#to view media uncritically is to be a dumbass

[mauesartetc]

I've observed that some HB fans with trauma feel so attached to the characters and the show that they defend every writing decision and take any criticism as a personal attack. I can understand relating to and feeling sympathy for a character because of personal experiences, but Helluva Boss is a terrible media for emotionally vulnerable teenagers and young adults to uncritically consume.

It just pisses me off that so many people will praise HB for representing abuse with Stolas and Stella, yet ignore the unhealthy relationship dynamics, abusive behaviors portrayed in a positive light and bad writing in general.

Real talk: Speaking as an emotional abuse survivor myself, it pisses me off to no end that Helluva Boss has failed to represent this subject with any sensitivity or subtlety.

It's important to remember that abusers are often charming and charismatic, and they exhibit positive traits (at least early on) that make the other person want to salvage the relationship.

What the hell are Stella's positive traits? In what little screentime she's had thus far, she's been elitist, rude, destructive, pouty, murderous, sadistic, and a little stupid (failing to consider that if Stolas died, Octavia would inherit all his wealth and leave her with nothing). While there's evidence to support the claim that she acted like she was in love early on in her marriage (she's smiling in the Loo Loo Land photo, sleeps in the same bed as Stolas in a flashback and has stated she used to pretend to want to fuck him), there's nothing to suggest her personality was ever anything but odious. Even when Stolas first sees her photo as a child, it portrays an awful little brat.

It's pretty clear Stolas has never had any reason to love her, so why does he stay?

He says it's because he wants Octavia to have "a normal life", aka a two-parent household. But how exactly does that benefit her when those parents are constantly fighting? You might think "Well, that's a lot of parents' excuse for not getting divorced, but that doesn't mean it's right", but the show never challenges his stance on this. There's never a moment when he realizes, "Oh shit, maybe my definition of 'normal' is actually hurting my daughter". He only declares he wants a divorce after his first tryst with Blitzo and on the balcony when he tells Stella he "can't do this anymore". He's doing it entirely for his benefit, not because it would improve Octavia's life.

(And because the writers blatantly favor Stolas and everything he says, I have to wonder if they actually believe the standard nuclear family represents a "normal"- implied in this case to be good and desirable - life by default, regardless of how miserable everyone in the family is. On the off-chance that is indeed the case, as someone who lost a parent at a young age: Fuck all the way off with that, show.)

Also, we're not lead to believe divorce was never an option at any point. If a royal in this world gets divorced, what are the consequences? Would Stolas lose his title? Would he be executed? The whole point of this marriage was to have a kid, so literally what was stopping them from splitting up after she was born (other than the bullshit "normal life" excuse)? Why can't Stolas just visit Octavia? Why does he have to live with her? Plenty of kids with divorced parents still get quality time with both of them. The solution was right there all along, but Stolas felt the need to wait until his daughter was seventeen to split with his wife? For some reason?? The writers try to pass it off as some noble sacrifice he's making, but in reality, he's just being a dumbass.

Okay, so maybe he's just afraid to leave, like many abused people are. I'll have to call bullshit on that, since he never even tried to keep his affair a secret. He's openly flirted with Blitzo in public (at Loo Loo Land and the Harvest Moon Festival, in front of dozens of witnesses) and met Blitzo at a couples-only nightclub, where they sat in plain view of everyone else there. Couldn't even bother using your powers to disguise yourself, bud? Or does that only work when it's convenient to the plot? If Stolas were the least bit threatened by Stella or what the Goetia family would think, he wouldn't be this bloody obvious. While it's possible this is a self-sabotage sort of thing, the show has never given us evidence that Stolas has those kinds of tendencies.

In short, Stella's a hamfisted, stereotypical portrayal of an abuser, and Stolas just doesn't come off like the abuse affects him at all (or at least not until the episode where it needs to for plot reasons). Obviously not all abusers or abuse survivors in real life will fit into the same mold, but there's straight-up zero logic to these characters' behavior. I've mentioned this very astute video before, but here's one quote that perfectly sums up how poorly this show handles character motivations:

There's a... character consistency issue that results from having these characters exist only to dispense abuse. Their actions stop adding up... [Stella's] thing is that she wants to be away from Stolas... Why does she repeatedly show up to the house just when Stolas is around to torment him? This behavior is quite strange. She does not like him. She does not want to be around him... We're to assume that Stella wants to feel mad, wants to feel bad, and that's what she wants to do with her life.

This isn't how real people act. And of course fictional characters aren't real people and any sense of agency they have is just an illusion at the end of the day. But ideally they should feel real to the audience.

I now fully understand why I was leery of these writers potentially exploring a character's addiction. It's because they've shown they can't be trusted to give serious subject matter the care and weight it deserves.

[tb5-heavenward]

You just know I'm going to ask about Covenant now, right?

well since you two are two of the only people who know about covenant (and i’m sorry bud, your editorial sensibilities are going to have to put up with my stylistic lower caps) and since I’ve finally watched that shitshow of a most recent episode, I am totally down to talk about covenant.

but first let’s talk a little bit about TAG

TAG is terrible.

Visually the show is gorgeous. It has improved by leaps and bounds and it was charming when it started and it is awesome now. WETA are absolutely the bedrock of what makes this show worth watching, and I love the visuals more and more as they continue to push those boundaries. The cinnamontography, etc.

The Thunderbirds are amazing. They are beautiful, intricate, wonderfully clever machines. Their pilots ain’t half bad either. If you know and truly love the show and think about them all as well and deeply as they deserve, I think it’s impossible to honestly pick a favourite. International Rescue is a fantastic premise. The Tracys and their associates are all strong, compelling characters who have been iterated into an updated retro-future and made universally deeper and more interesting.

The bread and butter conceit of the show is awesome, the tension and conflict and creativity around solving complex problems that they manage to demonstrate in the course of a twenty-two minute episode sometimes just boggles the mind. When IR gets put up against the forces of nature and straight bad luck and pure, audacious dumbassery, we have gotten some of the best moments this show has to offer.

And those first season episodes were ugly as shit and everybody sounded the same and there were maybe three spare models between the entire NPC cast, but my GOD did S1 ever have heart. The soul of the show belongs to S1 and no one will change my mind about that. Try it. EOS was incredible. Skyhook was the definition of a balanced ensemble episode. Fireflash. Tunnels of Time. Relic. Recharge. Extraction. S2 came back swinging out of the gate with Ghost Ship. Up from the Depths was an absolute masterclass and actually changed the stakes in the show for the first time. Bolt from the Blue. Power Play. Hyperspeed. We all know which episodes were fucking good as hell. S3 comes out and the visuals have improved yet further. They have firmly found their feet as animators and as actors and as characters. We are finally actually starting to learn about these boys and their father, the most glaringly obvious hole in the show at large. Night and Day. Life Signs. And then SOS 1/2 and a complete and total paradigm shift. There is a sense of mortality to TAG now and it is an edge of realism that SHOULD be able to elevate it beyond what it’s been so far.

And yet.

TAG is fucking terrible.

Five years on, I am entitled to say, TAG is absolutely the goddamn worst sometimes, holy fucking shit. And what makes that terribleness terrible in and of itself—is that it’s because this show fails to recognize its most fundamental strengths. It fails to know what its audience will really connect to. And it’s because the writers’ room must be the goddamn wild west at this point, with the sort of nonsense these fucks are throwing at the wall and hoping to see it stick. It’s because whoever is in charge of the overall narrative arc of these seventy-odd episodes has not done what’s necessary to ensure TAG’s cohesion as a unified work.

(y’all hang onto your butts, i’m gonna do another brick wall metaphor.)

So what we have, five years on and seventy-odd episodes later, is a heap of bricks that WANT to be a wall, and we’re led to the impression that they’re SUPPOSED to be a wall, but they haven’t been put together by any single person. They have been put together by a rotating cast of a few dozen people who orient the bricks they’re given in slightly different ways sometimes, or who lay them at odd angles or who brought their own bricks from home for some reason. David Tennant is there. He must have cost at least half the budget for all of S2. All in all, he’s just another brick in the wall.

We know by this point that there is some asshole vaguely in charge of the idea of the wall. You can kind of tell that he’s at least heard of walls and he would definitely like to build one, but he isn’t exactly making it happen. There is an edifice here. It is wall-like, in some regions. At the end of the day though, most people who come across it also step over it, no problem. Or they chisel out the bricks that look to be worth saving and kick the rest of the wall over. That’s just fandom. That’s what fandom does.

Now, it is necessary at any point when talking about children’s media to talk about another series that ran three seasons over sixty-one episodes, and covered a level of geopolitical conflict over the course of a single year from the perspective of five incredibly gifted young people, all of whom were complex and flawed and sympathetic, and who knew they were responsible with putting the world to right with their own hands and set about doing that in the face of incredible odds, against villains who were no less than ruthlessly sociopathic.

ATLA sets a high bar. TAG was never going to be ATLA.

But fuck, I wish it had tried.

I wish the people who had set out to remake this story had sat down together and said, “Over the course of the next three seasons, we will tell the story of what International Rescue is. We will explain how it came to be. We will have strong themes that persist through the show and repeat themselves for emphasis: One Problem At A Time, You Can’t Save Everyone, Someone Has To Try. We will explain who these boys are and how they came to be this way. We will make it deeply and obviously clear what they do, how they do it, and why. We will give them limits. We will let them fail. We will give them flaws, we will let them clash with each other. We will let them grow and change. We will give them one deep, powerful loss that is the bedrock of what they became. We will put a powerful force in the world that loathes and opposes them at all costs. We will give them a tiny fragment of hope to chase and chase and chase and let them catch it only at the moment when they’v’e finally learned that they can let it go.”

I wish there had been rules. I wish there hadn’t been a new villain crammed into every season, in a show where the villains are objectively the weakest part. To add four villains to a show that barely has room for one and then to expect to make them ALL have a sympathetic edge somehow—it’s absolute fucking idiocy. I don’t care that The Hood is Kayo’s Uncle and Smiled In a Picture One Time. I don’t care that The Mechanic Is Apparently Being Mind Controlled Though No Indication Of That Was Given At Any Point in His History Until We Were Told So Explicitly. I don’t fucking CARE that Havoc Gets Yelled At By Her Boss Who Is Mean. I don’t give a shit that Fuse Is Apparently Too Stupid To Have Recognized The Moral Component Of Any Of His Criminal Acts Up Until He Inflicts Them On The Tracys.

You know which villains are objectively incredible in this show? Langstrom Fischler. Professor Harold. Francois Lemaire. Ned Fucking Tedford, who is a villain on the grounds that he is an obstacle, a problem to be solved, a concept of a person so hapless that they have multiple times strayed in the most incredible kind of peril. The strongest villains in this show are the ones who are just PEOPLE. People who are being careless. Or who are being greedy. Or who are being self-aggrandizing. People who exhibit traits equal and opposite to what our boys in blue exemplify.

I don’t know. We’re coming to the end of S3, we’re nearing their grand, incredible climax, this promised moment of potential reunion—and I wish I cared. I really wish I could. But there’s so much clutter. There’s so much their pulling DIRECTLY out of their asses in the home stretch. There are so many loose threads, there are so many concepts that were introduced and then never explored, or which were introduced in the end game and then never reinforced. There is so much information that we should have had from the start, so many mysteries that went unsolved and uncared about because they were unmentioned. There is not enough room for them to resolve anything in a meanignful way. There it so much that it seems like THEY didn’t know, and they SHOULD HAVE. They had time. Five fucking years, they had so much time to figure this out. And yet.

anyway.

So, covenant. Covenant basically a codeword for what I would’ve done differently, the last time I got mad about this whole endemic problem with the writing in this show, round about two years ago now.

Covenant is just a good word, really, and while it means something as a title, that relevance has kind of degraded a bit. It was going to be a rewrite of the end of Season 2, and sort of a retrofitting of Season 2 as a whole. It was going to explore the ideas that they put down and then never picked up, it was going to seriously address a lot of the core conflicts in the show and set things in motion to resolve those problems. I have it started. I have a good couple thousand words of the beginning, but it’s a good enough beginning that it could potentially begin something else, and so I won’t publish it here, in case I end up using it somewhere else. As is, it’s a priveleged-eyes-only sort of work, it’s only really been passed around my inner circle. If anyone is interested in hearing more about that, hit me up and I’ll elabourate. But for now, it is quarter past eleven, and I have ranted for long enough.