Author: Julia

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Happy Belated Valentine’s! My OTP

Happy Belated Valentine’s Day! In honor of this holiday, I’m going to talk about my favorite OTP. OTP stands for One True Pairing and is part of the ‘shipper’ culture. A shipper (in this context) is someone who strongly ‘ships’ two characters. Ship is short for relationship. So, a fan of the (typically) romantic relationship (real/canon or otherwise) between two characters. The OTP can refer to the ‘correct’ pairing in a fandom, or can be someone’s favorite couple. Today, I suppose I’m talking about both. This is my favorite couple, one that is not recognized by canon, and I am going to explain why it is correct.

The Pairing: Steve Rogers/Captain America and Bucky Barnes/Winter Soldier, Marvel Cinematic Universe

After careful watching and rewatching, I feel like there is a great deal of evidence to support this theory, even if it is not acknowledged by Marvel/Disney/etc. Both the creators and actors are aware of this fan-favorite pairing (it’s the most popular of the Marvel Cinematic Universe pairings) and continue to deny the theory, but even if it wasn’t intended, I feel that there is a lot of evidence of a deeper relationship.

SPOILERS AHEAD

The Marvel Cinematic Universe’s Captain America franchise is, at its core, a story about a hero trying to do what he thinks is right. It is a story of action, adventure, and intrigue. It is also a love story.

In the original comics, Bucky Barnes is Captain America’s plucky teenage sidekick. I can imagine then that it was something of a surprise for big fans of the Captain America comics when James Buchanan Barnes is instead introduced as Steve Rogers’s childhood friend, a man who is actually a year older than he is.

Anthony and Joe Russo have directed two of the three Captain America movies (The Winter Solider and Civil War, plus Avengers: Infinity War and Avengers: Endgame). They, along with the rest of the cast and crew are well aware of the amount of shipping that goes into Steve and Bucky, but when Civil War was released, they described the film as a brotherly love story. I disagree not only because Civil War is I think the least like a love story of the three, but also because I think the Captain America series as a whole is a romantic love story confined by the early twentieth century sensibilities these characters were raised with.

THE FIRST AVENGER

The first film, Captain America: The First Avenger (2011) sets up the key characters and their personalities early on. In 1942 Brooklyn, small sickly Steve Rogers starts a fight with a man for being disrespectful during a movie theatre newsreel about the war efforts. It’s in this back alley that the audience is first introduced to Bucky Barnes, who comes to Steve’s aid. Their conversation makes it clear that this is a fairly regular occurrence as Bucky speculates “Sometimes I think you like getting punched”. It also depicts the men as especially close as Bucky puts his arm around Steve as they leave the alley. 

This is my Exhibit A. The fact that Bucky is so used to this is telling. It means he is regularly searching out Steve to help him and keep him safe. This already shows a close bond. However, it is Bucky’s constant need for physical contact that I find interesting. Romantic relationships were already more formal, so little touches were meaningful. These constant friendly touches help the audience learn quickly that the two are close, but at that time would suggest something closer.

Exhibit B is when they take their dates to the World Expo. Here, Bucky again demonstrates that Steve is a main priority for him. He is far more concerned with his enjoyment than their dates. He is passive as his date (Doctor Who and Victoria’s Jenna Coleman) drags him around, but in a clear message to the audience leaves with both girls to go dancing (something that later becomes something of a euphemism). It gives the message that Bucky is a ladies man, but I think this could be overcompensating and that perhaps his talent with women is due in part to his ability to relate to them.

He still does not leave without arguing then saying goodbye to Steve. To me this is a lot like the relationship advice: don’t go to bed angry. There is a very real possibility that they may never see each other again. They display open affection, departing with a hug rather than a manly handshake.

I feel that these opening scenes serve as a way to establish each man’s priorities, which continue to be relevant throughout the franchise. For Steve, it’s about doing what’s right, helping other people, their welfare, but Bucky’s main priority is the health, happiness, and welfare of Steve. He constantly demonstrates that as he tries to make him happy and protect him from both himself and other people.

Just before the procedure that gives Steve Rogers his Captain America powers (in a scene that establishes dancing as a euphemism), Steve tells Peggy Carter about his inexperience with women. In this film, Peggy is Steve’s love interest, and this scene is meant to reflect that, but I think some of the lines can be read another way. Steve says, “Well, asking a woman to dance always seemed so terrifying. And the past few years just didn’t seem to matter as much. Figured I’d wait…[f]or the right partner”. Rather than say that Steve gave up in recent years because it got too frustrating, it can be argued that it didn’t matter as much in recent years because he still had Bucky, whom he can’t dance with anyway.

Steve’s feelings become more apparent when he arrives in Europe and learns Bucky’s unit (the 107th, which was the unit Steve’s father served in when he died in World War I) has been captured and is presumed dead. Even just hearing that something has happened to the 107th has Steve frantic, demanding to know if Col. Chester Phillips has written a condolence letter to Bucky’s family. Despite the fact that Phillips is certain he has, Steve almost ignores the information. There is a 99% chance that Bucky is dead, but he is still jumping out of a plane into a war zone and behind enemy lines to rescue him. Even with his superpowers, I think this speaks to a devotion beyond best friends. Bucky is the most important person to Steve. This suicide mission is my Exhibit C. Even as close friends as they are, I feel that the bond would need to be deeper than that for Steve to risk his life that way.

Later, when they are celebrating the rescue at a London bar, Steve is approached by Peggy while talking with Steve. Bucky tries to flirt with her, playing it off as feeling retribution when she ignores him, “I’m invisible… I’m turning into you. It’s like some horrible dream”, but his eyes, his focus stays on Steve. He looks sad. He can see the growing bond between Steve and Peggy, who saw Steve the way Bucky always has even before the serum, and it’s a bittersweet moment. He wants happiness for his best friend, but harbors his own feelings, too. Exhibit D is this little slice of camera work and acting, as the camera lingers on Bucky’s reaction rather than the growing attraction between Steve and Peggy.

Exhibit E is for End, the film’s falling action. Steve is devastated following Bucky’s apparent death. He did everything he could, literally hanging outside of moving train, but he still lost him. Peggy finds him attempting to get drunk (metabolism is too fast), eyes red from crying. While Peggy talks him down, Steve still seeks vengeance in what could be another suicide mission. He makes himself bait, trusting that he will be taken to Hydra leader, Johann Schmidt rather than killed on sight. Steve has superhuman abilities and advantages, but he’s not bulletproof. He almost admits this is about vengeance, but you have to wonder if his safety is no longer a concern for him now that Bucky is gone.

While I feel that this film sets the foundation for the relationship between Steve and Bucky, which becomes critical in the following films, that is subtext. The main and very relevant relationship is the growing romance between Steve and Peggy. Peggy is the first woman to see him for who he is, and it is likely, had he survived, they would’ve married. Similarly, had Bucky not fallen off a train in the alps, he would have similarly found a nice girl and settled down, rather than attempt a romantic relationship with Steve. Why? Because it was 1944. 

THE WINTER SOLDIER

The romantic Captain America: The Winter Solider (2014) is my Exhibit F as it follows the cliché of a romance film.

Captain America: The Winter Solider is all about relationships. Different types, the roles they play, their significance, and how they can be used for and against us. While the film is mainly a political spy thriller, underneath that is a love story. It follows a very clear arc, using a formula often seen in romantic comedies or dramas. It’s a very clear trope, first establishing that the main character is not in a relationship, nor is he looking for one. in fact, he is pining over lost love. When that lost love is learned to be alive, the main character uses the strength of their bond/power of love (true love’s kiss) to overcome their obstacles. (We probably would’ve gotten true love’s kiss, had Bucky been female.) Some examples of this trope that immediately come to mind are Shrek (2001), Sailor Moon (1991-1997), and Once Upon A Time (2011-2018).

At the beginning of the film, Natasha Romanoff/Black Widow is determined to find Steve a girlfriend, constantly trying to set him up. This could be interpreted as Natasha trying to protect herself by finding someone for Steve other than her, but I really believe she is the best friend in this rom(not)com. Following a mission, Steve visits the Captain America exhibit at the Smithsonian and you have to wonder if this is his first time there. He lingers longingly in front of the Bucky Barnes memorial, after walking through the legacy left by his deceased friends and comrades.

When he returns to his DC apartment later, there is a song playing on the record player in Nick Fury’s attempt at concealment. I think this song choice is very deliberate. “It’s Been A Long, Long Time” since Steve and Bucky have been together. Steve’s thought Bucky was dead for a long, long time, after all. The lyrics so clearly describe their relationship, it’s impossible to imagine it wasn’t deliberate: “Haven’t felt like this, my dear/ Since I can’t remember when/ It’s been a long, long time/ You’ll never know how many dreams/ I’ve dreamed about you/ Or just how empty they all seemed without you…”

Other hints that Steve is pining for Bucky specifically is when he later tells Natasha, “Believe it or not, it’s kind of hard to find someone with shared life experience”. This suggests he has his previous love, Bucky, in mind, since they literally grew up together. Sam Wilson/Falcon’s relationship with Riley is also meant to serve as a direct parallel. Sam knows how it feels to lose someone that important (which I think implies a romantic relationship there as well). Later, Steve essentially shuts down when he learns the truth about Bucky, and even the Winter Soldier is thrown for a loop.

As someone unfamiliar with Captain America prior to the MCU, I found the Winter Soldier reveal surprising, but probably not anywhere near as shocking as Steve did. It’s a poignant moment, quiet, suspenseful music builds towards a moment when everything just stops; the music stops and the action slows. For dramatic tension, the Winter Soldier doesn’t immediately attack, and Steve straightens from an attack posture. The Winter Soldier conveniently stares moodily, giving Steve long enough to choke out, “Bucky?” It’s almost automatic the way he responds, “Who the hell is Bucky?” He attacks then, but that doesn’t stop Steve from trying to approach. When they are interrupted, the look on the Winter Soldier’s face is heartbreaking— hope, confusion, resolve. It’s an expressive moment.

Later, back at Hydra’s evil lair, the Winter Soldier is distracting, insisting that he knows “the man on the bridge”. Alexander Pierce treats him like a child, trying to dissuade him, and when that doesn’t work, it gives the audience a chance to see how well trained/brainwashed the Winter Soldier is as he willingly submits to electroshock, a procedure he’s obviously undergone before. But still, that something, that that brief moment with Steve broke through, is an impressive demonstration of the strength of the bond between Bucky Barnes and Steve Rogers.

The launch of the helicarriers is the next time Steve meets the Winter Solider. In a true love’s kiss kind of moment, after not only refusing to fight him, but also saving him, Steve recites the promise the pair made in a flashback to his mother’s death: “I’m with you to the end of the line.” (That a train separates them would’ve been some impressive foreshadowing.) It’s enough to break through Hydra’s spell so that when Steve falls from the helicarrier, the Winter Soldier/Bucky saves him from drowning.

Exhibit F demonstrates the romantic nature of their relationship by using romantic tropes and symbols.

CIVIL WAR

After learning that the Russos describe Captain America: Civil War (2016) as a [brotherly] love story, I tried to look for the signs when I rewatched it and I have absolutely no idea what they are talking about. I think it is about close bonds, with a focus on one or two in particular, but I don’t think the movie itself is a love story or a romance. 

From the get-go we see that this movie is going to be about their relationship as the opening fight scene ends with Brock Rumlow/Crossbones talking about Bucky. The way Rumlow taunts Steve in Exhibit G indicates that he knows how important Bucky is to him. He teases the idea that Bucky remembered him but then delivers a gut punch when he claims Bucky blames Steve for the torture he’s gone through. It’s painful that someone he cares so deeply for has gone through something horrific and heartbreaking that he’d be blamed, even if he already blames himself.

When Steve and Bucky finally reunite, it is in an apartment in Bucharest, Romania in Exhibit H. When Steve first arrives to find it empty, it gives him an opportunity to see how Bucky’s been living as well as some insight into where his head might be. He opens a journal to a page with his picture on it, showing that the image meant enough to Bucky to glue it in there. The conversation makes it clear they are still able to read each other, and when the fight begins, even though it is the first time they are fighting together as enhanced individuals, they instinctually work together to protect each other. Even though Bucky’s priority is escape, a lot of the fight choreography is meant to show how they seamlessly work together, indicating that their strong bond never went away.

Throughout the film there are many of these small moments meant to show how close Steve and Bucky are. We receive some blatant symbolism after Bucky is captured. While he makes it clear he prefers Bucky to James (a fact I think is significant since that is what Steve calls him), Tony Stark is trying to get Steve to sign the accords. In Exhibit I, he has a pair of pens previously used by President Franklin D. Roosevelt. When Steve refuses, he returns the pens saying he doesn’t “want to break up the set”. Steve and Bucky are a set he similarly does not want to break up.

Later, in Exhibit J, after Steve and Sam Wilson have once again subdued the Winter Soldier, Bucky is asked to prove he’s no longer effected by the Russian trigger words. He recites facts about Steve with a smile and a chuckle because they are fond memories of someone he loves. There is another similar moment on the Quinjet when they fly to Siberia where you could easily argue that Steve is a little salty about “Delores. You called her Dot.” It’s a fond memory because it’s with Bucky, but there is jealousy there.

Before that, however, we have the Sharon Carter kiss. Exhibit K: The kiss itself seems forced, which could just be bad chemistry between the actors, but while Sharon looks into it, Steve does not. It looks forced to me, like Steve feels he needs to give Sharon SOMETHING in return for all their help. Hayley Atwell, the actress who plays Sharon’s Great Aunt Peggy Carter, has actually spoken out about how inappropriate she found the kiss. It’s creepy for a number of reasons, beyond just the fact that he was in love with her great aunt (a relationship that was only a handful of years ago for Steve who was asleep for 70).

Then, there’s the smiles. While Sam looks genuinely happy for the possible romance, Bucky’s smile always looks strained every time I watch it. It could be that he thinks it’s a terrible time for a relationship, or that he sees how forced the kiss looks, but I think it could be deeper than that. Bucky wants what’s best for Steve, what will make him the most happy, but I think he’s in love with him and seeing him kiss someone else is still painful.

Exhibit L, the final fight between Bucky, Steve, and Tony, is intense. It’s another opportunity to see how in sync Steve and Bucky are, despite having never fought this way together before. It’s also a scene where Steve makes it clear who the priority is. Steve has already become an international fugitive, essentially given up everything. Now Steve is making a deliberate choice knowing exactly who he is hurting and why. This scene is perhaps one of the most powerful as Steve literally gives up everything (gives up his shield) for Bucky.

INFINITY WAR

We don’t see much of their interactions or possible romance in Avengers: Infinity War (2018), since it’s main focus tends to be EARTH, SPACE, and TONY STARK. As people on Earth, Steve and Bucky have to share with a lot of other Earth-bound heroes. That Bucky is the first to turn to dust is significant. Bucky just keeps slipping through Steve’s fingers. While this movie is less about Steve than Tony, it is his return to fighting for something he believes in and people he wants to protect. Steve is called the first avenger, so of course Bucky would be the first to go. He was chronologically, the very first loss in the MCU, and losing him again will be devastating for Steve. We’ll see just how much losing half the universe does impact Steve and the other survivors in Avengers: Endgame, April 26th (one year after the release of Infinity War).

CONCLUSION

I will continue to maintain that there are romantic feelings between Steve Rogers/Captain America and Bucky Barnes/Winter Soldier. I believe that Steve absolutely did/does love Peggy Carter, though, and that the relationship between Steve and Bucky is constrained by their early twentieth century upbringings. It is unlikely, that the feelings these two share will ever be explored for a vast number of reasons, including the fact that Chris Evans’s contract will be up with Avengers: Endgame (2019). Disney has announced a Falcon-Winter Soldier miniseries, which could delve into it, but is mainly significant because both these characters pick up the Shield in the comics. I’d love a scenario which depicts these two characters fighting over the Captain America mantle, especially if the choices become a black American veteran or a gay ex-Soviet brainwashed assassin/WWII veteran, but more likely Disney will just tone down the ex-Soviet part and continue to ignore any indications that Bucky Barnes is not straight as an American flagpole. 

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Unbreakable Kimmy Schmidt Finale

Netflix’s Unbreakable Kimmy Schmidt recently released its final episodes, the second half of season 4. Created by Tina Fey and Robert Carlock, the show follows Kimmy Schmidt (Ellie Kemper), a woman who was kidnapped as a teenager and has spent the last 15 years living in an underground bunker, under the impression that the world had ended. Now free, Kimmy decides to move to New York City where she finds a cheap apartment with a quirky roommate and and even quirkier landlady (Tituss Burgess and Carol Cane) and employment as an assistant to a wealthy upper east side woman with too much time and money on her hands (Jane Krakowski). Jon Hamm makes recurring appearances as her charismatic kidnapper.

New York is very different from her small town in Indiana and Kimmy’s naiveté is demonstrated not only as a small town girl in the big city, but as an adult woman who missed growing up– her last experience in the outside world was as a teenager in the midwest. Unbreakable Kimmy Schmidt uses outrageous and surreal situations and characters to make its point. There are references and parodies throughout to other works, such as The Nanny Diaries (2007), Mary Tyler Moore, Sliding Doors (1998), and others. While it approaches being a millennial realistically (ie no money and poor job prospects), the show does not hesitate to create outrageous and seemingly impossible situations (ie sentient robots in the workplace). Still, Kimmy remains ever the optimist even as she learns more and more about the world she missed.

When I rewatched the snow in preparation for this post, I realized that I was half expecting it all to be a dream. While it doesn’t end that way, surrealism seems to win out in the end, giving everyone a happily ever after. Some plot threads are left unresolved, while others are tied up too quickly, but it’s not an entirely unsatisfying way to end the story. 

At its core, Unbreakable Kimmy Schmidt is a story about social politics. While it often employs hyperbole and surrealism to get its point across, some of the situations are unfortunately not that far from reality. In another show, The Good Place, there’s a line in season 1 where a male character claims to have slept with a female, who denies it. His response: “Yeah, but who are they going to believe. Me or a woman?” This show similarly isn’t afraid to go there. Kimmy’s kidnapper almost goes free during trial because he is a charismatic white man.

Over and over, the show examines the effect race, gender, and sexuality have on your life. Jokes are constantly made about all three, with throwaway lines that treat horrible behavior like it’s normal, referring to behaviors or treatment that is accepted as fact based on stereotypes. There are also impossible situations presented as normal to make a point. For example, in the first season,  Kimmy’s roommate, Titus, finds himself treated better as a werewolf than he did as a black man. Later, Kimmy’s employer– and later friend– Jacqueline is revealed to secretly be a Native American, rather than a white woman. As a wealthy white woman she is still shucked aside for a younger model by her husband, but as a Native American woman she is used later used for PR for her boyfriend’s family, the owners of the Washington Redskins. 

The overall message has to do with Kimmy not wanting to accept things for how they are. Having missed 15 years of societal evolution, and lacking the cynicism of an adult, she brings to light things that everyone else takes for granted. Ever the optimist, Kimmy just wants to help people and change the world, eventually realizing that she can’t change the adults, but she can have an impact on the adults children will become. Much like the show does, Kimmy creates a fictional work (a novel) designed to hold up a mirror to society. 

Interestingly, while Titus and Jacqueline find satisfying romantic relationships as the series close, Kimmy does not. (Nor does landlady Lilian, an older woman who continues to defy and meet expectation.) While she has a few romances through the series, for Kimmy, a happily ever after isn’t about finding a man. I actually found this jarring, which is disappointing that this is what we’ve come to expect instinctually. Meanwhile, gay serial dater Titus ends the series with a husband and children. There’s a message about happiness not necessarily being what you expect, but in the end I think each character met a satisfying end to their arc. 

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Steven Universe: Change Your Mind

On Monday, January 21st, fans of Steven Universe had almost all of their questions answered in a 45-minute special that is apparently NOT the series finale. (Though it was originally supposed to be?)

That’s right, it’s taken almost two years, but Season 5 is over. When I first started writing this post a few days after the special aired, I was under the impression that the show had already announced a Season 6, but that’s not the case. Instead, “Coming Fall 2019 to Cartoon Network” is the Steven Universe Movie, but rumors of a sixth season don’t seem to be going anywhere.

Being a Steven Universe fan is incredibly frustrating. This is not new information. During its five seasons, the show has evolved with lead character, Steven, from fun-loving and slice of life, to much more serious and plot-focused. This evolution, while fulfilling has also made Cartoon Network’s poor scheduling choices all the more infuriating. Even this last run of episodes had absolutely absurd premiere dates:

(Most Recent Examples:
– Episodes 19-24, which conclude with Garnet’s wedding aired over the course of 5 days (July 2-6, 2018), with episodes 23 and 24 combining to form one special episode.
– Episodes 25-28, “Legs from Here to Homeworld” through “Escapism” aired on a weekly basis from December 17, 2018-January 7, 2019, with season-finale “Change Your Mind” airing two weeks later on January 21, 2019.)

So, while we all often feel like hitting our head against a wall in between bouts of optimism, this last episode, which was originally meant to serve as series finale, would be a lot more fulfilling had it been billed as such. The episode “Change Your Mind”, which Cartoon Network billed as a special called “Battle of Heart and Mind”, went beyond resolving the conflict and into answering questions that we’d all wondered about at one time or another:
– What would happen if Steven’s gem was removed/can it be removed?
– What is Steven’s version of Rainbow Quartz like?
– What would Garnet and Steven’s fusion be?
– What happens when the four Crystal Gems fuse (Garnet, Pearl, Amethyst, Steven/Rose Quartz)?
– Is it possible to heal the corrupted gems?

Those are just some of the ones that have been knocking around for a while. “Change Your Mind” answered many questions and resolved almost every plot thread. Whether or not you found that ending satisfying, is debatable (which I did. On Saturday.). I felt that the show wrapped up in a way that was satisfying and made sense for a program aimed at children. While children’s TV can be very smart and do some really interesting things, at the end of the day, I feel that the ending needs to be satisfying for children, which generally means a happy ending that resolves the conflict.

The friend I debated with and my fiancé have differing views. My friend felt that there should have been greater repercussions for the series’ villains, while my fiancé thinks no ending should resolve everything. (I will admit, this is cheating since I have a blog, but I’m gonna call them out anyway, because they do make incredibly valid points.) While I agree with my friend that ‘justice’ was not necessarily served, going into the complex political repercussions of the finale feels like Star Wars: Attack of the Clones territory. Meaning, that while that stuff may be important and interesting, it’s not nearly as flashy or attention grabbing, which is why I remember Attack of the Clones as incredibly boring, since it came out the year I turned 12. (I think I’ve tried to maybe watch it once in the last 17 years, which says something since I am a girl who loves to binge prior to a big premiere.) Steven Universe is literally more accessible; it’s a cartoon program that airs on Cartoon Network and can be found on Hulu (and often YouTube). It’s available to a much larger age range. So, while I’d love to hear more about the political fall out, I’m not sure it’s the sort of thing a cartoon aimed at children could do. Perhaps if it were on Adult Swim/Toonami, it would work, but I’d even love to see it done as a novel. If we get a sixth season, I’d hope we’d hear about the events, even if we don’t directly witness them.

Now, on to my loving fiancé, whom I love and cannot wait to marry, who believes a creative work should leave audiences with more questions than answers: Children’s. Program. When we last discussed this topic on Saturday, I vehemently disagreed with my fiancé, but after giving it some thought, I have a new answer. I absolutely see where he is coming from. Some of the best creative works leave us wanting more, or with an ending open for interpretation (which means everyone can have their own satisfying head canon), or with philosophical questions about life/society/etc. However, I am a 28-year-old English teacher. My tastes and preferences have evolved as I’ve gotten older, but generally speaking, while I see the value in open endings, I still want to see everything resolved. I think most people do. Children, who see the world in much more black and white terms, certainly do. I don’t know many children who aren’t hoping for a happy ending that wraps everything up. Again, that doesn’t mean everyone feels that way, just that a show aimed primarily at children should have an ending children can connect with. Until a show becomes classified as ‘For Adults’ (I again look at Cartoon Network’s Toonami block, which is under the Adult Swim umbrella), it has to be satisfying for its target audience, children– and be something their parents can approve of.

Speaking of parents, some may not be thrilled with the insidious underlying message of acceptance and understanding. Since watching the episode when it aired, I’ve seen a number of headlines/articles which point out the trans-inclusive message. Upon additional viewing this past weekend, I absolutely agree. Steven Universe has long been an LGBTQ+ friendly show, depicting relationships between females and starring a character that, while identifies as male, doesn’t seem to pay much attention to gender conventions. The issue of gender in this show is one that has been wondered and puzzled about for some time, but “Change Your Mind” really addresses the issue.

(Beyond the theory that Lars is trans, which, although no less important, is not as deeply explored.)

SEASON 5 SPOILERS AHEAD



Canonically, the essence of Rose Quartz/Pink Diamond, her gem, is part of Steven, which is why they cannot both exist at the same time. Additionally, Homeworld gems find fusions (or relationships) between two different types of gems taboo. The latter point serves as a metaphor for same-sex relationships. The first point, however, is one that until now has really only had importance to the plot. Steven’s ability to connect with Rose/Pink and see her memories has helped to advance the plot. While he’s struggled with his identity in relation to his mother, it’s only become the central focus since we learned about Rose Quartz and Pink Diamond.

Coming to Homeworld, Steven begins experiencing Pink’s life and seeing more of her memories. In “Familiar”, he even has a song in which he questions why everything is so familiar to him when he is not Pink Diamond. In “Change Your Mind”, we get a new side to the issue. While Blue Diamond and Yellow Diamond have struggled to accept that Steven and Pink are not the same person, it’s White Diamond’s response that best serves as a metaphor for trans issues. Over the course of 45 minutes, all three Diamonds eventually come to understand and accept that Steven is Steven, but White has the strongest and most violent reaction and it is her actions that best help the audience and Steven understand the truth of his identity.

EPISODE SPOILERS AHEAD



At the episode’s climax, White Diamond insists that Steven has just been fooling himself, that he really is just another form of Pink Diamond, like Rose Quartz. To prove it, she says she’ll make him change back and removes Steven’s gem***. To the surprise of everyone, Steven’s gem reforms as…..

Steven. “[Pink Diamond]’s gone!” (Gem Steven, “Change Your Mind”)

It answers some major questions and reaffirms Steven’s personal identity, ending a journey we saw in the very first episode: what does it mean to have his mother’s gem and who does that make him? This key moment also highlights the trans metaphor as Steven has been insisting that his name is Steven. That is who he really is, and White needs to accept that. It parallels the trans struggle to be accepted for who they really are, rather than how their parents see them, because, in many ways that’s what White is to Pink, a parent. By this time, we’ve already seen how Pink’s relationship with White, Yellow, and Blue parallels Steven’s relationship with Garnet, Pearl, and Amethyst, the gems who raised him. In a reference to a song from episode 30, “Island Adventure” (for reference, “Change Your Mind” is the 157-160th episodes overall), Steven suggests White Diamond (and maybe parents everywhere) to let everyone be whoever they are. It’s a message that goes beyond where you fall on the sexuality or gender spectrums into something that is true for everyone. And honestly, were Steven and Rose/Pink not different genders, the trans metaphor wouldn’t be as clear.

While the episode answered many questions, I went into the season finale knowing that there would be more content. As a result, I was left with additional questions, beyond ‘what is going on with that heart-shaped gem?’. During White Diamond’s revelation, she talks about how she is meant to be perfect. This left me wondering, what are her origins? What are the origins of the gem species as a whole? I saw one reviewer ask, ‘where did the Diamonds go when they left Earth?’ (I’d assume back to Homeworld to rule an empire, but that’s just me.) What is going to happen to Steven and the now-uncorrupted gems? Since 2013, Steven Universe has been looking at the importance of family, love, acceptance, friendship, and been providing viewers with more questions than answered. “Change Your Mind” marks the end of the initial story and several of the series’ main questions. Time will only tell what this new story will be, what new questions we’ll inevitably have, and if Cartoon Network’s schedulers will keep making poor choices.



***One thing I’d like to point out about Steven’s gem that I find suspicious and interesting and is something I suspect we may see or learn about in the movie or future season: once Steven is reunited, we do not see Steven’s gem bellybutton. Even when he is topless with a bathing suit, his stomach is carefully hidden through the end of the episode.

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“Way too many Spider-Man movies”?

“The Good Place”, property of Fremulon, 3 Arts Entertainment, and Universal Television

Spider-Man has been a constant in media for as long as I can remember. Growing up, I watched Spider-Man (1994-1998) and (to a lesser degree) Spider-Man Unlimited (1999-2001), the Raimi series starring Tobey Maguire (2002, 2004, 2007) and the semi-related Spider-Man: The New Animated Series (2003) which starred Neil Patrick Harris (BRILLIANT casting, btw). Since then, there’s been a semi constant stream of animated series and live action films: The Spectacular Spider-Man (2008-2009), Ultimate Spider-Man (2012-2017), Spider-Man (2017-present), Andrew Garfield’s The Amazing Spider-Man (2012) and The Amazing Spider-Man 2 (2014), Tom Holland’s appearances in the MCU (Captain America: Civil War (2016), Spider-Man: Homecoming (2017), and Avengers: Infinity War (2018), and the anticipated Avengers: Endgame (2019) and Spider-Man: Far From Home (2019)) and, of course, Spider-Man: Into the Spider-Verse (2018).

Tl;dr: Spider-Man has been on TV or in theaters consistently since 1994. My brother will tell you that’s almost 25 years. 


And that’s not even talking syndication or getting into the media produced prior to 1994.

So, what about the Spider-Man property makes it appeal to so many? What has made the Spider-Man character such a fixture in pop culture, often listed as the archetypal superhero beside Batman and Superman?

The original Spider-Man is Peter Parker, a high school student from Queens, New York. He’s an avid photographer who is also considered a science nerd and is often bullied as a result. After being bitten by a ‘radioactive’ spider, he gains spider powers, including the ability to walk on walls and increased strength, agility, and senses. After taking up the mantle of Spider-Man, he must balance being a normal teenager with being a superhero.

I think that Spider-Man’s continued popularity comes from his continued cross-generational relate-ability. 

Being a teenager is something we can all relate to. Humans biologically go through a change from childhood to adulthood and during this time, teenagers feel like they are different, isolated, all while struggling between the joyous irresponsibility of childhood and the desire to be seen as an adult. Peter Parker and Spider-Man have long been able to tap into and/or recapture these feelings.

For example, let’s start with the name Spider-Man. When Spider-Man was created, teenage superheroes were typically given names that ended with ‘Boy’. While Stan Lee had his own reasons for choosing Spider-Man over Spider-Boy, I think the name resonates now for different reasons. It’s a demonstration of Peter Parker’s desire to be seen as an adult and given responsibilities. That he is not an adult comes into play in a number of different ways, but that he wants to be treated like a grown up is something all teenagers experience. 

The other thing about being a teenager is that everything feels very urgent and very dramatic and very important. This is due to different reasons, the changing brain chemistry, the new/increased responsibilities, etc. The point is, it tends to be memorable period of time as a result. During the struggle for increased independence and the quest to find an identity, it’s easy to feel isolated, like no one else feels the way you do, or could possibly understand. The strong desire for more new responsibilities and freedoms results in feelings of helplessness and a desire for control that teenagers think adults possess. (We don’t, btw. We just learn to live with it.) Spider-Man’s decision to present himself as an adult reflects this desire, as well as his attempts to take control using the powers he now possess– something every teenager wishes they could do as they come to realize the amount of control their parents have over their life.

Peter Parker is an outsider at school who has the ability to take control of his circumstances and how he is seen by others when he becomes Spider-Man. I can guarantee that it doesn’t matter how ‘popular’ you were in high school, you absolutely felt like no one understood you, that you were weird and different from everyone else, that you wished you could take control and make changes. 

While Batman and Superman were adults with additional freedoms and powers, teenage Peter Parker/Spider-Man has some strong limitations. Because of his age, there are people constantly watching out for him including teachers, friends, and family. He can’t just call in sick or not come home when there are rules and expectations in place. Spider-Man has to find a way to balance his normal life and his superhero life with more variables than the adults. In recent years, this has become increasingly relatable as high school students wishing to go to college are expected to have a laundry list of extracurriculars and special skills, all while trying to connect socially and do well academically. 

In recent years, this has become increasingly relatable as high school students wishing to go to college are expected to have a laundry list of extracurriculars and special skills, all while trying to connect socially and do well academically. But, even older generations can relate to that feeling of having to constantly report back to someone.

Essentially, Spider-Man is the ultimate teenage fantasy– what we all wish we could be. He is free and powerful all in between schoolwork and other responsibilities. This is why the character never seems to leave our screens for long. And, with castings such as Tom Holland and new takes such as Spider-Verse, it’s easy to want more.

“The Unbreakable Kimmy Schmidt”, property of Netflix and NBCUniversal Television Distribution

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She-Ra and the Princesses of Power

The first time I encountered She-Ra was about 8 years ago on Hulu. Like any new ‘network’, Hulu was taking advantage of inexpensive syndicated programming to draw in viewers. She-Ra: Princess of Power (1985) was literally a sister show to He-Man and the Masters of the Universe (1983). Since He-Man had such success getting boys to buy their toys, Mattel wanted to capture the interest of girls as well. 

The original She-Ra follows Adora, long lost sister of He-Man‘s Adam. She had been kidnapped from planet Eternia and raised on planet Etheria by the Evil Horde to be one of their Force Captains. (Confusing, right?) After being given the Sword of Protection by her brother, Adam, she defects and joins/leads the rebellion. The original She-Ra wore a skimpy outfit, though more elegant (Grecian?) than her brother’s, but she too fought “For the honor of Grayskull”.

While He-Man has been rebooted several times, this is the first time for She-Ra, which is attempting to draw on the popularity of comics geared towards girls such as Nimona and TV shows such as Steven Universe. All of these programs feature female characters that are just as sexualized as their male counterparts (read: not at all). Steven Universe is also known for its portrayal of the LGBTQ+ community, which She-Ra and the Princesses of Power (2018) is not afraid to draw on. 

The best way to describe She-Ra (2018) is that it is the midpoint between Steven Universe (2013-present) and Avatar: The Last Airbender (2005-2008). The art style resembles Avatar in many ways, but also contains the roundness and soft edges of Steven Universe. The characterization is much closer to Avatar, though, with characters that are unafraid to emote in that obvious anime way. The show features themes of friendship rather than romantic love, but it’s clear from the get-go that gender and sexual preference really don’t matter in this new Etheria.

The society is primarily a female dominant one, with the main villain Hordak as the only male currently in power. However, this does not relegate male characters to the roles typically played by their female counterparts. No, instead of just a gender flip, She-Ra does something much, much better and more interesting; creating a society that has males and females playing an equal part because gender/gender identity are not important in She-Ra. Gender and sexuality aren’t underplayed, just never referenced. Characters come in all different shapes, colors, styles, races, etc and not a single character bats an eye. They are far too busy just trying to live their lives.

Despite being raised by the Evil Horde, Adora’s moral compass points towards truth, justice, and compassion. She’s actually shocked to learn that the Evil Horde regularly hurt innocent people (and that they’re called the Evil Horde). She is somehow ignorant to everything about them, believing instead that the Rebellion are the ones causing unnecessary destruction and harm.

This brings me to a pattern that I’ve found throughout various programs. I don’t have a name for it, but basically it boils down to this: Two friends (often shipped), usually one of them is blond/e and blue eyed, while the other has dark hair or looks less ‘normal’. The blond/e is, for lack of a better word, derpy. These naive characters always want to fight for what’s right and are strong enough to make a difference, however, they struggle with seeing through deceptions or that sometimes things just aren’t that black and white. The other friend is a lot more savvy, with a better understanding of how the world works and that things are not always as simple as they seem. These characters are usually of similar strength or power, but the friend is usually not “the hero” in their world, like the blond/e is.

This is the case with Adora and Catra. While it becomes clear very quickly that all of the characters are a departure from their 1980s counterparts, their relationship really is a product of 2018 sensibilities and ideas. They have a very honest, heartfelt relationship as two characters who were raised together by Shadow Weaver, Hordak’s second-in-command. It’s unclear if 2018 Catra possesses the same abilities as 1985 Catra, but she is a feline humanoid, complete with ears, claws, and a tail. While Blonde, blue-eyed Adora follows the Horde because she believes they are on the side of right (and because they raised her), Catra sees through their lies and is under no impression that they are the ‘good guys’. After feeling betrayed by Adora’s defection, she becomes increasingly self-serving, trying to work her way up the ladder– especially when Adora’s absence opens up a big promotion.

Catra is not the only one who has something to work towards. Because these characters are portrayed as younger than they were in 1985, they are still learning who they are and where they belong. All of the Princesses are young, newer rulers, who are unsure about breaking away from their parents’ values. Individual episodes show the growth that comes with understanding that parents are not infallible and that just because something didn’t work in the past, doesn’t mean it can’t work in the present. All of the characters are growing up and we viewers get to see what that means.

She-Ra and the Princesses of Power is a complex show that pulls on inspiration from many different places to create something more relatable than the original. I eagerly look forward to additional episodes and hope that this show gets the numbers it deserves. We need more of these earnest, honest shows that demonstrate characters of all different backgrounds getting along without judgement beyond what’s in a character’s heart. It’s a lesson everyone can benefit from.

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