#this is the biggest analysis ive ever done... if it does well i might continue my grace chasity analysis...

[justarandombrit]

Well. Here you go, I guess. (To avoid the massive amount of preamble skip to "The return of lines from Spies Are Forever...")

Spies Are Forever is a 2016 spy-parody musical set in 1960s America. It's by the Tin Can Bros and is all professionally recorded on YouTube for free, so I recommend watching it before reading this, as I will be talking about the penultimate in-character song from this musical, which, despite being a parody, is very much also a serious spy story, with a lot of twists and turns.

It is probably my favourite musical of all time, so I'll give you an hour or so to watch it.

…

Back? Has your brain chemistry been fundamentally changed? Yeah, that happens.

Anyway, just in case you decided that you didn't care about spoilers, I'll give you a quick overview of the plot you need for this essay.

Agent Curt Mega has been retired from spying for four years, since his partner (Owen Carvour)’s death due to a mistake Curt made. He decides to get back into the field to fight the enigmatic Deadliest Man Alive and ridiculous Baron Von Nazi, and stop the construction of the “Nazi Super Castle”. Along the way, he works with Cynthia Houston, head of the American Secret Service, Barb Larvernor, scientist, Tatiana Slohzo, Russian spy and the Informant, informant.

Despite being a comedy first and foremost, a lot of the musical hinges on the villain’s plot, and that is important in this overview.

We are led to believe that Von Nazi is the “brains” behind the operation, so to speak (despite him having none himself), up until a confrontation where, after killing the prince of The New Democratic Republics of Old Socialist Prussian Sloviskia and convincing the country's government to sign off on the plans for the Super Castle, the DMA literally and figuratively stabs Von Nazi in the back.

This, like many of the DMA's actions throughout the show, seems completely unmotivated. The main characters question this, and, in a suspenseful, absolutely devastating moment that I cannot do justice through the medium of writing, the DMA is revealed to be Owen.

I could write pages and pages about this moment, about the foreshadowing leading up to it, about Curt's reaction, Tatiana's reaction, Joe Walker and (actor) Curt Mega’s acting, how it's Joey Richter (Owen’s actor) who says the line “Personal history does have its benefits, Mega”, that line itself! This scene keeps me up at night, but this essay isn't about that.

This essay is about the song directly following this scene.

As Owen predicts in his speech, Curt goes after him instead of the information warehouses created by Owen’s agency, Chimera. This song serves as a villain song for Owen, no longer disguised as the Deadliest Man Alive, and also a duet for Owen and Curt.

Although up until now I have been explaining the plot in order, a good chunk of this analysis requires the context of retrospect. So, again I implore you to watch it. It's only 8 minutes long and would really make my job easier. Act Two, Part Six.

https://youtu.be/yMBi9hp2QVQ?si=IUz42a_1DTMi4eNS

So. Curt and Owen were lovers. Even though that moment (along with Curt shooting Owen) had been spoiled for me before watching, I still gasped at that scene. Anyway, with the added context of what sort of “partners” they were, we can now move into the analysis.

I'm no music theorist, as evidenced by most of this essay being about the depth of the lyrics, not the music, but, as YouTube user ConsiderableColors pointed out in their video-essay “Motifs Of Remembrance In Spies Are Forever”, One Step Ahead does not have a single use of the common leitmotifs throughout the rest of the show, symbolising how Curt has moved on from mourning and feeling guilt over Owen, and accepted what he has to do.

(Sidenote; that video is incredibly good, and I'll be linking it at the end along with another SAF video-essay I love)

The return of lines from Spies Are Forever (song), specifically, “Who do you trust, who do you betray?”, really highlights TalkFine’s amazing lyric writing, recontextualising lines from the opening song, which clearly parodies the famously nonsensical Bond songs, because, as we all know:

Foreshadowing is a dramatic device in which an important plot point is mentioned earlier in the story to return later in a more significant way...

I hope somebody got that reference.

Anyway, one important aspect in the structure of One Step Ahead is, for the most part, Owen always sings his lines before Curt, reflecting how he is, a, literally ahead of Curt, as he is being chased throughout most of the song, and, b, was figuratively ahead of Curt for most of the show, knowing and predicting his every move.

Owen sings “One step ahead, that's how it's always been”, to make out that Curt is incompetent, as we see him do multiple times in the previous scene. Of course, at this point, the audience should realise that this is untrue, but it makes complete sense why Owen, the man who almost died because of a mistake Curt made, should think this.

In the next verse, Owen continues with the much softer, although arguably more hurtful to Curt, “One step ahead, I'm sorry my old friend / But I'm still here / After all those years when you thought I was dead / I was one step ahead”

When listening to the song for the first time, “old friend” may sound like a bittersweet term of endearment, but with the context of the true nature of Owen and Curt’s relationship, this can be read more as an insult, as Owen disregarding their relationship, and pretending nothing ever happened between them.

Curt, still reprising lines from Spies Are Forever, next sings “It's time to save the world again”, making no mention of beating Owen or “overthrow(ing) (...) an evil power” like the ensemble sings at the start of the song, because at this point, Curt still has hope for Owen. He still believes he can get Owen to leave Chimera and he can get the Owen he knew in the opening song back.

Owen quickly shoots down this idea with “Typical Curt / And pretend to be a hero again”, which both takes a shot at Curt’s saviour complex, but also all of the duo’s previous beliefs, which we know Owen now believes were not really the right thing to do. Thus, this line could also be read as Owen showing his disdain for both A.S.S and MI6, and, by proxy, who he used to be, and who Curt still is.

Curt retaliates, now giving up on reprising SAF and instead following the tune Owen sang, with “Typical jerk!”, showing that he's now somewhat accepted that he won't be able to easily get Owen back, and has fully joined in on the fight. (Also I don't know how to include this but, after this line in the live version of the song Joey (Owen) says “Ooh, sick burn” in the most sarcastic way you've ever heard and it's amazing)

He then asks “What happened to the man I knew?”, implying that he's realised that Owen is no longer “The man [he] knew”

Owen gives a snarky response in, “It's a little late for an interview”, further showing his hatred of the man he used to be, and refusing to defend himself and his beliefs, despite going on to do exactly that after this song.

“Feelin’ a lot of déjà vu again” This line is sung one inch away from each other’s faces… I'm just saying, they knew what they were doing.

We can see that all of the quipping in the previous lines got to Curt, as he sounds much angrier than at the start when he sings “It's time for you to feel the heat”

Of course, Owen retorts with the much calmer “Revenge is going to taste so sweet”, once again reminding Curt, and us, the viewers, of his motivation throughout this song. In this song, Owen doesn't attempt to hide or downplay how much his trauma from Curt leaving him to die, or his desire to get revenge influenced his actions, unlike later, in The Staircase Scene, where he seems to genuinely believe he is acting for the good of spies, and humanity as a whole.

In fact, pretty much the only time revenge seems to play a factor in his choices when he's monologuing in The Staircase Scene, is when he says “I'm going to single-handedly dismantle everything you've ever believed in”. This, along with how his voice breaks when he says that line, tells us that he may be being more honest about his true motivation during this song, and lying, to an extent, about it afterwards.

They both proceed to call each other platonic, and slightly condescending nicknames (e.g. pal, buddy), both to try and undermine each other, and also possibly because they're still rightfully cautious to admit that they were anything more than that, in a society that demonised and criminalised homosexuality, especially for government workers, like secret agents.

Afterwards, Curt tries to retroactively justify Owen’s betrayal to himself, as we see in “You played me from the start”. He tries to convince himself that the betrayal was inevitable, and that Owen had been lying since they met, unable to accept that Owen really had changed because of Curt’s own actions.

“Well look at you / Without a clue” Owen quickly refutes this, unwilling to let Curt believe he is completely innocent, by reinforcing that he really did love Curt once.

Instead of doubling down, Curt goes with what Owen said, attempting to appeal to his emotion with “You know you broke my heart”.

“Don't deny I was the better spy” This line breaks me. Genuinely, I've spent hours thinking about this line. Think about the implications. PROMISE ME YOU'LL THINK ABOUT THE IMPLICATIONS.

See, the reason I love this line so much is that Owen is right. Objectively speaking, Owen is the better spy. And not in the way that Cynthia thinks, and not in the way he implies throughout the show. Curt is not incompetent by any means, but he is reckless. Owen is not.

The only reason Owen even survived at the start of the musical was because he took the proper safety precautions to limit the blast of the (completely unneeded) bomb Curt set the timer purposefully too short for. It makes complete sense why Owen would think he's better at spying, however I don't believe that he does. Maybe to an extent. But not fully.

“Don't deny” shows he really wants validation via this statement. He wants Curt to admit that he's better. That what happened was Curt’s fault. Maybe Owen does believe he's the better spy, maybe he doesn't, it doesn't matter. All that matters is that Curt believes he is.

(I had a lot more to say about that line than I thought…)

Instead of succumbing to Owen’s demand, Curt retorts, “I liked you better when you were dead”, which seems harsh, but utterly understandable. Owen’s betrayal hurt Curt so deeply, so intensely, that he preferred the years spent in mourning for his lover, quitting his job and drinking so much he hallucinated Owen’s ghost, because at least that Owen was the one he knew. The Owen that died a hero, rather than the one who lived long enough to become the monster.

Please forgive that cliché, but it seemed applicable.

After this, Owen reiterates “One step ahead / It's how it's always been”, but this time, Curt responds directly to Owen, with, “Can't let you win”. He's now outright saying that he and Owen are on opposite sides, rather than speaking vaguely about “saving the world”.

Owen, while still angry, again seems to be more interested in reminding Curt of his mistake and making him suffer emotionally. The “I'm still here” has an unspoken “Even though you weren't”.

Then, after Curt’s line, he goes back to the superiority idea, “And I'm better than you again”.

Interestingly, Curt doesn't attempt to appeal to Owen’s emotions again, or even insult him, instead just responding, “This is the end”. Either, at this point he has fully given up on reasoning with Owen, or, the earlier “You know you broke my heart” was a mistake, an accidental show of vulnerability Curt didn't mean.

My personal interpretation was that the line was a last-ditch effort from Curt, a sort of hail Mary to try and get Owen to see sense by alluding to their relationship. We see him do this later on in The Staircase Scene, by outright stating it, and it almost works. Almost.

Owen's line, “No one's innocent” shows a lot about his character. Even though he's trying to shift blame onto Curt, he still acknowledges wrong-doing. After all, he can't pin the over 1,000 people he killed as the Deadliest Man Alive on Curt, that was all him.

“My friend, you lost your mind” Here, Curt does the exact opposite of what he was doing before. Instead of making it out that Owen never loved him in the first place, e.g. “You played me from the start”, he disregards the reasons Owen joined Chimera, blaming it on Owen “going insane” or “losing his mind”.

As we've now come to expect, Owen immediately shuts this down, determined to make Curt feel the full gravity of what Owen sees as his original betrayal. When he says, “And you've been blind”, Owen is talking about how, in his opinion, Curt is blind to all the pain he caused, which we know is actually untrue, and we also know that Owen knows this, see “I spent as much time hating you as you did”. This, like so much in this song, is a way to guilt trip Curt, despite being an obvious lie.

This line could also be interpreted as Curt being blind to Chimera, and being so enamoured by spying and taking down governments that he is forgetting to notice (what Owen thinks is) the bigger picture.

“Now we're at the end” is pretty self-explanatory. This is the climax of the show, the point all of this has been leading up to.

The line “This is what you made me do” is sung by both Curt and Owen and has different connotations for each. Owen is once again referring to Curt abandoning him in the warehouse, causing him to join Chimera. Curt is talking about the fight itself, as he's tried to reason with Owen, but, after all of this, he's now at the end of his tether.

In the lines

“We're done”

“We're through!”

Owen sings first, symbolising how he moved on faster (well, visually, but I stick by the “Owen still had feelings for Curt until his real death” headcanon - I mean, he could've shot Curt at basically any point throughout The Staircase Scene, he chose not to). But Curt shouts louder, showing his anger about how Owen has acted after “coming back from the dead”. Also, this is their official breakup. Just think about that for a second.

These lines could also link back to the fact that this is the climax of the show, the writers are sort of telling you “This is it guys, we’re almost finished”.

The finality of the moment is emphasised by “I've nothing left to say to you”. They've both made their cases, neither was convinced, but they've said all that was needed.

After this, there's a direct homage to The Sound of Music,

“So long

Farewell

Auf Wiedersehen

Adieu

Goodbye”

…only in a minor key, taking the music from a romance and altering it slightly, depicting Curt and Owen’s own relationship. Furthermore, this is the goodbye hinted to in both Spies Are Forever and The Coldest Goodbye. This is the coldest goodbye. Why did I reread that in Eleanor Shellstrop’s voice

In conclusion, One Step Ahead is a song about truth, betrayal, tragedy and love. Curtwen is one of my top ten ships (and just character dynamics in general) of all time, and I hope this essay did them justice. Hopefully I didn't repeat myself too much? I love this song, show and characters so much that I got incredibly overexcited for massive parts of this.

I hope you at least got something out of reading this, and so one last toast. To honour-

Links:

ConsiderableColors’ essay: https://youtu.be/cS05pAQAFaY?si=16BHM3eU-gEUkxXE

Spies Are Forever: Decoded:

https://youtu.be/OYAbmbKoaqc?si=9EpZ1wYr_SMBPCP0

Ooh! New one!

How Spies Are Forever Defies Cliché With Parody

https://youtu.be/QhIwDhZKPvM?si=h6IFpKoFCHR0T-iK

(I can't believe this is also about Argylle lmaoooo)

[artemis-entreri]

[[ This post contains Part 6 of my review/analysis of the Forgotten Realms/Drizzt novel, Boundless, by R. A. Salvatore. As such, the entirety of this post’s content is OOC. ]]

Genre: Fantasy

Series: Generations: Book 2 | Legend of Drizzt #35 (#32 if not counting The Sellswords)

Publisher: Harper Collins (September 10, 2019)

My Rating: 2 out of 5 stars

Additional Information: Artwork for the cover of Boundless and used above is originally done by Aleks Melnik. This post CONTAINS SPOILERS. Furthermore, this discussion concerns topics that I am very passionate about, and as such, at times I do use strong language. Read and expand the cut at your own discretion.

Contents:

Introduction

I. Positives I.1 Pure Positives I.2 Muddled Positives

II. Mediocre Writing Style II.1 Bad Descriptions II.2 Salvatorisms II.3 Laborious “Action”

III. Poor Characterization III.1 “Maestro” III.2 Lieutenant III.3 Barbarian III.4 “Hero” III.5 Mother

IV. World Breaks IV.1 Blinders Against the Greater World IV.2 Befuddlement of Earth and Toril IV.3 Self-Inconsistency IV.4 Dungeon Amateur IV.5 Utter Nonsense

V. Ego Stroking V.1 The Ineffable Companions of the Hall V.2 Me, Myself, and I

VI. Problematic Themes (you are here) VI.1 No Homo VI.2 Disrespect of Women VI.3 Social-normalization VI.4 Eugenics

VII. What’s Next VII.1 Drizzt Ascends to Godhood VII.2 Profane Redemption VII.3 Passing the Torch VII.4 Don’t Notice Me Senpai

Problematic Themes

No Homo

Boundless continues to perpetuate some long-standing regressive to outright harmful ideas, as well as introducing new ones. There are two that are the biggest. The first is something that's existed for over two decades in the Drizzt books, and something that I've criticized Salvatore for for a long time: the fetishization of sapphic relationships. While Boundless is an improvement (and a bit of an oddity for Salvatore) in that it doesn't include any gratuitous lesbian sex scenes or allusions, it still very much perpetuates an imbalanced representation, such that it wouldn't be fair to describe it as true representation. Yet again, despite it being canon that the default sexuality in the Realms is pansexuality as opposed to heterosexuality in our world, the only people that we see in Boundless that are capable of same sex attractions are female. Ever since the token gay guy Afrafrenfere's epiphany that everything else he'd been engaged in, which includes his deceased boyfriend, was a distraction from enlightenment, there hasn't been so much of an implication that men could be attracted to other men in Salvatore's Realms. There exists more chemistry between Harbonair and Zaknafein than between Zaknafein and Dab'nay, which is rather sad given that the latter pair are actively sexual with each other. There's of course the possibility that Salvatore just doesn't know how to write gay male chemistry, but to be fair, his heterosexual chemistry is pretty bad. Most of it is just sex or another physical act spontaneously happening that triggers a change in the nature of the relationship, for instance, the start of the relationship between Entreri and Calihye. There's so much background "everyone is heterosexual" stuff going on that to be inclusive, Salvatore just needs to mention that there's more than one man in an orgy rather than it always being one man to many women. Or, better yet, use an example directly from the world canon that other authors have used, namely, that the workers of a brothel or attendants in a temple of Sune are of more than one gender and that a male client is greeted by both male, female, and other gender-identifying attendants. Casual inclusion of this nature isn't difficult, and we see Salvatore do it with sapphic stuff enough that leads me to believe that it's a choice on his part not to be fully inclusive. 

An example of when Salvatore could've gone for inclusion, but instead went for fetishization, is in the scene of Dahlia infiltrating a Waterdhavian nobles' ball:

This isn't much better than gratuitous lesbian sex scenes at the total exclusion of gay men. It's completely unnecessary for Salvatore to have specified that women also drooled after Dahlia; simply stating "people" would've been sufficient. It's not like Salvatore doesn't have many chances and setups where he can drop a hint that gay men exist in the Realms like he does so frequently for gay women. Oftentimes, Salvatore's writing feels very much like he realizes that there's "too much" chemistry between two male characters, such that he has to throw in a "NO HOMO" wrench. For instance:

While there isn't anything inherently gay in this passage, there isn't anything inherently gay in so many places where Salvatore artificially injected "these women are sapphic" indicators. Yet here, between two male characters, it's specifically clarified that it's brotherly love. Love is love, it shouldn't have to be clarified like this. Sure, some people might jump to romantic love, but so what? This was a good opportunity to at the very least, leave it vague, but apparently Salvatore can't stomach it enough that he has to cross the possibility out with a bold black marker (maybe its the same sharpie he uses on the tapestry of Faerûn). It's as though the possibility of romantic love between two men somehow taints the sacredness of their bond. Salvatore's writing style is very old-fashioned and set in its ways, but that's no excuse not to change. Despite his espoused views on social media, Salvatore's lack of representation in his writing suggests a discomfort that he doesn't want to address. This is increasingly problematic as we try to push to a better world with more acceptance and equality. Inclusion isn't truly inclusion if it's done with only a portion of the population. 

Disrespect of Women

What Salvatore does with sapphic women is fetishization, which is additionally problematic because it's a short hop from objectification of women. This point is one that I haven't touched on much in the past, but it's glaring in Boundless because in this novel, Salvatore also tries to demonstrate respect of women. Salvatore has a long history of poorly-written female characters. In his books, a female character's most redeeming characteristics were that she was hot and young. For a while, I could tell which female characters were there to stay, which were doomed to die from the get-go, and which would suffer horribly as they met their inevitable end. It always had to do with how physically attractive the character was, and usually with respect to how she measured up to Catti-brie's beauty. Not counting female villains like Sheila Kree who were not coincidentally unattractive, protagonist characters weren't spared this treatment. For instance, Delly Curtie didn't hold a candle to Catti and could barely find happiness with Catti's rejected suitor. By the same token, Innovindil, who, despite being a full-blooded elf, wasn't as beautiful as Catti, and was subsequently very short-lived. Dahlia, another full-blooded elf who wasn't as beautiful as Catti, admittedly didn't die (yet), but what she went through is arguably worse. Dahlia is portrayed to be very much second best to Catti, from her looks to her rejection by Drizzt to Catti outright beating Dahlia in a fight. So, of course, Dahlia gets stuck with Entreri, who's frequently portrayed as second best to Drizzt. Salvatore does deserve credit for trying to break the mold with Penelope Harpell and Wulfgar, but Penelope's appearance doesn't leave much of an impression. We're reminded multiple times that she's an older woman, and the focus is on her personality, but with how often younger female characters' physical appearance is mentioned and re-mentioned, it gives the impression that Salvatore doesn't believe older women can be physically attractive. As always, Catti-brie was an exception to the rule, for even in her mid-forties, "her form, a bit thicker with age, perhaps, but still so beautiful and inviting to [Drizzt]", a characterization that follows another sentence describing how beautiful she was barely a page prior. But we don't hear such about Penelope, instead, we're told about the strengths of her personality, which are admirable, but only become the focus for her, rather than for a young-appearing strong female character like Yvonnel the Second. This is not to mention that someone's form probably shouldn't be characterized as inviting, as that is something the person should do, not something done by the person's looks. The objectification of women is problematic enough on its own, but instead of addressing the issue, Salvatore appears to consider it sufficient to put in a significant anecdote featuring a temporary character to prove that he is an ally to women. The mysterious "demon" possessing the little girl Sharon is painted as a moral adjudicator, entrapping the evil in its unbreakable cocoons filled with wasps that have human faces. Before this "demon" entraps Entreri, it ensnares an old man, whom we're simply told is an old lecher, with no insight about what makes him such and what wrongdoings he'd committed. All we know is that he and his wife attempted to kidnap Sharon and threatened to kill her if she resisted. It's not very clear what's going on in that scenario or what the couple's intentions were. The man's description shifts suddenly from nothing to "old lecher", and he is damned to an eternity of suffering. But how was he a lecher? Was Salvatore trying to imply that he intended to sexually assault Sharon? Or was human trafficking one of his many sins, with the "lecher" part referring to how he is towards women? While all of these crimes certainly warrant harsh punishment, the message that Salvatore's trying to convey isn't clear. Furthermore, the anecdote gives the reader zero satisfaction in the guy's punishment, because we're only marginally invested in what's happened. His anecdote is nothing more than a cheap and lazy setup to illustrate what the "demon" can do.

Social-normalization

The second of the two worst among Salvatore's long-standing problematic themes is the simplified and social-normative qualifications of what makes a person worthwhile. To put it simply, one is good and just if they are the Companions of the Hall and/or act like them, despite the many many ways that the Companions behave unheroically and hypocritically. On the flip side, one who doesn't subscribe to or follow the model of the Companions is evil, bad, or not worthy of existence unless they change to become like the Companions. Of the latter group, it isn't sufficient to change to become a different version of themselves. For instance, during the demonic assault, Zaknafein throws himself into the fray of battle, risking his life, yet again, for his ungrateful son. Yet, Drizzt's takeaway from watching his father do this is, "joy to see his father so willingly risking his life for the cause of the goodly folk of the Crags". There appears to be a subconscious inconsistency here on Salvatore's part, for he even writes that Zaknafein helps the dwarves because Zaknafein knows it's what his son wants him to do, so removing Drizzt from the picture, Zaknafein wouldn't be doing it solely on behalf of the dwarves. Zaknafein isn't Drizzt, and that's a good thing, for not everything needs to be a Drizzt clone, but Salvatore doesn't seem to agree with that assessment. 

Salvatore doesn't seem to realize that Drizzt is the problematic one. Boundless represents a point in time in which it's been awhile since Zaknafein has returned. During this time, while Zaknafein has been trying to adapt and adjust his worldviews, Drizzt's perspective hasn't changed at all, despite Jarlaxle spending a great amount of time talking to him about Zaknafein and presumably helping Drizzt get past the initial emotional turmoil of the return of Zaknafein and his own struggles with reconciling the past and the present. There's also a double-standard here, for while Entreri is forced to change because enough time has gone by, Drizzt isn't. 

It really seems to be the message that the only characters that are good and valid need to be as close to Drizzt as possible, and this belief applied to Entreri has been the cause of the assassin's increasingly poor characterization. Entreri has become a "better person" by the narrator's approximation, a quality that is, yet again, not coincidentally synonymous to being an ally to the Companions of the Hall. Artemis Entreri may very well have become a better version of himself, but that is not, and should not be, becoming more like the Companions of the Hall. By whose definition is "a better person" anyway? By Drizzt's? By the Companions'? It's often the case that those that believe that they are the definition of what's right and define others' morality relative to themselves are the least qualified to do so. 

Eugenics

Although not as prominent as the two themes already mentioned, one final consistent problematic theme of Salvatore's in the Drizzt books that I'd like to discuss is the idea that mediocrity and excellence are inherited traits. Boundless reminds us yet again that all of the offspring of Rizzen are as unpromising as he is, and while it isn't specifically stated that all the offspring of Zaknafein is very much otherwise, we have over thirty books basically telling us that so it probably doesn't need to be repeated. While it is true that genetics do play a role in determining what makes up a person, genetics do not lock in guaranteed results. Yet, the undistinguished Rizzen sired "the mediocrity of Nalfein", and as though that insult wasn't bad enough, "His pants fell down, too. Again, and as expected, unimpressive." Dinin "would do Rizzen proud", but that's not saying a whole lot because it was in the context of the total failure of Nalfein. There's a further level of problematic theme here, for perpetuating the stereotype that a man's worth is at all related to the size of his genitalia. All of that aside, not everyone is privileged enough to be born to top specimens, and those that weren't inherently already have a struggle on their hands. They don't deserve to have the idea that they'll be mediocre no matter what perpetuated. Genetics might be what makes an individual, but what defines them is the actions that they take.