Resistance: Static Shock
Introduction
Static Shock, an animated superhero-themed program from the early 2000s tells the story of Virgil Hawkins, an African American teen who develops electrical-based powers after being caught in what is referred to as “The Big Bang,” an explosion of toxic gas that left him and many other Dakota City youth mutated and/or with newfound abilities. These effected individuals, known as “Bang Babies,” varied in their motivations. Some remained neutral bystanders; others used their powers to commit crimes; and a few decided to use their abilities to help people. Virgil exists in the latter group. Using his powers, he becomes the superhero, Static, and protects the citizens of Dakota City from anything and everything.
Static is particularly interesting both as a media and for this final project. As a medium, Static is used to promote messages; in fact, almost every episode sampled attempted (blatantly) to teach a lesson. Further, in terms of this assignment, it should be noted that this program’s target demographic is youth, primarily children aged seven and up. This makes Christensen’s discussion of socialization all the more relevant because the messages are directly intended to teach children.
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Of the 52 episodes of the series (including cross-overs to Justice League, Batman, Superman, and Batman: Beyond), 10 episodes were selected to examine. For the most part, these were selected randomly. Each episode was assigned a number; then, an online random number generator selected numbers, thus choosing the episodes. This was done with the intention of increasing the generalizability of my observations. Occasionally, episodes selected by the generator were unviewable (having been removed from Each episode was assigned a number; then, an online random number generator selected numbers, thus choosing the episodes. This was done with the intention of increasing the generalizability of my observations. Occasionally, episodes selected by the generator were not viewable (having been removed from Youtube for copyright infringement); in this case, other episodes were selected instead.
Several course texts, themes, and concepts apply to Static: Raby, Croteau, Christensen, Kimmel, Media Matters, Teenagers Are Not Some Alien Life Form, and SCWAAMP. Some of these apply to the text as a whole, while others are episode-specific.
Concepts that remain throughout the series include:
Croteau: Static resists the dominant ideology of “Whiteness” through presentation of protagonists of color and various background characters of color. This is a staple of the series as a whole, though there is a particular discussion of race in the episode, “Sons of the Father.”
Christensen and Media Matters: Static socializes positive messages. These will be discussed in greater detail below in the episode play-by-plays).
Teenagers are Not Some Alien Life Form: The characterization of Virgil (and to a lesser extent, his friends and classmates) present them as people rather than some “othered” category. Virgil is shown to be intelligent (specifically cited in “Trouble Squared” and “Romeo in the Mix”), generous (“Trouble Squared”), against bullying (“Jimmy”), and always tries to make the right decisions; but he is also human, so he messes up sometimes and he has character flaws that make him dynamic (like, at times, his ego). Ultimately, Virgil is a character with agency.
Croteau: Static resists the dominant ideology of “Whiteness” through presentation of protagonists of color and various background characters of color. This is a staple of the series as a whole, though there is a particular discussion of race in the episode, “Sons of the Father.”
Christensen and Media Matters: Static socializes positive messages. These will be discussed in greater detail below in the episode play-by-plays).
Teenagers are Not Some Alien Life Form: The characterization of Virgil (and to a lesser extent, his friends and classmates) present them as people rather than some “othered” category. Virgil is shown to be intelligent (specifically cited in “Trouble Squared” and “Romeo in the Mix”), generous (“Trouble Squared”), against bullying (“Jimmy”), and always tries to make the right decisions; but he is also human, so he messes up sometimes and he has character flaws that make him dynamic (like, at times, his ego). Ultimately, Virgil is a character with agency.
Episode Play-by-Play
"Shock to the System"
Synopsis:
After becoming the target of a local gang leader, “F-Stop,” Virgil is pressured to join a rival gang by their leader, Wade. Virgil has no desire to join a gang and knows that his father hates them; in order to buy himself time – because he doesn’t want to become an enemy of any gangs – he tells Wade he’ll think about it, which Wade takes to mean Yes. Wade calls him, demanding that he come down to the docks, and Virgil goes, hoping to clear up the misunderstanding. When he arrives, he finds that an all-out gang war is in the midst. Wade hands him a gun and Virgil flees, throwing the gun in a nearby body of water because he hates guns (his mother was killed by gun violence). The police arrive by helicopter to stop the fighting, but the shots they fire hit canisters of toxic gas, and the gas spreads over the area, infecting the people in the area (Virgil included). Virgil discovers he now has electric-based powers and confides in his friend Richie, who helps him don a costume and become the superhero, Static.
After becoming the target of a local gang leader, “F-Stop,” Virgil is pressured to join a rival gang by their leader, Wade. Virgil has no desire to join a gang and knows that his father hates them; in order to buy himself time – because he doesn’t want to become an enemy of any gangs – he tells Wade he’ll think about it, which Wade takes to mean Yes. Wade calls him, demanding that he come down to the docks, and Virgil goes, hoping to clear up the misunderstanding. When he arrives, he finds that an all-out gang war is in the midst. Wade hands him a gun and Virgil flees, throwing the gun in a nearby body of water because he hates guns (his mother was killed by gun violence). The police arrive by helicopter to stop the fighting, but the shots they fire hit canisters of toxic gas, and the gas spreads over the area, infecting the people in the area (Virgil included). Virgil discovers he now has electric-based powers and confides in his friend Richie, who helps him don a costume and become the superhero, Static.
Course connections:
Raby is visible in the discourses of At-Risk and Social Problem. In this case, teenagers (particularly teens of color, though the gangs are composed people with various skin tones) are at-risk of violence (and the other connotations that come with gang activity). In this case, though, the term social problem applies more to the actions they commit as teen gang member than as the social problem being that they are teenagers.
Raby is visible in the discourses of At-Risk and Social Problem. In this case, teenagers (particularly teens of color, though the gangs are composed people with various skin tones) are at-risk of violence (and the other connotations that come with gang activity). In this case, though, the term social problem applies more to the actions they commit as teen gang member than as the social problem being that they are teenagers.
"Sons of the Father"
Synopsis:
Virgil notices his best friend Richie Foley never invites him over and convinces Richie that they should hang out at the Foley residence. Richie picks a night when he thinks his father won’t be home until late, and looks visibly worried when Mr. Foley comes home early from work. Throughout the night, Mr. Foley speaks aggressively, making offhand remarks. Virgil mentions to Richie that he brought over a new rap CD and Mr. Foley goes on a tangent about how rap music is a corrupting America’s youth. After dinner, Virgil overhears Mr. Foley making racist slurs and decides to go home. Richie, embarrassed, runs away from his father. Mr. Foley is forced to work with Mr. Hawkins (Virgil’s father) to look for Richie, and ultimately work with Static to save Richie after he’s kidnapped. Ultimately, Mr. Foley attempts to make amends and change his attitude.
Virgil notices his best friend Richie Foley never invites him over and convinces Richie that they should hang out at the Foley residence. Richie picks a night when he thinks his father won’t be home until late, and looks visibly worried when Mr. Foley comes home early from work. Throughout the night, Mr. Foley speaks aggressively, making offhand remarks. Virgil mentions to Richie that he brought over a new rap CD and Mr. Foley goes on a tangent about how rap music is a corrupting America’s youth. After dinner, Virgil overhears Mr. Foley making racist slurs and decides to go home. Richie, embarrassed, runs away from his father. Mr. Foley is forced to work with Mr. Hawkins (Virgil’s father) to look for Richie, and ultimately work with Static to save Richie after he’s kidnapped. Ultimately, Mr. Foley attempts to make amends and change his attitude.
Course connections:
Raby comes into play at dinner when Mr. Foley complains that rap music teaches children to disrespect their parents, engage in vandalism (“write on the walls”), stay out past curfew, and “heaven knows what else.” Basically, Mr. Foley is claiming that rap music makes teenagers at-risk to become social problems. Further, when Mr. Hawkins talks to some homeless teens of color, Mr. Foley makes snide comments, claiming that teenagers like them bring down everything men like him work for. He indicates that he considers them social problems.
Christensen and the concept of Media Matters are prevalent in this episode. The message this particular episode puts out is that racism is wrong. This episode tries to socialize children into having more egalitarian views. Although the messages are subtle for children, they are direct for adult viewers; as such, their “hidden messages” are far more positive than those noted by Christensen.
Raby comes into play at dinner when Mr. Foley complains that rap music teaches children to disrespect their parents, engage in vandalism (“write on the walls”), stay out past curfew, and “heaven knows what else.” Basically, Mr. Foley is claiming that rap music makes teenagers at-risk to become social problems. Further, when Mr. Hawkins talks to some homeless teens of color, Mr. Foley makes snide comments, claiming that teenagers like them bring down everything men like him work for. He indicates that he considers them social problems.
Christensen and the concept of Media Matters are prevalent in this episode. The message this particular episode puts out is that racism is wrong. This episode tries to socialize children into having more egalitarian views. Although the messages are subtle for children, they are direct for adult viewers; as such, their “hidden messages” are far more positive than those noted by Christensen.
"Where the Rubber Meets the Road"
Synopsis:
Virgil finds out his friend, fellow superhero, Adam (Rubberband Man) is dyslexic. Adam is embarrassed of this fact but Virgil discusses the matter with him and reminds him of the methods he once learned in school to work through it (methods he claims he was too impatient to use as a child). Ultimately, Virgil’s advice helps Adam work through his dyslexia to read the instructions for defusing a bomb. At the end of the episode, Static and Rubberband Man speak to the audience about dyslexia and programs that can help people with it.
Virgil finds out his friend, fellow superhero, Adam (Rubberband Man) is dyslexic. Adam is embarrassed of this fact but Virgil discusses the matter with him and reminds him of the methods he once learned in school to work through it (methods he claims he was too impatient to use as a child). Ultimately, Virgil’s advice helps Adam work through his dyslexia to read the instructions for defusing a bomb. At the end of the episode, Static and Rubberband Man speak to the audience about dyslexia and programs that can help people with it.
Course connections:
Croteau’s discussion of normalizing (and de-stigmatizing) traits applies here. The show makes a point of explaining that many people have dyslexia and that it isn’t something to be embarrassed about. As such, by portraying another hero as someone with a learning disorder (a character that is already well-liked), the children who view it will already be pre-disposed to humanize the trait, and therefore will be less likely to tease or “other” someone they meet in real life who has it.
Christensen and Media Matters also apply in the same ways they do for “Sons of the Father.” The episode positively socializes children to be more accepting of people with learning disorders, and it helps people with learning disorders feel more “normal” and more comfortable about it, providing information on how to better work through it.
Croteau’s discussion of normalizing (and de-stigmatizing) traits applies here. The show makes a point of explaining that many people have dyslexia and that it isn’t something to be embarrassed about. As such, by portraying another hero as someone with a learning disorder (a character that is already well-liked), the children who view it will already be pre-disposed to humanize the trait, and therefore will be less likely to tease or “other” someone they meet in real life who has it.
Christensen and Media Matters also apply in the same ways they do for “Sons of the Father.” The episode positively socializes children to be more accepting of people with learning disorders, and it helps people with learning disorders feel more “normal” and more comfortable about it, providing information on how to better work through it.
"Blast From the Past"
Synopsis:
Virgil (as Static) works with a retired hero, Soul Power – whom he meets when volunteering at a retirement home – to take down one of Soul Power’s former archenemies. Both express temporocentrism at first, but grow to appreciate the charms of the other’s generation.
Virgil (as Static) works with a retired hero, Soul Power – whom he meets when volunteering at a retirement home – to take down one of Soul Power’s former archenemies. Both express temporocentrism at first, but grow to appreciate the charms of the other’s generation.
Course Connections:
Croteau is prevalent in his discussion of dominant ideology. In our culture, age is a way to discriminate. There is a certain preference for youth. This can be seen easily in the value of a youthful appearance in advertisements and in companies’ desire to hire younger employees. This episode challenges that dominant ideology by demonstrating that all generations have their positive aspects and their negative aspects, and that neither is superior. In this way, SCWAAMP is also apparent, as the series works to counteract Ageism.
Croteau is prevalent in his discussion of dominant ideology. In our culture, age is a way to discriminate. There is a certain preference for youth. This can be seen easily in the value of a youthful appearance in advertisements and in companies’ desire to hire younger employees. This episode challenges that dominant ideology by demonstrating that all generations have their positive aspects and their negative aspects, and that neither is superior. In this way, SCWAAMP is also apparent, as the series works to counteract Ageism.
"Hard as Nails"
Synopsis:
In this episode, we see Static pursue a runaway classmate, who is searching for a cure for her mutation, as her skin is turning to metal. She seeks solace on the internet and flees to Gotham, searching for the people who claimed to be able to help her; instead, she finds villainesses Harley Quinn and Poison Ivy. They trick her into helping by offering a cure, but when she puts her foot down, they attack her. Static and Batman help her, and the three of them take down bad guys. In the end, the girl is offered a special medical treatment funded by Bruce Wayne that will help to cure her condition.
In this episode, we see Static pursue a runaway classmate, who is searching for a cure for her mutation, as her skin is turning to metal. She seeks solace on the internet and flees to Gotham, searching for the people who claimed to be able to help her; instead, she finds villainesses Harley Quinn and Poison Ivy. They trick her into helping by offering a cure, but when she puts her foot down, they attack her. Static and Batman help her, and the three of them take down bad guys. In the end, the girl is offered a special medical treatment funded by Bruce Wayne that will help to cure her condition.
Course Connections:
Tying in with Christensen and Media Matters, this episode teaches children not to trust strangers on the internet. In this case, the online predators were literally supervillainesses. Although Static ran from 2000 to 2004, this is an issue that is still relevant today.
Tying in with Christensen and Media Matters, this episode teaches children not to trust strangers on the internet. In this case, the online predators were literally supervillainesses. Although Static ran from 2000 to 2004, this is an issue that is still relevant today.
"Linked"
Synopsis:
A promising athlete, Dule, must decide whether to make the “right” (but difficult) decision. Unbeknownst to everyone else, Dule is a Bang Baby and his powers would disqualify him from competing (although he doesn’t use them for the sport; it would be hard to hide if he did). An old friend-turned-criminal, Chainlink, was with Dule during the Big Bang and likewise mutated; he blackmails Dule, demanding 90% of his profits or else he tell the world. Part of the reason Dule doesn’t want to admit he was present for the Big Bang is that he doesn’t want to admit to Virgil’s sister, Sharon, that he was still a gang member when she was working with him. At first he tries to take Chainlink out to avoid admitting the truth, but when Sharon finds out she is extremely disappointed in him. He decides to admit his powers in front of the stadium of people, but Chainlink interrupts and attacks him. He uses his powers to save himself and his teammates come to his aid. In the end he is happy, despite that he has lost all chances at playing professionally.
A promising athlete, Dule, must decide whether to make the “right” (but difficult) decision. Unbeknownst to everyone else, Dule is a Bang Baby and his powers would disqualify him from competing (although he doesn’t use them for the sport; it would be hard to hide if he did). An old friend-turned-criminal, Chainlink, was with Dule during the Big Bang and likewise mutated; he blackmails Dule, demanding 90% of his profits or else he tell the world. Part of the reason Dule doesn’t want to admit he was present for the Big Bang is that he doesn’t want to admit to Virgil’s sister, Sharon, that he was still a gang member when she was working with him. At first he tries to take Chainlink out to avoid admitting the truth, but when Sharon finds out she is extremely disappointed in him. He decides to admit his powers in front of the stadium of people, but Chainlink interrupts and attacks him. He uses his powers to save himself and his teammates come to his aid. In the end he is happy, despite that he has lost all chances at playing professionally.
Course Connections:
Like with the others, this ties into Christensen and Media Matters, by teaching children to make the “right” decision, even when it’s difficult. In this episode, Dule is only happy after he’s admitted his secret to the world and made Sharon proud. “Linked” tries to show that sometimes decisions are not easy, but that making the “right” one will ultimately end in greater happiness.
Like with the others, this ties into Christensen and Media Matters, by teaching children to make the “right” decision, even when it’s difficult. In this episode, Dule is only happy after he’s admitted his secret to the world and made Sharon proud. “Linked” tries to show that sometimes decisions are not easy, but that making the “right” one will ultimately end in greater happiness.
"Romeo in the Mix"
Synopsis:
This episode features Lil’ Romeo as a guest star. He is in Dakota City to film a music video and Virgil’s friends Frida and Daisy won a contest to direct it. In their entry, they claimed that they could get Static to make an appearance. A sleaze ball manager uses this as his argument for Romeo to hire him, knowing that Romeo’s favorite superhero is Static. Frida and Daisy, excited to have won, tell Virgil about it as they print posters in the hopes of getting Static’s attention. Virgil grudgingly helps them, but seems to enjoy meeting Romeo, who has dressed in his very own Static costume. As Romeo marvels at his powers, Static explains that his greatest asset is his brain. A criminal named Leech (who has the ability to absorb other abilities) accidentally kidnaps Romeo instead of Static and makes a trade for Static instead. Using his memories of the location he was held, he tracks down where Leech is keeping the mutants he kidnapped and releases them. Some of them are antagonists, and they trap Romeo and Static inside with the Leech. Ultimately, Romeo uses his brain to hatch a plan to take down the Leech (by causing the sprinkler system to go off, shorting out Leech’s Static-powers). And the day is saved.
This episode features Lil’ Romeo as a guest star. He is in Dakota City to film a music video and Virgil’s friends Frida and Daisy won a contest to direct it. In their entry, they claimed that they could get Static to make an appearance. A sleaze ball manager uses this as his argument for Romeo to hire him, knowing that Romeo’s favorite superhero is Static. Frida and Daisy, excited to have won, tell Virgil about it as they print posters in the hopes of getting Static’s attention. Virgil grudgingly helps them, but seems to enjoy meeting Romeo, who has dressed in his very own Static costume. As Romeo marvels at his powers, Static explains that his greatest asset is his brain. A criminal named Leech (who has the ability to absorb other abilities) accidentally kidnaps Romeo instead of Static and makes a trade for Static instead. Using his memories of the location he was held, he tracks down where Leech is keeping the mutants he kidnapped and releases them. Some of them are antagonists, and they trap Romeo and Static inside with the Leech. Ultimately, Romeo uses his brain to hatch a plan to take down the Leech (by causing the sprinkler system to go off, shorting out Leech’s Static-powers). And the day is saved.
Course Connections:
In line with Christensen and Media Matters, this episode teaches the brain is the most useful weapon. Its intention, likely, was to encourage viewers to foster a love for learning and to think their way to solutions for problems.
In line with Christensen and Media Matters, this episode teaches the brain is the most useful weapon. Its intention, likely, was to encourage viewers to foster a love for learning and to think their way to solutions for problems.
"Trouble Squared"
Synopsis:
The Community Center Mr. Hawkins works at is in disrepair and their funding has been cut. Meanwhile, on a field trip to Alva Industries, Virgil and Daisy encounter two scientists (Trapper and Specs) who know them from past experience; Virgil immediately distrusts them. That night, he goes to investigate as Static. He finds out Alva’s hired a slew of scientists to restore his son, who was petrified; Trapper and Specs do not care about helping Alva – they want to focus on their own projects and take out Static. Later, when Static goes to investigate some random bursts of light, he is attacked by Trapper and Specs, knocked out, and kidnapped. Static wakes up in Alva’s lab and escapes; Trapper and Specs pursue and their fight with Static destroys the equipment Alva needs to save his son. Alva is furious and fires them, kicking them out of their apartment. The equipment will take three to four months to replace. Meanwhile, Trapper and Specs kidnap Alva’s son to get back at him, ransoming him for an obscenely large sum of money. Alva begs Static to help him, and though Static doesn’t particularly want to (both Alva and Alva’s son have attacked him in the past), he agrees. He decides to check their Alma Matter (their old school) and finds them. They fight and he finds Alva Jr. rigged up near a bomb. Static uses his brain to trap Trapper and Specs with their bomb and gets them arrested. Static gets Alva to donate millions of dollars to the Center (a small sum compared to the ransom demanded), saving it from being shut down.
The Community Center Mr. Hawkins works at is in disrepair and their funding has been cut. Meanwhile, on a field trip to Alva Industries, Virgil and Daisy encounter two scientists (Trapper and Specs) who know them from past experience; Virgil immediately distrusts them. That night, he goes to investigate as Static. He finds out Alva’s hired a slew of scientists to restore his son, who was petrified; Trapper and Specs do not care about helping Alva – they want to focus on their own projects and take out Static. Later, when Static goes to investigate some random bursts of light, he is attacked by Trapper and Specs, knocked out, and kidnapped. Static wakes up in Alva’s lab and escapes; Trapper and Specs pursue and their fight with Static destroys the equipment Alva needs to save his son. Alva is furious and fires them, kicking them out of their apartment. The equipment will take three to four months to replace. Meanwhile, Trapper and Specs kidnap Alva’s son to get back at him, ransoming him for an obscenely large sum of money. Alva begs Static to help him, and though Static doesn’t particularly want to (both Alva and Alva’s son have attacked him in the past), he agrees. He decides to check their Alma Matter (their old school) and finds them. They fight and he finds Alva Jr. rigged up near a bomb. Static uses his brain to trap Trapper and Specs with their bomb and gets them arrested. Static gets Alva to donate millions of dollars to the Center (a small sum compared to the ransom demanded), saving it from being shut down.
Course Connections:
The biggest course theme to apply to this episode is the concept of Teenagers Are Not Some Alien Life Form. This is prevalent in every episode, to an extent, but in this one we really see Virgil showing his intelligence and his generosity by outsmarting two genius scientists and convincing Alva to donate a significant amount of money. In the past, the Center has been shown to be a real asset to their community. Virgil could have just as easily asked Alva to pay him for saving his son (and Alva would have done so), but instead he asks it to be put toward a cause that will help the people in his area. Virgil is shown to be very human, and not “othered.”
The biggest course theme to apply to this episode is the concept of Teenagers Are Not Some Alien Life Form. This is prevalent in every episode, to an extent, but in this one we really see Virgil showing his intelligence and his generosity by outsmarting two genius scientists and convincing Alva to donate a significant amount of money. In the past, the Center has been shown to be a real asset to their community. Virgil could have just as easily asked Alva to pay him for saving his son (and Alva would have done so), but instead he asks it to be put toward a cause that will help the people in his area. Virgil is shown to be very human, and not “othered.”
"Child's Play"
Synopsis:
When Aaron, a white boy fresh out of reform school, discovers that his younger step-brother, Dwayne, has the ability to transform things (like a dog into a gigantic robot or an old wrapper into a taco, for instance), he manipulates his way into convincing Dwayne into committing crimes by lying that the people they’re stealing from stole from Aaron first; and he preys on Dwayne’s desire to be a family, as Dwayne idolizes his older brother (or, at least, the idea of an older brother). Virgil attempts to talk to Dwayne about Aaron, but the boy gets defensive and claims that Aaron would never lie to him; this prompts Virgil to record Aaron claiming that he doesn’t care about Dwayne and that he doesn’t really consider Dwayne his brother. When Aaron uses Dwayne to steal from a mall, Static plugs the recording into the mall speakers; this upsets Dwayne, who makes his robot attack Static. However, he stops, and decides that he wants to wait until he knows what the right thing to do is. Virgil’s father works with Dwayne at the Center (and has been worrying ever since Aaron came back), and Static flies off to tell his dad that he was a better influence on the boy than he thought.
When Aaron, a white boy fresh out of reform school, discovers that his younger step-brother, Dwayne, has the ability to transform things (like a dog into a gigantic robot or an old wrapper into a taco, for instance), he manipulates his way into convincing Dwayne into committing crimes by lying that the people they’re stealing from stole from Aaron first; and he preys on Dwayne’s desire to be a family, as Dwayne idolizes his older brother (or, at least, the idea of an older brother). Virgil attempts to talk to Dwayne about Aaron, but the boy gets defensive and claims that Aaron would never lie to him; this prompts Virgil to record Aaron claiming that he doesn’t care about Dwayne and that he doesn’t really consider Dwayne his brother. When Aaron uses Dwayne to steal from a mall, Static plugs the recording into the mall speakers; this upsets Dwayne, who makes his robot attack Static. However, he stops, and decides that he wants to wait until he knows what the right thing to do is. Virgil’s father works with Dwayne at the Center (and has been worrying ever since Aaron came back), and Static flies off to tell his dad that he was a better influence on the boy than he thought.
Course Connections:
In terms of Christensen and Media Matters, this episode shows that you can stop and think before making a decision, rather than just acting on impulse. Dwayne shows great maturity in his choice to stop and learn for himself what the right thing to do is. “Child’s Play” demonstrates positive decision making skills from a child, which can help viewers learn that thinking before acting (and not giving into peer pressure) is important.
In terms of Christensen and Media Matters, this episode shows that you can stop and think before making a decision, rather than just acting on impulse. Dwayne shows great maturity in his choice to stop and learn for himself what the right thing to do is. “Child’s Play” demonstrates positive decision making skills from a child, which can help viewers learn that thinking before acting (and not giving into peer pressure) is important.
"Jimmy"
Synopsis:
A bullied white teenager brings a gun to a school event (the cleanup for Fright Fest) to get back at his tormenters. This act is partially spurned after hearing his crush dismiss the idea of dating him; it is also prompted after a particularly humiliating altercation with his bullies. Initially, when seeing Jimmy get bullied, Virgil and Richie try to befriend him, though Virgil notes that at school he should have been more assertive about stopping the guys from bullying Jimmy, or that he should have made a teacher do something. Despite a blip where Jimmy, trying to impress Virgil, tells him he knows where his father keeps his handgun (and Virgil storms out, telling him he hates guns), things seem to be going well with their friendship, that is, up until Jimmy hears Frida say she isn’t interested in him (and he gets hunted down by his bullies). At the Fright Fest clean up, he accidently ends up shooting Richie instead, who cries out that the bullet wound really hurts and that it isn’t like in the movies. The bullies appear to feel remorseful for their actions, and Virgil makes a stronger effort in helping other bullied teens. Like in “Where the Rubber Meets the Road,” Static speaks directly with the audience at the end of the episode, this time about gun violence.
A bullied white teenager brings a gun to a school event (the cleanup for Fright Fest) to get back at his tormenters. This act is partially spurned after hearing his crush dismiss the idea of dating him; it is also prompted after a particularly humiliating altercation with his bullies. Initially, when seeing Jimmy get bullied, Virgil and Richie try to befriend him, though Virgil notes that at school he should have been more assertive about stopping the guys from bullying Jimmy, or that he should have made a teacher do something. Despite a blip where Jimmy, trying to impress Virgil, tells him he knows where his father keeps his handgun (and Virgil storms out, telling him he hates guns), things seem to be going well with their friendship, that is, up until Jimmy hears Frida say she isn’t interested in him (and he gets hunted down by his bullies). At the Fright Fest clean up, he accidently ends up shooting Richie instead, who cries out that the bullet wound really hurts and that it isn’t like in the movies. The bullies appear to feel remorseful for their actions, and Virgil makes a stronger effort in helping other bullied teens. Like in “Where the Rubber Meets the Road,” Static speaks directly with the audience at the end of the episode, this time about gun violence.
Course Connections:
This episode ties well into Kimmel. This resonates particularly when Kimmel writes, “When we feel that we do not measure up we are likely to feel unworthy, incomplete, and inferior. It is here, from this place of unworthiness, incompleteness, and inferiority, that boys begin to prove themselves as men. And it is here where violence has its connections to masculinity,” (Kimmel 1452). Jimmy feels inferior so he brandishes a weapon to “prove” himself and to compensate for a perceived attack on his masculinity. He tries at first to impress people with the gun (a symbol of masculinity), first when he offers to show Virgil, and again at the Fright Fest clean up. Virgil rejects this idea of masculinity, and is repulsed by it.
In terms of Christensen and Media Matters, this episode attempts to teach a lesson about gun violence. It attempts to de-glamorize guns and to make the violence more realistic, as Richie shouts, specifically, when shot that it isn’t like in the movies. The message is very direct, telling children that guns are dangerous and are not toys.
Further, in this episode, teenagers are not so much the social problem; instead, bullying is the social problem – done by teenagers – that leads to the risk of violence. It should be noted that the episode takes care not to completely dehumanize the bullies by showing them remorseful, and not painting them as an Alien Life Form.
This episode ties well into Kimmel. This resonates particularly when Kimmel writes, “When we feel that we do not measure up we are likely to feel unworthy, incomplete, and inferior. It is here, from this place of unworthiness, incompleteness, and inferiority, that boys begin to prove themselves as men. And it is here where violence has its connections to masculinity,” (Kimmel 1452). Jimmy feels inferior so he brandishes a weapon to “prove” himself and to compensate for a perceived attack on his masculinity. He tries at first to impress people with the gun (a symbol of masculinity), first when he offers to show Virgil, and again at the Fright Fest clean up. Virgil rejects this idea of masculinity, and is repulsed by it.
In terms of Christensen and Media Matters, this episode attempts to teach a lesson about gun violence. It attempts to de-glamorize guns and to make the violence more realistic, as Richie shouts, specifically, when shot that it isn’t like in the movies. The message is very direct, telling children that guns are dangerous and are not toys.
Further, in this episode, teenagers are not so much the social problem; instead, bullying is the social problem – done by teenagers – that leads to the risk of violence. It should be noted that the episode takes care not to completely dehumanize the bullies by showing them remorseful, and not painting them as an Alien Life Form.