[Image is of KO making a strained expression along with a tear coming out of his eye.]
This is what we see right before TKO comes to fruition. A child that is sad and frustrated.
[Image is of KO in the flashback where he is much younger, crying on the ground.]
In this flashback, we are shown what advice KO has received about what to do when he is sad and frustrated, the vague idea of “focus”. I’m not saying the advice was inherently bad, but it’s not enough to work with for a small kid in the long term. Unfortunately for KO, there was no point in his life that an adult could identify as an appropriate moment to give him more clear advice until the events of TKO.
[Image is of KO looking at a dark blob in a cage. His expression is cautious and disgusted.]
This is because KO represses his negative emotions. Sure, he’s no Radicles about it; he lets himself cry and be angry sometimes, but in the end he believes
the most heroic way to live life is to tackle any adversity without issue. Whether it be physical harm or emotional harm, a hero is not supposed to experience those weaknesses without justification. Emotions are best when they can be used to achieve some heroic end. When they can’t be, KO perceives them as
[Image is of KO’s “evil burp” from episode “Face Your Fears” grinning mischievously.]
this. An embodiment of KO’s worst fear is that of himself being a villain, and KO’s idea of a villain thus far is someone who allows their negative feelings to motivate harmful actions.
[Image is of unsuited Chameleon Sr. holding Chameleon Jr.]
In “My Dad Can Beat Up Your Dad!” KO says, “Seems like inside every bully is[…] a troubled man.”
If every villain is deserving of sympathy because their actions are motivated by frustrations or insecurities, then it would make sense for KO to mistakenly associate frustrations and insecurities with the concept of villainy, and therefore repress those feelings in trying to be a hero.
[Image is of TKO sitting in the passenger seat of a car, looking out the window in a brooding manner.]
So what happens when someone tells KO that the key to obtaining true power is to channel one’s frustrations? If KO’s main experiences with expressing frustration is watching villains/bullies, i.e., people who express their feelings in unhealthy manners, then it would make sense that he would start engaging in unhealthy behaviors.
And it’s at this point the episode really starts to fall apart.
[Image is of Rad giving TKO a noogie, while Enid observes with a smile.]
No one is willing to find out why KO is acting in this manner and address that. Everyone just wants to get rid of the symptoms when they start to inconvenience them. After KO gives his speech on how the world is “a pizza of suffering and torment,” Enid laughs it off as being dramatic. It isn’t until KO insults her that she decides his behavior is “too far.” Rad doesn’t mind until KO ignores him. Carol only takes action when KO gets violent.
If any of these characters had been willing to talk it out with KO when his behavioral issues were only budding, he wouldn’t have reached the point of hurting the people around him and destroying the plaza.
[Image is of TKO floating in the air, yelling angrily.]
Unfortunately, with lines such as “Only teens have earned the right to angst and brood,” and “It’s not a phase, mom!” It’s clear the writers don’t think children’s frustrations with life are something to be taken seriously.
They believe a valid way to respond to a kid thinking the world is too cruel of a place to engage with positively is to let them deal with those thoughts until they exhaust themselves, thus ending their “phase.” The ideas that fuel that belief are extremely harmful, as it leads to kids never learning how to deal with negative emotions, and it teaches them that no one cares when they’re suffering as long as that suffering doesn’t affect others directly, and when their suffering is affecting others it becomes a burden.
With an attitude like that the writers wrote themselves into a hole, so KO just randomly punches himself.
[Image is of TKO punching himself in the face and falling back slightly.]
And then KO uses the power of “focus” to throw TKO back into a cage.
[Image is of KO closing a cage door from the outside while TKO cries inside the cage.]
So the moral of the story is that kids should repress their negative emotions and put on a facade of near-constant content with life to please their friends and family? Carol even says, “I’m just glad you’re back to normal,” without trying to figure out what happened to KO to make him act the way he did, or how to prevent it in the future.
[Image is of KO looking up happily at Red Action, Drupe, and Gregg from inside a lava drain path.]
OK KO has shown us on multiple occasions that mean people are just acting out because they don’t know how to cope with something, and a hero is someone who extends sympathy toward them. Why doesn’t this apply to TKO, a kid who doesn’t know how to cope with feelings of powerlessness?
I was really hoping the episode would redeem itself by the time TKO and KO fight it out, with KO realizing how much of a disservice to himself he was doing by downplaying his own emotions, and embracing TKO as a part of himself that needs a healthy outlet, and destroying the cage altogether.
Unfortunately, that didn’t happen, so we end up with an episode that is needlessly cruel toward distraught children and tells them that only certain emotions are socially acceptable and the rest should be bottled up.
Rose from the fantastic book Chameleon Moon! She was my favorite in a huge cast of amazing characters. Happy Belated Birthday to thesylverlining, the author!! I’ve been wanting to paint my mental image of Rose forever.
The Sun is traveling through the sign of Pisces right now and writer Anais Nin was born under the sedative Neptune fog on February 21, 1903 at 8:16pm. Anais Nin continues to seduce countless with her succulent, erotic literature, short stories and journals; dancing through the cosmos with words created in play with a Neptune, Venus and Moon dominated natal chart. Much of Anais Nin’s art poured into romance, self discovery, eroticism, writing and intricate subtle harmonies. Her Libra ascending and Venusian rulership forming a T-square with the Capricorn Moon in the third house of communication spritzes the love goddesses filters through an instant receptivity and literary delight, where illuminating connections with others are sought and illustrated in feminine harmonic beauty and a life of tranquil aesthetics; “Luxury is not a necessity to me, but beautiful and good things are.”, and her dominance of planets over the horizon relates to her tendency to look within, reflect and further conjures a fertile imagination. With her Sun conjunct Venus in imaginative, fantastical Pisces in creative paintbox fifth house house, ruled by dreamy Neptune in the sixth house of duty associates with generous creative and mystical creative flairs under the pang of sixth house responsibility; “The role of a writer is not to say what we can all say, but what we are unable to say”, and with her Mercury in airy Aquarius conjunct her depth of consciousness through Saturn in the fourth house lead her on the turbulent (Saturn) search for ‘a haven, a sense of belonging, home (fourth house)’ where she found an inner home through her words (largely journal writing) and a sanctuary away from the destructiveness of the world (also relating to Neptune escapism) through writing and creativity; “I believe one writes because one has to create a world in which one can live.” . Jupiter ruling her fifth house expresses through favor, fortune, tremendous pleasure and benefit in creativity, writing, sex and outreaching in service and conjunct Sun Pisces demonstrates her indifference in motherhood and the view of her art and writing as her offspring.
Anais Nin’s heavy Neptune ruled chart with Sun in Pisces and reflective interpersonal mirror of the Libran ascending paints the chameleon image and her seemingly confused inner state. Many of her writings reflect an arduous and unstable self identity and fragments of her own personality she felt dissociated from. “I will always be the virgin-prostitute, the perverse angel, the two-faced sinister and saintly woman.”, in expression of the intrinsic Piscean pull in two opposite directions. Her search for other people, particularly men and eroticism to fill the tangents of her self image and express her strong feminine energies relate to a sexual aggression - though this is delicately poetic, sensual, luscious sex; noted through a Jupiter-Sun conjunct in Pisces in the fifth house with Mars (ruling sexual pursuits) in Libra ruling the first house (becoming oneself through others) “I sat there for three hours and did not feel the time or the boredom of our talk and its foolish disconnection. As long as I could hear his voice, I was quite lost, quite blind, quite outside my own self.” . Her Libran theme may also relate to her role playing or mutable ruler which prompted her to play different characters in the search for an identity. Her Pluto in Gemini in the ninth house relates to her internal aggression to consume knowledge, engage intellectual expansion and share the garnered insights she has learned through a Plutonic Mercury; 'Gods will’, which urges her to leave a lasting imprint on the world through forms of broadcast but still evoking the Pluto’s infinite search for the hidden; “The possession of knowledge does not kill the sense of wonder and mystery. There is always more mystery.” , this is furthered by an act under the compulsion of seeking intimacy with the divine which she may have transmuted and search for in sexual communion. The cosmic dance of infinite Neptune, divinely tuned Lunar in Mercury’s third house and impassioned Venus created a life viewed in abstract linguistic illustration and the emanation of a blossomed soul who could transform her pen into a magic wand. Anais Nin viewed the world in a trine effervescent enchantment and soaked up the universal brilliance transmitted in her artwork of word
“I am an excitable person who only understands life lyrically, musically, in whom feelings are much stronger as reason. I am so thirsty for the marvelous that only the marvelous has power over me. Anything I can not transform into something marvelous, I let go. Reality doesn’t impress me. I only believe in intoxication, in ecstasy, and when ordinary life shackles me, I escape, one way or another. No more walls.” — Anaïs Nin
This striking new image, captured by the NASA/ESA Hubble Space Telescope, reveals a star in the process of forming within the Chamaeleon cloud. This young star is throwing off narrow streams of gas from its poles — creating this ethereal object known as HH 909A. These speedy outflows collide with the slower surrounding gas, lighting up the region.
When new stars form, they gather material hungrily from the space around them. A young star will continue to feed its huge appetite until it becomes massive enough to trigger nuclear fusion reactions in its core, which light the star up brightly.
Before this happens, new stars undergo a phase during which they violently throw bursts of material out into space. This material is ejected as narrow jets that streak away into space at breakneck speeds of hundreds of kilometres per second, colliding with nearby gas and dust and lighting up the region. The resulting narrow, patchy regions of faintly glowing nebulosity are known as Herbig-Haro objects. They are very short-lived structures, and can be seen to visibly change and evolve over a matter of years (heic1113) — just the blink of an eye on astronomical timescales.
These structures are very common within star-forming regions like the Orion Nebula, or the Chameleon I molecular cloud — home to the subject of this image. The Chameleon cloud is located in the southern constellation of Chameleon, just over 500 light-years from Earth. Astronomers have found numerous Herbig-Haro objects embedded in this stellar nursery, most of them emanating from stars with masses similar to that of the Sun. A few are thought to be tied to less massive objects such as brown dwarfs, which are “failed” stars that did not hit the critical mass to spark reactions in their centres.
Credit: NASA & ESA.Acknowledgements: Kevin Luhman (Pennsylvania State University), and Judy Schmidt