#says a lot considering s2 has been a mess of quality

[sophfandoms53]

WHAT DID I SAY ABOUT STRIKER AND BLITZ’S SPEECHES, WHAT DID I FUCKING SAYYYY

I FUCKING CALLED IT NOW STOP HIDING HIM FROM US, BRING HIM BACK HOME PLEASE AND LET HIM HAVE HIS MOMENT

[arlakos]

Miraculous Rant

Actually, you know what, while im still mad from the previous post I made, lets go off on a rant. No punches pulled. Lets do this.

The lovesquare is the most terrible ship in this fandom. One girl is a hyper obsessed stalker who tracks her crush with her planner for 3 whole seasons, while the boy couldn’t learn to take a hint and stop flirting for 3 whole seasons until he decided to move on with another girl. Ironically that makes them perfect for eachother, but its in a creepy kind of way, not a loving kind of way.

Adrigami and Lukanette in the S3 Finale were wasted events and never should have occured because they were immediately axed in the first few episodes of the next season. I feel sorry for those that were hoping their ships could be real for at least a short actual while, and it makes me want to curse the writers for their story-boner for the status quo of teases

Despite what I said earlier, none of the girls are good for Adrien. Marinette’s stalkery and a borderline yandere, Kagami’s somewhat controlling and too similar to Adrien help him grow as a person, Chloe is a queen bee beyotch and honestly too much like a sibling to Adrien, and Lila is garbage. Fuck it, have Luka date Adrien and they can play some sweet music together (not like that you pervs, I meant they both play instruments).

Nino needs more love. Not only that, but there needs to be more Adrien/Nino bro moments. If Marinette and Alya can have moments together, why not the bros?

Chloe’s character is a mess, and is neither redeemable, nor notably evil. Her role as a villain in season 1 is very hamfisted, such as in the episodes Mr Pigeon and Kung Food. Not only that, Chloe also lacks any of the qualities that makes a good “bully villain” or rival to Marinette, and her sympathetic moments (which are Written by Sebastien) are mostly overshadowed by the fact that Astruc wants her to be a bully, so it just makes her bipolar and confusing when her character is tugged between two writers.

Chloe should not have joined Hawkmoth in Miracle Queen, see my other post as to why I think so. TLDR, its kinda ooc  for her to go full on 2d villain like Hawkmoth especially after Miraculer, plus Lila was being build up to be the main antagonist of S3

Chloe got kicked from the Team in Miraculer because people know her identity? Fine. Kagami gets to be Ryuko again despite being known to Hawkmoth in Ikari Gozen? Not cool. Ladybug shouldn’t be a hypocrite and be willing to break her own rules just because “Kagami is my friend and Chloe’s not”. Same goes for her breaking the rule with secrect identities with Alya, only for her to go on and on about the rules to Chat when he pries.

Zoe is a bland character who’s only notable trait that she likes Marinette, which automatically makes her worthy of a miraculous after two episodes and no actual development.

Astruc is a petty frick who makes episodes that give the finger to fans of the show that have a different opinion than him. Queen Banana, Miracle Queen, and Reverser are good examples of this (Reverser did Nathaniel dirty).

Master Fu is a shit guardian. Read my post for more.

FRICK THE FEAST EPISODE. Not only did is ruin Fu as character, it ruined all the good theories as to why the order fell, and wasted the idea of a new villain being introduced or even taking over as the main antagonist! Speaking of Feast, despite the sentimonster destroying an order when he wasn’t even big, he still go beat by 2 kids even when he was supersized!

Marinette is not a good Guardian. Her ability to choose heroes does not make her capable, and just because “tradition is stupid” doesnt mean that Marinette shouldn’t be tested like others before her!

Despite the Kwami’s being ancient magical buildings, they seem to act like kids a lot, and that annoys me when in S1 they are supposed to apparently be mentors to their wielders, like how Tikki was before she was mentally de-aged.

Lila is trash and should be removed from the show. The only reasons her lies work is because the writers dumb down every other character in the show and ignore the fact the people have smartphones with google.

The “Miraculous” Ladybug spell should require both Ladybug and Chat Noir to cast, because not only does the power have nothing to do with creation, but it also “destroys” anything created by the akuma, which thematically makes no sense. Also it would place more emphasis on the two heroes being equals and “two halfs of the same coin”

On that note, Ladybug has too many powers. Not only is she the only one who can purify akumas, and can cast a spell that can fix Paris time and time again like its no one’s buisness, but she also now gets a new suit and the ability to nullify Hawkmoth’s akumas. Like COME ON! Give Chat some powers too.

Mayura’s feather’s shouldnt be able to be purified by Ladybug since they have no dark energy, and (thematically speaking) Chat should be given an ability that allows him to “vanquish” the energy in Mayura[’s feathers similar to how Ladybug can purify Hawkmoth’s akumas. At least it would develop a rivalry between Chat and Mayura, and would make Chat necassary against Shadowmoth rather than being replacable with any other hero.

The are too many temporary heroes. They should have just stuck with the 3 heroes from s2 and leave it at that. Sure, new heroes were cool, but the overuse has made the whole hero thing feel less special. It made sense for the first 3 to have them, but now it’s just like Oprah where everyone gets a miraculous. Except Gabe.

Chat Blanc was a stupid reason as to why secret identities cant be revealed, also Chat could have told LB who Hawkmoth once he returned back to normal was and the show would be over.

Hawkmoth should not be Gabriel. Frick the lore about Gabriel’s wife dying and him going evil to get her back, it makes the story feel too much like a star wars/Darth vader reference and leaves Gabriel acting bipolar, flipping from wanting to save his wife and doing this out of necessity to being a power hungry madman wanting to take over the world ( which is said in his canon music video). Having Hawkmoth be his own character means he can be an actual maniac who wants world domination and not just have villanous plot that rely on obtaining magical jewellery (perhaps doing other evil things/taking a more active role), while Gabriel being his own character means he can be a father that has become estranged from his son due to the lose of his S,O, and thus can have a plot about him reuniting with his son (I liked the end seen in Simon says, ok?)

On that same note, I think Mayura shouldn’t have been Nathalie. Considering Hawkmoth’s plans were repetitive as heck for most of the show, when I heard about the Mayura leaks back in Season 2 (when she was called “le Paon”) I was theorising that Mayura would actually being Hawkmoth’s boss, the villain the was responsible for giving him his Miraculous and the one who destroyed the Order of the Miraculous, and would take over as the main villain in season 3 due to Hawkmoth’s failures. However, that turned out not to be the case.

Not only that, but Mayuras power is a copy paste power with some modifications to make it complement Hawkmoth’s power, by basically giving his akuma’s magic pokemon.

Speaking of Hawkmoth’s power, for a miraculous that is supposed to be used for good, how can his power mind control people and make them become evil? More importantly, for a miraculous that is supposedly weaker than the main heroes of the show, having it be able to multiply and posses people to create an army is kinda strong.

Fuck the Maribat ship that the salt fandom came up with. Its trash, it was made to bash most of the Miraculous cast sans Marinette, and anyone thinks it is good are either those same salters or are the same people who think that Rey-lo and the Twilight Saga are masterpieces of romance.

Whew! I needed that vent. Hope you enjoyed it as as much as I did, and Tune in next time on the next episode of:  Arlakos loses his Mind and Rants for 2 pages of writing!

[polandspringz]

Probably am late to the party because I’m not in the Promised Neverland fandom, but as someone who is always scrutinizing Cloverworks since their trainwreck that was P5, I think the biggest culprit for the mess of TPN S2 is Covid.

I have been thinking about how strange it was that Cloverworks was doing THREE shows at once this season. Horimiya, Wonder Egg Priority, and The Promised Neverland is a lot for a very small studio (considering they broke away from A-1 Pictures and they don’t have many studio buildings like Bones that divide up the shows). I was reading that article about how no one wants writing credit on the most recent episode of TPN, and it just clicked with me.

The Promised Neverland was supposed to air back in October 2020, right? It wasn’t scheduled to be running alongside these other series in the Winter 2021 block. It got delayed due to COVID messing up their production, and it’s very likely that resulted in things being rushed and they realized they had to do an original story or at least cut a lot of the material out because they couldn’t do it fully. They likely shifted their focus to their other two shows for quality, since Horimiya was going to be another big show since it had an equally large fanbase, and Wonder Egg was an original property so they had to get that right since it was such a risk and obviously is a passion project. However, we are even seeing issue with Wonder Egg Priority’s production, as one episode was delayed with a recap episode so they could “catch up with the animation” and now there are rumors that the finale might be delayed as well.

Not saying this is confirmed, but it makes the most sense to me as someone who has been observing the studios for a while. TLDR: TPN S2 was supposed to air in October, not January, and due to it conflicting with their other two scheduled shows, Cloverworks simply has too much to handle and had to cut down on one show.

[mego42]

What are some of your favorite GG song Moments. ? Here are some of mine.

1. Easy ft lorde- OMG this soong is such a bop. it just fits the scene so well. HONESTLY one of my fav scenes. HE IS LIVING HIS BEST LIFE IN THIS SCENE. I LOVE CHAOTIC RIO

2. Wild heart by SPELLES.- THIS SONG IS SO HAUNTING just fits the vibe so well. SO ANGSTY

3. The most recent song. Used in that Brio moment. Idk what its called . I know that Beth is having the time of her life but that song is just HEAVY. The lyrics 🙏😭😭❤❤❤ such a pretty song fr 😔

omg anon i love this question nearly as much as i love your taste. YES!!!! to Easy (i too love tf out of personification of chaos rio), YES!!!!! to Wild Heart!!!!  it’s SO HAUNTING and disorienting and PERFECT. and Y E S !!!!!!!!!!!!! to the most recent song (whole life by perfume genius). i am LIVING for the heavy ballad vibes, super agree it’s so pretty. 

in no particular order, my top 5 music moments:

blanket me / hundred waters

1x09 - beth makes the calendar laying out her kids future in case something happens to her

i’ve already exposed myself as an absolute loon when it comes to this song and you can read the whole breakdown here

but tl;dr it’s a song about relying too much on a person and needing to break free and be independent but not in a toxic sort of way, more in a for personal growth and the best for everyone because co-dependence holds everyone back and i really, really, really love that in context of beth and her children, her learning to step back and not smother them but also not give so much of herself that she disappears entirely because that’s not good for them in the long run

basically it’s sort of a thesis statement for beth’s underlying s1 arc

plus it’s just like, heavy and haunting and absolutely gorgeous and not to be like, unreasonably pretentious, moves me and i love it

notable lyrics: You're my blanket, you're my skin / You're everything within / You're my guardian, I'm your sail / A boat in your harbor / Gone under, capsized and sinking / Blanket me, blanket me, blanket me, blanket me, blanket me

-

whole life / perfume genius

4x06 - beth looking for a place to hide the wire/hooking up with rio

the song is all about leaving behind the things weighing you down and moving into a brighter, more free future and i love love love how that plays with the duality of beth hiding the wire and securing her source of information for the secret service BUT ALSO marking this moment as a turning point for beth and rio because it absolutely is.

(like not just the fact that they’ve resumed a physical relationship but rio’s invited beth deeper into his world and we’re seeing beth crack on a level we really haven’t before)

this season is leaning SO HARD into duality and the tangled up truths and lies between them and i am absolutely UNHINGED over it

i also really love the like, passionate ballad nature of it juxtaposed over this twisted, extremely sexy moment (intercut with dean joyfully trying to seize hold of his new hobby only to be IMMEDIATELY denied)

there are just so many layers to it and i love all of them

notable lyrics: The mark where he left me / A clip on my wing / Oh, let it soften / I forgive everything

-

ocean rain / echo & the bunnymen

4x04 - the beth and jane/rio getting the drop on fitz montage

the whole theme of this song is two people tearing each other apart and destroying the bones of their former intimacy which like, hello subject matter aptitude and it’s told through this GLORIOUSLY dramatic hurricane at sea imagery with ships being dragged below the waves by the hurricanes the two people have called down on each other set to a gorgeous over the top orchestral score

on a yrical note, i love that the song is basically the same verse over and over (interspersed with the chorus, obvs) and the only change is me vs you when it comes to who brought the storm down on them

basically, if you were challenged to come up with a song that represented two peak dramatique heaux nightmare factories locked in a never ending game of deadly cat and mouse, you couldn’t top this.

i am ABSOLUTELY OBSESSED with the choice to pair it with a montage of beth finally pulling the trigger (with foresight and intent, shooting rio was p obvs a oh shit look what i did moment), a milestone rio’s been dragging her (down) towards since the beginning of s2 AND using him to do it, dragging him (down) into her mess (m ade all the more messy when you consider he was the target of it) (i just! love it! so! much!)

i want to live in johnathan leahy’s brain

notable lyrics: all at sea again / and now my[your] hurricanes have brought down this ocean rain / to bathe me again / my ship’s a-sail / can you hear it’s tender frame / screaming from beneath the waves / screaming from beneath the waves

-

el musgo / gabriel bruce

3x04 - rio watches beth make money

UGH GOD when that high hat and bass kicked in the first time i was like oh shit we are in for some DRAMA and sure enough we were as well as a more sexual montage than anything you’d find in actual porn.

idk, the fact that they chose this deep, dark, mournful about lost love to an elongated montage slow motion montage of rio watching beth make fake cash and deciding not to kill her for nearly killing him doEs stuFf to me

all i’m saying is johnathan leahy ships brio harder than any of us and is a more dramatique heaux than either of them, which are two really impressive feats to achieve

AND THEN!!! AND THEN!!!!! they CHOPPED THE SONG UP!!!!! so they were able to take advantage of the dawning drama of the opening bars BUT ALSO include the closing stanza about wearing the marks the subject of the song gave the singer like a scar where they took his heart from him and the INTENTIONALITY of that creative choice puts me on the FLOOR

LIKE!!!!!!!!!!!!!!!!!!!!!!!!

notable lyrics: I'll wear this mark like a medal / But it's a scar / Where you took my heart from me

-

kimono hill / sophia kennedy

3x01 - rio leaves the hotel

honeslty, lowkey surprised this one made my top five. not because it isn’t a fabulous song deployed with johnathan leahy’s usual mastery, but bc i didn’t realize how much i loved it until making this list

i don’t really have like, a deep, lyrically rooted storytelling reason for loving it, i just think the way they used it in the show is Such A Vibe

the way the vibrating synthy tones and underlying organ kicks in while rio’s getting in the elevator has this beautiful held breath anticipatory quality to it that works SO WELL to set up the montage of rio strutting out back into his life while turner gets murdered (a scene i have some uh, complicated feelings about but setting those aside), and the bolands’ fresh start to the tune of bouncy drums and looping vocals

idk it’s such a shining note to end the first episode of a new season on, i remember feeling refreshed and super hype for what’s to come

notable lyrics: no lyrics, just the vibe of the opening bars

tl;dr i really, really, REALLY love how this show uses music. you can tell they put a lot of time and effort and thought into it and while i know the trajectory isn’t working for everyone, personally i love it. granted, as you can see from this list, i clearly love the shit out of a down tempo dramatic ballad, so. if you are more of a bangers and bops person, i would point you to @nickmillerscaulk’s inbox as she is a Certified Bangers Afficianado.

[skyhopedango]

anime I’ve been watching recently

Oh hey, I’m alive. Sorta? Between work being overwhelming and my schedule being kind of out of whack my energy to do anything in my off time, other than staring at the screen, has been at an all-time low... so low I can’t even throw words on the screen to make some posts.

But hey, I’ve still been staring at the screen, and I do have some opinions that I really need to get out of my system. So, this is the stuff I’ve been watching in the past months:

Listeners: No screenshot for this one because I don’t have any lying around anymore, but anyway, yeah, this was fun? Sure, the ending was stupid and didn’t make any sense, but then again, I wasn’t watching this show for the story, or with any expectations of it being “great” or “worthy” or whatever. It was a fun way of turning off my brain for half an hour every week, and I really enjoyed the music references which were much better-informed/researched and executed than in most anime or manga (where they usually just throw the reference in your face and be like “get it? huh? getit??? aren’t we smart?? you should feel smart, too!”). So what if it ended with “Uh, we actually never planned this far, let’s just do every mech anime ending ever”, the journey was worth it.

Nami yo kiitekure: No screenshot for this one either. Nami yo kiitekure was... meh? It started out well, with Minare being a fun and relatable lead, but then it kind of... stalled. And to be honest I got really annoyed with all the shouting. I don’t mind shouty comedy at all (some of my favorite anime comedies are like that) but here the pacing didn’t really work. And I never got the appeal of the live radio segments either (even though I do actually listen to a lot of radio!), perhaps because the seiyuu was just hamming it up instead of delivering a convincing performance, which I kind of expected to be the point. Anyway, I dropped this halfway through. Nothing technically wrong with it, but it’s not my cup of tea.

The Great Pretender: I actually wrote about this previously, and I haven’t seen any new episodes since then. Are they already out? :O What’s going on with this show’s release schedule?

Appare-Ranman: Oh, this is back! And I... don’t really like it as much as I did the first 3 episodes? I dunno, in the recent episodes it kind of lost its swagger and instead settled comfortably into that “Show That Could Have Been On Adult Swim In When American Anime Fans In Their 30s Were Watching That” routine that has been so prevalent in the recent Netflix-backed shows that I seriously believe it’s on purpose, to emulate popular shows in the US and appeal to viewer nostalgia. And this means that to me the show has become kind of... boring, really. Like, again, there’s nothing actually wrong with it, it’s by far the best of PA Works’ attempts at trying new things, and I am still watching it and derive enjoyment from it. But I don’t find it particularly interesting, it’s just going through the motions without adding anything exciting, visually, story-wise or character-wise. Like come on, it’s The Year of Our Lord 2020, do something new or interesting! Like for example...

Deca-Dence: Oh yes. See, when the first episode came out and people were raving and doing the “anime is saved!” thing, I was like “...huh? but this was like every damn fantasy adventure anime ever.” I mean it looked nice, sounded nice, but it was soooo derivative and boring. And then the second episode rolled around and I was like “OK, now you’ve got my attention! :D” and my attention has stayed with the show ever since. See, here’s the difference between this and say, Appare-Ranman: it’s not that Deca-Dence is doing anything revolutionary either, but it’s at least doing something instead of just following a template. Its ambitions don’t stop with having cool visuals and cute character designs. 

And another plus for Deca-Dence vs Appare-Ranman: the female characters in Deca-Dence don’t have that stupid PAW “cute anime girl” permablush. God that’s so annoying.

Gibiate: And on topic of shows trying for a retro appeal... yeah. There’s this one. You know those snobbish anime fans who always bemoan the decline of anime, and talk about how back in their time anime as such was better? Yeah, you can tell those people have had a very curated experience of anime “back in the days”, because back in the days, in our case in the ‘80s and early ‘90s, “anime as such” was actually more like this one. Really, Gibiate feels like it’s a zombie of some early ‘90s action show resurrected for some weird experiment, and now it just kind of shambles along aimlessly, not knowing what it’s doing in the present or how it should handle the changes of time. It’s kind of embarrassing, really... well, it was for the three episodes I watched. I dropped it out of secondhand embarrassment, more than anything.

GITS:SAC 2045: Oh yes, there’s this one as well. As I predicted, it was crap. It kind of feels like the creators were contracted to do a new series, but they had no actual ideas for a GITS:SAC sequel, nor any inspiration, and also nothing particular they wanted to say with the new show. Hell, apparently they didn’t rewatch GITS:SAC to refresh their memories of the show they were ostensibly trying to create a sequel for. OK, Imma rant about this a bit (copy-pasting something I wrote elsewhere).

1. The visuals are shit. Look, I'm not biased against CG, a lot of shows I enjoy have CG, a lot of them have bad CG. I tend not to care a lot about animation quality be it amazing or crap, as long as I enjoy the rest of the show. But this show looks like shit. The characters are rubber dolls floating in virtual space, physical character interaction is distracting, and all the action is hilaribad. Character animation is fucked up so often, like, they tried to give the Major a sexy hip sway but the result has her walking like she has a stick shoved up her butt. Hell, often they couldn’t even animate lip flaps properly, which doesn’t make the soulless masks the characters have for faces any more expressive. Also, character design-wise, the Major sticks out like a sore thumb, looking like a Sexy Dollfie among all the semi-realistic character designs. It’s kinda offensive, really. 2. Again, I could have lived with the visuals, if the rest of the show was any good. But it's not. With the exception of that one episode with the bank robbery, that was good and felt like real GITS:SAC, this is like someone's subpar fanfic, which is sad considering the writers behind the show. Characterization is weird and fucked up and doesn’t follow SAC. The worldbuilding went from the rather well thought out backdrop of SAC to a mess of ~edgy~ concepts mixed without any particular depth given to them. "Sustainable war!!! Thinkpol!!! 1984!!!!!" 3. The concept of post-humans is such a huge missed opportunity. Paired with the whole "ThinkPol" thing (as eyeroll-inducing as that is) there was a pretty good chance there to explore the dehumanizing aspect of the internet, and tie it into the "anon vigilante crowds" thing the story seems to be trying to get going. But nope, they just went with the stupidest routes. Also, the whole idea of "post-humans" doesn't flow organically from the worldbuilding of SAC, it just feels like something they came up with because they had to do something new. It also kinda feels like someone watched Darker Than Black one too many times.

So yeah, so, so disappointing. I’ll be watching S2 when it comes along because eh, more GITS, but I’m not gonna pretend this is anything but a subpar attempt to cash in on the franchise.

[seddm]

STARCO OVERVIEW - Season 2 (part 2/2)

SEASON 1

SEASON 2 (part 1) (part 2)

SEASON 3 (Incoming)

SEASON 4 (Incoming)

RAID THE CAVE (2x15a)

Bonbon The Birthday Clown was a huge moment of change for Star, her first real loss, something that forced her to start facing her responsibilities: from this moment until the end of the season she’s mostly going to be on a solo-growth time roll, with Marco’s direct influence on her being minimal: he’s still going to be with her in many episodes, and he’s even going to give her some advice in episodes like The Bounce Lounge or Collateral Damage, but there aren’t going to be moments like Mr. Candle Cares or Game of Flags until next season. This doesn’t mean that the two are going to be any less close, and until Just Friends Star is going to be none the wiser about her crush, so it’s not correct to talk about a fracture between the two dorks as a consequence of Jarco happening, but it’s also undeniable that the series wanted for Star to make more solo-experiences during S2B. This is what I talked about several times before: during S1 and early S2 Marco had a huge influence on Star, and Star had a huge influence on Marco, helping each other grow and develop (in several ways, but we can sum it up, for the sake of simplicity, to “be more responsible and thinking more about things” and “get out of his comfort zone more and be more open to taking risks”). Bonbon The Birthday Clown is an episode of important change for both of them, and from here on Star is going to slowly start putting all the accrued development to good use (stopping running away from problems as much, trying to be a princess in her own way in S3), and Marco is going to VERY slowly start doing the same (moving to Mewni in S3, realizing his feelings for Star).

All this introduction was needed to reiterate once more that less Star and Marco moments from now onward, especially in the rest of S2, absolutely doesn’t equal to Starco being less important to the show, or to the characters. It just means that both main characters were finally ready to realistically start to be more active in their growth process, thus allowing the writers to explore other kind of interactions and development arcs.

Getting to the actual episode now, the segment immediately opens on a recurring theme: Marco putting Star over Jackie, leaving her hanging for his bestie’s sake. This is clearly a horrible way to put it, and we now have canon confirmation from Jackie herself that Marco was an average, standard boyfriend to her, but ti tells us something important about commitment. This is the core of why Jarco couldn’t work, why Tomstar isn’t going to work, and even the main answer to the question “Did Starco truly have to be romantic?”: we have repeatedly been shown that Star and Marco are vastly more committed to each other than to any other person in their lives, ultimately putting each other before anyone else. 

The monsters in this episode like Star on account of her ideas and different ways of being a princess, of doing things her own way. Which is exactly what Marco told her in Mr. Candle Cares. And this is going to lead to her trying to unite Mewmans and Monsters, and Marco is the one who first opened her up to the idea in Lobster Claws and Mewnipendence Day. Again, it’s not that everything good Star does is thanks to Marco (nor vice versa), but he was the catalyst who complemented her qualities and characteristics, helping her become the best version of herself - something that still clearly required a lot of self work and interactions with other people.

During this episode Marco gives Star good advice, per se: being honest about what happened with her parents, and not making the situation any worse. And yet, that’s not really what Star needs now, as Glossaryck tells her - what she needs now is to face her mistakes and try to make up for them, truly accepting her responsibilities for the first time. Was Marco wrong? Is he suddenly not a good advice giver anymore? No, it’s simply an effect of the focus on solo-growth for Star in this part of the season I mentioned earlier: in this moment Star outpaced Marco in maturity, and it’s going to take him until Sophomore Slump to catch up, so there’s some sort of “disconnection” between her current position in life and his advice. Star started (slowly) walking toward “maturity”, and Marco was left for some episodes with a different point of view.

This is more of a story structure element than a statement about Marco, it’s clear that he still deeply understands and relates to Star, but if we look at the larger picture Star’s Second Act began with Bonbon, while Marco is going to lad behind in his First Act until Sophomore Slump.

TRICKSTAR (2x15b)

An episode full of foreshadowing for Star’s emotions at the end of the season and for her to mature enough to accept how things are going to go (you can’t be happy all the time, you have to face unpleasant things because turning a blind eye to them is worse, happy times are eventually going to follow sad times once again, all that jazz), but it doesn’t really involve Starco to any extent that’s not three layers of separation away.

Star launching herself to protect Marco from Praeston as soon as she sees him crying being all worried about him being sad is medicine for the soul.

And Marco saying this is almost certainly just a gag and maybe, just maybe, a sign of the relative lack of insight on maturity I mentioned in the previous segment, but it’s ironic given that the series is essentially going to end with both of them going “love is the answer” and the magic that is love being very real and saving their asses. 

BABY (2x16a)

Once more, you guessed it, a mostly solo-growth episode for Star, like most in this part of the season. Important episode bla bla Star looks finally excited about doing magic stuff out of her own initiative but gets slammed down hard because she lacks basic Glossaryck was right in saying that she has her own way to learn blabla first signs of maturity but also always doing things her own personal ways, failing while forced to do things by the book but getting new, incredible results in ways no one would have expected when free to do things her own way, usual individuality stuff.

Marco helping Star with Baby by dutifully making food is cute and certainly one more page in the long book of “Marco makes Star’s stressful life a bit more overwhelming” moments, but it doesn’t get any particular relevance in the episode.

On the other hand what’s interesting is that what pushes Star over the edge, helping her to “channel strong emotions” and create a new spell, is fear over having to leave Earth. Obviously it’s not just “leaving Marco”, Star has many reasons to like being there and the scene itself doesn’t involve her bestie in any extent. But it’s mostly about Marco. It’s obvious that it’d be reductive to consider that he’s the only Earth thing Star cares about, but narratively speaking it essentially is - in S3 Earth barely gets mentioned at all as soon as Marco moves to Mewni, he’s the symbol for what “second home on Earth” means to Star.

And if it wasn’t clear enough already, Star’s spell uses both “colors” of magic, pink and green, and it first splits the apple in two (cleaving it apart), to then make the seeds sprout, giving it new life (cleaving it together, we might say). The theme of unity, of something new and better being born from two different elements meeting, is constant throughout the show, and we now know that it’s all going to culminate in Star and Marco meeting once again in their new dimension, to be always together.

Look how worried Marco is about knowing whether Star can stay his voice is so expectant he’s so cute they’re so cute I love them so much

Remember when S1 hammered the idea that Marco was so important and “formative” to Star because he was the first person she met who truly trusted her and didn’t see her as an irresponsible mess up? Yeah it’s still there, and it’s always beautiful.

RUNNING WITH SCISSORS (2x16b)

Getting Star's scissors back is certainly part of Marco's motivation here, since he would definitely go to such extremes to avoid damaging Star, but honestly the episode is more of a solo-growth one for Marco: Star, and her importance to Marco, play a fundamental role in it obviously, but his decision to not back down and go home is more connected to his tenacity and willingness to go all the way in once he sets his mind on something, rather than specifically to get Star's scissors back itself. That's both Marco's greatest quality, and one of his main flaws when it degenerates into tunnel vision.

This is a weird episode. Marco spends more time living in the Neverzone than he did on Earth his whole life, and yet Running With Scissors doesn't change him at all. He doesn't get any tangible moment of growth or development from this, needing until Sophomore Slump to enter the next stage of his character arc (even if it's clearly important for the scissors, for Nachos, for his fighting skills...). And yet, it's an important episode: we know from the beginning of the season that Marco's greatest fear in life is lagging behind, wasting his life without finding a goal. In this episode an "alternate" version of Marco finds in adventuring a reason to be, something that fulfills him, and for 16 years he doesn't worry about anything else. But it's an incomplete life, by shedding all of his responsibilities and social connections Marco lost in maturity what he gained in freedom. And it's Star who snaps him out from this "fantasy" - a good one, but a limited and limiting one.

The scene is constructed to give Star's "Or... me?" part emphasis, and Marco deeply reacts to it.

The scissors imagery is particularly powerful, as it has multiple layers: there's the usual symbolism for "dimensions meeting", since the scissors are what allowed for Star and Marco to meet and completely change each other lives (and with Cleaved in hindsight we know how hugely important this theme is), and the theme of union in general is important to the show (it might not be a coincidence for this segment to have been paired with Baby, which ended with a similar theme); but there's also this idea of Marco's lonely reflection gaining something once he open the blades, showing Star as well: living a life of adventures is not worth it without all his loved ones. Cleaved apart, cleaved together. Marco gives up on something, this easy life he built for himself in the Neverzone, to gain something that's vastly more important to him, being with Star once more. Obviously it's not just Star, but she's the main symbol for it (and honestly given the series finale it might has well have been just Star): Marco feels content right now, the days of being a sweaty and anxious teen with no clear goal in life are a distant memory, but can he actually be happy and fulfilled without Star? No, obviously not. So he goes back.

And once home Star essentially gives exposition on what I just said, and what Marco thought just mere scenes earlier, probably mostly in an unconscious way. Sure, he has to go through the pains and uncertainties of growing up once again, but this time they'll be together. This is a gem of a scene that often goes unnoticed, essentially Star's version of Marco's speech in Mr. Candle Cares, since in both cases one of the dorks manages to give the other dork a new perspective on their biggest fear (not having choices about her future, not knowing what he wants to do in his future), helping them during a hard time. It's clear that Star deeply understands Marco, even if she usually helps him in practical or indirect ways, rather than delivering speeches like this.

Bonus: Marco's face lights up and immediately goes from gruff buff adventurer to excited kid as soon as he sees Star, wanting to tell her all about the past years like a kid recounting his Summer vacations. Should be clear enough which of his two lives is more important to him.

THE BOUNCE LOUNGE (2x17b)

Not really an important episode, just a lot of foreshadowing for the “end” of Star’s carefree days by the end of the season. Marco’s line here is mostly for that, it’s not really an important less nor something that helps Star figure things out in the context of the episode. If we reeeeally want we could see a connection between accepting that things have to end eventually and the “at least we have good memories from the past!” at the end of the episode with Star’s behavior in Scent of a Hoodie, but it’s kind of a stretch given that Star would have never truly accepted not being Marco’s friend again so it doesn’t properly fit as a parallel.

If you needed a reminder that Star helps Marco get out of his comfort zone and make new experiences that he often ends up liking...

HEINOUS (2x19a)

Just a quick note: even if it’s been a while since Marco called Star the coolest girl he knows, it’s clear that he genuinely appreciates her personality and individuality (see Mr. Candle Cares), and this is particularity important since he’s currently donning his Turdina identity, someone who became a paragon of freedom to express yourself to princess all over the multiverse, and he’s currently essentially telling Star that she’s, to him, the archetype of what a strong princess is. If that’s not love I don’t know what it is.

COLLATERAL DAMAGE (2x20a)

Star immediately seeking Marco’s advice to understand what she did is cute, but we were robbed of a moment of understanding and emotional connection. Stupid Otis.

JUST FRIENDS (2x20b)

After Bonbon The Birthday Clown and right before Face the Music, the tradition of songs highlighting the characters’ emotional state continues. I’m not going to analyze the lyrics of the song because their message is extremely clear, and it’s not like there’s a clear subdivision of verses between Star and Marco: clearly the whole concept of being “just friends” because it was too late for feeling to be revealed relates to Marco being with Jackie and Star liking him, but other than that the song generically talks about the reality of Star and Marco’s relationship. Taunting us viewers. It’s clearly way too early to talk about “love” as in full romantic love by this point, but it’s also clear that Star and Marco’s relationship is characterized by an incredible amount of care for each other which is visible to everyone. And yet.

Hahaha see it’s fun because the episode puts a lot of emphasis on the concept of being “friends”, something that has always been super important to Star, but by the end of it she’s going to be deeply hurt by Marco seeing her just as a friend, realizing that she would have wanted something more. Haha so much fun.

In a single scene we get reminders for several of the important elements in Star and Marco’s relationship:

Star helps Marco with Jackie, still acting as his “wing(wo)man” and pushing him out of his comfort zone

Star is still blissfully unaware of how much Marco dating Jackie is going to hurt her, there’s complete disconnection between what the Heart wands and what the Mind thinks it wants right now, and she’s going to delude herself until she literally sees his bestie smooching someone who is not her

Marco still thinks that Star is supercool, and he’s worried that Jackie is going to realize that he’s not at her level: when I talked about Sleep Spells I said that Star and Marco’s conversation on the roof essentially solved forever Marco’s feeling of inferiority compared to Star, but I forgot about this detail. It’s a very specific situation, but right now Marco feels “not enough”, and Star clearly comforts him 

And the next morning Star keeps being extremely “delicate” with Marco, doing her best to put him at ease. Because showing Star being particularly close and enamored with her bestie minutes before getting her heart shattered is cool!

And then, to make things EVEN funnier, later in the episode Star is about to go comfort a dejected Marco, doing what she has done many times before, but Jackie is faster and she “replaces” her. It’s obvious that Jackie never replaced Star in Marco’s life in any extent, it’s just a detail in this specific scene to better build up the mood and themes for the climax.

Haha isn’t if fun that for the whole episode Marco worries about being the third wheel between Star and Jackie, but at the end it’s actually Star who is going to feel terribly, hauntingly alone?

I don’t want to post too many screenshots, but the first part of the concert... well, it speaks for itself, with Marco sitting between the two important girls in his life, being confused when Jackie grabs his hand, and confused when Star grabs his other hand, but then getting into it.

I might be over reading too much into the boarders intentions here, but I think that Star’s expression in the first screen might fit with the idea that she has always been the one to push Marco intro trying new things, into “letting loose”, but this time Jackie “replaced” her, once again. Since this segment was boarded by the same artists who worked on The Bounce Lounge, which featured a similar “let loose and dance!” scene, it might not be too out there as an interpretation. Anyway, it’s a minor detail, the general vibe of the whole scene is heart crushingly clear.

For most of the song the shot focuses exclusively on Star and Marco goofing around, lypsynching like at the beginning of the episode: it’s their song, and that’s what they usually do. This is a friendship moment, and Marco obviously defaults to Star for it. But then the song gets into the “romantic” part, and the camera moves to Jackie and Marco: Star is just a friend, and as such she doesn’t get to take part in this special part of the night. Just like she said in Blood Moon Ball, this is a “different kind of fun”, and she’s not invited.

 And in full “you don’t know what you want until you lose it” fashion, it’s also the moment she realizes that she’d have killed to be invited to the smooching Marco kind of fun.

Second instance of Marco prioritizing Star over Jackie, he interrupts a making out session because he notices that she’s not there anymore and gets worried. It’s clear that Heart VS Mind is true for Marco as well, even if his feelings are way less definite by this point of the show. His first instincts still always put Star at the first place, but when it’s not an “emergency” moment anymore he’s not mature enough to properly recognize that she truly is the most important person to him. We’ll see this especially well in S3: during The Battle For Mewni he’s not going to hesitate in following her, risking his against Ludo and Toffee, but once the danger is over and his Mind takes control once again he goes back to Earth, without acknowledging Star’s confession, because still convinced that Jackie / Earth life were what he wanted. This scene here in Just Friends is a small taste of it.

Sadly Marco doesn’t have a clue, and Star hides her sadness, and she gets rewarded with a “you’re the best friend”. As I mentioned earlier, the episode opens up with Star and Marco being mutually happy to call each other besties, but ends with Star being crushed inside by being considered just a friend by Marco.

MORE SONG SYMBOLISM!

FACE THE MUSIC (2x21)

“How come Star doesn’t seem distraught over her crush for Marco, and why is she acting normally with him?” well, there are three layers of explanation:

The show is very compartmentalized

Star is super good at being in denial, as we’re going to see in Starcrushed when she claims that she’s over her crush fro Marco

The good ol’ usual “feelings are confused”: in Just Friends Star certainly realized what she truly wanted, but as far as her character arc goes it wasn’t the same as outright admitting her crush to herself. Which is just a form of denial more connected to the structure of the story: in the previous segment Star finally makes a connection between what she wants and why she feels like that, but it’s not the same thing as fully going, even just internally, “Ok I like Marco romantically”. It’s clearly confused if we dissect the whole matter like this, but it’s how the whole show operates when it comes to feelings, and it’s the difference between Star being ok around Marco here, and Star being a complete mess in Scent of a Hoodie.

This being said, once again we see Marco appreciating Star’s individuality and uniqueness, which deeply relates to her wanting Song Day to be special, crafted around her personality.

Was this hug alone enogh to turn Ruberiot into a Starco shipper and convince him that he needed to add a part about Star’s romantic life to his song, or did Star go on and on saying stuff about Marco while they were working on it later in the episode, offscreen? We can’t know and it’s not that important, but I choose to believe that a single hug was enough to make this genius of an artist understand just how much love there’s between these two. No bias here. No bias at all.

Also please note the penguins on the screen foreshadowing the end of Starcrushed - one goes away and the other one is left sad, alone.

Look at Marco, trying to move out of the way to make it clear that he’s not Royal Family, as if he’s not going to be part of it one day! They won’t be royal anymore by then though, admittedly.

Star spills the beans about her own failures during the season, feeling like it was the right thing to do. She starts owning up to her own mistakes, facing her problems instead of running away. But then the part about her crush on Marco comes up, and by the end of the episode she literally runs away: obviously as far as stakes go Star’s development arc in this part of the show culminates in accepting that she has to go to Mewni to defend it, and defeating Toffee is the ultimate test of maturity that allows her to enter the second part of her story. But accepting her feelings for Marco, confessing her crush, is symbolically the last step in her journey toward learning to face her problems and not running away from unpleasant facts. It’s the key to everything, not because there is ONLY Marco and Starco, obviously, but because he’s the single most important thing to Star, and by far what influenced her the most over the first half of the series. So by Face the Music Star is almost there, she has almost reached this first important checkpoint, but she can’t quite get to it until she embraces her crush for Marco. 

Because he’s important.

Because Starco is important. 

"Star Butterfly is in love with her best friend”. Now, obviously this is a song so lyrics are limited by what goes well with the rhythm, but the idea of best friends making the best lovers is incredibly important to the show, so while it’s extremely possible that it wasn’t specifically on purpose in this case I always like the association of “best friend” and “love”. We’ll have plenty of time to talk about it during S3.

STARCRUSHED (2x22)

While the episode is mostly solo Marco and solo Star moments, with little actual Starco interactions being formative or leading to development, I’m still going to go over more or less all of it, since most scenes can be directly reconnected to Star’s crush on Marco, which is directly connected to Star’s S2 arc, to the point that the climaxes of the two “storylines” end up overlapping in Star’s confession to Marco.

The idea of wanting things to go back “to normal”, to how they were once, is going to characterize the whole Starco romance arc: these two idiots, until Here to Help, are always going to think, to some extent, “oh no, having a crush on your best friend is weird and it can change things and maybe they’d get worse and maybe he/she doesn’t feel the same!”, and wish to go back to feeling nothing but platonic feelings of friendship for the other. It happens here, it’s going to be a theme in Booth Buddies (and for most of S3 with the idea of Marco trying to reframe his whole approach to being Star’s friend), it’s going to happen in Curse of the Blood Moon. Obviously things can’t go back to how they were because, as Marco said in Here to Help, they have always been like that. Not as in love at first sight obviously, took months and months for “romance” to start consciously becoming an element in the equation of their relationship, but as in a special kind of connection that was doomed since the first moment to evolve into something more. Essentially Star and Marco were always only able to either go forward in their relationship, or stagnate (with all the tensions and sudden heat-of-the-moment kissing that resulted from it): regressing was never an option, nor something that either of them ACTUALLY wanted (usual Heart VS Mind: worrying about feeling being “in the way”, while still wanting to forever be at her side in her pocket).

At the beginning of the episode Star shows marked improvements compared to her old self, and actually tries to force herself to face the problem, while Jackie pushes Marco to do the same - by leaving them some time, but it’s still quite a little bit too early: Star’s seeing the goal, but she still need some last pushes, and so nothing comes out of it, they’re both too embarrassed to talk.

Star sees a picture of a fun day with Marco then (ignore the “photo from the future” plot for now, it clearly wasn’t planned at the time, or at the very least not relevant to the messages and themes in this episode), and she’s reminded of how important her friendship with Marco is, and gets frustrated at the idea of losing it over some awkwardness, and calls her friends for help.

(idea of things “going back to normal” once again) said friend are actually a bad influence on Star though, dragging her to a party, reinforcing her tendency to avoid problems and confrontations proposing her an alternative distraction.

The party doesn’t convince Star, who is about to go back home: clearly her relationship with Marco is not the kind of problem she wants to ignore, and she can’t bring herself to just run away from it... until she notices Oskar.

Oskar is kind of a litmus test for Star’s growth: she had been drooling over him for two seasons, but she’s largely uninterested now. Even when he essentially tries to hit on her, and make plans to “hang out” over the Summer, Star looks uneasy at worst about the situation, and unconvinced at best. What changed? Star’s infatuation with Oskar was a symbol of her old self: Greason, the bad boy with a record who abides to no rules, lives in his car, and rejects all responsibilities and problems. The perfect man for Star “I love Freedom and Individuality More than Anything” Butterfly, right? But then Star grew and we got a number of episodes teaching her the importance of facing problems and accepting your responsibilities and that rules can be important at times and aren’t necessarily antithetic to fun, and this new Star isn’t actually interested in him anymore.

Star tries to latch to this, and to Oskar, in a last attempt at denial, at “replacing Marco”, as Oskar himself implies.

Meanwhile something similar happens with Marco (even if it’s way less clear in his case, and it’s going to take until Sophomore Slump to get any real payoff, while it’s immediate by the end of the episode in Star’s case): Jackie encourages him to stop worrying about Star and enjoy a Summer of nothing (please note: Jackie absolutely not a bad influence on Marco - just a couple of scenes ago she tried to give him and Star some time to talk things out, this is an isolated case to set a parallel between the dorks).

Also in the following scene we get Marco’s version of “I’d make a great Mango”: he deludes himself into thinking that Jackie is his partner in crime, trying to find a “replacement” to Star in this moment of deep emotional stress and tension. Obviously it’s something unconscious, it’s the first, smaller version of “You’re my best friend!” from Sophomore Slump: Marco’s Mind trying to convince his Heart that Jackie is who he truly wants, and the symbol for the kind of life he wants - a calm, easy life on Earth. But this is premature, I’ll talk about this during S3: in this specific episode what matters is that Jackie is not Marco’s partner in crime to any extent, and that Rafael’s words remind Marco of what should have been the basis of Star and Marco’s relationship from beginning to end but hasn’t been for long stretches of time when romance was involved.

Right now both Star and Marco are convinced that they have to talk things out, but as we’re about to see in a moment they aren’t quite ready to go all the way in with it. Third instance of Marco leaving Jackie hanging for something connected to Star (after Raid the Cave and Just Friends), too many not to be something they wanted viewers to notice, and it’s perfectly in line with the important theme of commitment.

Star takes Marco by the hand to gently lead him to a quieter place to talk, instead of dragging him by the wrist as the usually (not always, this is not the first time she grabs his hand, but it’s clearly a different context), and Marco stares at their hands, almost in disbelief. We get the same kind of scene in Here to Help. Hand holding is apparently symbolic for romance in this series (Marco mentions being ashamed of never having held a girls’ hand in Naysaya, in Demoncism and Kelly’s World the episode closes on the new couples holding hands, in Curse of the Blood Moon Star and Marco holding hands is a symbol for them falling in love, Mama Star and Here to Help we get the came focusing on Star holding Marco’s hand and they’re scenes eventually leading to Starco becoming fully canon).

Short digression about things that are going to be explored better in future seasons: isn’t it fun? Both this episode and Booth Buddies put a lot of emphasis on “things being different”, but then in Here to Help, when Marco can finally be entirely honest with himself and with Star, he says that things have essentially been the same since the beginning, just with an ever increasing intensity: feelings needed time to grow, absolutely, but there has never been a single, clear moment that suddenly made things different. See, this is why Marco’s “You don’t just fall in love at first sight” line is extremely important, because it confirms that Marco and Star’s relationship has been a linear journey from the beginning. It’s not that one day they suddenly stopped being just friends and became more, borders are confused, the feelings have always been there but needed time to grow and change and gain new connotations. Obviously the “Mind” part of their awareness about said feelings has clearly identifiable changes in specific episodes, it’s obviously needed for the structure of a TV show and for the characters arcs, but “in universe” it’s not that things started being different from a specific point in time, it’s just that the feelings became intense enough to scare Star and Marco into wanting for things to go backward. Cowards.

Anyway, Marco is obviously worried about the possibility of Star having a crush on him, Star can’t muster the courage to confess AND she’s possibly even truly slipping back into denial, thinking “Eh, I have Oskar now for the Summer, I’ll be happy with that and I won’t have to focus on Marco and things won’t be weird anymore between two of us, right?”, and they both put emphasis on being friends. Just friends, nothing more.

It’s easy to understand what worries Star and Marco, influencing their actions when it comes to romance until the end: fear of change, fear that their feelings might be in the way of friendship. And in the meantime the show spends seasons telling us viewers “look, the best romance is born from friendship, and Star and Marco’s love is just a side of their friendship! They should embrace it and it would be beautiful!” but nope, takes them until the end.

After this talk, Star is deep in denial: she’s latching to this idea of “Summer” as a panacea there to solve all her problems. She thinks that she actually fixed things with Marco, and she’s evidently trying to delude herself into thinking that hanging out with Oskar could actually serve as a bandaid for her unaccepted, unexpressed, unreciprocated feelings (and she’s barely buying it herself, apparently).

The idea of being able to make choices is extremely important and it goes all the way back to Marco’s speech to her in Mr. Candle Cares, but it’s applied in the worst of ways here.

But then she gets told that she has to go back to Mewni, possibly for a long time, possibly even dying in a dangerous fight with Toffee, it’s impossible to know exactly what Star thought in that moment beyond “I might never see Marco again”, and the Summer illusion comes crashing down. And she’s forcefully reminded of what (who) is actually important to her, and voilà, the last step is Star’s S2 Arc, “stop running away from problems” is complete. By accepting her crush on Marco and owning up to it, no matter how painful it is, she also accepts her duties as princess of Mewni and the burden of her family’s history.

This is what I meant when I said, at the beginning of this episode, that the two storylines of the season end up overlapping in the confession: Star starts becoming an actual princess and actually and actively being involved with the history of Mewni (leading to her arc in S3) when she stops running away from the greatest problem she had at the time, her crush on her best friend.

Pretending that a problem is not there doesn’t make it go away, and it’s clearly relevant to feelings as well and it’s true for Star here as it’s going to be true for Marco in Lava Lake Beach as it’s going to be true for both of them for the rest of the show, to some extent, sometimes more consciously, sometimes less. From this point onward feeling are never going to truly go away for Star, even through S3 and Tomstar: the disconnection between Heart and Mind, how conscious the dorks are about their feelings, how painful they get, how distracted by other things they are, how strong the “romance” part is over the platonic one, all these elements are going to fluctuate over the show; but the intensity of their feelings is going to steadily and linearly grow, as Marco ultimately evidences in Here to Help. They never go away.

Being upfront and honest with your friend is important, and it’s a recurring theme in the show (foreshadowed in All Belts Are Off in recent times, clearly central to the episode in Booth Buddies), and yet for the rest of the show it’s going to be so hard and so rare for the teens to be completely and entirely honest with each other and, most of all, with themselves. And the moment one of them finally is - Marco in Mama Star, everything clicks in place and they can finally, easily solve months worth of tensions (and years worth of suffering for us viewers).

Hard to tell if Star is crying here just out of sadness for having to go away, or if Marco’s inability to answer anything to her confession, tell her anything at all, played a role. We still know from S3 that Marco’s silence hurt her, a lot, but that probably includes all the time spent together on Mewni after Toffee’s defeat as well, so it’s not that relevant right now.

But Marco’s inability to answer by itself, now that’s relevant. An expected reaction obviously - he was in front of Jackie to booth, but still one that, in the context of fictional narrative, clearly evidences how unready for this kind of thing Marco was - as I mentioned he started lagging behind Star in terms of character development and maturity after Naysaya, and won’t catch up until Lint Catcher.

To conclude the post and the season, a heart warming shot full of “magic disappears from Marco’s life” imagery. Obviously Star isn’t gone forever, magic isn’t gone from Marco’s life, and everything she meant to him is still there, but after most of a season focused on Star’s perspective we get this last scene focusing on Marco’s one, with the feeling of emptiness brought by the departure of the one person who completely changed his life for better (when I say “bringing magic in it” I mean it in a broader sense, not strictly THE Magic).

Fun stuff.

[bakugaykatsukii]

I Talk About Bakugou Because I'm Bored

Bakugou. He's best boy. My son.

No, actually, I'mma explain in as few words as possible why I absolutely adore his character.

Oops this got long.

Okay, so it's the first chapter/episode (I'll go off the anime because it's practically identical and more widespread) and it opens with Deku narrating. This is to establish an immediate connection between the audience and the main protagonist; it conveys how important Deku is. Plenty of shows do this so it's not really a big deal, just common practise. HOWEVER, the second character we hear speak is Bakugou, who is insulting Deku.

This is framed in a way that's supposed to make us dislike him, and continues all throughout the first episode. He's presented as a four year old trying to beat up our main character, and then his next scene is being ten years older and Still Trying To Beat Up Our Main Character. This makes him seem rotten to the core, as his character hasn't changed whatsoever in that time, and as an audience we know very little information about him.

On top of that, within this first episode he is deliberately made to have no redeeming qualities, nothing that could make him sympathetic in any way. The Sludge Villain fiasco isn't until ep2, and in this one he literally tells Deku to kill himself, reaching peak middle school bully. He destroys something the Main Protagonist clearly treasures and is privelaged in every conceivable way, even his (later obviously intense) desire to be a hero is simplified to monetary gain, with "I'll be even richer than All Might himself!!!" (or something to that effect). Later on I'd explain such a line to be a result of young Baku trying to quantify his future success, something he never mentions again after the Sludge Villain.

In these first twenty minutes of the anime, he's been absolutely dragged through the mud. Not only is he this arrogant, selfish, mean bully, he's also the sort of bully we can all relate to having, making him even more dislikable! It's so easy for an audience to write him off as irredeemable almost immediately.

But then comes ep2. Seasoned anime watchers likely brush over some small details, but the fact that the Sludge Villain attack happens when Bakugou is 14? Wow. At this point no one likes him, and to many people seeing this happen could come across as a sort of karmic punishment, deserving and therefore less sympathetic. And so Horikoshi succeeds in continuing to make him dislikable but also adding depth to this character who so clearly believed he was invincible.

However, any such depth is pretty much ignored by the audience. I've watched many reactions, and, at this point, due to Bakugou's sub par personality, most people don't care about what happened upon first viewing. To be fair, it's treated as background until Deku steps in and proves himself a hero, at which point he's promised a quirk and That's all anyone can think about.

(also there's some symbolism in this ep because Bakugou and Deku were both attacked by the Sludge Villain and saved by All Might, showing they are actually equals in character and have a lot in common.)

Anyway, so for the first few episodes no one gives two shits about Bakugou because he's meant to be dislikable. He's set up to be as bad as possible without needing to be arrested/never being redeemable. Yet, he's also not clearly set up to be redeemed whatsoever. Let me explain:

Quick break from bnha to head over to atla, Zuko is the perfect redemption arc. And some of that can be attributed to his presentation in the first few episodes: where he's portrayed as antagonistic but still honourable, and has a tragic past. He's the sort of character you know isn't actually bad at heart. But Bakugou hasn't got any tragic back story to speak of, and certainly isn't honourable, so we don't expect a redemption.

That's so interesting to me, because it basically means his character could go in any direction but most shounen fans expect him to be the typical rival. He's mean now and will be mean later, nbd. Will probably betray Deku in order to gain more power. That sort of stuff.

But, as the first season progresses, we're shown that Bakugou (on top of all of his anger issues and cruelty) is also so incredibly determined, to the point where it's harmful. A lot of people, even in season three, expect him to accept the LoV's offer, but as early as ep7 he's shown to be dedicated to being the best on his own. He utterly fails at pretending to be a villain, and doesn't manage to work with his "villain" teammate. When the USJ attack rolls around, he fights alongside Deku.

I feel like I've just word babbled for a while so here's a picture:

Isn't that adorable? Anyway, I continue.

Okay, recap: Bakugou is presented initially as bad and in no way sympathetic, but throughout season one some of his good qualities do get highlighted.

The Sports Festival is probably when I was most on edge about who my favourite character was. Todoroki vs Deku vs Bakugou was a whole internal debate. We all know who eventually won though. Point is, this is the first time Bakugou is supposed to seem likeable.

Like, yes, he helped out at the USJ, but he was still reckless and angry about it. In this arc his flaws stop seeming so antagonistic (even though he's now more at odds with 1-A than he's ever been) and are framed humorously; if you think about it, the only times you're not rooting for Bakugou in this whole arc is when you're laughing at his antics. He stops seeming like a massive unforgivable bully and becomes a secondary threat behind Todoroki, even though he ultimately wins the Festival.

One of the first things he does in the season is tell people messing with their class go away, albeit bluntly, and is then complimented for it by Kirishima, who is the nicest guy in the class! No longer are we supposed to necessarily dislike him, as he's being developed after all of season 1. Him saying "I'm gonna win" as his speach is expected by the audience and laughed at- absolutely nobody watching was scared he'd hurt Deku in some terrible way due to it.

The cavalry battle demonstrates that he can work in a team after some adjustment time, and he gets his own antagonist (Monoma) who we all root against! This makes us closer to his character, as in a way we have a common enemy.

Then obviously the single battles are super interesting, his one against Uraraka especially turning people to his side. Since Aizawa, who as an audience we trust after his actions at the USJ, backs up Bakugou's actions, we accept them as the right thing to have done. Especially since Bakugou later calls Uraraka "not fragile", demonstrating that he can respect people and actually isn't as discriminatory as his earlier actions against Deku might lead one to believe. Everything about this fight is pure gold.

The rest of his fights are also very interesting, so let me go off on a little tangent. He's the only person to 1) be uninjured by the end of the festival (he did win tho so...) and 2) he's the only person to win all of his fights by forcing his opponent into submission. He knocks out Uraraka and Kirishima, goes to knock out Tokoyami but has him give up instead and then knocks out Todoroki! His fights are so much more violent than the others, who are primarily trying to win by pushing their opponent out of the ring or by immobilising them, which could make him come across as more aggressive (which he is). But it actually works for his character considering the way he demonstrates respect is by giving his all, therefore in order to show he cares about these fights he has to go for absolutely decimating the person against him.

Also, interesting side note to all that, out of our main three festival contenders, Bakugou is the only one who actually needs to use the festival for its intended purpose: impressing scouts. Todoroki, as the son of Endeavour, is already known throughout the hero community as a promising young talent, and could even get the No2 hero to coach him if he so wished. Deku even says himself that he doesn't necessarily need to get scouted when All Might is already teaching him. Out of the three Bakugou has the most incentive to actually show off here, no guilt/baggage required.

Anyway blah Stain arc blah. Bakugou picks Jeanist to intern with, which many might think makes him shallow. Their quirks are in no way similar and their images are almost diametrically opposing, and Bakugou only chose him because he's such a highly ranked hero. However, I believe the creators crafted this pairing in order to convey how good of a future hero Bakugou promises to be. BJ, in these episodes, is all talk. He's such a superficial hero that, in order to rectify Bakugou's foul personality, he gives him a haircut. He demonstrates the arrogant nature that Stain hates so much. Meanwhile, Bakugou ignores him and is still arrogant in his own way, obviously, but not for anything other than his own pride. He, when you break it down, spends all of his time working towards a genuinely good goal, just to prove to himself that he's worthy- no desire for fans or fame in there, he wants success but isn't actually looking for any of the perks that come with it. This, imo, makes him better than BJ. Also, Bakugou never actually says he is working with BJ due to his rank and could be doing it because their quirks botha require so much time, practice and effort.

Okay, so, now for the final exams. This is where I decided he was my favourite. He works with Deku etc and proves to the audience that he can work with him and won't necessarily become a villain, plus All Might lets loose a little and proves he too can be violent and mean.

What I really love is about ep24 s2 is actually the bit that makes a lot of people chuckle: where Bakugou bites AM's hand. This kid has been giving his absolute all, putting every ounce of strength into beating his idol, because, lbh, his self worth depends on his success here, until he literally cannot raise his arms to punch anymore. And yet, he still refuses to go down, despite every odd against him. Something about that tenacity is just so incredible to me.

It's almost 1am, let's have another break, shall we?

Idk I thought it was funny when it came onto my dash.

Btw, it's now I wish I knew how to hide most of a post lololol.

Season three is just Baku's season, ngl. Like,,, so many of his Stans got their start here, and it's not hard to tell why. A big reason why Bakugou felt irredeemable was because he had no reason to be so mean, but the narrative makes up for that by then putting him through so many bad experiences.

There's been a million metas on why he's so perfect in this season, and this is already abhorrently long, but ah well.

Okay so he's captured by the League through no fault of his own. As the audience when we find out Bakugou is missing we immediately think he's done the dumb thing and gone off on his own, but it's quickly revealed that he's already been kidnapped. Tokoyami is also taken, cementing that the LoV are looking for kids with some villainous feature, but also showing that their perception of what makes a child villainous is skewed, since we know Tokoyami is good.

At the hideout Baku is entirely restrained and silent, so clearly against his will. If we remember every other time he's been restrained (so goddamn many) we'll think back to the Sludge Villain, finding out Deku had a quirk, after his *win* against Todoroki and his internship with BJ. In this way, it's obvious to tell that this is all a Bad experience for him, as those were all very negative times in his life. There's no way he'll join them.

None of the pros even consider it a possibility. Aizawa defends him against the press (and, once again, we like Aizawa! So we trust him) and none of his classmates think he could be evil, they're all primarily concerned for his safety. Even BJ, who insinuated that Baku could easily become a villain, doesn't appear to believe he'll turn down that path.

Also Baku is pretty cool when he fights of the villain like I'm ngl.

And then, when he sees All Might? And his face screws up? With his lip trembling? It's undercut with a joke but he's so obviously just a scared/relieved kid in that moment and it's gut wrenching to remember that.

It's really getting late and I'm at 11% here so speed round through the provisional licence exam.

He can tell Shindou is two faced

Even though he's blunt he's still got the instincts and smarts of a hero

The class looks up to him

Aizawa has a lot of favouritism for this child, y'all, how did I not notice this?

His failure here is intrinsic to his character growth as it means he hits absolute rock bottom and we can move onto:

Deku Vs Kacchan 2

Where to even start. The guilt and pain he experiences has made me tear up several times just from thinking about them, and that GODDAMN VOICE CRACK AS HE YELLS nope it hurts too bad.

It's sort of the culmination of every emotional issue Bakugou has exhibited throughout the series. He can't find self worth without constant praise and pressures himself to be unimaginably perfect, to a self destructive point. He has no support system in place to help him with these issues. His anger stops being repetitive/funny/annoying and is finally, clearly shown to be more damaging to himself than to anyone else, as he feels the only way he can deal with his stress and hurt is by lashing out at those who try to help him.

In this fight we also learn why Deku, even though he's Baku's victim, still looks up to him so much. And the whole dynamic is so perfect I might cry rn.

I am annoyed, though, that further than that Baku's mental health has been pretty much entirely ignored for 200 manga chapters. Probably my only complaint about him.

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At an entirely selfish level, I can relate to Bakugou. Obviously I'm not a teenage boy with explosion powers who bullies people in order to feel any self worth, but the high standards for himself? The pain at any failures? Being told through childhood how great you are only for it to be torn away in your teens? That's all so painfully relatable to me, and so I feel an even deeper connection with his character.

One last picture to finish off:

[we-pay-for-everything]

Hi! I'[m just curious why you prefer S2 of BtVS to S3? They're both my favorite seasons, but I think I may love S3's Bangel scenes even more than S2's. Though S3 does have the train wreck known as Willow an Xander's "fluke" :)

Hi! I prefer Bangel in season 3 as well, but overall, I think season 2 is a better, more entertaining, more impactful, season than season 3.

For one, the Angelus arc is much better connected to season 2′s character arcs, themes, relationships, and even soundtrack, than season 3′s Mayor arc. Having the good guy transform into the Big Bad mid-season was a stroke of genius, especially since, at that point in the show, it still made a lot of sense for the Big Bad to be a vampire - The Master had been nothing but a joke to the audience. Angelus, a vampire who genuinely messed with Buffy’s emotions and caused her to doubt her skills, was essential in developing Buffy’s character, and the Buffyverse itself. What would BtVS and Buffy have been without Angel turning into Angelus and flipping everything we knew upside down? AtS wouldn’t even exist!

On top of all that, Angelus was directly and indirectly responsible for Willow’s initiation into magic, Jenny’s death and Giles’ transformation, Xander moving on from Buffy (in a way), the Scoobies growing closer, and essential/memorable episodes like Innocence, Passion, Becoming parts 1 and 2. Season 2 was very well put together, and carefully planned from the beginning. The narrative is so cohesive, and the writing so emotional and raw. I think season 3 is more refined in terms of writing, but lacks the punch, and even sincerity, of season 2.

A common criticism of season 2 is the amount, and quality, of filler episodes. Yes season 2 had more filler episodes than season 3, but season 3 had plenty of unimportant episodes (to the plot) - even when they were great, like The Wish.

To elaborate on what I said, the season 2 episodes I consider very important are: When She Was Bad (major for Buffy), School Hard (Spike, Dru, Angelus), Lie to Me (relevant to season 2′s theme of growing up), What’s my Line parts 1 and 2 (Kendra, Cordelia/Xander, Buffy/Angel, Willow/Oz, etc.), Surprise and Innocence (for obvious reasons), Passion (raised the stakes way up), Becoming parts 1 and 2 (again, for very obvious reasons).

Of course I left out amazing, meaningful episodes that were objectively not that relevant to the plot, like I Only Have Eyes For You.

Following the same logic with season 3, we have: Anne (mostly because it’s a first episode - it’s not as big as When She Was Bad), Revelations (Buffy is dating Angel!, Faith and Buffy fight, Faith meets Angel), Lovers Walk (the breakups), Amends (very major for Angel and Ats), Bad Girls and Consequences (because of Faith becoming the “bad” slayer, plus the Mayor), The Prom (for obvious reasons), Graduation Day parts 1 and 2 (ditto).

Episodes like Enemies or Choices are relevant to the plot and characters, but do they really contribute much to the season? The Mayor has no connection to the characters, and his development is so minimal, that his scenes honestly don’t even matter much. Faith’s scenes with the Mayor are obviously more relevant, but Faith isn’t that relevant to the story - she’s not even a main character. I didn’t even mention Faith, Hope & Trick, because Scott and Trick are pretty irrelevant, and Faith’s introduction isn’t a big deal. It’s not like she’s the first slayer apart from Buffy that we meet.

I feel like season 3 is a collection of episodes that are loosely part of the same narrative. If you skip a bunch of episodes, you won’t really miss much. And even the season itself is way less important to the characters, and the Buffyverse in general, than season 2. Buffy’s arc in season 2 was more important than her arc in season 3; Giles, Cordelia, Xander, and Willow didn’t change very significantly in season 3, although Xander and Willow had some growth; and the friendships within the Scoobies didn’t change a whole lot either. Season 3 is honestly a bit bland and underwhelming. It has lots of good moments and episodes, but I think season 6, for example, is much more important as a whole to the Buffyverse (I prefer season 3 though!).

I get that season 3 introduced Faith, which was very important to Buffy, but you can even say Faith had a bigger impact on Buffy in season 4, and that Angel was the one most harmed by Faith in season 3 (she nearly killed him, and so Buffy had to force Angel to drink from her, which was the final nail in the coffin for Buffy and Angel). Season 3 also introduced Anya and the Watcher’s Council, but the latter seasons had that too.

I don’t want to bash on season 3, but I always felt like it was overrated by the fandom. It’s not the most perfect season of BtVS/The Buffyverse, or even the best one, in my opinion. I hope I explained why properly.

Thanks for the ask!

[lightsandlostbells]

so, overall, what did you think of season 3 of stranger things?

It took me a while to answer this question because I had to sort out how I felt about this season! I guess if I had to narrow it down to an overall opinion: enjoyable, but very messy. Had some of the series’ best moments but also, while I was watching, I had far more grumbles and gripes than the previous two seasons.

I’ve never really been hung up on whether this show is derivative or plays too into nostalgia or w/e. Plenty of media does that. And despite all the time I’ve spent dissecting micro-expressions and weighty silences in European teen dramas that are filmed for the cost of a candy bar … I am way into genre films and TV shows. I love monsters and superheroes and spectacle! I watched Stranger Things the weekend it premiered because I love ‘80s movies about kids on bikes having adventures, I eat that shit up. So I don’t expect this show to be a hardcore deconstruction and re-imagining of those tropes (though that sounds like a pretty great show), I’m fine with it being what it is: a solid, spooky sci-fi/horror throwback series. What matters most is whether the story and characters work. Personally, I would say whatever criticisms you can make of S1 and S2, they had heart, and unfortunately I think some of that heart was missing from S3. Much of that, IMO, comes from sidelining some of the familial relationships that were at the center of the narrative in S1 and S2, like the Byers family and Hopper & Eleven, and to some degree the important friendships like the party, although there were other friendships introduced in this season so that wasn’t as glaring. It’s not a surprise that one of the best-received parts about this season, Steve and Robin’s friendship, is also responsible for one of the most heartfelt scenes Stranger Things has ever done. 

There was also a way larger emphasis on comedy in S3. Comedy is probably my favorite genre, and I did laugh at a lot of humorous moments in this season. But I also felt like there was more comedy for comedy’s sake, like long sequences created intentionally to make the audience laugh. Whereas in S1 and S2, I can’t remember any scenes like that? The comedy was more understated and came from character personalities and relationship moments rather than joke set pieces. That’s perhaps another reason why S3 felt like it had less heart.

My hope for season 4 - and I am assuming there is a season 4, because apparently this show did mega ratings for S3 - is that they don’t add more major new characters (except love interests for the gay characters, go ahead with those, lol) and instead focus on the existing cast,  which is already a very strong ensemble, yet many of the characters have gotten pushed to the sides. I would love if they added to the episode count: a lot of Netflix series drag out their seasons, like they have enough story for 10 episodes but have to stretch it out to 13, but Stranger Things has the opposite problem. I feel like if they had 10 (or 11, ha) episodes they could have more time for breather moments and more space for character arcs. This season was really fast-paced in my opinion, and although that’s a positive in many respects, I missed a lot of the down time.

Also, I think every season has taken place over like a week maximum, not including the epilogues, and like … you can make the story last longer than a week! Not everything has to go to hell in like a day or two.

Some more specific opinions underneath, obviously lots of spoilers.

First of all, I gotta say, I feel like a weirdo, because so many of the reviews for this season are like A RETURN TO FORM AFTER A DISAPPOINTING SECOND SEASON and UP THERE WITH SEASON 1 NOT THAT CRAPPY SEASON 2 THAT NO ONE LIKED and uhhhh … I liked season 2 just fine? It’s probably my favorite. There are things I don’t like about it, but the stuff I love is stuff I really, really love. Hopper and Eleven’s relationship, for instance. Steve and Dustin teaming up and Steve Harrington becoming a guardian to four children. Those are not just great elements to the series, but directions that I think only a second season could have taken - Hopper and Eleven’s bond wouldn’t have had half the weight if they weren’t established as traumatized, broken people in S1. Steve Harrington becoming a babysitter would not be nearly so delightful if we had not known him as the popular douchebag stereotype from S1 - if he were just a cool dude hanging out with kids from the get-go, the impact wouldn’t be as great. After S1 used Will Byers as a MacGuffin in S1, S2 gave Will a much larger role and that little actor acted his ass off. His performance generated a lot of genuine suspense and chills. There was Sean Astin being lovable! Paul Reiser’s character being a surprisingly good guy! Yeah, there are big flaws in the season, and you can argue it’s too much of a repeat of S1, but to me it was a version of S1 that made the characters more specific and interesting. I’m just … genuinely baffled by how it’s supposed to be demonstrably worse than the others. Because of the Kali episode? I didn’t think that one was terrible, either. I think it broke up the momentum of the chaos at Hawkins Lab, and Kali’s friends were obnoxious, it’s certainly not the greatest writing of the series, but as a whole the episode is like. Fine. It’s fine. It’s mediocre, not atrocious. It’s not the worst thing ever. It doesn’t ruin anything about the story or direction or the series. Most importantly it’s easy to ignore or skip on a rewatch if you don’t like it. The backlash was way overblown.

My biggest disappointment with season 3 was Hopper. Whaaaaaaat. Whaaaat did they dooooo. 

Hopper in previous seasons is a flawed, messed-up human being, but I always knew where he was coming from. When he yelled at Eleven in S2, I still got why he did it. In this season he felt cartoonish. The overprotective paternalistic dad trope is annoying BUT I might have been less bothered had they connected it more to Eleven’s lack of experience with the world, less RAWRRRR KEEP BOYS AWAY FROM MY GIRL. Or if Hopper had not demonstrated like, actual rage toward Mike and we just saw him fuming about it to himself or venting to Joyce, if he was trying to keep that shit under control. (I did laugh at him singing “You Don’t Mess Around With Jim” in the car, I gotta admit.)

But his attitude toward Joyce was what really bummed me out. I’m not into this show for shipping reasons, but I low-key enjoyed the possibility of Joyce and Hopper hooking up based on previous seasons. This season felt like they were writing a completely different dynamic for them, one that was much more aggressively obnoxious. I think their intentions were clear - they were going for a Sam-and-Diane relationship, something that was referenced early on in the Bob flashback - but the problem is that their relationship was not like that at all in S1 and S2. When I think of Joyce and Hopper from those seasons, I think about him supporting her after Bob died, or listening to her concerns about her son, or working together to find Will. They didn’t have this combative dynamic! Frankly watching giant-ass Hopper yell at tiny Joyce was viscerally unpleasant. (Side note but in the first trailer there was a shot of Hopper running at the Fun Fair with someone else who I assumed was Eleven, but no, turned out to be Joyce, Winona Ryder is just that tiny next to David Harbour.)

Also, considering this season ended with his death (and we all know he’s not really dead but OK) it’s such a waste that there were few Hopper&Eleven moments! Only the finale brought some quality content on that front. But otherwise their relationship was out of sight, out of mind for almost the whole season, which wasn’t a great choice, both to maximize the emotional impact of the ending, and to expand upon their situation post-S2. I mean, it’s been months since then, how has their relationship changed now? Hopper’s letter talked about the stuff he enjoyed doing with his daughter - why didn’t we see any of that on screen this season? It could’ve helped with the Mike angle, too, like show Hopper and Eleven watching TV together and laughing and having a good time, and then the phone rings and it’s Mike and suddenly Hopper’s watching TV alone as Eleven’s now focused on her boyfriend, we see his disappointment, etc. 

Scoops Troop - Now they were a delight. They had such a ludicrous story but for the most part it worked due to the characters playing off each other and because the writing/acting/directing embraced the silliness. 

Steve Harrington is easily one of the best characters on this show. I fucking love that guy. He’s consistently entertaining, he’s had possibly the best character growth out of anyone in the series, he’s evolved from a stock ‘80s asshole stereotype into someone who’s funny and sympathetic and likable. He’s this amazing blend of the ridiculous with the heroic. Steve and Dustin were great together, as they were last season, and I’m cackling that Steve acquired YET ANOTHER CHILD under his supervision without even trying. But the MVP of the season was the Steve & Robin friendship. Holy shit do I love that relationship. Holy SHIT.

Robin herself is a terrific new character, smart and funny and once you know she’s half-Uma, you can’t unsee it. I was loving her already and then the bathroom scene happened and I YELLED. I was so utterly overjoyed. If they had made Steve and Robin hook up, honestly … I would’ve been fine with it, like this show doesn’t need more heterosexual romance but at least they had a fun dynamic, but man, the friendship angle was so so superior. It’s a type of relationship that media is lacking, and the specific circumstances of this friendship made it genuinely moving to me. I keep wanting to write like a meta post devoted to just this relationship because I just have so many emotions about it! But they play well off each other as a comedic duo and as an odd couple friendship, and they’re really what each other needs, IMO. Steve needed this close friendship more than he needed a girlfriend; in this season he’s clearly adrift and we’ve seen the kind of shitty friends he had in like season one, is Dustin the best pal he had at this point? And I love Steve & Dustin but Steve needed a good friend his own age. Robin is a lesbian in small-town Indiana in the ‘80s, and she was clearly full of fear that Steve would hate her if he knew, and for him to accept her so easily, not even making a big deal about it? That’s kind of life-saving, really. I can’t wait to see more of them, if Netflix wants to make the half-hour Clerks-esque spinoff about them working in a video store and shooting the shit, I would be 100% down for that.

I have some mixed feelings about Erica because I think she could have benefited from getting the same humanization as the other kids (and I’m going to leave the discussion of racial tropes gently by the side at the moment but … yeah). The other child characters are played more like actual people with vulnerabilities, which has been part of the show’s appeal since the first season, and Erica was more like the sitcom kid who always has a snarky quip ready; however, she did make me laugh and I like that they tapped into her being a nerd, I wish they’d explore that in future seasons with the character. “I’m ten, you bald bastard” was one of my favorite lines of the season, I lost my goddamn mind. 

Billy - Lmao, so Billy in S2 was the woooorst. This dude had ZERO redeeming qualities. His abusive dad creates a smidgen of sympathy, I guess, but Billy goes so far beyond normal teenage assholery that it didn’t make a dent in my opinion of him. You can redeem someone like Steve Harrington, first of all because Steve actually feels regret and works to correct his mistakes, but Steve also didn’t go to a point of no return in the first place. Billy did, for me. Physically and verbally abusing his younger sister? Attacking a black middle-schooler for the crime of being in the same room as his white sister? What a piece of shit.

With that in mind - I have no problem focusing on him as a villain this season, I really don’t. It justifies his inclusion in S2 other than as a human antagonist who’s ultimately not really connected to the main plot, as it retrospectively establishes him as an even greater threat in this season. I also think the actor did a good job with the material he was given. However, ultimately this dude’s arc was underwhelming. The thing is … I can tell they were trying to show Billy struggling with the Mind Flayer, but Billy is so lacking in any positive qualities that it’s kind of like, where does that struggle even come from? Yeah, even the worst people aren’t going to be wild about having a monster from another dimension hijack your body and use it to collect people for spare parts, but this is the same dude who was about to run over Mike, Lucas, and Dustin on their bikes last season for absolutely no reason. He beat Steve to point of unconsciousness and could’ve put him in the hospital. He assaulted Lucas. So I really need some evidence of Billy’s moral compass because it is not inherent and there’s in fact plenty of evidence that it doesn’t exist. I’m not very enthusiastic about redeeming a racist, abusive creep, but I also think if you’re going to go for him helping Eleven at the end … you have to show some current potential for goodness, not just “used to be a nice kid.”

A really glaring omission: the lack of any family/home scenes with him, Max, and their parents this season. We left off last season with Max telling him to leave her and her friends alone. How is their relationship since then? Is there still a lot of friction? Is there a tense peace? Has their relationship improved in any way? We really needed to see that follow-up. I get that Max crying over Billy this season makes sense in that he’s still her family and we can still have love for those who hurt us … but I also feel that we needed something between them to justify her pain, like even just the potential of their relationship being a fraction better, or the suggestion that Billy used to be OK to Max before he went full asshole. And I think we really needed to see Billy’s dad being currently abusive in this season - tbh, missed opportunity that the dad didn’t get flayed like, out of revenge (which would have been both satisfying and horrifying), missed opportunities for suspense when we think Billy might serve up Max and her mom to the Mind Flayer, etc.

Another missed opportunity: drawing parallels between Billy and Will. Both are possessed by the Mind Flayer. Both had shitty dads calling them homophobic slurs. Both could be read as gay (I’m not hungry to claim Billy as LGBT representation or invested in this interpretation but his scenes with Steve in S2 admittedly have that sweaty homoerotic dick-measuring vibe, if you want to take it there). Their names are both William, FFS. The difference is that Will is a sweet and gentle kid surrounded by loving family and friends who fought to save him, and Billy is a violent, cruel dude who probably doesn’t have any real friends, just shallow connections. You could show how the Mind Flayer could more easily possess and manipulate someone like Billy, but that wasn’t really explored.

Also, is anyone going to dwell on the fact that like … Max is living with an abusive man as her stepfather? He’s shown hurting Billy’s mom. Does that not concern anyone that he is very likely to attack either Max or her mom? 

Oh, and thank God they didn’t take the Billy/Karen thing all the way. In retrospect, even weirder considering Billy’s mommy issues. 

Joyce - I get that it’s a big leap downward in emotional investment to go from “must save my son” to “fucking magnets, how do they work” but I liked that she had her own investigation that wasn’t full of emotional turmoil. Winona forever. 

Mike - Everyone is ragging on him but I think he was less terrible than people are making him out to be. He was bratty in a teenage way, but he wasn’t the worst kid ever. I didn’t take his now notorious line to Will (“It’s not my fault you don’t like girls”) as something intentionally cruel or homophobic, just something that came out wrong and that he instantly regretted, and he and Lucas did seem genuinely apologetic over the D&D game and went over to Will’s in the rain out of concern. And the reason he lied to Eleven was because SCARY ASS HOPPER threatened him??? Also, his concern over Eleven overexerting herself was not misplaced, lmao! It really took that long for anyone to go, “Hey, should we be worried about the amount of blood coming out of her nose? Should we be concerned about the effects on her brain?” Sure, Eleven has the final say in whether or not she uses her powers, but tbh… she didn’t have a normal upbringing and her view of her powers is probably skewed. Like, would Eleven have enough basic medical knowledge to be worried about brain damage or nosebleeds, or would that just be the norm to her? Is she making these decisions with a full grasp of the potential consequences? Anyway, I don’t have a more negative opinion of Mike after this season. 

Eleven - I loved Eleven a lot in this season. I don’t know if it did a ton for her character arc, but it’s nice to see her slowly develop into more of a normal girl. And the season was rough for her in terms of getting her ass kicked, she goes through so much mental and physical pain! In the end she loses her dad and her powers!

Of course one of the bright spots was her and Max becoming friends! Not gonna lie, there was something a little … simplistic about some of that depiction of friendship for me - just that so much of it was SHOPPING and GIGGLING and BOY TALK, girls being GIRLS, when Max has been portrayed as a tomboy and Eleven is a telekinetic kid raised in a lab, that maybe their interactions shouldn’t have fit the mold quite so much - but it doesn’t truly bother me because they were so sweet and fun. I loved them tracking down Billy together and I appreciate that their friendship carried throughout the season, that Max was the person shown carrying an injured Eleven along with Mike, Eleven comforted Max after Billy died, etc. That was a definite sore spot of S2, the girl-on-girl jealousy and Eleven flat-out rejecting Max’s friendly introduction, and I do think they took that feedback into account for the better here. I also like that Eleven was clearly taking cues from Max, the more “worldly” of the two about boys and clothes and teenage attitudes in general - it gave their friendship a more specific shape.

I cannot WAIT to see her living with the Byers family next season. Like if they don’t spend significant time on that dynamic, it will be the biggest disappointment. There could be 8 episodes of just boring mundane Byers domestic scenes and I would love it, please inject it into my eyeballs, Duffer bros. I want to see her bonding with all of them, trying to fit in at school, attempting the most normal life she’s ever had. Also lmao, she and Will can finally have a goddamn conversation??? I hope they’ve been withholding that relationship because they were planning to go all out with those new sibling vibes in S4. They are the two characters who have been most traumatized by the Upside Down, we deserve to see them connect.

On that note, I have a lot of thoughts about Will in this season! Mainly - underused as FUCK. After all that trauma of being possessed by the Mind Flayer last season, they barely utilize this connection in the second half of S3. Even his Spidey sense hardly came in handy??? Now that was really weird, IMO, because the least they could do was have that feeling alert the others or be useful, but lmao it was practically pointless. 

It’s weird because I’m not sure if they just don’t know what to do with Will if he’s not being a victim (which is stupid because there’s plenty you could do with him), but at the same time, he has one of the most poignant subplots of the season. From the reactions I’ve seen, Will feeling rejected and left out as his friends move on really resonated with a lot of viewers. But then this thread is abandoned after episode 3, for the most part. Will cries and destroys the place that represents his childhood, a place that was created specifically in response to trauma (mentioned in S2 that he and Jonathan built it after their dad left), this is very rich emotional territory … and then the show’s just like ehhhhhh moving on. He’s just hanging out in the background and touching his neck for the rest of the season. 

And now I gotta talk about that other thing with Will.

I am so confused by what the Duffer brothers are trying to accomplish with Will’s sexuality, because on the one hand it seems like they have a really clear idea about it and on the other hand they’re just like¯\_(ツ)_/¯  The thing is … it seems very obvious they have always thought of Will as gay. This is blatant from the original pitch from the show as well as one of the S2 scripts (the only one that’s available publicly, so who knows what else they’ve written). I accept that people have different interpretations, but The Line this season is far from the only textual support for Will being gay, and I think it makes for a much, much stronger narrative if you read Will as gay in addition to not wanting to grow up as fast as his friends and being stunted from trauma - that is an entire meta post in itself, though. 

What gets me about the ~ambiguity is that the Duffer brothers planted the gay hints in the first place! They are absolutely not there by accident! Like I’m not speaking for the teenage actors but lmao, the adults involved in the writing and directing of this series absolutely fucking knew how that “not my fault you don’t like girls” scene would be interpreted, especially considering fans were debating Will’s sexuality from the beginning, based off the many homophobic comments leveled at him in S1. There have been TV shows where fans latched onto gay “subtext” that was likely unintentional, but this isn’t one of them. 

IDK, man, it’d just be nice to have some confidence in where this is going. I loved Robin and the bathroom scene made me think that yeah, they might do a decent job with Will’s sexuality, something I might have doubted before. Under no circumstances do I expect a Skam S3-style coming out arc for Will, but I’m also uncertain if I should expect anything from the show on this front at all or if they’ll play it coy to the bitter end. Though I guess I’d still take the ambiguity over giving him a female love interest after everything. Lol, that would be a giant oh-fuck-no.

Real talk, though, let’s discuss what an utter waste it would be to not write a scene where Joyce tenderly accepts her son when he comes out to her. You really aren’t going to bring that instantly iconic moment to life, assholes? You’re not going to provide that for Winona Ryder’s and Noah Schnapp’s Emmy reels? MAKE IT HAPPEN, BASTARDS.

Nancy and Jonathan have a reputation for the most boring plots but they’re fine, w/e. I’m not deeply invested in their romance but I don’t want to fast forward their scenes or anything. Nancy is an underrated character; she’s extremely proactive and always has been, and I enjoy watching her shoot things. I think the best thing they could do for both characters, though, is to separate them next season, not just physically but storyline-wise. Jonathan would be best in a subplot involving his family, because he’s at his most likable as a son and brother, and Nancy should either go off with Mike (a sibling relationship that is VASTLY undeveloped), or she should team up with Robin. I mean it, Nancy and Robin would be a power pairing, let me show you my manifesto. Both are smart young women who are good at solving mysteries. Would Robin think Nancy is a priss after Nancy unloads several rounds into the latest demogorgon chasing them? Would Nancy find Robin a refreshing alternative to the crushing suburban conformity that she claims to want to avoid? Oh, the possibilities. Meanwhile, Steve tags along in the background, all like OH SHIT, my lesbian BFF and my ex-girlfriend are in cahoots! 

Lucas and Max were playing relationship counselors to Mike and Eleven through much of the season. Max still had a fair amount to do, but Lucas needs a meatier subplot next time. I feel like they’re not sure what to do with him? I would like to see him and Erica interact more since their dynamic so far is one-note. 

There is one hell of a conversation to be had about the Evil Russians of this season, but I’m really not the person to do it. 

Also about the depiction of capitalism this season. That’s more thinkpiece-y than I am equipped to do right now. 

The product placement is something that should bother me more but I’m just like … shrug. Except that New Coke bit because that was an actual mood-breaker. 

Could have done without Russian Terminator guy. That was a blatant ‘80s homage so I get why he was there, he just wasn’t all that interesting. And was that guy supposed to be superpowered or something? Was he getting jacked on Upside Down steroids???  What was his deal???

Alexei/Murray was the true OTP of the season, let’s be real.

The trend of lovable, doomed minor characters continued with Alexei. Props to that actor for making you root for the guy. He even made me kind of love Murray? I was very WTF over that guy encouraging two teenagers to fuck in S2, and I’m still not into his habit of telling people to bang even when they’re adults, but I guess he just needed a sympathetic Russian buddy to win me over. 

There were a ton of moments where I felt like the characters made stupid choices as opposed to earlier seasons. Will getting dragged into the Upside Down in the first 10 minutes of the series is an impressive example of a horror movie character doing everything right and making good decisions - a 12-year-old, no less. And he was still overpowered by the demogorgon so it’s not like making good decisions will always save you! Whereas this season I was like LORD some of these characters are drinking dumbass juice. 

There was also so much silly stuff happening, like things that are even more far-fetched than previous seasons, but I just kind of went with it. Yeah, of course there’s a secret Russian base under a shopping mall. Sure.

This season is objectively disgusting in terms of gore and yet I was fine with it? And I’m someone who was repulsed by Barb’s corpse in S1. The Mind Flayer being made of people was some nasty shit but effective horror. I felt bad for the poor little rats :( Oh, and the flayed humans, too. Some of them. Was sad to see Mrs. Driscoll bite it but FUCK those cartoon misogynists from the newspaper. 

Visually beautiful! Starcourt Mall is an amazing set and I’m rather sad that the mall was destroyed, although that was basically a foregone conclusion. Some great cinematography, too. On a purely aesthetic level I had a great time just blasting this season into my retinas.

I have had the motherfucking NeverEnding Story theme song in my head for almost two weeks and I’m suffering.

[sol1056]

git along little nonnies

Got a whole bunch of you on related themes, so I’m just gonna do this all at once: a bunch of questions about DW, spinoffs, merchandise, business, management, support (and protest) and whatnot. In no particular order.

Ok there are petitions and peaceful boycotts directed at DW but problem is they aren’t addressing the EPs and things they, not DW, did so how are we to sign them, how to handle this when this could at best confuse the situation and not give any results and at worst, make matters even worse about what we want regarding DW addressing things? 

Here’s what companies care about: money. Everything else is gravy.

If you want a corporation to pay attention to your complaints, then you need to figure out their sources of income, and find a way to threaten that. If the social reprobation is high enough, damage to the brand can translate into lost sales, but the tempest required to make that happen must be much, much larger than anything I’ve seen the fandom manage. 

I’ve been saying this all along: voices are far more powerful than signatures. If twenty thousand people wrote or called in, and said what they liked vs what upset them, that would have a far greater impact. Certainly a lot more than a list of names with no emotion beyond a request that may not even be something DW can, or would, fulfill.  

And don’t even get me started on mailing stuff in. Cute, but hardly actionable.  

Do you know what kind of contracts DW sign, as in, are they obligated to air all seasons, can they choose not to air them, do the companies they work with (netflix, wep) have a say or more say than them? Who gets the last word? Is airing all seasons squarely on DW or more? 

As I’m not a corporate lawyer employed by any of the signatories, I can’t tell you what the contract stipulated. What I can tell you is that a contract of the magnitude of the DW-WEP-Netflix agreement probably had a dissertation worth of riders covering the different types of possible defaults or breaches, and the penalties for each. Additionally, the contract also likely covered what constituted ‘satisfactory delivery’ of the product. 

To take it down to a really simple level: you place an order at a restaurant. You expect to get it, eat it, and pay for it. You don’t expect to be told, “hey, we burnt your steak and we’re out of butter for your sweet potatoes, so have some green beans instead,” and then be told you still owe the full amount, anyway. 

Netflix wouldn’t settle for ordering (and paying for) something never delivered, anymore than you would. Sure, any corporation worth their over-inflated stock options would try --- but that’s the point of contracts, to make sure they can’t. 

Netflix paid, DW delivers, end of story.  

 ...do you think ppl in charge didn't think EPs would tell they made changes and also thought they'd manage to bury it? And then they got in trouble and DW is going thru changes for that reason? -waves at DW goings on and silence.

I got lost in all the pronouns, there. Who’s the first ‘they,’ the EPs or DW execs? Is the second ‘they’ referring to the same as the first? So... I’m not really sure what you’re positing, but if the ‘DW is going through changes’ is implying DW’s got a shakeup and/or is promoting its head-of-TV to president and that’s somehow connected to two newbie EPs screwing up?

I’d say the chances are so infinitesimal as to be nearly in the negative. (I should also note, the press release listed successful shows Cohn oversaw, yet oddly did not include VLD.) DW is not a three-person start up; it has stakeholders and a board and a C-suite to satisfy. Cohn got that promotion ‘cause she’s got a track record going back thirty years, most recently growing DW’s TV division from 8 to 800 in five years. 

Most corporations tend to announce their new CEO or President like someone woke up that morning and went, hey, I’ve got a great idea. Truth is, it’s usually in the works for at least a year, sometimes several years, or more. The only thing that has me side-eyeing the announcement is the silence around who’ll fill Cohn’s previous position. 

But that’s again less to do with a single series, and more to do with what it says about DW as a whole, business-wise. 

What meaningful changes could the new president Margie Cohn make that would be different than the last one? Also I'm sorry if your getting a bunch of Voltron/DW questions lately, you just seem to be the most knowledgeable person on this platform.

I’d be willing to bet I’m far from the most knowledgeable person; I’m just someone not bound by an NDA, and curious enough to do a bit of digging and jaded enough to talk about (most) of what I find. 

A president can have immense impact on a company’s direction; that’s kinda why they exist, to set that high-level strategy. That said, Cohn will be bound by all contracts signed by her predecessor. The TV side (barring someone filling the shoes she left) will probably continue as it was. The theatrical side (which she’s taking over) will be where we’ll probably see any major changes. 

And even those aren’t likely to be on films currently in production. Hell, given theatrical animation can take up to five years, I’m not sure that’d show much change, either. Look instead to changes in investors, new deals, and new properties. 

What do you think DW will do about a sequel if there’s really no bible? Theres tons of plot holes & abandoned storylines. VLD will never feel satisfying, and fans already argued with different interpretations based on conflicting content, without a nice satisfying explanation...

I know this is the first of a three-part ask, but I’m skipping the rest because the only answer possible is to your very first question: the bible doesn’t matter. 

Any new series --- even a continuation --- will construct its own bible. Same as we’d do in fandom: they’ll patch together what they can, fill in blanks as they need, and gloss the rest, or retcon it outright. Even if there were a bible, diligently followed, that doesn’t mean the next series is automatically beholden to it. Some franchises would care (ie Star Wars) while others might let a reboot mess with the details (ie Star Trek). 

For every continuation, there’s gradations in between, since otherwise what’s the interest for creative minds, if you’re obligated to follow someone else’s script exactly? So, no. The absence of a story bible doesn’t preclude the next iteration making its own, as it needs, to whatever extent it requires. 

I was wandering around the hot topic online store, and i noticed a shirt that raised a few flags and questions. it's the 'Voltron Location' shirt. it has all the paladins in different places in a star globe chart thing? with what might possibly be planet designations. plus Lance is the only one not inside his blue colored bubble. Keith is in Red and Shiro in Black again. it's interesting at least.

Nearly all the shirts use the same base images, just changed up. It feels a little like someone handed a designer a half-dozen images with a request for forty-something designs --- and now HT is just throwing them all at the wall to see what sticks (or sells). 

HT’s stuff has been pretty consistent, from what I’ve heard: Shiro is Black, Keith is Red, etc. Considering the t-shirts seem to be selling out regularly (along with various other sidelines), I’d say someone is savvy as to the fact that the segment of fandom spending the most money is also the segment that prefers the S1/S2 lineup. 

If that’s what customers want, it’s smart business for DW to provide.

(Yes, that applies on more than one level.)

There are VLD comic books being released by LionForge Comics, are those considered canon? Do LM and JDS have any involvement? They take place before Season 7and8 but I don't wanna support the original EPs.

Every fandom has its own stand on what counts as canon. Sometimes (especially with adaptations) you’ll find fandoms being explicit as to whether they’re book or movie (ie HP and LotR). I expect the same will eventually shake out in VLD’s fandom, too. 

From everything I’ve heard, Hedrick and Iverson were handed the comics and ran with it. I suppose that would argue for seeing the comics as canon, being they were written by people also writing the main series... but from what I can tell, it’s one-way. The show affected the comics, but nothing in the comics ever affected the series.

That said, your purchases have nothing to do with the original EPs. All you’re doing is telling DW you like the VLD-iteration of Voltron.

What are your thoughts on the final vld poster? I feel like it’s missing the end. Allura is randomly staring back into nothing.

It’s a clever idea to do a poster for each season, but it’s not something I’ve ever paid any attention to, really. If it were drawn by the head writer? That might mean the artist had more insight than, say, a storyboarder or animator. But even then... cool picture, still not-canon. I’m only interested in canon.

Do you think that Voltron was rushed purposely by the EP's. [...] Wouldn't this effect the quality of, well, everything? I feel as if they got frustrated with the show at that point and just wanted out.

Dude. There are times I sit here and just stare into space, bewildered yet again not just at the thought of 39 episodes released in one year --- but doing that with 26 as a last-minute cut-and-paste rearrangement. All I can tell you is that what I’ve seen from animation people and aficionados (and friends) is that three full seasons in one calendar year is just bonkers. 

If DW hadn’t wanted the schedule that packed, the EPs aren’t the ones getting the say. That’s a DW-Netflix thing. I really wonder whether DW used VLD as a guinea pig. TH went a year between S1 and S2, and the numbers slumped badly. Perhaps DW wanted to know if more episodes, more often, would keep fan interest high? DW has experienced execs, but they’re all from broadcast; how you arrange and time things in the brave new world of binge-watching is a completely different beast. 

So, it’s possible it was less of a rush job to get the show out, and more from a desire to see what'd happen to release so much, so close together. 

I still think it’s a bonkers schedule, though.

"Relaunch the whole property" sounds like they won't continue expanding the whole vld universe and they'll make a new itineration. Though if they do a spin-off it'd likely be on the vld universe surrounding the new "Legendary Defenders" from the epilogue. And "especially given the response" do you think after the negative response from s8, wouldn't be better for WEP to not keep working with Dreamworks? Or maybe they need to clean their brand from vld fiasco? What can you say about all of this?

I can say you might try re-reading, because boy is that a radical interpretation of the text. Remember, Jeremy was speaking before S8, and all indication is that he was caught off-guard as much as the fans. Re-read in light of Jeremy (at the time) appearing to expect S8 to be a crowd-pleaser.   

...I'm becoming more confident in my belief that DW has something planned for Voltron. I mean they are still heavily promoting the show, LionForge is still publishing Voltron comics, and merchandise is still being made. These don't seem like the actions of a company trying to get people to forget a show. 

You’re not wrong. Up to the last few days of 2018, DW gave every indication they wanted S8 quietly buried. Nothing they’ve done since has fit that pattern --- including the anomaly of failing to announce their 2019 series. Something is going on, that’s for certain. 

Did DW really just throw the VAs to the wolves [for] three days? and there's still no official stance? One panel was enough. They had [the VAs] take the heat for them? But thankfully fans felt sorry for them? Which could also have been the goal, shut the fans up [with] the VAs of the characters who got the worst treatment and who love their characters ... Yes DW this really makes me trust you /sarcasm/

I don’t think that was the original plan. Let’s pretend DW released its 2019 schedule via press release in the first few days of January, and among those was an announcement of a VLD sequel or spinoff, coming late 2019. 

People wouldn’t be fussing over putting the VAs through three panels. They’d be complaining we didn’t get the biggest room for every panel. The majority of the fandom doesn’t trust the EPs, and is wary of DW --- really, the only ones who retain any goodwill, at this point, are the VAs. So who better than to assure a nervous fandom about the goodness of the second iteration than the VAs whose characters were most shafted by the first iteration?

What breaks this is that immediately after S8 dropped, Josh and Kimberly went silent on twitter. AJ slipped into passive-aggressive snarking; Jeremy fell off the radar and usually he’s pretty interactive with his fans. Bex pretty much wiped  VLD from her stream, possibly including deleting older tweets. Neil tried to engage and made a hash of it, bless his heart. 

Josh and Kimberly are consummate professionals who reliably promote the series after every season drop, but their radio silence continued for almost two weeks. This wasn’t the first season that came saddled with controversy; if there was a time to go quiet, it was after S7. Something else was going on. 

I have strong suspicions backed by research, but if I’m right, I’d be stepping on a major legal landmine. In the interest of not getting blown up, I’ll only say that the VAs appearing for those three panels (and their low-key and mostly diplomatic hedging around VLD’s conclusion) was a good sign that all parties involved are willing to work things out.   

[DW was] quick to handle the Season 7 backlash and have stayed mum on what is arguably a much worse reaction to the 8th and final season.

and

I believe the S8 of voltron we got was not the original ending we were supposed to get and highly edited. My question is why? What was the point of changing the original ending? [The] radio silence from DW and the cast is driving me nuts. I wish DW would make a statement.

DW is in an interesting place. Its TV side is barely five years old, but dominated by execs with long-time broadcast experience, predating vibrant interactivity afforded by platforms like twitter, tumblr, or instagram. DW’s background as a theatrical company also seems to incline it away from any ongoing engagement with the audience. It releases a movie and by the time that hits theaters, DW is onto the next thing. 

It’s a strong contrast with production studios like Zagtoon (Miraculous), who penned an open letter to their fandom about production delays. Or little studios like Wonderstorm (The Dragon Prince) whose deft use of twitter and tumblr sets their brand apart. Or Federator (Castlevania), with their witty marketing campaigns and willingness to engage with fans. Even Disney was willing to be open about its errors with Tiana, and to make clear how it was striving to do better --- so there’s no excuse that only small studios do such outreach.

My guess is that DW's core leadership is from the school of business in which admitting a mistake is tantamount to ritual suicide. Don’t blink first, or maybe the rule is never let them see you sweat, but whatever it is, DW is turning into a textbook case of how silence can damage a brand. 

Companies have multiple avenues to reach customers directly, now. Our modern technologies are a two-way street, and good companies leverage that to create not passive fandoms but active communities. It takes work, careful planning, and some level of transparency --- something old-school execs find highly uncomfortable, to be honest --- but in this day and age, those are crucial building-blocks to achieving any kind of audience loyalty.

DW isn’t going to render itself obsolete (at least not overnight), but it's on a track to end up as the studio whose work audiences only watch when there’s nothing better being offered. Unfortunately for DW, there’s a hell of a lot of other studios out there, and they're all offering something better. 

[actuallylorelaigilmore]

Schneider + the romances of Penelope Alvarez: meta ramble

So I’ve seen a lot of people discuss the ways that Schneider and Victor mirror each other in S1. And I think that in terms of major story arcs, that comparison is the most important, but we don’t talk enough about the way Schneider mirrors the best aspects of every guy Penelope goes out with.

Victor: 

likes to seem tougher than he is

believes nothing is more important than looking out for his family

except maybe his patriotic ideals

struggles with trauma and addiction

Schneider does all of the above, but in much less toxic ways. He’s a big marshmallow who wants to seem like a tough guy--except not if it means hurting people. His pride isn’t more important to him than other people’s feelings. Ever.

He would do anything for the Alvarez family, and they’re not even his. Except they are, because they mean the whole entire world to him. He’ll bust in without hesitation to protect Elena from being alone with a boy who might try to take advantage of her, he’ll have a panic attack over the slightest possibility that Alex might not be safe in his charge, and he’ll let Penelope stab him where it hurts without fighting back if he think it’s what she needs. Because they’re his family.

And unlike Victor, that’s all that he needs to know. It doesn’t matter what they’re dealing with or who they turn out to be, he’s there. Above everything else, he’s always right there. 

Victor goes back into active combat because 9/11 makes him feel like he owes it to his country, and to his daughter. I totally get that, for his character, and it helps explain him a bit better when we learn about that in S2. But he’s comfortable making that decision on everyone’s behalf, knowing the risks and knowing that he and his wife had a plan--which didn’t include him deciding to put his country and his fears for his baby’s safety ahead of everything else.

Schneider decides to become an American citizen despite benefiting greatly from being a rich Canadian living in the US...and he does so because Elena convinces him that he might risk losing them if he doesn’t. And the only moment he seems actually worried about the dangers of outing himself as undocumented is when he realizes that getting sent back to Canada would mean never seeing them again.

Victor’s family and love of America is why he does things that change his entire family’s future--without them getting a say.

Schneider’s family and love of America are completely intertwined, and it’s his love for them that motivates his best decisions--not just risky ones.

The decision to go back into the Army is what messes Victor up, with the addictions and the trauma. And his pride and need to be ‘strong’ means he refuses to face it and deal with it, because he’d rather not seem weak by admitting he has a problem or needs help or can’t fix himself on his own.

Schneider’s emotionally barren childhood and loss of what little support system he had as a young adult gave him the trauma that fed into his addictions. And while his is nothing like Victor’s, you can still see it haunts him. 

He’s desperate to give and receive love, but terrified of losing it, which leads him to bounce between ‘no strings’ relationships that don’t scare him but do hurt...and considering marriage to anybody who’ll have him, while he puts all of his love on a family that he has no actual rights to, simply because they let him.

Where Victor won’t admit his problems, Schneider goes to rehab six times. And he’s honest about how hard it is to stay sober. Where Victor insists he’s right just because he’s the dad, or the husband, Schneider will apologize when he’s called out--or correct himself. Victor isn’t willing to seem vulnerable or ‘weak’--even when he tries to win Penelope back it’s with smirking bravado and lies. Schneider is willing to rehash the most pathetic, broken parts of his own history to give Penelope courage. 

Victor was Lydia’s adored son in law for almost two decades, and when she might die he’s nowhere to be found. Schneider gives her mood lighting and tries not to cry at the thought of losing her.

Schneider doesn’t share Penelope’s culture, like Victor does...but he makes an even larger effort to try, because of his privilege. He learns Spanish, he joins in their meals and events and does his best to be a good ally. 

Max:

focuses his life on helping people

loves children and is very family focused

is willing to have a casual relationship, but really wants more than that

charms Penelope’s family, especially her mom

Again, Schneider shares all these traits, they just manifest differently.

He doesn’t need to work, but he uses his time to mentor kids, or teach exercise classes, or give his entire apartment complex the love and attention they each need. He spends his time figuring out, unasked and unpaid, just because he cares, what will make each tenant happy beyond the landlord business he’s actually called for. He doesn’t have the specific type of strength that saw Max (and Victor) through war, but he has the same drive to help others. 

Max enjoys Penelope’s kids, and has always dreamed of having a family of his own. In the one exchange we see him have with Alex at the dance, he seems pretty good with him, too.

Schneider claims he’s never really thought about kids for himself, and I think that whether he really hasn’t, or he claims he hasn’t because he already decided long ago that he’s not dad material, it’s easy to understand why he doesn’t have kids of his own. His parents growing up were completely disastrous--neglectful, distant, cruel, inconsistent. His best role models were family employees.

But whatever his thoughts on having kids of his own, he’s really good with them. He supports Elena and looks after Alex and is trusted to watch tenants’ grandbabies---a really high level of trust, especially placed in someone who can come off as careless or incompetent.

And so as a guy who has endless piles of love to give, who learned that he couldn’t expect to consistently receive it, Schneider is completely obsessed with the Alvarez family. He puts them in his art projects, he joins all their family gatherings, he tries to contribute and help out and makes them the center of his world. 

He doesn’t need to have kids, to start his own family, because he already found the one he wants. And they let him keep them.

When it comes to his relationship with Penelope, because that’s how we know him, Max is open to a casual relationship from the start, because he likes Penelope and it’s what she wants. But the moment she starts to show signs of wanting things to be more serious, he’s more than ready. It’s actually what he’s wanted all along. He also says ‘I love you’ first, and is the first to bring up kids. 

Schneider has casual relationships only, and extolls their benefits to Penelope, but like Max he’s really open to more, and trying to follow his partners’ lead. He considers marriage twice in two seasons, in one case with a woman whose name he doesn’t even know--this is a guy desperate to belong to someone. 

He tries to get more affectionate with his non-girlfriend then does his best to look like it doesn’t hurt when she rejects him. The moment she claims him as her boyfriend, in complete opposition to what they agreed their affair is, his response isn’t to try putting things back the way they were. He leaps right to a proposal, as though he was just waiting for her to decide they could be more.

Max wins Penelope’s mom over before they even admit to dating, and Lydia holds him up as the ideal specimen of a man forever after. But despite their styles being totally different, and Lydia coming to see Schneider as more of a sweet idiot who she adopted...before there was a Max to literally sweep her off her feet, Lydia was groping a shirtless Schneider and getting him to check out her ass in public. If he weren’t already family, Schneider would almost certainly win Lydia’s approval as a tall, handsome, charming guy, in spite of not being Cuban.

Ben

supports Penelope through her coming to terms with Elena’s identity

tolerates her mother’s quirky intrusion into their dates

respects Penelope’s boundaries

We have less to work with here, as Ben is only around for two episodes. But he’s the first man we see Penelope date, and it’s very telling that the basic reasons he’s appealing to her are also characteristics Schneider shares.

Because of his own experience with his brother, Ben is able to reassure Penelope that she’s still a good mom and she can love her daughter while she works out her own issues. This is how they bond, enough so that she’s actually willing to date him when she’s been hesitant thus far.

Funnily enough, though, after Elena comes out to her and she realizes she feels weird, where does she go? To Schneider, at one in the morning. Before she meet Ben and he gives her hope that things will get better, it’s Schneider who talks her through her feelings in the immediate aftermath.

Ben never makes it to the stage where he would be expected to meet Lydia. But she intrudes on their dates virtually anyway, even hijacking his phone to keep tabs on them. He is pretty cool about that, where another guy might be bothered by it. 

At the same time, Schneider’s entanglement with their family means that Lydia sometimes does the same to him, meddling with his one night stands and sussing out his potential future with a woman he’s willing to take dance tips for. He never minds even a little bit.

One of Ben’s best qualities (that we know of, anyway) before Penelope breaks up with him is his respect for her boundaries. She doesn’t have recent dating experience when they start going out, and her self-imposed rules are a little old-fashioned, but he goes with them. Even when he makes jokes about the number of dates remaining until they take things to the next level, it’s clear he’ll wait.

Schneider wanders around her apartment in a towel, agrees to play her husband at a car dealership, and intimates that he would willingly have sex with her if she wanted because he’s ‘a good friend’...but he is completely respectful of her, he never crosses any lines or even edges near them. No uninvited touches, no lewd remarks, no blatant ogling. With Penelope, he is a total gentleman.

Schneider:

is always there for not just Penelope, but both her children and her mom

is the one she trusts with secrets she won’t even tell her family or her dates

includes her in his hobbies and his relationships, and supports hers

doesn’t lie to her, or encourage anyone else to lie to her

loves her unconditionally, with no expectations or demands

TL;DR Schneider is the guy who Penelope can’t see has everything she’s looking for in a partner, because he’s already standing right there next to her.

[onceuponamirror]

2.22 thoughts

first, my spare complaints:

-i still don’t buy cheryl-as-a-serpent logic, but god do i love throwbacks, so just in filming it like jughead’s jacket scene at the end of s1, somehow, i didn’t hate the moment. the dumbass in me just wants to enjoy the aesthetic for once. which is solid praise considering how i went into it. so like, not buying it, but willing to not dwell. for now. 

-why did they have to make sheriff minetta hot?? damn 

-the serpent royalty stuff never fails to make me roll my eyes so far into the back of my head they’ll one day get stuck there, but the way this episode was written and as it framed jughead’s sense of loyalty and desire for community from the rest of the season, i have to begrudgingly give it up for yet another scene that worked as a scene. 

(as in, once you squint, the entire logic still falls apart. immediately. it’s ridiculous. he’s still sixteen, and FP’s character arc should be like---learning not be a ginormous quitter, because that’s really his main character trait) (but in the moment, at such a normal thing like a barbecue with a handful of people, it just...i am loathe to admit, basically worked) (for a minute. until you actually think about it. my head still spins) (have a sense of responsibility for your kid and maybe like, let him focus on his education not being a gaNG leADEr, let alone drag betty, the only kid i’ve ever seen studying or doing homework, into it) (FP. literally what the hell, be a PARENT)

-i'm not touching veronica (also sixteen) opening a speakeasy. this one is so silly i just can't

-on the one hand, did i really expect RAS to give up a silence of the lambs homage? no. is it the one time a homage was that appropriate? another begrudging yes. although it’s still very hard to buy hapless hal as a demented serial killer---sorry, i just hardly see it---and the hyper dramatic musical score at first annoyed the fuck out of me, by the end of the scene, i was like, WALK bitch and i once again....realized that the scene actually....worked. and in hindsight, felt really necessary for betty’s closure after what they did to her all season.

you may noticed that my complaints are not nearly as waxing and frustrated as usual, and perhaps actually not fully complaints, but compliments through gritted teeth. except for the serpent king stuff. that’s not a compliment. that’s full throttle stupid.

but---frankly, i actually enjoyed the episode.

oops

i thought the full circle framing worked, the music was really on game---jughead leading the serpents out with some gregorian top 40 was a solid choice---and even though josie only came out once again to sing for cinematic effect, let it be known the haunting quality of her voice works for this. 

archie really shone in this episode, highlighting a lot of what i like about him and acknowledging the PTSD, and representing some real brevity and redemption. 

veronica always toes the camp and snark in a way that should be cheesy, but it’s so snide that i love it and can overlook the part of my brain that reminds me of how messy her arc has been morally and not really feeling like that was resolved. 

jughead entered into the season still feeling a complete loner and without identity and exited it with a really visceral sense of pride and community that, despite all of my raging and griping all year, worked in the end, if only in this moment.

and betty---even betty, whose plotline was the most overshadowed and wacky and the most nonsense i’d ever seen, walked out of that mess with the first acknowledgement that she’s in control of her own life. and through all that horror, this episode dealt with that in a way that is a relief. 

the plot of the finale was measured, tied up loose ends, addressed character issues, mental health, family dynamics, and relationships (for the most part, anyway), and the open threads from the finale weren’t too small or too big, and just intriguing enough without overshadowing the character work done in the episode. 

like, polly is such a fascinating character to me, someone so headstrong but so stripped of any identity except as a pawn that of course this is where she dives. i am hopeful this will explore some of that, and while i’m hesitant about any aesthetic plotline at this point, for now i actually have an open mind. 

and then hiram’s Council Of Doom was the closest thing to a grounded organization we’ve seen so far on this show, and eerily close with what my writer’s group was speculating for a certain project, and set up, dare i say, potential.

honestly, it’s when riverdale swells pointlessly and so dramatically that i want to storm, but when it focuses on character before aesthetic, it reminds us of why we fell down this neon dreamboat rabbit hole in the first place. i really, really hope there was a lesson learned through s2, one that they finally figured out in the end. maybe.

all this being said, i do still agree with a lot of what the AV club said in their review of the episode. but....for me, especially as someone so on my last nerve with this show but stubbornly sticking along, it did feel nice for once to walk out of an episode having enjoyed it. idk guys!

i’m not saying this episode magically saved this sentient vortex of a season (i do not forgive, i do not forget) nor was it not inevitably overshadowed by said vortex, but in terms of much of the effective tonal core of the show, i saw it again. and i enjoyed it.

bonus thoughts

“snakes in a barrel” god bless this game 

[sapphireglyphs]

EXO Quiz

♦ Pick your top 5 biases and answer the questions

1. Kyungsoo | 2. Jongdae | 3. Chanyeol | 4. Yixing | 5. Baekhyun

♦ What do you like about 4?

I love so many things about Lay... hmm, if I were to choose just one thing that I really like I guess it would be his sincerity. I love how very candid he is with his feelings. 

♦ Is 2 an alcoholic?

I don’t believe he is just because I remember during an interview he once said “I believe that alcohol can make happy times even more fun but when consumed when you are sad it turns into a poison” or something to that extent. 

♦ Can 1 sing?

Is that a real question? It’s his voice I blame for me currently being such K-pop trash. I luv u bby plz come back to me healthy and happy from the military!!

♦ Is 5 in a relationship?

I don’t think so... he was... but I don’t think he is right now. But, what the hell do I know right?

♦ Would you go out with 3?

Probably not (lols!! xD) And I say this in the most loving way: he seems like a lot of work. Channie is sweet and hard working and super sensitive but I don’t think I could date ANYONE in EXO. They are all so amazing and perfect and I don’t think I could ever be good enough for any of them.

♦ Is 2 hot?

Quite! 😘

♦ Can 3 cook?

His tteok-bokki recipe is apparently very popular on SNS. 

♦ What do you like about 1?

I have written a literal essay about what I like about Do Kyungsoo. Please follow the cut for my fangirl feels. 

Ult bias... heh... I will try to keep this as concise as possible considering I can talk about how amazing and perfect he is all night.

My ultimate bias is Kyungsoo. Besides the obvious reasons as to why he's so amazing (from his beautiful, deep, baritone voice which is always so textured and full of emotions to his vulnerable, boundary-pushing, award-winning acting prowess, to his razor focus at perfecting any craft he puts his mind to - whether it's singing, acting, cooking, tap dancing, pronunciation of the English language, or putting on screen protectors!) the 3 qualities that I truly admire in him is his humble and respectful attitude towards everyone who comes in contact with him, his candidness, and his ability to flip it all on its head at the drop of a hat.

Kyungsoo has been praised by multiple people who have worked with him (co-actors and staff members alike) for his warm and caring personality. Whenever the other members are messing around too much, Kyungsoo who would scold them to focus so that the crew could rest or go home faster. When Chanyeol was stuck at home because he had hurt his vocal cords and couldn't sing or talk to anyone for I think nearly a month, Kyungsoo would often stop by and keep him company, sitting there in silence while playing games on his phone. He would show his love by cooking for the members, sending food trucks to member's individual project shoots, constantly asking the filming crew if they had eaten yet and that they should take a break. He’s even left to go and buy food for the staff members and brought it back for them, which is so rare in the industry! During concerts prep, he could often be seen helping staff members move sound equipment or asking if there was anything he could help with. That level of selflessness is so heartwarming to me. He never sees himself as a celebrity, being an insanely shy and reserved guy, he most likely dislikes the idea of "being a celebrity" so to see someone of his status/caliber be so down-to-earth it's an extremely attractive quality.

And yet, somehow, despite his rather laid back approach, Kyungsoo can often be so random in his own quirky way. I love that I know what to expect with him and yet never be bored watching him. He’s insanely caring and yet has a very strict moral code (see EXO Ladder S2 for all the “strict, rule following” Kyungsoo). He often comes off proper and polite but has moments where he would curse on national television (aka EXO Arcade) or say inappropriate or slightly perverted comments (multiple interviews and concert talks). He hates being called cute or adorable (from wearing cutesy hats to doing “aegyo”) and yet, without trying at all, he is often the squishiest human in existence. He has this amazing ability to be so competent at such a variety of things (see list above) and yet when he fails, he fails spectacularly as well. I love that duality about him - it makes him feel multifaceted and relatable AF. 

*sigh* There are so many other things that I can talk about (like how he proves that he’s a hopeless romantic when he was asked if he would choose ‘friendship’ or ‘love’, he candidly said ‘love’ without even hesitating. Or how he confessed about wanting to retire from the idol life and be a simple farmer, living off the land with his lovely wife and kids. Or how when EXO was asked what their ideal vacation destination would be, everyone wrote down an actual place and Kyungsoo just wrote, “I don’t care where we go as long as it’s together.” Or that he considers his two puppies his little sisters rather than pets in the family.) I honestly can go on and on and on but I’ll leave it off with a comment he said during an interview with JYP. The host asked him if he sees celebrity life as a good one or one that is uncomfortable? And perhaps the p.c. answer would have been something along the lines of positive experiences but instead Kyungsoo spoke from the heart and confessed that there are many things about the life that he’s uncomfortable with. That there were so many times that he was so tired of this lifestyle that he wanted to quit it all. I commend his resolve to not shy away from the truth and that candidness made me feel as though I can trust what I get with him: what you see is what you get. He’s not your ideal idol but that imperfection is what makes him so perfect and beautiful to me. Kyungsoo with forever be my penguin prince! 

♦ Has 4 had any solo albums?

Too many tbh, DAMNIT SM BRING BACK LAY TO EXO!! Yes, all of his self produced albums are fucking amazing and he totally doesn’t need SM to prove that he is a world-class artist but I miss Lay touching EXO’s butts 🤣 I love their hangouts and interactions and I just need Lay to comeback and be with his brothers!! 😢

♦ Would you set-up pair 2 and 5 together?

Lmaooooo!!! Chen and Baek would be the loudest, most chaotic pair ever! 

♦ Do you think 3 would be a good parent?

He would definitely be the “fun/cool” parent. xD

♦ What do you like about 2?

Dem vocals tho! OMFG!! 

♦ Would 3 take drugs?

I don’t know. I guess his hyper ass could do with a bit of weed in his life but probably not like... hard drugs. *shrugs* I just don’t feel like he’s the type. 

♦ Would 4 bail you out of jail?

He’s not in jail with me? Hmm, yeah, I think he would then. 

♦ Has 2 ever been on reality TV?

Can we define “Reality TV” shows a bit more? Like does that include competition shows and variety shows? Because if those count then he’s been on "King of Mask Singer” and “Travel without Manager”.

♦ Out of 1 and 5 who would be more likely to ask you out?

Like I said above, I honestly don’t think I am at all worthy of being asked out by any of the members from EXO but if we are going to play the delusional game for a tiny bit... of the 5... I think Kyungsoo would just because I’m not “confident” enough to be attractive to Baekhyun. :3

♦ Is 5 tall?

Not compared to the baby giraffe that is Park Chanyeol. 

♦ Do you like 4’s current hair style?

100%! This look on his is so refined and yet cool and sexy. ;) But, then again, Lay baby always look scrumptious!

♦ Is 2 gay?

It has been confirmed that he is not and is getting married and is going to be a Jongdaddy! :DD

♦ Would 3, 4 and 2 have a cross-dressing show?

Sure... I think they would be game... >_< Or is that just me being hopeful?

♦ Would 1 go skinny dipping?

No, he is waaaaaaay too shy to reveal his body. He said he has a tummy. *blushes* I think it’s cute but then again anything about him I find insanely attractive so... *shrugs*

♦ Does 3 remind you of anyone you know?

Not really. Channie is really playful and competitive and has a shit ton of energy but he’s also sensitive and really sweet.  

♦ Would 5 watch porn?

I 100% believe he does. I say this lovingly but hentai Baek is real. 

♦ Would you marry 1 but then have them divorce you 6 months later; marry 2 but have them run away a year later; date 3 but then lose them in a car crash a year later; date 4 but then break up 2 years later or sleep with 5 and have them or you pregnant?

Wow... Um... none of these options are really great. *sigh* Idk... I guess, I can live with dating Lay for 2 years. What an honor that would be. :3

[kinetic-elaboration]

February 10: Thoughts on 4x02 Heavy Lies the Crown

I sat down to write my reaction to 4x02 and wrote basically a novel because I have no self-control. I talk so big about being barely invested in the source material anymore and then this happens. I cannot be trusted.

I wrote this before I saw any fandom reactions at all so it’s really just my unfiltered and uninfluenced thoughts.

Tl;dr version:

Team Jaha all the way

Loved the Arkadia stuff especially the Clarke and Jaha stuff and Clarke’s speech

Intrigued by the possibility of waiting out the radiation in the Ark

Interested to see Bryan develop, worried about Miller/Bryan

Legit thought Bellarke were going to kiss when they were saying goodbye

I would have voted with Miller and Monty but I also think that Bellamy’s final decision was the only possible outcome morally and narratively and that for this reason that whole story line was meh for me

A+ Monty characterization

Why does no one care that the Arkadia government has been decimated? This is some grade A nonsense.

...Jasper

*

I'm probably going to nit pick a lot and sound like I didn't like, but overall I actually really did. I'm never going to stop being nostalgic for what the show could have been, but I think it's doing the best it can to come back from the mess of S3.

I'm going to organize my thoughts by storyline this time since, I don’t have definite negatives and definite positives like last week.

POLIS

I have made the tentative decision to avoid absolutely as much as possible all content beyond the actual episodes themselves—that includes preview scenes and bts stuff released before the show airs, as well as interviews, Twitter statements, etc. (I will watch the trailers because I just love trailers in general but that's it.) I have a variety of personal-preference reasons for doing so but I think the opening of this episode really solidifies my episodes-only position. Because such a fucking meal was made about the glowing butterflies, and what did we get? Literally, no one lied: we did see a glowing butterfly, very first thing. But everything that glowing butterflies are associated with (associations the people doing the teasing are very well aware of)--including early S1, the glowing forest, the beauty of the Earth, a sense of calm, etc.--was missing. We get the exact opposite instead: mutilation, death, blood, loss, grief. Wow. I was not impressed. In fact, I felt very cheated. I guess one central reason I'm cutting extras out of my viewing experience is because I feel that most of them are designed to create this reaction, designed to tease and trick on the one hand, or just to outright spoil on the other. They decrease my enjoyment of the show and make me feel like I'm being fucked with for sport.

Not to make too big a deal out of it though, because I feel like my language is harsher than my emotions... Anyway I didn't like the intro is what I'm saying. I don't want to say too much because this is a larger point about the episode but one I'm not sure is fair on my part but...it felt a little too...on the nose? Rote? Like a very simple story was told very quickly and unsubtly: we know Ilian has issues because ALIE had him kill his whole family like it doesn't get shorter and simpler than that. And considering I have nothing but negative associations with ALIE, I'm a little...don't subject me to this please.

I'll reserve most of my judgment because he's barely been introduced but so far Ilian is boring and I don't care about him. Next.

Also boring: Trishanakru (sp?). Again, I know it's early, but what I got out of this episode was that, for all they spend so much fucking time on the Grounders, the PTB really do not have very many ideas for them. Because so far the total variation of the clans has been in degree of warlike qualities (average: Trikru; high: Azgeda; low: Flokru). If we hadn't been told Ilian and dead guy were part of a new clan about twenty times I would have just straight up assumed they were Trikru because they're pretty much impossible to distinguish. And I know, I'm being unfair because it's only been one episode but like...I'd always been under the impression there were real and obvious differences among the 12 clans? If there aren't I literally never have to see any other clans I mean it's bad enough I have to be subjected to those ugly white Azgeda tattoos or the Undergrad Common Room aesthetic of Luna's people.

Kane and Abby: everything's going along in just exactly the way I'd expect with them, which means that my interest level is pretty low tbh. I have a very calm sort of appreciation for them, but no particular thoughts or high emotions. Nothing wrong with two attractive people in bed. But like...the main plot point of their relationship was about Abby deciding what to do with Jake's ring and considering I've already thought about that in a fandom context repeatedly and in more depth—without even being a hardcore Kabby shipper—I was a little underwhelmed by it here. Also actually a little disappointed that she ultimately took it off. Like I know why she had to but I also thought that Kane's earlier statement about Jake being a part of her was his acceptance that she would continue to wear it, and I thought there was something rather nice about that—because Jake was his friend too, and what's really wrong with someone whose spouse is dead simultaneously remembering the deceased and having a relationship with someone else? IDK. I guess...it was all fine but not very deep.

Octavia: I have to say I'm kind of surprised by Octavia so far because I was under the impression that she would immediately cut ties with everyone and have a totally separate story line. So that she's still hanging out, at least in body if not spirit, with Kabby and that she hasn't been, like, universally shunned or even officially banished or whatever is just.. I'm not sure what to make of it. What I mean is: does no one but Bryan care that she assassinated the Chancellor? (Also tbt that time she had a big fit about Bellamy attempting to assassinate the Chancellor lol how times have changed.) I'm personally pretty ready to forget literally everything from S3 in a lot of ways but realistically stuff that happened mere days ago in the show should probably be addressed and it's just really weird to me that there's been next to no consequence for her. Also I don't think the show has any idea what to do with O now (which is also why I have an eye-rolly reaction to 'Lincoln died to further O's story line' arguments because IMO almost the opposite happened: Lincoln died and O's story fell apart.) Anyway I don't care about her.

I am STILL BOTHERED by the fact that O got a tattoo in the S2-S3 hiatus but we only got the barest hints of it in S3 and are only getting full views of it now, a season later. And no one's ever mentioned it. I mean maybe this is my Conservative view of tattoos but imo inking your skin is like kinda a big deal and even if you don't think it is in the here and now... tats are a Grounder thing, a permanent alteration of your body that only Grounders do...so it feels like her getting one is sort of a big deal within this society and I would have liked to see it, if not on screen, at least...like a plot point? Or honestly why the fuck even do it. Like literally why subject to Marie to additional make up, why take on the added burden of continuity checks about her tattoo, if it's not even remotely important to your story??

Speaking of tattoos, I forgot to say this before, but if literally everyone has tattoos (and pretty much every Grounder we've ever encountered has had tattoos, whether they're warriors or not, as far as I can tell), how does it help a Spy not to have them? I mean...if there's only one person hanging out with no tats...would you not automatically suspect that person of spying?? Also it kinda looked like Echo did have a tattoo in that fight scene with Roan, a black one on her arm, but it was hard to tell. Coulda been her shirt I dunno.

AKA the world building on this show leaves a lot to be desired but what's new.

These people are shit at keeping secrets for real.

ARKADIA

I'm intrigued by this idea that they could hide out in the Ark itself during the radiation—for a lot of reasons. I fucking love the Ark, first of all. It's an idea I hadn't previously thought of or seen anyone else think of so it's actually surprising to me, and creative, and unexpected, unlike a lot of the rest of the show at this point. It's way better than going into space, which is tragic in its comic ridiculousness. It makes a nice full circle. I think there's something O.Henry sad about it in a way too because if that's the solution they use...they'll live, but they'll never see the outside again. They're creating another Mt. Weather in a way (and I think they semi-know it: "If there's another Mt. Weather out there, the Grounders will know")--and we know how that worked out for them. (I think the lesson from Mt. Weather, honestly, is that if you can't evolve you don't get to live.) Then of course there's the lifeboat problem which, personally, at this point, is getting a little boring. But I definitely caught Raven saying at the end that only "a hundred" of them would fit without the water machine, so that's either significant or bad story telling.  

Also finally my boy Monty coming back into the genius fold. I'm still a little...wary of how they're developing Monty because I remain dissatisfied with his post-Mt. Weather story but what can you do. Promising so far at least.

I literally stopped the video and laughed when I saw the Bellamy/Miller/Bryan scene because of Bryan's gratuitous shirtlessness. Like...I know the implication is not that Bellamy walked in on anything because Bryan was in pajamas and Miller was dressed but it was still fucking hilarious to me anyway because I have the sense of humor of a 12-year-old and always will. (More on them below.)

TEAM JAHA all the way. Okay, I've been thinking a little more about him and... I think it's important to differentiate between liking a character as a character and liking a character in universe. By liking a character in-universe I mean 'if X were a real person, I would like him. I agree with his choices, his sense of morality, and he has an agreeable personality.' Sometimes I dislike Jaha in-universe; I think he was objectively wrong in S2 when he chose the City of Light over getting Our Heroes out of Mt. Weather. But it also isn't important to me to like a character in-universe. Plenty of characters do bad or wrong things and if everyone always did the right thing, there'd be no conflict and no story. What I can't stand is characters who don't make sense as characters and I've been, as I said, uncertain about Jaha. I don't think the show's done him any favors by separating him from so much of the cast for so long (aside from Murphy, has he had any extended interaction with any major cast member since S1? This isn't a real question. The answer is no.) He has often just been not as entertaining as other characters because of this. And I think he's on a long arc, starting all the way back in mid-S1. Combine these things—a long arc that requires a long attention span to understand, developed slowly and in separation from most of the rest of the main cast and main events—and you have a good recipe for a widely-disliked character. I don't dislike him, but I've been frustrated by him, and uncertain how to separate in-universe frustration from badly-drawn-character frustration. BUT I increasingly think that Jaha is an excellently drawn character, probably one of the more consistent on the entire show (certainly way more consistent than Kane lol), and I'm really enjoying seeing him, the real him, again. Jaha is sounding a lot more like his S1 self. And bringing him together with Clarke is A+. More of this please. More philosophical conversations about leadership I can get behind. I love that he used to be an engineer. I love that he's unflappable—never defending himself, never self-flagellating for others' sick pleasure. I love the hair (or...lack of hair). I love the lines he's given, like the 'no leader sets out wanting to lie to their people' one. (I stg if that line doesn't make its way into fandom lore I will riot. I need recompense for every single Clarke "I bear their burdens" gifset I've ever seen.) Just...yes, more Jaha, good stuff.

I like Clarke's new/old outfit and shorter hair but I don't like that little pouf on the top. That must go. I also like, tentatively (it's always tentatively with me and Clarke because if I were to rewatch 2x16 tomorrow I'd insta-hate her again so), where Clarke is going. I like that she's still pragmatic and a little ruthless but that this is mixed in with that old idealism of hers. I do think she's becoming more of her old S1 self, while still taking into account her other experiences and how she's grown and changed. So...yeah I don't feel I have much in terms of analysis on her after having only seen this episode once, but I'm encouraged.

I know I literally just said mere hours before watching this episode that the show had abandoned the relationship between Clarke and Raven but then what do you know, a pleasant surprise: they are interacting again. I liked it. I will always want more because they're one of my favorite relationships on the show but this was so good. I like seeing Raven challenge Clarke and Clarke actually take it into account. I like the tension between them. I like seeing Raven owning her own department. And I liked the tension with Jaha because it's consistent with her general character, very hard nosed and unforgiving.

...There's a part of me that wants to ship Monty/Raven but it's just so hard to ship, in-universe, Monty or Jasper with pretty much any other character because they're so much younger. I know the show doesn't treat them like they're younger and at this point pretty much every delinquent (except Bellamy) is in the "rough contemporaries" category but... Raven is still 19 or almost 19 and Monty is still 15 maaaaybe 16, and that's a big gap, it just is. It makes me semi-uncomfortable. Especially because, even though I think difference in life experience matters more than difference in calendar age, I still think Monty and Jasper were introduced as like the little brothers of the group and it's hard for me to break out of this conception of them.

I know we didn't really see anything new with Jasper in this episode, like that wasn't in trailers or whatever (I didn't see the shower scene clip before I watched 4x02 so I that was semi-new to me), but... I still love him. He is definitely incredibly damaged and it's still fairly remarkable to me that literally no one seems to recognize that he is sick—but I have no problem watching incredibly damaged characters so I am having a good old gay time with his story. Just don't let it end in death. As always, I love any reference to him and Monty being stoner dorks and the high five did not disappoint when given greater context. Actually it got better. And I'm glad he has a spear-scar still, although—and I have no idea how spears or scars work so maybe it was realistic—I wish it had been bigger/more obvious.

I'm pretty angry that my characterizations of Jasper and Monty re: their sexualities are backwards in the angst story and almost everything else I've written of them. Dammit fandom, letting your gay!Monty headcanon seep into my brain. I have no problem with seeing Monty as gay, but there was never actually any indication that he was and, more importantly, there was indication that he's into girls going all the way back to the pilot ("Note to self: next time save the girl," and, from mid-S1: "Are you kidding me? That was there for the taking."). Anyway, it's fine; sexualities are there to be messed with in fic. More importantly, bi!Jasper becomes increasingly canon for me every day. Monty's all "I am hella uncomfortable with your nudity" and there's Jasper like "I give no fucks anymore, I'm enjoying my slow suicide and I'm going to do whatever, wanna hug???? We can get high later and whatever happens happens!"

Fuck, Jasper's taste in music is bad though. IMO. As with the Violent Femmes song in 3x01, I get that the lyrics work well and I get why this song was chosen, but I just thought both songs were obnoxious to listen to. UGH. Where's my Joy Division.

I definitely thought, when Clarke was saying goodbye to the road trippers, that she and Bellamy were going to affectionately kiss goodbye. Like, obviously I didn't think this in the intellectual sense. I just had this sudden flash of feeling: this is where the goodbye kiss goes. And then when it didn't I had to sit back and think—all this happened in a handful of seconds obviously—oh yeah, they're not established yet. That's how easy and natural their chemistry is. It's really refreshing.

Clarke's speech at the end was very interesting. Honestly... I know why it had to be her, narratively speaking, but I kinda wish in a way it had been Bellamy. Because I like his speeches more. But it wouldn't make sense so this isn't a criticism. I liked that she was responding to Jasper and Raven and Jaha all at once. (And I especially liked the call back to Jasper, the sort of delayed convo, survive versus live versus thrive.) I thought it was an interesting moment too because not only did it call back to the Ark government's season 1 decisions, but it also called back to Bellamy's early decisions on the ground. I'm thinking in particular to how he used the threat of the Grounders to inspire the camp to work and build a wall—and listen to him, of course. He instinctively harnessed the threat and used it to power the forming of the community. He was even willing to lie to keep it together: to let everyone believe Wells had been killed by a Grounder, even when Bellamy knew better. And that's what Clarke's doing, she's giving a version of the truth to the people to inspire them and to get them to work. I wonder if Bellamy sees this parallel too.

It's been 9 days since Clarke pulled the lever and now not only does Arkadia not have a council but it doesn't even have a chancellor and no one cares. NO ONE CARES. All of their government is totally gone, not just Pike but Kane and Abby (the prior de facto leaders), Sinclair (the head of a major department)...Jaha is around but he's clearly disgraced and powerless...who is running the show??? By which I mean, lol Clarke obviously. But why?? How? From where does her authority with non-delinquents derive? It's just this really weird hole in the story line imo because she's a child who 99% of the people have never met (okay arguments can be made about S2 but imo she was more Grounder-liaison than Arkadia head of state) and there's just... no...explanation...of how the  community survives on the day-to-day. Except for the scene where Jasper oversees the party, which I guess, fair enough, is probably what would happen. This is all the more frustrating for me because the idea of a leaderless lawless community coming together was a major initial theme/plot of the very first episodes, and I've been missing it ever since, and here's another opportunity to engage in those themes and questions again and instead it's like...don't look over here at this humongous plot hole!!! Don't look!!

FARM STATION

I'm so tense about Miller/Bryan because in my opinion it makes sense to keep them alive and keep them together but with this show who ever freaking knows. They're the only long-term couple on the show, and the only m/m couple the show has ever had; their story's barely been told; Bryan couldn't stand on his own at this point and I feel like the pr nightmare of killing another queer kid just isn't worth it... But there have been plenty of other nonsense deaths on this show and I don't trust it. So. Anyway. I'm tense but I'm liking what I'm seeing so far. I like that we're seeing more of who Bryan is. I like that they're not forgetting where he came from or what his experiences are. I like that he's a little hard and a little on edge and a little dangerous because I think that's a good sort of person for Miller and it's more interesting. I like that they addressed his sudden change of heart last season because, while I'm not bothered really by everyone's easy forgiveness of him (I think it made narrative sense if not in-universe sense—not ideal but I can live with it), I do think that they organized that episode around the surprise of his about-face, without really explaining why he made the decision he did. Because that decision making process occurred off-screen in order to keep the surprise. I mean obviously it was pretty clear he did it For Love but I'm nevertheless glad they're discussing it.

I'm a little confused as to how Miller/Bryan ended though... I asked my mom (before I watched) if they broke up and she said no and I agree that on its face that does not look like a break up. It looks like a fight. If I were Miller or Bryan I would view it as a fight not an ending. BUT. This show doesn't really do relationship arcs, so much as it does relationship plot points here and there and you have to fill in the rest. I think. I guess it's hard to tell given how few relationships there have been, as opposed to hook ups or more informal romances, but that's sort of my feeling. A developing theory. So I guess I mean I wouldn't put it past the show to just act, next time we see one or both of them, like it's obvious they're not together anymore. I hope that's not how it goes down but I'm floating the possibility.

I asked my mom about M/H content too, so I could brace myself, and she said that, had she not known they were together, she would not have guessed based on 4x02. I agree and that makes me happy. The less of that the better. Also...while obviously I know that there's more to a relationship than just kissing or fucking, and that it's a bit silly to say "well I couldn't tell they were a couple because they didn't kiss in this episode..."—that in fact is not what I'm saying. Or what my mom was saying. My point is more that, if a couple has a basis for being a couple, like any sort of compatibility at all, you'll see it all the time, not just when they're on a date or in bed together. But what is the basis for the M/H relationship? There's nothing there to remind you why they're together when they're not...literally together...because it's random!! Because we know nothing of their common likes or interests, nothing of their way of interacting, nothing of what they like about each other, nothing about what makes them compatible—nothing! They're two names drawn out of a hat! Like the moment I thought that Bellarke would kiss even though they're not a couple...that could never happen with M/H because they have no substance! AT ALL! You can think they're cute as much as you fucking like but that doesn't give this story line any weight and I will continue to judge it harshly and bitterly until my contrary heart stops beating.

As to the actual Farm Station story line... the eternal small tragedy of high expectations I guess. I was...underwhelmed but I don't know why. I wanted to like it. I was looking forward to it. And I can't quite pinpoint what didn't do it for me in the narrative. But it seemed a little off.

One possibility is that it just didn't go into the details I most like. I am desperate for more info about the Ark, so if we're going to go to Farm Station, let's fucking go to Farm Station. Let's take a tour. Let's see Monty's bedroom. Let's take the space weed from behind the wall idc. Let's let Bryan and Monty interact even more than they did. Let's reminisce about the past. Realistically and objectively, I know that's not the focus of the show or the episode and I did get several small details of the sort I love and I shouldn't complain. I'm not complaining exactly. I'm just saying this might be a source of my personal disappointment.

Another possibility: the alleged Big Moral Decision of the Week was an easy one. Too easy. I feel a bit weird saying this because I actually came to the opposite conclusion of the majority, and not only did I come down on the Miller + Monty side of the debate (the first and so far only time they have agreed on anything in case anyone was keeping track of the State of their Relationship), but it was an incredibly obvious and easy decision for me morally speaking. Which is sort of a separate problem but I'll get to that in a minute.  

However, what I really mean by it was too easy is that the actual conclusion, to save the immediate victims at the expense of later people, was literally the only place the narrative could go. Which meant that the conclusion wasn't a surprise, and the tension leading up to the conclusion was lacking. Bellamy as a character, regardless of what one thinks of the 3a massacre, cannot handle more immediate deaths on his hands, in terms of casual viewer reactions and after all of this consistent narrative shaming. He just can't be seen standing over dead bodies, literally or just-off-screen, right now in the story. So obviously he's going to save the slaves. Also it's only 2 episodes in and there's no way they can come home with the magical mystical life saving machinery this early. It's too easy. Not that one problem can't be solved and then followed by ten more new problems but that's not how this show operates. It piles on the problems, resolves some mid-season, and the rest at the very end. The only moment of actual surprise I felt was when I saw them walk out with the thing, but even then I recognized in about 0.2 seconds that it was a fake out—of the audience and of the Grounders themselves. When the seemingly deep debate is about a non-issue it loses all of its sense of importance and becomes essentially a waste of episode time instead of the center of the episode.

So that being said... I know it's a hard argument to make to say simultaneously that the conclusion of the narrative is obvious and that I came to an equally obvious opposite conclusion. And I also know that something can be obvious and still narratively tense/morally gray/difficult to watch/otherwise captivating (for example: destroying Mt. Weather in 2x16). BUT. I think there is a disconnect between how obvious it was and how obvious it was supposed to be. I think the intention was for it to be a reasonable-people-can-disagree sort of thing. I think it was supposed to cause internal conflict in the viewer and its conclusion was meant to anger at least some of the audience. But that's not how it worked out for me. Perhaps this will sound callous, but I really did not care about the enslaved Sky People. I have no idea who these people are. I don’t even get what they're doing there, like what the purpose of them for Azgeda is. I'm sure they used the word 'slave' not just to be accurate but to immediately bring up certain associations in the viewers' minds; it's a really charged term for good reason. And obviously, intellectually, I know slavery is bad, and Azgeda is bad, and these are Sky People, and Bryan et. al. know them, and that girl is really small and sad looking. But none of this resonated for me emotionally. Maybe I'm dead inside. But it felt an awful lot like being told instead of being shown. I cared about the Mt. Weather people, because I knew some of them well after an entire season and because I'd been mediating on the tragic impossibility of their situation in general for roughly as long. Their deaths were narratively and in-universe inevitable, even heavily foreshadowed, but it still hurt to see. These people? They matter less to me than saving all the characters I already know, people who may have to be sacrificed later in order to protect these Unknowns now. It's no contest. This is obviously very much a question of perspective—Harper made a good point in saying it's like them at Mt. Weather, because Jaha then wanted to do essentially what Miller and Monty wanted to do in 4x02, which is to say sacrifice a few of his own to save the many, and I thought that Jaha was objectively wrong in that instance. (Part of that is that the narrative later proved him wrong: almost all of his merry band of cultists died on the journey to the CoL. But even up front, the idea of sacrificing the main characters is untenable within the story, so he was automatically wrong.) But it's the narrative's job to shape the perspective, and it has a lot of power to make an issue morally gray or clear black and white. I don't think the narrative did its job in this instance.

I'm still not sure I'm doing a good job explaining (or defending) my lack of emotional response here. Basically, I felt like the Farm Station story, like the intro with Ilian, and like the Kabby stuff as well, was paint-by-numbers. It was 'okay let's get this done, one two three, all the bases touched, story complete.' Rote. It didn't have the nuance of the show at its best, like the last episodes of Season 2 or even the Clarke and Jaha convo in this very episode.

I did like the scene where Monty confronts his father's killer, first because of Bryan's line about this being "Monty's kill" because it speaks to how he lived for four months during the S2-S3 hiatus and that interests me, but also because I thought that scene was spot on for how I see Monty. He is ruthless in a lot of ways but he's not a hands-dirty type. He doesn't hesitate in his moral judgments and as far as we know he doesn't have much of any regrets (I've been annoyed at him not reacting enough to Mt. Weather—maybe he really isn't plagued by guilt about it at all—an interesting possibility but one I still think should be on screen a little). He's very sure of himself. But he's barely even held a firearm (like once in S2 and then a little in S3), I'm pretty sure his only one-on-one kill is his own mother...and that's pretty unusual on this show. (Clarke, Bellamy, Jasper, Octavia, Miller, and Harper, and I'm going to have to assume Bryan, have all killed, sometimes with their bare hands, and/or were consistently using firearms going back to S1.) I definitely would have been surprised to see him axe that Ice Nation fellow in the face. But I also would have been shocked to see Monty show him mercy. I thought that the route they went, having him sentence the man to death without ever touching him, was such a good choice, a powerful moment for real without being out of character.

I feel like I haven't said much of anything about Bellamy....again, wonderful. He is such a great leader with these kids. I think he really walks the line between military-style leader and just straight up Dad. (And yes I thought he was adorable with the small child at the end.) It might be more subtle than last episode, but I still think groundwork is being laid for Bellamy to fully come into his own as a leader, to the same extent that Clarke already (BIZARRELY AND PREMATURELY) has, if not more. Basically what I'm saying is Blake for Chancellor 2018.

I have long headcanoned that Farm Station crashed in Pennsylvania. It's cold and snowy enough to be "Ice Nation" territory; close enough to be reached within a day by Rover, as we saw in 3x01 (and here? IDK how long this episode was supposed to cover but it looked like a pretty short period to me); but far enough away that Pike, Hannah, Bryan, et. al. could easily be lost for 3-4 months without running into our heroes in Virginia. I still think this is a plausible theory but man, those mountains do not look passably Pennsylvanian to me. Not that I'm a Pennsylvanian mountain expert. And not that they shot in Pennsylvania honestly. Anyway my headcanon remains.

I thought the moment with Clarke meeting Riley again was really sweet. It somehow helped more than the Bryan stuff at the Station itself to remind me that these are Sky People—not just poor mistreated human beings but poor mistreated friends and neighbors. Also again this is my favorite society so seeing some more unexpected connections among them was cool. I do hope we see Riley again, not because I care about him yet, but because it's annoying to see someone obviously foregrounded as a New Character to Watch only for them to disappear. Like with Mel in season 2. Ruined expectations are really annoying and not to be confused with "being realistic" or "being shocking."

[vmheadquarters]

ASK THE FANDOM--RESPONSES

Here’s this week’s Ask the Fandom question:

Logan Echolls makes a lot of racially-inflammatory comments towards Weevil, especially in season 1. Is he a racist? If so, why is this glossed over in the narrative? If not, why does he make these comments? Weevil also makes insulting comments based on race and gender (towards Veronica and Wallace) in season 1. Is HE sexist or racist? And if not, why does he say these things?

And here’s what you all had to say:

@hermione-mak-gilmore—Logan and Weevil are not racist or sexist— whatever comments they make are simply intended to hurt whomever they’re targeting. Both don’t care what they are saying as long as it has the intended impact.

Logan does this a lot throughout the course of the series; he makes sexist comments to Veronica and Kendall in addition to his racist attitude towards Weevil. I’m not absolving Logan for what he says, but I don’t think it comes from a place of genuine racism or sexism. He knows that the easiest way to insult Weevil is by using his race, and the same goes for Veronica and Kendall. I think this is the same for Weevil, as he constantly proves throughout the show that not only is he not sexist, but that he has a great respect and love for women (Veronica, Lily, his grandmother, etc.)

While I don’t think that Logan and Weevil’s sexist and racist comments should be excused, I also think that real racism and sexism should be recognized as something different. Celeste Kane, perfectly embodying these attitudes, for example.

@iamjmgardner—What a brilliant question.

I’m going to sort of answer and talk about who I think is ACTUALLY racist/sexist in the VM universe.

I think, for the most part, Logan and Weevil fall into similar categories here. They both are performing a masculine bravado that includes racist and sexist remarks.  Do I actually think that either of them held those feelings/resentments deep down? No.  Logan’s self-loathing meant that he probably desperately envied Weevil’s family/home-life and having someone like his Grandma around all the time. Weevil was the leader of a biker gang and, therefore, had to perform a certain kind of masculinity to ensure his personal security/position in that group.  I think they both showed that what they really valued in others was loyalty.  I also think they were both teenagers accounting for a lot of anger and instability in their lives, which meant that they weren’t perfect people.  Not to mention that the society we live in, and especially, the VM universe is all about showing us that no matter how “conscious” you try to be inevitably you will find yourself bumping up against your own internalized sexist, racist, classist prejudices at different points, what matter is what you do next..when you realize this bias has come to the surface without you ever wanting it to, do you recognize it and then choose to do something about it/think differently in the future? I think for Logan and Weevil the answer to that question is yes they would.

NOW…

I think Duncan was actually racist/classist, unlike Logan who performs a lot of his entitled attitude—an act to protect how little self-worth he really has, Duncan is extremely racist/classist/(and could probably be argued sexist). Duncan seemed extremely racist to me inhis comment to Veronica in S1 Echolls Family Christmas.  In response to him getting his laptop stolen, she says, “You lie down with dogs, you’re gonna get fleas” and Duncan immediately responds, “I didn’t invite him [Weevil]”.   Duncan, who doesn’t even KNOW Weevil or have any real interaction with him thinks about him as a dog or less than nothing.

By the middle to end of S2, Logan and Weevil have developed a mutual respect for each other and share a deeper understanding of where the other one is coming from IMO.

@catefrankie--*insert gif of Elmo with the fire*  THIS QUESTION WAS WRITTEN FOR ME

But for serious, vmheadquarters is clearly on a mission to make sure I get no work at all done this week, while also completely destroying my non-existent reputation as elusive fandom lurker.  I seriously should be reading my Plato/Aristotle right now, so y’all are gonna get my thoughts in abbreviated form.   This is a great question, first of all, because it establishes the two characters as paralleling each other.  The show really dropped the ball on the Weevil/Logan relationship in later seasons (much like all of Weevil’s relationships, actually), but season one seemed to be trying to tell us that the two boys are very much alike. I think, specifically, that Weevil’s sexism and Logan’s racism parallel each other pretty clearly.  I will be setting aside Weevil’s possible racism, because as far as I remember it was much more infrequent after the pilot, and I don’t want to go down the vmtranscripts rabbit hole looking for examples.

One of Logan’s most interesting qualities to explore is his occasional indefensible insensitivity – particularly the racism and classism.  It’s definitely partly a defense mechanism, as is pretty clearly on display in An Echolls Family Christmas, but I also think it comes from his devastatingly accurate vision.  Logan is the character in the show who sees the way things really are, sees the big truths which Veronica sometimes wants to hide from.  If he says awful things, it’s because the world he sees is awful – and Logan’s not one to shy away from uncomfortable truths.  I don’t necessarily think he believes all the things he says, but I also don’t think as a seventeen year old kid that he thinks he has the ability to change anything.  He is not born a martyr or a crusader by any means, he’s not going to try to change the world or save everyone who’s in trouble; he’s very pragmatic.  This is the system he finds himself in, and this is the way he is expected to behave – and so he plays directly into the expectations that have been set for him, but does it in such an over-the-top way that it almost counts as satire.  His overtly horrible comments force the “nicer” characters around him to take a look at the more socially acceptable racist beliefs that they hold close to the chest, all the ways they take for granted that they are different and better than people like Weevil.  But in Logan’s case, I think a significant portion of the nastiness is just a performance – if you pay attention to his actions rather than his words, he repeatedly demonstrates that he actually respects Weevil – he considers him a rival, but a worthy one, as shown particularly in Credit Where Credit’s Due and The Girl Next Door. They’re on their way to being something like unlikely allies when all of their various Lilly (and then Veronica) issues get in the way.

Does this mean we can we absolve Logan for all his verbal racism?  Of course not.  His unwillingness to exceed the expectations for people of his class, to go against the status quo, is genuinely one of his flaws.  But reading between the lines, I think we can say that he actually overcomes his earlier paralyzing pragmatism when he joins the Navy.  Not only does this mean he would have been placed alongside people of all backgrounds, but it shows a deeper hope that bad situations and messed up systems can be improved; they don’t have to stay bad.  

Weevil’s sexism is pretty much the same deal: he talks the way he is expected to, but his actions betray a deeper, hidden respect. This is given less thematic importance – Logan’s racism is addressed fairly directly in two or three episodes, but Weevil just gets a series of quiet moments with different women.  He clearly adores his grandmother, stays in school to make her proud, and confesses to a crime he didn’t commit for her.  His relationship with Lilly isn’t just about sex – he says he could have loved her – and as much as I love Lilly, I suspect the high-school-restraining-order says more about her than it does about him, that she got tired of him and didn’t want to deal with more lovey-dovey men in her life than she already had to, since this is more or less the way she dealt with Logan as well.  Then, Weevil is fond of Carmen from afar, but accepts that she’s dating someone else, and seeks justice for her without being prompted and presumably without getting any recognition or reward.  And despite the way he talks to Veronica, he is perceptive enough to see that her reputation is not the truth of her – he says so in Credit Where Credit’s Due, and tellingly, he never actually “tries anything” with her, he makes the comments and then gets on with business, never expecting her to do anything for him or be anything for him that she doesn’t initiate.  He does everything she asks, be it distracting Leo, intimidating a possible mascot thief, or warding off Logan – and eventually she doesn’t even have to ask.  He shows up in The Bitch is Back without being called, paralleling his earlier action with Carmen.  In both cases, a tape of a girl he respects is released without her knowledge or permission, and Weevil places the blame where it belongs.  Despite the way he talks, Weevil recognizes that a woman’s sexuality is her own, that it is nobody else’s business – a fact which Dick never learns, and which even “nicer” characters like Leo are pretty damn fuzzy on. (If we are going to challenge Weevil on anything, though, his blind spot is definitely Felix.)

Furthermore, Veronica never seems at all fazed by Weevil’s comments; despite her history as a victim of sexual assault showing itself in other ways (off the top of my head, there are a few times she is visibly alarmed by casual physical contact from Wallace), she doesn’t seem to associate Weevil’s sexualizing her with anything violent, perhaps because she knows he actually sees her as more than that.  And for his part, Weevil doesn’t seem to be trying to seriously discomfit her. His words don’t come from the same place as, say, street harassment; he’s not trying to assert his power, make her feel small.  Look at his ridiculous bashful grin in the Pilot when he says, “I’m sorry, was that too dirty?”  That is not the face of someone who was trying to make a weaker person afraid.  Once Weevil and Veronica establish themselves as allies in the very first episode, all the banter is just a game they play – one which he drops immediately when things get serious.  He could easily make a sexual comment when he arrives on his motorcycle to pick her up from the Echolls’ poolhouse, but what he actually says is “You okay?”  And when the tape of her is released in the last episode, he opens with “I didn’t see the whole thing, alright?”, letting her know that he wouldn’t violate her like that, and then goes straight to “I don’t know what you plan on doing, but I’m offering my help. Whatever you need, I’m in.”  I think these are the two moments that matter.  Basically everything else is just noise.  And in the movie, like Logan, grown-up Weevil is true to his best nature – he is married with a child, visibly smitten by his wife, and greets Veronica with respect and fondness.

THIS WAS LONGER THAN I MEANT FOR IT TO BE

tldr: both boys walk a different walk than they talk and are not what they seem, and both eventually mature enough that the inner heart overcomes the sketchy exterior.