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attemptsonherlifepdf · 3 years ago

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bojack horseman and bo burnham: the art of acting like you’re acting and the comedy of misery

at the core of bojack horseman, raphael bob-waksberg’s 2014 comedy, is a story about the relationship between performance and depression. the protagonist of this renowned tragicomedy is best described as a sympathetic villain; he is shown to clearly be in the wrong across various events of the show, and is explicitly referred to as a bad person, but the audience is granted deep access to his personal struggles, resulting in some portions of the audience finding themselves on bojack’s side. the duality of his character is complex, but can be broken down into some core components, that all stem from the impacts of stardom and performance. the standup comedy of bo burnham arguably echoes this sentiment in real time. having been a performer from a young age, burnham creates work that serves as a satirical commentary on the life of entertainers. he uses original songs to explore the reliance upon and resentment for his performative nature both onstage and within his personal life. both the comedian and the netflix show are widely understood to be thinly veiling their critiques of the entertainment industry behind a particular brand of witty and absurd humour.

both bojack and burnham’s content openly criticises their audiences and explicitly states the manufactured nature of the narrative the audience is fed. in the fifth season of bojack horseman, the show satirises itself by having bojack star in a police procedural drama, parts of which are actively written by other characters to reflect events of bojack’s life. the titular character he plays, philbert, is the epitome of selfish male angst, and an example of what bob-waksberg’s show could have been; another story about a sad and angry man whose guilt supposedly makes up for the people he has hurt. according to bojack, philbert teaches us ‘we’re all terrible, so we’re all okay’, an interpretation that is harshly disputed by diane: ‘that’s not the point of philbert, for guys to watch it and feel okay. i dont want you, or anyone else, justifying their shitty behaviour because of the show.’ this moment is a direct reaction to some of the online reception bojack horseman has received. various circles of the show’s fanbase have found themselves relating to the protagonist to the point of defending his untoward behaviour, a response not intentioned by the show’s creators. this is not the only example of bob-waksberg’s ability to make his work self-evaluative. in season six’s exposure of bojack and sarah lynn’s problematic relationship, characters question their sexual encounter from the first season. the writers use this as a way of examining their own choices, and the harmful tropes they played into when using this exploitative sexual encounter as a gag. this self-evaluative quality is what sets bojack apart as a show that assesses the performance it participates in, much like the comedy of bo burnham.

bo burnham is known for directly addressing his audience, particularly in terms of discouraging idolisation and parasocial relationships. some examples of this manifest as responses to hecklers rather than a planned bit in the show, for instance:

heckler: i love you!

bo: no you don’t

heckler: i love the IDEA of you!

bo: stop participating!

he actively addresses the issues posed by being an entertainer, and encourages the audience to understand and recognise that his onstage persona is just that: an exaggerated persona. not once does burnham claim to be fully authentic onstage, and even moments of authenticity we see in his latest special, inside, are staged. we make the assumption that having the physical setting of a stage stripped away grants us a more personal look at the entertainer’s life, but he makes it clear that even in his own home we still see the aspects he has carefully constructed rather than the full truth. arguably though, parts of the show really are authentic; in his monologue during make happy, bo deconstructs his own show in a way that is similar to bojack horseman’s later seasons, admitting that all he knows is performing and thus making a show about the more mundane and relatable aspects of life would feel ‘incredibly disingenuous.’ in his attempts to separate himself from this onstage persona he actually manages to blur the lines between what is acting and what is now part of his nature as a result of his job. this notion is echoed in bojack horseman as bojack’s attention seeking nature is attributed to his years acting in front of a camera every day.

bo suggests that the era of social media has created a space in which children’s identities mimic that of an entertainer like himself, describing the phenomenon as ‘performer and audience melded together.’ in this observation he criticises the phenomenon. bo attempts to force the audience to recognise the ways in which their lives are becoming shaped by the presence of an audience and to some extent uses his own life as a warning tale against this. he points out the way in which the ‘tortured artist trope’ means that your cries for help or roundabout attempts of addressing mature themes such as substance abuse, mental illness and trauma become part of that on stage persona and therefore become part of the joke. both bo and bojack address these topics in more discrete manners earlier in their careers, but this eventually becomes expected, and thus they are forced to explicitly detail their struggles with these topics in order to be taken seriously. even then, portions of the audience are inclined to see it as part of the persona or as something that fuels the creators creativity and thus does not need to be addressed as a legitimate issue. the emphasis on creating a character or persona promotes the commodification of mental illness: any struggle must be made into a song or a joke or a bit, must be turned into part of the act in order to have value. this actually serves to delegitimise these emotions and create a disconnect between the feeling and the person, as it becomes near impossible to exist without feeling as though you are acting. even when an artist’s cries for help become blatant, they continue to go ignored because now they serve the purpose of creating content that criticises the industry they stem from. online audiences can be seen as treating bo burnham and his insightful work as existing to demonstrate the negative effects entertaining can have, and because this insight is useful or thought-provoking to audiences, he is almost demanded to keep entertaining and creating. in response to this demand, his work becomes more meta and his messages become clearer, and the more obvious his messages, the more people he reaches. this increases audience demands and traps entertainers in a cycle fraught with internal conflict.

during bojack’s second season, bojack’s date asks him, ‘come on, do that bojack thing where you make a big deal and everyone laughs, but at the same time we relate, because you're saying the things polite society won't.’ this moment exemplifies how aspects of his genuine personality have now become a part of his persona and this is demanded of him in genuine and serious situations, undermining the validity of his emotional reactions. he immediately makes a rude comment to the waitress at the restaurant they’re in and satisfies his date by performing that character he has set himself out to be. some circles of the fan base have argued that bojack is written as a depiction of somebody with borderline personality disorder, offering a psychoanalytical lens through which to view this notion of performance. a defining symptom of borderline personality disorder is a fluctuating sense of self; having grown up on camera, being demanded to perform to others as young as six years old, bojack’s sense of self will have been primarily dictated by the need to act. whether this acting is for the sake of comedy, or as a representation of masking his mental illness, when they need to act is taken away bojack entirely loses his sense of self and relapses into his addictions: ‘i felt like a xerox of a xerox of a person.’ burnham’s depictions of depression run along a similar vein; in his new special he poses the idea that his comedy no longer serves the same personal purpose it once did for him. he questions ‘shit should I be joking at a time like this?’ and satirises the idea that arts have enough value to change or impact the current global issues that we are facing. burnham’s ‘possible ending song’ to his latest special, he asks ‘does anybody want to joke when no-one’s laughing in the background? so this is how it is.’ implicit in this question is the idea that when the audience is taken away and there is nobody to perform his pain to, he is left with his pain. instead of being able to turn his musings and thoughts into a product to sell to the public, he is forced to just think about them in isolation and actually face them, an abrupt and distressing experience.

the value of performance and art is questioned by both bojack and burnham, particularly during the later years of their respective content. burnham’s infamous song, art is dead, appears to be a direct response to the question ‘what is the worth of art?’ he posits that performing is the result of a need for attention (‘my drug’s attention, i am an addict, but i get paid to indulge in my habit’) and repeatedly jokes throughout his career that the entertainment industry receives more respect that it deserves (‘i’m the same as you, im still doing a job or a service, i’m just massively overpaid’). his revelations regarding the inherent desire for attention that runs through all entertainers is frequently satirised in bojack horseman. bojack is comically, hyperbolically attention hungry and self-obsessed, and the show has a running gag in which he uses phrases along the lines of ‘hello, why is nobody paying attention to me, the famous movie star, instead of these other boring people.’ his constant attempts to direct the focus of others towards himself result in bojack feeling like ‘everybody loves you, but nobody likes you.’ his peers buy into his act and adore the comical, exaggerated, laughable aspects of his character, but find very little room to respond to him on a genuinely personal level because of this. interestingly, bojack appears to enjoy catering to his audience and the instant gratification it produces, whereas bo burnham becomes increasingly candid about his mixed feeling towards his audience. ‘i wanna please you, but i wanna stay true to myself, i wanna give you the night out that you deserve, but i wanna say what i think and not care what you think about it.’ he admits to catering to what audiences want from him, but resents both the audience and himself in the process as it reveals to himself which parts of his character are solely for the sake of people watching him.

within bojack horseman, this concept is applicable not only to the protagonist, but to the various forms of performer demonstrated in the plot. towards the show’s end, sarah lynn asks ‘what does being authentic have to do with anything?’ to which herb kazzaz responds, ‘when i finally stopped hiding behind a facade i could be at peace.’ this highlights the fact that because entertainers are demanded to continue the facade, they do not receive the opportunity to find ‘peace.’ this sentiment is scattered throughout the show, through a musical motif, the song ‘don’t stop dancing.’ the song stems from a life lesson bojack imparted to sarah lynn at a young age, and becomes more frequently used as the show progresses and bojack’s situation worsens.

sarah lynn is also used to explore the value of entertainers; in the show’s penultimate episode, she directly compares her work as a pop icon to the charity work of herb, arguing that if she suffered in order to produce her work. it has to mean something. she lists the struggles she faced when on tour: ‘i gave my whole life...my manager leaked my nudes to get more tour dates added, my mom pointed out every carb i ate, it was hell. but it gave millions of fans a show they will never forget and that has to mean something.’ implicit in this notion is the idea that entertainment is the epitome of self-sacrifice. there is a surplus of mentally ill individuals within the industry, largely due to the nature of the industry itself, but some may argue that the cultural grip the industry has, and the vast amounts of respect and money it generates annually, gives the suffering of these prolific individuals meaning.

the juxtaposing responses entertainers feel towards their audiences manifest as two forms of desperation: the desperation to be an individual who is held accountable, and the desperation to be loved and validated. we see both bojack and bo depict how they oscillate between ‘this is all a lie’ and ‘my affection for my audience is genuine’, or between ‘do not become infatuated with me im a character’ and ‘please fucking love my character i do not know how to be loved on a personal level.’ bojack explicitly asks diane to write a slam piece on him and ‘hold him accountable’, similar to bo’s song ‘problematic’ in which the hook includes the phrase ‘isn’t anybody gonna hold me accountable?’ for his insensitive jokes as a late teenager. their self-awareness is what enables their self-evaluative qualities, but self-awareness is its own issue. bojack grapples with a narcissistic view of his own recognition of his behaviour before settling on a more nuanced, albeit depressing take. originally he makes the assumption that in recognising the negative aspects of himself, he is superior to those who behave similarly: ‘but i know im a piece of shit. that makes me better than all the pieces of shit that don’t know theyre pieces of shit.’ eventually, during his time at rehab he is forced to reconcile with the fact that self awareness does not, to put it bluntly, make you the superior asshole, it just makes you the more miserable one. the show does, however, make a point to recognise how the entertainment industry protects ‘pieces of shit’, prioritising their productive value over how much they deserve to be held accountable, demonstrated using characters like hank hippopoalus. the show itself obviously stems from the entertainment industry, as it is a form of media produced by netflix, one of the most popular streaming platforms available. bojack horseman and bo burnham represent the small corner of the industry that is reflective enough to showcase the damage it inflicts. this is powerful in terms of education and awareness, and urges audiences to question their own motives and versions of performance, but the reflection alone is not powerful enough to help the artists in question. burnham’s candid conversations surrounding his mental health continue to reveal a plethora of issues somewhat caused or sustained by the nature of his career. within bojack horseman, bojack is only able to stop hurting other characters when those characters construct a situation that forces him to face consequence, his introspection alone is not enough. while bojack ends on a message of hope, suggesting to the audience that reverting back to the status quo is not the only acceptable way for events to end, it leaves stinging lessons and social commentary with the audience regarding the unnatural and damaging narrative that performers live through. on a similar but markedly different note, bo burnham’s work and personal progression is playing out in real time, and not in a way that is as raw and genuine as it appears. each bit is planned, even the most vulnerable moments that appear unplanned and painful. his latest special is not entirely devoid of hope, but does translate to audiences as a somewhat exaggerated look around the era of social media and the development of performance, using himself as an example.

the absurdist humour that often acts as a vehicle for poignant statements or emotionally provocative questions is very specific to each media creator. bob-waksberg’s use of puns, tongue twisters and entirely ridiculous circumstances served to simultaneously characterise his points as an expected part of the show’s style of humour, similar to bojack’s emotional instability, but also to make them appear gut-punching in comparison to the humour. burnham’s work is similar in that poignant but blunt statements are often sandwiched between absurd and exaggerated jokes, making them stand out via contrast but not giving the audience too much time to dwell upon them as they are said. performance art is second nature to entertainers, and is presented a an issue that is infiltrating the general population via social media rather than solely affecting the ‘elites’. bojack horseman and bo burnham present the duality of artists simultaneously attempting to level the playing field and increase their chances of survival in the industry, and encourage audiences to know that everyone is bluffing and you’ll never have the right cards anyway.

i.k.b

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boldbrash-fandertrash · 3 years ago

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Ignore me, unless I’m right in which case I fucking called it

So I was rewatching the episode for the fourth time and one I realized that Remus is much much smarter than we give him credit for and two I can generally predict how the rest of the story is gonna go.

We’re gonna have another aside video with Patton and Janus before the big season finale, and that aside is going to be one of the most important videos to the general progression of the plot.

I’m sure you’ve noticed the pattern so far, two sides who diametrically oppose each other being forced to work together on a problem they vastly disagree about, usually turning the small issue into something much messier than it ever would be and them learning something about themselves in the process.

Each pairing exists to point out to the viewer exactly what issues exist with each side that need some form of resolving, and the big unifying theme amongst them is “you’re not listening to me”. Roman and Virgil dragging Thomas across the cafeteria in favor of or agains him talking to Nico, Logan and Remus deliberately ignoring and working to undo the others work in an attempt to break Thomas out of the depressive funk he found himself in. Nobody is working together here. The only side to even remotely cooperate with the group was Virgil body checking Thomas into Nico, and it took him and Roman bullying each other and Thomas for an entire video to even get to that point.

Watching Logan and Remus interact, one, brought me immense joy and I will be chasing that high for weeks to come, and two, after an ounce of critical thinking was frankly painful to watch. Any critiques Logan offered to Remus were immediately discarded with absurdity and any critiques Remus offered to Logan were discounted as absurd.

During the obvious scene at the end with the Eyes™️, Logan claimed he wasn’t pretending Remus didn’t exist, but honestly, he kinda was.

The Dunce Cap Scene really accentuates this point. Logan pulls a holier than thou, why won’t you learn I’m always right, bullshit passive aggressive remark, Remus does his dramatic repenting student shtick, starts singing directly into Logan’s ear, and makes a kink joke. Literally the words Remus sings are “can’t fix this guy, all by yourself”. Remus is saying this inches from Logan’s personal face and even still the logical side ignores him outright, because of all the fluff around the message. Hell, in Remus’s introduction video, Logan likens him to a screaming baby on a plane, essentially saying “well eventually he’ll stop screaming so just bear with it for a while and you’ll be fine”. He’s ignoring Remus outright due to a preconceived notion and missing out on valuable information because of it.

The dunce cap scene indirectly calls back to learning new things about ourselves, where Logan is completely unreceptive to the puppet bit because of its perceived absurdity and absolutely refuses to acknowledge any potential the medium might have for learning until he physically cannot anymore.

Remus is capable of, and does often, make valid points and offers genuine critiques of shit happening in their lives. In Forbidden Fruit, almost every single line harkens back to some idea the other sides had been trying, and failing, to communicate to Thomas. “Good and bad is all made up nonsense”, “if you shared those musings with your friends i doubt they would forgive you”, “why deny yourself knowledge, say, knowledge of yourself” “people don’t like me much, Thomas, but that only just cause I’m honest”, “these sorts of things are only thought in the mind of a man who’s soul is truly rotten.”

Despite all of this, he is ignored outright because of his medium. Just like Logan is ignored due to his monotone cadence and large volume of content, just like Roman is due to his flair for the dramatic and artistic display of ideas, just like Patton is due to his playful and childlike nature, just like Janus is due to his perceived role as the Villain, just like Virgil /was/ due to his perceived role as the villain.

They all have become accustomed to being stepped on by the other sides because of who they are and how they communicate, and have in turn learned some less than ideal methods of being heard again. Logan yells and gets passive aggressive, Remus ups the fear factor for everyone around him, Roman shuts down anyone who tries to talk through bullying and raising his voice, Patton manipulates the others into feeling guilt and covers it up with a smile, Virgil whips out the tempest tongue and incites fear in Thomas, and Janus physically silences anyone in his way.

And here’s why I say the next asides episode is going to be the most important one developmentally. Patton and Janus are going to be forced to work together. Patton, who is in the midst of an identity crisis, and willing to listen to any new ideas provided they offer a valid solution to the shit he’s found himself in, and Janus, who knows a lot more than he’s willing to let on, who concerns himself exclusively with Thomas’s self preservation, and loves to talk when given the opportunity. Janus is gonna have a thing or two to say to Patton when they’re inevitably faced with their moral dilemma, and Patton is going to be in just the right mindset that he’s willing to listen. And Janus is going to end up being right, and the small issue they’re facing will be resolved, which will therefore strengthen Patton’s trust, and his openness to changing for the better.

Patton is goofy, and childish, and kinda ditzy sometimes, and because of that we as a fandom tend to overlook any of his moments that are anything but that, but we are not giving this man enough credit. When Patton sets his heart on something, he throws his whole self into it, and is willing to stand up for his beliefs in the face of extreme opposition, and would gladly do anything in his power to defend his family. Once Patton decides that he’s willing to grow, and if he believes that this growth will help put his family back together, nothing can stop him, and that will be absolutely crucial for the growth of all the other sides around him.

Whatever him and Janus discuss during their aside will absolutely give Patton the information he needs to help stitch together the rift between everyone.

I predict the next official Sanders Sides video is going to be the longest one yet, possibly over an hour long, because there’s a LOT of work that is going to need to be done, and Everyone is going to be in it. The big issue of “you’re not listening to me” won’t be resolved, but it will be acknowledged in a serious light by everyone. We won’t be getting any appearances from the Orange Side I don’t think, that would end up just complicating matters even more when each character is already incredibly shaky in their own identity.

Something less than ideal is gonna happen between Thomas and Nico, he’s gonna summon the initial three to deal with the matter but the other lads are gonna worm their way into the discussion, everyone’s gonna start screaming at each other, and Pattons gonna do something that stuns everyone else into silence (I’m guessing he’ll start crying, considering the start of season two was all about him repressing negative emotions and what better way to show character growth than to sob openly on camera).

Once everyone just fucking stops for ten seconds that’s when the apologies start. None of the sides are ever the first to apologize, we’ve seen that time and time again. Their desire to be in the right as well as their pride will always get in the way, however if someone starts the apology train everyone will eventually follow suit. We see that in Alone On Valentines Day, My Negative Thinking, Growing Up, Accepting Anxiety, Fitting In, Moving On, actually in pretty much every video where an apology actually takes place, once one person apologizes the other will immediately follow suit.

Patton is gonna be a goddamn mess, he’s gonna apologize to everyone in the room for anything he thinks he may have done to wrong them, and that’s gonna be what gets everyone to acknowledge all the shit they’ve put each other through, and the others are going to jump between trying to console him and trying to apologize to each other. They’re going to come to the unified decision that they need to work together more on future issues, the group is all going to offer up a solution and decide together on a remedy to whatever happened together between Thomas and Nico, and that will be that. Season three will be about them finding the balance between stepping on toes and being stepped over, while also working out how the orange side fits into everything.

Thus marking the end of my rant.

I started writing this at 2 and it’s now 4. I have to be up in three hours. I have an essay due at 3pm tomorrow that I haven’t started, but instead I typed up all this bullshit. I hope any of this made any sense, and I hope this is a suitable replacement for my emotions essay that’s completely untouched because chances are this is what I’m presenting to my therapist tomorrow. Wish me luck.

#sorry for no page break I’m on mobile #I’ll be fixing that in the morning after some well deserved rest #thomas sanders #sanders sides #ts sanders sides #ts spoilers #ts patton #ts Logan #ts roman #ts Virgil #ts Janus #ts Remus #ts theory

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infinitecrime · 4 years ago

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Just a quick statement in case anyone was wondering where I have been/will be. I've been taking, and will continue to take, a short Tumblr break until the SCU (Sebastian Cancellation Universe) wears itself out and goes on hiatus. I deleted Tumblr off my phone a few days ago and realised immediately that all this vicious, misinformed discourse pretty much solely exists on here and twitter, and if I want to avoid it, I can simply remove myself from the space.

I'm certainly not going to be gone forever - the head Canceller has made it quite clear that her sole intention was to "bully Sebastian off the internet", and presumably his fans too, while using POC and social issues as pawns/collateral damage. To quit the fandom feels like letting them win, but taking a break feels necessary at this point.

I like to listen to others who have different perspectives and value their opinions - but at the end of the day, I form my own and do my own research. And so far, I have seen absolutely nothing to change my opinion that Sebastian is a kind and well meaning man who sometimes doesn't think through every conceivable perspective before his does something - in other words, a flawed human. I'm not going to call for the end of a man's career and/or life, or withdraw my support of him, because 4 years ago he (accidentally, for all we know) liked a video of a man being called out for rapping the N-word and being told to censor himself, or because he smiled weird next to a statue while playing a Buddhist character. We can criticise him for his own actions, but these are willfully disingenuous interpretations specifically designed to harm not just him, but also POC fans who look up to him. I won't let myself be lied to, gaslighted, or dragged into a herd mentality. A disturbing number of people are not actually angry at him, but are simply scared of being harassed if they dare to question what they're being told or form their own opinions, so join the herd. The pursuit of the moral highground is addictive but futile, and you lose it as soon as you stoop to bullying, abuse, harassment, stalking and running dedicated, deranged hate accounts.

I'm not going to cancel him for a handful of bad jokes or mistakes made years ago that have been profusely apologised for and learnt from, either, and I'm not going to cancel him because of the years old actions of people he is associated with that he had nothing to do with. This isn't fair, proportional or helpful, at all. It's not activism, and it's not social justice - in fact, the constant malicious attempts to cancel him are only making it harder for him to see legitimate criticism or respond without setting a precedent that death threats will get his attention and a grovelling apology for things he didn't say and views he doesn't hold.

If your whole life was on tape and available to comb through with the worst intentions, and you weren't hiding behind anonymous accounts, I could construct equally terrible narratives from every bad joke, misspoken word, ill thought out comment, accidental like, dubious friend, mistake, genuinely hurtful moment or show of ignorance that you have ever made, but apologised for, grew from and forgot about instantly. You have that right: but you don't grant it to him, because he isn't truly a human being to you. So many of the blatantly and demonstrably false accusations I have been seeing would have been dispelled through the most basic level of fact checking and critical thinking, but through herd mentality and what I can only describe as moral bloodlust, they've gained serious, dangerous traction.

For someone who was raised in a deeply insular, conservative, traditional, orthodox environment, he has done a genuinely excellent job of freeing himself from that cycle of ignorance and using his platform in a positive way, as well as responding when he genuinely has misstepped. He will likely never be on the same level of educated/woke as a ~25 year old American who was literally raised knee deep in social justice twitter discourse, because he didn't have that privilege, but we are all on a journey and progress is not linear or with a clearly defined end.

The ironic thing is: the current state of the fandom is a direct result of how nice and willing to listen and learn Seb has been! The level to which he used to engage with fans and respond to criticism and feedback has created an expectation that he will ask how high whenever he is told to jump, and if he doesn't respond to every little thing, this means he doesn't care or hates us. His willingness to own up to mistakes, apologise and grow publically has created the strange idea that if he's not doing something publically, it's not happening, as if he only exists while we can see him, like social media peekaboo. His openness and willingness to act on criticism of those in his social and professional circles has led to the belief that we can demand he cut anyone we dislike out of his life immediately instead of helping and supporting them in making amends and learning, if only we can dig up some old dirt on them. It's entitled, parasocial nonsense. This is a total stranger who owes us nothing, is not actually accountable to us, does not have to ever respond to us or meet our demands, and has a complex and private inner life that we ultimately know nothing about.

I feel immensely sorry for the fans, especially POC, who have been wrongly led to believe that Seb hates or is discriminatory towards them on the basis of lies, hyperbole and some serious reaching. I feel deeply sorry for Seb's friends and family, who have been subject to an enormous amount of abuse and harassment (much of which has been racist, sexist, bodyshaming, xenophobic and cruel in nature - all in the name of social justice?) merely for being friends with him, and who recently had to see #RIPSebastianStan trending. Mostly, I feel immensely sorry for Sebastian, who has not been allowed the same basic rights everyone else in the world gets: the right to learn and grow, the right to forgiveness and freedom from harassment, and the right to be judged on things that *you* actually *did* rather than fictional narratives.

I cannot imagine the mental toll thousands of people calling for your death must take. I cannot imagine how it feels to have hate accounts dedicated to abusing you and critiquing your every move, and that of everyone you love. I cannot imagine the impact of obsessive doxxing, stalking and harassment. I cannot imagine all of this happening when you have been quite open about your mental health issues and serious struggles. There are truly only so many messages telling you to kill yourself that you can take, and I just hope he has people in his corner to remind him who he truly is and what he truly stands for.

#sebastian stan

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galemalio · 4 years ago

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3 Examples of Racial Bias in Animation Storytelling

It’s not hard to grasp that a white person, while not explicitly or consciously racist in the sense we might usually imagine, is still inherently racially biased because they benefit from and grow up used to white supremacy.” - Scottishwobbly, Tumblr

This is nothing new. This is something POC (People of Color) have been talking about in separate fandoms. Nevertheless, it needs to be acknowledged by those unaware.

This article is not made to say that some of the animations that I will use as examples are bad. But in the hopes that we, as consumers and creators, will do better in the future in handling characters that are POC.

Most often, racial bias in storytelling is when the narrative treats white or light skin toned characters better than darker skin toned characters. The darker skin toned characters are often POC-coded or actual POC.

White creators often do not notice their racial bias in their storytelling as they benefit from and grow up with white privileges and white supremacy. This can also apply to light-skinned POC who have light skin priviliges.

Some of us don’t often see it but real people who relate to the characters of color do. Especially when it reflects from their experiences with racial bias, microaggressions, colorism and flat out racism.

So when they speak up, it’s important to listen to them to unlearn the racial bias we may have in ourselves.

I will be emphasizing “the narrative” for I am criticizing how the story treats its dark-skinned characters and not because I am criticizing the characters themselves.

This article is critiqued by @visibilityofcolor as a sensitivity reader once and then additions were made before publishing. If you’re looking for a Black sensitivity reader, you can contact her.

This article is a 14-minute read at average speed so buckle up. Unless you want to skip to your show mentioned below. External Tumblr Resources will be put in the reblog.

Here are three examples that I was made aware of.

Example #1: The Narrative Treats the Light-Skinned Character at the Expense of the Dark-Skinned Character

Steven Universe was one of the animations that pushed lgbt+ representation in cartoon media. However, there are narratives here and there that showed racial bias.

SU creator Rebecca Sugar was raised with "Jewish sensibilities" and both siblings observe the lighting of Hanukkah candles with their parents through Skype.[1] Rebecca Sugar also talked about being non-binary.[2]

But as a white person, she (and the rest of the SU crew) is not aware of the inherently biased values from growing up and benefiting from white privilege.

One example is the human zoo. There are people that have spoken up about this such as @jellyfax of Tumblr who pointed out that the Crewniverse mishandled a loaded topic and reinforced a white colonist propaganda where the captive humans of mostly black/brown people are naive, docile and childlike in order to subjugate the people that they colonized. .

What I’m here is how a character of color from the main cast is more obligated to the lighter-skinned character.

In the episode, Friend Ship, one fan had spoken out about how Garnet, who had been validly angry at Pearl, was compelled by a dangerous situation to forgive Pearl. Garnet is a Black-coded character. While Pearl is a light-skinned character.

Garnet was mad at Pearl for tricking her into always fusing with her. Then they were trapped in a chamber that was going to crush them. In this situation, they have to fuse in order to save themselves but Garnet refuses to because she was still angry at her.

In the end, they were forced to talk it out, for Garnet to understand Pearl’s reason for wanting to fuse with her and everything worked out well.

The narrative focused so much on Pearl’s self-worth issues at the expense of Garnet’s right to be angry.

Yes, it showed that Pearl is trying her best to make up for it but Garnet should have been allowed to work at her own anger at her own pace instead of being obligated to consider Pearl’s feelings over her own.

I wouldn’t have noticed it until someone had mentioned it. Because it was never my experience.

But it’s there, continuing the message that it’s okay to put the emotional labor on Black people and disregard their own feelings for the sake of the non-Black people who have hurt them -particularly light-skinned women.

White Fragility and Being Silenced White Woman Tears

Again, racial bias in animation storytelling is often not intentional because white creators do not experience it due to white privilege.

Without meaning to, that scene alone shows Garnet as the Angry Black woman trope that is ungrateful and rude to Pearl who then ends up in tears. Without meaning to, Pearl with her light skin, became the tearful white girl trope that had to be sympathized over.

The Angry Black Woman trope is a combination of the worst negative stereotypes of a Black woman: overly aggressive, domineering, emasculating, loud, disagreeable and uppity.[13]

The Tearful white girl trope comes from the combination of the stereotypes of white women being morally upstanding and delicate and therefore should be protected.[13]

Which, unfortunately, many white women have taken advantage of.

These two tropes are harmful to WOC (Women of Color) because they experience the "weary weaponizing of white women's tears". This tactic employed by many white women incites sympathy and avoids accountability for their actions, turning the tables to their accuser and forcing their accuser to understand them instead.

(Image by Виктория Бородинова from Pixabay)

In "Weapon of lass destruction: The tears of a white woman", Author Shay described that white tears turns a white woman into the priority of whatever space she's in. "It doesn't matter if you're right, once her tears are activated, you cease to exist." [11]

White woman tears have gotten Black people beaten and lynched such as Emmett Till. Carolyn Bryant who had accused 14 year old Emmett Till of sexually harassing her in 1955, admitted she lied about those claims years later in 2007.[15]

In Awesomely Luvvie's "About the Weary Weaponizing of White Women Tears", she states that the innocent white woman is a caricature many subconsciously embrace because it hides them from consequences. [10]

In The Guardian’s article, "How White Women Use Strategic Tears to Silence Women of Colour", Ruby Hamad shares her experience:

"Often, when I have attempted to speak to or confront a white woman about something she has said or done that has impacted me adversely, I am met with tearful denials and indignant accusations that I am hurting her. My confidence diminished and second-guessing myself, I either flare up in frustration at not being heard (which only seems to prove her point) or I back down immediately, apologising and consoling the very person causing me harm."[4]

This is not to say that all crying white women are insincere. But as activist Rachel Cargle said:

“I refuse to listen to white women cry about something. When women have come up to me crying, I say, ‘Let me know when you feel a little better, then maybe we can talk.’”[3]

One of the most quoted words in “White Fragility: Why It’s So Hard for White People to Talk About Racism.” is this:

“It is white people’s responsibility to be less fragile; people of color don’t need to twist themselves into knots trying to navigate us as painlessly as possible.”[3]

When white women cry in defense, instead of taking accountability, People of Color are then gaslighted into thinking they’re the bad guy. This is emotional abuse and a manipulation tactic.

People of Color shouldn’t have to bend backwards to accommodate discomfited white or light-skinned people who have hurt them.

How She-Ra and the Princesses of Power (SPOP) Did It Right

Despite SPOP having good lgbtq+ representations, there are other biases in the show. Such as Mara, a WOC whose only purpose was to sacrifice herself for the white protagonist. There was also the insensitive joke in their stream regarding Bow’s sibling that perpetuated an Anti-Black stereotype which Noelle Stevenson has apologized for.[14]

But the scene I have encountered where the Black character was validly angry and his feelings were treated well by the narrative, came from SPOP.

Bow, a black character, was validly angry at Glimmer, a lighter skinned character. Glimmer made a lot of bad decisions, one of them was using Adora and their friends as bait, without their knowledge, to lure out and capture Catra.

Glimmer tearfully apologized in Season 5, Episode 4. Adora readily forgave her. But Bow didn't.

They faced dangers along the way but the story didn't put them in a dangerous situation where Bow has to forgive Glimmer in order to get out of it.

This was Glimmer's words of apology:

"Look, I know you're still mad at me. Maybe you'll be mad at me for a really long time. I deserved it. And maybe... maybe we'll never be friends like we used to be. But I'm not going to stop trying to make it better. I made a mistake with the heart of Etheria. I should've listened to you and I'm sorry. You get to be mad. For as long as you need to be. But I'm not going anywhere. And when you're ready, I'll be here."

In short, Bow was allowed to take the time to be mad and not just get over it for someone else’s sake. The story validates his feelings and he was allowed to take his own pace. That is emotional respect the story gave to him.

Example #2: The Narrative Gives Better Endings or Portrayals to Colonizers than Their Victims

Avatar: The Last Airbender has handled dark themes well such as genocide, war, PTSD, disability and redemption with great worldbuilding.

However, I never noticed the racial bias in ATLA until people spoke up of the double standards in ATLA’s treatment of light-skinned colonizers compared to their dark-skinned victims-turned-villains.

The characters in question -Iroh, Azula, Jet and Hama- are all flawed and well-rounded in a believable way. But how the narrative treats them is unequal.

General Iroh is an ex-colonizer who gets to redeem himself and not answer for his past war crimes, living a peaceful life as a tea shop owner. The only reason Iroh changed was when he was personally affected by the negativity of their military subjugation -his son’s death. It wasn’t the harm of the Fire nation ravaging Earth kingdom villages or cities and affecting millions of people that opened his eyes.

Azula, the tyrannical daughter, had closure of her mother's rejection when she was a child and was able to escape imprisonment.

Jet and Hama, victims of colonization who have done bad things, did not get similar conclusions to their stories OR compensation for what they have gone through from the Fire Nation's colonization.

Jet was given a second chance but was arrested for trying to expose Zuko and Iroh being firebenders -firebenders who were their enemies for conquering their villages. Then he died from the injuries of the person who had brainwashed and mind-controlled him.

Hama was imprisoned for life.

Compared to the sins of the light-skinned colonizers, the narrative didn’t give Jet and Hama the development where they could heal from their trauma, receive compensation for what happened to them and really have a chance in life.

The dark-skinned victims of colonization just became a lesson to the viewers how they shouldn’t hold grudges for being colonized. The end. They have received consequences for their actions but there is no continuation to their stories after that.

It almost seems like the narrative is saying that because they have harmed colonizers who have no part in their trauma (and in Jet’s case, some Earth kingdom villagers), they are therefore unworthy to be given an actual chance in life.

While Azula and Iroh, who have actively participated in conquering, colonizing and attacking the Earth Kingdom itself, were.

Someone once said that if indigenous people have control over Hama’s story, it would have been done differently. But the ATLA crew are white, non-indigenous people who prioritized redeeming colonizers instead.

The narrative has also affected how the ATLA fandom thinks. If most fans are asked who they would want to be redeemed, the popular option would be Azula over Jet or Hama.

Once again, I don’t think the ATLA crew noticed it due to their racial bias. But still, the harm is done and the racially biased message is continued:

The colonizers and their descendants don’t have to make amends for the colonizers’ crimes. Or if they do, only lightly since it’s in the past (no matter how recent that past is).

The colonized who rebel will tend to hurt innocent people and then get a grisly end for getting in way over their heads.

I would venture as far as to say that the narrative may have the added subconscious desire to quiet their white anxiety on the vengeance of the colonized. As I have learned when writing about Vodou stereotypes and how they have stemmed from the history of white anxiety of Black vengeance, of Black fetishization and of dissolution of the white race through intermarriages.

In @visibilityofcolor’s blog, someone asked:

“So I saw some of the really heated debates on here and on twitter about how if Iroh and Azula can be portrayed sympathetically despite their actions then characters like Jet and Hama should've been given a chance too. Do you think that the writers understood the implications of only redeeming characters from the colonizer/fascist nation but not giving the characters who suffered because of their fascism a second chance too?”

To which VisibilityOfColor replied:

“No, because at the end of the day, the writers are white. When it comes to stuff like this, it’s no surprise when we see white writers redeem problematic characters before they actually redeem victims of those racist problematic characters. For instance, Dave Filioni, who worked on both avatar and star wars rebels, did the same thing when redeeming agent kallus who was an soldiers in the imperial army and took credit for a genocide. where as victims of the empire were still painted in negative lights. i really don’t think they understand.

They have this ‘be the better person’ view on things, which is what a lot of white people tend to emulate when it comes to people of color standing up to their oppressors. and unfortunately, these are ideas passed on to children, esp minorities. that they should forgive people and communities who hurt them and ‘be the better person’. this is why white ppl don’t need to write narratives for people of color.”

Example #3: The Narrative Favors the Light Skinned Character Than Dark Skinned Character in Similar Situations

I would like to reiterate that racial bias in storytelling is often not intentional. I am not saying the creators and the people who support them are bad people. No.

However, I encourage that once a racial bias is made known in our work, it is our responsibility to change them to stop the perpetuation of its harmful message.

Hazbin Hotel is a popular cartoon with whimsical designs and its concept opens the conversation about redemption. The creator, Vivziepop may not have noticed the racial bias in her cartoon as a white Latina [5] that grew up with and benefits from white privileges, along with the Hazbin crew.

In the Youtbe video, "Hazbin Hotel - How Art took over Writing", Staxlotl states:

“I understand that there was a lot of time and effort put into this pilot, almost three years worth of effort. But I think most of that time was spent into the art and visuals when it should’ve gone into polishing the writing in the characters.”[6]

Once again, I’m not here to critique the characters but how the narrative treats its dark-skinned characters.

The story treats Charlie, the white-skinned, “Disney-esque” protagonist princess differently from how it treats Vaggie, the dark-skinned, more outspoken and protective Latina girlfriend of Charlie who supports the princess’ cause.

In its pilot episode, both girls experience humiliation. While Charlie is portrayed by the story as someone the viewers have to feel sorry for...

...Vaggie is portrayed in her humiliation as the butt of the joke for the viewers.

While they both didn’t like what Angel Dust did, Charlie was sympathized over in the narrative as a moment...

...while Vaggie’s angry but valid callouts were dismissed and ignored as part of the comedy.

While Charlie was someone that needs to be protected in the narrative...

...Vaggie is left to fend for herself.

Again, I don’t think the creators noticed the racial bias of their cartoon. However, this racial bias is reflected in the harmful perceptions that dark-skinned women, particularly Black women and Black girls, are more mature, tougher and need less protection at a young age.[7]

This adultification bias perceives them as challenging authority when they express strong or contrary views and are then given harsher discipline than white girls who misbehave.[8] And this continues when they grow up.

In a 2017 study, Black women and girls aged 12-60 years old confirmed they are treated harsher by their white peers and are accused of being aggressive when they would defend themselves or explain their point of view to authority figures.[8]

This bias also coincides with the Spicy Latina trope of a brown-skinned, hot-blooded, quick-tempered and passionate woman.

Everyday Feminism described this trope as "Although objects of desire for many, the spicy Latina may have too much personality to handle. So much so that she is often viewed as domineering or emasculating." [16]

Sounds familiar? (Look at Angry Black Woman trope above.)

Why is it that a light-skinned character, Charlie, is allowed to be vulnerable and be sympathized while the dark-skinned Latina character, Vaggie, is mocked, dismissed and expected to tough it out?

Severina Ware had to remind the world in her article that relates to the bias against dark skinned characters:

“Black women are not offered the protection and gentleness of our white counterparts. We are not given permission to be soft and delicate. We are required to exhibit strength and fortitude not only because our lives depend on it, but because so many others depend on us. Black women should not be charged with the responsibility of saving everyone when nobody is here to save us.”[12]

As @cullenvhenan of Tumblr has said in her post:

“if you're a white creator and your brown/black characters are always sassy, reckless, aggressive or cold and your white characters are always soft, demure, shy and introverted you should think about maybe why you did that”

(Image above from Iowa Law Reviews’ “Aggressive Encounters & White Fragility: Deconstructing the Trope of the Angry Black Woman”)

Detecting Your Own Racial Bias

It would be hard. No matter how much you edit and create, you may miss it because it was never your experience.

So how do we prevent our racial bias from creeping into our creations?

Listen to POC and their feedback.

As @charishjb from Instagram has shared, here is one of the things that we can do (tumblr link here) [9]:

Consider POC voices. Listen to their experiences. Hire sensitivity POC readers. Put multiple POC voices in positions of leadership in creative projects.

Then we can stop the racial bias that perpetuates again and again in the media. I hope for that future.

#racial bias #racism #colorism #animation #steven universe #su #pearl #garnet #atla #azula #general iroh #jet #hama #hazbin hotel #hazbin vaggie #lynching mention #lynching tw #writeblr #artblr

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itsclydebitches · 4 years ago

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RWBY Recaps: Volume 8 “Dark”

Welcome back, everyone! Can you believe it's been six weeks already? I can't. Something something the uncomfortable passage of time during a pandemic as emphasized by a web-series.

But we're here to talk about RWBY the fictional story, not RWBY the cultural icon. At least, we will in a moment. First, I'd like to acknowledge that shaky line between the two, growing blurrier with every volume. A sort of good news, bad news situation.

The bad news — to get that out of the way — is that we cannot easily separate RWBY from its authors and those authors have, sadly, been drawing a lot of negative attention as of late. This isn't anything new, not at all, but I think the unexpectedly long hiatus gave a lot of fans (myself included) the chance to think about Rooster Teeth's failings without getting distracted by their biggest and brightest production. There's a laundry list of problems here — everything from the behavior of voice actors to the quality of their merch — but as a sort of summary issue, I'd like to highlight the reviews that continue to pop up on websites like Glassdoor, detailing the toxic, sexist, crunch-obsessed environment that RT employees are forced to work in. A lot of these websites requires a login to read more than a page of reviews, but you can check out a Twitter thread about it here.

Now, I want to be clear: I'm not bringing this up as a way to shame anyone enjoying RWBY. This isn't a simplistic claim of, "The authors are Problematic™ and therefore you can't like the stuff they produce." Nor is this meant to be a catch-all excuse for RWBY's problems. If it were, I'd have dropped these recaps years ago. I'm of the belief that audiences maintain the right to both praise and criticize the work they're given, regardless of the context in which that work was produced. At the end of the day, RT has presented RWBY as a finished product and, more than that, presents it as an excellent product, one worth both our emotional investment and our money (whether in the form of paying for a First account, or encouraging us to buy merch, attend cons, etc.) I'll continue to critique RWBY as needed, but I a) wanted fans to be at least peripherally aware of these issues and b) clarify that my use of "RT" in statements like, "I can't believe RT is screwing up this badly" is meant to be a broad, nebulas acknowledgement that someone in the company is screwing up, either creatively (doesn't have the skill to write a good scene) or morally (hasn't created an environment in which other creators are capable of crafting a good scene). The real, inner workings of such companies are mostly a secret to their audiences and thus it's near impossible for someone like me — random fan writing these for fun as a casual side hobby — to accurately point fingers. Hence, broad "RT." I just wanted to clarify that when I use this it's as a necessary placeholder for whoever is actually responsible, not a damnation of the overworked animator breaking down in a bathroom. Heavy stuff, but I thought it was necessary (or at least worthwhile) to acknowledge this issue as we head into the second half of the volume.

Now for the good news: RWBY has reached 100 episodes! For any who may not know, 100 is a pretty significant number in the TV world because, when talking about prime time programming, it guarantees syndicated reruns. Basically, networks don't want audiences to get burned out with a show — changing the channel when it comes on because ugh, I've seen this already, recently too — and 100 episodes allows for a roughly five month run without any repeats, making it very profitable. RWBY is obviously not a television show and doesn't benefit from any of this (hell, modern television doesn't benefit from this as much as it used to, not in the age of streaming), but the 100 episode threshold is still ingrained in American culture. Beyond just being a nice, rounded number, it is historically a measure of huge success and I can't imagine that RT isn't aware of that. Regardless of what we think of RWBY's current quality, this is one hell of a milestone and should be applauded.

All that being said... RWBY's quality is definitely still lacking lol.

Our 100th episode is titled "Dark" — keeping with the one word titles, then — and I'd like to emphasize that, as a 100th episode, it definitely delivers in terms of plot. There's plenty of action, important character beats, and at least one major reveal, everything we'd expect from a milestone and a Part II premiere. The animation also continues to be noteworthy for its beauty, as I found myself admiring many of the screenshots I took for this recap. There are certainly things to praise. The only problem (one we're all familiar with by now) is that these small successes are situated within a narrative that's otherwise falling apart. It's all good stuff... provided you ignore literally everything else surrounding it.

But let's dive into some examples. We open on Qrow starting, awoken by the thunder outside. Robyn has been watching him and makes a peppy comment about how none of them will be sleeping tonight, followed by a more serious, "Sounds bad out there." Yeah, it does sound bad, especially when they all know — thanks to Ruby's message back in Volume 7 — that this is due to Salem's arrival. I think a lot of the fandom has forgotten that little detail because people often discuss Qrow as if he is entirely ignorant of what is going on outside his cell. Even if we were to assume that he's forgotten all about the pesky Salem issue (the horror of Clover's death overriding everything else, perhaps) he still knows that Tyrian is running loose in a heat-less city with a creepy storm going on and, from his perspective, the Very Evil Ironwood is still running the show. So it's bad, which begs the question of why Qrow (and Robyn, for that matter) hasn't displayed an ounce of legitimate worry for everyone he knows out there. Thus far, their interactions have centered entirely around Qrow's misplaced blame and Robyn's terrible attempts to lighten the mood, despite the fact that a war is raging right beyond that wall. It's another example of RWBY's inability to manage tone properly, to say nothing of balancing the multiple concerns any one character should be trying to juggle. Just as it rankles that Ruby and Yang don't seem to care about what has happened to their uncle, Qrow likewise doesn't seem to care about what might be happening to his nieces. When did we reach a point where these relationships are so broken that someone can be arrested/chucked into a deadly battle and the others just... ignore that?

So Robyn's otherwise innocuous comment immediately reminds me of how badly the narrative has treated these conflicts and, sadly, things don't improve much from here. We are thankfully spared more of Robyn's jokes when Qrow realizes that what he's hearing can't be thunder. A second later, Cinder blasts through the wall — called it! — and Qrow instinctively transforms.

The only downside to this moment is that the whole ceiling falls down on Qrow and the others because APPARENTLY these cells don't have tops on them. Seriously. As far as I can recall we don't see the stone breaking through the forcefield somehow and this looks pretty open to me.

If it is... you're telling me these crazy powerful fighters who practice landing strategies and leap tall buildings in a single bound —

— can't just hop over this mildly high electric fence to get out? Qrow can't just fly away?

We're, like, two minutes in, folks.

We transfer to Nora's perspective as she wakes up, seeing Klein giving her the IV. He tells her not to worry, that "you and your friend are going to be just fine." What friend? Penny? Klein went upstairs prior to Weiss hugging Whitley or Penny crash landing outside. I had thought them bursting through the door with another unconscious friend was the first time he learned what the big bang outside was, but apparently not.

Penny is, obviously, a mess. While I now understand the choice to make her blood such an eye-catching color when that's crucial to the Hound's hunt, I still think it looks strange visually. Like someone has taken a copy of RWBY and painted over it. It doesn't look like it fits the art style. More than that, it implies some rather complicated things about Penny's humanity, especially in a volume focused around her being a "real girl." Real enough for Maiden powers, but with obviously inhuman blood that isn't even referred to as "bleeding." Penny "leaks" instead.

Toss in the fact that she's literally an android who is made up of tech — recall the running gags about her being heavy, or it hurts to fist-bump her, to say nothing of keeping things like multiple blades inside her body — yet Klein says that her "basic anatomy" is the same and he can "stitch up that wound."

I'm sorry, what? Whatever Penny looks like on the inside, it's not going to resemble a human woman's anatomy, and Klein might be able to stitch the outer layer of skin she's got, but that won't do anything to fix whatever metal bits have been broken underneath. Penny isn't a human-robot hybrid, she's a robot with an aura. Penny has knives in her back, rockets in her feet, and a super computer behind her eyes. When our clip introduced that Klein would be the one to help Penny, my initial reaction was, "Seriously? He's a butler and a doctor and an engineer?" But RWBY didn't even try to get away with a Super Klein explanation, they just waved away Penny's very obvious, inhuman anatomy. Yeah, I'm sure "stitching up" an android wound is just like giving Nora her IV. I hope the surgical sutures he used are extra strong!

In an effort to not entirely drag this episode, I do appreciate that Whitley is allowed an "ugh" moment about the non-blood covering his shirt without anyone calling him out on it. That felt like the sort of thing the show would usually try to make a character feel guilty about and I'm glad that, for once, he was just allowed to be frustrated without comment.

Then the power goes out and May calls, which raises questions about what state the CCTS is in and when scrolls are available to our protagonists vs. when they're not. But whatever. She's checking in because she just "saw another bombing run light up the Kingdom" and —

Wait. Bombing? Salem is bombing the city? I know we've seen explosions in the sky, but I'd always just attributed that to evil aesthetic. Why does this dialogue sound like it's from a World War II film and not a fantasy sci-fi show about literal monsters launching a ground attack?

May looks pretty against the sky though. I like her hair color against that purple.

I'm admittedly grasping at positives here because we finally return to her "You have to choose" ultimatum and — surprise! — May has pulled back completely. Ruby says that once they've helped Penny, "We'll...we'll do something!" which is once again her avoiding making a decision. Ruby still refuses to choose, instead falling back on generic, optimistic pep talks. They'll figure out how to stop Salem later. They'll think about the impact of telling the world later. They'll choose who to help later. Ruby keeps pushing these problems into the future where, she hopes, a perfect, magical solution will have appeared for her to latch onto. When that continues to not happen, others pressuring her to actually do something and stop waiting for perfection — Ironwood, Yang, May — she panics and continues stalling for time. Wait an episode and the narrative supports her in this.

Because initially May was forcing Ruby to decide. Now, May enables her desire to keep putting things off. "Don't beat yourself up, kid. At this point, I don't know how much is left to be done." That's the exact opposite of what May believed last episode, that there was still so much work and good to do for the people of Mantle. This is precisely what the show did with Yang and Ren's scenes too, having people call Ruby out... but then return to a message of, 'Don't worry, you're actually doing just fine' before Ruby is forced to actually change.

None of which even touches on May calling her "kid" in this moment. That continues to be a convenient way of absolving Ruby of any responsibility. When she wants to steal airships or Amity Tower, she's an adult everyone should listen to, the leader of this war. When the story wants to absolve her of previously mentioned flaws, she becomes a kid who shouldn't "beat herself up." I said years ago that RWBY couldn't continue to let the group be both children and adults simultaneously, yet here we are.

So that was a thoroughly disappointing scene. Ruby gets her moment to look sad and defeated, listing "the grimm, the crater, Nora, Penny" as problems she doesn't know how to solve. Note that 'Immortal witch attacking the city I've helped trap here' isn't included in that list. Ruby is still ignoring Salem herself and no one in the group is picking up where May left off, challenging her to do more than wring her hands over things others are already trying to take care of: Ironwood is fighting the grimm, May has gone off to help the crater, Klein is patching up Nora and Penny. Ruby, as one flawed individual, should not be expected to come up with a solution to everything, but she does need to stop acting like she can come up with a solution to everything when it matters most (office scene) and rejecting others' solutions when they ask for her help (Ironwood, May).

If it feels like I'm dragging the flawed, traumatized teenager too much, it's not in an effort to ignore those aspects of her identity. Rather, it's because she's also the licensed huntress who wrested control from a world leader and violently demanded she be put in charge of this battle. Ruby, by her own actions, is now responsible for dealing with these problems, or admitting she was wrong and letting others take the lead, without purposefully derailing their plans. She doesn't get to suddenly go, "I don't know," cry a little, and get sympathetic pats.

But of course that's precisely what happens, courtesy of Weiss.

During this whole scene I kept wondering why no one was celebrating Nora waking up, especially when Ruby outright mentions her. Have they just not noticed given all the Penny drama? Because Nora absolutely woke up.

Aaaand went back to sleep, I guess. What was the point of that POV shot? No worries though, she'll wake up again in a minute.

Willow arrives and announces that they can fix the power (and Penny) using the generator at the edge of the property. I'm convinced RT doesn't actually know what a generator is because the characters are acting like it's some super special device that only richy-rich could possibly have. Whitley says that it's the SDC executives who have their "own power supply" and that it's "extremely unfair." Now, don't get me wrong, a good generator powering large portions of your house can run you 30k+, but you can also get one that plugs into your extension cord and powers your fridge for a couple hundred. There's absolutely a class issue here, just not the one Whitley and Weiss seem to be commenting on. They make a generator sound like the sort of device that only a politician-CEO could possible have and it's weird.

Likely, it sounds weird because it's a choppy way of getting Whitley to bring up the wealth disparity so he can then go, 'That's right! We're crazy rich with a company housing tons of ships! We can use those to evacuate Mantle.' Awkwardness aside, I do like that the Schnee wealth is being used for good purposes, but... evacuate where? To the city currently under attack by a giant whale? In a RWBY that wasn't determined to demonize Ironwood, this would have been a great plot point during the office scene instead, with Weiss offering her services to Ironwood, even if the group decides that a continued evacuation still isn't possible.

Instead, we get it here from Whitley. Do I need to point out the obvious? That Whitley is the MVP of this episode? He's done more good in an HOUR than the group has managed in a year. Give this kid some training and make him a huntsmen instead.

We're given a (very pretty!) shot of the shattered moon because it wouldn't be RWBY if we weren't continually reminded that gods once wiped out humanity before destroying part of a celestial body... and absolutely no one talks about that lol.

Blake's coat might not make any sense for her color scheme, but it does make her easy to spot as she and Ruby run across the grounds. Oh my god, they're actually doing something together! It only took eight years. They even get a lovely talk where Blake admits how much she looks up to Ruby, despite her being younger, and once again I'm struck at how much more I would have loved this scene if it had appeared elsewhere in the series. It is, indeed, as sweet and emotional as all the RWBY GIF-ers are claiming... provided you overlook that this is the exact opposite of what Ruby needs to hear right now. She doesn't need to hear that she's more mature and reliable than her elders when she's functioning under a "We don't need adults" mentality. She doesn't need to hear that not knowing what to do is totally fine, not when that led to her turning on Ironwood, despite not knowing how to stop Salem. She doesn't need to hear that "doing something" — doing anything — is a strength, because Ruby keeps avoiding the big problems for smaller ones she's comfortable with, like standing by Penny's bedside instead of deciding between Mantle and Atlas. Blake's speech is heartfelt, but it's a speech that suits a Beacon days Ruby who is having some doubts about her leadership skills, not the girl whose impulsive — and now lack of — actions is having world-wide repercussions. Everyone is babying Ruby to a staggering degree. It's like if we had a med show where the doctor is standing by the bedside of a coding patient, fretting between two treatments. 'Don't worry,' their colleague says, patting their shoulder. 'I've always looked up to you. You'll do something when you're ready' and then they continue to watch the patient, you know, die.

Also: who does Ruby look up to? Everyone talks about how much they depend on and trust Ruby, but who does Ruby look to for guidance? A number of her problems stem from the fact that she has rejected the advice of everyone who has tried to help her improve: Qrow, Ozpin, Ironwood, even Yang. Ruby is presented as the pinnacle of what to strive for in a leader, rather than a leader who has only been doing this for two years and still has a great deal to learn.

Anyway, they get the generator on and the Hound shows up.

I am begging RT to just make RWBY a horror story. All their best scenes the last three years have been horror I am bEGGING —

Anyway, while Ruby waits to be eaten we cut to Willow and Klein, the former of which is reaching for her bottle, pulling back, reaching again, all while her hand shakes. This is good. This is what we should have gotten with Qrow. Which isn't to say that their (or anyone's) addiction should be identical, but rather that this is a far more engaging and complex look at addiction than what our birb got. Willow tells us that she doesn't drink in the dark despite bringing the bottle with her; tries to resist drinking when she's scared and ultimately fails. Qrow just decided to stop drinking after decades of addiction, seemingly for no reason, and that was that. Why is a side character we only met this volume written better than one of the main cast?

Blake manages to call Weiss about the Hound and she asks if Whitley can handle the airships without her. I mean, I assume so given that Weiss is looking at the bookshelves while Whitley does all the work lol. He makes a teasing comment about how he can if she can handle that grimm and she comments that they still need to work on his "attitude."

No they don't. Weiss stuck a weapon in her kid brother's face. Whitley made a joke. Even if Weiss' comment is likewise meant to be read as teasing, it's clear that we've bypassed any meaningful conversation between them. That hug was supposed to be a Fix Everything moment even though, as I've laid out elsewhere, it didn't even come close.

We cut back to Ruby getting thrown through a wall into the backyard and the Hound creepily coming after her. She's freaked out by this clearly abnormal grimm and Blake is weirdly... not? "It's just a grimm. Just focus!" Uh, it's obviously not. Have we reached the traumatized, sleep-deprived point where the group is sinking into full-blown denial? I wouldn't be surprised. They've been awake for like... 40+ hours.

Because the Hound knocks Ruby out with a single hit. Just, bam, she's down. "Focusing" is not the solution here.

Weiss calls to warn the others about the grimm, telling them to stick together. Willow (understandably) starts freaking out and flees the room (classic horror trope!). Klein is left alone when Penny wakes up with red eyes. Oh no!

Don't worry. You know nothing meaningful happens.

She shoves Klein before (somehow?) resisting the hack, her Maiden powers going wild in the process. Just when it looks as if Penny might cause some serious damage, Nora wakes up, takes her hand, and says, I kid you not:

"Hey... no one is going to make you do anything you don't want to do... It's just a part of you. Don't forget about the rest."

Okay. I want to re-emphasize that I love hopeful, uplifting, victory-won-through-the-power-of-love stories. Istg I'm not dead inside, it's just that RWBY does this so badly. I mean, what is this? It has similarities to the character shouting, 'No! Resist!' to their mind-controlled ally, but this is not presented as a desperate, last-ditch effort by Nora. She just speaks like this is the most obvious truth in the world. If you don't want to have your mind taken over... just don't! It's that simple. The problem definitely isn't that Watts has changed her coding and has implemented a command she can't override, it's that Penny has forgotten about the "rest" of her personhood.

And this works. Granted, not for long, but we leave Nora having successfully calmed Penny down and until her eyes unexpectedly go red again scenes later, we're left assuming that this is a permanent solution. That, imo anyway, is taking the Power of Love too far, overriding the basic reality of Penny being hacked. It’s not a personal failing she must overcome, it’s an external attack. I would have rather had Nora react to the scars she saw on her arm, or have a moment with Klein, or get some love from the group. Not a wakes up, falls asleep, wakes up again to save Penny with a Ruby level 'Just ignore reality' pep-talk, then back to sleep again.

So Penny isn't attacking her allies, or mistakenly hurting her allies with wild Maiden powers. Not that the group doesn't have enough to deal with, but still. Weiss arrives to help with the Hound and attempts a new summon, only to fail when two minor grimm burrow up into her glyphs. I really enjoyed that moment, both for the wing visual and the knowledge that Weiss' glyphs can fail if you break them somehow (which makes sense). Also, I just like that she failed in general? Weiss is, as per usual now, about to demonstrate just how OP she is compared to the rest of the team, so it was nice to see her faltering here.

The Hound tries to make off with Ruby and Blake does an excellent job of keeping it tethered. Ruby finally wakes, only to realize that the grimm is actually after Penny since it's staring at her power up through the window, no longer trying to escape. Moments like this remind me that there's someone on RT's writing team that knows what they're doing, at least some of the time. The assumption that the Hound is after Ruby as a SEW, the surprise that it's actually Penny, realizing it holds up because Ruby is covered in Penny's blood and Blake is not... that's all nice, tight plotting. More of that please!

The Hound drops her and Ruby's aura shatters when she hits the ground. I want everyone to remember this moment as an example of how strong the Hound is. The group may be tired, but unlike YJR they've been sitting around in the Schnee manor for a number of hours, regaining strength. We saw the Hound hit Ruby twice — once through the wall and once to knock her out — and then she falls from a not very high distance for a huntress, yet her aura is toast. That's the level of power and skill the Hound possesses. Decimating YJR, knocking Oscar out, same for Ruby, avoiding Blake and Weiss' hits, soon to treat Penny like a ragdoll. Just remember all this for the episode's end.

Blake tells Weiss she'll take care of Ruby, you go help the others. Yay breaking up the duos more! Bad timing though as the new acid-spitting grimm pops out of the ground and Blake is now left alone to face it.

Weiss re-enters the mansion, knowing the Hound is somewhere nearby, but not where. Suddenly, Willow's voice sounds through her scroll with an, "Above you!" which... doesn't keep Weiss from getting hit lol. But it's the thought that counts! Willow has accessed the cameras she's set up throughout the manor, watching the Hound's movements, and I have to say, that is a WAY better use of her separation from Klein than I thought we were getting. I legit thought they'd have Willow run away in a panic, meet the Hound, die, and then Weiss could be sad about losing her mom.

It does say something about RWBY's writing that this was my knee-jerk theory, as well as my surprise when we got something way better.

The Hound runs off, uninterested in Weiss, and she asks Willow to keep tabs on it. It heads for Whitley next (also covered in Penny's blood) and very creepily stalks him in the office with a, "I know you're here." Whitley is seconds away from being Hound chow before one of Weiss' boars pin it against the wall. He runs, then runs BACK to finish deploying the airships, before finally escaping assumed death. Goddamn this boy is pulling his weight.

I assume all these ships are automated then? I hope someone takes a moment to call May. Otherwise it's going to be super weird for the Mantle citizens if a fleet of SDC ships just show up and hover there...

I don't entirely understand how Weiss saved him though. She's nowhere to be seen when Whitley leaves and he runs a fair distance before he and Willow encounter Weiss again. We know her summons don't have to keep right next to her, but are they capable of rudimentary thought, attacking an enemy — and an enemy only — despite Weiss being a couple corridors down and unable to see the current battlefield? I don't know. In another series I'd theorize that this was a deliberate hint, a way to clue us into the fact that Willow, someone who we currently know almost nothing about, had training in the past and summoned the boar herself. Weiss and Winter certainly didn't get that hereditary skill from Jacques. Hell, we might still get that, Weiss reacting with confusion next episode when Whitley thanks her for the boar, but I doubt it. That scene with Ruby and the Hound aside, the show isn't this good at laying groundwork and then following up on it.

Case in point: Weiss says, "I didn't forget you" to Whitley after he gets away from the Hound, the moment trying to harken back to her promise to Willow. Key word is "trying." Because she absolutely forgot him! Weiss threatened and ignored Whitley until he proved his usefulness. I also shouldn't need to point out that, "Don't forget your brother" does not mean, "Don't let your brother die a horrible death by abnormal grimm." Weiss acts like her saving him is a fulfillment of her promise, rather than just the most basic of human decency. And also, you know, her job.

So that part is frustrating. The entire Schnee dynamic is a mess, from Weiss making a joke of her father's arrest, to Willow (presumably) fixing their relationship by putting a hand on her daughter's shoulder. Okay.

Then Weiss cuts off the Hound by summoning a giant wall of ice. My brain, every time this happens:

YOU COULD HAVE FIXED THE HOLE IN MANTLE'S WALL.

Moving on, Blake's fight against the acid... thing has some great choreography, including Blake using her semblance which we haven't seen in AGES.

I really like the fight itself, just not what Blake is shouting the whole time. "I need you, Ruby! We all need you!" This has really gotten ridiculous. Ruby is presented as everyone's sole savior despite failing time and time again. It's not that I don't think Blake as a character should have faith in her leader, it's that I don't think the writers should be crafting a story where everyone puts their unshakable hopes in an untrained, disloyal, impulsive 17 year old. I mean, Ruby is currently unconscious, yet Blake is acting like if she doesn't wake up — she, as an individual, if Ruby Rose does not re-join this fight — then all is lost. If Ruby doesn't save them, no one can. Which is, of course, absurd on numerous levels. Blake doesn't need the passed out, aura-less Ruby right now, she needs the still very healthy Weiss pulling out multiple summons and an ice wall! Use your scroll and call for backup again.

But of course, Ruby wakes up and kills the new, terrifying grimm with a single hit. It's a preview of what's to come with the Hound and it's just as ridiculous here as it will be there.

Speaking of the Hound, am I the only one who thought this was... cute?

I can't possibly be the only one. That head-tilt is exactly what my dogs do and my brain instinctively went, "Aww, puppy!"

Murderous puppy.

The Hound realizes none of the Schnees are who it's looking for and runs off. Penny, meanwhile, has been fully taken over because, well, that's just what's convenient now. She resists long enough keep Amity up, then succumbs, then resists to apologize to Ruby, then succumbs, then resists because Nora asked her to, then succumbs once it's time to knock her out. If RWBY was willing to commit to consequences, Penny would have been taken over and that was that. The characters would need to deal with whatever outcome happens as a result. Instead, the show very carefully avoids any of those pesky consequences by having Penny successfully resisting at key moments, despite no explanation of how she's managing that.

She shoves Klein again (Klein is having a Bad Time) and starts walking down the main steps. When Whitley wants to know where the hell she's going, Penny mechanically responds that she must "Open the vault, then self-destruct." I suppose the change Watts made was the self-destruct order? Ironwood obviously wants the vault open, though not necessarily Penny's death. Think what you will of his moral compass, she's a damn powerful ally — a research project, perhaps — and a Maiden to boot. At the very least, her death may give the powers to someone even worse.

God, please don't let them have brought Penny back and made her a Maiden just to kill her again.

The Hound arrives though and, as said, knocks Penny out. We're back to square one with her, then. Note though that this attack is near instantaneous. She grabs its hands one second, is hanging limply the next. Wow, the Hound sure is a terrifying antagonist!

Not for long.

"That's enough," Ruby says and one-shots it with her eyes.

Now, I want to talk for a moment about the implications of that line. "That's enough." Obviously Ruby is #done with this situation and emotionally unwilling to let the Hound kidnap Penny (congratulations, Nuts and Dolts shippers), but there's a meta reading here as well. Not intentional, but glaring to me nonetheless. Basically, the idea that the Hound has, from a plot perspective, done enough. It has served its singular purpose. It kidnapped Oscar and now it dies. Never-mind how insanely powerful we've established the Hound to be, never-mind how Ruby's eyes also work or don't work according to whether anything of actual import is on the line. From a plot perspective "that's enough" and the Hound can be disposed of instantly. It got Oscar and gave us an episode of filler creepiness. Move along now.

The idea behind Ruby's eyes isn't bad, but the execution absolutely is. RT has undermined a huge portion of the stakes by giving their protagonist an instant kill-shot that always works precisely when she needs it to. Starting with the Apathy, we have yet to get a moment where Ruby's eyes fail to save the day when she really needs them to, no matter how incredible the challenge. The Hound was very intentionally written to be a grimm outside of the group's current power level. It thinks, it talks, they literally can't touch it. This creates the expectation that the group will need to grow stronger — or at least become smarter — in order to surmount this new obstacle, yet Ruby's eyes undermine all of that. The group hasn't grown in years, the show just makes enemies weaker as needed (Ace Ops), or has Ruby pull out her eyes as a trump card. It wouldn't be that bad if we'd at least gotten a good battle out of it, one where the group gets close to defeating the Hound on their own, but needs Ruby's eyes to finish it off. Instead, she literally walks up without any aura, announces to the audience that this antagonist's time is up, and blasts it out a window.

Granted, Ruby's eyes don't completely finish it. The Hound pulls itself to its feet and we see this.

Yup, that's a guy and yup, those are silver eyes.

I would like to issue a formal apology to the "It's secretly Summer!" theorists in the fandom. I mean, I still think it would be ridiculous (and at this point highly improbable) that Ruby's dead mother has actually been a grimm mutant this whole time, just hanging out in Salem's realm while she waits for the plot to start before attacking the world, and then sends some no-name faunus dude after the group instead of their leader's mother for extra, emotional torture... but you all were definitely right about the “It's a person” part! I... don't know how I feel about this. Admittedly, it seems to be a logical continuation of the other grimm-human hybrids we've seen — namely Cinder and Salem herself — and it finally explains why Salem wants Ruby alive (even though it actually doesn't because WHY did she want more SEWs for Hound grimm when she wasn't even attacking back then? And already has all these other insanely powerful tools??), but at the same time, it feels like it's complicating a story that doesn't need further complications. The group fights monsters and has an immortal enemy. You don't need to add 'Some of those monsters are secretly human' to the mix.

It doesn't hurt that this twist is giving me Attack on Titan vibes, which, ew. A dark time in my fandom life, folks.

The Hound staggers a few steps before Whitley and Willow dump a suit of armor on it. That's all it takes to kill the most dangerous grimm we've ever seen: a single flash of silver eyes and some heavy metal. This also wreaks havoc with the implication that Salem wants SEWs alive because they create such powerful grimm. Obviously not. I mean yeah, normal huntsmen are going to have serious problems, we’ve seen that this volume, but any other SEWs nearby will take a Hound out instantaneously. For a villain with so many other powerful abilities — immortality, magic, endless normal grimm, her nifty soup — Salem would be much better served just killing SEWs straight out. Clearly, creating Hounds isn't worth the effort.

The Hound leaves some bones behind and Ruby collapses to her knees, overcome with the knowledge that this was once a person. Again, uncomfortable Attack on Titan parallels.

We finish our premiere with Cinder clearing away rubble to reveal Watts. Honestly, I like that we ended on this because her rescue is hilarious. She just slings him over her shoulders like a sack of potatoes and blasts off with her magic fire feet. Fantastic.

Note though that with this scene we've seen almost everything from the clip and the trailer. What's to come in the rest of Volume 8? No idea. Outside of Winter leading the charge with the bomb, we got it all here.

Time to update the bingo board!

I'm crossing off "Introducing new grimm that are quickly abandoned." Between the Hound and acid-dude both falling to a single blast/cut from Ruby, we've more than earned this square.

It doesn't look as if we'll get another Watts-Jacques team-up now that he's left, but you never know.

Maria's got me worried. I feel like her Yoda fight against Neo is the one thing she'll be allowed to do this volume, but given that we didn't see anyone except Ruby's group this episode, we don't yet know whether the story is now ignoring her and Pietro, or if they'll re-appear in another episode like YJR.

Qrow is free. Will he get a drink before trying to murder Ironwood? Perhaps.

Still no bingo :(

All in all, the episode was by no means horrible. I think there were lots of horrible parts, but also some legitimately well executed moments, fun action, and scenes that I can easily imagine as squee worthy if you lean back and squint. Everything is comparative and in the growing collection of bad RWBY episodes, this one isn't securing a top slot. Which doesn't mean I think it's good, just... not as bad as it could have been and primarily only bad due to long-running problems, not things this specific episode has done. That's my bar then, so low it has officially entered the underworld.

Still, RWBY is back and a part of me is eager to see where this volume takes us, for better or for worse.

Until next week! 💜

[Ko-Fi]

#rwby #rwby spoilers #rwby volume 8 #mymetas #rwby recaps #rwby dark

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bedlamsbard · 4 years ago

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So, I get the distaste for Rebels and The Bad Batch (definitely that last one), and I can certainly suggest @agoddamn's series of watching Clone Wars (because wow, I'd forgotten how poor that series could be), but with The Mandalorian, the most I can understand of your dislike of it is how it handles previous characters. Which, yeah, Filoni and his Precious OCs, but other than that, what about it? I mean, the plot/theme seemed simple to me: focusing on the relationship between Din and Grogu.

Ack, I didn't realize that out of context of my past ten years of fannishness and fannish engagement the takeaway from recent critical posts would be "Bedlam hates Star Wars," let alone "Bedlam hates Rebels"!

Look, I love Star Wars -- I genuinely do love Rebels and TCW, I'm very fond of Resistance and most of the films, and there are other parts of the ancillaries (books, comics, games) that I love, like, and/or enjoy. There are other parts of the saga that I dislike, a lot of it that I'm pretty neutral on because I just don't care; there's very little that I outright hate. (There are things that I avoid because I know I would hate them; I won't read Dark Disciple because the old EU Republic/Clone Wars comics from Dark Horse were formative for me and I'm not really over how Quinlan Vos's story line got retconned for TCW and thus the novel, so I don't feel the need to rub my face in it.)

I think, especially with Star Wars, there's a tendency to think that people only complain because they dislike or hate whatever it is they're complaining about it. I don't talk about the parts of Star Wars I actually hate because I frankly don't see the point in talking about the stuff I have no emotional investment in, or where my emotional investment only is distaste -- that's why I'll almost never talk about the ST. (And why I've only talked about the back half of Rebels S4, which I do genuinely hate, a handful of times over the years: I don't want to think about the thing I actually hate.) I talk about Rebels and TCW because those are the parts of Star Wars that I love and because I occasionally want to dig into why there are parts of them that just don't work for me. (And I do realize that if anyone pays attention to what I reblog and don't it may come off as me not liking them particularly; 99% of the time I only reblog TCW or Rebels gifsets immediately after I've rewatched episodes, and I haven't been doing rewatches lately for various reasons.) Critique doesn't mean "I hate it," it means "I want to think about this more on a critical level." It means "I love the puzzle pieces, why does the way they were put together not work for me? How could they have been done differently so that it would have worked for me?" Like I said a few weeks ago, while I don't want to actively add negativity to the fandom, I also don't really want to sit down and shut up if something isn't doing it for me if otherwise I love the thing; I want to figure out why it doesn't work. This is the flip side of "if you can't say anything positive, don't say anything at all" -- I'm not talking to Dave Filoni or the other showrunners (and I would never say any of this to the face of anyone at Lucasfilm), I'm sitting here talking to myself and to my friends about why the puzzle pieces don't quite come together for me. (And the bonus of me putting it on Tumblr is that I can actually find it again, because sometimes I do want to go back and see what I said about XYZ.)

If I'm not actively talking about all the things I love about Rebels or TCW it's because I don't particularly feel the need to justify why Thing works for me, because I already know it works for me. Or because I spent the first two years or so of Rebels and big chunks of TCW doing episode liveblogs, which are on the back end of my "Bedlam watches Rebels" and "Bedlam watches TCW" tags, and I don't feel the need to come back and say "I love the way XYZ happened" six or seven times. Or because I think it would be obvious because I've written something around a million words of fanfic about the two of them. Or because I have three Rebels tattoos and am a Rebels cosplayer, which obviously I don't really talk about on Tumblr but is something that I personally know. I mostly have not talked about The Bad Batch publicly (and only a little privately) because mostly it's not doing much that triggers strong feelings in me one way or another, though I do have the whole "why are these puzzle pieces not working for me, how would I have put them together differently" feel about parts of it.

As for Mando specifically -- look, Mando's fine. I understand why it appeals to a lot of people, even if I am not one of those people. I don't particularly find Grogu appealing either on a character or an aesthetic level. I find that for me personally the show varies wildly in quality from episode to episode; I find it to be a little too clever about itself in how it deals with both the world, its plot, its place in the saga, and its characters in a way drives me up the wall. It hits a couple of really specific things that are huge do not wants for me and some of that is on a shallow note of "I don't like how they do their Twi'lek prosthetics" and some of it is "I don't particularly like the aesthetics" and some of it is a weightier "I'm confused about what the thematic points of the show are because they're all over the map" and yes, some of it is, "I don't like how Mando intersects or does not intersect with other parts of the saga." Or the way that it gets valorized for being live action rather than animated by a lot of the fandom and then gets elevated over the other parts of the saga that I care about the most (TCW and Rebels). I've talked in the past about how Mando genuinely made me feel gaslit, even if that was no one's intention and thus was not actually gaslighting; it just managed to hit on my specific issues. I don't talk about Mando that much because mostly I just don't care and when I do talk about it it's because it managed to trip into something I do care about.

And if I sound particularly cranky right now, it's because every time I say something critical and it starts making tracks out of my usual circles, someone comes in to go "wow! you must hate Star Wars!" or "wow! you care a lot about [aesthetic choice]! why would you care about that!" or "wow! you're an idiot for thinking XYZ would happen/not happen!" or variations thereof. I've been in fandom for twenty years. I've been in this fandom since George W. Bush was president. I know how it goes. I'm going to reiterate the post I made after the Mando finale:

in any expanded canon, people are going to have different deal-breakers on where they can suspend their disbelief and it’s not a judgment on you and yours if theirs is different than yours. nor does it automatically say something bad about them! it just means y’all have different priorities and that’s fine! neither one of you should be jumping down each other’s throat because their line in the sand is “this contradicts something in previous canon” and yours is “the CGI is unconvincing.”

I feel like I’ve been seeing a lot of condescension (rather than hostility, which tbh is par for the course in SW so I just tune it out) recently and like…people can have different priorities. it’s fine. they’re not stupid for having their priority be “I don’t like the prosthetics” when your priority is “character A was mean to character B.” don’t worry, Lucasfilm isn’t listening to any of us.

#this was the first thing I saw when I turned my computer on for Sunday zoom #so I am perhaps a LITTLE crankier than I would have been otherwise #sorry about that #bedlam replies

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neondrawsthethings · 4 years ago

Text

Uhm... Hey everyone lol. And welcome to my Danny Phantom & Flynn Fenton story.

I am alive, I’ve just been so busy with personal stuff and college. I mostly wanted to post this because I am an avid fan of Danny Phantom and I absolutely wanted to talk about the video Butch put out a few days ago with Danny having a “mysterious older brother.”

This has actually inspired me to write for the first time in a millennia and while I’m a bit late to the party and very nervous, I really wanted to make my own version of the story on top of expressing my opinions. So here we go!

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I don’t like Butch like most people in the Phandom but I just want to preface this by saying that I think that his idea for a mysterious older sibling for Danny isn't a bad one, but the execution of it was very poor. The issues I mostly have of it is that it messes up some consistencies with the show, it has plot holes and instead of making Jack and Maddie slightly incompetent with people's safety, it makes them out to be negligible criminals.

A Summary Of The Original Story:

The original story went that they had 3 kids, Flynn Fenton (who's age was not disclosed but he might have been about 10), Jazz Fenton who was 4 at the time and Danny who was 2. Jack and Maddie had created a uncompleted Ghost Portal that Flynn had turned on, wandered too close to when it somehow started working and was subsequently grabbed by a mysterious ghost from the other end. The portal suddenly stopped working afterwards. Jack and Maddie found out about this after reviewing security footage in the lab, which they coincidentally didn't have when Danny had turned into a ghost.

After the whole incident, they hid the fact that Jazz and Danny had an older brother for years and take their time getting the portal to work again so they could save their son. Years pass and Jazz suddenly has a dream about Flynn and eventually confronts their parents over what happened and they tell their kids everything.

As for Flynn, Butch goes off in a tangent about a ghost who was responsible for the uprising and rebellion against Pariah Dark. I forget her name, but it was edgy and she honestly looks like a cartoon concept design for Thor's sister in Ragnarok, but if she had a Spiderman appeal to her.

Anyway, once Pariah was sealed away in the Sarcophagus of Forever Sleep, she wanted to rule the ghost zone fairly and with justice. Or something. However chaos ensued now that the ghosts were free to do as they please without Pariah's wrath hanging over their heads. Over time, trying to keep balance in the Ghost Zone took a toll on “Thor’s sister” and she one day stumbled across and open portal and saw Flynn on the other side. She essentially kidnapped him and raised him to be her soldier for justice. Like the Winter Soldier.

The logic for this was that humans have ghost powers in the Ghost Zone. I mean, yeah they can fly and phase through things, but it was never actually mentioned whether or not humans had super strength in it. But go off Butch. Then he goes on to explain that in some reference to the Ant Man movie, over time Flynn just sort of gained powers as he became "one with the Ghost Zone" and became a powerful protector called "Exodus." Then Fartman went on to mention it was a reference for a machine in the Halloween episode.

So yeah, eventually Danny finds him and they've kind of got that dynamic of "I think you're the bad guy in this situation" when they aren't and duke it out until Danny eventually convinces this dude they're related. Oh yeah and Flynn had no memories of his human life.

Gonna be honest, I might have misremembered a few things but it’s honestly close enough.

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The issues I have with this concept are as follows:

⦁ Jack and Maddie have essentially been the direct cause for 3 people being harmed (and sorta killed) in some way by their Ghost Portal experiments. This doesn't even border on negligible at this point. It basically is, especially considering they should have learned not to let Danny near their experiments after losing their first son.

⦁ They come off as criminals considering they hid all traces and knowledge of Flynn from Danny, Jazz and most likely all family members and didn't even report his disappearance. They even had cameras in their lab and that honestly puts across the idea that they disabled them in case one of their other kids gets hurt.

⦁ There's already a ghost who considers himself to be the law of the Ghost Zone and it would appear that Butch forgot he created Walker for that exact purpose.

⦁ The female character who was responsible for putting away Pariah Dark honestly isn't well fleshed out. She can imprison the most powerful ghost in existence but is essentially useless at stopping lesser ghosts from causing chaos? Even if she did have help, how exactly was she capable of such a feat to begin with?

⦁ This messes with the cannon a bit considering there are some plot holes that can't really mix well with the established story.

I saw some of these concerns were also mentioned by the Phandom. Giving Butch the benefit of the doubt here, I don't hate the concept but I think it needs to be worked on more. I've read about what some people's opinions were and at least the ones that gave real critiques had some good ideas. Like maybe making the sibling either Jack's or Maddie's and it would have helped with their obsession of ghosts.

I have my own plot hole filled ideas with how this could maybe be told better. I'm not a storywriter and this might come off a little edgy, but man I love coming up with ideas. So here's mine:

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My Story:

After the incident with Vlad, Maddie and Jack decide that their ghost hunting days are over and resolve to live a normal family life. They have their first son Flynn, who had solidified their decision to quit ghost hunting and settle. After a few years, Jazz and Danny were eventually born and it seemed they had the perfect life.

One day while vacationing in a wooded area (location can change), Flynn had wandered not too far from the camp. Then a flash of light suddenly burst in front of him and he could see a whole other world. Jack and Maddie were alerted to the sound and ran towards where it came from. They gasped at what they saw and knew exactly what Flynn was staring into; a ghost portal.

Before they could yell for him to stay away, a hand suddenly reached out and pulled Flynn in, the portal immediately closing as soon as he entered. Maddie and Jack were devastated. No one believed them when they explained what happened to their son, and this incident became the catalyst for them to start their ghost hunting careers again.

They worked tirelessly for years to get the portal to work again. Jazz had eventually chalked up their obsession to being a coping mechanism because they couldn't handle the guilt of losing Flynn and were in denial that he was gone. Danny was more of a social outcast than ever because people assumed his parents had something to do with Flynn's disappearance.

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Now with regards to why Flynn was pulled into the Ghost Zone, I would actually like to think Clockwork played a hand in it. I watched the Blood of Zeus recently and I kind of wanted to play around with an idea that inspired this next part.

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Clockwork knows that Dark Dan was never going to stay imprisoned forever. The fact that he still exists, even outside of time, was an omen he needed to heed. So maybe he meddled with a few future possibilities. Maybe he tried to get Maddie and Jack to realise Ghost Hunting was something they shouldn't mess with after hurting Vlad, which led to their decision to settle for a family. Maybe... He wanted Flynn to exist for a purpose.

He was the one who pulled Flynn into the Ghost Zone. Clockwork told Flynn that he would be the key to saving the future from Dark Dan, but withheld information on who he really was until he was old enough. He taught him everything he needed to know on how to defeat Dark Dan and trained him over the years in combat.

Going off the idea that Danny is kind of really average in comparison to the rest of his family, Flynn is a technological prodigy. He created weapons that Vlad could only dream of creating and can utilise technology that puts Tucker to shame. Once he was old enough, Clockwork finally revealed who Dark Dan was and how he came to be.

--------------------

As for the fighting portion of everything, I'm honestly not too sure how I could go about writing it. Obviously they team up to destroy Dan for good and Flynn gets reunited with everyone. He might actually prefer to stay in the Ghost Zone and be Clockwork's assistant. Idk.

This is as far as I can go with regards to the story and it was super fun to write. Hope you guys enjoyed reading it too!

#danny phantom #flynn fenton #dp #flynn #I've never posted a real story online before #have mercy on me #lol #and I gotta say that the original story really felt attention grabby on Butch's part

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angelhummel · 4 years ago

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Hi, I'm the anon that said that Klaine was unhealthy in season 5. Some of their arguments were pretty normal but there were other things, like their actions in Tested (Blaine trying to manipulate Kurt into gaining weight, Kurt shutting down communication with Blaine and then getting mad that Blaine wasn't being honest, that gross fencing fight) that made me think they were unhealthy. Also, Kurt slapping that bag in the piano scene in 5x20 and Blaine yelling at Elliott were both kinda gross.

Anon 2: What’s weird to me is when people create this weird healthy or unhealthy binary. There is so much more to most relationships beyond slapping either label on it and calling it a day. Did both Kurt and Blaine do and say some shitty things? yeah. but that doesn’t make the entire relationship unhealthy. if you expect every person to go through life doing and saying all the “right” things that is.....unrealistic lmfao

Anon 3: I think what's also important to acknowledge w s5 klaine is that their issues were primarily w themselves, not the relationship. Kurt keeping his walls up and closing off existed way before Blaine was even a character. And Blaine had been a people-pleaser from the start. They both projected their issues themselves onto the relationship and that's why they struggled. Them together wasn't the problem, them working on themselves individually solved most of their relationship issues

-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-

I’m just putting these all together bc I feel like I’ve been talking about this for forever and while everyone is making points I don’t wanna keep talking about it for forever lol so I’m doing a catch all and then that’ll be it

Actually I kinda think the second and third anons answer the first but still. Once again I’m just gonna say that these are two teenagers and no matter how mature they seem sometimes, they’re going to do dumb teenager-y things whether we like it or not. Like am I the biggest fan of them getting too rough in fencing class? Or of Blaine confronting Elliott like he did? Or of Kurt calling Blaine a psycho? no one even brought that up i brought it on myself No of course not. It’s not like those are my favorite Klaine moments or anything, but it’s just them handling their own issues in a dumb and immature way. And they can be dumb and immature bc they’re 19 it’s fine they’re still learning and growing.

And honestly Anon 1 the fact that you said you like them in s6 just proves that they did learn and they did grow. And they had to have their rough and messy time to figure themselves and each other out. And without that then we wouldn’t have had the “healthy” times again in s6 so it was all working towards something. It’s a process, like I said before

And like 3 said how their issues are more within themselves than with the actual relationship. Like they both have normal problems that crop up in a relationship, and they sometimes handled them in less than brilliant ways. Because they’re still dumb teenagers and they’re allowed to make mistakes

But idk it’s like even with everything we’ve talked about, they’re still the best couple to me. On their own, and also in comparison to everyone else.

Blaine manipulated Kurt into eating a little extra at a time when Kurt was working out and dieting like crazy? Finn fed meat to his vegan girlfriend bc he forgot she was vegan. Santana manipulated Brittany into cheating on Artie with her lmao

Blaine went to yell at Elliott and it immediately deescalated after he got his feelings out? Finn physically attacked/beat up Puck, Jesse, Brody, Puck again, and tried it with Sam and Joe

Kurt hit a bag? Again, violent Finn and his constant furniture kicking which is brushed off as a running gag. Or Santana hurting Rory to the point bleeding after he was interested in Brittany

And like I’m not saying Klaine was perfect bc everyone else was worse. And I’m not saying you can’t critique the bad stuff just bc it wasn’t as bad as everyone else’s stuff. Idk man sometimes I just feel like Klaine gets scrutinized extra hard bc they’re like THE couple of the show meanwhile everyone else gets away with such bullshit?? Idk I guess I’m just explaining why these things don’t bother me as much but your feelings are still valid and you obviously don’t have to like those things about them but I do think that a few bad issues in the span of like 5 episodes isn’t the end of the world for a fictional tv couple

So yeah those are my thoughts

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sepublic · 4 years ago

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Productively Handling an Issue

A while back, I got an ask where an Anon felt like Luz deserved some degree of punishment for the book report incident, even if the Reality Camp WAS a bit much. I’ve also noticed some discussion of the potential danger of what Luz did. And thinking about it… Here are my thoughts, and how this connects to the show’s recurring themes as a whole;

I do agree that what Luz did WAS a mistake… But to me, it seemed like a fairly innocent and innocuous mistake. Definitely the worst thing she had done up until that point, but otherwise… Not something that needed too much punishment? Maybe even none at all… At the very least, the Reality Camp was going overboard.

It’s worth noting that those snakes are definitely Luz’s pets. Camila alludes to Luz having ‘reptilian’ friends… Not to mention, she and Principal Hal don’t bat an eye at Luz bringing the snake to the meeting and holding it in her bare hand! The implication is obviously that the snakes are Luz’s pets, and considering the kind of person Camila is… I doubt she’d let Luz have dangerous snakes as pets- At the very least, no more dangerous than a dog or a cat would be. Like I said; Her and Hal are completely fine with Luz bringing her snake to the meeting, in her bare hand; They don’t expect it to hurt them or Luz, and obviously this expectation is transmitted to Luz. To Luz, if her mother lets her have the pet snakes, then clearly they’re not dangerous; And if they’re safe for Luz, then surely they’re safe for other kids as well!

Luz probably disregarded the snakes biting other students’ hair as them just ‘playing’… Which DOES point to the snakes being mostly harmless. Let’s be real here, a cockroach crawling onto a person wouldn’t actually hurt them, but it’d definitely freak them out and make them act as if they were bitten… I speak from experience, and as someone who thinks roaches are low-key interesting creatures no less!

But of course, that’s still rather negligent on Luz’s part to disregard how other kids may feel. At the same time though –especially when one considers how she’s coded as ADHD- I’m willing to give her some slack because it really DID seem like a genuine, honest mistake… That Luz figured that if her mom and Hal were fine with Luz handling these snakes, what’s so different about other kids handling them? Definitely a mistake, but I think one that Luz merely needed to be informed of, rather than punished for.

Then there’s the fireworks… ALSO dangerous and wrong, but- Luz isn’t exactly a criminal (at least not yet she wasn’t). Last I checked, you can’t buy fireworks without being an adult –or at least older than Luz was- so this points to the fireworks being something that was already at home, and thereby accessible to her. Not trying to shift the blame towards Camila, mind you… I do agree that Luz did a genuine mistake, and Camila is a single, working-class nurse and likely away from home a lot, just so she can keep her kid fed. I can’t entirely blame Camila for not remembering to tell Luz that even if the fireworks are accessible in their home, they’re not to be toyed around with.

We don’t exactly know what Luz’s plans were, but I assume she planned to set them off outside. I don’t think she was hell-bent on setting the fireworks off, no matter what; She seems willing to stop when Hal and Camila indicate they’re a bad idea, so it’s likely that Luz just did not realize that they canbe that dangerous. I wouldn’t so much say that Luz was actively, apathetically disregarding the safety of others, as she was simply caught up in the idea of doing something that could dazzle and impress her classmates.

Again, that isn’t to say that Luz DIDN’T mess up… She made mistakes, let’s be real here! But the thing is… She really didn’t seem to know better, and when Camila and Hal DO tell Luz to stop; She readily agrees! Obviously they brought up the Reality Camp as a punishment beforehand, but based on what we see of Luz’s personality afterwards –even if one takes character development into account- I doubt she needed to be threatened in order to agree with changing her behavior.

In fact, I’m not sure if Luz even needed to be punished; At the very least, her ‘punishment’ would be something that focuses on rectifying the situation with those students her pets harassed. She’s not like Lilith, who willingly took chances with Luz’s life and risked it during her final duel with Eda, even if she probably thought Luz wouldn’t actually die! By contrast, Luz didn’t intentionally overlook the safety of her classmates, because she never realized/considered there was any danger to begin with… Impulsive, but understandable given her ADHD-coding, and certainly not dumb nor apathetic!

I think something very important to remember is that Luz does promise to change her behavior, to not make the same mistakes again! She really was willing to respond to criticism; Which makes it all the more painful when the snake, beyond Luz’s control, attacks Hal. That scene was honestly very uncomfortable to me; Luz didn’t even get the chance to change her behavior, to fix things, before she got punished! Luz immediately being sent to the Reality Camp for something that happened as a result of a prior mistake she was already planning to fix (instead of a new one she made after her promise), a mistake she didn’t even get a moment to rectify…

It just comes across as cruel, mean-spirited, and outright petty! Spiteful, even… Like come on, Luz made it clear she was going to change and fix things, or at least try! And Principal Hal LET Luz bring the snake into his office, and hold it in her bare hand right in front of him! Luz is just following the guidance of the adults, looking to them to tell her what’s right or wrong… If Hal let Luz bring the snake in and it attacked him, then he’s partly to blame for poorly mishandling the incident! He IS a principal, after all, he should know about de-escalating situations and ensuring the safety of everyone else at hand here, when kids can’t tell what’s dangerous or not. It’s definitely Luz’s fault for bringing the snakes to school, but it’s not her fault for bringing the snake into the office when Hal let her!

Coupled with how Luz was willing to change her behavior, didn’t even get the chance to, and how that snake was part of a mistake that happened BEFORE she made her promise… It all just comes across as more like a vindictive punishment to a kid, than an actual attempt to help them. And, I should preface that I’m no child psychologist; But even so…

I feel like Hal and Camila’s handling of the situation established a precedent for other problems we see in this show. Namely… Luz DID have a problem. She had a problem with genuine loneliness and not knowing how to make friends, not distinguishing reality from fiction at times, and thus disregarding others as an occasional result! Luz was clearly suffering from some issues and she needed help, that’s kind of a major point!

But the thing is… I feel like Hal and Camila (mostly Hal) didn’t address the problem in an effective manner? Which makes sense, given this show’s critique of the American school system… Luz definitely had issues of loneliness and delusion that caused prior incidents. But clearly, punishing her for those past incidents didn’t keep them from stopping… Which brings up the idea of addressing the symptoms of an underlying problem, and not the root-cause that’s causing them to begin with! Punishing Luz the first few times for her other incidents was like a band-aid, it made her stop doing those things temporarily… But she was still a kid who wasn’t taught how to differentiate fiction from reality, and so Luz was still prone to keep causing problems as a result.

I’ll give Camila some slack, she’s a single mother and a nurse, she’s no doubt incredibly busy. But I think this concept of recognizing that there’s an issue, but then either not actually addressing the root cause behind it, or worse, handling the issue in a manner that’s less than productive and just makes the person feel worse… This seems like a precedent established by our opening scene, which we then see with OTHER characters and conflicts later in the show!

We have Lilith, who recognizes that she cursed Eda! However, Lilith opts to wallow in self-pity and beat herself up for it, destructively tearing down her own self-esteem, instead of constructively fixing the actual problem by sharing the curse with her sister, or at least being honest about what happened! You have Luz and Willow helping Amity learn to be kinder and happier…. While leaving the implicit awareness that until the Blight Parents are addressed, Amity won’t truly heal.

Principal Bump saw Viney, Jerbo, and Barcus getting into trouble; But instead of addressing the issue of their unmet educational needs, he instead completely banned them from practicing magic in the Detention Track! And this is speculation, but it seems that Emira and Edric WERE concerned with how cold Amity was to other people, and seemed under the impression that their cruel pranks would somehow ‘lighten her up’- When instead they just made Amity feel even more miserable, and less willing to open up and reach out.

It’s a recurring trend- A destructive response to an issue, instead of something constructive and meant to fix the problem itself… It’s a ‘solution’ fixated on simply punishing and hurting someone as retribution for their mistakes, while the actual problem and its effects keep going on in the background. It’s ignoring a systemic cause behind these recurring incidents; Just as ignoring the Coven System and not dismantling it would be a fatal error, because even if people like Lilith and Boscha learn not to be so terrible… The Coven System will continue to enable and encourage other witches after them to do horrible things. And while individual accountability IS a thing, the show’s messages seem to point towards tackling systematic issues (either on a personal or societal level), before then having time to focus on the individual problems that came from them.

Camila was right; Luz DID have issues with differentiating fantasy from reality, of being lonely and unsure of how to handle social interactions, etc.! Just as Lilith recognized she made a mistake, Bump saw that the Detention Kids had caused trouble, Emira and Edric noticed Amity was becoming cold and cruel… But instead of constructively fixing the issue and addressing the root cause behind it, they instead focused on patching up the individual problems that spawned from this core issue, or even simply hurting and punishing the person ‘responsible’ for them.

Amity messed up when she was cruel to Willow, that much is clear. But piling on more cruelty towards Amity as retribution wouldn’t have helped- It wouldn’t have fixed her issues. It wouldn’t have given her the self-confidence to actually change her behavior. It would’ve just made Amity feel worse and more terrible, more self-loathing, and believe she was a terrible person who could never do things right- So why bother trying to make a difference?

The approach of Hal, to me, seems about as effective as slapping a band-aid over an injury… You’re addressing the symptoms, but what of the actual problem that’s causing them to spawn? And that’s even assuming he DID address the symptoms… His handling of the situation, overtly punishing Luz by sending her to the Reality Camp –again for a mistake that was literally and figuratively out of her hand- did not make things better, it likely would’ve just made things worse… Or at the very least, Luz would stop misbehaving, but at the cost of major emotional damage and self-loathing.

It’s a theme this show has been building up to; Learning to address problems in a productive, constructive manner, not focusing on punishing the culprit, but instead diverting energy into actually making things better! Making the ‘culprit’ feel worse isn’t going to fix things. And similarly, while individual accountability and incidents ARE a thing… If you really want to make a change, one must address the systemic, root-cause of the issue!

Just as Luz’s issues stemmed from loneliness and delusion, or how people like Lilith and Boscha were encouraged by the overarching Coven System… You can help Lilith be a better person. You can get Luz to not turn her eyelids inside out. But the core of the issue will still remain, and it’s going to cause other problems in the future; Such as Luz bringing the snakes and fireworks, or further generations of witches being indoctrinated into the Coven System’s elitism and abuse.

I might give Hal, too, some slack since he’s a principal and really busy… But then again his entire job is to look after kids and help them do well. But just as Lilith never bothered to consider why Eda still refused to join the Emperor’s Coven, even under the incentive of having her curse cured… I think Hal should’ve considered that something else was afoot that was causing Luz to repeatedly cause these sorts of incidents at school. If punishing her with detention in the past didn’t keep other issues from happening- Then what makes Hal think that punishing Luz again, with Reality Camp, will make things any different? When you have a hammer, everything looks like a nail. Instead of telling someone to stop doing something, maybe ask WHY they’re doing that? It calls back to when Luz posed this question to Principal Bump, who initially dismissed this as him ‘not caring for the ins and outs of rascality’- Although of course in HIS case it’s understandable because he DID know and empathize, he was just afraid of the Emperor’s Coven for a good reason.

However, just as Lilith should’ve realized that the same old promise of curing Eda’s curse and hiding the truth wasn’t going to fix things, that maybe it was time she tried a different approach… I think Hal should’ve also recognized that repeated detentions weren’t stopping Luz’s misbehavior, at least not in the long-term. He should’ve tried a different approach, and he DID… But it was a worse one. The Reality Camp would’ve just screwed over Luz and likely traumatized her, getting her to stop causing trouble but at the cost of her identity and self-esteem; Or making her SO self-loathing and desperate for loneliness, that she does worse things for attention!

And again… I have to wonder if Hal isn’t entirely to blame, if he himself is also dealing with the underlying issue that is the American school system, which he probably grew up in. And that all ties back to a major lesson of The Owl House; That just as the Coven System needs to be addressed, so does our education system! Maybe it’s not the kids/witches who are intentionally screwing themselves over and messing themselves up, maybe it’s actually the system…!

TL;DR Luz definitely had issues. But not only do I think we’re exaggerating her maliciousness/carelessness in this situation, but also we need to consider what was actually causing these repeated incidents… And similarly, Camila and Hal definitely recognized that there WAS a problem, potentially responsible for all of the incidents- But they didn’t handle it any better than Luz did, and would’ve just made things worse. And honestly, with how messed-up the system is back home, those two aren’t entirely to blame for their faulty approach, either…

#the owl house #owl house #the owl house luz #luz noceda #the owl house camila #camila noceda #the owl house lilith #lilith clawthorne #the owl house amity #amity blight #the owl house bump #principal bump #hieronymous bump #the owl house hal

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ghostiesblog · 4 years ago

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happy 100 followers!!!!!!!!! could you write a small flarrie secret admirer drabble? if not that’s totally ok!! congrats again!!!

Thank you anon!!! This is NOT a small drabble lmao I have no concept of doing anything in moderation. Might even edit it a bit in a while and post it on ao3. Thank you for the awesome prompt. Here ya go:

I'm not magical, I can't read your mind

Pairings: Flarrie | Warnings: none

There’s a rose on Flynn’s desk. There’s a rose on Flynn’s desk. And she has no idea who put it there.

Well- she does know who put it there, she knows that it’s Nick’s job this year to distribute the Valentine’s Day roses and messages, a school tradition that Flynn normally despises and mocks to no end. But someone must have bought the rose, addressed it to her and handed it in and Flynn absolutely cannot fathom who would do that for her.

Definitely not the person she wishes this was from. But now is not the time to think about that.

Almost frantically, she scans the rose for an attached message, or at least an indication about who the sender is.

Nothing. In fact, it looks like the cardboard tag has been ripped off, leaving only the corner with her own name, attached to a piece of string.

“Ooh”, Julie says, waggling her eyebrows, when she spots Flynn puzzling over her flower. “Who’s this from?”

“No idea”, Flynn says, dragging her thumb across the jagged edges of the destroyed tag. “No idea…”

Later in the hallway, Flynn tries her best to stealthily transfer the rose from her backpack into her locker. She fails, obviously, because she when she looks around she catches Carrie blatantly staring at her from a few feet away.

“What?” she snaps, irritably. Yes, Carrie has very clearly been trying to be nicer to both her and Julie, but Flynn is still weary of this new found peace.

She also might be a bit annoyed simply because she got a rose and it isn’t from Carrie.

Immediately, something in Carrie’s posture changes and her face scrunches up.

“Nothing”, she says. “Just wondering who’s stupid enough to send you a rose.”

Flynn feels like she’s been punched in the chest. “What’s that supposed to mean?!” she says incredulously.

“Don’t you hate valentine’s day?” Carrie asks and now Flynn is just confused. Why does she still remember that?

“It’s anonymously”, Julie chimes in unhelpfully. “From a secret admirer”

She sings those last words teasingly, like she’s done all the way through English lesson. Like she has any room to talk with the songs Luke and her write about each other on the daily.

Carrie raises an eyebrow, seemingly unimpressed.

“Someone sent you a rose and didn’t even write their name? That’s so stupid.”

“It’s not-“, Flynn starts and then breaks off. Why does she suddenly feel defensive over this anonymous sender?

“Sounds like a coward to me”, Carrie says with a sickly sweet smile before turning away. “See you in music”, she calls and disappears down the hallway.

“What has made her revert back to demon today?” Julie says, sounding as confused as Flynn feels.

Flynn doesn’t expect any follow up after the rose on Valentine’s Day. It has been fun coming up with more and more wild theories with Julie and the band (the latest being that it’s a ghost who has fallen for Flynn when they saw her setting up the lightshow at the Orpheum), but to Flynn at least it is clear that that was the end of it.

So when she finds a small envelope on her desk the next morning, it takes her a bit to figure out what’s happening here.

Inside, she finds a small piece of paper with, curiously enough, words clearly written by a real typewriter on it.

To: Flynn

I’m sorry I’m a mess,

But you simply make me speechless.

I couldn’t let you go without a note,

After I trashed the first one I wrote,

So let me just say, though this is nothing new,

I seem to have hopelessly fallen for you.

When Carrie catches Julie and Flynn pouring over the poem during lunch while walking past their table, she scoffs.

“A bit cliché, don’t you think?”

Flynn scowls and hides the note with her hand. “Go away Carrie”

“The meter’s off”, Carrie says haughtily before stalking off.

“How did she spot that so fast?” Julie exclaims incredulously.

The next note shows up in Flynn’s bag while she’s working on a Spanish presentation with Nick and Carrie.

Roses are red,

Violets are blue,

I like your music,

And your rapping too

“Now that’s just tacky”, Carrie says, while spying over Flynn’s shoulder.

Flynn rolls her eyes.

Flynn,

No poem today, just wanted to say that your smile made my day.

“They’re not even trying anymore, are they?” Carrie mocks.

With your gentle soul and your kind eyes,

You chase away the clouds in the skies,

Never met a person, so loyal and strong

And anyone who had you, would be a lucky one.

“Skies? This sounds ridiculous!”

Flynn curses the fact that Carrie keeps seeing these.

I’d write you a song, but no melody is beautiful enough to fit you.

Even Julie calls that one cheesy but for once, even though she sits right there with them, Carrie has nothing to say.

Flynn looks on confused while Carrie scribbles into her notebook with a pinched expression on her face, pen gripped so tightly that it looks like it might break any second.

“She needs to finish this new Dirty Candy song by tomorrow”, Nick explains.

“Yeah and I hate everything I write the second it’s on the page!” Carrie growls, clearly completely lost in whatever she’s dealing with.

I try to tell you every day,

But you just take my breath away

These rhymes seem silly and never enough

Forgive me, I am blinded by love

“Coming on a bit strong there.”

And she’s back.

Hi Flynn,

I think I’m giving up on the rhyming- It’s a bit strange, isn’t it? Also I swear I’m not a stalker! Just a girl who likes you a lot and is too scared to tell you.

You looked so pretty at the dance yesterday, and you were awesome as a DJ- you always are.

“Surely you must be fed up with this nonsense by now?” Carrie asks, when Flynn passes her on her way out of the classroom, the newest note folded neatly in her hand.

The thing is- Flynn is annoyed. But not exactly by the letters. Her secret admirer is sweet and earnest, seems to love music as much as Flynn and all of her friends do and the little poems always brighten her day.

What’s annoying is that she still can’t figure out who this mysterious person with a crush on her is. And that the person she wishes it was is intend on mocking the whole thing to the best of her abilities.

Every time a new note shows up, Carrie is there, ready to tear it into pieces with pointed words and vicious critiques.

Flynn tries to not let it affect her too much. Otherwise, Carrie has been perfectly civil, friendly even and it feels like a bit of their old friendship is restoring, slowly, piece by piece. And what she says about the letters is mostly directed at this person that none of them really know, not at Flynn herself.

It still feels personal, somehow.

Flynn,

I had a bad day today, but you were really nice to me. It made it all a bit better. Thank you.

It’s when Carrie one day snatches one of the notes right out of Flynn’s hand to call it “embarrassing”, “awkward” and “clumsy”, that something in her just snaps.

“You know what Carrie”, she says, loudly, almost shouting it even, “can you, for once, just keep your unnecessary comments to yourself?”

Almost immediately, Carrie’s arrogant smile falls and Flynn uses the moment of surprise to steal back her piece of paper.

“You’ve been so mean to this person. I don’t know what your issue is here but I need you to back off on the attitude. I might not know who this is from, so I don’t even know if I like whoever is writing these but I like the letters.”

Carrie looks absolutely shocked, completely frozen in place, her jaw clenched tightly. Good.

“Yes, they might not be perfect”, Flynn barrels on, “but they’re honest, and raw and so, so kind and I can tell that they come from the heart and isn’t that the most important thing?!”

Without waiting for an answer, Flynn picks up her bag that she leaned against the lockers when she discovered the note and brushes past Carrie. She knows she’s a bit too worked up, but it has been a trying week.

Only a few moments later she realizes that she saw tears forming in Carrie’s eyes.

In Spanish class, Flynn notices the glaring absence of Carrie in the seat in front of her and a little bit of guilt starts building up inside of her. She has no idea what’s going on, but something clearly is up so after their teacher finally lets them go, Flynn goes on to try and find Carrie.

The music room is one of the first places Flynn thinks of and sure enough, she can hear gentle piano notes and Carrie’s voice singing very quietly drifting through the slightly cracked door.

Before barging in, Flynn stops short when she recognizes parts of the lyrics. Is that- one of the poems she received only a week ago?

Slowly, she tiptoes into the room. What she sees is Carrie, cross-legged at the piano, bent over her notebook full of scribbles that she’s clearly reading from and that somehow contain parts of the poetry that has been a big mystery to Flynn and all of her friends for so long. Just now Carrie’s singing the words that are undeniable not just poems, but song lyrics, and she has added onto them and-

Flynn doesn’t understand anything anymore.

“Carrie!” she says, before she can stop herself. Carrie flinches and bolts away from the piano, the chair clattering down to the floor in the process.

“Flynn”, she breathes, looking terrified.

“I-“, Flynn stutters, “What’s going on? Is this some kind of prank?” She doesn’t think she could take that.

“No!” Carrie yells and immediately winces at her volume. “No, I would never do that to you”

“Then why-“, Flynn is getting more confused every second, “you wrote those? I thought you hated- the notes, I though you hated the notes”

To her horror, Carrie is now actually crying.

“I do hate the notes, I mean I feel so stupid, you hate Valentine’s Day and then I send you a rose, but I just- I like so much and I didn’t know what to do and I wanted to tell you but I couldn’t and then I wrote you those notes but they always sounded so stupid to me”

Carrie is full on panic rambling now and Flynn is barely processing all this new information that is thrown at her.

“I just couldn’t stop myself and then you said you actually like the notes? But I know you’d never like me, as a person, I mean I am awesome as a performer but horrible as a friend, let alone as a girlfriend and-“

“Carrie-“, Flynn tries to intersect, “Carrie!”

Carrie stops and finally looks at her, wide eyed.

“I do like you, as a person”, Flynn says. Her heart is beating out of her chest but she is not letting this go.

“I- what?” Carrie looks as confused as Flynn felt just a minute ago. “You do?”

“Yes”, Flynn says and now she can’t stop the smile on her face, “I really like you. Actually, I always wished those notes were from you.”

Carrie blinks. “You. Okay. Okay. Um- I really didn’t-“

Flynn laughs. “Deep Breaths Carrie.”

“I don’t really know what to do with this now, I’m not good at all this”, Carrie says, waving her hands around but she’s smiling too now, wider with every moment.

“How about a date? Milkshakes?” Flynn asks and she doesn’t even feel afraid anymore.

“Yes”, Carrie says, her eyes sparkling with happiness. “I’d love that.”

#jatp #julie and the phantoms #flarrie #flynn jatp #carrie wilson #fic #writing #prompts

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chocopvffz · 4 years ago

Text

My Problems with Fandom

It’s been a while since I’ve kinda just let out my thoughts and feelings on this stale hell site. It’s just now more than ever I’m having the weirdest realizations while I’m participating in any Fanbase. This topic may piss ppl off. But to that, I say fuck it, I’m gonna do it.

Around 2 years ago I took a backseat to actively participating in fandom. So I’d be more of an onlooker rather than someone who contributed. Just reblogging stuff rather than making my own content. Usually in fandom, things are said in the heat of the moment, with little thought and more emotions. Taking a step back I started to realize that while that’s fine in and of itself, You’re entitled to what you like and what’s interesting to you, but I’ve realized that people kinda settle for the bare minimum. Especially now that representation for marginalized groups is becoming the norm. Which is great, but there are still problems that plague us as a community.

I just finished watching Unicorn of War’s video on RWBY, and they delved into the absolutely garbage writing that surrounded The White Fang subplot. I highly recommend you watch the video, it’s about the bad representation of minority oppression and how it relates to RWBY as a whole. While this post doesn’t stem from that in particular. what did was though is how UoW confessed that they were guilty of completely ignoring how harmful the writing was for pocs, as well as downright silencing and downplaying poc that had a problem with the writing. Unicorn of War is not racist, the fact that they realized the type of systemic racism they’ve been inadvertently spreading is so harmful is a a step in the right direction. Here is where the problem lies. UoW said that they were a perpetrator of this because they were to focused on the representation the show did give the fans. They said that they lumped all of the genuine criticism of the problems with homophobes and bigots because they didn’t want to hear any of the criticism at all. RWBY has some pretty shit representation in ever field. UoW said that they were settling for the stuff they did get because they get so little, and their whiteness blinded them to listening and trying to understand why so man poc had an issue with the show.

Basically what I’m trying to say is that, a lot of the time In Fandom, ppl would rather settle for what they do have and what caters to them, rather than criticize a product of its faults and ask for more.

I’ve been scared to talk about She-Ra because the fandom is pretty scary. I liked the show. To me it wasn’t anything special. But it was a fine show, and I can’t wait for what the crew does next. But here’s where a lot of the issues come from for me. There are some problems both w/ the show, and the representation. Catra and Adora have been queercoded up until the very end where it does get revealed that they are in fact lesbians. Which is great and all but at the end of the day. They kiss at the very end of the last episode, nothing was explicit before then. But the thing is that Catra is an abusive manipulative person, that kinda just gets a pat on the back, and all is forgiven when she realizes she’s alone(both in the fandom and the show). I mean glimmer got more hate than Catra. The point I’m trying to make is that I’ve seen way to many ppl ignore the fact that they side stepped the development of Catra and Adora, and kinda get mad at the ppl that criticize that we could have gotten better rep. For a lot of the fans, at least from what I’ve seen, yall are okay with the problems the show has as long as you get some form of rep. Which is valid, but when that complacency spills over into silencing ppl with criticisms. This usually happens when someone has had another experience with the show where the thing that represents them isnt done as well. it rubs me the wrong way. Someone could see Catra’s behavior, liken her to a toxic person they knew, criticize how the show kinda ignores that. I can bet that some ppl would tell this person that they’re wrong, because she ended up where she did at the end.

This brings me to my last example, during my watch of Infinity Train, I started getting a little bit more involved in the fandom; reblogging, commenting. During the show I noticed a small amount (larger than I would have liked) making passive aggressive remarks toward Grace (the only black girl and protagonist of the season). They were all in regard to her having a redmeption arc. At first I was kinda in denial. Like most ppl are immediately after suffering an injustice, cuz despite her being an awful person at first. She gets better. And there are so little black women that are protagonists. I felt represented. But then I’d see ppl demeaning her in order to make her friend Simon (basically the antagonist) more sympathetic. Mind you he’s white. And after the show ended I had a weird encounter. There were many posts about how enthralling it was that Grace, a black women, telling Simon, a white man, that his problems were his own, and she doesn’t have to be the one to fix them. Most of the ppl that made these posts were woc. The show isn’t about race, but the fact that the character is black resonated with a lot of ppl.

Under ever single one of these posts, I saw multiple people, getting weirdly angry at them. Like “this has nothing to do with race, why are you bringing it up here.” Which I guess is fair, but no one says it as much to ppl when the post is about sexuality. So getting fed up, I responded to one of these ppl explaining how odd it is that the characters that get really popular are always of the same archetype. White Sad Boys, it’s the same with ships. Instead of critiquing the show or anything I wanted to call attention to subconscious biases in fandom. The person accuses me of calling them racist, tells me that race isn’t an issue in fandom, and tried to gaslight me into thinking that what I was talking about doesnt apply to how ppl choose who their favorite character is.

This issue here isn’t about the race, or the actual content in the show. It was about the person telling me that the empowerment I and other woc experienced while watching infinity train s3, doesn’t exist and we shouldn’t criticize ppl putting her down in order to uplift the antagonist.

Which leads back to the point I’m trying to make. So many ppl in fandom settle for whats there instead of trying to make things more representative of everyone. Representation can always get better, we just have to stop fighting ppl that give constructive criticism to the things we like.

And I’m completely guilty of this too, that’s why I took a step back. I don’t like silencing ppl when they try to criticize something that resonates with me. So I try to sit back and let them tell me what can be done better based on their experiences. I’m still struggling. I’m pretty sure I was ultra defensive with the person telling me that race doesn’t matter.

This happens a lot more with white ppl than it does with people of color. And this isn’t a dig on any white person at all. It’s just that white have a vastly different experience than a poc. A white LGBT person is going to have a completely different experience than a black lgbt person. Just like a cishet white person is going to have from a poc cishet person. And since we have different experiences, there are aspects of my life you won’t understand and vice versa. An abuse survivor is going to be more equip to tell us what works better than other things in a story that tackles those subjects. You see what I mean.

I just want everyone to take a step back and consider the criticism that is being made. And try to understand why this person may see it that way.

TLDR; We need to stop silencing marginalized ppl just because they criticize things we relate to, especially when it pertains to their experiences. It’s settling for the bare minimum when we deserve better. Just because we’ve got a gay character doesnt mean the show is perfect. It happens way more than we think. Especially now more than ever.

Sorry this is so long, and full of typos. I just needed to rant.

#she ra spop #spop spoilers #she ra princess of power #infinity train #infinty train spoilers #rwby v7 #rwby volume 8 #rwby #queen of typos #just getting my thoughts out

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ianenjoyer · 4 years ago

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I believe that that main problem with Shameless is that they’ve fully lost connection to the very roots of their show and are relying on two types of people to get views.

First you have people who genuinely enjoy the problematic satire comedy thing the show has going on right now (a lot of whom are probably people that agree with characters like Frank and don’t view it as satire but instead as a validation of their ideals) and are watching the show very casually.

And second, you have people who have an emotional connection to the show and are only watching because of their love of the early seasons and the world they built.

The issue is, this doesn’t work on both levels if you’re measuring in terms of anything meaningful and not just the amount of views. For example, if you look at this in terms of the integrity of the show and whether they were able to stay true to the characters, storylines and dynamics that were set up in early seasons, the answer is a resounding no (with a few exceptions). This means that they’re relying purely on the reputation of the early seasons instead of creating anything new, which is simply bad writing and lazy storytelling. They’ve almost completely abandoned the character-driven plots of the early seasons for plot-driven characters, effectively eliminating the emotional factor that used to define the show.

On the other hand, their increasingly outlandish “satire” is failing to do what they want for a number of reasons. First of all, like i said, i believe a good number of casual viewers of the show don’t watch the show critically (like you should watch a satire) and instead take it at face value, which immediately removes any nuance and just enables people who share the views of more problematic characters like Frank. Second of all it alienates the people who have an emotional connection to the show because, like i said, they are still watching for the same reasons they started watching the show in the first place, and the show simply isn’t like that anymore. It used to be a satire comedy, yes, but the type of satire they’re centering the show around now was not present (to this degree) in the early seasons. The difference is the small-scale critiques about subjects like alcoholism, mental illness and living in poverty were really effective and the large-scale social and political commentary comes off as tone-deaf and trivializing more often than not.

But the fact is the show is still getting views and relatively favorable ratings, meaning that they’re still making money off of it. This goes to the root of the problem which is that many tv shows, not just Shameless, have become about relying on shock value and loyal fans to make money instead of actually creating meaningful art and maintaining the integrity of the media they’re creating.

#this is so obnoxious i’m sorry #it’s just something that’s bugged me forever not just s11 #and not just about shameless either #here you go anon thank you for enabling me #shameless

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bwprowl · 4 years ago

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Me vs. The Mitchells vs. The Machines

The Mitchells vs. The Machines is a really cool movie. Seriously! It’s the Spider-Verse crew continuing to be at the top of their game, doing their damnedest to elevate and evolve 3D film animation in a way apart from the ongoing Disneyfied edge-sanding seen elsewhere. Several sequences, especially the final fight scene at the end, are absolutely jaw-dropping. A lot of the writing of the movie is also genuinely clever, with some cool tricks of weaving in Chekov’s Guns that you don’t even realize WERE Chekov’s Guns until they’re deployed, but then make perfect sense. And I also just have to say there’s something oddly heartening about a movie that does a lot to target Millenials in terms of nostalgia, but not so much via our shows and movies and music the way other project might go about, but specifically by tapping the internet meme culture of the early-00’s that’s so media-unique to that emergent generation. There’s some genuine heart visible in so many of the levels of how this thing was made that I can understand its touting as an instant classic and the waves of praise and popularity that have followed its release.

Unfortunately, I can’t so unilaterally praise this movie, mostly because I can NOT stop thinking about how poorly-implemented and mis-framed its central familial conflict is.

Oh yeah spoilers for this movie I guess

So I’ll need to detour at first and talk about A Goofy Movie, which isn’t much of an issue for me since I fucking love A Goofy Movie. And watching The Mitchells vs. The Machines my initial takeaway was a pleasant observation that someone had basically grafted A Goofy Movie to The World’s End, which could have made for an extremely fun time for me. A Goofy Movie, so it goes, centers on the conflict between a father and child trying to understand each other, spurred on by the father conscripting the child into an impromptu road-trip which the child initially resents but eventually leans into as a vehicle for understanding as the family members open up to each other and end with a greater appreciation for their familial bond as well as healthier, more open lines of communication. There are comical misunderstandings, dramatic misunderstandings, and escalating Wacky Adventures that keep the trip feeling suitably cinematic in scope. And as The Mitchells vs. The Machines continued on, I kept finding myself rounding back to that comparison and asking “Why am I not getting into this as much as I do A Goofy Movie?”

It turns out to be a point of motivation, actually. In A Goofy Movie, Goofy dragooning Max into the cross-country fishing trip is immediately borne out of his (however misinformed) desire to keep his son from going down a wrong, potentially delinquent or criminal path. Goofy has concerns about the lessened connection and communication with Max, sure, but that’s a symptom of his inability to communicate his actual worries about Max’s behavior to him, not the sum total of the problem he feels needs fixing. Goofy is under the impression there are genuine problems Max is going through, and while he’s got the actual particulars wrong, he’s not really that far off, since Max still IS the kind of kid to elaborately hijack a school function or make up extravagant lies to get attention from the girl he likes rather than just talking to her and asking her out like a normal human-dog-person. Goofy’s objective is firmly centered on helping Max for Max’s sake, and he’s only taking up a few weeks out of Max’s summer and causing him to miss a single party in order to do it.

I lay all that out so you can try to understand my headspace coming at critiquing The Mitchells vs. The Machines and negatively viewing its own take on a plot concept I ostensibly love by default. The problem, as said, is one of motivation. In The Mitchells, Rick’s dissatisfaction with his relationship with his daughter Katie is purely that: Dissatisfaction with their relationship. Katie herself is, by all accounts, doing spectacularly. She’s got a healthy relationship with friends and other family members, she’s gotten accepted into a prestigious film school, and her YouTube account seems to pull pretty keen numbers (With all the tech jokes in this movie it’s a wonder there’s never a riff on her shilling NordVPN or Raid Shadow Legends). The conflict between father and daughter is purely a case of them growing apart in her teen years demonstrably because Rick has no understanding of her current passions and makes no effort to do so, which leads to him having consistently questioned and doubted her ability to succeed in her field. The film frames the impromptu road-trip as his attempt to ‘fix’ the issues between them, but the only thing broken by the presentation of the story is Rick’s approach to parenting in the first place. He could easily have made Katie warm to him on the way out by replacing or paying for the laptop he broke and throwing her a subscription to her YouTube channel, but then the movie would be shorter and we wouldn’t be able to pretend the conflict was anything other than his own pursuit of self-centered actualization.

That’s the other issue, of course, the way The Mitchells vs. The Machines consistently rounds back to the point that Katie is somehow shouldering half the responsibility for the father/daughter communication breakdown. But as stated above, it really has hardly anything to do with her. Katie’s succeeding on her own terms, and the only outreach she would theoretically need to do to her dad would be to make HIM feel better, something he could do himself if he’d only actually pay attention to the cool videos she keeps trying to show him and not constantly deciding that HE knows that SHE will fail. It’s a fundamentally one-sided conflict from what we’re shown, and yet the other members of the Mitchell family continuously treat Katie like she needs to accommodate her father’s personal whims and not hurt his feelings despite the fact that he’s the one who went behind her back and canceled her flight, even forcing her to miss her first week of college (!) simply because he felt sorry for himself that they didn’t like the same things anymore. Again, Katie’s doing great, it’s Rick that decides to make his problem the entire family’s problem, and while I’m going to hesitate to refer to this behavior as out-and-out abusive, it is still absurdly selfish and pointedly poor parenting.

The movie seems to nominally strive for balance in the conflict, not making it entirely Katie’s job to fix her dad’s hurt feelings, and indeed having a whole sequence where he realizes what a Big Jerk he’s been about not trying to understand or support her passions, and resolving to actually Make An Effort moving forward. The problem is that this is still framed as one half of the equation, as Katie supposedly gets to understand where her dad is coming from, which...makes her feel better about all the times he said she would fail and so she should rely on and appreciate him more? And the reason that’s a fundamental issue is annoying, because it means we have to talk about Rick’s Stupid Fucking Cabin.

Look, I hate doing this. I personally try very hard to keep in the mindset that stories are stories and things happen in them because they are stories. I am loathe to attempt picking apart the points of particular plot points, but the problem is that this Stupid Fucking Cabin is positioned as the heart of the humanity of the entire movie, yet it hinges on a sequence of decisions that no actual human being would ever come by. First off, do you have any idea how long it takes to BUILD a home like that, let alone as one guy apparently doing it himself? Rick spent the better part of his twenties building this big Fucking Stupid Cabin to fulfill his lifelong dream of ‘Living in the woods’, only for his wife to get pregnant once it was finished, leading to him just dropping like that? Was there no planning in this family? Was Katie an accident that Rick immediately was this endeared to? I mean, he totally seems like a pro-lifer. But then why do they need to sell the Stupid Fucking Cabin on account of a kid coming along? How were Rick and Linda planning on living out their lives there if not with resources that could support them as well as a kid or two? Rick could have just raised his kids in the woods in his Stupid Fucking Cabin and they would have stood a better chance at turning out like little duplicates of himself and his own interests like he clearly wanted. That’s to say nothing of this sequence of events being framed as a ‘failure’, despite that fact that Rick handily succeeded at what he set out to do, only to turn around and abandon the thing he succeeded at himself on seemingly the same sort of impulsive whim that leads to him dragging his whole family on a road trip because he doesn’t understand YouTube. There are motivating factors to these decisions he made that could inform the whole context of this supposedly tragic backstory, but we aren’t privy to anything resembling them, and the result is a plot point that seemingly only exists to make Katie (and the audience) feel bad for Rick in the third act of the movie.

The real answer is the ultimate assertion of this thing by the finale, that Katie should be ‘grateful’ to Rick for his ‘sacrifice’ of his dream that supposedly allowed her to be in the place she is now. Except Katie had no part in Rick’s bizarre impulsive choice to build a Stupid Fucking Cabin then sell it as soon as a kid popped out so he, I guess, could feel some sense of important familial contribution. That’s to say nothing of the point about parental figures who make grand, sweeping gestures nominally for the good of their kids, but are effectively and emotionally unavailable in the day-to-day engagements of their lives. Because unlike Goofy in A Goofy Movie, Rick isn’t actually doing what he’s doing for Katie’s sake. Her motivation for most of the movie is to move away from home and go to college, a completely normal-ass thing that children do. Any of Rick’s outreach or efforts to ‘fix’ relationships and situations are purely for the sake of his own hurt feelings, and the way Katie’s mother and brother consistently push her into going along with them only highlights the overt way this whole family’s problems are hung up on the insecurities of of this single stubborn jerk. But then, that’s my other major misgiving with The Mitchells vs. The Machines: Its expected exaltation of the default biological family as some hallowed unit for which it is a tragedy to fall into any degree of dysfunction. This is with pointed dismissal towards the idea of Found Family, seen as a distraction, an obstacle to Katie realizing who her TRUE people are, and coming around to a sense of fulfillment because she managed to massage her dad’s ego for long enough that he stopped being totally dismissive of the things that brought her joy. You see, Found Families are fun, but they aren’t REAL or SPECIAL because they already accept and appreciate you for who you are, unlike these people you’re biologically obligated to share living space with for 18+ years whom you have to forge bonds with through varying degrees of communication breakdowns and compromises in self-agency.

With all that in mind, it highlights some of the smaller issues in the movie’s setup as well. This is perhaps petty, but jeez was I annoyed with the film’s framing of The Mitchells as this ~craaaazy~ ~weeeeiiiird~ family which included such outlandish quirks as ‘Dad who doesn’t understand technology’ and ‘Young boy who really likes dinosaurs’. And the wishy-washy tone of the familial conflict is echoed in the ‘The Machines’ part of the plot, which mostly led to me sitting on edge throughout the whole film as I wondered how it was going to come down on the subject of those kids and their darn smartphones. It ultimately doesn’t go full anti-technology, which makes sense given how much of Katie’s character revolves around using the stuff, to say nothing of the predilections of the people who actually, uh, made this movie. But the most it can manage is a halfhearted “Maybe unregulated big tech bad?” which even then is undercut, mostly I assume because of the various big tech companies involved in producing and streaming this thing. Don’t get me wrong, I’m overall glad it doesn’t go full "durr hburr technology is bad fire is scary and thomas edison was a witch", but a lack of any insight or ideas on that front means that the familial relationship element is the only conceptual element it really has to stand on, and I just spent over 1800 words breaking down why that fundamentally didn’t work!

It’s an aggravating situation, because lord did I want to love The Mitchells vs. The Machines. It’s gorgeous, it’s got some clever bits in the writing, and it can honestly sling a punchline like nobody’s business, there are some KILLER jokes in there. But it just became impossible all the way through the end for me to engage with the heart of the movie, its central connective conflict, on the terms it wanted me to. Now it’s admittedly possible that, perhaps like Rick Mitchell, that’s my problem. I’ve seen a lot of love for this movie from my peers, and it does make me question my own projections: I don’t want to get TOO personal on main, but I admit that it’s entirely possible that people who’ve enjoyed an actually functional fatherly relationship would better engage with the emotive connections this movie wants you to make. But even with that caveat, I was able to find my own way to resonate with the similar stakes of A Goofy Movie just thanks to the more effective way that one was framed, so if this one couldn’t hook me, maybe it was The Mitchells vs. The Machines’ fault after all.

#the mitchells vs the machines #the mitchells #movies #criticism #rant

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dukeofonions · 5 years ago

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A Lack of Criticism and the Upcoming Video

Putting this under a cut because it gets long.

Something I’ve noticed about the Sanders Sides series is that no one ever seems to criticize the content itself. Whenever a new video is released, it’s immediately showered in praise and adored by the fan base. Especially when it’s been a long break in between content and we’ve all been desperate for a video. We’re caught in the rush of having something new that we immediately latch onto it and this thing has now become the most sacred thing in the fandom.

Now this isn’t always the case, I know some people found Logic vs Passion (I am not typing that monster of an acronym out) to be lower quality. It seemed rushed, the jokes weren’t as funny, no one seemed to really be in character. Which I agreed with the first time around, and it was a shame because it was the first episode to give Logan and Roman the spotlight, and I was so excited for two of my favorite characters to finally get their own episode. Only to not enjoy it as much as I’d wanted to.

Besides that, other notable criticisms were about Selfishness vs Selflessness which pertained to the questionable lesson that we learned, but this seemed to be intentional on the writers’ part and left the fandom to debate among themselves while we waited for the second part to arrive. Really, the most negativity wrought by that episode was the beginning of the fandom’s “Unsympathetic Patton” debacle.

Which, didn’t have much to do with the episode itself, as it became more of a fandom thing.

What I’m getting at is no one ever criticizes the videos directly. The story, dialogue, effects, none of that is ever looked into or critiqued. And as someone who loves to self review movies, books, music, etc. I find this odd because there is a lot of good and bad to be found within the show. In this case, I’d say the good outweighs the bad, and while I enjoy this series a lot, if someone who hadn’t seen it before asked me to describe it this is what I would say: “It’s a bit corny, sometimes the morals can be very on the nose, the humor is kinda cringey and not every joke lands. But overall it’s a good show that has helped me through a lot of things and I love the characters in it. It’s definitely not for everyone, but I would recommend checking it out.”

That is my honest opinion on the series as a whole right there, and if we wanted to go deeper, I have other issues with it as well, which I’ll most likely go into in another post because that’s not what this one is about.

Look, I adore Sanders Sides, but I’d be lying if I said it was flawless. And sometimes, I feel like the fandom is afraid of saying anything negative about the show directly.

Why?

Because they think if we criticize something Thomas and co. worked so hard on, then we’re not being grateful for the content we’ve received and thus, rendering their hard work to nothing. So instead, we lavish each video with praise and give unconditional support to the creators. Even if the episode was sub par, the majority of the fandom will give it a 10/10 each time just because it’s something Thomas made.

And I understand why, Thomas is great. He’s someone I look up to and aspire to be like. He’s pretty down to earth and he does his best to include his fan base in everything he does as much as he can. He tries to put out content that everyone can enjoy and gain something from and he’s clearly passionate about what he does, and I respect all that as a fellow creator.

That being said, criticizing his work isn’t the same as hating on him or any of the team involved making the videos. I know they all work hard, and the evolution of his content and how far he’s come is amazing! The quality of the videos (as far as production and editing go) has greatly improved from the stuff of his early days and he deserves all the support he’s gotten.

But the fandom seems to be so afraid of having anything negative reach him that they’ll go to drastic measures to make sure any negativity is dealt with and silenced, which in turn makes many others afraid to voice any opinion that differs from the norm, and no one is taking time to stop and think: “Hey, maybe silencing others who don’t agree with us isn’t right and is actually harming people in the fandom.”

This happened recently when Thomas’ newest video “Playing A Video Game Until It’s All You Think About” was released and a few people expressed that they did not think it was that good.

It felt empty, wasn’t as funny as his other videos, and what most people had an issue with: It was basically a 10 minute advertisement.

And I agreed with all of these criticisms, and I won’t lie for me part of this came from waiting for the new Sanders Sides, only to get a video that just left me feeling empty at the end. Which usually doesn’t happen after I watch one of Thomas’ videos, I’m never left feeling indifferent or disappointed, but this video was (in my opinion) a serious let down. Especially when there was so much they could have done with it in terms of how they worked the video game into the plot, but that’s a post for another time.

After people expressed these thoughts, as usual, others were quick to shut the negativity down. Some defended the video while calling out those who had been voicing these things while others simply carried on as usual and showered the video with praise, and not even a day after the video was released, talk about it altogether died out. So now we’re at a point where the long awaited Sanders Sides is closer than ever to being released, and thus we get to the point of this post: What’s going to happen if this video drops, and it ends up not being the grand masterpiece we’ve all been hyping it up to be?

I keep seeing people (in response to the long wait) saying that this video will be good because it’s taken so long to make. And as we all know, time=quality, right?

Well, not exactly...

Yes, taking time to work on something can help, but it isn’t what ultimately determines the overall quality of the product.

There are dozens of factors that go into making something, and time is only one of them. There are Youtubers who produce great content every single day, and some who produce not-so-great content weekly. It all depends on the person(s) working on the content, resources, and time.

Yes, we’ve been waiting almost 10 months for this video, but does that mean that entire time has been dedicated to this one episode? No! We got other videos in between that time, heck, Thomas didn’t even start filming until after December had passed. Most of the time taken for this video has gone into the animation that will be featured in the video. That’s it.

If that were to be absent, then I’m pretty sure we would have had this video by now. Not saying they shouldn’t have included the animation, but it’s clear that the wait between videos has become longer since they started adding gimmicks in each episode, and that’s fine if they want to do that!

I personally don’t think it’s necessary, as the series got along just fine in the beginning with nothing but the dialogue between the characters to carry it, but that’s just my opinion.

Now, say the video drops, a majority of the fandom loves it, I will most likely love it, but what if despite this, we find this video is not a top tier Sanders Sides video, and it wasn’t what we’d all been hoping for.

It could be anti-climatic, the jokes may not be as funny, it simply may not live up to the standards that its predecessor, Selfishness vs Selflessness, set before it.

In my opinion, SVS is one of, if not the best Sanders Sides episode. It had drama, humor, it raised the stakes, Deceit was in it!

Because of this, it’s only natural that people expect part two to be just as good if not better, but as I’ve noticed with a lot of sequels or “Part Twos” is that sometimes, they just aren’t as good as the original.

They’re not always bad per se, but they can’t hold a candle to the original, and I believe it’s possible that this could be the case with this next episode.

And if it is, how will the fandom react?

Well, if we’re lucky this episode will blow any expectations out of the water and will be even better than SVS Part One.

But what’s most likely to happen is that everyone will love it, we’ll start trending on Tumblr, and the fandom will blow up as fan art, theories, edits, and all that comes with it are massed produced by the fandom.

You know what else could happen? People could be disappointed by the video. It may not live up to everyone’s expectations, and that’s okay.

It should be okay.

No matter what happens, people should be allowed to feel however they want when this episode does finally drop. If people love it, let them love it. If people don’t like it, then please I beg you...

Let them.

All I’m asking is that we as a fandom, stop policing how people are supposed to feel about content. Obviously, if someone is just being a troll and hating for no reason that isn’t okay. But if that’s the case, just ignore them and move on.

But if someone has legitimate complaints or critiques, then they should have the freedom to express that without being afraid of receiving backlash from the fandom. This fandom claims to be the most wholesome, but how can that be when there are people who are afraid of voicing an opinion?

#sanders sides #ts discourse #fandom criticism #dukeofonions

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