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It’s Time to Get Deep in the Land of Ooo




Let’s just jump straight into it and put it out there that Season 4 is one of the best seasons, if not the best. It has those truly deep implications that Adventure Time became famous for, fantastic character moments and impressive world-building. It’s definitely more serious in many ways than the previous seasons, turning the volume up to eleven and not wasting much time with skippable episodes. It’s also not as complicated as later seasons, which the show was criticized for later on, so it’s like the almost perfect balance. I wouldn’t say it’s AT at its very best because surrounding seasons are just as enjoyable, but Season 4 is definitely a strong one. Nothing will be the same ever again in Ooo after this one.

It begins with the second part of a two-parter, after Season 3′s cliffhanger. “Hot to the Touch” is the first proper story with Finn and Flame Princess and it is the perfect kickstart to their complicated relationship. As Finn keeps chasing after his newest crush, FP is confused and hurt. In retrospect, they honestly couldn’t have had a more fitting introduction, although it did focus a lot more heavily on Finn than it did on Flame Princess, but we’ll have different episodes later on. It was especially interesting to watch Finn struggle with being a hero and also liking this girl, who is a pure force of destruction. It’s obviously a bit wacky that they have this “love at first sight”, but the relationship is far from being an easy ride without complications. The conclusion that they are elemental opposites is not one that’s going to be the major focus of their romance, but at least something to go on.

“Five Short Graybles” is taking it easy in comparison, as the first graybles episode. It established these anthology episodes as short stories centering around different characters with a common theme, and also the breaking of the fourth wall. Cuber appears for the first time, and as innocent as it all is, this is also an impactful episode. “Web Weirdos”, however, the episode that follows might be the least important out of all the Season 4 episodes. While it does have a pretty cool message, it’s one of the more disturbing ones, and definitely not for arachnophobes. I’m tempted to follow this with a GIF, to show why I’m saying that, but I’m not that cruel. “Dream of Love” is the return of Tree Trunks and Mr. Pig, who turns into a more important character than he originally seemed like. Because it is Tree Trunks the story turns unexplainably weird and ends with an elephant and a pig being desperately in love, but hey, what else were you expecting.

“Return to the Nightosphere” and “Daddy’s Little Monster” form another two-parter about Finn and Jake’s journey to the Nightosphere and their quest to find Hunson Abadeer, Marceline’s dad, so that he could tell them how they got there. It’s a good old in medias res where we learn more about the details along with our heroes, while also exploring AT’s own version of literal hell. Hunson’s return, as the leader of the Nightosphere, was a more than pleasant surprise, because a) he’s interesting as a character and b) he helps us learn more about Marcy. Their dynamic is one that still needs to be explored further in the show, as to this day this is Abadeer’s last appearance. What he does in it is prove that he does care about his daughter, he’s just really horrible at showing it and is expecting her to follow in his footsteps, without considering what she wants.

In the end, he is a jerk, but not as much of a jerk as could have been, which sets up a familial dynamic that just begs to be dealt with more. There’s more to these guys than just unfairly eaten fries and these episodes prove it, I just wish that we had more than this. It’s also the reason why I don’t really get why people always write Hunson as the ultimate worst dad ever in fanfiction. Sure, he could be better, he is AT’s own version of Satan after all, but especially taking that fact into consideration he’s not all that bad. What we can see in both “It Came From the Nightosphere” and “Daddy’s Little Monster” is that he’s trying, in his own way. And apart from this relationship, the two-parter also deals with the friendship between Marceline and the boys. They go to great lengths to help her, even Jake, who was more than unsure about her for a long while. The very end with both of them protecting her and Finn turning into Satan to help his friends is especially sweet. I love people caring about Marcy.

“In Your Footsteps” is exactly how you take a standalone and make it crucial to the overall plot. It’s an episode about a bear who wants to be like Finn, but then wants to be Finn, basically replacing him, which obviously leaves our hero upset. In the end he still feels sorry for the bear and gives him the Enchiridion, so that he could be a hero on his own. A sweet tale, but what a twist at the end, with the bear giving the Enchiridion to Snail!Lich. What a way to include a plot point that will be the catalyst of the finale. “Hug Wolf” on the other hand is not the most exciting in terms of plot, but one that starts Season 4′s trend of “how to imply heavy stuff and hide them under not so subtle allegories”. This time around it’s all about so called hug wolves and Finn being one of the victims, but all of it is eerily similar to the rape allegory that we usually see with vampires. As TVTropes puts it, “ “Hug Wolf” is an entire episode of rape metaphors”. Kids’ show, am I right.

Following is “Princess Monster Wife”, which is less subtle with everything that it does, including the last minute implied suicide of the titular character. Before that is an entire episode of Ice King being creepy and stealing his favourite body parts of princesses to create his own perfect wife. The result is what one would expect, a monster whose sight makes our heroes faint immediately. What’s tragic about the story is that this creation seems to have her own mind and feelings, which are of course hurt whenever someone points out how she looks like a monster. Even worse is that despite that Ice King genuinely seems to think that she’s beautiful, and for perhaps the first time in the show he seems to love someone without being creepy about it. That’s why the de facto suicide in the end is so bittersweet, even though Ice King does revert back to a jerk when he finds out about it.

“Goliad” doesn’t let you have nice and fluffy experience either, it’s the first episode that really lets us see the consequences that the Lich had on PB. After she almost died, was possessed, and almost died again she feels like she needs to address the fact that she’s not actually immortal. Seeing how the Lemongrab attempt to appoint a successor went, she creates Goliad. She is supposed to be immortal, all-knowing and the perfect leader for the Candy Kingdom, the only problem is that she proves to be too smart for Finn and Jake’s leadership lessons. How Goliad becomes a terrifying tyrant in minutes is especially thought-provoking keeping Bubblegum’s Season 6 arc in mind. This is when the show started addressing that the ultimate Princess is really not as nice as everyone would assume, and that shows through the idea that Goliad is basically PB’s essence, just like Stormo is Finn’s, which is why he’s so heroic and selfless. Excellent way to show that PB is not over her trauma and to kickstart a whole big arc for her.

“Beyond this Earthly Realm” is what happens when Adventure Time has a reason for going weird, “wizard eyes” being the reason in this case. Visually impressive and another layer to Ice King’s character, but also somewhat of a breather after “Goliad”. “Gotcha!” is some LSP silliness with great moments from the Princess of Lumpy Space herself, and a great message about inner beauty. After these two comes “Princess Cookie”, which is again a heavier one with the show’s most obvious allegory. Through the titular character, AT introduces a bold trans allegory, and although I don’t think I could be the judge of that, I think it did handle the subject matter well. It turns even heavier towards the end with another implied suicide (attempt) and the Candy Kingdom equivalent of a mental hospital, but it also gives some never before seen depth to Jake. I feel the show has this tendency to sometimes ignore him for the sake of giving Finn more development and using Jake as a mere comic relief, but here it’s the opposite.

“Card Wars” is the introduction to the game Jake is obsessed with, which leads to some impressive visuals, but above all it’s the story of true friendship. “Sons of Mars” is the first in the Mars saga, which is something that I never really could understand, to be honest, but maybe now. It’s making Magic Man a much more pivotal character while also introducing space travel, Glob Grod Gob Grob, and space Abe Lincoln. On the other hand, “Burning Low” is an episode I can totally get behind. As one of the best non-Marcy episodes, it destroys the idea of a love triangle between Finn, Flame Princess and Bubblegum before it could even begin and shows us how PB doesn’t have time for this bullgunk. The scenes between FP and Finn are all sweet, contrasted with how the boys behave towards Princess Bubblegum throughout the episode. Thinking that she’s jealous, they disregard everything she says, but they should have known better than to underestimate Bonnibel Bubblegum.

Even if she was jealous (which is hard to imagine in the first place, considering how she rejected Finn), she would still have better things to do than to try and break Finn and FP up. Instead, she has genuine reasons for being against the relationship, one of them being science and the other the safety of the whole world. We also see towards the end the lengths she would go to to keep Ooo safe from this explosive romance, a glance into how PB’s rationality can turn into cold cruelty. But that just shows how the episode is definitely not about some petty love triangle, despite what you might have thought upon seeing the title card. What I love about “Burning Low” is that it finally subverts the whole romance subplot and establishes PB’s stance on it, while also developing the relationship between Flame Princess and Finn without additional drama.

She would know

Even though one of the graybles was about BMO and their mirror friend Football, “BMO Noire” is the first real BMO-centric episode, and considering just how many episodes they’ll have later on, it was about time. In Season 1 BMO was just a background character, and then they gradually became more and more prominent. Season 4 is still not the time to truly explore them and their origins, but at least we have this episode, which combines noir and AT humour. “King Worm” is kind of similar to “Beyond this Earthly Realm”, just turned up to eleven with the visuals and the weirdness. It is a dream episode, and most shows let those pass even if they don’t make any sense. With a show like AT, when not making sense and being weird are cornerstones, a dream episode results in a total mind blow. “King Worm” does have a plot, it brings back the giant worm of “Evicted!” and has him keep Finn in a dream while draining his life energy. After a few classical “a dream within a dream” scenes, Finn realizes that he has to escape by turning it into a nightmare, which guarantees some thought-provoking moments. What “King Worm” also has the liberty to do as a dream episode is throw all the references it can in 10 minutes. Shout outs to previous episodes and foreshadowing to upcoming ones are everywhere, including a vision of Farmworld!Finn and Shoko. It gets incredibly bizarre.

Fortunately, the next episode is more down to Earth. “Lady & Peebles” has Lady Rainicorn and Princess Bubblegum as the main characters as they look for the disappeared Finn and Jake. Seeing their relationship is delightful on its own, but we also get to see the badassness of both, and by the end this episode is what ultimately makes PB a Damsel out of Distress. Sure, we’ve seen her tougher side before and not long ago I was praising her appearance in “Burning Low”. But “Lady & Peebles” leaves us with absolutely no doubt whatsoever that PB has no time for anyone trying to objectify her. This is mainly thanks to the fact that she beats the returning Ricardio into a pulp while giving him a The Reason You Suck speech. This comes directly after a very creepy and suggestive scene that once again makes you question how the show gets past the radar. Also special shout out to Lady for her bizarre Korean sentences (seriously guys, watch translation videos) and for putting up with everything despite being pregnant.

You tell him Peebles

“You Made Me” sees the return of the Earl of Lemongrab and the previously hilariously awkward character takes a dark turn. Ask any Adventure Time fan and they’ll tell you that the Lemongrab stories are Tree Trunks level weird, but more on the disturbing end of the scale, and with every single episode that feeling only increases. This time Lemongrab complains that he doesn’t have any citizens of his own, and so to make him stop watching her own ones, PB bribes three hooligans to move in with him. Many rounds of electroshock therapy in the reconditioning chamber later Bubblegum decides to make another Lemongrab instead, finally understanding that her creation is just simply not capable of caring for other candy people. Yes, that’s right, electroshock and reconditioning chamber, I know. It’s all kinds of messed up and only the very beginning of the Lemongrab saga.

“Who Would Win” pins Finn and Jake against each other in a rather violent sequence of events, but as always, broness prevails in the end. “Ignition Point” is the 100th episode of the series, and it celebrates with the bros going on a mission to the Fire Kingdom, a mission to get Flame Princess her candles. More importantly, it features conspiracy against the Flame King and Finn desperately wanting to believe that just because evil is in FP’s nature that doesn’t mean that a really nice hero guy, someone like him, couldn’t change her. It’s more of a setup than anything, but fun enough as the 100th episode celebration. “The Hard Easy” is definitely a breather after quite a few heavier episodes and before the final few of the season, so much so that there’s not much to say about it. “Reign of Gunters” is a day in the limelight for everyone’s favourite penguin. It’s perhaps unfortunate then that the most intriguing parts of the episode are not really about Gunter, but rather Ice King’s trip to Wizard City and PB’s solution to the problem.

So overall there were heavy standalones, great continuity and lighter episodes, but that all changes with the last two. Both turn Ooo upside down in their own way and it’s mainly thanks to them that there’s no going back to the show’s earlier tone after Season 4. The first of these episodes is of course “I Remember You”, which has the second highest IMDb score (only topped by its sequel episode). Fans of the show don’t need any sort of introduction to “I Remember You”, everyone is painfully familiar with the plot. So because everyone knows already that it’s about the big revelation that Ice King, aka Simon Petrikov and Marceline used to know each other, let’s talk about the details of the episode. The true beauty of “I Remember You” is not necessarily the fact that it did make this connection between two main characters who have never met onscreen before, but how it made that connection.

Realizing what it is about is a slow process, despite the many signs throughout the episode. Even when watching it for the first and without knowing anything about the history between Simon and Marcy, the viewer could guess where it all is going in the first few minutes. The moment Marceline says “I told you not to come around me” you could guess it all. But “I Remember You” is not about the big plot twist that the Simon Petrikov we only found out about a little more than a season ago took care of a young Marceline, so you don’t want to guess it and just get it over with. It’s ten long minutes of your heart gradually breaking with every frustrated sigh Marceline makes, every clueless look from Ice King and every clue that hints at the whole truth. By the time you see Simon give a young Marcy Hambo at the end, you don’t care that this is another confirmation of the Mushroom War, at first you might not even care about the revelation of Hambo’s origins. All that matters is that Ice King and Marceline are singing together a beautifully heart wrenching song (courtesy of Rebecca Sugar, as always) and that “oh Glob, he doesn’t remember, how can he not remember”.

We were all Marcy in this moment

The more you rewatch “I Remember You” the more perfect it is, and not many shows can say that they have an episode like that. The timeline makes more sense each time, Marcy’s whole attitude makes more sense, from her desperate little “no” in the beginning to her disgusted face during “Oh, Bubblegum”. She’s the one person in Ooo who’s actually glad to see Ice King, but she’s so conflicted about it because he’s not the person she knew and she’s definitely not a person he knows, and you can get this all through the animation and Olivia Olson’s voice acting. In many ways, this is such a solemn episode, when where you don’t care about the weirdness and the other wacky characters, all that matters is this personal tragedy between two very old and very tired souls. It’s without a doubt, objectively one of the best episodes of not just Adventure Time, but of Western animation.

You’d think it would be hard to top that with the final episode of the season. Somehow the finale does manage to do so, not emotionally but in many other ways, and it turns out to be a more than admirable end to Season 4. It is one that rewards you for keeping up with the show as it leads Adventure Time into a whole new territory. This episode is the reason why you actually have to be a regular viewer in later seasons to properly keep up with the plot, and although many people didn’t like that, we’ll have time to discuss that when talking about Season 6. For now let’s just say that “The Lich” literally opens up a whole new world. Well, the Lich does. Well, the Enchiridion does.

The antagonist wearing the protagonist’s dead idol as skin. Again, sleep tight

It all starts with Finn’s dream about the cosmic owl, the bear, Billy and Snail!Lich, and then it escalates into a quest for the crown jewels of Ooo. The best scene of all is, of course, that with PB, when she’s just casually mutilating her newest subjects (as you do) and Finn’s determination to get her jewel gets out of hand. You see just then how desperate he is to impress Billy, who is not Billy at all, but the Lich himself. Before he can fully realize he just helped the Lich in his quest to end all life in not just Ooo, but all of existence, him and Jake go after him. The season ends on a giant cliffhanger, where we’re left in the Farmworld with a lot more questions than answers. “The Lich” is one hell of a ride, the fitting end to one hell of a season.

Season 4 truly turned up the volume to eleven. It opened up the space for many different interpretations with various episodes while also building and building the show’s mythology. I would argue that in many ways this season is the defining one for the show. It’s before seasons got longer and more complicated, but after the “weird for weird’s sake” era, bang in the middle of character development and thought-provoking episodes. Season 4 is one you can enjoy whether you’re a regular fan or just someone who likes to see one or two episodes. This is the Adventure Time that everyone praises and this is the reason why all fans swear that it’s more than a silly little kids’ show.

Images courtesy of Cartoon Network



The Expanse Season Two Still Fares Well As An Adaptation





The Expanse has had the seventh book in the series released this month, while its third season (meant to adapt the second half of the second book) is scheduled to come out some time next year. In other words, both the authors of the source material and of the adaptation are keeping busy, making it a very current show. So allow me to continue in my attempt to assess how it fared as an adaptation.

The second season works with the second half of Leviathan Wakes, the first book in the series, and the first half of Caliban’s War, the second installment. It continued its similarity to Game of Thrones as an adaptation by diverging from the source material significantly more than in the first year it was on air. The good news, however, is that the changes are not so dramatically for the worse as is usual, and in some cases are even for the better.

Warning: the following contains spoilers for both the show and the books.

Some problems remain from season one. Chiefly, two of them. One is the scope of the world as it is depicted on the show.  The other are the universally dark and gritty visuals. Ganymede is supposed to have corridors carved in ice. Wouldn’t it have been awesome to see that? But now, just more indistinguishable black and grey.

The most significant difference between the books and the show in season two is, without a doubt, all the added drama. It’s everywhere. Every little thing that is routine in the books becomes exceedingly tense on the show. Starting with the Somnambulist, which is not taken by force – or near enough to force – in book!verse, but is simply a ship at OPA’s disposal that Holden is given by Fred. Continuing through Bobbie’s escape from her rooms in the UN compound; she simply walks away in the book and that’s it. And ending with the escape from Gynemedes, which, int he books, is not so much of an escape as simply, you know, leaving. I could keep listing other instances, but this serves as a good example of the sort of tension added for television.

Related to this is also the complete secrecy that surrounds everything on the show. The books work much better with the reality of modern technology where things are streamed immediately. Billions of people watch Eros crash into Venus live, for example, and the data available from what happens there is available to everyone. Or there is the whole thing with the zombie terminator attacking on Ganymede. On the show, it’s a huge secret Chrisjen has to exert extreme energy to ferret out. In the books, everyone knows and there is footage of the attack available. One of my favourite little moments is when Holden tries to hide his identity behind a scruffy beard as he comes to Ganymede, and you end his chapter feeling that he succeeded. Only to open Chrisjen’s chapter and find out that he really, really did not.

Secrecy adds drama, so it is understandable why the show decided to go this way. The need to keep viewers hooked is evident, too. And ending the season in a middle of a book, they needed a suitably dramatic bang to end with. So while all of these things make me roll my eyes, I do not truly blame the show for them. I feel the missed character beats much more keenly.

Captain James Holden

Holden is one character whose arc from the first half of Caliban’s War was adapted truly well. There was the inevitable added drama, as everywhere, but his essential story arc remained.

With regards to the end of Leviathan Wakes, however, the issues from season one continue, and Holden is treated as more of a boy scout by the show than he is by the book. One fantastic moment (though one that could hardly be adapted) was seeing inside Holden’s head when the Head Human Experimenter tried to convince him to join forces before Miller shot him. The reader can see, with intimate certainty, that Holden is this close to giving in when Miller pulls the trigger. We know for certain that it was done at just the right time. Yet Holden condemns Miller for it without the slightest trace of self-awareness, confident he would have resisted. It’s no doubt intentional, and it’s perfection. It should have been replaced by a similar scene suitable for the visual medium that would have conveyed the same. It wasn’t, and Holden’s character suffered for it.

On the other hand, I very much appreciate the change made to Holden’s dynamics with Naomi. In the books, when they start their romantic relationship, it turns out that not only has Naomi been in love with him for ages, so had pretty much every female on the Canterburry, because he is obviously God’s gift to womankind. It’s something to be thankful for that we don’t have to deal with that on our screens, even though I admit that the way book!Naomi handles Holden after that is exquisite.

I’m also very much in favour of the open communication that happens between them before they have sex in the books, as opposed to the “thick erotic tension” kind of deal the show went with. It would be easier to teach people about affirmative consent if there were actual examples of it in the media. There was a scene like that in the book, and guess what? It didn’t get adapted. Let’s all pretend at astonishment.

Dr. Praxidike Meng

I must admit that I was surprised when I saw he was one of the point of view characters. I neither knew nor expected it, and that in itself sums up the biggest problem with his show adaptation. He was very much pushed into the background. I understand why, I suppose – it might have been felt that there were too many new characters – but he lost a lot of his appeal when his role was cut. He is there to represent a valuable civilian point of view among all the trained soldiers and expert politicians. And his expertise adds a crucial dimension to the catastrophe of Gynamede.

Though if someone had to be cut short, I’m glad it was Dr. Meng. I understand they could hardly reduce Hodlen’s role, as much as I’d appreciate it, and both of the ladies are more interesting than Dr. Meng.

Still, I remember lamenting the sharp division between the first and second half of season 2 and pointing out that had Dr. Meng been included in some of the earlier episodes, it would have helped to make the transition more seamless. Now that I know he is one of the point of view characters, I feel this even more strongly.

Assistant Undersecretary Chrisjen Avasarala

I cannot quite decide whether Chrisjen is an adaptational success or failure. Because she is perfection on the show…but she is also quite different from the books. If I should compare book!Chrisjen to someone, it would probably be Miranda from Devil Wears Prada, or characters of that sort. She is not likable in any straightforward way, but at the same time, she has a charm to her that is oddly irresistible as much as you want to punch her in the fact at the same time.

Show!Chrisjen, on the other hand, is much softer on the surface, not showing her hard lines so obviously. Even when she swears, she does it with a kind of disarming smile that takes the edge off it. Book!Chrisjen is nothing but edges.

I don’t want to complain, because show!Chrisjen is one of the best things that ever happened to me, and there is nothing intrinsically better or worse about either of their characterisations. But I cannot help but wonder how far gender stereotyping played a part in making Chrisjen less obviously hard. And it becomes especially problematic when paired with her stupidity in season 2, which takes the form of that oh-so-very-feminine failing of trusting too much in her friends, or ex-friends.

I wrote out my thoughts about that elsewhere in detail.To summarise, it was a subplot that prioritized a male character over a female one, and made Chrisjen look naive. But it was also an excellently done one. So while it troubles me, I cannot with a clear conscience say I wish it didn’t happen. I just hope it won’t again.

Additionally, one change I definitely appreciated was Chrisjen not being Errinwright’s subordinate on the show. It changed the dynamic significantly, and very much for the better. It also made this whole added subplot in season two possible.

Gunnery Sergeant Roberta Draper

Bobbie has a similar problem as Chrisjen: she, too, is made to look markedly more stupid on the show. Only as Chrisjen is effectively a genius, she ends up being just a little incompetent. Bobbie sometimes ends up looking downright stupid.

To be fair, her character is exceedingly hard to adapt. She has that in common with Dr. Meng. While Jim and Chrisjen constantly talk to people around them and even the things that are part of their inner monologue are easy to change to a personal conversation with someone close, Bobbie doesn’t have that option. She doesn’t have anyone close to her left. For a long time, the only person she talks to at all is the chaplain, whom she just dismisses in many different ways when he tries to ‘help’. There is no way to naturally have her talk about what she thinks and feels, because being alone is an important part of her character arc. But not everything can be shown with images.

But that is not the biggest problem with her character. No, that is reserved for the mysterious decision to make Bobbie into a fanatical war-monger at the beginning. I have been complaining about lack of proper representation for Mars in the first season, and so was very happy to see Bobby in nr. 2. And it’s not like seeing her slowly change her approach when confronted with new facts was worthless. But it also made her into a very flat and irritating character for the first two thirds of the season.

It’s not like book!Bobbie goes through no character development after she sees Earth with her own eyes. It’s not like she’s not patriotic or proud to be a marine. But she can be all this and still retain some nuance, and some brain cells. The showrunners seem to have forgotten that. Bobbie on the show frequently comes off as a brat, something her book self never does.

There are other characters worth a mention, naturally. Fred Johnson is probably the most significant. His role was changed significantly as well, and much more tension withing the OPA was included. It adds to the problematic depiction of OPA as uncultured and wild space terrorists, but on the other hand it’s masterfully done. One can understand the sources of tension and where the different branches and wings are coming from. Much like with Errinwright, here again one is willing to forgive the problematic nature of the added material for a large part, because it forms such excellent additions.

In the end, the only thing I truly blame the second season for is the assassination of Bobbie’s character. While changes to Chrisjen upset me, they were compensated for by the excellent quality of Errinwright’s subplot. Yes, it is telling that the two female protagonists were undercut by the adaptation, making them look less smart than they are in the source material. But Chrisjen still comes out of it pretty impressive. The changes to Bobbie, on the other hand, are much more destructive, and they held no compensation, no hidden bonus. She is simply depicted as unlikable, to such an extent that even when we finally get legitimate reasons for sympathy, it’s long in coming.

Season 3 should fix that, and fast. Hopefully, Bobbie is here to stay. She shouldn’t have to carry the weird season 2 baggage with her throughout the show.

Images courtesy of SyFy

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The Legend Of Korra Is A Perfect Deconstruction Of Superman





Superman is arguably the single most recognized fictional character in human history. He’s right up there with Batman and Mickey Mouse. His ‘S’ is, at times, even more widely known. “Truth, Justice and the American Way”. “Faster than a speeding bullet, more powerful than a locomotive, and able to leap tall buildings in a single bound.” We know that these phrases are attributed to Superman, even if we don’t know the specific origin or, in most cases, how in the world we even learned them in the first place.

For 80 years, Superman has served as a beacon of hope and change for anyone and everyone. His origin, that of the immigrant whose home and culture were lost the day of his birth (an identity he can never fully regain), is a tragic yet resonant one that has, and will continue to, stand the test of time. Even if it has been re-appropriated into that of a pseudo-messianic myth, the immovable Jewish foundation of Superman’s internal struggle between assimilation (Clark Kent) and refusing to do so (Kal-El) isn’t something anyone has any intention of erasing.

Superman is the bedrock on which all modern heroes are based. Every divergence and every variation, no matter how big or how small, starts with Superman. He is the source, so, naturally, that means he’s the most prone to deconstruction and revisionism.

There have been so many attempts to deconstruct Superman as a concept, as well as his character, that it’s become almost a cliche to even consider it. Nearly every run at it ends in failure, most often due to a fundamental misunderstanding of what Superman even is. What he means, why he is who he is, etc. Off the top of my head, I can name two stories that actually succeed in deconstruction, as they have something worth saying: Superman: American Alien and Superman: Red Son. Wait, no, three examples.

The Legend of Korra. And it does it in a way that is embarrassingly similar to what Zack Snyder’s vision of Superman failed to be.

Xenophobia, A Modern Take

The narrative of Superman is one that is eternally relevant. Immigration as part of the American Dream, let alone an aspect of the nation’s entire identity (“Give us your poor, your wounded, your huddled masses…), has always been a hot button issue. In the new millennium, however, with the onset of the age of instant communication and social media, as well as the events of 9/11, it has ballooned into a political issue based almost entirely on fear. Fear of the “other”, to put it simply. And who is more “other” than Superman himself? He looks like us, and talks like us, but if you’re you and Superman just showed up one day in the real world…you’d have no idea where he came from and what his intentions are.

The only thing you, and everyone else, would know is that he’s different, and possesses abilities that effectively make him a living God. And that is terrifying. Even if the first thing he does is save a plane from falling out of the sky, he’s still going to be looked at with suspicion and fear. At any moment, he could decide to burn the world to the ground. And that’s exactly how Man of Steel and Batman v Superman: Dawn of Justice treats Superman.

Something to fear, because he isn’t like us. Because he’s too powerful. Because nobody asked for his help, no matter how altruistic his intentions may appear to be on the surface.

It’s a fantastic opening premise for a deconstruction of Superman, as it makes it necessary for him to prove he’s on our side. To do so much good in a world that resents him out of instinctual fear drilled into their heads by the era that they’re eventually forced to give him the benefit of the doubt. That, as far as the public is concerned, it isn’t any more complicated than a man who is just trying to do the right thing. Except that never happened in those movies.

We never saw Superman be Superman. We saw him save people, yes. We saw him do the thankless job. We saw the world resent him. But we never saw him inspire. We never saw him do anything to make us want to trust him at all. To challenge our preconceived notions of who Superman is.

Until General Zod and company arrived, he only operated in secret, using his powers when it was convenient for him. And even when he was forced to face Zod, he brought untold destruction and and collateral damage to his adopted world…completely invalidating the point of the post 9/11 narrative in the first place. How can the world trust a man who destroys the very city he is trying to protect? They don’t need or want Superman, especially since the only reason Zod attacked at all was because he had been “hiding” on Earth.

When Batman v Superman: Dawn of Justice rolled around, Superman is stuck in an inconsistent guilt spiral from the destruction of Metropolis. Except he doesn’t actually do anything to address that, and the movie doesn’t really either. The first thing Superman does is intervene in a fictional African nation to take down a warlord for the sole purpose of saving Lois Lane. Which, if the film wanted take the very-often-overlooked implications of Superman being an American icon, thus leading to him acting as a sort of unintentional symbol for American interventionism, would have been extremely interesting. Except it doesn’t do that either. Superman is there because he wants to save Lois, and that’s it.

Batman acts as a sort of audience surrogate for the fear that Superman inflicted on the world during his battle with Zod, which might have worked had that gone anywhere aside from Batman trying to kill Superman. He never tries to talk to him or understand him; not even after the infamous Martha scene. If he’s supposed to represent our combined terror of what Superman could be capable of, we should probably be able to agree with his rationale (or even understand it) for not stabbing the man who he saw as a monster two seconds ago in the face.

And then Superman dies, only to return in Justice League to a world that, for reasons that aren’t in evidence and also directly contradict everything that came before it, loves and adores him. A world that was on the verge of eating itself because of his death, despite no one wanting or needing him in every other instance.

None of it is earned. None of it really makes any sense, and the whole production, over multiple films, is only half of what is necessary to convey the narrative Zack Snyder clearly tried to tell.

Avatar Korra, Sequence Breaker

As Kylie so eloquently laid out last week, The Legend of Korra is one hell of a transgressive narrative due mostly in part to its titular protagonist. Korra is brash, overeager, and immeasurably powerful. Her series arc is one of self discovery and self acceptance in a world that actively rejects her existence every chance it gets. She wants to be, essentially, Superman, in a world that has no need nor desire for one. The similarities don’t stop there.

She holds ultimate, untold power and uses it with reckless abandon at the start of the series. In her first few hours in Republic City, she undertakes vigilante justice and violently destroys several storefronts. Because that’s the kind of person she is.

People don’t trust her the moment she announces herself, they wonder why they need her, even though previous incarnations of her have almost always been treated like spiritual leaders and authorities. No matter how many times she saves the world, people still hate her. They are suspicious and cynical of the stranger, since she is inherently an outsider due to her birthright and connection to a world (the Spirit World) few can even comprehend or understand.

This set-up is supposed to make us question and consider what being the Avatar actually means when the assumed role is no longer relevant or necessary. What can Korra reasonably do when the geopolitical climate isn’t as simple as “stop evil”? When every action she takes is looked at with intense scrutiny from a far more connected public. That is to say, the show asked us to consider Korra in relation to her previous incarnations to explicate the disparity just as Snyder’s Superman did by contrasting him the with the multitude of other versions of Superman across every form of media imaginable.

Zack Snyder’s Superman begins his journey in much the same place Korra did. He has powers he doesn’t know how to control, and hides them until the world is ready, just as the White Lotus hid Korra. Of course, this is where the deconstruction of Superman falls apart: it doesn’t actually go anywhere. He starts where Korra starts, and doesn’t progress at all. He does the thankless job, sure, but he doesn’t learn from any of his choices or mistakes. He intervenes without thinking about it, and chooses to brood instead of facing his issues and trauma.

At the end of Man of Steel, Clark faces off against General Zod and causes devastating damage to Metropolis. Zod has the same abilities as Superman, as they are both Kryptonian, meaning that he’s basically supposed to serve as an evil mirror. This is far from dissimilar to the finale of Book 2, where Korra fights Unalaq after he becomes the Dark Avatar and starts destroying Republic City. She even kills him in the end, as there was no other way to save the world.

Even Superman’s death at the end of Batman v Superman: Dawn of Justice — as well as his subsequent resurrection in Justice League — is paralleled and unintentionally blown out of the water. Korra did something very similar with the end of Book 3, sacrificing herself at the hands of the Red Lotus to save the Airbenders. Though she is not killed, she vanishes from the public eye as she heals…just as the world enters a state of actually, truly needing her intervention with the chaos spreading throughout the Earth Kingdom like wildfire.

Superman and Korra are both on isolating journeys of self discovery. Korra’s takes place before and during the final season where she learns to cope with her PTSD, and how to better approach her role even though it is so undefined and volatile. She can be the kind of person she wants to be without constantly fighting for relevance, and even if the world resists her she can pick and choose her battles.

Korra learns how to be happy as Korra, rather than her title and all of the baggage she had stripped from her in the finale of Book 2. Previous Avatar cycles (much like previous incarnations of Superman) operated in a traditional way, but that’s not how the world works anymore and that’s okay! She can still find happiness and purpose in whatever she chooses to do, even if it’s not what her childhood self believed it would become due to the White Lotus jamming that into her head. Not unlike Jor-El did to Superman in Man of Steel.

Superman’s journey takes a confusing amount of years throughout Man of Steel, given that he wanders the world as a bum with a depression beard. The entire sequence doesn’t seem to serve a purpose, since he discovers who he is from the Fortress of Solitude. He doesn’t learn anything about himself as an outsider living in a foreign land, nor does he have a wound that requires isolation and introspection to heal or understand. This is the kind of thing that would have made more sense to happen after killing Zod.

But since it doesn’t, we’re left with an angry, brooding Superman with no redeeming qualities or justification to treat him as Superman. He’s just a superhuman guy in a cape who does things that are kinda nice sometimes.

Korra, meanwhile, justifies her own existence and acts as the hero people grew to mostly tolerate, and occasionally love. She gave them every reason to trust her, and a good amount of people do by the end of the series. Unlike Snyder’s Superman, it was something she earned by deconstructing her own legacy.

Images courtesy of DC Comics and Nickelodeon

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Why You Need To Be More Excited About Bisexual Rosa Diaz





Television has been a mixed bag for bisexuals. Even as gay and lesbian representation become more and more common (though not as fast as it should), characters within other parts of the acronym are few and far between. For bisexuals, who often suffer from confusion not just without but within the LGBT community, proper, outright representation means quite a lot. Not hints, not little flirts after a female character breaks up with her boyfriend. And especially not characters that just hook up with the same gender as fanservice. We want characters who can say “I’m bisexual.” We’ve been lucky to have characters like Sarah Lance or Daryl Whitefeather in recent years, but as a whole, television seems reluctant to acknowledge bisexuality.

But we finally have another name for that criminally short list: Detective Rosa Diaz of Fox’s Brooklyn 99. And not only is she bisexual, but she’s also a bisexual Latina woman played by a bisexual Latina woman. Let me say that one more time to help it sink in. We have, on a major network, a Latina woman coming out as bisexual who is played by a Latina bisexual woman.

Brooklyn 99 has been a success since day one thanks to its character, heart, and style of comedy that refuses to punch down. It has also become well known for its handling of social issues, best represented by the character of Captain Raymond Holt (Andre Braugher); a black, gay man whose sexuality is merely a part of his character, not his entire identity. The handling of Holt, who stands out in a sea of shallow stereotypes and tokenism, has led the show’s fans to hope another character to come out as a member of the LGBT community. When it turned out that it was Detective Rosa Diaz (Stephanie Beatriz) would be coming out as bi in the show’s ninety-ninth episode, appropriately titled “99,” the people rejoiced.

The episode itself did a good job of keeping her coming out low key. She only comes out to her friend, Detective Boyle, and only after he’d spent the episode bugging her about her new paramour. Interestingly, the show played with ideas of heteronormativity as Boyle pesters her about who “he” is, about her “boyfriend.” Rosa’s frustration seems not to be with Boyle’s prodding into her well guarded personal life (though that is part of it), but instead with his assumption that she was only dating a man. This episode restrains the result of this coming out to Boyle and Rosa bonding, letting the coming out stand alone. It is in this week’s follow up episode, “Game Night,” where the show’s dedication to Rosa and her coming out becomes more obvious.

The conflict in this episode, for Rosa, is in coming out to her parents and co-workers. Rather than let it just be played off as something she can sweat like so many other things, it instead very realistically captures the fears an LGBT+ child, particularly an adult one, might face when coming out.

Rosa’s first act is to come out to her co-workers during a meeting. She uses the term “bisexual,” and allows “one minute and zero questions” of seconds. We learn that she, like many other lovers of the same sex, discovered her sexuality while taking in media, in Rosa’s case Saved By The Bell. The show makes a conscious decision here not to make it some “phase” or something she’s just now discovering. Rosa Diaz has been bi since she was in 7th grade. She has been bi for all five seasons of the show.

Coming out to her parents has an entirely different set of emotions. Rosa fears that her coming out will change something with them, that somehow they won’t love her or they won’t want to be around her (Of course, in Rosa’s usual fashion, their bonding time consists of silent dinners). With Jake’s help (who gives an impassioned and curiously personal coming out speech to Rosa to help prepare her for her parents), she makes an attempt over dinner. Here, Rosa’s fear rapidly turns to anger when she learns that her parents were worried she was going to come out at dinner and were relieved that she was, thanks to a misunderstanding with Jake, just a mistress. The show pulls no punches here, capturing not just how angry she is at her parents’ ignorance but also heartbreak at being burned due to her vulnerability. In true sitcom fashion, this conflict wraps up cleanly by the end of the half hour. But the power and authenticity of it remain.

Stephanie Beatriz, herself a bisexual woman, has not been quiet in her desire for Rosa to reflect her own sexuality and has been effusive in her support of the storyline. She’s worked hard to make sure that the story reflects the bisexual experience, and has personally validated many fans in their own journeys. She does all this while still portraying Rosa as the stone-cold bad ass she’s always been. The emotions we see in Rosa as she comes out are real, they are powerful, and they are beautiful. But they are all 100% still Rosa’s.

As a final and personal note, this is a huge moment for me as a bisexual man being able to see the representation of some of my experiences on the screen. But I can only capture a small part of why this matters. I can’t even fathom how much this matters to bisexual women, let alone our POC brothers and sisters who are even less represented. Rosa Diaz’s coming out is their story as much as it is anyone’s, and I hope that I was able to capture a small measure of the joy this news has caused. 

Images courtesy of FOX

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