and one of the most clear expressions she has of taking it back, literally reclaiming her identity. And she doesn't do it in a way that's innocent or kind or cute or wholesome or acceptably feminine, but it still comes from a need to be the child she is.

And Zuko is the one who makes that happen for her, and who doesn't tell her what the mature or proper way to do it is.

I read a quote recently from a review of the remake of Carrie that instantly made me think of Katara, and I feel like it's relevant both in the ways we talk about Katara as a heroic character and as a parentified child.

Whether she’s volunteering to take her sister’s place in the arena or grooming her son to lead the resistance; gunning down the gangsters who sell drugs to the kids in her neighborhood or swinging swords to avenge her daughter, the “strong female character” is often stirred by a maternal concern, a quintessential desire to preserve her community, to protect the weak and vulnerable. Her bad-assery must be in the service of a greater good. Even when she’s more ethically complex (like the Bride, who begrudgingly admits that all the people she killed to get to her daughter, “felt good”), she never takes a place at the table of Walter White’s grand epiphany: “I did it for me.”

- Laura Bogart, The Trouble With Carrie: Strong Female Characters and Onscreen Violence

Katara's actions in the Southern Raiders are one of the best expressions of her being a child because she does it for herself. She does it BECAUSE she is a child and she was hurt. When Katara is penguin sledding because Aang asked her to, it never approaches the point where she's doing it for herself or letting go of the idea that she isn't a kid like the others around her. It's only when she's confronting Yon Rah that she's acting not as her mother's replacement, but as the child who was left behind. The child who, like Carrie, needed the adults around her to protect her.

Of course, Katara's actions are nowhere near as extreme as Carrie's, but both stories tap into something intrinsic about girlhood and the desire for validation in a world that adultifies girls but at the same time tries to keep them infantalized.

[a-star-that-burns-brightly]

CH2-13 Thoughts + CH2-14 Predictions

Hello DRDT Fandom! CH2-13 came out about four or so days ago as I'm posting this, and I finally mustered up the energy and mental strength to write down my overall thoughts, and also general predictions for what I think is to come in the next episode. A lot happened in this episode and we have a lot to cover, so let's get started! Before we do though, I think I should give us a reminder of where we currently are in terms of the swear chart and the bingo card, as of CH2-12 Swear Statistics

Bingo Card

Just like the last post, I'll be separating my talking points into character categories, so let's jump straight in with the big man himself...

Levi

Quick Disclaimer: I myself am still trying to unlearn the mindset that having low or no empathy is in any way a moral failing. If I say anything wrong or rude, please politely correct me. Remember kids: Your feelings, thoughts, and emotions, what you feel and how you feel them if you do at all, do not have any moral weight, they are simply aspects of your brain and you cannot control your brain. The only thing that has moral weight is your actions.

So as we learned in the previous episode, Levi has the murderer secret! And as we learn in this episode, he apparently killed four people, one of which being his father. DRDT continues to take Danganronpa's standard tropes and incorporating them in unique ways, in this case Levi represents the trope of the Chapter 2 Serial Killer reveal (Genocide Jack, Peko, Maki). I love that DRDT keeps doing this and I hope it keeps it up You know what else is staying consistent, though?

(x) Levi: That incident happened when I was in my junior year of high school. Levi: My junior year was also the year that Hope's Peak scouted me as the Ultimate Personal Stylist. Levi: To my understanding, it would've reflected poorly on Hope's Peak to recruit a murderer, so they pressured the court into not pressing charges.

US-HPA being morally corrupt as all fuck, that's what! Like no, seriously, it makes more and more sense as for why Xander David and Mai were most likely forming a revolution against this damn place, cause wow. The choice to scout out Levi during his Junior Year, when he was still in high school, is...interesting. Given that this Hope's Peak takes in College-aged students, why not just wait until Levi has graduated high school? In fact, that probably would've been even better because by then Levi definitely would've perfected his skills in styling by then, and thus would further justify him being enrolled in the academy. We don't know whether or not Levi was scouted before or after his incident, but given how Levi explains the events, I'm willing to bet this was after. Which...makes thing especially strange. But I'm sure it's no big deal. I mean, it's not like we have any evidence of US-HPA preying on vulnerable childre--

(x) Min: The Ultimate Contest for Eminent Students was made for a very specific target audience. Min: Those children who had no talents, who would consider spending their entire lives preparing for one single test for even a chance to become an Ultimate...

Oh. Well isn't that funny, huh?

Part of Hope's Peak's branding in general is the promise of a better future, which is something that Levi clearly wants. So I can most definitely see why the idea of being enrolled in the academy appealed to him. Levi being a delinquent in his teenage years definitely tracks, given how we know that his family was full of bad influences (including himself more than likely). And I am absolutely not surprised that Levi ended up killing his father. I think a lot of us theorized for a while that the person he killed was linked to his family.

I'd absolutely adore to learn more about Levi's family situation and what exactly their relationship with each other was, because "We were bad influences on each other" can mean a lot of things. Given the fact that not even the police cared about the death of Levi's father, I'd be pretty willing to believe that Mr. Fontana is a wanted man who has done a lot of criminal harm to others. That might even be where Levi formed the mindset that people are defined by their actions. Maybe, that's my best guess and it doesn't even include his mother and brothers, lmao. Anyway, that's enough of Murder, Corruption, and Daddy Issues. Let's talk about the other thing that was revealed about Levi this episode, or more-so put into words. His low, if zero empathy. Firstly, those who are headcannoning Levi is ASPD, I see you and I love you. So much. But I would be lying if I didn't admit that my first thought upon watching this scene was "Levi is so Autismcoded" lmao But in all seriousness, I absolutely adore this side of his character. In general something I've always loved about Levi is the fact that he, to put it bluntly, does not know how to act. He's constantly seeing what others do and copying them, and asking them for guidance when he doesn't know what to do. His first appearance shows him using Xander and Teruko's appearances to wager what kind of person they are, which is more than likely how he got into styling in the first place. He's basically masking and trying to appear as what he views as normal because he's aware that his lack of empathy is not something most humans possess. And his actions reflect that of what he thinks a good person would do in these scenarios, whether that be your friends not inviting you to an event, or someone profusely bleeding from their neck. To put it in simple terms: He's masking. I love that. It really reminds me of the experiences had by my neurodivergent friends, and even though Levi is not canonically neurodivergent, the fact that so many people headcannon him with ASPD or Autism really goes to show how DT-Dev nailed that kind of experience, and how well they wrote Levi's low empathy in general. Well-done, DT-Dev :D ...Also I think it's safe to say that Accomplice!Levi is not happening. Damn it, I really liked that theory lmao.

Ace

[not even three minutes later]

...See, this is why I always believed Ace was telling the truth about David and Arei's conversation, because wow this man is competing with the former in the Shitty Liar Olympics.

If Ace's sense of security around Levi wasn't already shattered, it sure as hell is now. Which is very upsetting to see, but also very entertaining to me as an aficionado of toxic yaoi. I was never really an Acevi girl, it was just never something I was attracted to (probably because for a majority of CH2 Part 1's airing I really didn't like Ace lmao), but this combined with the Other Thing I'll talk about later has definitely sold me on it. I hope they get worse.

I can't remember what post it was, but I remember seeing someone talk about Ace very much projecting a friendship onto Levi that was never really there between them, and looking back, I absolutely agree. I mean, where the two of them really friends? I do think that Levi does, or did, genuinely like Ace. I don't think he would've been hanging around him in Chapter 1 if he didn't. But it was simply just that, he liked Ace. Ace loved Levi, and saw him as his lifeboat in the midst of this scary unfamiliar situation. Even if everyone else either was annoyed by or straight-up disliked Ace, even if he could die at any moment, he could still rely on Levi as a presence of safety and security, but that all came crumbling down.

ace can you please change your sprite

The fact that Ace, the man famous for jumping to conclusions, not thinking anything through or in depth, and switching his opinions on others on a dime, is even asking for Levi's defense at all, is proof enough to me that even after everything Ace still wanted to cling onto the fantasy of their friendship he had built up in his mind. But upon hearing that Levi never cared about what happened to him, he can no longer do so. ...And why do I think Ace got attached to Levi so quickly?

(x) Ace: I was totally right all along to burn our friendship--No, I can't even call it it "Friendship." Ace: There's only one person in my whole life who I've ever been able to call my friend. That I ever thought, even for just a short time, that you and I were "friends" is an insult to his memory.

Yeah it's time to talk about this.

So for those who are not in the know, DT-Dev confirmed in a now-deleted ask that this friend of Ace's is named Taylor Riley.

(thank you to @/nicohakobyan / weightedblankett on twitter for providing this screenshot)

We know very little about this man other than his name, his gender, the fact that he was Ace's friend, and that he's dead. We don't actually know that fourth one, but I think "insult to his memory" speaks for itself lmao. As such, we do not know the details of his relationship with Ace... But I've made more out of less before, so let's get to talking. Here's what I think:

I think that Taylor was a presence in Ace's life much similar to how Levi was to him in Chapter 1: A strong protective figure that helped to make the scared-of-everything Ace feel a sense of safety. And then some form of incident happened that resulted in Taylor's death, leaving Ace alone, heartbroken, bitter, and terrified. That sense of security he once had was ripped away from him, and without Taylor, he doesn't know what to do with himself anymore.

And then in the killing game, he meets Levi, who provides him with a similar feeling of safety. Immediately he begins to project the memory of Taylor onto Levi and as such becomes attached, quickly considering Levi a friend because of it. And I'm not entirely pulling this idea that Ace was projecting Taylor onto Levi out of my ass, either.

Ace: dark blue/purple (reasoning: refuses to provide reasoning)

When we first got this answer, most people assumed this was referring to Levi, but I honestly think it is more likely that this is referring to Taylor. But those colors are still part of Levi's design, which automatically sets up a parallel between both Levi and Taylor Ace projected his relationship and the memory of Taylor onto a man he barely knew, and when that man lost his patience with him, his fantasy was swiftly kicked with the steel-toed shoe of reality. Hell, Ace's reaction after Levi snapped at him may had been due to his illusion of safety crumbling beneath him, but going down the road of this theory, Levi snapping at him might've been the first time Ace truly saw Levi and not Taylor. He had been giving this man a script and a role to play, and Levi responded by tearing up the paper and telling him to fuck off. In a sense, you could say that in that moment, Ace lost Taylor a second time.

Since I don't think Ace is going to be the killer as he was knocked out and thus did not have any knowledge of the murder mechanism (at least not including the theory that he tried to kill himself, which... Is a possibility, but I don't think that's the case). And if he does live past his chapter, I honestly think Chapter 3 will mark his breaking point. Any fantasy of Levi that he was clinging onto with his pinky has now shattered into pieces ten times over, the person who tried to kill him is still alive and for all he knows, could do it again whenever the hell they want to and people will take their side over his own. Next to no one in the cast likes him and they make that explicitly clear, and worse of all, he will still be trapped in this godforsaken...whatever facility this place is meant to be. So to cap off this section that got way too long, Ace Trauma Dump is on my Chapter 3 bingo card, and if we get to see Taylor and his design includes dark blue and purple I will actually become spaghettified. Please survive Ace, you are finally starting to become not C-Tier

Hu and Veronika

Lumping these two together because I have about the same amount to say about both of them and their secrets were revealed together. Hu's secret is the Hopeless Child one, and Veronika's is the Self Harm one. I think after CH2 Part 1 most of us predicted as such, but it's still very satisfying to be right. What I'm more interested is this supposed pact that they made off-screen. I have to assume that Veronika went to Hu pretty quickly to reveal her secret to her given her general disinterest in topics of suicide and self harm. So I'd wager this pact was probably made at around CH2-5. Not that that really tells us much about the actual conversation, but it's nice to have a time-frame for reference.

I don't expect the actual conversation to be shown because from what we currently have it doesn't really add much of anything, but it would definitely be cool.

(x) Hu: I've been quite selfish this whole time, keeping my secret because I didn't want you all to think less of me...

I've said this before in this post, but I absolutely believe that David eventually coaxed and pressured Hu into revealing her secret to him, as well as why she kept it for so long. And I also think David implanted, or I guess more accurately watered the seed in Hu's head that she was inherently selfish for not sharing her secret. That, I think we would benefit from a flashback, but maybe I'm just biased because I desperately want Hu lore. Please DT-Dev, I'm on my knees Hmm... what else?

(x) Veronika: After all, my own so-called secret isn't even the worst thing I've done. Isn't that so utterly disappointing for this motive?

Oh yeah there's that. What the fuck, Veronika? Like, I feel like this is something I should've expected this, but for some reason I didn't. I'll be honest here, I really have nothing right now. But whatever Veronika is referring to here, I feel like it has something to do with her 'dearest friend' mentioned in the CH2 Q&A (who's name is Alyssa Belyaeva.) What Veronika actually did? I do not have the slightest clue, you can never know with this girl. But no matter what she did, I will probably love her even more for it. Glad that DT-Dev seems to agree with the precedence of supporting women's wrongs.

Teruko

...So I'm glad to see we're all in agreement that that is not her fucking secret. I mean, I'm sure it applies to her. She is an orphan, her parents are out of the picture, and though we don't know the whereabouts of her brother and neither does she, she most likely assumes he's dead as well. But honestly, given the fact that again this is not her fucking secret, I'm starting to wonder if that's really the case... Can Teacher Tawaki theory still live on? I'll save that for another post.

Anyway what was I talking about? Oh yeah, that is not her fucking secret.

And this little bitch knows that for a fact.

I won't go too deep into this because there have already been people discussing it better than I could, but this silent agreement the two of them have to not share Teruko's true secret is so palpable and interesting to me. David knows that Teruko's secret isn't that, but for whatever reason, he is keeping his mouth shut. And he just gives Teruko that shit-eating smirk. Have I ever mentioned how much I love Teruvid? I fucking love Teruvid. But yeah, I still think 100% that Teruko's secret is that the killing game is all her fault. It just does not make sense for Xander and Min's secrets to belong to anyone other than each other as they are dead. And in general it just makes sense for Teruko's character and her role in the story. And I can't help but feel like Teruko's actual secret will be revealed at the end of the Chapter.

Eden

... I mean. Do I really need to say more? I swear I made this exact joke in the previous thoughts post, but I can't help it. It applies perfectly to this CG. When this CG, this fucking JUMPSCARE of a CG, popped up on my screen, I'm pretty sure I ran around in a circle screaming in my room for a total of ten minutes. The first of two times I would do that during this masterfully crafted scene. I want to think of some kind of insightful analysis, but the truth is basically in your face. Eden was the one who gouged out Xander's eye. Why did she do it? Where does this fit into the overall lore? I DON'T FUCKING KNOW What the fuck am I supposed to say? This CG is basically all we have, and we'll definitely have to wait for more information. Especially since Eden is totally the culprit, but we'll get to that in the predictions section. (yeah if you can't tell my writing juice is starting to run out, but if I get this out any later than today I will kill myself)

David

(...for a scumbag, he's kinda cute.) So first of all, David is slowly becoming the funniest character in the cast in my opinion, which is a huge achievement in a cast full of very funny characters. And in general I think as a character he perfectly captures DRDT's general tone of half-and-half both silliness and angst, like yin and yang. Secondly though, the big thing that David did in this chapter (besides keeping Teruko's secret and being funny) is lying to Eden about the rest of the conversation he had with Arei. Ultimately, I think David himself saw that action as a good deed.

Think of it from his perspective: This is a man who has had hope and change presented to him on a silver platter multiple times, and then had it violently ripped away from him. And the most recent example of that, Arei, presented him with a better future and the possibility of change only to be killed upon trying to act on said change. If he told Eden that Arei still had hope, that she still wanted to change, it would aspire Eden with that same hope that in his eyes is destined to crash down on her. So instead of inflicting that same pain onto her, he instead chose to say nothing at all Maybe I'm giving David too much credit, what he did was still at the end of the day, incredibly dickish. But that interpretation is what makes the most sense to me personally. That's all I really have to say in regards to David... So, let's move onto what was, in my opinion, the star of this week's episode.

Arei

Arei Nageishi.... Ohhhh save me Arei Nageishi.... Arei was already one of my favorite characters in the cast due to her personality, design, voice acting, and most of all the character development she had throughout the course of Chapter 2. But this episode, this scene... It cemented her a well-earned spot in my top four, sitting only behind Whit, Teruko, and David.

The flashback scene of Arei and David in this episode is honestly up there with some of the best scenes in the whole show to me, almost solely because of how it caps off Arei as a character postmortem, and the story that she, along with Chapter 2 as a whole, is meant to tell. This whole chapter has been themed around the idea of what classifies a good person, and this flashback scene provides such a great payoff to that theme and it is everything I could've ever wished for. The message I got from Arei's story is that, ultimately, the idea of a "Good Person" and a "Bad Person" are nothing more than just that. Ideas. And in being ideas, they are above anything else, arbitrary, subjective, and at the end of the day, incredibly meaningless when it comes to discussing actual human beings. Insistence on categorizing yourself and the people around you into boxes of "pure saint that can do no wrong" and "irredeemable demon who will burn in the pits of hell" is a fast track to viewing a complicated, colorful world into a few shades of black and white. That's how David views the world, and has viewed the world probably for years. And I'm going to be honest and say that I think before being confronted with the truth of David's actions, Arei was heading right down the same path that he had headed.

(x) Arei: Of course I wanted to change myself. Who wants to be a grab-bag of negative personality traits? There's not even anything positive you could say about me. Arei: Still, for the longest time, I thought it was stupid to even try. I'm rotten to the core, and I might as well be a different species from saints like Eden and you. Arei: A pig never hopes to grow up into a human, because it knows that such a metamorphosis is impossible.

And this is the line that really, really makes me think that. She calls David and Eden saints because (up until this moment) she viewed both of them as the ideal of what makes a good person, similar to how David views Xander. And on the contrast, claims herself to be rotten to the core, ontologically evil with no redemption in sight. She's even performing David's habit of self-dehumanization, likening herself to a pig in the same way David likens himself to a cat in the LGI video, which goes to show how this mindset of black-and-white is, above all else, a dehumanizing view on the human race that relegates people into cardboard boxes with the flaps taped shut. If she didn't find out the truth of David's actions, I am confident that she would've done down the same path that he did, becoming convinced that she will be a terrible person until the day she dies because she cannot reach this worthless standard of a good person that she has set up in her head. But we know that's not how it goes. Arei does realize that the man she once thought of as a saint might be, in his words, a lying manipulative scumbaggy piece of shit. And upon realizing that, the second half of the message unlocks itself. There is no such thing as irredeemability.

Change is a part of being human. Humans are not built to run in a hamster wheel for the rest of their days, reliving their mistakes over and over again wallowing in their self-hatred and guilt. Eventually, they have to get off the wheel and start taking the steps necessary to grow, change, develop and flourish to properly better themselves. (This applies to yourself just as much as it applies to the worst, most depraved individual you know by the way) The alternative is living in a four-by-four black box of self-loathing and relentless stagnancy, which is not productive for the person or the people they've hurt. It is only when you reject these black-and-white categories of "Good Person" and "Bad Person" and accept that no matter what you've done, you're capable of becoming better, that you can achieve true growth and change. The way this message was executed, especially through a character that dies before the halfway point of the story, is something that I marvel at as an aspiring storyteller. DRDT's beating heart will always be its character writing, and this scene is one of the primary examples of that. Thank you, DT-Dev, for making Arei Nageishi and the rest of your amazing cast of characters. :D

Extra Thoughts !!! - FURUYA FANDOM (me) THE TRACK PLAYED LETS FUCKING GOOOOOO!!! - I am very excited to find out more about Nico's attempted murder given all of the questions surrounding it. If the method of murder really was replicated, and Nico wasn't the culprit themself, you guys should take a wild guess who that implicates. (this is probably obvious by this point, but I really don't believe in the theories that suggest that someone other than Nico was responsible for Ace's attempted demise, be it Hu or Ace himself. I feel like it doesn't line up with the current narrative direction that Nico seems to be going in, the physical evidence of them stealing the turpentine, and...I'm gonna be honest, I just don't like it lmao. I'm sure DT-Dev would do it well, but just as a premise I do not favor it. Nico's attempted murder + subsequent regret from it felt like such a big moment in the chapter's narrative in relation to the themes of All That Glitters and the cast revealing sides to themself that weren't as prevalent before, as well as the themes of change and moving on from the past littered all throughout the chapter. I think if Nico's attempted murder was responsible by anyone but Nico, it would just dampen the impact of their overall story for me. That's just me though.) - WE FINALLY GOT ANOTHER NONSTOP DEBATE LETS GO BOYS!!! Nonstop debates I MISSED you - "Hey why does Whit know so much about hangi--" Look. This man is so unbelievably suspicious in every single way that for the sake of my sanity, I'm just gonna assume DT-Dev chose a random character to give the hanging explanation. It is the only way I will survive this chapter - But hey, at least we got this

- As always, I adore the new sprites we got this episode, especially Ace's new ones. It's probably the first sprite of his that actually appears emotionally vulnerable when he's not bleeding profusely from the neck. And of course, I loved David's shit-eating grin towards Teruko, I hope he never changes. - Speaking of Teruko, us getting Tutor Teruko was lovely. She is perfect, she is a little bit of everything all of the time.

(x) Whit: If you're so inclined to complain, Sir Light Pollution, why don't you try and think of some good evidence? Charles: Light pollution? Whit: You know… Cuz he had stars, and now he doesn't, and light pollution makes stars disappear… or… or… something….. Charles: I am truly impressed…by how bad that was.

- I love these dorks so much. I can tell DT-Dev has a lot of fun writing them.

- Teronika Consent animation! I guess after Acevi's Soap Opera, DT-Dev decided to feed the yuri crowd as well. Love it when we get to see those little sprite animations, too.

Predictions for CH2-14 - The episode is 40 minutes long, the longest episode we have had so far. (40 minutes of DRDT content... I'm excited just thinking about it!) Because of that, I think I will just start with my biggest prediction: I think we're getting the culprit reveal this chapter. I don't think that just because of the length either. When you really look at it, we have basically used every piece of evidence at least once with the exception of three: - The conditions of the gym (which I assume will be discussed next) - The scuffs on the ground - The ball of starchy clothes All three of those pieces of evidence I think can definitely be cleared up in the span of 40 minutes, especially since full focus is now on the murder case. I don't necessarily think the trial will end in this episode, but I think we have at least one more trial episode to go before the post-trial + execution + ending of the chapter. - And as the culprit reveal is approaching, I have formulated a tier list of who I think is least - most likely to be Arei's culprit. I will provide my reasoning for each.

No. 17/16 - Xander Matthews + Min Jeung I mean, what it says on the tin. They're dead, and thus couldn't had committed the murder. No. 15/14 - MonoTV + Arei Nageishi There are explicit rules against them being the culprit. Rule 8 and Rule 11 in particular. No. 13 - Teruko Tawaki She is the protagonist. Didn't stop Kaede, but I highly doubt that's where DT-Dev is going. No. 12 - David Chiem Other than the previous five who I've all disqualified from being the culprit, David is probably the character I suspect the least. He has an alibi for the time of the murder, getting breakfast with J and Veronika, and thematically...well, he's basically being set up as the antagonist. I don't think we'll be rid of him this early lmao. No. 11 - Charles Cuevas Charles has a fear of blood and dead bodies, and though I wouldn't say that completely disqualifies him from becoming a culprit in the future, in a case like this with such a complicated mechanism like this where he'd have to be in very close proximity with the body at all times? I highly doubt it. He also has an alibi for the fish (He was with Whit). No. 10 - J Rosales J both has an alibi for the fish (Arturo following her around), and an alibi for the morning (getting breakfast with David and Veronika), and both of those alibis can be confirmed. I don't think she did this. No. 9 - Veronika Grebenshchikova I'll be honest, I really don't see Veronika committing a murder at all. She clearly wants to see this through to the end, and killing someone would come with the risk of her being executed, which I don't think she would see as a satisfying conclusion to her story. That, combined with the fact that she has an alibi for the fish (bothering Teruko) and an alibi for the murder (getting breakfast with David and J) makes me think she didn't do this. No. 8 - Nico Hakobyan You might think it's weird to place Nico this low on the overall tier-list despite them not having an alibi for the fishes, and their morning alibi being...somewhat flimsy but I'll get to that with Hu, but here's my logic. Nico was driven to attempt murder from very specific circumstances. That being, Ace's relentless bullying and abuse towards them. Nico has said before that they'd understand murder if the perpetrator didn't like the victim, and while I don't think they exactly liked Arei, I do not think they harbor the same animosity towards her as they did towards Ace. I truly believe that Nico would only ever resort to murder if they truly despised the person in question and saw no other solution. So that is why I feel comfortable placing Nico at eighth. No. 7 - Hu Jing Hu is also another character that I think some will be surprised to see so low, but I don't think this was her doing. She has an alibi for the fish (cleaning up with Eden), and though again her alibi in the morning is very flimsy (having tea with Nico in the morning,) I do believe she is telling the truth because if she was lying about her alibi, I think the brutally blunt Nico would call her out for it. I'm sorry, I just simply cannot imagine Nico letting that shit slide regardless of how many theories I read. Not to mention I can't really think of a motive for why she would kill Arei specifically when, if she really did want to kill someone, Ace is right there. No. 6 - Whit Young Whit is supremely fucking suspicious and a lot of his behavior in the trial is literal shenanigans, even more so given the fact that he doesn't have an alibi for the actual murder. But he does have an alibi for the fish (again, he was with Charles) which is the main sticking point of Whit!Culprit. His other sticking point is his lack of motive, both in terms of the secrets and Arei specifically. I don't know like- just look at this man, do you think he did this? /joke

No. 5 - Levi Fontana The number one suspect in the fandom for a while, and he's only at number five. He ultimately lacks an alibi for the morning, and his alibi for the fish was that he was doing his laundry... With no one else around. Shady as fuck. But I think given his principles discussed in this episode ("it is a good thing to make sure someone else doesn't die"), and the genuine desire to be helpful he has expressed throughout this trial, I think him being the culprit is unlikely. That's why I was adamant on him being an accomplice for a while because I still thought he had some role in the case, but oh well. No. 4 - Rose Lacroix I'll be honest, Rose is only this high because her alibi situation is worse than Whit's and Levi's combined. Both of her alibis are that she was sleeping in her room, which cannot be proven and can be very easily lied about. But other than that, I don't think she is the culprit. I think this case requires too many physical maneuvers for someone as lethargic as Rose to pull off successfully, and if she were the culprit I don't think she'd bring attention to the missing grippy tape at all. No. 3 - Arturo Giles Arturo does have an alibi for the fish (following J), but does not have an alibi for the morning. Unlike basically every other character here, something else that puts Arturo above them is that he was capable of overhearing Eden and Arei's conversation and forging the note. But there is also a discrepancy present that is also present with every character here, and that is the fact that Arturo did not witness Nico's attempted murder or the condition of Ace's body and the gym, so there was no way he could've replicated the murder method used for Ace on Arei. So though logistically he is a more likely possibility, I don't think it was him. No. 2 - Ace Markey Ace, to me anyway, is the second most likely candidate to being Arei's killer. He does not have an alibi for the fish and could've very easily grabbed them after David and Arei left the Relaxation Room, and he doesn't have an alibi for the morning either. He has a very clear motivation for taking a chance at killing someone, of "someone literally sliced my neck open not two days ago and I know I am not safe here I need to get the fuck out." If you choose to factor in strength, Ace is one of the strongest members of the cast and would be more than capable of the physical maneuvers made to kill Arei. Though I personally don't believe in this theory, if you think Ace attempted suicide instead of Nico trying to kill him, he has the murder method down lock too because he tried to commit it onto himself. He has been shown to be nosy, so it is not improbable that he listened in on Arei and Eden's conversation. And lastly, he is one of the only two suspects who was capable of stealing the grippy tape that was used in the murder. All of the evidence is practically stacked against him... But there are a couple of problems. One, if you believe that Nico did try to kill Ace, than the point about Ace knowing the exact method of death goes out the window. He was knocked out by the turpentine, and woke up in extreme pain in a blinding fury of rage and bloodlust, I don't think his surroundings would be the first thing on his mind. But a much bigger issue we have is the question of... Why would Ace take the tape? Following this theory, his murder plan wouldn't had started until the day after Nico's attempt on his life, it would make no sense for him to take the tape then. These two sticking points are why, though a likely candidate, I do not think Ace is the culprit. That award of main suspect goes to...

No. 1 - Eden Tobisa Yeah, if you've spent any time on this account you probably know I'm an Eden!Culprit truther. There are many well-written posts about this theory that I'm sure you've seen so I'll try to keep this short, but though the theory does have a few flaws to it, the big one being Eden's alibi for the fish that she was cleaning up with Hu, I think Eden being the culprit makes the most sense from an evidence, thematic, and motive standpoint. I know some people have dropped the theory upon the fork reveal, but DRDT is not unbeknownst to killing off characters with certain mysteries left unanswered. That is basically all for my predictions related to the culprit, but I still have some predictions for the overall episode. - Nico's gonna get placed in the hot-seat, obviously, which will definitely cause a reaction out of both Hu and Ace. And I honestly feel like the two of them are going to keep interrupting Nico until they eventually snap. And I hope that happens honestly because unless you count the "I'll kill you" line, we have yet to see or hear Nico when they're actually angry angry. Nico obviously doesn't like conflict, but they might have to get over that if they actually want to defend themself knowing the other two. - I'm still holding out hope we'll get a Random Guess segment lmao - And lastly: I need Whit to break the forth wall at least once I didn't put that on the bingo card for fucking NOTHING

Conclusion I'm gonna be completely honest, I do not have the energy to write anymore and I just want this out lmao. But overall, this was one of my favorite episodes in the whole series. I loved the Levi and Ace stuff, I like that we now have all the secrets, and like I said, the scene with Arei is probably one of my favorite scenes in the show. CH2-14 is going to be a wild ride I can already tell, and if we do find out who the killer is, you will see me screaming. Regardless of if it's Eden lmao.

UPDATED SWEAR STATISTICS CH2-13

UPDATED BINGO CARD

[pluckyredhead]

hi! i'm new to comics and i got in through reading your fics and wayne family adventures. i've since started reading more of the mainstream verse and i realized that most comic fans consider wfa to be totally fanon. you're one of the few i saw that disagrees. would you mind elaborating a lil on why? i'm too new to really form an opinion either way but i'd like to know your's!

(also yes i really did stalk your blog back years worth of posts i'm sorry! 😭😭)

Aw I love this! Welcome!

So I think it's really important to be clear on definitions here:

Canon means it's part of an official text. It's literally in a comic (or book or movie or other property) published or licensed by DC.

Fanon means it's made up by fans. That doesn't mean bad or good, it just means that it comes from fandom and is not part of the official text.

Wayne Family Adventures is an official licensed comic by DC, so by definition, it cannot be fanon. That doesn't mean everyone has to like it, but it's not a fan comic. It's an official DC product. It's not fanon.

Now, WFA isn't part of the main DCU canon. It takes place in a separate universe. The Jason in Batman #138 and the Jason in WFA are not the same and they are having very different experiences. (And I'm sure the Jason in WFA would be grateful if he knew.)

But that's no different than a comic that takes place in an alternate universe, like Dark Knights of Steel or DCeased, or a movie like Blue Beetle or a show like My Adventures with Superman. They all take place in their own universes, but all of those universes are canon. None of them are fanon.

What I think most people mean when they say WFA is fanon is that WFA draws on tropes and characterizations that are popular in fandom. Which...yes, absolutely. This is on purpose, and honestly, it pisses me off when people complain about it. (Not you, anon! Your question was lovely, you just triggered my unskippable cut scene of dialogue. Sorry lol.)

Wayne Family Adventures is probably the single best idea DC has had in the 20 years I've been reading comics. (The second best was the kids and YA graphic novel lines.)

I just checked, and WFA has 1.3 MILLION subscribers. That's more than every floppy comic starring Batman sells in a month, combined. It's more than literally any superhero comic has sold in decades - in this century! The combined strips have over A HUNDRED MILLION VIEWS. That is bonkerstown. That is a readership like DC hasn't seen since the 1970s. That is unparalleled success, and it's introducing characters like Kate Kane and Duke Thomas to a whole new audience.

Now, WFA was clearly designed to appeal to Batfans who were active on social media and fanfic sites like AO3 and Wattpad, and Webtoon readers. The readership of Webtoon is mostly young and female. Fandom as a whole is mostly female. The writer of WFA is female.

And maybe I'm not being fair here, but when I see people dismiss WFA as "just fanon," I always catch a whiff of "It's not a real Batman comic. It's a girl comic for girls."

I have spent the past 20 years begging DC (and Marvel, DC is not alone in this) to see women as a viable audience - as their largest potential growth audience! I have watched in dumbfounded frustration as they ignored the juggernaut success of Raina Telgemeier and Ngozi Ukazu and Alice Oseman running rings around the NY Times bestseller list and counted a 50k shipment here and there as a resounding triumph. I have literally seen them throw out survey responses from women because "those women had an agenda." (This is a true story. 2011 was rough, y'all.)

And all of a sudden, they gave us a comic actually catering to women and young people and fandom, and they put it on the most popular, current, modern platform for comics availably - and it's brilliant. It's smart and funny and stunningly drawn and every episode makes clever, inventive use of the scrolling format. They FINALLY gave us a girl comic for girls, and it's a masterpiece.

And yes, it riffs on fanon concepts. It also has its roots firmly in mainstream DCU canon. It references deep cuts. CRC Payne and StarBite know their shit. Jason Todd being a bookworm may be a fanon staple, but he does plenty of reading - including Jane Austen - in the 100% canon mainstream DCU comics.

It's not going to be for everything, because nothing is. It's completely fine if you don't like WFA. No one has to read it or enjoy it. If you're into Batman for the darkness and the crime and the ongoing plotlines and the angst, WFA won't be for you, and that's totally fine!

But to finally, finally be valued as a reader by DC, to have them do something smart and innovative and so, so well executed, and have the exact people they made it for dismiss it out of hand because Bruce has a "World's Okayest Dad" mug or whatever? Yeah, that chafes.

[whoishotteranimepolls]

You are aware that Ace and Sabo are brothers. That ship is incest. It would be best if you took it down because of how problematic that is

Warning, this turned into a rant

They are adopted/sworn brothers, so the ship is not technically incest.

If that ship bothers you, several One Piece ships should bother you in between adopted brothers or sworn brothers, but I have seen zero complaints. This includes Buggy/Shanks, those two were raised as brothers as far as we know, and Marco/Ace, who became sworn brothers. Remember, Ace joined The Whitebeard Pirates, AKA the Sons of Whitebeard. They all are sworn brothers. So let's please be coherent in your hypocrisy

Isn't this Tumblr? I can't be that old because I remember the heyday of Superwholock. The two most popular Supernatural ships were Destiel and WinCest. Remember, they were so popular that the Supernatural show even addressed this in its meta episodes. What the hell happened? And I remember the Ouran High School Host Club speech where the twins said the whole appeal behind them is when you have two attractive guys who struggle between their attraction and their friendship. Plus, because they're twins, it makes their relationship taboo so even more intriguing. So they were hyper-aware of what they were doing with their whole queerbating/twincest thing, and Tumblr ate that crap up.

It's one of those things where it's fiction, so it's not real, so it's okay because no actual person is being harmed by whatever problematic content is portrayed in whatever fictional media. I personally have zero problems with the most problematic content. But that doesn't include all problematic content. I do have lines when it comes to child characters and lollies. That's why there are rules on my blog. But I can also separate fantasy from reality, and if you can't, you probably need to talk to someone about that because that's a problem.

Again, seriously, what the hell happened to the fandom culture on Tumblr? Why are the moral purity police everywhere? I joined fandoms and Tumblr to escape the oppressive Bible thumpers that I grew up around. Why am I now encountering more oppressive moral policing online from fandom idiots than I do from the Church Karens in real life? I live in the conservative Bible Belt. Those Church Karens are everywhere and in everyone's business

Sorry for my rant. I am tired, and I'm still trying to figure out what the hell happened. I've been on Tumblr on and off since 2010, and I feel like I hardly recognize this community anymore. Now, I have been made aware of the anti-shippers/ anti-fandom movement, and I know it's not just a minor thing because this is something I have found multiple academic research papers on. I'll link a good one. But I pray it's something else cuz these are just kids who don't know better at the moment. I hope one day they will realize this behavior is the equivalent of the Boomers blaming all of the Gen Z and Millennial behaviors. They don't like on violent video games. Again, sorry for the rant

[welcometothejianghu]

Welcome to another round of W2 Tells You What You Should See, where W2 (me) tries to sell you (you) on something you should be watching. Today's choice: 莲花楼/Mysterious Lotus Casebook

Mysterious Lotus Casebook is a 2023 drama about a beautiful twunk who just wants to die of his chronic illness in peace, except that neither the dumbass purebred dog of a man who has decided they're best friends now nor the jock begging him for a rematch are going to let him go without a fight (in the latter's case, literally).

Also they ride around in a magical bamboopunk RV.

I have referred to it elsewhere as "the CW presents: Nirvana in Fire," and I stand by that assessment. (I orginally called it Tiger Beat Nirvana in Fire, before realizing that Kids These Days will not get that reference. Shout out to the other elder millennials in the audience!)

There's been a lot of English-speaking fandom buzz about this show, to the point where if you're in these circles, I'm sure you've heard about it before. I know I had by the time I started watching -- which left me largely unprepared for the actual viewing experience, because the parts of the show that fans talk about are not a representative sample of the show itself.

This drama can be a good time. It's fun to watch. It has some hilarious beats and also some emotional moments. It spent its not-huge budget very smartly, and as such is generally quite lovely to look at. As my League of Nobleman rec will attest, I appreciate raw materials, and this is a show that has some fascinating raw materials.

(Or some materials that need to get rawed, take your pick.) (Also, it's not my fault they didn't do a dramatically lit Fang Duobing shot so I could round out the trio here.)

You'll find some people out there who've gone real hard for this show, doing some deep analyses and getting really emotional over it. I don't want my gentle ribbing to give the impression that those silly fans are delusionally talking like the show's a five-star restaurant when it's really just a fast food joint. Not so! There's a reason it's captivated a whole lot of people! And in case you might be one of those, allow me to give you five reasons you should consider watching it.

1. This bitch

The main character, Li Lianhua/Li Xiangyi is probably 50% of the show's appeal all by himself. He's fascinating. He's gender. He's fashion. He's been afflicted with a substance we called "bitch poison" the whole time we were watching. He has many emotions. He cries a lot. He coughs up blood every other episode. Cheng Yi is putting his whole lianhuassy into this performance, and it shows.

I made the Nirvana in Fire comparison earlier, and I stand by it for a lot of reasons, but the truth is that he's actually much more Opposite Day Mei Changsu: Li Lianhua wants all this stuff to fuck off and leave him alone forever. He is not seeking vengeance, nor does he particularly want to Do Schemes, but Circumstances keep dragging him back into the thick of all this nonsense he thought he left behind when he (mostly) died ten years ago.

The thing is, he used to be a real dick back when he was a kid. And I mean a real dick. He was a dick to his chronically insecure adoptive older brother. He was a dick to his girlfriend with the personality of wet tissue paper. He was a dick to the handsome loser who liked his girlfriend. He was a dick to his followers. He was basically just a cocky little shithead who thought he was the best at everything -- and he actually was the best at everything, which just made it worse.

Li Xiangyi used to think everything (especially himself) was sooooo important, and now that life has massively kicked his ass, Li Lianhua had come around to the position that nothing is actually that important, so let's just all chill and grow vegetables. He doesn't want a rematch. He doesn't want to retake his rightful place as the head of anything. He just wants to pay his respects to the dead before he joins them.

Now will everybody please just stop moving into his house.

2. goof-ass jianghu nonsense (affectionate)

As I mentioned earlier, everything I'd seen about the show on Tumblr had still left me absolutely unprepared for what a silly ride it is. Because it's silly. Hoo boy, is it silly. My wife dubbed it "lace front Phoenix Wright," just to give you a metric for how silly we're talking. Ace Detective Fang Duobing never cross-examined a parrot, but I feel he came close.

This show has some serious goof-ass jianghu nonsense -- you know, the sort of stuff that's impossible and ridiculous, except everybody’s going to treat it like it's just a normal part of existence. Here's a short and certainly inexhaustive list:

mind-controlling bugs

other bugs that control the mind-controlling bugs

ex-conjoined twins

a grown-ass man who can compress himself into bitchy third-grader

grave-robbing societies with secret brag language

so much nonconsensual qi-blocking performed by poking people in the boobs, that can't be safe, everybody wear thicker shirts

magical crossdressing powers

a bad guy who looks like this

a princess who can get abducted and sex-trafficked and, like, nobody really notices? huh.

healing childhood paralysis by the power of believing in yourself

a ... hallucination pit? what was that, anyway?

so. many. mechanisms.

the equivalent of the "he's only mostly dead" business from the Princess Bride

a gradually lethal bookshelf

the strange amnesia everyone suffers from where a dude can cover maybe 30% of his face and render himself immediately unrecognizable to long-time friends and associates

The thing is: I think this goof-ass jianghu nonsense is a legitimate selling point. I found it so fun. I turned off my need for show elements to obey little things like the laws of physics, and I had a good time. It can be a very funny drama, in part because it knows how silly a lot of its shit is, and it chooses to go full speed ahead with a sincere heart. If you are down for some shounen absurdity, you are in for a treat.

However:

2.2. goof-ass jianghu nonsense (derogatory)

I'm granting myself a sub-point here, because this is an important qualifier for the previous point.

I'm going to assume, based on what I've seen from fan responses, that many of the people who really like this show actually don't like the goof-ass jianghu nonsense. They are here for the BL vibes (after all, there are three cute boys who alll have some intense emotions about one another), and therefore downplay all the parts that aren't that. I want to make it clear that this is not a bad thing to do. There are many, many properties where I myself fixate on a single element and toss the rest into the sea. No judgment here.

However, since this is a post written to convine you to watch something, I want to make it clear what you're going to get if you dive in. If you're one of those people who skips scenes and/or entire episodes when your ship of choice isn't onscreen, you're probably going to be doing that a lot here. (I mean, I can't imagine doing this, but Tumblr has taught me that fandom is a rich tapestry.) The bones are good, but the connective tissue can be questionable.

The main thing I wish I'd known before starting is that the mysteries are not the selling point. They are the celery that gets the cute boy peanut butter to your mouth. You, the viewer, absolutely cannot solve them; you're never given enough context or information to keep up with the detective lads, much less get ahead of them. Everyone does everything in the most convoluted way possible, to the point of comic absurdity. Finding out whodunnit is rarely that satisfying, because too often the culprit is Jianghu Steve, You Know, That Guy Over There With The Superpower The Characters All Know About But You'd Never Heard Of Before Thirty Seconds Ago.

The goof-ass jianghu nonsense feels like the place where the show I see fans talking about least lines up with the show that actually exists. And I think that's a shame, because I think the show that actually exists is actually a good time! It's just, you know ... silly.

3. Whenever Di Feisheng's not onscreen, all the other characters should be asking, 'Where's Di Feisheng?

This drama gets sold like it's the adventures of three guys together. (Hell, I kind of did it myself in the intro.) This is not the case. This is the tale of two guys who do most of the plot stuff near one another, and their occasional third, Di Feisheng.

This is a 40-episode series and I swear this guy's onscreen for maybe 15% of the time -- and for half of that, he's just off doing his own thing anyway. He disappears entirely for huge chunks of the series, which is a crime, because he is my absolute favorite.

He is the rare grumpy himbo. He doesn't just have resting bitchface, he has bitchface for all occasions. He somehow has bitchface even during the rare moments he actually smiles. He's got a whole traumatic backstory, but the traumatic backstory is not the reason for the bitchface. He's Just Like That.

(Important to note that the actor himself only slightly has a resting bitchface. Xiao Shunyao can look normal and indeed quite pleasant. He has simply leaned into it real hard for this grouch.)

The one -- one -- reason I can accept his being gone for so ding-dang much of the show is how often he re-emerges with perfect, hilarious timing. Thank goodness the show realizes how much comedic potential his character has, because his unexpected entrances are some of the best laugh-out-loud moments of the series. If the show had taken Di Feisheng as seriously as Di Feisheng takes himself, he would have been unbearable. As it is, he's an unmitigated delight.

While you losers were being heterosexual, he studied the blade.

He makes the perfect foil for both Fang Duobing, who's the human equivalent of a puppy trying to gnaw an elephant to death, and Li Lianhua, who just wants to be excused from this narrative. Di Feisheng and Fang Duobing are basically two dogs fighting over their favorite toy, and their favorite toy is Li Lianhua, who really wishes he weren't. Some of the most compelling and fun moments of the series are when these three losers are all together.

And these three losers are barely all together.

This show is Not Danmei. It's so Not Danmei that I had a tremendously difficult time while making this post finding either official images or screencaps with even two of them in frame at the same time, much less all three. It is, however, a Danmei Starter Kit. I mean, the tag on AO3 has, at present, 742 works in it (283 in English). That's just since July! There are years-old c-drama shows that have a fraction of that fan output! And I'm willing to bet a big reason why is how little the very intense boys with ridiculously compelling interpersonal dynamics actually interact onscreen.

But, I hear you asking, why would less of what the fans want equal more fan goo? Well, friends, that's exactly what the fan goo is for: filling in the blanks. And this here show has a lot of blanks. Look, I've made a very scientific diagram (that many people seem to agree with) about how this all works:

The Hump of Compelling Mediocrity is the place where the amount of stuff worth thinking about far outpaces what the show actually contains of said stuff textually. It is the ideal location for imagination adventures.

Di Feisheng and Li Lianhua's relationship in particular lives right in the middle of that hump, what with the huge gaps in their backstory and all. They are a pair made entirely of unanswered questions. What the hell is going on there? What's their whole history, beyond the big fight? Why are they like this about one another? The show refuses to say. Whatever you imagine, you're correct. Now go tell AO3 about it.

interlude: God's perfect dipshit

I feel like I'm engaging in Fang Duobing erasure in the rest of this post, since he's not at the tip of any of the points I'm making, so I'm going to add a picture of him here, because I love him and want to pinch his perfect little cheeks.

You know what I am shocked by? How the MLC/DMBJ reincarnation fics apparently have not taken hold yet. I give it another two months.

4. IT HAS A DOG

FOX SPIRIT, MY SWEET BABY

'You mean the dog gets a whole selling point to himself' yes the dog gets a whole selling point to himself, because he is a very good dog and a very good boy (and his actor is a very good girl)

Apparently he has a whole backstory in the novel that never gets included in the drama, including an explanation of why he's named "Fox Spirit," if you feel like going and reading up on that.

Sadly, Fox Spirit is in the show even less than Di Feisheng is, and that is a crime, because he could have solved all these silly human mysteries in thirty minutes flat, Wishbone-style.

Dogs are so good.

5. One bad, bad girl

Do you like an unhinged villainess? Someone who's been sucking down Crazy Juice since beat one? Because oh boy, this show's got one of those for you.

Jiao Liqiao wants two things: to rule the world, and to make Di Feisheng her pretty little housewife. And whomst among us does not understand these two impulses?

She's not even the Big Bad! She's mostly just Di Feisheng's personal nightmare. She is the type of woman for whom the phrase "he's just not that into you" was coined. You've got everyone around her telling her, honey, I don't even think I've ever seen him look at a pair of breasts, while she's already planned their whole wedding menu and reserved the venue.

She has spent the last ten years of Di Feisheng's extended vacation making sure she's the one who's actually in charge, functioning as the point person for all the other evil schemes going on. Instead of handing over the reins upon her himbo boss' return, she's just going to keep doing what she's good at. As long as he keeps doing exactly what she wants him to do, she's gonna let him do it. If he gets out of line, well, there's always Plan B (the B stands for Breaking all of his tendons and making the world's surliest RealDoll).

I love the fact that she's so obviously evil, and he can't see it. To a certain point, it's not his fault -- everyone who serves under him is pretty obviously evil, so that doesn't make her special. But she's real evil even above and beyond that, and his dumb ass can't stop thinking about Li Lianhua long enough to notice any of the hundred or so knives she's aimed right at his back. He's so uninterested in her constant advances that he doesn't register how wanting to fuck someone and wanting to overthrow someone are not mutually exclusive desires.

(Was I bothered throughout most of the series by how her lipstick should be a little more crimson and a little less coral? Yes, but I'm not going to hold it against her. She's busy doing evil stuff. She'll get over to the nearest Jianghu Sephora and restock one of these days.)

While the show occasionally sidelines or straight-up forgets about a lot of its supporting characters for several episodes at a time, it never forgets to check in on what Jiao Liqiao's up to. Claws out, hair done, she is at all times a constant glorious, scenery-chewing menace with excellent taste in terrible men. Absolute legend.

Bonus: These two sluts

They don't get to be a full point because they're not nearly in the show enough, but just look at them. This is peak male character design. Slutty undone hair and slutty bare forearms, be still my bisexual heart.

Going to give it a try?

iQiyi's got you exclusively, baby.

Have I sounded a little defensive in this rec? Yeah, probably. It's just that I know there's a big and pretty intense fandom out there for this already, and I feel like a jerk coming in and being like "sure, it's fun!" when people are posting about how it made them cry for weeks. I want to be clear that that's not a bad reaction to have, while at the same time also being clear that that's not the reaction I had.

I might not even have written this rec, had I not been nudged to -- not because I don't think it's worth watching (I clearly do!), but because I don't know how much help it needs from the likes of me. There are plenty of other evangelists out there that'll give much more enthusiastic recommendations (like this one).

But the truth is that not every show has to be a heartbreaking work of staggering genius to everyone. I watched the show, and I liked it, and I had a normal time.

I also think there's something to the way I watched it, which was: one episode per day, schedule permitting, such that it took nearly two months for me to finish it. (And before you think I singled MLC out for this, this is actually how I watch most c-dramas.) I bet binging it is a way different experience, one where what rises more readily to the top is the tragic throughline of Li Lianhua's whole deal. If you're inclined to skip things not immediately germane to your points of interest, this is definitely the show to take at a solid run.

I actually paused in the middle of making this rec and made the one for the Blood of Youth, because the two invite comparisons: jianghu tales with chronically ill protagonists, some imperial bullshit going on, pretty boys with swords being weird about one another. Mysterious Lotus Casebook did not grab me as hard as the Blood of Youth, because MLC went for a more understated take on all its nonsense, instead of shooting completely over the top, which is how I prefer my nonsense (as the record will show). If you take your silliness with a subtler flavor, this could be the perfect thing for you.

Maybe you'll wind up being one of those people who gets their whole insides totally ripped out by this drama! But even if you don't, you're probably going to have a good time watching it anyway. And really, what more can you ask for from a show than that?

Peace, nerds.

[anthurak]

So I’ve been reading/watching a few different Helluva Boss theory posts/videos recently, and I really have to ask:

We all recognize that when it comes to serious theory-crafting on lore, character backgrounds and most other things, basically EVERYTHING from the pilot is firmly in ‘take with a grain of salt’ territory, right?

Like this is not some ‘true episode one’ or weird ‘episode zero’ thing. It’s a pilot, a proof-of-concept and basic introduction to the series premise and main characters. Now it is certainly a GREAT intro to that premise and those characters, but it’s also clear that at this point the writers were still ironing out the characters, lore and other elements. I mean just compare Stolas in the pilot to Stolas in just the first episode, or how Tilla went from being Blitzo’s older sister to being his mother.

And we can really see this dissonance all over the pilot, as well as possibly getting a sense of what earlier drafts of characters might have looked like.

For example, Moxxie’s ‘dreaming my parents were getting murdered’ line in the pilot certainly feels like it may have at one point been foreshadowing, but it also just doesn’t fit very well with what we later got in the actual show. It seems like Moxxie would have nightmares about his mother being killed, but find dreams about Crimson being murdered to be quite appealing. Instead, I think we can guess that the plan at the time of the pilot was for Moxxie’s parents to have both been murdered by the mob/Crimson, possibly leading to Moxxie being adopted (perhaps by force) by Crimson. But between the pilot and the first episode, Vivzie and the team opted to streamline things by making Crimson be Moxxie’s father in the first place and him having murdered Moxxie’s mother. As evidenced by how Moxxie’s ‘maybe a shitty dad, or a mob family…’ line in Murder Family is MUCH more in line with what we end up seeing in Season 2.

Likewise, I imagine that Tilla originally being Blitzo’s sister likely had her in a nurturing, adoptive older sister role to Blitzo and Barbie, until the writers decided it simply made more sense for Tilla to just be the twins’ mother instead.

So when I see people doing stuff like using Loona’s implication that she has syphilis as a major part of or even the whole basis for theories on her messed up background/childhood, I can’t help but feel like they’re unwittingly building up their theory on a pretty shaky foundation.

Like don’t get me wrong, I fully agree that Loona went through some major shit in her childhood. I even have a hunch/headcannon that her backstory is actually going to have Blitzo AND Moxxie beat in the fucked-up department. It’s just that I think a far more reliable source of foreshadowing on this is something like Loona’s whole ‘This kid probably sets dogs on fire’ spiel in Murder Family, rather than anything from the pilot. Particularly since we now how at least two other cases of seemingly offhand, inconsequential jokes from that episode actually being foreshadowing; again, Moxxie’s ‘maybe a shitty dad…’ line, as well as Blitzo’s ‘we’re just killing a mother…’ line.

Finally, everything I’ve said here goes double, triple and frankly QUADRUPLE for Hazbin Hotel. Whereas we only had a little more than a year between Helluva Boss’s pilot and first episode, we’ve had over FOUR years for Hazbin. And it’s clear already from the trailers and other promotional material that things have changed quite a bit since the pilot. Like I’m as hyped as anyone else to finally see this show get released, but when it comes to specific expectations, we REALLY need to take basically all but the most general, basic, broad-strokes story, character and lore details that were in the pilot with a MASSIVE grain of salt.

Things like the basic premise, general character personalities, Charlie and Vaggie being a couple, etc; those we know are still a thing. Everything else is WILDLY up in the air.

[knight-princess]

Appreciation post for:

• Wererats. Fucked up little beasties. Do they turn into people on the full moon or did they used to be people, I can’t remember and Boorman certainly never explained. Look like roadkill and sincerely want to fuck you up. Two heads for some reason. Only appear once and are dope and real animatronics and everything I’m pretty sure

• “Chloe Allagash’s brave little man”, otherwise known just as Allagash. Insults extraordinaire. Spent like. ten years in a box pretending to be his best mate and was so committed to that bit he tried to sell it to his best mate’s other best mate and daughter. Gave up his life to fight trolls and save the gang. Hates olives. Iconic

• Madmartigan, who I spent far too long convinced was actually called Martigan and nicknamed “Mad” Martigan by all his mates. Also in a box when we meet him. Tries to feed roots to a newborn. Slays in pink. Souped up on the love potion, gains himself an enemies to lovers arc with the hot badass warrior queen

• Sorsha Tanthalos, said hot badass warrior, redemption arc speedrun, kiss in the middle of battle pro, stop listening to your evil mom and make your own choices queen. Pissed off that the dorky hot rogue confessed his undying love to her and it was just love potion. “‘I dwell in darkness without you’ and it went away???” Go off queen. You can fix that never fear. Dopest sword ever but also that would be so so sucky to get stabbed with because fuck that is a lot of serrations. Is it all that functional? Don’t know but it looks awesome. 10/10. Goes straight from being henchman to her evil mom to trying to run a whole kingdom, raise three kids and keep one of them from dying to fulfil the prophesy. Makes some dodgy decisions. Complains about it all to her (literal) captive audience. Saves her daughters life. Complicated queen

• Sorsha x Madmartigan. Enemies to lovers classic with all the fun twists. “Love her?!? I don’t love her! She kicked me in the face!” Oh you just wait buddy. Couple affirming kiss mid battle??? Oh fuck yeah, sign me the fuck up. “I dwell in darkness without you.” Wait. Was that foreshadowing

• Jade and Elora being besties. Unexpected and delightful. Elora calling her “J” nearly made me hit the cieling. You’re telling me they’ve got nicknames already??? Sign me the fuck up. I love it. Need more of it pls and thank you

• Lili of Cashmere. On the wyrms milk. Dresses like a Greek goddess. Known by the alias “the Crone” which she hates even tho she really is secretly a skeleton held together with goo and a love of drama (I’m reusing that description ok I enjoyed it too much the first time). Evil makeover specialist. A+ Lili I love you

• And last but not least, smart and sassy trolls. @lowkeyed1 is a lifesaver and provided me with the transcript for the episode bc I remembered they had some truly iconic lines but couldn’t for the life of me remember what they were. So we’ve got: “He’s not appealing, but he speaks his mind, and I suppose that’s something” of Sarris’s own brother. Of the Crone: “Is she the eldritch nightmare people make her out to be? Yes. But she has her positive qualities too.” Lol fair. The forever iconic “I deplore those who rouse rabble” and my personal favourite “yeah, cos when I said ‘I do’, what I really meant was ‘explain it to me like I’m an imbecile’.”

[into-september]

"Destruction" is the worst episode of Miraculous Ladybug

Oh hey guys, remember way back in April or something when I said I was doing this? Well, the one year anniversary of its premiere is a suitable time to post this, particularly since yesterday saw the airing of the last piece of canon to come out in a while, which happened to be set immediately after these events.

With the always obligatory reminder in place that I generally think that “Miraculous: Tales of Ladybug and Cat Noir” is in fact a good TV show whose appeal potentially reaches beyond its merchandise-mandated target group, it has an unflattering pattern of introducing the juiciest story threads and then just… do nothing about them.

The topic of today’s sermon isn't in isolation the worst offender. But it is thanks to this that the worst offender happens at all, so I'm not gonna be nice about it.

Scroll past to skip the negativity.

So, “Destruction”, possibly the most eagerly awaited episodes of out S5 if you don’t count all the false advertisement that was “Revelation”. I remember finding this episode uncharacteristically charmless for this show when I first watched it. They've been onto heavy topics before, but those episodes still had that je ne sais quoi that gives this show such heart. But re-watching "Destruction" I found it lacking already from the first scene, and felt it only in glimpses. It's just not fun.

The episode is also poorly paced, no way around it. It is inexplicably a flashback to two episodes ago which is not evident from the start. More than half the runtime technically consists of Marinette and Alya having a sleepover. The battle and its game-changing outcome is over at 12 minutes into the episode, which is barely past the halfway point. After that, we spend five minutes - a quarter of the episode's full runtime - on a flashback re-playing the same battle but now with verbal exposition explaining Marinette's clever plan. Mind that the confrontation between Marinette and Gabriel lasts for all of seven minutes, meaning that the flashback is nearing the length of the battle itself.

To top it of, it's bogged down with lengthy exchange between Gabriel and the kwamis just to make clear that the haters on the twitter were totally wrong when they bitched about Orikko being OP because actually its powers were something else than we established last season. Here's a bonus plot hole which has nothing to do with everything else I'm going to nag about: Orikko allegedly can't give out the powers of time-travel because no kwami can replicate another kwami's powers. Except for Nooroo and Duusu, I guess, who have done so on several occasions. One of the more remarkable being the episode which first heralded the event that "Destruction" set in motion: "Timetagger".

And who can forget that this was the second time in three episodes where Ladybug and Cat Noir had Monarch at their mercy but spent so much time giving triumphant speeches that he gets away.

Or that that in fact was the second time on the same night.

But while those things certainly make the episode poor, they are not what makes it the worst.

What makes this episode the worst isn't its technical failures, but about the way it leaves its feces all over the themes and the character arcs it seemed like the show had been building up until this point. Moreover: in the role it plays in S5 and the Agreste storyline, and how the show's refusal to touch it again creates a black hole in the season at large, and arguably in the show as a whole.

I. THE INESCAPABLE CONTEXT OF WHAT CAME BEFORE IT

The art of telling a story is the art of highlighting what matters and leaving out what doesn’t. In a well-crafted story, no matter the medium, no detail is insignificant. Every word is carefully chosen, every line or hue made with intention. The curtains aren’t blue just because, and Miraculous Ladybug has made too many meta jokes to hide behind the claim that it’s just a silly rom-com for kids. It has trained its older audience into looking for context and connections; after “Mr. Pigeon 72”, you can’t insist that nothing that happened earlier in this show matters for what happens later. Titles matter a lot in a show where episodes are titled after the villain-of-the-week who usually is the thematic mirror to what our heroes are going through.

“Destruction” is the fourth episode somehow named after Adrien, and the third somehow named after Plagg. You bet this matters.

As some might know, "Kuro Neko" is not my favourite episode. That's not to say I don't like it! It's cute! It's playing a really interesting scenario! We get Plagg hanging out at chez Marinette! But to enjoy it, I have to willfully ignore the storytelling incompetence it flagrantly displays. Because the moment you peek beneath the surface of the events happening to consider theme, motifs, and narrative parallels, it's just

"Kuro Neko" is the second episode that is named after Cat Noir. The first one was "Cat Blanc". There is a thematic connection between the two; not a very clear one and probably not an intentional one, but all the same: both episodes are about an alternative to Cat Noir. One is the result of his father's violence; the other is Adrien's own attempt to become more like the person he presents around his father. They also both show us Plagg and Adrien negotiation Adrien's relationship to Ladybug, and how Ladybug and Cat Noir negotiate that same thing.

"Cat Blanc", for all its apocalyptic visions, starts and ends with hope. It starts with Marinette’s hope at confessing to Adrien, to Adrien’s hope in finally knowing Ladybug’s identity and knowing her like he’s yearned for for three seasons. Those hopes lead to disaster, but the episode ends with Ladybug finding Cat Noir on the Montparnasse Tower, where he is singing his lullaby about the kitty being "all alone without his Lady". As is fitting, Marinette breaks the pattern: after having just witnessed a world turned to destruction because the two of them loved each other, she leans her head on his shoulder in perhaps the most romantic gesture she's ever given him.

"Kuro Neko", in contrast, starts with Adrien resigning the job when he realises that Ladybug no longer needs him and that makes him feel bad. It ends with him coming back and verbally accepting that Ladybug doesn't owe him any exclusive treatment; he isn't her unique partner, just one of many. Where the final scene of "Cat Blanc" seemed to confirm that Ladybug is indeed the answer to Adrien's solitude, the final scene of "Kuro Neko" and its continuation in the first scene in "Risk" both make clear that the opposite is now status: Adrien has to accept the painful fact that as much as Ladybug might be the most important person in his life, Cat Noir does not hold a similar space in Ladybug's.

(The end of “Strike Back” of course claims to remedy this, but those words don’t ring very true when to Marinette’s knowledge, nothing of what went wrong today had anything to do with her keeping secrets from Cat Noir. More damning: Marinette never follows up on her purported regret. In all of S5, she never once sits down to share all those secrets with Cat Noir. Status from "Kuro Neko" still stands, and Adrien is fine with that now. This has nothing to do with the many problems “Destruction” creates, but talking about “Kuro Neko” by necessity means talking about how it wasn’t fixed even if they put the words in Marinette’s mouth. And now back to our scheduled programming)

"Cat Blanc" and "Kuro Neko" by their very existence bring up a thorny topic: That Adrien being Cat Noir isn't wholly unproblematic, and that both Adrien as an individual and Ladybug as the Guardian might have legitimate reasons to question that choice. This has always been obvious to the viewer who knows Hawkmoth’s identity, but the show itself eventually starts calling attention to that from an entirely different angle - namely that of his powers.

Lest we forget: The first episode of S4 that aired wasn't the first episode chronologically: It was "Furious Fu", wherein we learn that The Order of the Guardians has it out for Plagg specifically, and where Ladybug's status as The Guardian is almost revoked on the grounds that she's letting him run around unsupervised. This question of Plagg's whereabouts comes up again in the only episode that is named after Adrien sans Plagg: "Ephemeral", a re-play of “Cat Blanc” except not good. This whole subplot is quickly forgotten, though it being the only one of Su-Han's complaints that weren't about him being a boomer, it's also worth remember that "Destruction" technically happens a couple of hours after he made his last appearance. One might expect that his one consistent lesson would be important enough to echo a bit in the episode where it’s proven to be justified.

"Destruction", as not only one very early episode of the season promising to finally bring about some significant and not the least permanent changes to their lives, but indeed an episode happening on the same night as Ladybug's declaration of regret and Cat Noir's renewed declaration to be her partner, would by its title and its topic seem like the obvious place to finally resolve what "Cat Blanc" and "Kuro Neko" both asked us to question: The existential terror of Plagg's powers, why it is that Adrien is uniquely chosen to temper them at Ladybug’s side, and how Adrien feels about being the one to carry that responsibility.

Yeah. Well.

II. ADRIEN'S PRESENCE IN "DESTRUCTION"

Where "Kuro Neko" and "Cat Blanc" place significant focus on Adrien Agreste in his civillian life, in "Destruction" he appears on screen for a total of 25 seconds - most of which are another flashback to a previous episode, and whose purpose is to highlight Gabriel's hurt from the cataclysm, not Adrien's thoughts about what is happening.

Cat Noir's presence is also marginal. Three minutes of screentime pass from his first appearance until the battle is over. Said battle is the turning point in the war between the heroes and Monarch, thanks to neither Ladybug's powers nor Monarch and all the kwamis, but Monarch using Cat Noir's powers for an impulsive act of self-mutilation. Cat Noir is distraught over this, turning desperate when Monarch first start toying with the idea and being near tears after he carries it out.

I'll get back to the impact of this event, but for now I'll point out that the aftermath is brief: After Monarch escapes, our heroes have this exchange:

LB: We had him, we almost had him! The kwamis were safe, they were right here! CN: I cataclysmed him! I can't believe this, I just cataclysmed someone! Granted it was Monarch, but - there was a real person behind that mask, and it must have hurt him terribly! Milady, you gotta fix this! LB: Cat Noir, Monarch just ran away with my lucky charm! Without it, I can't fix anything. I can't call on my powers and undo the effect of the cataclysm. There's nothing I can do...

We then cut to the slumber party, where Marinette tells Alya that she and Cat Noir "split up" immediately after, and Alya comforts her. From this point in the episode, Cat Noir and Adrien only appear in flashbacks. First a fifty-second flashback wherein Marinette sets up her convoluted plans, then a few seconds of him moving his statue in the wax museum before Monarch appears.

In the episode that more than anything should thematise Adrien, Plagg's powers, and his relationship to his father, Adrien is on screen for a whooping four minutes and twenty seconds.

And because I am that devoted to proving my point, I went and timed all of Alya's on-and-off appearances, which clocked in at a total of five minutes and six seconds.

Alya is of course core to the slumber party which frames the setting of the entire episodes. Moreover, it is with Alya that the emotional arc of the episode ends: it starts with Marinette tormenting hersef watching a Ladyblog report about Monarch's recent win, for which Alya chastises her. The last scene (before Gabriel pulverises the miraculous) has Alya reassure Marinette that she will get the kwamis back. When she regrets her lack of superpowers, Marinette in turn reassures her that Alyas true superpower is being her friend. The journey of the episode was for Marinette to stop blaming herself for messing up, and learning to rely on Alya's support in the new turn the war has taken.

...

IN THE EPISODE WHERE ADRIEN KILLS HIS FATHER.

III. SIR NOT-APPEARING-IN-THIS-FILM

In the episode where Gabriel commits suicide on his son's miraculous, here are some things that got more screentime than the son forced into using his only source of liberation to kill his father:

Flashbacks to past events (four minutes and fourty-five seconds)

Alya (five minutes six seconds)

The kwamis (six minutes and nine seconds)

Bet you can't guess which one is the only kwami who doesn't appear in this episode!

...okay, and Duusu, but you get the point. In the episode detonating the nuke that is the gruesome potential of Plagg's powers, and the potential damage Adrien might deal with them, Plagg never appears on screen.

In the episode highlighting the presence of the kwamis and their importance to their holders, the kwami whose presence is the most thematically tied to his holder's character arc is completely absent.

In the episode irreparably going into the only kwami whose powers is straight up murder, the kwami who The Guardians have singled out specifically as particularly dangerous, the kwami whose irresponsible nature has previously caused problems both to Adrien privately and Cat Noir professionally, said kwami is never even mentioned.

It's almost as if we're not supposed to remember that it is because of his presence that this whole tragedy was possible.

IV. THE EXISTENCE-DEFINING HORROR OF A CATACLYSM GONE WRONG

And ain’t that a funny one, when the gruesome potential in Plagg’s powers was the driving factor in Adrien’s first true crisis as a hero?

Marinette faced her moment in "Origins", where she gave up on her miraculous after the first disastrous attempt. She knows that she is the only one who can do something about the situation, but refuses out of her own lacking courage. She only becomes Ladybug of her own choice when she realises that she can save Alya's life. After this, Marinette never again questioned her place. She would grieve the burden on occasion, but she never once thought anyone else could do better.

Adrien, as we all know, was the polar opposite: he jumped right into it without reading the manual, had to have Ladybug pick up the pieces after a rash cataclysm, and never doubted his calling again until he realised what Plagg’s powers could do when used on a living being.

The NYC special has Adrien quit for reasons that had nothing to do with being unsatisfied with Ladybug's HR policies. It is in part because he effed up his duty as Paris' substitute guardian, but it's certainly also because of the recent horror he just witnessed: his hand forced by someone else nearly killed Ladybug, and killed Uncanny Valley instead as she stepped between them. Adrien just saw a mother weeping over her daughter's corpse, and how only the lucky presence of Ladybug's powers could undo the damage caused by his, unintentional thought it might have been. Adrien would of course never kill anyone on purpose, but Uncanny Valley’s temporary malfunction was a brutal display of what would happen if he stumbled the wrong direction with the gun loaded. Ladybug might have the duty to protect Paris, but Cat Noir has the duty to not to disintegrate people on touch.

The show never before discussed the weight of this burden in Adrien’s presence. “Cat Blanc” did it from Marinette’s side, but this never was a consistent story thread, only briefly brought up as her remembering why his knowing her identity is a bad idea. The sabbatical in “Kuro Neko” has nothing to do with Plagg or with Adrien’s sense of duty, and where you’d think this would be where Marinette finally brings up the issue bridging the NYC special and “Cat Blanc”, neither of the two are as much as alluded to. That Adrien has the power of murder has yet to be explicitly discussed in the show proper, but in combination with his personal relationship to Hawkmoth being a ticking irony bomb, the question of can he even bear it is inevitable.

That Adrien’s post as Cat Noir wasn’t as given as Marinette’s as Ladybug is echoed in the amount of times that Adrien has either quit or at least contemplated doing so (“Syren”, NYC special, “Wishmaker”, “Kuro Neko”). He likes being Cat Noir more than Marinette likes being Ladybug, but he lacks her iron certainty in the role. It is notable, then, that THE ONE TIME where Marinette questions her part, it is after Cat Noir has quit. She says this, out loud, in words. When Cat Noir’s powers become too heavy for Adrien to carry, then Ladybug, too, disappears.

So surely "Destruction" must be the point where this is finally comes together - where Adrien's history of quitting meets his ultimate crisis, where his powers abused on a human being of flesh and blood forces him into confronting the potential cost of being this particular hero, which will foreshadow the ultimate choice he’ll have to take: between being Cat Noir and being his father’s son. And where his choice, in turn, will define whether Ladybug can exist.

Or not.

Maybe we'll never again have Adrien think about how he probably murdered a man. Maybe we'll just - oh I don't know.

Have him start trying to cataclysm people?

Repeatedly?

While showing none of the horror at himself which he clearly had in the aftermath of accidentally cataclysming the villain responsible for his later victims’ possession?

And in the end, after never calling attention to Adrien’s new and trigger happy ways, we’ll have him give in to his fear, claim that he isn’t strong enough to responsibly use Plagg’s powers, and send his miraculous away for Ladybug to use alone, because it turns out that “Kuro Neko” was right and the NYC special was wrong: she can be Ladybug without him.

Growth, amirite.

V. IN THIS HOUSE WE DON’T TALK ABOUT PATRICIDE

Dramatic irony was the main engine driving "Miraculous Ladybug" from the start, and it was Adrien who bore the brunt of it. Not only did he spend four and a half seasons in unrequited love with a girl who rejected him for himself; he spent five seasons doing weekly battle against his own father.

The superpower war between father and son isn't just a source of story tension, however: it is inextricably mirrored in their relationship as family, where the father is openly abusive and the son is magically incapable of protesting. The show repeatedly makes A Point about how the freedom Adrien so wants, is one that he only gets through being Cat Noir, and the only way Adrien is capable of fighting his father - albeit ignorant of it - is with Plagg's powers.

Cat Noir defeating Hawkmoth was necessary not just for his story as a superhero, but as his character arc as a normal boy.

And in "Destruction", this is exactly what happens. Thanks to Plagg's powers, the path to Adrien's freedom is finally paved, in the most gruesome and unwanted manner possible. Adrien might not get the big cathartic show-down with his evil father, but technically he was the one to bring him down.

But we don't talk about that. Except for his one (1) line after Monarch escapes with Ladybug's lucky charm, Adrien never again brings up the fact that his being careless with a cataclysm certainly maimed a man, by precedent (Aeon) possibly killed him. Rather than a story arc about Adrien being afraid of his own powers, it’s only now that he starts aiming it at people when he’s under emotional duress. This could of course have been one hell of a story point if it was intentional, but by all accounts, it wasn’t. When Adrien never again reflects on his having probably murdered a man, or reasons that Monarch is probably fine since he’s clearly still around so maybe a cataclysm isn’t so bad, and he never dwells on his nearly murdering two of his friends, there can’t have been any connection intended here. Moreover: when Adrien is scared of his miraculous towards the end, it’s not about its capacity for normal murder when he’s having a bad day, but its capacity of ending the world if he happens to be akumatised.

Gabriel is likewise disinterested in the cause of his impending disintegration. You’d think the man would feel some kind of special resentment towards Cat Noir and his powers, you could think this was where he’d get to re-thinking his relationship to the two people who are sitting on the keys to solving all his problems. Maybe he’d start doubting himself now, bearing the ultimate testament to his magical hubris. But no. The cataclysm wound is there and it’s a problem, but the reason it happened is completely irrelevant to the man who did this to himself and unknowingly, to his son.

That is almost as mind-blowing as the fact that they really had a straight up patricide happen on screen. Sure, death was never the intention of either of the two parties, and Adrien certainly holds no blame for what happened. But Gabriel must have at least known what he was risking, and even if the soft-hearted Adrien would somehow reason away the gravity, Plagg would certainly now. By its very nature, this one cataclysm drags out and distils a plethora of questions about both Adrien’s role as Cat Noir, about Gabriel’s vision of himself and his goals, and about their relationship not as father and son, but as villain and hero. The gruesome narrative irony looming over all this is in that regard just the icing on the cake.

There is certainly an Oedipal layer to the drama of Gabriel and Adrien, though the often more scandalous incestuous angle is considerably downplayed here. Even so: By the denouement of S5, Adrien has successfully killed his father and set up a home with his mother. That really happened, but we’re sure not going to investigate how this influenced the relationship between two nemesis, between father and son, between Adrien and his kwami.

The cataclysm in “Destruction” turned Adrien from anguished shoujo love interest to the hero of a greek tragedy, but the show is dead set on pretending that it didn’t.

VI. SO THEN WHAT WAS THE POINT

In isolation, "Destruction" comes across as weird more than anything. It's named after Adrien's kwami, it spends an inordinate amount of screentime on Adrien's father, it reaches back to Adrien's perhaps most defining moment as Cat Noir as it fundamentally changes the game between our heroes and our villains as one of them is finally dealt a damaging blow - which in turn sets Adrien's life down a path towards tragedy that must be interfered with for him to have a happy ending by the end of the season.

And yet, Adrien is a peripheral presence in it. Marinette and Gabriel dominate the screentime, Alya and the kwamis are consistently present as the thematic chorus at their respective sides throughout, the episode plays its events twice in order to make it clear that Ladybug is too clever for Monarch's miraculous, the emotional arcs that are followed are the follow-up on where Marinette and Alya stand after the disaster in "Strike Back" as well as Gabriel's renewed vigour. Adrien's only contribution to the episode is to follow Ladybug's instructions and to make clear that his relationship with his father is still awkward. The episode depicts probably THE most important event of the show, but this event is treated almost as an afterthought, and the horrors of it are confined to one (1) line of dialogue from Cat Noir.

The only thing in “Destruction” that is brought up in later episodes is that Gabriel is now actively dying. If they wanted for Gabriel to live on a countdown for his date with the grim reaper, there were countless other ways about it: Have it be his use of too many miraculous which backfires, have him having used the peacock before it was fixed, have it be too much evil on the hands of Nooroo, have him get a serious call from his doctor, have him screw up Tomoe's machinery, have him develop a drug problem. This is a fictional narrative; its twists and turns are absolutely in the hands of the writers, teenage girls being irredeemable or not. It was never vital that this happened by cataclysm specifically.

So what was the point, then? Did we truly turn our magical girl show into a Greek tragedy for the shocked pikachu faces only?

The one thing I somehow haven't seen people bring up, is that "Destruction" makes it impossible for Adrien to learn Monarch's identity. According to the writers themselves, the reason lies in two of the other episodes named after him: "Cat Blanc" and "Ephemeral", wherein he learns his father's identity and is promptly akumatised. This is of course bullshit: both these cases relied not on Adrien learning his father's identity, but on Gabriel specifically scheming to traumatise Adrien with both the Hawkmoth reveal AND the fact that he's been living in the same house as his mother's dead body for the last year or two (timeline here is spectacularly contradictory). There was anothing inevitable about this. You're the writers. You could've set up a scenario where Adrien didn't learn about his father's crimes as an act of psychological warfare, and where he'd have the time to absorb it, to grieve and to find support by the time he'd confront him with it. Having every person close to Adrien keep life-defining secrets from him “for his own good” is, by god, not a good look on anyone involved here. Still it’s understanable, at least for those who aren't either adults or gods of destruction.

"Destruction", however, serves as an explanation for the gaping plot hole in the epilogue: Marinette tells Alya, she tells Su-Han. The one she doesn't tell, though?

The partner who was at her side before Alya or Su-Han ever appeared, and stood by her in far worse storms. Because telling Cat Noir the truth would mean telling Cat Noir that he dealt Gabriel Agreste the killing blow, and ain't that a nifty way to ensure that Marinette won't. Because if Adrien does learn Monarch's identity and the truth about his fall in future seasons, Emilie better hide those garment pins.

The truly damning part of "Destruction" isn't so much what the episode itself does. It's what it doesn't do. It's the storylines it cuts short and leaves behind, and it is the storyline it by its very existence introduces, but which the show refuses to touch.

Per title and content both, "Destruction" should be the culmination of thematic storylines from "Cat Blanc", the NYC special and "Kuro Neko". It’s not; it’s not even about Adrien, and Plagg isn’t even present in it. Moreover: its lacking presence on future episodes make it painfully evident that ambitions, there were none. Those storylines were either aborted like Adrien picking up Felix's spyglass in the S4 finale, or the show never did mean for there to be such a thing as "layers" to this story about a boy who becomes a hero to unknowingly break free from his superhero father.

The real reason why "Destruction" is the worst episode of Miraculous: Tales of Ladybug and Cat Noir is that it obliterates the most cohesive character arc this show had going for it, and that this was done on purpose.

[doctorlombax]

An Observation on Murder Drones and the Current Landscape of Stories with Female Leads

I’m guessing most of you have probably heard of the terms ‘girl-boss’ and ‘girl-power’ within the last decade or so. I see it a lot with action-based shows that center around a woman as a main character. The idea being that in the past most of our female characters were relegated to one-dimensional and helpless love interests for male leads. Now entertainment companies are realizing that women want to see themselves as the heroes of the story, so they went ahead and… over corrected.

What do I mean by this? I mean now we get shows about heroic women who and kick and punch and beat the boys around them in anything from pool to knife throwing. The lesson that writers should have learned from the past is “hey, let’s balance the skills and flaws of our girl and boy characters”. What they did instead was “okay, we will subvert the trope by having the girl take the guy’s place, and vice versa. She’s the hero and he’s the damsel. Audiences will love it!” Well I don’t. In fact I find it to be miraculously annoying (achievement unlocked: shade thrown).

For one thing, it makes the love story boring. Why would a powerful, kickass woman keep dragging around a guy that always messes up and needs to be rescued? What does he bring to the table? I don’t see the appeal because the writers are too afraid to put in a scene where she actually has to lean on him for assistance, because tHeN shE WouLd be WEAk and ThAt’s MiSOgYny.

And it’s not just about the fact that it makes the ships annoying. Even more to the point, as a woman I find it patronizing. Have you ever watched an adult play a game with a kid, and the kid trounces the adult (because of course the adult will let the kid win) and everybody is cheering the kid on and clapping? It’s sweet and cute when that happens because the person is a child. Not so much when it happens because the person is a girl.

Whenever I see these ‘girl-boss’ and ‘girl-power’ characters who never need to be rescued, always save themselves, and triumph in the face of every hurdle, it feels like the writers are saying to me “You go, Girl. Don’t worry- we’d never give this woman character flaws. That’s like taking feminism out behind the shed and shooting it. We would never bruise your delicate ego by having her be anything less than perfect!”

In the immortal words of Uzi: Bite me.

Speaking of Uzi, let’s get to talking about Murder Drones. I had heard about the show before, but only ended up watching it recently (which was lucky for me, just a couple weeks after the finale aired). For those who aren’t familiar, Murder Drones is an independent animation project on Youtube with 8 episodes, each with a runtime between 20 and 30 minutes. Quick spoiler-free synopsis: Uzi is a teenage worker drone living in a dystopia where her kind are fighting murder bots. She has a confrontation with one of the murder bots which sets off a chain reaction of events that leads her on a hero’s journey.

Uzi is every middle schooler’s edgy emo self-inset character. She’s filled with angst, has daddy-issues, and comes with a tragic backstory that is slowly revealed throughout the series. On the surface, she appears to be the exact kind of character I was complaining about disliking. Not only is she a child prodigy (built a weapon that can injure the murder drones, who up until then were believed to be indestructible) but she’s also far braver than any of the adults around her. And (SPOILER ALERT) she had a demonic form based on powers she inherited from her mother, as well as regeneration and telekinesis abilities (I bet some of you are thinking I made up those last two for giggles).

But she does not fall into ‘girl-boss’ territory. She also has moments of genuine weakness that she does not overcome by herself. She relies on luck, and has to lean on the people around her, specifically N most of the time. This is shocking because N is her male partner in the show. I know many writers of these kinds of girl-power shows balk at the idea of the main girl character being saved by her love interest, but there you have it. Uzi also has a ‘dark-night-of-the-soul’ moment where she needs her mother to pull her out. This is not some invincible character, she is flawed and needs support from those around her.

Now let’s talk a little more about N. On the surface, N appears to be your standard bumbling male-sidekick. He’s goofy, he makes mistakes, and tends to go along with whatever Uzi decides they should be doing at the moment. That being said, the writers clearly weren’t afraid to give him moments of depth and competence. He is silly, but he chooses to be kind in a world that has been incredibly cruel. He can also be protective, and is shown to have good instincts in a fight. N does drink his respect women juice, but it’s not that ultra-processed, high-fructose ‘all-women-are-queens’ garbage. He treats the women around him like people (worth noting that aside from N and Khan, all significant characters of the show are women and girls). He’s kind to them whenever he can be, but he also calls them out when they’re wrong. And when he has to fight them, he doesn’t hold back. He gave Tessa multiple chances to see reason. When she made it clear she wasn’t going to change her mind about killing Uzi, he did not hesitate to cut off her head #ActualFeminism.

I just find it so ironic how a story that touts itself as a cringy, self-indulgent and having ‘Mary-Sue energy’ ended up having one of the most well-balanced dynamics between their female lead and her male deuteragonist counterpart that I’ve seen in recent years. Thanks, Murder Drones.

P.S. Just in case there’s any confusion around my use of the word female, this post and blog are 100% trans inclusive. Terfs don’t even touch this post.

[single-malt-scotch]

Given we are two episodes in to bdubs this HC seasons I will ramble a tad about his format this season and the timeline/comparisons to past ones!

Let's talk in parts for a second. For thumbnails. I didn't really know what to expect tbh. He's been going more minimalist in thumbnails for a while now- HC S9 and Create have very simple thumbnails very focus on the builds (if they occur in the HC video). Go from season 7 HC to now and they've changed a Lot. S8 was simple too if you take away the color overlay. But S10 is mega simple. There isn't even a title on the thumbnails!

Then intros. S7 and S8 would randomly have an intro of "welcome to hermitcraft!" And sometimes none at all. S9 started "welcome to hoymicraf" (how do we spell this) consistently. Additionally all those seasons had some intros beginning with some third person camera to start a scene (more consistent as time went), or without that intro in season 7, 8 and 10 we'd also just start in first pov while bdubs is already in action. Additionally intro music was always very energetic, and so far what we heard in his first s10 intro (and based off the time lapses) we are getting something way more chill. Ep2's intro is one of those exceptions for the specific scenarios that happen sometimes. The choice of situational music.

General editing? Kinda crossed over with intros here because intros have very blatant editing with music and camera etc. Tbh the biggest thing to any season is music choice, which changes how things feel entirely. Past seasons had faster paced songs in intros and many building segments had orchestral, so on. The way those building segments play out has slowly turned into bdubs cutting it up to fit the beat of music, which is most apparent now in S10 and bwb S3. For S10 I feel like this enunciates the calm music even more as it puts emphasis on what is the louder/more striking note of the song. Through S10 episodes right now we have seen more use of replay mod in more than just the intro. Usually wide shots with music. Thought out compositions and wide shots often showing scale of things around him. Even purposefully taking moments to stop and pause and linger on the shot. Definitely more cinematic, and completely different with his it slows down.

It is interesting to see what some people might feel is a total 180! Considering I have seen the flow of his format for so long "slow" is not unfamiliar but because he has grown so much as a commentator he handles this very well. It's not "old inexperienced commentator" slow. Because you can tell if you pay attention he isn't different from who he has been in recent years. He's always the same and going this direction is done w the same level of development and experience. Hes still silly, he's still got energy. It's just presentation! It feels different a lot by how he's editing.

Even so it makes me wonder Why. Was his previous loud style and high energy more aimed at when his kids were just born and very little, and he had an obvious shift to making his videos possibly more appealing to children and be child appropriate? Has he 'mellowed out' for any particular reason? If you watch him a lot, especially his Livestreams (the member ones rly) bdubs thinks hard about his building skills. He is genuinely an artist aiming to improve every day and I think he's gotten a lot back into really expressing his thoughts and feelings regarding the art. It's been a gradual focus returning I have seen. Perhaps he has decided to lean into this more on purpose, and in doing so that shifts his focus away from what people felt was "childish" acting. But it's important to remember, as a bdubs lover, the analysis here isn't actually one to say he's "changed" because he hasn't. As a content creator he knows what he's going for and to some level has consciously made these changes. We still got bdubs, he's just doing it different. And honestly if you were turned off by the energy of S9, I highly recommend giving this season a watch if you want something more artistic, and good discussion about building process.

[seraphjewel]

Star Trek Prodigy Season 2 thoughts

This show is everything I love about Star Trek. It may be produced by Nickelodeon, but it doesn't dumb anything down just because it's "for kids." I love how none of the main characters are humans, which not only takes advantage of being animated to give us cool alien designs, but also acts as a great visual for Starfleet's ideals. It's visually stunning and the writing is superb. It gives a season-spanning story while also making time for those wacky space shenanigans we expect from the franchise. It's funny, it's creative, it's heartfelt, it's emotionally powerful. The season finales for both the first and second season had me in tears.

Aside from adding to the chorus begging people to watch season 2, I'm just going to share some thoughts on this season. I tried so hard to watch it slowly but it's easy to binge. I'm now watching through it a second time. Cut for spoilers.

As a fan of the older Trek shows, I love how much the show clearly loves older Trek. We saw it a lot in season one, but since season 2 has the legacy characters in more prominent focus, it's more obvious. They are written with such loving care, every part of who they are is nailed down perfectly. There are so many callbacks and references and small touches that are scattered in the dialogue and visuals. Amazing Easter Eggs for Trek enthusiasts-- and another reason to go back and watch, to find ones you didn't notice!

This season made me much more interested in Chakotay and Wesley as characters. I was pretty ambivalent toward them both when watching their respective shows. I didn't find Wesley annoying, I just didn't care for him one way or the other. So having him return as this slightly unhinged Time Lord made him so much more appealing to me as a character. The fact that he was willing to go to some extreme lengths in order to get the timeline just right was some fun gray morality. I also liked that he seemed like he wasn't always sure when he was in the timeline. It reminded me of Mantis in the Guardians of the Galaxy game. And that made perfect sense coming from someone who could jump through multiple timelines just through thought. Wesley was complex, intriguing, and I'm so glad for him and his actor. He deserved it.

In a similar vein, Chakotay was one of the least interesting Voyager crew members to me. This isn't necessarily his fault. He was going up against some pretty big personalities, like the Doctor, Tom, B'Elanna, Seven, and Janeway. I also don't think the writers really knew what to do with his character. But again Prodigy wrote in some depth and complexity. They actually identified what tribe he was from. Watching the episode where the Protostar crew finds him made me want to write fanfic about Chakotay. That's how good they were at making this guy interesting for me! I loved seeing his slow descent into isolation and bitterness; I loved how almost insecure he was at times; I loved how he took command and led the crew. I'm a fan now and I want to go back to watch Voyager for him.

The season also made me a Janeway/Chakotay shipper. I saw the episodes in Voyager where they were feeling things, but personally I'm glad that they never crossed that line. There are way too many stories with female leads that act like they have an obligation to give her a romance, when the same would not be true if the lead was a male. In my opinion, it was better there was no definite love story for Janeway on Voyager since that was going against expectations. As Prodigy season two told its story, I was definitely picking up on strong love vibes between Chakotay and Janeway. I was convinced they were separated lovers, and when they were together they couldn't keep their eyes or hands off each other. It was excellent visual storytelling. I wanted them to be together at the end. For someone who didn't ship them before (I was more into Tom/B'Elanna), I'd say that's a big achievement for the show.

To sum up, I love this show so much! My only request is they try to incorporate Deep Space Nine somehow. #SetCoordinatesforSeason3

[real-life-senshi]

10 (Mostly) Spoiler-Free Reasons to Watch Pretty Guardian Sailor Moon 2003 Live Action

A countdown to the 20th anniversary of Act 1 air date!

Reason 5: The captivating story!

Ultimately, I would say the live-action stayed true to the essence and intention of the original source material when concerning the Dark Kingdom arc.

I’m choosing to use the word “essence” though, because it is also factual that in multiple aspects, the story does diverge from its source material, but with the intention of further amping up the stakes and angst for drama, and possibly even pulling in elements from story arcs beyond the manga’s Dark Kingdom arc into the one season we (sadly) only have.

Sometimes those differences could be due to limitations of CGI and execution methods in real-life filming, while others could be due to updating the content to appeal to the newer generations of viewers in the early 2000s.

Regardless of what's faithful or not faithful to original source material, I think PGSM did really well striking a balance of making it a kid’s show, and also adding some complexities to appeal to viewers who were kids or teenagers that grew up reading the manga or watching the '90s anime, who would be in their late teens or adulthood or even parenthood by the time the live-action aired.

Warning: Going forward these series of posts will contain minor spoilers to introduce some live-action only elements. It will only be at the introductory level though!

Staying true and delving deeper into source materials

Personally, I can’t speak much to the ’90s anime, but I can confirm the live-action pulls many elements from the manga source material where possible. Here are just a few:

Introducing the Sailor Senshi!

The story of how Usagi and Ami discovered their Senshi power largely follows the same story, while Rei and Makoto's intro episodes heavily reference the original manga chapter and use the same theme behind the attacks that lead to them accessing their transformation. There's no magic bus to whisk victims away in Rei's case, and there's no wedding dress ghost story in Makoto's, probably due to the feasibility of recreating those scenes.

The Forbidden Love & the Past Life lore

The live-action definitely deep-dived into the 'forbidden love' concept when it came to Usagi and Mamoru, and further created a whole complexity of the storyline to justify WHY it's forbidden. In the manga/anime, it felt like the idea of their forbidden love was purely political and mostly glossed over since the past life kingdoms were dead, but in the live-action, there were actual stakes and consequences to consider even for the present.

And the ABSOLUTE MOST AMAZING THING and by far my favourite twist to the live-action storyline is they actually ventured into exploring the impact of making teenagers soldiers of war! There is actually ample screen time and dialogues AND monologues dedicated for us to see individual Senshi AND the team together grappling with the pros and cons and exploring both extreme sides of the need to follow the past life mission to avert tragedy regardless of the sacrifices made, versus the necessity of making one's choice and finding ways to live in the present in spite of the past life lore! Do they support Usagi's and Mamoru's love for each other or not???? Do they know for sure whether their love WILL cause misfortune again or not or can they trust Usagi to know what she's doing????? FASCINATING AND ANGSTY STUFF RIGHT THERE!

Rei’s Personality

More as an FYI, but Rei’s personality is much more similar to the manga Rei’s personality, instead of ‘90s anime Rei. More cool beauty and calm, less aggressively hotheaded and abrasive. And very importantly, NOT boy-crazy.

New, original dramatic elements

On the other hand, here are some live-action exclusive dramatic elements that I'd like to highlight:

Aino Minako the idol

Even many who haven't watched the series would have heard about how Minako's character is drastically changed in the live-action. Indeed, Minako is an acclaimed teenage idol and singer with best-selling songs in the show!

It's basically as if the live-action screenwriter pulled in the Outer Senshi elements from the Mugen arc into Minako's character: she's famous, experienced, and serious. Minako has full access to past life knowledge and is ultimately mission-driven like Haruka and Michiru are in the Mugen arc, which causes some of her decisions to maybe not be as morally white as we'd expect her to be (I think her costume style of white and black is a nice nod to the idea of her double life and her sense of moral).

Now, that's not to say live-action Minako is completely a new character, you can certainly see manga/anime Minako's character traits here and there if you pay attention - pun-loving, prank-loving, mischievous. For god's sake, the girl named her album Venus, and one of her most iconic songs is called C'est La Vie, which sounds exactly like "Sailor V" pronounced in Japanese. Just imagine this girl playing a vigilante life, and having a chuckle every time she sings her best-selling song that basically announces her identity to the world and no one realizes. lmao

Basically, Minako's character embodies the extreme result of what happens if a teenager is burdened with all the knowledge of the Past Life war and has the weight on her shoulders while working alone.

If you can get past Minako's changed character setting in the live-action, you'll find there are still plenty of Dark Kingdom arc manga/anime Minako elements in there, just some more exaggerated while others are more subtle. (Coz to be fair, Minako didn't start becoming Usagi's twin until after the Dark Kingdom arc.) And her relationship with Artemis is absolutely heartwarming to see in the live-action.

Who's in the wrong? Who's an ally, and who's not?

While our Senshi team is clearly the heroine, and the Dark Kingdom the villains, the live-action takes a more interesting take on what's considered "good" versus "evil", and more importantly, who's in the wrong on how things ended badly in the past life. Who is actually the person the Senshi needs to protect the world from? And that drives the story into a direction that is more complex than what you'll ever find in manga or anime, and certain characters react accordingly and act more grey than black or white - from both the heroine side and the villain side!

Shitennou & Endymion

Something we didn't really get to see as much in the manga and anime, while we know who the Shitennou are, we don't really see the Shitennou and Mamoru interacting until after they... became their name-sake rocks (okay, technically, GEMS). And we don't get many hints on what their past live relationships were, so for many years fans have taken to pen/paper/tablets/keyboard and filled the gaps with their amazing imagination and creative work instead.

In the live-action, we get a much more expansive and interesting take in seeing the Shitennou - technically still under the Dark Kingdom's influence, interact with Mamoru as they all grapple with what happened in the past life.

How would the prince's ex-guardians act seeing their master again? How would Mamoru react? Choosing to accept his responsibility for his past life or not? After all, they had such fond memories of arm-wrestling each other! (Spoiler alert: Nephrite won.) :P

I must once again emphasize that I love what they did with the Shitennou's characters and gave each of them a different story trajectory. They are written so well they pull at your heartstrings!

If you want some canon-material for writing the Shitennou in the age of Elysion Kingdom, definitely give the live-action a go!

Power up! The Senshi Needs Training

Because the live-action only gets one arc, there's no room for us to see the Senshi team (conveniently) get upgraded transformation like they do in each arc in manga or anime. Instead, the live-action takes a different, and I dare say, a more realistic approach, where the Senshi learns that their initial access to their transformation isn't the full access to their powers as they expected. They are put through some legit, and some questionable training of the body, mind and spirit, and each of them has to overcome something within themselves across the series to access their power!

This approach highlights and solidifies each Senshi's strengths AND ties in really well into the girls' character development throughout the series. As well, it makes it feel like the Senshi did have to put in work to get strong and gain access to their power, instead of relying on the plot to get them new powers at the right opportune time, seemingly out of the blue.

Remember: THEY ARE IN SCHOOL!

Yep, sometimes in the manga and in the anime, it's so easy for us to forget that the Senshi are kids in school when they are in the thick of a crisis or fighting evil. Somehow, it always seems quite clean and convenient that the Senshi could separate their school life and their heroine life, doesn't it? How the responsible adults in the world may wonder... "Gosh, where did that kid go in the middle of [insert context]????" Or for a fellow peer in school to wonder - "How the hell did this random group of girls come together like an odd band?"

The live-action takes time to make room for some reality checks in their episodic storylines to explore all the different repercussions our heroine's double (or triple) life has on their normal life, and with that ties in personable and relevant topics and themes into their episodic plots:

Family relationship

Peer relationship

Romantic relationships

Moments that remind everyone how awkward and tough it is to be a teenager.

The toll of lying through your teeth to keep a secret, etc

I cannot emphasize enough that the screenwriting is superb in the series! Not one thing is referenced only once and left out the window, everything that happened builds up into a moment of learning or lasting impact for our characters!

To people who've not watched the live-action, PLEASE GIVE IT A CHANCE! At least give it 6 episodes, and you'll probably be hooked!

You can watch the subbed versions of the series at:

Miss Dream Fansubs

Sea of Serenity Fansubs

The series is also on other online streaming sites, but be cautious to only visit them with good adware and firewall installed.

6 days till the 20th anniversary of Act 1 air date!

Part 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 |

[buriedalienfma]

The release of the first few episodes of ‘My Adventures with Superman’ has got me thinking a lot about Superman, and in particular, I wanted to talk about the Superman cartoon that never was - The Superman Family Animated Series.

For those who don’t know what this is all about, here’s the gist of it :

In around 2019, animation director Victor Heuck pitched an idea for a new Superman cartoon that was loosely titled “Superman Family”. The basic idea behind the cartoon was to essentially adapt the DC Rebirth Superman comics as well as the Super-Sons comics. The Rebirth Superman comics primarily focused on Superman raising his son, Jon Kent (who inherited his father’s powers) with his wife Lois Lane, while Super-Sons focused on Jon Kent’s escapades as the new Superboy as he teams up with Damian Wayne, the son of Batman.

Victor Heuck wanted to take the ideas behind the above mentioned comics and adapt them into a new Superman cartoon. The cartoon was also going to be very light-hearted in tone and Heuck has stated that the older Silver Age Superman comics was also going to be a strong influence on the cartoon. Just as an example, Heuck mentioned that he wanted to explore the idea of Jon and his mother dealing with Superman being turned into a Merman for a potential episode of the cartoon. That should give you a good idea of what kind of cartoon this was going to be.

Victor Heuck worked alongside Sean “Cheeks” Galloway to put together the pitch. You might have heard of Sean Galloway, he was the character designer behind the Spectacular Spider-Man animated series, and he drew up a couple of the character designs for the ‘Superman Family’ cartoon.

As the title of the cartoon would suggest, there was going to be a strong focus on the Superman family. Characters like Kenan Kong and Natasha Irons were going to be featured as recurring characters. In the comics, Kenan Kong is the Superman of China, while Natasha Irons is the niece of John Henry Irons, a character who built a high-tech suit of armor in order to become a superhero inspired by Superman himself. Natasha Irons followed in her uncle’s footsteps with her own suit of armor. The ‘Superman Family’ cartoon was going to portray Natasha as the big sister to Jon Kent. As you can see from the character sheets above, the classic Superman villain Mxyzptlk was also going to be a recurring character, which is fitting since I consider him to be THE silver age Superman villain.

While the pitch was received warmly by the people working at Warner Brothers, they ultimately chose to pass on the cartoon and as a result, it was never made.

So what are my thoughts on this pitch ? Well, this pitch was made in around 2019, and I can tell you right now, that wasn’t the best time for Superman fans. There was no plans for a new Superman movie or series at the time and the character seemed to be fading from  the public eye. At that time, I gladly would have welcomed this cartoon. It would have had a pretty big impact on the Superman franchise. For one, I think that Jon Kent would have been propelled into the spotlight.

When this character was first created, he seemed to be guaranteed to be a very popular kid-appeal character. He was the son of Superman who had to live up to his father, one of the world’s greatest heroes. His design is anime-inspired and in-universe, he was even an anime fan. He had a pretty charming personality as the kid who meant well, but tended to screw up for one reason or another. He was created in the same mold as the likes of Gohan from Dragon Ball or Midorya from My Hero Academia. By all accounts, he should have been a bigger deal.

Unfortunately, that didn’t happen. In general, I think the comics that starred the character were not easily accessible to the general public. The Superman Rebirth comics are still loved by Superman fans, but they’re full of continuity baggage that only long time fans would have been able to understand. They also weren’t very kid friendly and featured a surprising amount of gruesome scenes. The Super-Sons comic was a little more accessible, but it was ultimately short lived and didn’t make that much of a splash. Recently DC has experimented with aging Jon Kent up and having him become the new Superman...which hasn’t been well received by fans and to be fair his comic series is kinda mediocre. Over time, I’ve realized that while I liked the basic ideas behind Jon Kent, I don’t really care for the character as he is outside of a couple of very specific comics. And one of those comics is a fanfic, so that should tell you how bad the character has it in the past few years.

The ‘Superman Family’ cartoon would have been the break that Jon Kent deserved as the cartoon would undoubtedly be more accessible to the general public. I think the character would have been in a very different place if the cartoon went through and became successful.

As for Superman himself, I feel like the cartoon would have actually delivered on the promises of the Rebirth Superman comics. When I first read those comics, I was excited because I wanted to see Superman deal with the complications of being a parent, and especially a parent to a super-powered son, and I was rather disappointed when the stories side-stepped that idea entirely and just had Superman as a perfect father figure. Perhaps the cartoon may have fixed that ? Who knows.

Now with the benefit of hindsight and after seeing the release of two new Superman series in ‘Superman and Lois’, and ‘My Adventures with Superman’, do I still think that the cartoon should have been made ? Probably.

I have to be honest, I much prefer ‘My Adventures with Superman’ and how it took a more classic, back-to-basics approach to the Superman mythos. I think that is much more refreshing compared to the twists that other Superman stories have tried to put on the formula. One the other hand, the ‘Superman Family’ cartoon probably would have been much better than ‘Superman and Lois’, which has a similar premise and started off very strong but slowly became worse as the show was overtaken by soap opera drama that was bad even for CW standards. I’d take a more light-hearted Super-family cartoon over that any day.

But Ultimately, the cartoon only exists as a “What if ?”, and I think it’s a shame that the pitch was passed up by the higher ups. It could have been a fun little cartoon that could have placed the spotlight of a bunch of underrated Superman characters.