#every episode of she-ra series

[raayllum]

Sometimes it hits just how tonally different The Dragon Prince is from virtually every other kids show on TV and I lose my mind. I'd argue something like Infinity Train gets closest with its emphasis on psychological horror and morality, or even Transformers: Prime (if you know, you know) with its severe focus on war (aka one of the more lowkey episodes is a main character having a suicide bomb forcibly strapped to their chest). Steven Universe Future and Jurassic World: Camp Cretaeceous/Chaos Theory are also probably honourable mentions.

All of these shows have mature content in them, which isn't different from more popular shows like Owl House, She-Ra, or even ATLA, but often times in aforementioned three that content is presented in lighter ways and/or interrupted by bathos (this is true for She-Ra in particular). Most of TOH's heaviness is reserved for S2 Hunter or S3 Luz; ATLA has some episodes that particularly emotionally heavy (The Southern Raiders, Zuko Alone, the Southern Air Temple) or are quite hitting in exploring themes of colonization (Imprisoned, City of Walls and Secrets, Northern Air Temple), but a good deal, I'd say even the majority, are also pretty fun shenanigans, too. To be clear as well, a lighter tone is not a Problem never mind a negative (ATLA has a very strong thematic point to its own about the sanctity of children and childhood amid the horrors of how imperialism strips it away), but it is a tonal difference.

And it's not as though TDP doesn't have episodes where there are fun shenanigans (Callum and Rayla's initial exploration of Xadia in 3x02 is nothing but fluff, Soren and Corvus are a more gay comedic duo in 6x02) but the series more or less operates like "What if every episode was The Southern Raiders?" due to its consistent emphasis on grief and morality. They use words like kill and death and murder all the time.

From the pilot / opening episodes

and to when characters are having breakdowns because they murdered someone (and we're still supposed to like them) or have done horrible things, with the show's heaviness ramping up particularly from S4 onwards.

When loved ones die (and the show has a body count of 20+ named characters who have died, six seasons in, some even being children) the show depicts mourning in all its stages and ugly glory. The sadness, the anger, the revenge, the desperation, shifting blame and cognitive dissonances, thinking you had moved on only for that wound (which never fully healed) to be ripped wide open again.

Characters get tortured by being electrocuted or having their blood frozen in their veins or beaten up (5x08). There are successful assassination attempts (1x03, 3x02). People, even children younger than the main cast of characters, are put on trial with the death penalty (4x06, 6x09). Within the first three episodes, a character is running down stairs and tripping over dead bodies.

Sometimes three different characters in one episode will be having a breakdown or dealing with something absolutely devastating to their emotional state (2x08, 3x07, 6x01, 6x09, 7x01). The magic system is a trolley problem on steroids. Do you kill a monster to feed starving kingdoms, or to save yourself, or to save someone you love? What makes it a monster? What if the monster isn't a monster? What if you have to kill a child? What if it means killing your child? What if it means killing yourself?

There are two characters who canonically have cannibalized other people, one being a blood-drinker / vampire variant.

This doesn't mean the show isn't fun or funny. One character consistently thinks bathroom humour is funny (while being one of the most tragic characters in the entire show). The characters cheer each other up, take care of each other, are goofy, etc. The show is ultimately hopeful.

But the emotional weight afforded to the choices the characters are making, even good-intentioned ones with unforeseen disastrous consequences, the way show focuses on their emotional processing (or lack of) is very unique in the landscape of western animation, especially to this degree, I think. Never mind the increasing amounts of blood. Nor does this make the show inappropriate for children! Tiny me was morbid as fuck at 7 years old, I would've loved it, and I know many kids from ages 7-12 who do in my work as a tutor. But when people say "TDP isn't like most kids shows," I think what that means is sometimes lost in translation in conflating it with what people usually say aren't 'just kids shows,' when TDP... really, really isn't.

The show begins with assassins sent by a grieving mother to execute a father and his child in revenge for the father killing her partner and child, and it never lets you forget it.

[study-trash-child]

Nonbinary Characters in Polish Dubbings

It's a very short list, there's a LOT more they/them characters in media but for many, I couldn't find any dubbed scenes of, and I can't afford to purchase every streaming service ever just to watch a short scene with that character so-

Onto the topic

I so stupidly enjoy finding out translation differences between languages, and what better topic that Nonbinary characters translated to a language that genders everything.

In Polish, if you say you did something, you change it depending on the gender

I was reading - czytałem (male) or czytałam (female)

I feel like it is becoming more popular to use "o" as a gender-neutral way to say something (czytałom) but it's still faaaaaaar from being legally(?) recognized by many many other people and dictionaries.

But more on it later (kinda)

Some examples I found throught the years on how different shows handled the gendered words and characters in Polish translations.

RAINE WHISPERS - The owl house

One of probably most popular characters here, Raine Whispers.

It's Disney. I think it answers a lot already.

The show already had one queer couple, why make another, Raine throught the show is using male pronouns but was voiced by a woman.

On my own note, I really was not a fan on how they changed things in the dubbing including many of the names (Amity-Anita, Willow-Witka, Flapjack - Franek)

The Collector's official pronouns are He/They but the They was simply ignored. 'Easy as that'

ANGEL and MEREKID - Craig of the creek

Never properly watched it but when we (aka my sibling and me being a parasite) had HBO I tried to find epsidoes with them to see.

There are 2 nb/agender characters in that show as far as I'm aware (for some reason I though there were 3, so sorry if there are actually 3 of them)

For one (Angel) they just used he/him.

Other episode with nonbinary kid (I believe it was merekid) is completly gone from hbo in my country.

(overall HBO has a strong problem with many episodes of shows missing, like Adventure Time missing around 30 episdoes...)

STEVONNIE and SHEP - Steven Universe

They just refer to Stevonnie as two people (we, for version that includes at least one guy. Since there is difference between polish we for only girls - robiłyśmy - and we for either girls+guys or only guys - robiliśmy - ).

SHEP

Well, uh. I believe there is some kind of dubbing for the "future" series but I don't have prime and so on so I can't confirm it as of now...Sorry :/ UPDAGE: Managed to find an episode with Shep in polish dub. Shep is dubbed by a woman but the whole episode omits any kind of gendered words ("em" "am") by Shep and everyone else.

FRANKIE STEIN (G3) - Monster High

In the new cartoon and movie they are indeed referenced to as they. Even in polish dubbing Frankie uses "o" when doing something instead of just making them a girl (for both animated show and live action movie)

That's also a part of what I mentioned that the nonbinary way of speaking is becoming more 'common' in Poland

DOUBLE TROUBLE - She-Ra

I adore them, honestly

Well, quick note or so on, their polish pronouns is He/Him (since thier body is more male presenting)

Also their name in polish is "Kłopotowski" I had no idea till now and I wish it stayed that way, I laughed

BATTLE KITTY - Battle Kitty

I so, so, soooo love this show/game (the ony interactive options is picking where you want to go next. It changes nothing in the story). It's not so popular because it's an 'interactive game' which means that many people didn't give it a chance or just skipped it but I beg you to watch it. Me and friend had a blast honestly. It's a 'game' so your only chance to see it is to watch it on netflix.

The main character Kitty is Agender and uses they/them pronouns which carries over to polish dubbing!

REVERSED EXAMPLE

Huuuuh, that's honestly unusual.

So-

Nimona, many loved it, it's a giant allegory for transidentity/ and gender fluidity. I watched it with my mom (hence in polish) that's why I even know of the change

In english Nimona refers to herself as a she and others refer to her as such.

!In polish though! (I will use Nimona's english pronouns)

While everyone else refers to Nimona as she (including Balister), Nimona refers to herself as they ("o"). Honestly, unusal, it took me a few takes of Nimona talking to herself to even catch that, not to mention be sure that it's an "o". So yeah, polish made a character even more queer! Honestly unusual.

Hope you enjoyed my little, not really insightful post. It's just something that I'm really interesed in thus decided to make this (albeit) short post. There's a lot of overall different language changes, including how polish really tries not to curse in trasnlation (amazing example would be deadpool 2) or other changes that are really random (spiderverse, the amazing digital circus).

Hey, maybe it will spark some interest in you too. Make check langauge differences as well, have fun! Or suffer. Probably the later one.

If you (somehow) have something you'd like me to check out translation vise, let me know and I'll try to do just that

Cheers!

Edit: Small add on, regarding the analisys.

You could probably figure it out yourself but it seema like big studios like Disney will be the ones pushing for characters to be of she/he pronouns. While smaller studios will have a better chance of character still being referenced to as they/them in other languages.

[autistic-ben-tennyson]

Steven Universe: A Complicated Relationship

I’m starting to fall out of love with this show. I used to be obsessed with it and it was important to me as a way of figuring out my gender and sexuality. Yet, my relationship to it has become more complicated as of late. I’ve defended it myself and have been passionate about it, yet seeing the way a lot of stans have acted has kind of ruined it for me especially due to dismissing any criticism. This is not me saying I hate it or think it’s irredeemable Nazi propaganda but not everyone who dislikes it watches Lily Orchard and there are valid things to criticize about it.

There’s definitely bad faith criticism of the show such as flanderizing Steven into a crybaby with those Jack Horner/Hitler memes or claiming it was made to attack Christians but some people do have valid points. The episodes Bismuth and Gem Harvest may have not intended to come off as racist but one could interpret them as forcing people to forgive their abusers or bigoted relatives. As someone who’s Asian and knows about the way we’re represented, the way Priyanka and Doug were portrayed in the early seasons as tiger parents has not aged well.

One other criticism I’ve seen is that the show copies a lot of old sci fi or anime tropes without recognizing the issues with them or removing them from their original context. I and others have compared the show’s ending to the Highbreed arc from Ben 10 Alien Force. The difference is that the Highbreed were treated as supremacists who needed to be stopped, not as abusive family. People can debate over whether they should have gotten more consequences but they were not treated as dorky relatives. The only one Ben befriends was a low ranking officer who became the new leader and convinced the high council to accept having their DNA changed. There’s also the human zoo, another sci fi trope that’s aged badly with the racist implications.

The series is also compared to a lot of anime. There’s references to Ghibli, NGE, Sailor Moon and Dragon Ball and many have compared the show’s idealism to that of magical girl shows like Madoka Magica. The difference is that those shows didn’t use subjects like colonialism as a backdrop for family drama. SW suffers from that as well especially with the rebels only wanting to restore the old liberal system while taking imagery from the Viet Cong. People who wanted a revolution story weren’t necessarily wrong as that’s what the early seasons did set up.

Some will accuse me of fandomizing the war but I’ve noticed a lot of the hardcore stans are white queers who support Israel or demand complete support for democrats. Not saying every SU fan is a bad person btw. There are a lot of decent people who are anti Zionist and like the show but a lot of these pop progressive cartoons as well as SW, Disney and Marvel/DC are used by people with gross beliefs to infantilize themselves and dismiss any criticism from POC fans. If mainstream kids media is where you’re getting your all political takes from then maybe you do need to branch out and watch more mature stuff. Watching NGE helped me grow up a lot and learn nuance.

As a recap, I’m not saying SU is a bad show or that people are bad for liking it. It was important for my own development as well as a lot of lgbt youth and was a jumping point for a lot of my current interests such as classic anime or Lisa Hannigan, who’s an amazing musician and is pro Palestine btw. Future did help me a bit with mental health yet people are allowed to dislike it or find that even if it wasn’t intentional, there are some implications that should be addressed. I don’t hate it and there’s some stuff worth defending in it but it’s not the greatest show ever and people who get all their politics from it need to grow up. Between it, TOH, Dead End and She-Ra, I think a lot of the pop progressive media that we have today will not age well and that’s something we need to accept.

[that-ari-blogger]

"Do you want to know a secret?" (The Portal)

I think that the rules of writing are overblown.

Don’t get me wrong, there are things you should and shouldn’t do when telling a story, but those are more guidelines than actual rules.

Case and point, She-Ra is a story predicated on repetition, which shouldn’t be as entertaining as it is. The “bad ending” is effectively another season, which is a unique premise, and a threat that the story absolutely delivers on multiple times.

But, to me at least, the story is enthralling, and keeps me coming back to it. It works, not despite its repetition, but because of it.

Although, that isn’t exactly true. I’ve described the story as cyclical before, but it isn’t entirely. It’s a spiral, because the cycle of abuse is an innately unstable dynamic, and will only end in tragedy if it isn’t broken.

If you don’t want to take my word for this, I give you the season 3 finale, The Portal, which spells out the series’ thesis in about as blunt of a way as is possible.

Let me explain.

SPOILERS AHEAD: (She-Ra and the Princesses of Power, Watchmen, Batman: The Killing Joke, Superman: For The Man Who Has Everything, Justice League Unlimited)

I grew up reading Alan Moore comics, and if you don’t know who that is, I both pity you and envy you. Alan Moore is one of the most misrepresented writers of the modern age, and its entirely his own fault.

Moore is known for writing V For Vendetta, The Killing Joke, and Watchmen, all of which have a distinctly grim tone. He is one of those writers who seems to care more about the story he is telling than how much people enjoy it, and so he usually has a point to make.

Unfortunately, we end up with the Cyber Punk dilemma, in which Alan Moore’s genuinely unrivalled literary talent leads to people really enjoying his stories, which means they unintentionally miss the actual themes of those stories. In the case of Watchmen, this led to people seeing the gore and the violence and the depression and trying to replicate that.

This is where we get The Boys from, shallow sadness and spectacle. If that’s your thing, go for it, but it isn’t mine.

But I bring up Moore in a discussion of She-Ra for a reason, and that is the relentless hope inherent in his writing. In Moore’s stories, hope prevails every single time, with the only exception being extremely subjective. The Killing Joke focuses on the idea that everyone is one bad day away from becoming evil, and that gets proven wrong. Watchmen is about how small humans are and how annihilation changes people, yet the characters are able to find joy and an escape from their trauma, and show kindness to each other even when the sky almost literally falls on their heads.

The Boys isn’t very good as an adaptation of Moore’s themes (In my opinion). If you want one that actually understands the source material, watch The Incredibles, or Justice League Unlimited, or She-Ra and the Princesses of Power.

I have praised She-Ra for its animation and pacing, as well as its overarching story, but I think its greatest strength is its humanity. Characters in She-Ra are incredibly fragile, psychologically, and yet they are incredibly resilient.

Catra and Adora’s development gets methodically and efficiently destroyed by Shadow Weaver, and yet Adora becomes a hero and Catra… well, we’ll see how that works out in later seasons.

One of my favourite Moore stories is a superman story from 1985 called For The Man Who Has Everything. This was adapted into an episode of Justice League Unlimited, but I prefer the comic.

The story follows Superman being forced to live out his greatest desire. It doesn’t sound that bad, but the point is that he is kept happy and therefore out of the picture while villains can do villain things. It’s very much a story from its time, and I love it.

Interestingly, however, Superman’s dream takes him back to Krypton, where he isn’t Superman, and he is happy. He has a wife, and a son, and he never lost anything. He can spend time with his parents.

Even with the shenanigans that ensue (because this is a comic), his time in this dream is fun, and relaxing. Until he works out he’s dreaming, and has to let it go. Superman gets the choice of happiness, or duty, and he takes duty.

The scene in which he says goodbye to his “son”, who does not exist and therefore does not matter, is heartbreaking, and if I ever do comic reviews, I’m talking about this one first.

I now turn your gaze to queen Angella, from whose perspective this story is being told.

The episode actually does a bit of a bait and switch with the point of view, convincing its audience that it is about either Glimmer or Bow, and it kind of is, but not entirely.

Angella has everything she could possibly want, her daughter, her husband, her city. There is no war, there is nothing. Everything is perfect.

“This is perfect, my love, but it’s not real. I remember now. I miss you so much, but Glimmer needs my help, and I can’t stay with nothing but memories. Goodbye Micah”

Does this ring any bells?

I want to point out that this is still Catra’s hallucination, the thing that she wants. So why does she want Angella and Glimmer to be happy?

Catra wants Adora, and arguably loves her, but in an extremely dysfunctional way that says "if I can't have her, nobody can". She is petty, and fully the villain in this episode.

So, the way that she gets Adora to be hers is by ensuring that the people who accepted her would have no space for her in their lives. Why would Glimmer want to spend time with Adora? She has her father. Why would Angella accept Adora? She has her family.

What Catra doesn’t understand is that love isn’t transactional, and that these people are genuinely kind and accepting.

There's the idea of "what you are in the dark." The concept of what a person does when there are no consequences. Characters in this episode keep getting moments like this, when they know that they are fading from existence, and are given moments to show their true colours. Entrapta chooses to be grateful, Bow chooses to be reassuring, and Glimmer chooses to be emotional.

The thing that breaks people out of Catra’s reality is the unexpected. Its Catra’s lack of understanding of people that leads to those people being themselves and instinctively breaking free.

Case and point, Angella and Glimmer help Adora, and because this world was completely unprepared for that minour act of kindness, it can’t keep them contained.

Now, I know what scene you are expecting me to talk about, so I’m going to make you wait, and talk about Catra instead.

Catra is the villain of this episode. If it wasn’t for this being set in her mind, she would have zero nuance. By which I mean, everything about her as a character here is done externally, the way she acts makes her seem like a generic, abusive partner.

Because let me be clear about Catra’s actions here. This is abuse, and it is treated as such by the story. The show doesn’t make apologies for her in this episode, or try to justify it here. Subtlety be damned here, Catra is abusive.

And so, I will read her this way, for this episode. We have seen the nuance leading up to this moment, and we will see a redemption arc. But this is Catra at her lowest, and so I will put aside the past and future to examine the present and the present only. Catra is abusive.

There are two ways you could read this drop in subtlety. One, there are parts of this character that you aren’t seeing, left blank. This episode is presenting you with a character and not showing you the whole thing. Or two, this is a character who has been broken by the story, almost as if parts of her have been removed or lost. Catra is now a fragment of her former self.

I wonder if any of this is reflected in her character design.

“If you hadn’t gotten captured, your sword wouldn’t have opened the portal. If you hadn’t gotten the sword and been the world’s worst She-Ra, none of this would have happened. Admit it Adora, the world would still be standing if you had never come through that portal in the first place.”

This hurts Adora because it’s true. Ok that’s unfair, and inaccurate, but it’s not entirely wrong, and that’s the kicker.

Catra isn’t making this up, she’s just leaving out important details. Because of course, if Adora hadn’t been captured, things would have worked out better, but who was it that captured her? Who was it that made the choice to pull the switch? Who was it that destroyed the world out of spite?

Catra blames Adora for her own actions, and that is, once again, abuse. Which is why it’s so satisfying when Adora stands up for herself.

“I didn’t make you pull the switch. I didn’t make you do anything. I didn’t break the world. But I am gonna fix it.”

Hope is relentless.

But I also want to point out the claiming of agency here. Catra was weirdly insightful at the start of her monologue.

“It's always the same with you, Adora. ‘I have to do this. Oh, we have to do that.’”

Adora’s word choice is a flaw. I looked back at the past few seasons and did a word search through the scripts. I don’t think Adora uses the word “want” more than once at all up to this point.

Essentially, Catra sees things, but extrapolates exactly the wrong message from it. It’s almost as if she’s only seeing half of the world, like her vision is impaired or incomplete somehow.

I wonder if that is reflected in her character design.

In any case, Adora frequently says that she “has to” do things. “Need” is also something she says a lot, and this has the effect of making her an extremely passive character in her own story.

Like I said, this is a moment of agency, but the entire story is a story about that agency. The characters are making choices to either get out of or go along with the downward spiral that the tragic form has set out for them. Catra made the choice to follow, but Adora didn’t. Adora’s word choice makes her look like she has made no choice, but a lack of action is still a decision.

So here, when Adora declares she is “gonna fix it", she takes her agency and decides to walk in a different direction.

This reminds me of an earlier episode, that being Promise.

Hey, look at that action. Looks familiar, right?

This is the only episode I found where Adora says she wants something, although her actual wording is “I never wanted to leave you” when talking to Catra. Go figure.

The moment in question was the episode’s namesake.

“It doesn't matter what they do to us, you know? You look out for me, and I look out for you. Nothing really bad can happen as long as we have each other.” “You promise?” “I promise.”

Agency. Adora is making a decision to stay with Catra and protect her. She is knowingly choosing to do something.

It’s telling that the two most prominent times Adora has done this have been to protect people. It’s almost as if she wants to be useful, or helpful, or protective. Almost as if she wants to be wanted. It would seem Adora is just as addicted to the highs of Shadow Weaver’s programming as Catra, she just has a better support group.

Although this isn’t a full victory, she doesn’t want to save the world, she is just going to, – we still don’t know what Adora wants – this is a partial success. Hold onto that idea, it will come back later.

“Do you want to know a secret? I am a coward. I've always been the queen who stays behind. Micah was the brave one. And then Glimmer, oh, Glimmer. So much like her father. And once again I stayed behind, letting her make the hard choices, letting her be brave for me. I told myself I was being responsible, but, Adora, I was just scared. And then I met you. You inspired us. You inspired me. Not because it was your destiny, but because you never let fear stop you. And now I choose to be brave.”

Queen Angella is voiced by Reshma Shetty. She doesn’t get much praise, but for this monologue, I think she deserves so much more than she got.

In my fourth post about She-Ra, I discussed Adora’s ability to inspire and linked her to Batman, something I stand by to this day.

In universe, She-Ra isn’t important because she’s a warrior. She exists as a leader, to protect people and pull them into a greater tomorrow. She shines a light for others to follow.

That is what happens in The Portal, Adora succeeds not by fighting the enemy, but by being herself. She only becomes She-Ra to destroy the portal at the end. To save Etheria, the giant sword lady isn’t important.

I mentioned earlier that humans are fragile and resilient at the same time, and I give you Angella as evidence for that claim. Here is someone who has lost her husband, and makes decisions based on that fear and trauma. But when push comes to shove, the fear is secondary.

Reality falling apart lets directors get away with true nonsense. Micah's staff has no reason to be here, other than the fact that it makes a phenomenal metaphor for Angella's trauma. But that's all you need.

Jon Pertwee was the third doctor, and while he isn’t nearly as iconic or influential as some of his predecessors and successors, he did deliver the line that defined the whole series.

“Courage isn't just a matter of not being frightened, you know. It's being afraid and doing what you have to do anyway.”

I started my discussion of this season by claiming that this is the season in which the characters put a dent the tragic cycle, and I have mentioned several times that the cycle of abuse is unstable. So, here is my thesis.

Catra’s arc fails, not in a story sense, but in a personal one. The idea that every character has a single story arc is something is a specific bugbear of mine, and Catra is kind of my case and point for that. She has a redemption arc up to this point, and she ends up as a villain. Then the story continues and she has to start again and decide where to go next. She has no choice but to move in a different direction from here.

But she tasted redemption already. The crimson wastes gave her a taste of what she is missing, and it offered her an out. It gave her a choice, she made one, and consequences were served. I can’t help but imagine that for the entirety of the next season, she is considering running off to the wastes again.

That idea of consequences comes back with Adora, who makes a good decision, and is rewarded for it. Or rather, she makes a decision to actually do something. Adora becomes an active character, and that is what starts to break the cycle. Because now the motion is halted, and the puppets are pulling the strings.

But, this isn’t a complete victory. Angella is lost, Entrapta and Micah are still gone, none of the villains actually get defeated. For an episode with lasting consequences, not much actually happened.

This episode is big on the fact that this is all a dream, which should destroy the engagement. But it doesn’t. In reality, it preserves the status quo physically, but lets all the characters spontaneously experience character development. The victory of this season is that growth, but it came at a cost.

I want to briefly talk about that final shot, before I go, because this is how you introduce a villain. Sure, the voice acting is impeccable, and the cinematography gives an air of mystery and menace to this threat, but the showstopper is the reveal that this villain can destroy a moon with ease.

You see a fleet of ships, there was no battle here, just a villain showing off for nobody but himself. He gets interrupted by the plot, and he’s busy DESTROYING A MOON.

Horde Prime is f***ing terrifying.

This scene is in this episode too. It's meant to show how reality is falling apart, but I actually have a reading of why it's here. I think Catra wanted to preserve who Adora was, hence why she is the source of all the paradoxes. But Catra doesn't understand that Mara's legacy and Razz's teaching are a big part of Adora.

Final Thoughts

I’m going to talk about the implications for later seasons for a moment here, so if you’re avoiding spoilers, now you know.

I think Catra being the villain here makes her redemption so much more compelling, because she actually needs it. There is a difference between this and, for example, Hunter from The Owl House, who doesn’t really need redemption because he hasn’t done anything wrong.

Catra here has very much done wrong and is evil as defined by the show. But the show’s message is that anyone can change, and that the cycle of abuse isn’t set in stone.

So, Catra will redeem herself, and she will struggle, and fall back, and try again. Forgive her or not, the redemption is the effort to be better.

Next week (or whenever the next post is released, I have a terrible work schedule), I will be discussing The Coronation, so stick around if that interests you.

Previous - Next

[gentlebeardsbarngrill]

02/20/2024 Daily OFMD Recap

TLDR; Cast&CrewSightings;SambaSchutteBTS;RhysDarbyCameo; DavidJenkins/RuiboQian; SaveOFMDCrew IG; Articles; Analysis & Trends; LoveNotes;DailyDarby/Tonight'sTaika;

== Cast & Crew Sightings ==

= Samba Schute Feat Rhys Darby =

Srcs: Samba's Instagram

Videos on Tumblr:

Steard Video - @kiwistede

Merstede Video - @kiwistede

Videos on IG:

Steard Video

Merstede Video

And just to distract all of you again: gif courtesy of @bizarrelittlemew

== Rhys Darby ==

The Our Flag Means Death Fan Page on Facebook was kind enough to get a Cameo for the crew! This one features all things to visit if you're heading to Aotearoa! It's quite a large file so tumblr won't let me upload it so please visit: their site (where you can download the video) or on facebook!

The admin on the page was also kind enough to give us some links to the places he talks about in the video! Thanks friends!

Te Henga Walkway

Kemeu, New Zealand

Te Rimu Tahi Ponsonby

Aoraki Mount Cook National Park

Fiordland National Park

Franz Josef Glacier

Lake Tekapo

Punakaiki

Piopiotahi

== David Jenkins / Ruibo Qian ==

Hey! We got some proof of life from Chaos Dad on Samba's BTS, and a bit of love from Ruibo!

＝＝ Fan Spotlight ＝＝

February Love Collage Fest! So I am very behind on these so I'm going to share a few a day to try and catch up on these awesome collages our dear crewmember WanderingNomad @wndrngnomad on Twitter made!

Today's: Feb 20: Ra Vincent!

Feb 1 : Samba Schutte

== Save OFMD Crew IG Calendar ==

Over on Instagram the SaveOFMD Crew is keeping engagement up with "Crossover Cruesday", suggesting lots of fun ofmd crossovers (including Jurassic Park!) Feel free to check them out on their stories!

Tomorrow's engagement is #WrongWednesday!

== Analysis & Trends ==

So much data regarding OFMD's rank on Max. Thank you @adoptourcrew for this awesome analysis!

FULL EPISODE: https://t.co/HFVLQgm1Um

＝Trends＝

Huh, I wonder why RHYS could be trending today?

Thanks to @iamadequate1 for catching that #OurFlagMeansDeath was trending! A lot higher than the last few days too.

==Articles==

All The Shows Canceled In 2024 On TV & Streaming (So Far)

13 TV Shows Have Been Canceled in 2024 (Including 2 Netflix Series, 4 HBO Shows & More)

== Love Notes ==

Can I just take a moment here to tell you how very proud I am of you lovelies? Like seriously, you are being so supportive and sweet towards each other. You've been sending out love and positivity and sexy things to make everyone feel better and gah I just, every time I flip through this site/cross platform I am so incredibly moved. You all are the absolute best, and I'm so very grateful to be a part of this wonderful group of misfits. I'm sure I've said this recently, but IM SAYING IT AGAIN BECAUSE I FUCKING MEAN IT. Okay sorry for the caps, but for real I love you guys (gn), you make me smile and laugh every single day and I just you make the world such a better place to be in. I hope you know just how much you matter and what an amazing job you're doing making this community great. And I just wanted to add some additional love notes from @bethdrawsthings on IG because she always has things I want to say too. Goodnight or Goodday lovelies, I can't wait to see what shenanigans and love we get up to tomorrow <3

= Daily Darby / Tonight's Taika =

ALRIGHT, alright. You might think I'm lazy in choosing the gif everyone has seen but I just can't let you leave this post without seeing it again. Plus it fits with a taika gif, I love.

Taika gif courtesy @meluli!

Rhys gif courtesy of @bizarrelittlemew right here on tumblr!

And bonus Taika cause it's #TaikaTuesday, and I feel like it follows the theme... after...whatever happens after the gifs above. @blakbonnet Ty once again for this lovely gifset <3<3<3 It's HD and Gorgeous and you rock my socks off.

[jheselbraum]

It's 2024 and some of y'all are still whining about Katara being "mean" to Zuko after he joined the party like he didn't directly betray her trust and almost caused her to waste the spirit water on him instead of saving it for Aang which-- while definitely not intentional on Zuko's part since 1) Zuko didn't know that Azula was going to shoot Aang with lightning and 2) He didn't offer or expect the spirit water to be able to heal his scar-- from Katara's perspective the last time she trusted Zuko the Avatar cycle almost fucking ended. Of fucking course it's going to take her the longest to trust him again, she's right! She was the first person to trust him, and he burned that bridge!

Everyone's field trips with Zuko make the most sense for both how they happen and when they happen. Toph trusts Zuko the quickest because she can literally tell when people are lying and is also good friends with Iroh, who's like, the number one "Zuko's not evil he's just in turmoil" guy. Aang trusts Zuko next because he's a fucking air nomad pacifist who is culturally predisposed to the virtue of forgiveness. Sokka trusts Zuko after an intense and prolonged mission to rescue some POWs because Sokka is a warrior at heart and while he like Toph sees the strategic value in Aang having a firebending teacher (eventually), he needs to know how Zuko behaves while on their side before he can trust him. Like-- the change in dynamic between the air temple, when Sokka and Zuko aren't on mission and Zuko is kind of the one "in charge," he has the information Sokka wants but Zuko is the one who hesitates to give it freely and Zuko is the one who dictates how Sokka leaves the temple for the boiling rock, to when they actually get there and Zuko follows Sokka's lead and Sokka is the one calling the shots and coming up with the plans really emphasizes how Zuko works in team setting when it counts.

And Katara's field trip with Zuko has to be her revenge quest, and how Zuko acts during that quest really tells us a lot about what Zuko wants personally from that field trip which is the same thing that he wanted from the others-- jack shit.

Zuko asks Sokka about his mother's death because he wants to better understand where Katara's coming from, and from where I'm standing it's pretty obvious that he only realizes "hey hang on my years at the Fire Nation School For Little Princes might come in handy actually" and tells Katara what he now knows about the raid and who did it.

And throughout the entire episode Zuko is 110% on board with whatever Katara wants to do with that information. If she'd said at the tent "Thanks but the only revenge I want is helping Aang defeat the firelord and ending the war" then he would've just been like "ok"

Zuko makes no judgement call on Katara's use of bloodbending and he makes no judgement call on Katara's decision to spare Yon Ra and every move he makes in that episode is Zuko saying "You're right, I fucked up, and I understand where you're coming from" every move he makes is in support of Katara, she is the one in control in the situation and I think that's why Zuko brushes off Aang's call to pacifism earlier in the episode, because pacifism isn't what Katara wants in that moment.

Like that whole sequence comes from such a genuine place of caring and support from Zuko for Katara and I think the interpretation that Katara is just being Mean to Zuko for No Good Reason really cheapens one of the best episodes in the series as well as the episodes leading up to it.

[dreamwreaver]

When the pilot first dropped, I was a teen who shipped Chaggie only because it was canon and it was cute. But now that I'm older and watched the series, I realize how... simple and dare I say it, flavorless this ship is. They don't have that much in common, I can't really think of at least 3 things they have the same interest in. Their viewpoints are different and sometimes it can really broaden the perspectives of the couple for the better, but for Charlie and Vaggie, it only serves to clash in a way that doesn't amount to a lot in the long run, considering how Charlie often disregards Vaggie's caution and Vaggie shuts down most of Charlie's ideas. Not to mention that the whole "exorcist reveal" was poorly handled and did no service to their characters, only butchering these two further.

For me, I cannot see Vaggie providing any essential and substantial development to Charlie's growth in the series because of how bad the show makes her out to be only the love interest. Also, what is Vaggie's purpose to the hotel and for redemption as a whole? Simply being the manager and supporting Charlie doesn't really help much especially when she seems not to care all that much aside from her girlfriend. She cannot relate with all these sinners she was originally tasked to kill because she is most likely a heavenborn angel so what can she offer?

While I don't ship Chaggie anymore, I wish the show would take this ship seriously. They are doing their fans a disservice by failing to make their main pairing mean something more than scoring sapphic points.

My sweet nonny, you took the words right out of my mouth. Like, I feel that most charlastor shippers don't have an actual issue with chaggie being canon in and of itself, they have a problem with it being canon and yet it not meaning anything. Which isn't to say shows can't have main characters with stable queer relationships going on in the background. I think Kipo and the wonderbeasts did it? The new She-ra DEFINITELY did that, Steven Universe walked, and I'm guessing had it not been canceled after like 2 seasons Ok Ko let's be heroes would have developed lord box man and processor venemous' relationship in the background with major plot points being their on and off again dynamics (side note please watch it it's made by Rebecca sugar's spouse and it's so good!)

The problem with chaggie, is that they're BOTH main characters. Charlie is essentially the titular protagonist. Vaggie is one of the core six. Them being together in a relationship can be casual while not being missable. Let's look at a straight example of this being done right; Kim Possible. Nothing about Kim and Ron's dynamic as friends/heroes changes once they're in a relationship. Sure, fears and concerns that drive plots change, but the fundamental characters and dynamics do not. Moreover, we see the casual displays of affection between them that definitely indicate they're not just friends. (Then again KP did an awesome job of establishing that Kim and Ron both have this weird attachment to each other long before they got together. They had an official Kim/Ron night on Fridays).

Chaggie at least as far as season 1 is concerned, is not the focus. And yes, I know, "it's only 8 episodes!" Okay, but tell me if every episode counted why did we have one focused on introducing the Vees? Why did we have an entire episode focused on Huskerdust? These are not complaints in and of themselves but it makes you wonder when the big season 1 plot twist is that Vaggie's been an Angel the whole time.

You're also right about Vaggie not... really having a place there? She's just kind of there, and it's very glaringly noticeable. She's manager in name but Alastor handles all the facilities work and is by his own admission (believable or not) that he's there to watch people fail for his own entertainment, Charlie's the one involved with lesson planning and activity development and she certainly doesn't lack for cash to fund the place, Husk and Nifty both have positions within the hotel but are very obviously only there because of Alastor. Angel and Pen are guests. So what does Vaggie actually do besides wrangle sinners and tell Charlie no?

And part of why I'm so annoyed by this is that I think everything we do know about Vaggie's character could make her super compelling if it wasn't so heavily dependent on Charlie. A fallen angel and former exorcist who was cast out because she did the right thing rather than follow orders? Awesome! Injured in the process losing both her wings and eye? Badass! Believes that people can better themselves long after the lives they've lived? Cool! Is constantly fighting against her own self hatred and projects that out onto other people without meaning to? Feels she's utterly useless if she's not being of service to someone or something? Like this is barely scratching the surface but it's all there and it's all super interesting!

Except for the fact that tying it to Charlie negates all of it. Vaggie doesn't seem to have a character outside of Charlie, which is why they aren't really separated. Think about it, even when Vaggie's confronting Carmilla is on Charlie's orders. And while I'm sure vaggie always means well, her way of helping Charlie involves Charlie changing herself to be more acceptable to others. Alastor's way of helping Charlie involved him bringing her to a place where he knew her natural inclinations would actually be welcomed with open arms.

Alastor and Charlie just make too much narrative sense to not be together. They're foils, dark reflections, and they have so much chemistry it's honestly insane. People said that shippers got shafted when dad beat dad came out but all I saw was the greatest "your daughter calls me daddy too" joke of the last like 20 years. Alastor, who is canonically only in people's spaces to piss them off, who makes even his closest female friends wait for permission to touch him, both climbs over Charlie like ivy on a brick wall and lets her touch him on prompted without recoiling. Alastor always offers something useful to Charlie, even if he delivers it in an insult, and more importantly; not once has he ever laughed at her. He wants to guide her and watch her reach her full potential; malicious intent or not he's in it for the long haul. Again I say this not to bash on Chaggie but to emphasize how WEIRD it is that there's this dynamic isn't present in the canon ship.

I'm with you on your last point nonny, I can not actively ship chaggie and want better for it. I cannot tell you the rage that filled my body when I watched the last episode and saw that out of 8 episodes Chaggie got 1 30-second song and not only was it a REPRISE it was a reprise of the FATHER-DAUGHTER SONG!!! If that creative decision doesn't tell me everything I need to know about the ship's treatment going forward, I don't know what would.

[midnightechoes]

I'm not caught up on My Adventures With Superman, but I've seen enough promos posts on social media to know that they seem to be doing something with Kara and Jimmie, which, sigh. I'm sure it's done well, this show is great and it's probably handled fantastically. I can't lie though, a part of me was desperately hoping that this would be the mainstream thing that they let Kara be queer in.

A part of me knew that there wasn't any chance in hell of that happening. At this point, I don't expect anything popular and mainstream to have any queer content beyond minor stuff in the margins. (Like how MAWS let a he/him gorilla and a he/him brain in a jar be a couple in one episode)

I wanted so badly to be proven wrong. Partially because it's Kara and I've been longing so badly for the day they let her actually be queer in one of the mainstream canons and not just in AU stuff like Dark Knights of Steel and Bombshells. As a Kara and Barb shipper in my youth and a supercorp shipper now, I've always read Kara as a queer character, and I've always hoped that would be confirmed someday.

And partially because I fear we are starting to slide backwards.

(Please keep in mind that this is entirely about western animation. I'm not talking about anime or live-action stuff here)

For a moment, it felt like we were building a space for major mainstream LGBTQ+ rep, specifically sapphic rep. You know, not just some minor characters here and there, but main characters, protagonists even.

Steven Universe, Legend of Korra, and Adventure Time led into She-Ra and the Princesses of Power, which immediately led into the Owl House, Harley Quinn, and Dead End: Paranormal Park.

There is Arcane, but with the way Netflix has been recently, I wouldn't be shocked if s2 completely shied away from caitvi being a thing and just never addressed it. Again, I hope I'm wrong. And there's a pretty good chance we still have RWBY's Bumbleby for a little longer. Arcane is ending this fall, and RWBY has maybe 1 - 3 volumes left at most and is having to fight for every one.

Honestly the best thing we have going right now that seems to have a future is Hazbin Hotel, and I understand that's not for everyone.

But on the whole, it feels like the momentum we've been building over the last decade has completely stalled and crashed. Yes, this is very much a byproduct of the entire United States backsliding on the progress its made, but I'm not equipped to have that conversation.

And this has been mostly focused on sapphic representation. Even when the momentum was building, we never even got far enough with having queer men characters and trans characters.

Hopefully someday Kara Zor-El can be a main character in a mainstream thing and actually get to kiss a girl. Hopefully Lena Luthor.

I hope I'm wrong and by this time next year there's a new animated series that's the hottest thing on Max or Netflix and the protagonist is a cocky lesbian that makes out with women everywhere she goes.

I'm hoping.

[enemyoflactose]

I Finished the Rest of Battle City

@lostsomewhereinthegarden wanted to be tagged

I was honestly getting a little tired of Marik and his problems by this point in the series which is why this took so long.

Voice acting:

Marik: THEY TOOK AWAY HIS SKELETOR VOICE

Characters:

Yami: He's pretty much the same, only he completely forgives normal Marik.

Yugi: pretty much the same only he forgives normal Marik.

Joey: he died and I started crying. He's pretty good as always and was absolutely robbed of that victory.

Téa: she kept getting possessed.

Tristan: nothing new

Duke: nothing new

Ryou: ate all the donuts

Yami Bakura: he giggled and did nothing.

Ishizu: she yells in lowercase and I think that's funny

Odion: Maybe it's just the dub, but he never says he wants Marik to be safe because he loves him. He just says it's his duty and it's how he'll be accepted into his family. Idk. It's a little weird that this may be his and Marik's final moments and he doesn't once say that he loves him.

Marik: I hate you. I hate you so much.

Yami Marik: hype wore off this guy sucks and can't duel without plot armor. He also talks way too much and it gets on my nerves.

Seto Kaiba: he's so angry that Yugi beat him in his own tournament it's kinda funny. He is my savior in these last episodes.

Mokuba: he's here

Serenity: she's also here

Mai: ded

Roland: the MVP

Duels:

Duel 1: Four Way Duel

In this duel Joey, Kaiba, Yami, and Yami Marik are all dueling each other at the same time. For a little bit, everyone is targeting Joey, but Yami keeps defending him so they move on to attacking Marik.

Every time Yami defends Joey, Kaiba says something snarky and that makes Joey go "Hey man, let me duel on my own for Mai."

And Yami just begrudgingly does it. Like this man does not want Joey dueling Marik.

Marik is just in his own little corner going "AHAHAHAAA I'm so evil" and everyone ignores him.

Kaiba is trying to knock out someone. I forgot who. He wants to get all three Egyptian God Cards and make his deck even brickier.

Yami Marik loses.

Duel 2: Joey vs Yami Marik

🔥🔥🔥🔥🔥💪🪓💥PEAK💥🎉💯💯🔥💯💯❤️‍🔥⚡⚡⚡⚡⚡🦅🦅🦅

This duel is Yami Marik's only good duel, and by God is it Joey's second best (I like Joey vs Valon more).

In this duel, Yami Marik makes it a Shadow Game in which your energy gets drained if your monster is destroyed or loses attack points. Because Joey is a normal guy, he is weaker to this and therefore loses faster.

Some stuff happens and Joey was given Lava Golem. This makes him lose life points faster. Yami Marik is slowly burning him with other cards like nightmare wheel, but lava golem is cooler.

Yami Marik uses some worm things to make Joey lose more energy. Joey sacrifices them so he can summon Geilfried (idk how to spell it).

Yami Marik summons Ra Phoenix mode and destroys all of Joey's monsters. But my boy still stands.

Joey summons Gearfried and almost attacks, but then he dies.

Duel 3: Kaiba vs Yami

I kept dozing off during this duel because I was worried about Joey, soooooo I kinda have no clue what happened other than like a few things.

Kaiba and Yami are dueling in a coliseum because Kaiba is crazy.

Kaiba gives Yami Change of Heart sometime during this duel. Which makes me wonder if he always had that on hand, or if he yoinked it from Bakura. Did Bakura ever get it back?

Kaiba so summons his blue eyes at some point in this duel. And Yami summons red eyes. And that Dark Magician Paladin thing.

During this duel Kaiba and Yami attack each other with their god cards and it takes them to a vision of the past in which the gods are turned to stone and the two of them are fighting.

Yami Marik is stuck in a wall. One time I read a fic where Yami Bakura stopped time and butt fucked him there. Wild.

Yami wins by means I don't remember and Mokuba and Kaiba fight about something.

INTERMISSION

Téa gets possessed again and goes to fight Yami Marik.

Kaiba gets annoyed at Ishizu and then Joey.

Mokuba is annoyed at Kaiba.

Yami Marik and Marik are fighting during Kaiba and Joey's duel.

TéaMarik does some sick flips and then Ishizu and Yami intervene and make Yami Marik go away.

Turns out Marik is a little regretful about being the absolute worst and wants to make things right by doing not much at all because he sucks and can't do shit without help.

Téa is back.

Duel 4: Kaiba vs Joey

Joey was pissing off Kaiba and that convinced a duel for third place.

Kaiba is winning.

Joey summons Blue Eyes White Dragon from Kaiba's graveyard and this makes Kaiba so angry.

Uuuuhhhh.... Joey told Mokuba that Kaiba doesn't care about him and that made me really upset.

Some stuff happens idk I wasn't paying attention I don't really care about this rivalry.

Kaiba won and Joey got made fun of.

Final duel: Yami Marik vs Yami Yugi

Shadow game

I don't remember the first part of this duel other than Marik and Yugi are at risk of death and like I get caring about Yugi dying, but Marik kinda deserves it.

So um... Every time Yami loses life points Yugi's body starts to disappear. Same thing with Marik.

Yami summons his poker knights and then summons Slifer.

Marik Summons Ra.

Yami destroys Ra and then Summons Obelisk with A card Kaiba gave him.

Marik summons Egyptian God slime and Yami never asks what it does despite the fact that he can.

Some stuff happens and Yami uses Ragnarok and destroys everything and Marik surrenders.

HOW AND WHY MARIK SURRENDERED

While this duel is happening, Normal Marik is talking to Odion's dead body and says that everything that happened was his (Marik's) fault, and that he's sorry.

A while later, Odion wakes up and goes to save Marik. And by save I mean give him a pep talk.

He goes on and on about how Marik is good and can beat the darkness inside of him.

Marik is given a new found strength and tells Yami to attack him.

Yami attacks him and Marik has one life point left. Marik surrenders and Yami Marik dies while begging.

Marik is forgiven and I still don't think he did much to deserve it.

Afterwards

After that duel, Marik apologizes again, and then takes his shirt off to show Yami the scriptures on his back.

Yami can't read it tho so it was kinda pointless.

Marik then gives him the millennium rod and ring and Yami Bakura's lame ass who was playing spin the bottle with Dark Magician said "Thank you" because he's polite and we love him.

Kaiba says he's going to blow up the island.

Joey and the gang go check on Mai and Serenity says she ain't wake up yet, but then she wakes up because Joey juST GOT PRANKED LMAO

The Gang then find Bakura eating food because there isn't much to eat in the Shadow Realm. That makes me think that the Shadow Realm is biased towards the Bakurae because they always only get a slap on the wrist for losing.

We don't see Bakura or the Ishtar's for the rest of the episode so I'm choosing to believe they were busy adopting Bakura into their family as Marik's husband.

It takes the gang way too long to realize that they can just take the helicopter and don't have to ride in the broken aircraft.

The island explodes and the Kaibas come out in a Blue Eyes jet (there is a card of it).

This makes Joey upset.

The squad get back to Domino and Marik apologizes again, and his siblings thank Yugi and his friends for helping them.

The End

[suzieloveships]

Marauders era's girls x girl childhood

Lily - Strawberry Shortcake girl first, human second, collected greeting cards and watched the cartoon religiously. Loves Barbie, had few dolls and watched every movie with Petunia, her favorite ones are Magic of Pegasus and Princess Charm School. Watched Winx, her favorite was Bloom. Favorite Disney Princesses are Belle and Cinderella, Twilight is her favorite out of Mane6 from MLP. One of 10 people on the planet that read Star Darlings.

Marlene - Polly Pocket girl, had a dozen of those tiny boxes. Adores Monster High, got atleast 2 dolls for every birthday, seen every movie. Watched og He-man and She-ra with her brothers and was super hype once the reboot came out. Made James and Peter watch Barbie movies and W.I.T.C.H., they made her watch TMNT and Transformers. Her favorite Barbie movies are Mermaid Tale and Diamond Castle, favorite pony is Rainbow Dash and favorite Disney Princesses are Mulan and Merida

Mary - dances ballet since she was 10, watched Angelina Ballerina almost every day and read as many Angelina books as she could. Collected LPS since she was 6, has two shelfs in her room just for the figurines. Favorite Barbie movie is Nutcracker and Swan Lake, mostly because of the real ballet dances in those movies. Her favorite Disney Princesses are Tiana and Rapunzel and Rarity is her favorite pony. Elle Woods and Cher Horowitz are her heroes

Dorcas - she is Tiana and Tiana is she, she owns colour green, as a kid definitly tried to kiss a frog atleast once and she and Pandora dressed up as Tiana and Lottie for Halloween 2 years in a row. Adored My scene, had many dolls, watched all movies and cartoon episodes and played all of the flash games. Also watched Winx and listened to Winx's albums so often I started to drive her family insine. Was also obsessed with PowerPuff Girls. Watches Sofia the First and Elena of Avalor with her younger sister. Mariposa duology are her favorite Barbie movies, Applejack is her favorite pony

Pandora - W.I.T.C.H. girl, collected comics as they were coming out, still has a box with accessories that came with each issue, rewatched the whole show every year, probably forced Regulus watch with her. Watched all of Disney Fairies movies and read all of the books, forever mad that Rani was not in the movies. Fairytopia trilogy stan, had a Bibble plushie. Pinkie Pie is her favorite pony and Aurora and Ariel are her favorite Disney Princesses. Watches Enchanted atleast 3 time per year

Sybill - One of 5 people that remembers Bratzillaz, but never really got into a Bratz. She just really likes a cartoon where a main character is a seer. She also likes Barbie, Rapunzel is her favorite. Religiously watched Addams family cartoon and Laika's movie. Had all 3 MLP G3 movies on DVD and later got obsessed with Friendship is Magic, her favorite is Fluttershy. Her favorite Disney Princesses are Snow White and Aurora. Practical magic is her comfort movie

Emma - Bratz girl, bought many dolls, watched all of the movies, even the live action one and listen to every album. Was also obsessed with Totally spies and Kim Possible, wanted to be a spy until she was 10. Despite being Bratz girl she did seen few Barbie movies, 3 musketeers is probably her favorite. Will unironically say that Kuzco is her favorite Disney Princess, it's actually Jasmine. Also a big fan of Jem and the holograms. Can quote Mean Girls so well it's actually scary

Amelia - one of those Barbie scholars. Not only has she see all of the movies she also knows deep lore of the toy. Don't ask her which movie is her favorite, she cannot choose. Adores Legally Blonde, movie and the musical. Hello Kitty aesthetic. Favorite Disney Princess is Rapunzel. Read Princess Diaries serie and hates to movie for completly ruining the story

Emmeline - MLP stan, can sing every song on Rainbow Rocks soundtrack, her favorite is Twilight, og LyraBon shipper. Also loves Care Bears, definetly annoys everyone by yelling Care Bear Stare while throwing thing at people. Had a massive crush on David Bowie and watch Labyrinth over and over again. Favorite Disney Princess are Ariel and Mulan and favorite Barbie movie is Princess and the Pauper

Lucinda - Evar After High girl, watch the whole show, bought many dolls and had a diary with a key. Thought Somebody to Love was written for Ella Enchanted. Favorite Barbie movie is Thumbelina. Got really into Buffy as she grew older. Grew up with DreamWorks rather than Disney, but Jasmin is probably her favorite princess

Hestia - lived near sea and had a mermaid phase. Watched H2O and Aquamarine almost every day. Marmaid Tale duology stan. Favorite Disney Princess is obviously Ariel and favorite pony is Pinkie Pie. Had a small Sylvanian Families collection. Was also a big Sailor Moon fan. Adores studio ghiblie movies, especially Ponyo. Actually owned the 13th year on DVD, that's how big her obsession with mermaid was

[the-arkhamwolf]

Current lay out for my random reverse robins Au

-Damian getting dropped off at Bruces's step and forcing Bruce to take him on as a sidekick; Something-Wing (yeah that's the best I got)

-Bruce becomes a more lighthearted Batman for Damian's sake. After all the kid's been through.

-Wally and Damian meet and eventually become friends (They most likely will have a friendship similar to my Falling in Reverse AU)

-Bruce and Damian grow pretty close until a bad fight over the Joker, which causes Damian to move out

-One day he walking home he sees a woman being attacked. He saves her but ends up getting shot by the Joker (All this happens while he's a civilian)

-Bruce finds his son lying unconscious in the middle of the street bleeding heavily

-Damian wakes up in the hospital unable to move his legs

-Damian becomes bitter toward Bruce and the two have an even bigger falling out

-Bruce becomes a harsher Batman

-Tim appears on Bruce's doorstep with his Batman Needs a Robin propaganda

-Tim comes in to stop Bruce and somehow gets pushed into taking Damian's mantel

-For a good while, he spends most of his time trying to get Bruce and Damian to talk to each other

-Damian treats Tim harshly believing he hates Tim for taking his place

-Damian really hates himself because he thinks he's broken and sees what he could have been in Tim

-Tim eventually does break through to him and Damian comes back taking up an oracle-type role

-Damian starts to see Tim as a little brother and enjoys having him around

-Tim meets Stephine one night on patrol and through a series of events gets her to join the bats

-Tim works on a secret project called Titan that only Steph and Damian know about

-he plans to leave Gotham to work on Titan so He trains Steph to take his place

-Angst coming up

-Tim gets shot in a scene kind of similar to Batman Beyond; he goes to save a woman only for the woman to shoot him in the stomach. Tim gets away but he's bleeding heavily.

-Damian's on the comms trying to help him

-Everyone is to far away

-Tim stumbles through the street before sliding down against a pole

-Damian is on the comms the entire time helpless as his little brother dies

-Steph and Bruce fight/She leaves

-Jason steals tires and Bruce adopts him because no one said he couldn't

-Jason trains

-Damian disapproves but comes around for Jason's sake, not Bruce

-Steph hates Jason but they become friends later

-Ras brings Tim back and Tim Scares the heck out of him and then destroys his league (This is going to be a what the heck moment as it is revealed Tim was playing Ra's the whole time and I am so excited for it)

-Tim saves Cass from her father and then trains her

extra

-Tim has trouble sleeping due to nightmares. He also has the episode called freeze outs (Yeah I suck at names) where the pit takes over making him very cold and withdrawn and dangerous to everyone.

-Barbra becomes Cassandra's little shadow and Cass has no idea how to deal with a child (Which just leads to a lot of adorable Cass moments)

-Tim's living room is always cluttered with projects he and Roy are working on

-Rose is like Casse's big sister

-Damian gets conned into taking Jason to the fair and ends up coming home with an extra kid

-another pairing Wally and Jinx (not really a big part of the story but may be of use )

-Dick is a little monster who will disappear every chance he gets

I know this makes no sense but I love it

.

.

So either Wally will be there for Damian when Tim dies or Damian will push him away for two years (around when Tim comes back) then the two will reconnect and Damian will be shocked because Wally has a kid.

Reasons I want the second one

1- I love the angst of Damian feeling guilty as he realizes his best friend has a Daughter and he never knew about it

2-I love the fluff of Damian getting to be like an uncle and interacting with a baby

but also I don't want Damian to push away everyone because that is a lot of angst since Steph leaves for a while Idk

.

.

Original Post

any thoughts? also what should I name this Au?

[raayllum]

I just finished Book 5, and do you think that Ezra’s arc will have him learn that words aren’t enough? Some fans do think that he’s the least emphasized of the Dragang

I don't think Ezran is going to learn that words aren't enough (they have been, often times in his life, and trying non violent routes are important) but I do think he's going to be presented with more and more situations where it is, as he acknowledges, "Not that simple" (4x03).

In Arc 1, you had the transformative trio of characters (Callum, Rayla, Soren) who were rapidly changing as people versus the more "circumstances change and drag out certain personality traits either more or less" stagnated trio (Ezran, Viren, Claudia). In Arc 2 thus far, it seems that Soren, Claudia, and Ezran are the 'stagnant' ones and Viren, Callum, and Rayla are the transformative ones. That being said, I do think S5 focused on Ezran as much as S4 focused on Rayla, so it's not surprising there's a bit of a trade off (especially with Janai very much being a Main Character in arc 2) with Callum (always our main Main protagonist) getting a decent amount every season. There's definitely a lack of Ezran in the first four episodes (he gets about one scene a-piece) but I do think it's over quality > quantity, in some ways. (Bow from She-Ra for example is in every single episode of that series, but gets very little by way of arcs or conflict or interiority, y'know?)

That said:

I talked about this a bit more in a podcast review I did for the season / this meta, but I think Soren and Ezran are having slowburn arcs that will come to fruition in S6. Soren, after all, hasn't really changed as a character since the end of S3 - he's on team good guy, he's reaffirming his choices and love for his friends, he still cares for Claudia and still views his father as a cruel villain (which, Viren is/can be).

Ezran, likewise, is dealing with his own well, slowburn of problems. In a lot of ways, Ezran has to hold it together when everyone else is falling apart (Rayla is MIA, Callum is a mess; staying level headed even when they're arguing; being the main negotiator seemingly between the Pentarchy and the dragons of Xadia; and ruling is own kingdom). He takes his duties seriously and wants to broker peace further, if maybe a tad faster than people are ready for. Like Janai says, I think, his priorities have changed since becoming king. His duty first and foremost is to his kingdom/the world. (Not that it wasn't his mindset before, but it wasn't his responsibility before pre-series, y'know?) Which is very Rayla of him, I think ("I let them all down" in 3x04 / "I just feel like I'm letting everybody down" for Ez in 3x03).

And we see how much this weighs on Ezran based on how heavily he takes responsibility for his perceived and or literal mistakes. Whether it's speeding things up too fast / not giving enough room for his people's, or his own anger...

E: I had a speech planned for today. It was about peace and love and hope. But I think I left something out. I ignored something that was true. I denied something that is undeniable.

or in doing the right thing in saving the Baitlings, but putting his friends in danger.

And Soren acknowledges that this isn't really fair for Ezran, either:

Soren: This is all too heavy. It's not fair you have to struggle through this alone. You deserve time to do kid stuff. If you spend all your time doing adult stuff now, you'll grow up weird, like your brother and Rayla.

Now, on the certain level, Ezran is alone because he's like - he's the King, and that's its own unique position. However, if you look at how close Viren and Harrow, and Harrow and Sarai were, in their decision making, they did everything together. In spite of being a single dad, Harrow was never alone in what he did as king (for better or for worse): "I accept that tonight I may pay the price for our mistakes."

So I think it's interesting this emphasis on loneliness/alone in the same season we have Amaya and Rayla's conversation about it too:

A: My big sister Sarai was the smartest, strongest, bravest person I knew. When she died, I felt lost and weak without her.

I hated feeling that way, so I learned to be strong alone. Stoic, strong, and lonely. [...] To have that kind of strength, it is not enough to love someone. You have to trust them to share the burdens you're carrying.

So who does Ezran depend on to carry that burden with him? Because Ezran isn't supposed to be alone as king, and Harrow spelled it out for us:

When I am gone your brother Ezran will become king, and you will be his partner, his defender, and his closest advisor.

So the question is... has Callum really fulfilled his role for his brother? Callum isn't crownguard, so actually protecting Ezran is primarily in Soren and Corvus' hands, exemplified by Soren being the one to get angry over the ruined painting in 4x03, to run to Ezran in 4x09, and for Callum to be absent from the Dragon mission in S5. And when Callum is there to have a duty to fulfil:

Then we see the brothers - not Ezran and Rayla - disagree on how to proceed forward with Aaravos, getting momentarily a little heated before they both turn to Rayla (and remember those Rayla parallels I mentioned earlier?):

Now, it's not surprising that Ezran wants to take the diplomatic / least violent route. He's the one primarily appealing to Akiyu rather than barrelling onwards, and expresses great concern for her (even after she tried to kill them). Claudia thinks she can appeal to him in 5x09 because of his empathy. A more compassionate, reasonable route is what he's always done, trying to reason evenly with Finnegrin and with Rex Igneous, even if it doesn't precisely work out... simply because they, like his brother, don't exactly Value the same things Ezran does.

Alright, so the broyals disagreed once, and Callum is a little flighty as a High Mage. So what? Well: Callum now knows, and has already committed himself, to helping Rayla free her parents from the coins, including Runaan.

And Ezran's short story going into S5 hints that this may not exactly be something he's happy about:

Ezran gripped the arrow tight. The thing in his hands was a terrible letter, the ribbon its message: the king of Katolis was dead. King Harrow. His father. Something cold lurched inside him. He fought against it. He’d fought it before, that same hurt, years ago—when he’d found out what really happened that night in Katolis. Still, it haunted him. He couldn’t help but imagine the scene, all of it playing out like grim theater before him, as though he’d been there, as though he’d stood by and watched it happen. That Moonshadow elf upon the castle ramparts, skulking toward his father’s chambers. 

It stared up at him. Ezran felt a coldness twist its way around his heart. It took his lungs, too, and for a long moment he could not breathe, could not feel anything but an unfamiliar anger so potent it seized the whole of him, inside and out. Ezran stepped towards the arrow— —and stomped down on it as hard as he could. He wished he were bigger, stronger, he wished his boots were made of iron and not something soft. Still, it was enough. When he pulled his foot away, Ezran glared down at the arrow’s hawkish head, flattened and broken. Its ruby eye slipped from its socket, its black metal bent like frayed feathers. He left it there in the dark.

Full short story here.

So Ezran is going to find out, or possibly feel, that Callum and Rayla are keeping a secret from him (again, just like S2, which didn't make him happy then, either). Callum is going to side with Rayla over him if he mandates that Runaan shouldn't or can't be freed, giving into his anger and grief much the same way his father did. He may pull rank - and Callum is going to disregard it. A very similar fallout repeating itself...

Ezran being increasingly isolated (especially if Callum and Rayla are working, or leaving, to find the Starscraper), his disapproval and grief, trying to manage the possible fallout of Zubeia being injured/MIA, feeling undervalued and disregarded by his brother... There's little doubt in my mind that Callum and Ezran (and Rayla) will reconcile and find their way back to one another, healing their hurts, but Ezran has a lot of potential anger and angst to express and a lot on his upcoming plate, steadily added to and set up by the previous seasons.

Which in a lot of ways, makes sense. Ezran as king and Callum as high mage, and as brothers, have to prove they won't fall apart the same way that King Harrow and Viren did, more necessary than ever now that Callum has done dark magic again. Ezran was there to pick up the pieces after Rayla left, but he may still have anger over that and their joint secret keeping from him / feeling like they're treating him 'unfairly' like a child. We've also never really seen Ezran have this type of conflict before, nevermind for the trio as a whole (most of the time it's been Callum and Rayla disagreeing, a couple brief instances of Ez and Rayla, and Callum and Ez a few times in S1 / 5x05) so for Ezran to be what starts falling apart would really rattle all three of him, and seems to be where he's headed, character wise.

And I for one cannot wait to see it.

TLDR; Ezran's slow burn arc, much like Soren's, is being steadily set up and is going to likely be a big focus in the next two seasons, pushing him and other characters in brand new directions and with some really emotional, powerful storytelling to upstage our previously held status quo in all the ways.

[piggledy-higgledy]

As anyone who’s been looking at my page semi-frequently will have noticed, I am a big Richard Armitage fan. Mostly in love with his portrayal of Gisborne in BBC’s Robin Hood, but I also enjoy most of his other work and consider him a very talented actor (and a very sweet person from what we can tell.)

There has been a lot of furore lately about his latest project, “Obsession” (a series unfortunately promoted as an erotic thriller by Netflix), which is a remake of 1992 film “Damage” (with Jeremy Irons and Juliette Binoche) and based on the book by Josephine Hart. He portrays William Farrow, a married, middle aged, successful surgeon, who has an affair with his son’s fiancé, Anna (Charlie Murphy) -an affair so obsessive that it costs him everything: his career, his family, his son’s life, even his own self (more on that later.) The series features a lot of sex scenes, very light BDSM elements, and a LOT of nudity from RA on a level most fans never thought we’d see (RA being famously private and modest.) The fandom has been divided over this, with some looking forward to it and some being sure it’s not for them at all. From what I can tell (and I might be wrong) most people were put off by either the copious amounts of sex (and the trailer leaned very heavily on that) or the unsavoury morals of the main characters. Which is fair, if it’s not your cup of tea, don’t watch it.

I *did* watch it, and because opinions have been so strong, I wanted to share my thoughts. No disrespect if you prefer to pass. I hope it might be helpful for anyone on the fence and still making up their mind whether to watch or not. Happy to chat more about it if anyone likes! There WILL be spoilers.

Before watching it

I have personally felt very intrigued about this series and I was excited about watching it. Not so much because of the nudity or explicit scenes -or, rather, because of them, but not in the way you might think. Richard Armitage has played very, very few roles where he was primarily the romantic lead, and none later in his career. He tends to be cast in active roles, a lot of dark, violent characters, tense action. When there is romance it’s not the main aspect being explored. And he has NEVER (with the notable exception of Between the Sheets, which was so early in his career I doubt he necessarily had much choice to turn down work) done anything close to this level of sexual screen time. Why now? What made this different? I really wanted to know.

There was another reason I really wanted to watch Obsession. What Richard Armitage does best, in my opinion, is give characters depth (even characters that were clearly not written that way *cough* *Guy* *cough*). He is an incredibly detailed actor and uses his face and eyes to a stunning degree to convey things that go far beyond the dialogue. He has spoken about how he creates complete backstories for all his characters. This project is literally made for his type of acting. There is hardly any action, and leagues of unspoken material. RA called it “one of the most fulfilling pieces of work he’s ever done”. I needed to see why.

After watching it

I binged all 4 episodes in one night. And then again the next morning. And again today. I finished the first episode and thought “Yes, I understand why he wanted to do this.” (He also said in an interview that there was a moment in one scene that he’d never achieved before on film. Having watched this, I believe him.) Is this the kind of series I’d normally gravitate to? No. But I’m glad I watched it. Every single actor was incredible. The filming was beautiful. I just… don’t know where to start.

The story:

In my opinion “Obsession” is not about infidelity or sexual exploration -it’s about William and Anna’s experience with obsession and addiction. Anna isn’t just having an affair. She is addicted to being in control and to using sex as a means of asserting that control. (We learn that she had a brother who sexually abused her for years and committed suicide when she finally put a stop to it. And throughout the series, she reacts to strong emotions by initiating sex. Charlie Murphy described the character as a “dominant submissive” and that’s spot on, not just in the way that she sets the rules and boundaries of their sexual relationship, but in the way that, having been abused, asserts her control on the situation she had to submit to as a young girl by controlling when and how she submitted). William is not just having an affair. He is obsessed and addicted to Anna to the point that it completely deconstructs him as a person. He is the counterpoint to Anna’s character, in that he has no control. He doesn’t initiate, he doesn’t resist, he can’t or won’t control his reactions or his impulses and he completely loses control of his life as a result of his actions. In the final episode Jay, the son, discovers the affair and in shock, falls off a railing to his death. There is a scene where William faces his wife after everything is revealed and watching Richard Armitage convey all those emotions without saying a word is some of the best acting I’ve seen in my life. I don’t know what part of himself RA drew from to act the guilt and grief and absolute devastation in that scene but it was… amazing and heartbreaking. Even then, the obsession wins. When Jay dies, we see Anna walking away while William cradles the body of his son, paying her very little attention. I completely believe that he is broken in the scenes that follow. But after a few days the addiction takes over and he still seeks out Anna, convinced they can now be together (“there’s no version of this with just you,” she’d told him earlier on, but he clearly thinks otherwise). And we get the following:

W: … I let uncertainty in. (NB: What is uncertainty but lack of control?)

A: And look what happened. I don’t think… we can ever separate who we are from what we’ve done.

W: But… we can’t let it all be for nothing either (NB: William’s voice breaks here. He’s lost everything he ever cared about, she’s the only thing left. Does this phrase mean he thinks there was depth in their affair? Or does it mean that he is looking for meaning and depth so that he can cope with the fact that he sacrificed everything for an obsession and an addiction?)

A: Jay died because of us.

W: Still I wouldn’t change it (TNB: THIS! This phrase upset so many viewers! And of course it did, it was supposed to. The acting is, again, amazing. This isn’t said to Anna, this is introspection. William is looking inside himself, realises he wouldn’t change it, realises how much of himself he’s lost.)

A: You don’t regret it?

W: How can I?

A: We caused so much pain

W: But it’s done now.

A: I am so sorry for what happened. But I wish we’d never met. (She walks away, leaving William sobbing. Because there. is. nothing. left.)

The sex:

I hate that this was marketed as a sexy series because it created all sorts of hype and expectations that were misplaced imo. The story was never about the sex. Morgan Lloyd Malcolm said a couple of days ago on Twitter that it’s about “sitting in the discomfort of human behaviours” and that is spot on. Like I said above, this is a story of addiction. Anna is not addicted to the sex -she is addicted to using sex for control. That’s why Anna and William never kiss (she is the one controlling their physical interactions. William leans in to kiss her in many scenes, she never lets him.) That’s why the music is so jarring in all the sex scenes. That’s why there’s no foreplay, that’s why William never lasts long. That’s why they only ever have sex on the floor or in public, never in a safe, comfortable place like a bed. They are not comfortable. This is not a comfortable situation. We, as viewers, are supposed to be uncomfortable. The infamous hotel pillow scene was meant to demonstrate the turning point in William’s addiction, the complete loss of control, I think. It was never supposed to be funny or sexy -it was meant to disturb us because this intelligent, cultured, previously collected man becomes completely animalistic. Which is why he sobs afterwards -I think this is the point when William realises that (as Ingrid puts it later) “he is lost to her”. William’s face after their first sexual encounter is the face of a man under the influence. When she gets up to leave he makes this movement with his fingers like he is trying to hold on to her, but only grabs air. It’s just a twitch -but it’s Richard Armitage and we know how detailed he is in his acting, and I am sure it was a gesture with meaning.

The intimate scenes in Obsession are sometimes sensual, sometimes uncomfortable, sometimes genuinely hard to watch but never gratuitous.

Why a fan of Richard Armitage or anyone writing for his characters should watch it:

Again, you do you, but hear me out: This series is a veritable treasure trove of body language, voice/cadence, facial expressions that you can then apply to your favourite RA character. The longing. The conflict. The loss of control. The vulnerability. The eye contact. The fact that the lover’s name is Anna, which is also my name. Also, I’m being completely serious when I say that this is some of the best acting I’ve seen him do *ever*. If you can only bring yourself to watch parts of it, do that. There were some scenes that genuinely made me tear up. Look after yourself, respect your boundaries, but sample what you can because it’s a veritable banquet.

PS: I am focusing on Richard Armitage for this review because I came to Obsession from that fandom. But every single actor gives an amazing performance. I especially adored Charlie Murphy as Anna, Indira Varma being astounding as Ingrid and the criminally underrated Marion Bailey as Anna’s mother, Elizabeth, who packs SO MUCH into so few scenes.

[velvet-vox]

The dark side of Steampunk: Nox (Part 1)

There is this video made by the Youtuber schnee about Hazbin Hotel, and how its grimsical art style serves the purpose of forming the setting and dictating every writing decision through the usage of its thematic connotations.

It's a pretty interesting video to watch if you are a fan of that series, but I'm not here to talk about that.

No, I'm here to talk about a specific part of that video.

There's a certain timestamp in the video where schnee all of a sudden starts to talk about a movie named "Aeronauts", and how it perfectly nails the Steampunk aesthetic through its understanding of the themes of Steampunk and the historic/social connotations of his it's existence. Here:

For the purposes of his argument, schnee explains to us what Steampunk is all about and compares it to grim dark. While this was fascinating and all, after I've learned the meaning behind the Steampunk aesthetic I couldn't help to think about Noximilliem Coxen the Watchmaker from Wakfu, and how the show writers and character designers twisted the positive vibes of the style to create a more impactful and terrifying antagonist that swims confidently in his own aesthetic.

Today, I'm going to break down how Nox's story uses and twists the meaning of Steampunk to help him stand out.

There's going to be multiple parts to this analysis, so expect me to add their link in the future, but for now, I'm going to focus my attention entirely on the OVA episode and I'll tackle the main series at a later date.

The OVA:

Noximilien is a brilliant inventor specialized in the creation of clocks. His over excitement at the prospect of being the one to find the next big thing is very reminiscent of the classic Victorian scientist present in many stories, usually on the protagonist's side: at the start of his character arc, Milien is the embodiment of the optimism native of the XIX century from which Steampunk stories often take place.

Characterised by the industrial boom, Steampunk (Nox) seeks out to revolutionise the rigid lifestyle of the Victorian era through the wonders of machinery and science. This right here seems like the classic setup for any story of the genre, surely it can't vary more than this?

Unfortunately for our Watchmaker, this is the part where another genre of storytelling is introduced into the mix: the Eldritch horror.

Stories of Eldritch Horror are often characterised by the fear of the unknown: humans going insane trying to understand things that were never intended to be understood, some light ho######ia and ra###m sprinkled here and there, but you can't blame Lovecraft for being a bigot when he was so much worse than that.

Nox finds a mysterious object coming from outer space, it acts weird and suspicious, and he can't understand it, so he takes it back home where he can study it. (I don't know what the bubbles emitted from the cube and the following psychosis are meant to entail, but I think it's up to interpretation).

Immediately, Milien sees the cube as an exciting new discovery, already picking apart its effects on his clock and quickly brushing aside how it affected Igôle. It's honestly not that uncommon in stories of this genre, the inventor tends to be pretty self centered and not particularly emotionally intelligent, it's a flaw that tends to go undeveloped, but it's usually never a problem for these people (Unless they are the villain 🌚).

But here, it's where unfortunately the rift between his family and his desires starts to form: at the beginning of the episode, Galanthe was nothing but supportive of her husband's passion for his inventions and the future, but here, when she asks her husband to let go of his current hyper fixation, she, quite literally, puts a stop to the Industrial dream, one of the cores of this genre; basically rejecting Nox himself, whose the personification of Steampunk.

Naturally, Milien is at fault here, he shouldn't be taking her response too dramatically, but this is going to be the base to his later turn towards the obsession.

While we're here, I might as well mention the beggar and the puppet show.

They're not all that important to Noximilien's character arc (aside from the money problem giving him a ticking clock to all of his actions🌚🌚), but they do provide important pieces of character building and themes for our analysis, so I'm going to briefly touch on them.

The beggar and the puppet show serve to better establish and build up our Steampunk narrative before it can later be destroyed by the Eliacube.

The beggar, is our representation of society. More specifically, Victorian society. He's naturally unimpressed by Milien's creativity and ingenuity, and only seeks to get his part of the bargain. He's strict, rigid, and he's clearly intended to be the obstacle in this situation.

The conflict between the beggar and Milien parallels the conflict between the Victorian society and the positivity of modern science; said tension is the bread and butter of Steampunk and the reason why this aesthetic gained so much popularity in the first place.

The puppet show, created by our inventor, is, again, another establishing piece for our setting, it's the original direction Nox's character was supposed to take, becoming someone who uses their brilliance and generosity to better the world and brighten their family's lives.

If only Milien stayed in bed that night instead of going to temper with the Eliacube, who knows what could have happened.

Maybe, he wouldn't have found the Cube to be all that shiny when he woke up the next morning......

Next part>>>>

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[that-ari-blogger]

Something... new? (Moment of Truth)

Here is a question. In a story about repetition, where the central threat is the cycle happening again, where the very concept of the narrative is that trauma and abuse echo in on themselves… how do you tell an interesting story?

Like, on a general level, stories are about change, so something that is, by its nature, formulaic, would probably be inconducive to storytelling. Right?

She-Ra and the Princesses of Power disagrees with this premise in a weird way. The third season of the series has been questioning the formula in increasingly outlandish way. The first episode gave the same story but with a twist at the end, the second dissected the formula itself by examining the foundation it is built on, and the third flipped the direction of the spiral for a time.

Moment Of Truth features, overwhelmingly, some of the most skill on display that the series will have at all. This isn’t a fan favourite episode, but it is genuinely incredible craft.

However, it is important to understand that this episode doesn’t do anything new. Every moment in this episode, bar the last two minutes, has happened before in the series.

All Moment Of Truth does to iterate on the formula, is take events of consequence, and place them immediately after one another. This episode messes with internal context, and it causes the tipping point of the series.

Let me explain.

SPOILERS AHEAD: (She-Ra and the Princesses of Power)

One thing that I thought was interesting, upon rewatching this episode, is how few and far between the jokes are.

The series has a very distinct sense of humour and uses it in an extremely specific way. This is essentially a story about abuse, trauma, and war, which are objectively pretty heavy things. But it is also aimed at younger audiences, so it cushions each of its heavy blows with a joke.

This is why the character of Madam Razz is the most important character in the series. Her kookiness combined with her wisdom allows her to discuss some truly confronting and uncomfortable topics with grace and good nature. The humour is what makes this show approachable.

This is also why Aabria Iyengar’s style of game mastering for TTRPGs is so fascinating to watch. And, though I can’t verify that she is fun to play with since I have never played at her table (@quiddie please), her fellow cast members in Dimension 20 and Critical Role seem like they are having a good time. Essentially, she balances out heaviness with entertainment, effectively artificially shifting up the Garfunkel threshold of the players she is GMing for.

For context to the absolute mess that was that last paragraph. The phrase “Garfunkel threshold” is used by an English teacher that I had a few years ago and literally nobody else. It refers to the area of emotion where a person is out of their comfort zone, but not truly uncomfortable. Fun scary, essentially.

Back to She-Ra. Moment of Truth doesn’t waste time with jokes unless it really needs it. This episode runs at a breakneck pace, and only stops to give you breath at the last moment.

As a result, the jokes that this episode tells are really funny. Although, if they were told in a vacuum, they probably wouldn’t be. For example:

“You won't try to escape if I just pop out for a quick sec, will you?” “Uh... No?” “Okay, great, really appreciate it.”

This is iconic in the fandom, and for good reason. This is one of my two favourite jokes in the series. The other is also in this episode, weirdly enough.

But… it’s not that funny of a moment.

If you heard this conversation in any other episode of this show, maybe if Adora had been captured for a one-off episode like Catra was halfway through season two, this joke would maybe get a smirk, but not much more.

So why does it work?

One word: Context. This episode stresses you out like few other episodes of television can do, and a few seconds before this joke, it successfully makes you think that Entrapta will try to hurt Adora.

Instead, you get a moment to hold in the tension, then a piece of humour that is utterly incongruous with the tone of the episode so far, and you have to laugh.

This is the same premise behind the humour in Alien, directed by Ridley Scott and written by Dan O’Bannon. That film has some incredible one liners that allow the audience to breathe and excise some catharsis in what a pretty gritty plot would otherwise be.

The perfect example of what I’m talking about here isn’t actually that much of a joke. It’s literally half a second that abrasively interposes itself into the break in and forces it to stumble. But the build up gives it so much levity.

The scene is off the back of Glimmer’s teleportation and the tension of Angella trying to stop it, followed by the constant stress of how easily Shadow Weaver is playing Glimmer like a chess piece. Mermista makes a quiet comment on the décor, a moment of levity that Shadow Weaver deliberately undercuts. Then we loose Perfuma to a fight we can’t see, the uncertainty of which is more stressful than knowing definitively that she has been killed.

Then the gang runs into Lonnie and Rogelio, two formidable foes, but two foes they have outnumbered. Stress rises, then the music cuts out for barely a moment as Lonnie flicks the alarm lever that is right next to her

It’s not a joke, it’s a character making an eminently sensible decision in contrast to the entirety of the rest of the cast. But the musical cue pauses the tension of the scene for just enough time for you to give a brief laugh, then the scene resumes in earnest, and continues at its previous pace. It isn’t a lot, but it’s enough to keep the story fun.

Basically, the show is made up of seriousness and humour, and those are held together by a single piece of Velcro, and that is working overtime to a truly extraordinary degree.

Except, that isn’t true. She-Ra and the Princesses of Power doesn’t treat humour and earnestness as separate at all, they run together and punctuate each other.

The other main thing that this episode does is a perspective twist. Moment Of Truth is all about context, and so the events play through the views of unusual characters.

Case and point, Glimmer and co. have gone rogue to do their own thing countless times in this series, and every time they get back, Angella chastises them.

However, this is the first time we have witnessed Angella’s reaction to Glimmer’s disappearance, and we get a sense of desperation from her.

Angella doesn’t have to speak her thoughts out loud to let the audience know what is happening. She sees Glimmer has gone and immediately realises that she has gone rogue again, so she checks Shadow Weaver’s quarters, because she knows what her daughter will do in this situation.

Meanwhile, the shots of Glimmer are from Shadow Weaver’s perspective. Almost as if Shadow Weaver is positioning herself as a replacement mother figure for Angella.

I could comment on the animation of this scene, but my analysis there is very much limited to “oooh pretty”. Which is fine, but nothing anybody hasn’t said before.

So, instead, spoilers for the season three finale (skip to the next paragraph if you’re avoiding those), this is the last time Angella sees Glimmer, and she is powerless to stop her. Angella is a character riddled with guilt, and this will come up later when I discuss the finale.

Back to the episode at hand, a significant chunk of this episode is as told by Shadow Weaver, so we get the full breakdown of how terrifyingly competent she is at her designated skillset. Shadow Weaver is a manipulative character, and so she is playing chess with the plot of the entire series in a way that only one other character comes close to matching, and I’m going to start my discussion of that by discussing her powers.

Magic is a facet of narrative literalism, where a metaphor within a story becomes tangible. For example, Glimmer is impulsive, so she teleports around, jumping to conclusions without taking the time to walk. She is also stubborn, so her powers make her uncontainable.

Shadow Weaver, meanwhile, is a parasite. She has magical talent of her own, but in this episode, all she does is leach off Glimmer’s power to further her own ends.

In a series about freedom of autonomy, Shadow Weaver exists in contrast to Hordack. Where these characters focus on the freedom aspect to contain and confine their enemies, Shadow Weaver twists her victim’s autonomy and takes control of them in a way that is insidious and very realistic. She is like Light Hope, which is interesting.

That parasitic nature actually reflects into Shadow Weaver’s manipulative technique, as she never targets someone who is, for lack of a better term, strong. This is difficult to explain: Glimmer needs something, and Shadow Weaver positions herself as the answer. She finds someone who is at their lowest point, and makes them dependant on herself.

This is, fun fact, why Perfuma, Mermista, and Frosta are seemingly immune to her influence. I’m grasping at straws here for Frosta’s characterisation because she gets about two lines in the entire episode, but I’m onto something with Perfuma and Mermista.

Perfuma is a paragon hero who does not compromise in her beliefs. This causes trouble in the series, as is the nature of this story, but it means that in the several instances Shadow Weaver tries to get under her skin, Perfuma brushes it off. Perfuma considers what Shadow Weaver has to say, but keeps in mind at all times that she is an abuser and therefore not to be trusted.

Mermista, meanwhile, is the best character in the series and you cannot change my mind. In seriousness, Mermista is detached and cold, a strength which, like Perfuma’s ethics, causes conflict at other points in the series. However here, it means that we have a character who does not take Shadow Weaver seriously at all, meaning that her grandiose pontificating is meaningless. Mermista sees Shadow Weaver for what she is, a prisoner scabbling for scraps of power from someone else, and she sees an easy rout to stopping that.

Anyway, the interrogation scene.

There is a spotlight on Glimmer and Bow here. They are on a stage, and Shadow Weaver sits on a couch, watching them. They are performing for her. She is in control.

“You are smart, you want to stop the Horde, and you know I'm the only one who can help you do that. I must admit, I thought it would take you longer to speak with me.”

Shadow Weaver is easing Glimmer into thinking she has control. She compliments her, casually offering her own services as help to the princess. But she also positions herself as lower than Glimmer. The last line implies that she is surprised and that Glimmer has the upper hand, letting her into a false sense of security.

“His machine is complete? And they have Adora? We must hurry. If Hordak has the opportunity to open a portal, he will do so immediately. The Alliance will never get there in time – but perhaps...”

She is surprised again, apparently. Shadow Weaver has taken care to position herself as omnipotent, that’s why the compliment to Glimmer being unexpected is there.

Effectively, if the smart guy is outsmarted, they are on the back foot. If the smart guy is surprised, they are in danger.

So, Shadow Weaver emphasises the danger of the situation, stressing that the alliance’s inability to help. But wait… it just happened to occur to her, just now, that Glimmer might be able to fix this. She wasn’t planning this at all, it was spontaneous, and a piece of knowledge she doesn’t think would work.

Needless to say, I think Shadow Weaver is talking utter bollocks about this. For my evidence, I propose the following questions: If Shadow Weaver didn’t know about Adora’s capture, how does she know about the rebellion’s plans? Is it possible she is pulling facts out of her backside to further her own ends?

“I can make you stronger. I'm still the only sorceress who has ever been able to tap into a runestone. If you allow me to access your connection to the Moonstone, I can enhance your powers. You could teleport us all the way there.”

Here is Shadow Weaver’s gambit. She can solve the problem for Glimmer, she can give Glimmer the assistance she needs. It’s a Faustian bargain, and she doesn’t mention at all what she gains from this deal, that’s just something that slips her mind.

Of course, she could be doing this out of the goodness of her heart, kindness isn’t transactional, but this is Shadow Weaver we are talking about. Shadow Weaver exists on conditional affection and saw fit to make demands as a prisoner of war. I don’t think Shadow Weaver is the type of person to offer aid for nothing.

“I want to destroy Hordak.”

This is Shadow Weaver’s stated motivation, she says it again later on in the episode, and it is mainly used to distract Glimmer and give her a “an enemy of my enemy is my friend” type of bargain. But I’d like to examine this motivation a little bit, because I think she is lying about this as well.

In the end fight of the episode, Shadow Weaver casts two spells, both of which could have been aimed at Hordack, but neither are. Instead, she destroys the room, and she targets Catra. Shadow Weaver is a parasite, and a liar.

Which leads into Catra’s descent into madness, something that is told entirely from everyone else’s perspective. Until the end, but we will get there.

Shadow Weaver physically abuses a child in this scene. That is objectively what this is. The fact that this is magical is the only thing that let the writers get this through censorship. But I want to be clear here, this is not simply punishing misbehaviour, this is not tough love, this is not building strength. Shadow Weaver physically abuses a child in this scene.

This is a mirror of the scene in Promise, to the point where the spell is the same, and it is notable that it would have been easier to just zap Catra and leave her there, but Shadow Weaver decides to torture her.

And this scene is viewed from Glimmer’s perspective, showing her the true monster that she is aligned with, but also the power that Shadow Weaver exhibits. This is the deal Glimmer made, summed up, agency for complacency. Glimmer has to make herself ok, at least partially, with this side of Shadow Weaver, which makes her complicit in what is, again, the physical abuse of a child.

We have seen this scene before, but here it is through a different lens, and that changes how we read it, and keeps it interesting.

It is also notable that Bow is the one who stops Shadow Weaver and pulls Glimmer back. Which is interesting.

Bow is Shadow Weaver’s antithesis. Angella is too, but Bow is her main equal opposite. Bow is kind, uncomplicatedly so, and he is the final character who remains immune to Shadow Weaver’s tricks.

Although Bow stays above Shadow Weaver by playing the same game as her, just more fairly. Bow is a tactician, and a damn good one at that. He isn’t as good as Shadow Weaver, nobody is, but he is easily the second best in the series by a long shot.

But Bow plays fair, at all times. He lets people know what their roles are, he communicates, and he relies on other people as much as they rely on him. His relationships are mutual, where Shadow Weavers are parasitic.

Bow exists on trust.

Speaking of which, when Catra betrays Entrapta, the scene is shot from Scorpia’s point of view, and we again see her utter powerlessness to stop the situation. This is the cycle of abuse in full effect. Catra was denied her own agency, and so the way she tries to reclaim it is by removing others of theirs. Scorpia can’t do anything as her friend is carried away to a death sentence.

The final scene, however, is from Adora’s perspective. We see Catra’s world fall apart around her, quite literally, and we see Adora watch her oldest friend descend into madness. Once again, the watcher is powerless, as Catra continues the cycle of abuse.

You understand that Catra has nothing left to lose, and while you don’t agree with her decision, you can see why she did it, which is important. Reason and justification are not the same, but they do both make analysis easier, which I am grateful for.

This sets up the next episodes and Catra’s characterisation there. Catra doesn’t care about her own safety or the continued existence of the world itself, she just wants to feel better by exhibiting some kind of control over the people she perceives to have hurt her.

Which also sets up my diagnoses of Catra, and I’m not sure how the fandom will react to this, but I think Catra is the villain here.

Catra, in this episode, and in the next few episodes, is abusive, manipulative, and controlling. Essentially, she fits all three of the parameters for evil that the series has established.

Yes, she has a reason for her actions, but she isn’t morally grey anymore, she is choosing to burn the world down out of spite. Cool motive, still murder. Catra is the villain.

But is she irredeemable? I would argue “no”.

Spoilers for the rest of the series, but I can’t really explain why Catra’s redemption is possible to me other than the fact that she was redeemed, and it worked for me.

I don’t believe in good and bad people; I believe in actions. Sure, there are people who do unconditionally horrible things, a lot, but I would argue that the best way to redeem oneself is to stop doing those things and get better.

It’s as if morality is a quality you have to work at, with enough practice, you can improve.

And I think Catra’s redemption is so well executed, specifically because of the fact she is villainous here. If she hadn’t hit rock bottom and then sunk even further, her climb wouldn’t be nearly as compelling, at least to me.

Micah's memory casts a shadow over Angella as she makes her decisions, colouring her argument with her daughter. I wonder if there is some symbolism there.

Final Thoughts

The reason that Moment of Truth isn’t as popular as Promise or Save The Cat, is that it isn’t spectacular, it’s just impressive. By which I mean, the shot composition of this episode is stellar, but I can’t exactly point out every Dutch angle or perspective warp, or how many emotions Entrapta goes through in a single close up.

Also, the pacing of this episode actually slows down, rather than gaining momentum. It increases in tension, but the scenes get longer and more drawn out. We are reaching the event horizon, essentially, and time is getting wibbly wobbly. But that isn’t exactly something that wows an audience.

So if I was to recommend this episode, I would point to the teleportation scene, or the fight between Catra and Shadow Weaver. Both of which look cool, but don’t hold up by themselves when contrasted with other episodes in this series.

Basically, Moment Of Truth is competent, but in a way, its playing things safe on a majour scale, which is unfortunate. This episode deserves more love.

Anyway, next week, I will be looking at Remember, and taking narrative literalism to its extreme. So stick around if that interests you.

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[quiverwingquack]

🔥common fandom complaint that you're sick of hearing🔥

choose violence.

25. common fandom complaint that you’re sick of hearing

THE SCROOGE AND WEBBY TWIST WAS NOT OUT OF NOWHERE! I CANNOT STRESS THIS ENOUGH! Welcome to my fucking TED Talk!!!

Look, I’m autistic. This show is my special interest, my comfort media, the thing that’s been there for me through it all. I know most people are not nearly as obsessive about it, and haven’t watched every episode like six times, which I have.

But to brush off a twist that you don’t like, simply because you didn’t see it coming, isn’t right. The foreshadowing was there as early as the pilot, with Webby mirroring the Scrooge statue. It’s in Toth Ra, when Scrooge desperately searches for her and calls out her name, even though Louie also got lost with her. It’s literally the plot of Confidential Casefiles, where Scrooge realizes she’s as bold and adventurous as he is and immediately starts to build a bond with her.

It’s in Last Crash and Treasure of the Found Lamp and Nightmare on Killmotor and the end of Moonvasion. It’s right there in their subplot in Double O Duck, it’s in Webby’s worry for her family in Phantom & the Sorceress and her need for his approval in New Gods. It’s in the Fight for Castle McDuck, where she brings the family back together, and in Foreverglades and Santa Stole Christmas where Webby parent-traps Scrooge into mending his relationships with his exes.

That’s just what I can come up with from reading the episode titles off Wikipedia, and I guarantee you I missed some! It’s so engrained in the show that you find it in almost all their interactions. Webby is so much like Scrooge and wants to make him proud and Scrooge loves her more than anyone else and is always so proud of her even if he struggles to say it.

The reason no one saw it coming is, I think, a mix of the show being cut short and good writing. Webby’s plot definitely could’ve—and should’ve—had more to it, but they were trying to pay off a lot(the resolutions for their entire ensemble cast, the Disney Afternoon references and plots they’d planned, the plot with Bradford that started as early as the pilot). If they’d had more time things would be different! But also, this was an incredible writing crew! Frank Angones worked on Wander Over Yonder before this, and Dana Terrace made Owl House afterward. From what I’ve read in interviews and the art book, they kept the twist to the writer’s room and told David Tennant, to support his performance as Scrooge. And then you get to the end and it’s like “oh yeah, we told Kate Micucci the day she came to record that episode” or something like that. Not even the crew knew what they were foreshadowing! But if you take the time to rewatch it after you’ve found out, it’s literally all over the series.

Anyway, as Frank Angones once said, “I must establish an elaborate series of callbacks and payoffs or else I simply vanish.”