#least favorite seasons of shows

[icepandawarrior]

DAY 30: THIS IS NOT A BANGER

[captaincanonly]

none of these make sense. send help. i’ve gone woke…..

[tiredandoptimistic]

My take on Buffy's arc in each of the seasons (and how the villains highlight her personal journey)

Because I wake up every morning and think about Buffy Summers

Season one: Buffy starts out the show determined to deny her role as a Slayer and willing to skip a prophecy for a date. Even though she genuinely does want to help people, she's also resolved to make time for herself and her teenage whimsy. While the Master is technically the villain of the season, the real threat is the prophecy she hears in the finale: that she will die facing him. Buffy's desire for a normal life is put into direct conflict with her duty as a Slayer, and it's the bonds she built with other students like Willow that makes her realize that she cares more about being a protector than being happy.

Season two: this season systematically strips away everything Buffy had prioritized in season one. She loses her boyfriend, alienates her friends, gets expelled from high school, and kicked out by her mom. While at first she hadn't been able to make herself kill Angel, she had to come to terms with the fact that her moment of mercy led to Jenny's death. All the things necessary for a normal life are lost to her, and she can't afford to care about any of it. Her ability to go to school, her relationship with her mom, the love she has for Angel; none of it matters if the world is at stake. By the end of the season, Buffy proves her self-reliance and that she's willing to make the tough calls and kill somebody she loves if it's part of her Slayer duty.

Season three: at the start of this season, Buffy deals with the fallout of her season two arc by falling into a depression due to her isolation. Complete self-reliance is good in a fight to the death, but deeply unhealthy long-term. Buffy is a Slayer who draws strength from the love of her friends, and in season three she tries to rebuild that trust by throwing herself into all the traditional end of high school festivities. The Mayor represents the adult world they're meant to be graduating into, and he proves that there's something deeply rotten underneath the glossy suburban shell of Sunnydale. Despite the fact that the institutions of the school and the town range from apathetic to malevolent, Buffy is still able to form emotional bonds with the people she meets there. It's the power of her connection with all the other students of Sunnydale High that eventually saves the day, and even if she couldn't win Homecoming Queen she's still their Class Protector.

Season four: this is where we get into that weird phase of young adulthood where nobody has any idea what the fuck they're doing. Buffy is removed from the familiar and forced to find her way in a new environment, and she uses her newfound freedom to make some bad decisions. She and her closest friends drift apart as they all get wrapped up in their different post high school adventures, and without that safety net Buffy ends up placing her trust in the wrong people. The Initiative uses its appearance of security to manipulate young adults into throwing away their independence serving something solid. Adam is the result of this, as a young creature who's confused about his place in the world and gets sick of letting the Initiative decide his purpose for him. The thing that saves Buffy from this whole mess is to reaffirm her bond with her oldest friends, proving that growing up doesn't need to mean growing apart. The support system was always there, they just all needed to actively maintain it.

Season five: the linchpin of this season is Buffy's relationship with Dawn, as the magic weirdness of Sunnydale starts messing with the most intimate parts of her personal life. She's officially not able to keep her two world separate anymore, and has to decide whether or not she'll trust the love she has for her sister once she knows it was all planted by an outside force. Of course she chooses to stand by Dawn, and the two of them support each other through their mom's illness and death. At first Dawn's role as the key makes things very simple, since saving the day lines up perfectly with Buffy's preexisting priority (protect Dawn), but by the end she's put in a situation where she once again has to choose between the world and the person she loves most. Glory is effective as a villain because she's laser focused on hurting people Buffy loves, and is too damn strong for Buffy to actually fulfill her calling as a protector. In the end, the only way for Buffy to keep the people she loves safe is for her to sacrifice her own life for theirs (something she's been doing every day since she was fifteen).

Season six: while season five ends off with Buffy choosing to die for her friends, season six forces her to live for them. She's ripped from heaven and tossed into all the shittiest aspects of the real world, and worse than anything she's completely disconnected from herself and her friends. The main conflict here is her depression, and the contrast between the comfort she gets from Spike and the support she can't accept from her friends. Spike tells her that it's okay to not be okay, but this turns into him actively trying to keep her miserable because he thinks it's the only way she'll be with him. Meanwhile, Dawn and Giles and the rest are trying to help her support herself, which isn't exactly warm and fuzzy. When Willow becomes her dark self at the end, she basically speedruns Buffy's whole arc. She flays Warren alive for some instant gratification that hurts her in the long run, then she decides that the only way to end all suffering is to end all life, and she's eventually talked down by Xander's boundless love and support. Buffy has a similar moment at the same time, as she realizes that she wants to live because she wants to see Dawn grow up. This season shows that there isn't anything wrong with Buffy for feeling pain, but that the way out isn't to indulge her darkest feelings; it's to embrace the love of her friends and family.

Season seven: at this point, Buffy's biggest struggle is her sense of isolation. After so long as the Slayer, she genuinely doesn't think anyone else can understand her anymore (except maybe Spike, because he too has a fascinating cocktail of issues). Her isolation becomes a danger when she faces The First, a threat far too powerful for her to defeat on her own, and through Willow's magic she is able to finally be supported on all sides by people just as strong as she is. Much like graduation, this season ends with something major being destroyed to symbolize the end of a chapter in Buffy's life. She isn't just out of high school, she's officially free from the bounds of Sunnydale. She doesn't need to stay put and sacrifice her own pleasures again and again and again; there are other people willing to share the burden. Buffy can finally rest.

[miraculouslbcnreactions]

The fandom can't make up its mind on what's supposed to be a joke and what's supposed to be serious because the show can't either half the time. It's a tonally disjointed mess that wants to have absurd over-the-top humor as well as a plot and moments of drama, romance, and angst that demand you see the characters as people and feel for what they're going through. Except you can't do that without also treating the dumb bullshit in a somewhat grounded way. Like, you're still dealing with the same characters. You can't just go "Oh, that? Let's ignore that!" the moment it's no longer convenient to you. You've opened this can of worms and now you have to sleep in it. So, every character flip-flops between two different versions of themselves depending on what the writers need in any particular scene.

This is not to say surreal humor can't be used right alongside characters you're supposed to empathize with, Teen Titans (not Go) did that and it worked. It's just that the absurdity can only come from the setting (Mad Mod, Mother Mae-Eye, pretty much anything Control Freak is in) or from designated joke characters (Date With Destiny). Teen Titans never had the main characters acting in clearly absurd ways as the butt of a joke unless those characters were brainwashed somehow, because the writers knew that would ruin any of the more grounded moments they wanted to write. The writers of Miraculous missed the memo on that one.

I don't disagree. A perfect example is Derision where the show takes all of the bad jokes about Marinette's crush and decides to take them seriously as if you can possible take them seriously without making Marinette come across as unhinged and dangerous. You can't, which brings us to the topic at hand: how do you even begin to understand these characters when the show is constantly making character-breaking choices?

My approach - and the approach I recommend others take if they're going to keep watching the show - is to focus on the characters' cores and reject anything canon does to violate those cores. I don't argue for this stance because I love the characters so much that I only want the good things to count. I take this stance because, if you don't, then the characters fall apart. There is no way to make them work as fully realized characters while embracing every choice canon has made. Miraculous has massive characterization issues that go well beyond the humor.

For example, Adrien has multiple moments of terrible behavior that are played in a serious manner such as the moment in the episode Frozer where he tries to start a fight with Ladybug in the middle of an akuma attack because she wouldn't accept a rose from him earlier:

Setup

Ladybug: I can't accept this rose from you. I told you already. I'm in love with someone else. Cat Noir: I know, M'lady. But if he weren't here, would things be different between us? Ladybug: Well, you know, I can't even begin to imagine him not being here. I'm sorry, Cat Noir. I really gotta get going, and you better do the same. (Swings her yo-yo to head back home; Cat Noir is sad, looking downwards, with one petal of the rose falling.)

Payoff

Ladyice: Cat Noir. We need to set up a trap for whoever turned the city into a giant ice rink. (throws yo-yo) Icecat: (bitterly) My feline instincts prefer to track and observe before I attack. You go your way, I'll go mine. Ladyice: Please don't tell me you're mad at me about the rose. Icecat: There may be a certain chill now between us. Ladyice: I get it, but we should really focus on saving Paris right now. Icecat: We don't always have to do everything together, after all. It's not like we're a couple. (skates away)

There's no way to argue this off as a bad joke. While Adrien has every right to feel hurt, those feelings don't excuse him acting like a pouting child in the middle of an akuma fight. It doesn't excuse him acting like this at any point! Ladybug is not a villain for telling him no. She wasn't even mean about it!

I clearly fully agree that Adrien looks awful and selfish here, but I'd still argue that it's not something that should be used to define Adrien's character if your goal is to tell the "ideal" version of Miraculous. "Ideal" being the version that canon seems to be going for based on the overall picture we can sort of make out if we back way, way, way up and look at the extremely abstract picture canon is clumsily painting.

Unless canon is going to do something monumentally stupid, Adrien is Marinette's endgame romantic interest. It's also clear that there is no plan to cut him from the team. He's going to be Chat Noir for the rest of his life or at least well into his adulthood. This means that he is supposed to be a good hero who deserves his miraculous just like he's supposed to be a charming and cute romantic lead. These are the two things I keep in mind when trying to shift through canon to figure out what writing choices I should fully embrace and what writing choices I have to either ignore or treat as true flaws that get an actual character arc. In my book, either approach is fine because most of the characters are deeply flawed at this point and you can't give them all arcs without bloating the story to nonsense levels.

My goal with this approach is never to say, "oh, that moment shouldn't count in terms of how people feel about the character." It's more, "that moment goes so hard against who this character is very clearly supposed to be that I can't take it into account if I want to tell the kind of story that Miraculous is trying (and clearly failing) to tell."

As an example, let's list off Adrien's worst behaviors. The things that make him look terrible:

He sucks at communicating his needs and feelings, leading to multiple moments where he gets mad at Ladybug for things she's totally unaware of

He has quit or considered quitting without warning multiple times and only one of those was because of something he did "wrong" (NYC Special)

He puts his feelings before the safety of Paris on multiple occasions, even going so far to purposely miss akuma fights to see what happens

He is incredibly pushy about his crush, often ignoring Ladybug's feelings on the topic by continuing to bring it up even after she asked him to stop

There have been multiple instances where he almost cataclysmed multiple people in a fit of anger

His love for Ladynette isn't strong enough to let him break free of things like akumas and nightmare dust even when he's looking her in the eyes making him a pretty crappy romantic lead

People will argue that some of this behavior makes sense for his character because of the abuse that canon has technically introduced, but that the writers seem blissfully unaware of. I don't disagree with that argument, but that doesn't change the fact that none of this is acceptable behavior for a hero and Adrien is a hero who keeps doing these things. A sad backstory doesn't give you the right to behave poorly without consequences.

At the same time, if I fully embrace these elements of canon, what I get is an Adrien salt fic where he loses his miraculous for good while Marinette finds her real true love or even just a non-salty fic where Adrien leaves for his own meatal health and gets replaced by someone who can handle being a hero right now. Canon's not writing either of those, so the only way to engage with these flaws while enjoying canon or aiming for the same end goals as canon is to say, "I guess this doesn't count" or "I guess I need to tone this way down and work through it via a character arc" or even "I guess that was just a bad joke maybe?"

That is the essence of what I mean when I call myself a writing salt, character sugar blog. It comes from looking at canon and seeing that there's simply no way to embrace the worst moments and the best at the same time. We're not dealing with a coherent plot and/or complex characters. We're dealing with a nonsense plot that will warp the characters to bizarre shapes to make random ideas work even if those idea go wildly against canon's end goals.

As an example, Glaciator and Frozer should not exist in the same universe or, at the very least, something should explain why Chat Noir randomly changed his stance on Ladybug's crush from acceptance to pushiness. As is, the pieces don't fit together. The behavior is too contradictory. Remember, this is how Glaciator ends:

Perhaps Ladybug will love me someday. I mean, like, I love her. I have to believe. In the meantime, her friendship is the best gift of all.

Where did this version of Adrien go? Why did he regress in Frozer? There's no in-universe reason. It happened because the writers weren't ready to let the love square date or grow close, but they also wanted the love square to cause drama, so Adrien ends up looking terrible just like Marinette ends up looking terrible when it's her turn to cause love square drama. Her terribleness takes a different flavor so it can be hard to realize that this is a systemic issue, but that's what it is. It's deeply frustrating, but it also clearly stems from cheap writing and not quality characterization.

This is also why my stance is that canon as a whole only supports my Doyalistic core-character analysis style of approach. The writing is too poor quality to do Watsonian analysis where you embrace the full picture and try to put it all together. The closest I'll get to Watsonian analysis is pointing out how much the writing botches a Watsonian take by showing you all the way the writing contradicts itself, twisting into a nonsense pretzel of frustration where the payoffs never satisfy! (See the season four rant for an example or anything where I talked about Chloe's supposed damnation arc.)

There are even characters where canon is such a total mess that you can Doyalistically argue for two separate takes! Gabriel is a perfect example. He is all over the place and his ending was so poorly handled that you can make strong arguments for writing him as a cold-hearted villain or a sympathetic villain without the end result feeling like it spits in the face of canon because both takes maintain his one core element: villain.

That's the big thing I keep in mind when I look at the characters and the lore and the plots and try to come up with versions that the average fan would like. I don't think that there's one true version of any of these things, but I do feel comfortable saying that there are versions that will very clearly only appeal to people who are salty about a specific thing that canon did poorly. That's not who I want to appeal to in my adaptions, so while I'm not going to argue that those takes have no backing in canon, I will argue that those takes are not supported by canon as a whole. Embracing them requires you to take the worst parts of canon at face value while ignoring what canon is clearly trying to do with the overall story.

I get the appeal of that, but it's not fun for me because that approach feels like rolling around in the mud with the pigs. I don't want to sink to canon's level! I want to have fun! That's why I talk about how to make canon into its best self, not its worst self. If you want its worst self, just go watch the actual show. I will be shocked it if disappoints you.

[another-damn-fandom]

s5 WWDITS Tumblr: "Look, last week might have been a little substandard, but who else is hyped up for tonight's episode? Here's some spoilers that have been circulating! Here's one of my favorite theories! Will we see Nandermo? Guija? Is Laszlo Collin Robinson's father or his Daddy? Will this character come back? Will this plot line finally get resolved? Let's talk about this for hours!"

s6 WWDITS Tumblr: There's only one trailer for tonight's episode and only five people reblogged it. Here's a few pieces of gorgeous fanart from a previous season. Here's a half hearted gif set. Here's a couple of good theories that no one is interacting with. Most people are already treating the prospect of Nandor/The Guide as a terminal diagnosis from an unreliable doctor. (Hopefully fake, otherwise it's just going to be a long, slow, painful decline.)

[robbyykeene]

Potentially unpopular opinion, but I love that Miguel was an asshole again in the second part of this season! It’s a reminder that he’s a character and not just Johnny’s main support. I mean Robby didn’t deserve it at all, but it makes sense that Miguel couldn’t help taking his anger out on him. And I love that Johnny was on the receiving end of it, because it feels like the tension between them just went away for no reason.

Sorry if I’m bothering you!

You’re never bothering me, and I completely agree! They so rarely give Miguel any narrative agency these days, and like Johnny all it does is reduce him as a character. Miguel is a whole, complicated, messy teenager. He isn’t a saint. He isn’t perfect. He makes mistakes and has ugly unfair feelings sometimes, like every single teenager does. And I love when this show actually lets him be like this, lets him be wrong, lets him be a little bit of a dick to the people he cares about who don’t deserve it. Lets him be a real person with actual human feelings. And then also lets him take accountability for what he does wrong, apologize, show how much he’s grown, that he is a good person and a good friend. I love it truly, and it feels like it’s something that in a lot of ways hasn’t really been granted to Miguel since he fell off that balcony.

[jewelthenerd]

Alright gang I’ve caved I’m going to start drawing Ninjago characters does anyone have any suggestions/requests

[yhwcomeback]

what are your favorite ninjago seasons?

Rise of the Snakes, HANDS DOWN.

I've rewatched it so many times, and I adore this season, it's so nostalgic, and easy to digest, it brings me back to when I was 12 years old searching "Lloyd gets revenge against the ninja" on youtube only to instantly get spoiled that he was the green ninja LOL. (twelve years old me really thought he was going to become a major villain and I WAS READY TO EMBRACE THAT)

altought I also rewatch Dragon Rising alot? Probably cuz it's easy to watch it and similiar to season 1, it just feels like I'm eating a snack.

I also really like Possesion and March of the oni, but that's mainly becuase of the opening? like the opening of the season is just so cool.

and I feel like seabound is one of my top favorites becuase I am AWFUL at dealing with that type of stuff so I was sobbing so hard in the end. Same with Sons of Garmadon.

[dang-dood]

i completely forgot that house md was canon in torchwood

[kazz-brekker]

this is probably wishful thinking but it would be nice if sauron was so busy dealing with galadriel and celebrimbor and all of the ring drama going down inside eregion that he doesn't get around to killing adar this season

[cyanide-sippy-cup]

Okay I'm just saying I haven't seen the new ep yet (I will like tomorrow) but like yknow, a Kryptonian attacks and Lex realizes none of his tech and weapons can do anything against this species so he decides to fight fire with fire aka Kryptonian with Kryptonian and ends up cloning Superman and we get Conner. Eh? Eh??

[1nt3rnalpu7ref4ct10n]

its 4am and im gettin viscerally upset over a kids show just because the One Character i was looking forward to finally coming back actually didnt

[riversgoingnowhere]

LMK S5 and TDP s6 trailer spoilers!!!

why are jack de sena's characters going through it this month😭😭

[rainparadefromhell]

this is what would happen if manuel ever came out to dante probably like 10 mins later

[quibbs126]

You know, I think I just had a realization about one of the reasons I prefer original Garmadon over resurrected Garmadon

So you know how there’s the trope of “one of the big bads is actually one of the main characters’ dad (or mom, but it’s usually dad, at least in my experience)”. And usually alongside it, the evil parent either doesn’t care about their kid and/or is willing to get rid of them for the sake of their evil plans, or they want their kid to be evil just like them and join the dark side

Garmadon however, in the first two seasons, differs from that. We’re shown that he loves his son dearly and doesn’t want harm to come to him, at least whenever possible, and he literally states that he never wanted Lloyd to be like him

He differs from that aspect of the trope, and honestly I don’t feel like I’ve seen other evil parents have that angle. Likely because in Garmadon’s specific scenario, evil was forced upon him and he literally can’t help it. But regardless, it’s unique to the trope and it makes him more interesting than just a generic menacing villain

But when he comes back, he has that aspect of his personality erased, and so now he’s just doing the trope straight

Yeah, in Season 8, he’s supposed to be brought back super evil, and it makes the fight in Episode 9 devastating for Lloyd, and we get glimpses that somewhere deep down, he does still care about Lloyd, even if he’s convinced he isn’t or shouldn’t, but that doesn’t change the fact that he is now just the evil dad

I feel like his and Lloyd’s interactions in Crystalized are exactly this trope, or at least that part of “embrace the evil side of your heritage”, in terms of the Oni stuff. And similarly, Lloyd doesn’t want to be anything like his evil dad

The nuance and angst and tragedy that I really liked is now gone, and replaced with something more generic

[thatscarletflycatcher]

One of the biggest problems of writing that Frasier post is that the logic of 90s comedies is not real life logic. It's not just that you can just pick which exaggerated thing to believe more (and sometimes you need to outright pick between two mutually excluding canon facts), but also the degree to which you believe anything. Which is fun for theorizing but also terrible for theorizing because to argue one way or another you need to create the fiction that the coherent narrative you are pointing out has value of truth in a universe where the value of truth is the rule of funny.