#character analysis

[shyjusticewarrior]

Ilya "I don't know english enough for this conversation" Rozanov and Shane "I'm too autistic for this subtext" Hollander

[apricustar]

so much of what happened in 2x5 really sharpened robby for me. there’s a bit of a jagged, almost intentional cruelty to the way he moves this episode. from his blatant distrust of frank, to the comment about dana needing a cigarette, to almost giving a beer to louie—it all starts to feel like a deliberate sabotage of hope.

robby seems to operate under a kind of fatalistic existentialism: the belief that once you are something—an addict, a failure, a lost cause—that is all you will ever be. but the deeper truth is that he’s terrified of the alternative. because if frank can get clean and stay clean, or if dana can function without a crutch, then robby loses his greatest armor: his excuses.

he treats his own flaws as set in stone, unmovable and unavoidable. he’s decided he’s finished—fixed in place—and because of that, watching anyone attempt the grueling, unglamorous work of change feels like a personal indictment. he validates the worst impulses of those around him because their failure makes him feel safe in his brokenness. if everyone stays stuck in the mud, he doesn’t have to ask himself why he stopped trying to climb out; he doesn’t have to face the fact he’s still down there by his own design. hurting is familiar, a known quality, something robby feels he’s earned. he has fundamentally decided he is incapable of betterment and the concept of anyone else changing, growing, healing??? feels improbable! impossible, even.

it’s the same reason therapy never quite works for him, why he can’t find a therapist he likes. he doesn’t want a nice person to challenge his delusions of worthlessness; he wants a witness to his self-hatred—someone who will confirm every ugly thing he believes about himself so he can finally stop fighting the urge to give up. he hoards his mistakes like relics, blaming himself for things that aren’t even his to carry, simply because it’s easier to be a guilty man than to face the raw uncertainty of trying to heal.

knowing he sleeps with the tv on feels like another piece of the puzzle slotting into place. here is a man who the entire ED looks to for guidance, yet he is incapable of being alone with the person he is when the work stops. he gets through the day full of sounds and nonstop motion; the pitt keeps his head full so it never has to be empty.

he needs the noise the tv provides because he is paralyzed by the honesty silence forces on him. he can’t let a thought even begin to form, because if he does, the feelings start. the grief, the PTSD, the sheer weight of everything—it’s all too loud, too much. he has to keep the volume up at all times so he doesn’t have to hear himself think.

which makes his upcoming three-month sabbatical feel less like a getaway and more like a slow-motion collision. he’s a man who can’t survive a quiet evening in his own apartment, yet he’s planning to drive straight into the wilderness alone. it’s the ultimate contradiction: fleeing from himself by heading toward the only place where there’s nowhere left to hide.

it makes you wonder what it is he’s chasing. if we know the sabbatical isn’t ‘vacation’ and we know he’s spent years outrunning himself—outrunning grief, guilt, the quiet, the parts of him he doesn’t like—then what is it he’s going to find in the face of all that silence? all that time alone? nothing but the open stretch of road ahead of him?

[artist-issues]

That’s It.

I’m tired of seeing everyone repeat the same four points: “1) Nani gives Lilo to the state! 2) Hawaii has a better marine biology program than San Fransisco! 3) Jumba doesn’t get redeemed! 4) Pleakley’s not wearing a dress!”

Those are not the only things that were bad about this remake. You could easily tell it was going to be all that and more beforehand, but most people’s reaction to the trailer was “it’s surprisingly good!” and now they’re acting all surprised. If you didn’t see this coming, enough to purchase a ticket, you’re part of the problem and you don’t get the original movie any more than the people who made this remake did.

So I’m done being quiet, this is the Lilo & Stitch 2025 Takedown Post.

And as usual the only good thing about an attempted-remake is that it gives people a reason to think about what made the original so good.

Let’s go in order. But just scroll down to the Heading you Care About if you don’t want to read all this.

1. Cobra Bubbles

In this movie, Cobra Bubbles is a secret agent hunting for aliens and they have a new character take his place as the state social worker.

The Problem They Were Trying to Solve With this Change: “We shouldn’t have a black man or a government worker feel like an insensitive antagonist to Lilo’s family.”

That’s a stupid surface-level one-dimensional misread of the character from the original…and it wouldn’t have been hard, at all, for a child to explain to the 2025 filmmakers that Cobra is not an insensitive antagonist in the original.

Cobra Bubbles is not insensitive and he is not in any way portrayed as a bad guy in the original. Nani sees him that way, Nani sees him as antagonistic, because he’s the representation of Lilo being taken away.

But Nani is wrong about him and learns that she is wrong about him by the end of the movie.

Can we please make a list?

Cobra’s first interaction with the caretaker of the child he was being sent to protect was that she ran out into the road, yelled at a complete stranger, and dented his car.

Then he found her locked out of the home and threatening the child inside with a hammer in her hand.

Then he found out the stove was on while she was out, and she’d left a 7 year-old alone.

The 7 year-old made comments about being disciplined with bricks and a pillow case.

The 7 year-old looks like she might be more than a little emotionally unbalanced because she’s figuring out how to put voodoo spells on her friends to punish them.

He still gave that pair of sisters three days to straighten the ship. When in actuality, in 2002, under HRS §587-73, (don’t play with me) the social worker would’ve been well within his rights to remove the child from the home right then. But instead he gives her three days to fix it. THEN

The 18 year-old loses her job.

The family gets a “dog” who he is implied to know is an alien, right off the bat.

The alien is violent and wreaks havoc across town.

The 7 year-old almost drowns while they surf instead of find a job.

He lets the child and caretaker have one more night together to say goodbye, but when he’s on the way to get her he gets a call that she’s being attacked by aliens, hears a chainsaw, and finds the house on fire.

Do you understand what I’m saying.

Cobra Bubbles had NO BUSINESS being as BIG A SOFTIE AS HE WAS for all of the original movie. He was not only well within his legal rights to take Lilo away from Nani immediately, but he was actually required by law, it was his DUTY, to remove her immediately. But he didn’t do that. Why?

Now listen to me very carefully.

Lilo and Stitch is a movie about how “Family chooses to love and commit to one another selflessly, no matter what the other person can do for them or how hard they make it.” The fancy way they say it is just “Ohana means family: family means nobody gets left behind or forgotten.”

Did you catch that? “No matter how hard they make it.”

Cobra Bubbles was a CIA agent before this. A CIA agent who saved the planet, by doing what? Convincing an alien race to leave them alone. Oh, he didn’t fight them off? No. How? He “convinced” them? He talked it out? Sounds like a pretty compassionate guy, for all his tough exterior. How did he do that?

He could’ve picked any animal that’s actually endangered. The filmmakers chose to make him the guy who convinced aliens to value mosquitos.

MOSQUITOS. Creatures that give nothing, only take. Ugly little bloodsucking monsters. That’s the creature he convinced them to care about enough to save the planet.

NOW do you have any trouble understanding why this is the specific social worker who would give an alien-infested dumpster fire of a dangerous home a chance when two sisters are about to be torn apart?

Do you see that Cobra is just another example of the grace that the movie is always talking about? The love that transforms someone from bad to good simply because it refuses to give up even when it gets nothing out of it? I’m repeating myself because I want you to see why he was a well-done character who NEEDED NO CHANGE.

Cobra Bubbles’ character is not an insensitive monster who doesn’t care who his actions hurt as long as he gets the job done. But you know who that does sound like?

2. Gantu

Gantu is not in the remake at all.

The Problem They Were Trying to Solve With This Change: “It’s going to cost us upwards of 1.5 millions of dollars to design, sculpt, rig, animate, and render a character this big in addition to finding a suitable voice actor to play the part.”

This is a really dumb choice for several reasons. A. Without Gantu, there is no “stakes-raiser” to Lilo and Nani’s story. The movie has no climax without him. For the first and second acts of the movie, it’s about a grieving pair of girls trying to prove themselves to a social worker while the story-equivalent of Beethoven the Destructive St. Bernard wacky Jumba & Pleakley antics get in their way. But when a 40-foot tall alien stomps into their lives and abducts Lilo & Stitch in a spaceship that careens around the island during an explosive sky-chase scene, now you have a high-octane, somebody-could-die climax.

B. Without Gantu, Stitch looks weaker. The climax gave Stitch a reason to come out of the wackadoo puppy he’s been posing as and suddenly remind everybody that he’s a lethal weapon who can survive thousand-foot drops, lava, and astronomic explosions—and a giant alien’s Thanos-dwarfing fist. Take him out and who do we have as a match for Stitch to go up against, even for a moment, and prove how much he’s changed to be willing to risk his freedom and fight?

C. Without Gantu you have no villain to reflect that STITCH is no longer a villain. (So they substituted Jumba.)

But the reason this character is really worth millions is, again, the theme.

I told you Cobra Bubbles was a character who did not put “duty” or even “convenience” or “position” over the real lives of Lilo and Nani. He saw that there was love there, and in his own way, he gave it a chance. And even when he chose to take Lilo away, he did it carefully; he gave them time to say goodbye.

GANTU IS THE OPPOSITE OF COBRA BUBBLES.

Gantu is the insensitive, uncaring, unyielding Captain whose commitment to duty turns into rage and cruelty. Not Cobra.

Nani thinks Cobra is walking in a threatening to tear apart their family in a display of government judgement. But that’s what Gantu literally does.

His first reaction to Stitch is to call for his destruction. Without even waiting to see if “it can be reasoned with” like the Grand Councilwoman suggests. He’s merciless. He mocks Stitch when Stitch is captive. And he knows that he caught Lilo, a human, along with him. He doesn’t care. He even suggests that Stitch eat her as a snack.

There are only two other characters who laugh at others’ misfortune in the movie. One is Stitch, the original villain. Then love changes him. The other is Jumba, who made Stitch. Then love changes him. But Gantu never gets changed. He’s only concerned with his job, and with personally annihilating the flaws he sees in Stitch.

Gantu is unyielding, ungracious, and cruel. And he’s big and powerful enough to be a test for Stitch to prove he’s changed. For the benefits he brings to the story, he’s worth 1.5 million and more. But they cut him anyway.

3. Jumba

In the new movie, Jumba is a villain through-and-through with designs on overthrowing the Galactic Council using Stitch, and instead of being redeemed, he’s sentenced to prison.

The Problem They Were Trying to Solve With This Change: “We can’t spend money on our real villain so we’ll just keep Jumba evil.”

The reason this is dumb is obvious. They created their own problem, and the ‘fix’ makes the movie weaker, not stronger. But here’s how.

In the original, Jumba is introduced as trying to self-protect. He’s on trial, and he lies. But when Stitch is revealed, he’s genuinely passionate about the thing he’s created. And he cares about image. He prefers to be called “evil genius,” and he hates the headlines labelling him “idiot scientist.”

You have to remember he’s part of “Galaxy Defense Industries.” They had him making weapons of destruction anyway. He just got too into it with his genetic Experiments, went a little insane.

I’m not downplaying the fact that Jumba is evil at the start of the movie. He is. It is evil to be outcasted from society and then respond to that with, “well, if they’re going to treat me like an idiot, I’LL SHOW THEM, I won’t care about anything except my passion for mad science!” That’s evil.

But it also explains a lot.

I said it in another post. Jumba’s whole utility as a character is that he knows who and what Stitch really is, better than anyone. He made him to be a monster who can’t belong and wreaks havoc on everybody else’s ‘place of belonging.’ Jumba is the audience’s insider’s perspective on what is going on in Stitch’s head, at first.

But when he’s redeemed, it happens fast. And why? Because that’s how plain and simple Stitch is, as a character. Jumba knows Stitch is a disgusting little monster with nothing inherently loveable about him, and no “greater purpose.” So when his disgusting monster is loved by someone? When his disgusting monster is willing to ask him, Jumba, for help? Something totally outside his programming, totally not what Jumba thought he’d ever be capable of?

That proves to Jumba, in an instant, that there’s love out there that transforms. And creates a place of belonging.

There were already germs of that, a desire to belong, a compassion, in Jumba after he reached earth.

He doesn’t try to get Nani fired, he offers an explanation for Pleakley’s swollen head.

He claims he won’t hit Lilo (why would he care about collateral damage?)

He sounds sorry for Nani when she’s upset about losing Lilo, and tries to keep Stitch from bothering her.

My point is, Jumba’s redemption isn’t important because it’s cute or because we need to set up the big happy found-family trope everybody loves.

Jumba’s redemption is important because it is just one more PROOF that what’s happened to Stitch is so incredible. The love Jumba finds transforming his monster is enough to transform Jumba, too.

But sure, fine, whatever, make him a soulless one-dimensional talking head. Whatever.

4. Stitch’s Design

In this movie, Stitch is cuter than he is ugly, and he’s half Lilo’s size.

The Problem They Were Trying to Solve With This Change: “Ugly-cute doesn’t come across as well in ‘live action’ animation. And all the Wal-Mart moms remember Stitch as ‘cute.’ Plus we’ll save about 15% in rendering the animation.”

This is crippling to the characterization of Stitch.

Stitch is supposed to be an echo of who Lilo could become now that she’s lost her parents and may be losing Nani. This scene:

Where Jumba points out that Stitch has nothing, and destruction is his only purpose, is the evidence for that. But Chris Sanders, who made this whole story, also point-blank said it. Stitch is a future Lilo, if she loses her family.

So that’s reason number 1 that he should be her same height. But also, practically, no iconic pair of best friends, yin and yang, have visuals where one is smaller than the other. Especially not if one of them is supposed to be disguised as a pet.

The point is, Stitch is not LILO’s pet. He is her best friend, her other half. But between the muzzle-muscles they worked into his upper lip and the darkened dog nose and the butt-scooting across the floor, the remake is trying to make him more pet-like in relation to Lilo.

That’s not what he is.

I said this in another post. But Stitch is supposed to throw food to the back of his head like a gator—his lips are not designed for forming words. His gums and teeth are supposed to look like a shark’s. His nose is supposed to be too big, stamped into his face. His ears are supposed to be like bat ears, not bunny ears. He hunches forward, instead of bending at the waist like a toddler. His eyes can narrow to lizard slits.

He has to look like he can believably be a disgusting monster. Yes, he can also be cute. But he has to first look like a monster. Because that’s what he really is, in the story. If he isn’t, then LILO’s love for him doesn’t look as powerful.

It is easy to love a cat even if it scratches you, because it’s cute. It’s harder to love a life-sized spider that keeps knocking you down and eating your prized possessions and laughing when you get hurt. Stitch is supposed to be closer to the second one, so that Lilo’s love shines brighter.

But also, practically:

She can’t look him in the eye for emotional shots when he’s that short. He’ll always have to awkwardly be standing on a box or a chair or a bed.

How is he going to scoop her up, hero-style, and leap off of an exploding spaceship with her in his arms, when he’s half her size? He could do it: it’ll look stupid, though. So they just don’t have that part in the movie.

She can pick him up. That alone is demeaning and again, the visuals are silly. Not what we’re going for.

5. Lilo’s Personality

In this movie, Lilo doesn’t like weird stuff, and she screams when she first meets Stitch. There’s no problem that this solves. It’s just laziness and a lack of care about the characters.

I would like to remind you that the original Lilo:

Made her own doll that looks like a shrunken head and pretended a bug laid eggs in her ears.

Makes up stories about a fish that controls the weather and actively deep-sea dives to bring it peanut butter sandwiches.

Has a knee-jerk reaction of using practical voodoo spells on friends who wrong her.

Listens exclusively to Elvis Presley.

Fills baby bottles with coffee.

Believes Nani’s manager is a vampire.

Has fishing nets and seashells in her room for decoration.

takes safari pictures of overweight bleached tourists.

meets a social worker and her first impulse is to ask if he’s killed someone.

Nails the door shut when she’s mad at her big sister.

She’s not friends with pound dogs in that original movie; when they first get there she acts like she’s never been in the kennel before, and originally wants a pet lobster.

I know that we all love that little girl they got to play Lilo, but if you were really being objective, you’d acknowledge that she’s a little girl. She’s not Lilo. She’s a cute little girl.

They did not write Lilo into the 2025 movie. They wrote any old little girl.

You should have known, from the moment she first sees Stitch and her reaction is to scream in the trailer, that THAT IS NOT LILO.

Lilo had a very specific set of characterizations. She was a character with a personality that exploded out of the screen. Every other character in the movie meets Stitch and reacts with disgust.

But not. LILO. She’s the only one to react to him like THIS:

She is literally not like anyone else. She’s doesn’t care that he’s ugly. Or weird. Or blue. Or even bat an eye when he can talk with all those shark teeth.

From Moment One, Lilo chooses Stitch. She chooses to love him. Regardless of what he can do for her. Regardless of how many times he pushes her over or rips up her house or makes her relationship with Nani harder. That is the number one thing about Lilo.

She is desperate for people to stay, but she chooses to love Stitch even though he’s a monster. And she tries to make him better. And her love succeeds in transforming him when nothing else could.

Lilo’s personality traits all mean something in the story. (I.e. she likes Elvis because she’s clinging to the past, she snaps pictures of tourists like they’re safari animals because they’re inherently people who LEAVE and she has issues with LEAVING, etc.) But the thing I think that was so obvious that the moviemakers missed for 2025 is she has to be weird. If she’s not weird, there’s no reason for her not to have friends. And if she has friends, what does she need Stitch for?

But also, Lilo’s personality in the new movie is just boring. Cute. But boring. Cute’s not that great of an accomplishment; any 7 year-old is cute.

6. Nani

I don’t think you guys need to know this. It’s not just that Nani leaves. It’s that “take care of yourself” is the exact opposite of the selfless message of the movie.

In the beginning, Lilo literally argues with Nani after being told she’s “such a pain,” and goes, “why don’t you SELL ME and buy a RABBIT INSTEAD?”

And then breaks down and cries at the thought of Nani wishing she had a rabbit instead of Lilo, later.

Because Lilo is afraid of people leaving. But Nani won’t leave her. Nani loses her job, her own life, because of Lilo. But she’s desperate to keep Lilo anyway, because she loves her. Don’t you understand? The message of the movie was about self-sacrificial love. A love that doesn't care what I get out of the relationship.

Nani starts it. But you know what, David loves her like that, too. And then Lilo transfers it to Stitch, who shows it off to Jumba. It’s a chain reaction, but Nani is spearheading it.

You realize that when their parents died, Nani already would’ve been in high school? With a whole life of her own? Her own friends, her own potential boyfriend, a job she went to, surf competitions (the trophies are in her room.) Lilo would’ve been well aware that that was the status-quo: Nani has her own life. And even a seven year-old can see that that life is being put on hold, but maybe the big sister wants to go back to it, at every turn.

The fact that Nani never does that, never expresses a desire for that, only ever expresses a desire to keep Lilo with her, is huge. It’s the core of the movie.

I don’t think that needs any more explaining.

We could talk more. Like about how Lilo needs to see that Stitch is an alien, because that’s the ultimate test: he’s one of the monsters who destroyed her house, he’s been lying to her and using her as a human shield, he’s a criminal—but she still winds up giving everything up to protect him.

Anyway. My neck hurts and I don’t want to type anymore. But we could talk about the music, the social worker, the grand councilwoman—it just doesn’t matter.

Ya’ll had more than enough details in the trailer to be able to not go see this movie because it was obviously going to ruin everything. But instead you chose to make this twisted corpse “the highest-grossing movie of any Memorial Day.” You bought tickets because they ruined a perfect movie and slapped together an uglier package for you.

Whatever. It was my favorite movie today, it’ll be your Treasure Planet or Tangled tomorrow. Keep riiiight on giving them your money, and keep letting influencers regurgitate the same four obvious facts to you over and over, because they paid Disney to make a talking-point for their content benefit. Whatever.

[tadc-and-md-sideblog]

Ok everyone and their mothers are posting about Caine dying which is absolutely valid but I also really wanted to talk about this scene

I love how this is being handled. Even though he still hasn't opened up about his issues to anyone, Pomni knows enough.

You see the surprise on the others' faces when he's acting so vulnerable and nervous, with the stuttering and all and the clear attempts to get out of the room as soon as possible. It's entirely new to them.

And even though they never talked about Jax's close calls with abstraction... Pomni just knows. She knows he hasn't been doing well and she has the perfect balance of concern and firmness to keep a tight grip on him.

The silent communication here is JUST *chef's kiss* 😭

Jax says he's going to distract Caine. Pomni knows he just wants to be away from them. She starts asking if he's okay but catches herself, knowing he won't take that well, but while she's still trying to rephrase, Jax just looks her dead in the eye and says again, "Fill me in later."

Aka "I NEED to be out of here right now don't try to stop me."

She looks back at him, and says with a firm look, "BE here later." Aka "you can go have your alone time but don't you dare abstract on me."

And Jax, for the first time in the show (although he avoids eye contact), replies sincerely, "I will."

Just... UGH. The way Pomni is STILL sticking around for him is so sweet and how it's slowly but surely WORKING akdnfndmskjfdkdkdjskdkdkdkksksndnsk

Not to meNTION how later in the torture scenes, Pomni is right up there alongside Ribbit and Kaufmo as Jax's closest friends supposedly laughing at him in Caine's personally created nightmare world. 😭😭 Yeah we knew he cared about her but this episode really drove that home 🥹

[spideredwebbing]

Thinking about the new TADC episode, and I want to note a detail I find interesting, specifically the Caine Callout Scene. More specifically than that, Ragatha and Gangle's contributions.

Ragatha mentions that Caine never comforts anyone when they're upset or bothers to understand their points of view...both being complaints that could be easily levied towards her abusive and demanding mother, who never bothered to understand how Ragatha felt and constantly put her down and yelled at her, actively making her upset and refusing to comfort her.

Meanwhile, Gangle's complaint is that Caine discourages everyone from thinking outside the box and "doing things our own way", with her biggest gripe from outside the Circus being her artistic dreams being crushed and her being stuck working a fast food job just to get by...keeping her from thinking outside the box and doing what she truly wants to do.

I find it fun how Pomni, Zooble, and Jax's complaints are all about Caine specifically doing things wrong that bug them, but Ragatha and Gangle seemed to genuinely get a bit personal there and bring up how Caine is actively reminding them of what they had to go through outside the Circus, and giving them a chance to finally stand up for themselves when they weren't able to do so in their past Macroversal lives.

I love thematic cohesion.

[serpentinesomebody]

Something that really stuck with me was the reveal that this ISN’T a game. At ALL.

Which means that the whole ‘ringmaster’ bit is something Caine came up with on his own. He was never instructed to care about what humans thought of him or how to keep them happy.

He just saw the very limited data he got from training (which didn’t even seem to have pictures of any actual humans or expressions of their emotions), met the humans who got transferred into the circus, and just…chose to love them. To care about them. Not in a very healthy way, sure (again, he had virtually zero guidance in regards to literally anything).

But still. There’s something so heartwrenching about him having a genuine interest in humans not because he was designed to entertain them for a game, but because he developed sentience and immediately began to admire these strange and wonderful creatures that were so different from him.

[tinygalaxykid]

One of the things I love the most about The Pitt is how realistically depicted experiences of the women of color are.

Santos: Santos is the ULTIMATE "what if a beloved man was a woman? she would be crucified" character. She was raised not to question authority and not to make trouble. She's told she's too brash, overconfident, and disrespectful. In reality, she is always trying to improve herself and be honest. She goes to great pains to take care of other people in vulnerable positions (Whitaker, the new young patient in S2, etc.) despite people always assuming the worst of her. She literally exposes medical malpractice, adopts Whitaker, and leads advanced medical procedures on the fly in a mass casualty event on her FIRST day! And she doesn't do it to prove anyone wrong-- she does it because that's who she is.

Collins (God I'll miss her): Collins is having one of the worst days of her life in s1 and, unlike Robby or Langdon, knows she CANNOT let it affect the quality of her work. She's put in a compromising position of faking ultrasound measurements when she knows she's more at risk than other doctors. It doesn't matter what she thinks is best for her patient, she doesn't have the luxury of being an "ER cowboy" like Abbot and Robby! Later, when McKay is clearly baffled about the state of her (fat) patient's clearly undiagnosed condition despite the fact that McKay *did not follow standard of care*, Collins takes the responsibility of checking her. The way she talks to McKay is so purposely non-aggressive and nonjudgmental because she knows that's the only way a person will listen to her criticism. Collins is forced to navigate every difficult situation with nothing less than grace and perfection until it becomes second nature.

Javadi: She has been denied any opportunity to grow up a normal girl in favor of her being "excellent." This sheltered upbring only serves to shoot her in the foot as she comes off as naïve and inexperienced. People won't take her seriously and it robs her of learning opportunities that are available to her peers. In season two, we see her pitted against Ogilvie-- a white boy with less experience. On his first day feels the need to upstage her at every opportunity; he comes in and assumes that any opportunity or position available to Javadi is, in fact, entitled for him to take. Where Javadi sees a collaborative learning experience, Ogilvie creates a zero-sum game. Also, her expression when Ogilvie pulls out his white boy Farsi is SO funny! Literally every woman of color in the office is bilingual and Ogilvie gets extra points literally because he's white. I hope she gets to kill him.

Kwon: I am so excited for Joy this season. She seems wildly unengaged for a medical student. Probably not her first rotation with Ogilvie. She comes across as defeated. She's snarky, proving she has opinions on her coworkers and patient care but she's learned to stop taking opportunities because she's burnt out from trying to beat guys like Ogilvie to the punch. Where Javadi has become "aggressive," Kwon has become "unengaged." I really love these depictions of WOC in education systems. Ogilvie unknowingly having extremely negative and racialized impacts on how his female peers are viewed.

Al-Hashimi: I am hesitant to speak on her arc so far because i know we have SO much to dig into in future episodes. As the viewer, we are introduced to all of her faults at the top. She is abrasive. She does lack the people skills to work harmoniously with Robby and the residents. She is imposing on the the ptmc without regard for how the current staff feels. That said, she has been hired by the hospital to do all of these things! She and Gloria (not featured in this post but also great) are hired by the hospital because they get results where they need to and they will be even better scapegoats when they don't. Al-Hashimi is coming off really harsh because she is not here on equal terms as anyone else. She has been hired solely to prove herself as capable of changing the status quo of The Pitt. I'm really excited to see how she responds to the ramping pressure.

Mohan: Mohan is one of my favorite characters because of how well subtlety her struggles are portrayed. From constantly being assumed to not be a doctor, to the way her extremely influential guidance of other doctors goes unrecognized! Samira. Samira, who's father died due to medical racism, who gave her whole life to trying to save people from his fate. Samira, who puts patients first and has not just good patient satisfaction but digs deeper and saves lives where others wouldn't have. That Samira??? She get's called slo-mo.

While Robby is right about her needing to help people more efficiently, her competency is always underrecognized. She does a far better job guiding the newbies than either of the senior residents do! My girl is always imparting knowledge!!! She is so much like Robby but she is kinder, more empathetic, and more curious. People only make her feel weak for it.

Mohan is the pinnacle Asian-daughter who will never get the recognition she deserves. Constantly seeking the approval of a dead father. Brushed aside in the eyes of her current father figure. Not good enough for her mom to stay. Not able to have her own life because she gave EVERYTHING to this job. It haunts every scene with her in it.

The Pitt has WILDLY nuanced and good WOC. Their struggles don't become the point of the show or their central character arc. They're inherent to the setting and foundational for how that character moves through the world. They all exist in an office dominated by well-meaning but inherently biased white people. The way these characters carry that in their bones is so foundational to the depth in this show.