![]() ![]() And it’s always worth examining what a story is reinforcing or explaining, even if at the end of the day that’s not the part you value the most. Sometimes these are deliberately placed, sometimes they reflect cultural norms or the mentality of the writers specifically (see: Steven Moffat’s issues with women). But whether a show places emphasis on what it imparts are not, it’s still teaching its audience – something that’s particularly true in shows aimed toward kids. Variety in tone and approach means there can be something for everyone. And there’s absolutely nothing wrong with that. Arguably, that’s how the crew approached the show as well (albeit with a great deal of love for their cast). While the script trades in very broad strokes for the characters and the plot, it pours all of its energy into some lush shots of the forest and some amazing visual gags (nipple-fists is one of those things that will never leave you, no matter how you try).Īs a last general note of sorts: I know that GF is often considered to be a “jokes first, themes second” sort of show. Actually, that whole sequence is pretty great. It’s also a fine episode on the music front, featuring both an amazing 80s montage pastiche (“sing about the weird action on screen” is pretty much always a winning move in animation) and a genuinely sweeping Adventurer’s Journey piece as Dipper makes his way up to the Multibear’s cave. And Stan’s final speech about standing for one’s beliefs even when you’re standing alone is a great lesson – for anyone, as much as it’s couched here for Dipper’s sake as “being a man.” And while the concept of toxic masculinity and dangerous group mentality isn’t exactly a new thing, it’s still worth including in a show for a young audience, when peer pressure is decidedly a thing. Its take on “manliness” goes beyond the surprisingly mature finale – more on that in a minute – versus the jock mentality, with the Stan and Mabel subplot at least attempting to offer a third shade that’s both a compliment and contrast to Dipper’s storyline (though it wasn’t quite as fleshed out as it could’ve been – there’s a serious need for more Mabel in the early going). But my personal deep-seated hatred of gender essentialism aside, there’s a fair amount of subtlety in the tackling of what is, on paper, a supremely trite subject. ![]() Speaking of, I was quite surprised by how much of this episode did hold up upon rewatch, given that I remembered it being one of the weakest on my first time through the series. It helps with a lot of what makes this episode work, and also might explain why he departed before GF’s considerably darker second half. McKeon seems to have a specialty for goofier, more broadly comical (and highly visual) writing that embraces the “cartoony” nature of animation. ![]() McKeon has a pretty solid history in animation, contributing to big names Adventure Time (primarily in its first season) and Foster’s Home for Imaginary Friends and moving over to Wander Over Yonder after his time at Gravity Falls. ![]() This is the first episode not to have Alex Hirsch credited on the script – not only that, but it’s a sole credit job, penned by Tim McKeon (his only one, though he did go on to contribute to several more season 1 episodes). Feeling inadequate and crushed by his lack of chest hair, Dipper seeks help from the manly manotaurs living in the woods meanwhile, Mabel tries to help Grunkle Stan showcase his softer side. ![]()
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