#jerkass got one episode to his name and the creators were like

[thecomfortable]

SLINGSHOT! AKA: MY FAVOURITE UNDERUSED TRANSFORMER!

Click for better quality!

Imagine telling someone your favourite transformer is one that was introduced five episodes before the movie and never used again. Cause uh… that’s this guy.

He’s also voiced by Rob Paulsen, which might explain why I like him so much.

[lanternlightseer]

So Weird & Girl Meets World Crossover Essay

Introduction

From 1999 to 2001, Zoog Disney aired a paranormal show named So Weird, the Disney version of the X-Files. Micheal Jacobs revived Boy Meets World with a continuation called Girl Meets World. On the surface So Weird and Girl Meets World have nothing in common. The former show filmed in Canada, the latter was filmed in California. Cooksney and Jacobs couldn’t be more different, Jacobs is known for comedic sitcoms like My Two Dads, John Astole and producer Jon Cooksney, focused on speculative fiction. Astole worked on Stargate, and the 1980s Twilight Zone revivals. Disney Channel hosting their television shows is their only commonalities so far. What made these programs successful was pushing Disney’s Astole limits on what considered acceptable. As a result, So Weird was the darkest show Disney Channel aired where Girl Meets World was one of the smarter television shows of modern Disney Channel. Audiences don’t think of Disney tackling death acceptance, religion, or feminism.

Fiona “Fi” Philips (Cara DeLizia) along with her older brother Jack, join their mother Molly Phillips (Makenzie (Phillips) on her comeback tour. Having a Rockstar mom isn’t easy, especially when evil spirits begin stalking Fiona. When Annie (Alexz Johnson) arrives a paranormal panther follows suit. Riley Matthews (Rowen Blanchard) along with her best friend Maya Hart (Sabrina Carpenter) continue the lessons her father learned almost Boy Meets World. At six years old I loved stories about hauntings and dark creatures, so, So Weird naturally appealed to me. Nostalgia over Boy Meets World influenced my decision to watch its sequel and the quality of it surprised me. This cross-over essay’s purpose is dissecting these shows popularity and their similarities rather than their differences.

Surface Similarities & Differences

           At the surface level SW and GMW’s similarities are minor., Fi Phillips  and Riley Matthews are our brunette primary protagonists; Annie Thelon and Maya Hart are our blonde secondary protagonists. Fandoms hated Annie and Riley because they interfered with the fandoms’ favorites then subsequently blamed for the lackluster third seasons. Celebrities Carpenter and Johnzon used their shows as advertisement for their music careers. Actually Disney gave Carpenter a record deal before casting her as Maya. Carpenter is talented but still sounds like a Disney pop star, however, Johnson has more experience. SW had better music because there was a larger variety of genres like Rock, Pop, Blues, and Celtic music. SW alluded to Celtic and Greek mythology like changelings and sirens. GMW alluded to BMW and nothing else like Cory and Shawn’s jellybean scene. Both shows had actors who appeared in crime shows including Carpenter and Eric von Detten.*1

           What else SW and GMW had in common was that they had realistic friendships and family dynamics. Friendships weren’t used as problem solving devises but to deepen the characters. Jack (Patrick Lewis) and Clu (Eric von Detten) hung out because they wanted to not because the plot required them to. Parents were written as people. Molly struggled with widowhood and had goals outside of being a mother. Irene felt inferior to her younger sister and Ned Bell was a biker before he married Irene. In addition, Cory taught History yet offered fatherly advice to his daughter and her friends. Single mother, Katy, struggled with her part-time job and caring for Maya. As siblings, Jack/Fi and Riley/Auggie neither fought constantly nor always got along. ‘Singularity’ Jack and Fi do nothing but argue but in ‘Medium’ Jack uses “colourful language” when a psychic angers Fi. In GMW, Riley and Auggie argued in ‘Forgiveness’ then have a touching moment in ‘Christmas Maya.’ When writing only children Jacobs and Astole never relied on only child stereotypes instead showing the complexity of being one. Not to mention, as an only child myself, I loved this. Maya and Annie weren’t spoiled were confused over siblings concepts, like sharing. Trapped in endless detention, Annie’s confused by Jack standoffishness finding out that he falsely believes that Annie’s replacing his sister. After assuring him that was never her intention, she and Jack become friends. Likewise, Maya confuses Rucas’ (Riley/ Lucas) relationship with that of a brother-sister one because she doesn’t understand how siblings act. Siblings are loving and friendly but also bicker like Lucaya (Maya/Lucas). Eventually they develop sibling dynamics with other characters, Annie/Jack and Maya/Lucas.

           Neither show’s focus was on romance. SW focused on family while GMW focused on friendship and love interests didn’t appear in more than one episode. Jack’s girlfriend, Gabe, appeared in ‘Angel.’ Ryan was Fi’s first kiss in ‘Second Generation’ and GMW had two date episodes. ‘Brother’ was about Cory and Topanga’s date night; ‘First Date’ was about Lucas and Riley first kiss. If romance wasn’t plot important then why did GMW develop a shipping war while SW was immune to such disputes? In comparison to GMW, SW had limited couple options meaning there weren’t many options before couples became slash or incestuous Those options are: Annie and Fi with either Clu or Carrey. GMW avoids this pitfall with a diverse amount of characters but started shipping wars by introducing the leads and love interest simultaneously. Fanon favourites were Jack/Annie, Carrey/Molly, Lucas/Maya despite the intended couples are Cory/Topanga, Riley/Lucas, and Fi/Clu.

           Why did Anti-Annie fans hate her less than Anti-Riley fans? Again, the fandom hated Riley more because of differences in character casting. If a Jerkass character is among the main cast the fandom automatically absolves them, giving their retribution to the kinder characters. Maya’s the “broken bird” so fans will prefer her and discount Riley giving fans reason to pair Maya in a love-hate romance. For extra information on this, TvTropes offers an analysis using Nickelodeon television as examples. SW main characters aren’t jerkasses toward their friends meaning Annie gets less hate and Friend-Lovers are on equal levels with Love-Hate ones.

Seekers: Fiona & Riley

           Seekers of the 12 Archetypes are constantly searching for expanded knowledge of the world at large or themselves. Riley and Fi want to understand other people’s perspectives in a worldly sense (Riley) and supernaturally (Fi). However both are open-minded toward unproven phenomenon as opposed to our blond protagonists who rather “go with the flow.” Also as the primary protagonists they possess the most contradictions of their worlds. Fi’s an amateur parapsychologist but wants a normal life to protect her family. (‘Lightening Rod’) Fi is a computer geek struggling academically but loves learning new subjects (‘Tulpa’, ‘Escape’, ‘Vampire’). In comparison, Riley succeeds with her schoolwork but is naïve to the world around her. (‘Pluto’) She insecure often becoming victim to peer pressure but craves uniqueness away from her peers (‘Popular’, ‘Jexica’) Riley and Annie love feminine hobbies – makeup and shopping – but love masculine pursuits too. Both of them love the outdoors, athletics, but are terrible at sports. (‘Ski Lodge’ in GMW and ‘Sacrifice’ in SW) Riley can’t make the cheerleading team but loves basketball; Fi fails at baseball but tries appreciates the sport. (‘Singularity’, ‘Rah Rah’) Contradictions make them rounded characters but causes internal conflict when they attempt to form a stable Ego.

           Upon waking up in the middle of the night, Riley eavesdrops on her parents where she doubts if she’s good enough compared to her parents. After all Topanga is a successful lawyer, Cory is a successful teacher, and have a perfect fairytale love. (‘Cory & Topanga’) Unable to connect with her father, Rick, Fi seeks resemblances between herself and him. Just like Riley’s atelphobia, Fi feels disconnected from her family because of her paranormal interests. An example is ‘Strange Geometry’ where Fi feels betrayed that her mother kept Rick obsession a secret. Since Lucas doesn’t differentiate between Riley and Maya during the love triangle, Riley further doubts her worth as a girlfriend. In the pilot and a deleted ‘Upstate’ scene, Riley molds herself into Maya so she’ll have an identity. Constant identity searching is another aspect of the Seeker archetype.

Caretaking drives our protagonists to seek out the world’s answers. Fi wants closure with her father yet her investigations aren’t just for her benefit, but for the benefits of her loved ones. Molly’s friends Rebecca left when she was Fi’s age, thus Fi confronts Rebecca’s “daughter” so Molly will have some closure of her own. Reluctantly, Fi leads the two of them to Rebecca’s house where history repeated itself again; Rebecca’s family disappeared again leaving Molly more betrayed and confused. ‘In Forgiveness’ Riley backtalks to Kermit wanting answers as to why he left her best friend when she was younger. Town members become annoyed by Fi when she forces them to remember the alien invasion the day before. (‘Memory’) Fi helps a coma girl’s mother and grandmother with technology to revive the girl from her coma even though these people are strangers to her. (‘Lost’) Riley invades her friends’ boundaries so Maya will have hope (‘Master Plan’), tries jumping into a bull pen to save Lucas (‘Texas’), and keeps her friends in a stairwell so they’ll reflect on their surroundings (‘High School’). Fi challenges Bricriu to hangman so he’ll stop possessing her brother. (‘Will-o-Wisp’) Riley gives up her relationship with Shawn, her godfather, so Maya will have a father. She forgets her affections for Lucas so Maya will have a chance at love. (‘Texas’, ‘New Years’) Occasionally their actions cause annoyance among their friends but its for the greater good. Sacrificing one’s own desires is the key component in the Caretaker’s goal.

Creators: Annie & Maya

           Creators turn illusion into reality and similar to Seekers, Creators are invested self-identity and possibilities. When we’re introduced to Annie and Maya both are immediately drawn to creative fields. By the ending of ‘Lightening Rod’, Annie confides in Fi that she’s always had an eerie connection to music and find inspiration from something as insignificant as a stick. Furthermore, Mr and Mrs Thelon inform Molly that Annie has the ability to master most any instrument. ‘In the Darkness’, the theme song, shows Annie playing as well as popular instruments like the guitar. Maya gained that same artistic guidance from the stars or a paint war. (‘Meets Boy’, ‘Upstate’, ‘Maya’s Mother’). Partly due to Carpenter portrays her, Maya masters singing and guitar quite easily. (‘1961’, ’Creativity’) An added bonus to Annie’s is that they act as retrocognition from her past.

           Both blondes quickly give up old lifestyles for chances at an art or singing career. For example, Annie’s ecstatic she’ll join Molly’s band on tour, granted her parents reason this is so Annie will have a normal and balanced life. (‘Lightening Rod’) Impulsive, Future Maya leaps at the opportunity when she receives a SoHo gallery internship. (‘Bay Window’) Creators share the fear of not having an identity. When a recording agent steals Annie’s voice and likewise when the art teacher grades Maya’s painting as incomplete, the girls doubt their self-worth. In ‘Carnival’ Annie’s reflections mock her abilities when she rescues her friends from an evil ringmaster. Season one Maya wonders if Riley was right and Maya’s troubled past is responsible for her artistic ability. What’s more is that the Creator archetype gives the character a dangerous duality; either they’re practical with their art or they drown themselves in their disillusion. Which is why the Orphan archetype lurks beneath the Creator.

           The Thelons and Hart families are alive but their actions produce an orphan effect on their daughters. Traveling across the globe before the So Weird events prohibited establishing permanent roots somewhere. Kermit’s physical abandonment compounded with Katy’s emotional abandonment ensured that Maya wouldn’t have a support system. Although being an only child isn’t problematic, not having someone to depend on made connecting with others difficult. Neither would form a real connection until they made surrogate families out of the Phillips and Matthews families. Its not surprising their friends would find them selfish at times.

Death Acceptance

The major difference between Cooksney and Jacobs is Cooskney never intended lessons for So Weird whereas Jacobs’ moralizing hindered character development on Girl Meets World. Jacobs’s lesson was the vague statement, “People Change People” I’d argue his actual moral is not taking people for  instead. Cooksney’s moral, if you could consider it one, was sacrifice. Fi gets lost camping and sacrifices immediate help to save Big Foot. (‘Sacrifice’) Barring those morals, the writers over-arcing themes of both were acceptance. SW’s primary theme was death acceptance for the Phillips and Matthews family with the minor theme of childhood acceptance Annie) and Maya. All stories lead back to sex and death, Disney’s not going to discuss sexuality, but death resounds through every film since Disney’s inception. Also no SW or GMW character was exempt from death confrontation. Elisabeth Kubler-Ross’s Five Stages of Grief: Anger, Sadness, Denial, Bargaining, and Acceptance aren’t linear and one may never gain acceptance. All the characters are stuck in one of the stages and only Fi gains acceptance.

Earnest Becker’s seven reasons why people fear death are as followed:

Fear of pain

Fear of not knowing what becomes of our bodies

How our dependents will manage after our death

How our loved ones will cope emotionally after our death

Fear of an afterlife, such as eternal oblivion, or Heaven/Hell

Fear of dying with an unlived life

Fear of dying with uncompleted projects

Thantophobia is why humans behave the way they do. Rick’s untimely death when Fi was three-years-old affected her because she has no memories of her father. She often resented her brother and mother because they knew him and she did not. Rick/Fi’s shared fear is emotionally coping of his death. Maya struggled with coping with the metaphorical death of her father, possibly thinking he’s dead to her. Kermit intentionally abandoned his family, whereas Rick intended on returning to his family, but he didn’t plan on evil spirits murdering him. Fi and Maya are stuck in the anger phase of grieving. When her grandfather is visited by a banshee, Fi tracks the creature down and asks Death personified the fairness in taking her father away from her. Death responds that it will even the imbalance by extending her grandfather’s life for a time. But for seasons 1 and 2 Fi copes with death by actively seeking the paranormal afterlife to escape and accept death.

Jack’s death phobia is similar to Fi’s except he fears losing his sister and mother like he lost his father; his nightmare is a manifestation of that fear. In the midst of gang’s lucid dream, Jack leaves them for a method to awaken from the dream but is transported to the night of Rick’s. Dream Rick promises he’ll return, but knowing the future Jack chases after his father. Fear trapped Jack in Grief’s denial stage subsequently causing his resentment of the paranormal his dad loved so much. And it’s not until ‘Changeling’ when Jack accepts his dad’s death when he starts singing again. Surprised, Clu comments that Jack hadn’t sung since Rick died. Jack responds with, “Well, maybe it's time I started again.”

Minor episodes such as ‘Fall’ (SW) and ‘Gravity’ (GMW) discuss death on a smaller scale. ‘Fall’ details Ned and his childhood friend, Sam, on the death anniversary of their other friend’s drowning. Haunted by the memory, Sam is literally haunted by Pete’s ghost leading to Pete’s recent. The men’s responses to death are vastly different; Ned would rather forget Pete’s death and Sam tries to confront it. Both are part of the grieving sequence but overall, ‘Fall’ discuses the myriad of complex emotions after death. Childhood deaths are rightly considered “Bad Deaths” whether or not loved ones are complicit with the death, we often feel that we could’ve prevented it. Sam is stuck in the bargaining and grieving stages before he can move on. As the men relive that fateful day admits he was scared of dying and can finally accept death now. In ‘Gravity’ the teens are crushed when a beloved bakery owner dies leaving the bakery to Topanga. The episode ends with Auggie opening his gift with a note reading "It's not My-Kranian bakery, I'm dead." Cory phones Mr.Feeney telling him that he is glad Feeney isn’t dead, perhaps this was an allusion to ‘I Dream of Feeney’ when Cory wished him ill. Riley gives the eulogy and everyone learns to cherish their loved ones while they’re alive.

Next is Molly and her death phobia in the series. Molly’s emotions toward her husband are erratic in all three seasons. It’s been over a decade since Rick’s death and she still hasn’t accepted it. In the Christmas episode ‘Fountain’ Molly admits to a young Fi that her loss bothers her. In ‘Medium’ Molly began to resent Rick’s memory because she felt haunted by him wishing that she could forget him. Molly misses being a lover but is guilt-ridden because she feels like she is betraying her husband. (‘Fathom’) And in season 3’s ‘Muse,’ Molly and the band travel to the town of their first concert to recapture the inspiration she felt there. Molly never gains acceptance over death and I loved that this option was shown as well. Not everything is wrapped up in a happy ending.

The final lesson is accepting your own death. Self-death may be literal like the episodes ‘Rebecca’, ‘James Garr’, ‘Angel’ or ‘Grave Mistake’. Or death can be metaphorical like Riley becoming new personas, Maya losing herself, or the death of love. The former episodes dealt with the concept of immortality and coming to terms with one’s final moments. Fi investigates a girl claiming to be Rebecca’s daughter in truth, she’s Rebecca herself. Amazed at how much this immortal girl knows and has seen in her years, Rebecca refutes this saying that she hates her immortality. She can never marry, she had to leave Molly, her only friend, behind. Who wants to live forever? ‘James Garr’ is about the titular character undergo cryonic preservation as a cancer cure. The procedure’s successful, but James Gar hasn’t a soul anymore with this realization he gives his life to an elderly patient Jack met. In the subplot that elderly man dying of cancer beleives that whenever death comes for him he will greet death with willingness and bravery. James Garr realizing his hollow life switch places with the man so he can live a little longer. ‘Grave Mistake’ is about a family friend of the family who’s been receiving death threats and runs to Annie and the Phillips for help. With Annie’s guidance, the woman discovers her dead husband wrote “You’re dead” so that she’d remember she died. It’s rare that a children’s show relays the message that death isn’t ominous, it’s part of life.

During an interview Cooksney admitted that if Disney had allowed them to, Fi would descend into Hell to rescue her father’s soul.*2 Jack would have discovered his past life as a Celtic knight who begged that his next incarnation would be as Fi’s older brother. Moreover, it explains that dragon’s fear of Jack in ‘Strangling’ and aside from familial bonds, knight life explains his overprotection of him mom from a mermaid siren. (‘Fathom’) A tenet of the Order of the Good Death’s death positivity is “I believe that my open, honest advocacy around death can make a difference, and can change culture.” Cooksney probably didn’t intend for SW to have so much death focus but it’s applicable to the show.

‘Yearbook’, ‘Triangle’, and ‘Ski Lodge’ are examples of metaphorical death.  Whenever Riley embraces different personas, she’s undergoing an Ego Death in an attempt to discover her true self. She becomes a Goth Girl so her classmates visualize her shadow side. Contrary to her masquerade, Riley’s shadow side isn’t Goth but is a metaphor of her dark side coexisting with her light side. Maya lost herself during her dalliance with Lucas to understand her relationship identity contrasting he singular identity. Later on during the love triangle’s conclusion, Riley’s first comment is “This love triangle needs to die. Nature knows that it needs to die.” Of all her friends Riley mentions death the most, examples are ‘Yearbook’, ‘Gravity’, and ‘Pluto.’ Continuing with this death theme involve the teenagers’ fantasies as a metaphor for the death of their romance. During their respective daydreams, Riley and Maya inform each other that their dream romance isn’t reality. In  Dream Riley’s fantasy she dies, in essence the girls kill their ego and their romances to grow.

Childhood Acceptance

Transforming themselves from childhood trauma are Annie and Maya’s ultimate goals within the series. Annie’s panther and Maya’s hope are key in reaching their transformations. For this essay portion I’m using Widow’s Walk’, ‘Pen Pal’, and ‘Annie’s Song.’ For Maya’s episodes I’ll use are ‘World of Terror 3’, ‘Forgiveness’, and ‘Goodbye.’

Symbolically the panther represents the death-rebirth cycle and confronting fears. According to Spirit Animal’s website, those with the panther guide are blessed with powerful protectors. In addition, panthers indicate supernatural journeys with occult leanings. Therefore her character’s introduction served a purpose in So Weird despite being unplanned. Finally as Annie’s panther endows her with strength to confront any obstacle before her.

‘Widow’s Walk’ acts as a transition between death acceptance into childhood acceptance. Tired of her age  limiting her privileges Annie swaps ages with an elderly woman. Shocked by her transformation she finds a bottled message from the woman’s husband. Desperate for her youth back Annie begs the woman to reverse their ages. Selfishly, the woman refuses due to her thinking that her husband’s waiting for her at home not realizing he died in sea storm that turned the woman into a widow. Growing weaker daily Annie knows if she can’t convince the woman of the truth she will die. When Annie feints in an attempt to reach the woman and true to its nature, Annie’s panther appears at her side giving her strength to continue on. Obviously Annie’s successful getting her age back. What’s interesting are the contradictions between the elderly woman and Annie. Both characters fear death desperately clinging to life, but Annie’s aware of death while the woman would rather delude herself of human mortality.  At the climax the women’s remorseful of her selfishness wishing she knew how to reverse her wish. Annie’s regrets her wish understanding living in the present is better than living in living in the future.

Similarly ‘World of Terror’ along with ‘Pen Pal’ shows the girls’ adolescence if their positive influences were absent in their lives. By befriending Jennifer and not meeting Riley, Annie and Maya become rebellious Goths. Maya no longer believes that she deserves good things; Annie pushes her friends away. Following this change, Alternate Annie’s panther is a worthless tattoo, Alternate Maya begins bulling Riley for not letting her in her bedroom. . Deprived of hope or understanding our alternates protagonists cannot accept their pasts.  Being Disney, these girls defeat their alternates. Annie through using her panther power, Maya through befriending Riley in the parallel universe.

These last three deal with Maya and Annie discovering the truth and making amends with their childhoods, finally able to put the past behind them and move on. In ‘Forgiveness’ Maya writes and letter to her father, Kermit, in an attempt to forgive him as part of Cory’s homework assignment. That following day Kermit returns to town hoping what his daughter said in her letter was true. Unable to forgive Kermit, he leaves once more reducing Maya to tears. As a result Maya realizes she’s forgiven herself for believing she caused Kermit’s departure. By forgiving herself, Maya’s ablity to accept her past and her new father figure in Shawn Hunter when he adopts her in ‘Goodbye.’

In the penultimate episode the characters travel to a Native American reservation as a break from touring. Unlike her friends Annie can’t enjoy her day off with strange flashbacks coming to mind. Coyote possesses the tribe’s leader when a little girl becomes lost in the forest, forcing Annie to remember her childhood memories. Years earlier the Thelon family visited a jungle for a research assignment, little Annie awakens before her parents do and wanders into the forests. She happens across a petrified tribal man and it’s only when a poisonous snake attacks her she realizes the danger she’s in. As her parents discover their daughter’s disappeared, the man rushes her to his village in an attempt to save her life. With shaman magic, the man’s father removes the venom and takes Annie to a location where her parents will find her. Grateful Annie sacrificed her life to save his son, the father promises to protect her all her life in the form of a panther. With full understanding of her childhood, Annie manages to accept her past as Maya did.

Conclusion

           Girl Meets World and So Weird are different shows catering to wildly different audiences. Still, each character follows similar archetypes as well as themes people wouldn’t expect of Disney Channel to allow on their network. More importantly, the fact that it does shows its capability to portray mature, darker subject matters for all audiences. Readers may disagree with my argument but these are shows the current generation should watch. Girl Meets World is a television show that my generation should watch. Anyway, I hope you enjoyed my essay and I would love it if you gave me your opinions on each program, as well.