Has this ever happened to you? You fall in love with a piece of media and are filled with the zeal of the converted. You want to tell the whole world about this awesome new thing that will surely change all their lives, so one brave friend takes you up on the offer, only to come back and say; “I don’t know dude, it was weird…”
“Oh no! You watched that one?”
You know, when you want to get them into Star Wars and they, bless them, decide to start at the beginning with Episode I? It’s something a friend shouldn’t let a friend do. When it comes to the Avatar franchise, the goal-posts are not set nearly so far apart as The Empire Strikes Back and The Phantom Menace, but even so, there are moments that are certainly not the universe’s best foot forward.
In an attempt to be of constant service to our readers, I’ve compiled this short list of the highest and lowest points of quality in the Avatar franchise. Though, to be real, these two shows’ sub-basement is another show’s stratosphere. If this is a rabbit hole you think you may want to dive into, these points are something to keep in mind.
While many shows take a while to gain their footing, Avatar: The Last Airbender started very strong and remained so for the whole first book. I could easily consider the two-part pilot “The Boy in the Iceberg/The Avatar Returns” as a high point, and almost all of the more episodic entries are invariably fun (who doesn’t love “The Fortune Teller”?) but the first book peaked with “The Storm”. Hell, many consider it to be the peak of the franchise.
“The Storm” is structured around establishing parallels between the protagonist and the antagonist (or is he!?) by using a, well, storm as a metaphor for the past they’re trying to escape from and atone for. Its tone is mature, yet more than accessible to the show’s target audience, who can probably all relate to the hurt of having people misunderstand their intentions.
There is an obvious contender for the low point of Water, though: “The Great Divide.” Truthfully, it isn’t bad so much as it’s a little generic and predictable. A newbie watching it might think the show was a little average, but I doubt it would turn them off. The only episode where I think that is a possible danger is “Bato of the Water Tribe.” This story contains a contrived problem that leads to an over-dramatic reaction by the characters, and is wrapped up in a neat little bow at the end.
Again, it’s not bad, bad. But this show can do so much better.
The second chapter of ATLA is probably my favourite. Mostly because of Toph, but also because this is where the show really begins to show how seriously it takes its young audience by offering a subtle and not at all overly simplified view of the consequence of war. Seriously, I’m still amazed at how they pulled this off.
The most exciting and emotionally intense moments of this book come in the final chapter “The Crossroads of Destiny”. I just cannot say enough good things about this episode. The animation, especially of the super-powered bending battles, is outstanding, the plot is tight and character-driven, and perfectly motivated, and just perfect. It ends with a tone that is sad, the darkest moment of this show certainly, but also hopeful for the future. I think I may take a break from writing to rewatch it.
Alright, I’m back…
It’s a literal struggle to find a low-point for Earth, but let’s be honest; “Avatar Day” was a bit weird. As much as I enjoy the sight of Sokka cosplaying as an Avatar-verse Sherlock Holmes, the whole thing is just…silly. These villagers really need to get over the whole Kyoshi thing. And find a less dumb legal system. The Wheel of Punishment is a great joke I guess, but you can skip this one and lose nothing.
Stuff’s got real!! The Gaang is in the territory of the enemy and they will need all of their skills and all of the relationships they’ve formed to prevail and save the world from the evil Fire Lord!
The main plot is masterful, with the heartbreaking false climax in “Day of the Black Sun” and the finale, which tied together many loose thread while still teasing the future of the franchise. But the last book also made time for several stand-alone episodes that focused on particular major characters and the progress of their own arcs.
“The Boiling Rock” two-parter is by far the best of the side trips, and for me has always been the most memorable part of the final book. It might not be comparable the the juggernaut of “Sozin’s Comet”, but what can be? The finale can be a little too intense for me sometimes, frankly. “The Boiling Rock” is just damn fun. Who doesn’t love a character driven prison break?
On the other hand, the two other side stories, “The Painted Lady” and “Sokka’s Master” feel a little less successful. They feel much more like jarring asides the the main plot— which is supposed to have an urgency to it, after all— and they both kind of strain suspension of disbelief. (Sokka made a katana in an afternoon? Seriously?) Neither are bad episodes, but they’re not representative of the quality of Book 3.
“The Blind Bandit” was awesome, though.
New Avatar, and a whole new world to explore. The Legend of Korra couldn’t boast ATLA’s bump-free opening book, but I was sucked into Republic City the moment I saw it. Where the first series existed in a timeless world that emphasized the cyclical nature of time and eternity (though the analogy with Meiji-era Japan and the Qing Dynasty isn’t meaningless,) Korra’s world is dynamic and always looking for the next thing that will bring progress and change.
The world-building of Air is engaging enough to somewhat distract you from the half-baked nature of the Equalist plot and it’s attempt to comment on social inequality. (How was that issue magically solved by finding out Amon was a fraud again?). And the world building is best on display in the opener “Welcome to Republic City/Leaf in the Wind.”
It just looks amazing. The city is lived in and complicate, even if its government structure makes no sense. We feel exactly what Korra is feeling when she wants to bust out of her glorified prison and explore.
Speaking of Korra’s feelings… you know what never works? A freaking love triangle. Also bringing your plot with magical terrorists to a grinding halt so you can talk about sports for a whole episode. “The Spirit of Competition” is entertaining enough on its own, but taken in the context of the season, it’s a little infuriating. Still, I suppose it got real at the end, and then the plot finally kicked into high gear, so it’s not all a loss.
Oh, Book 2 of Korra. This is one case where the highs and lows thing really does apply.
The high of this book is so high: “Beginnings” is one of my favourite hours of television. The animation is distractingly beautiful, I adore the percussive Chinese Opera inspired soundtrack, I am a sucker for wacky creation myths, and who could be sad to see lion turtles? The story of Raava and Vaatu added a good deal to the mythos of the Avatar-verse, and really put all of Korra’s actions throughout the series into perspective of the awesome scope it has.
14/10 would watch again.
The rest of Book 2, though…it’s mediocre. The main plot, the conflict between the southern and northern Water Tribes, makes no damn sense. Unalaaq is a boring villain, and poor Tenzin just spends the whole season failing at everything. And why is everyone blaming Korra for starting a war? Ugh! If I had to choose a lowest moment, it would probably be the 693th time Bolin’s clearly abusive relationship with Eska was played for laughs.
A few of the new characters, Bumi, Kya, and Varrick especially, are a light in the dark, and “Beginnings” means you can’t just skip the book, so… we have to suffer through this one, I guess.
Book 3 is pretty much perfect. To be brutally honest, if the show had ended after Book 2, The Legend of Korra wouldn’t ever be anything particularly special. Passable, sure, but it would leave few people as puddles of feels all over the floor. Then Change came along and there we were. I still may not be over it.
For a high point I was torn between my eventual choice and “The Metal Clan,” because the introduction of the Beifong extended family was just a seminal moment for the show. In the end, however, “Long Live the Earth Queen” is a better microcosm for the whole book. Not only is the title almost cruelly macabre, given the events of the episode, but those very events also let us know that this will be a show that pulls no punches with its audience, even if the writers really broke out the thesaurus to avoid using the word “kill”.
There’s also the airship that launched this site’s favourite ship, and Mako and Bolin just bro-ing it up in jail. What a wonderful episode.
This season is so great that I can’t think of an episode to be less than in love with. The only thing I could find to complain about what the voice actor who voiced the main antagonist. I’m sure Henry Rollins is the most wonderful guy in the world, but he plays Zaheer in a way that never lets you forget that it’s an aging punk rocker standing inside of a booth with headphones on reading off of a piece of paper.
It doesn’t break the book, not even close, but I do wince every so slightly every time he speaks.
Book 4 was clearly rushed and took many risks, but the end results are so emotionally impactful that it’s hard to even see the flaws in the story. (What flaws, anyway?) In this book, Korra heals from trauma (and it takes her longer than two days,) Mako gets a new boyfriend, and Zhu Li gets to tell Varrick to stick it.
The high point could be anything, but my favourite is “Operation Beifong”. I just love this crazy family. I love Suyin and her self-centred myopia. I love Huan and his banana statue. I love how Bataar Sr. does not care about gender roles. I love how much they love each other. This episode is their time to shine. The story is fun, the emotional beats work, and the fight scenes continue to knock my socks off.
Then there is “Remembrances”. Which is not bad. It’s little other than clips of really good episodes, after all. But a clip show is never going to be the most impressive thing ever, and only one of the three framing devices was even a little bit interesting. Not that I don’t appreciate Asami giving Korra a hot beverage… There are perfectly understandable reasons that this episode ended up the way it did, but you can only judge what you see on the screen.
And so there is the best and the worst. If you disagree, or have your own thoughts on the ups and downs of the franchise, head over to The Fandomentals forum.
Images courtesy of Nickelodeon
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
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
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 Nine-Nine (@Brooklyn99FOX) December 6, 2017
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.
— G. N. Ellis (@gnelliswriter) December 6, 2017
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.
— Rachel (@BendItLikeTobin) December 6, 2017
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.
I can’t even begin to express how nervous I was about tonight’s episode. I was so excited to share Rosa’s coming out to her parents, but felt really terrified I wouldn’t do it justice. maybe that’s because there is so little bi visibility in television. #Brooklyn99
— Stephanie Beatriz (@iamstephbeatz) December 13, 2017
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 (@iamstephbeatz) December 12, 2017
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.
And I’m super proud of eps 100 and 101, the ones you saw tonight. #bechdeltest passed and bi and proud. This is in incredible show to be a part of. Thank you to the cast and crew of the Nine-Nine. #Brooklyn99
— Stephanie Beatriz (@iamstephbeatz) December 13, 2017
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.