Baby Yoda Funko Pop
A Baby Yoda collectible Funko Pop? All Star Wars and Baby Yoda fans need this. Add it to your collection. Pre-order now. It will be available May 15.
There are two types of storylines that make my skin crawl: amnesia and babies. Between the two of them, I will take amnesia every time. I wish I could have amnesia wipe my memory of all the baby stories I have been subjected to.
To clarify, stories that are designed around babies can execute the concept just fine, as the main conflict of the series is determined by the concept (like The Scarlet Letter or Rugrats). Here I’ll mostly be referring to series that add babies during their run.
Nothing drains the life out of a character or storyline like a baby. Babies pull the attention of characters and viewers away from the main character arcs and storylines, and usually not in a way that develops or actually changes the characters. Real parents have to deal with babies’ constant need for attention and nonsensical sleeping hours, and fictional parents inevitably face the same horrors. When a child is born in reality, however, the mother and father become parents. In television, the mother and father become babysitters.
There is no way to keep your characters likable and have them neglect their child, and if they aren’t neglecting their child that means the parents either have to carry it around or stay at home with it. “But wait!” you say, “Can’t they just find a sitter or drop the child off at daycare?” Yes! Yes they can! Lots of shows do this; they find convenient ways to keep the child off-screen and cared for, whether that’s the baby sleeping through their birthday party or spending a weekend at the grandparents’ place. But if you’re just going to get rid of the baby on-screen, why even introduce a baby in the first place?
When a baby isn’t being written out of a story, they provide a troubling example of tropes in television. Babies are not characters: their personalities cannot play as a foil to other characters, their decisions don’t reveal anything about them (because babies don’t make decisions, they just do things), and they have zero agency since they are completely dependent on other characters in every single scene they are written into. Due to their lack of everything necessary to make a character, they mostly act as objects within a plot, resulting in plot-lines that tend to be incredibly trite and played out.
Baby gets lost. Baby won’t sleep. Baby says a word and everyone gets excited. Why are you so excited? Babies may be able to speak a few words but they can’t converse. They can’t interact with the rest of the characters in any meaningful way that a puppy can’t, and a puppy can be left at home alone without the characters ruining their likability.
Of course, if you don’t want your characters to be likable a baby can provide the necessary ammo to achieve that goal. Breaking Bad is a great example of this, as Walt’s infant child is used to highlight particularly nasty aspects of several characters. Despite believing that Walt’s baby could be completely removed from Breaking Bad without damaging the show in a significant way, I think this is an adequate use of a baby in a series. A large part of that success, though, comes from the fact that we don’t just see Walt babysitting a baby, we also get to see him be a father to Walter Jr. (AKA Flynn).
In most baby cases, we don’t actually get to see the parents be parental figures. Human babies stay unintelligible and dependent for a LONG time, so we don’t get to see parents deal with the difficulties of raising a person until the little potato hits at least 4 or 5 years of age. That’s longer than most shows will ever run, (and most baby storylines don’t start until well into a series) so unless you’re starting off with an infant, the story is never going to reach the point where we see parents passing on their knowledge or beliefs, or coming into emotional conflict with their offspring. This is why long lost sons and daughters appear out of nowhere; they can be fully formed characters that actually challenge the parent on a character level. Until a child is at that point, they just act as a ball and chain that wakes you up at night and you have to feed, weighing down both the characters and the story.
Time skips are sometimes utilized to quickly raise the age of a kid (like in Angel or Parks and Recreation), skipping over the baby portions to get the child to a point where they can challenge the characters and provide more personal impact on storylines. This isn’t a solution to create a compelling storyline, however, it’s a way around having to deal with a baby.
The problems with babies can even extend to the pregnancy portion of the storylines, which are also filled with tropes and constantly covered ground. Mom is emotionally unstable. Mom has funny food cravings. Mom is afraid to be a mom. That last one is a valid storyline where character growth and change can happen, but it’s also a storyline that can happen without having a child inside of you.
It’s a real shame when shows fallback on these standard plots for their pregnant characters because unlike babies, the women carrying the unborn plot devices are actually characters. They have interests, desires, hopes, dreams, and fears. Take a look at how good these storylines can be when a show infuses them with character specificity.
In Angel, soulless vampire Darla gets impregnated by the ensouled Angel, resulting in a child with a soul. That soul starts nurturing Darla, causing her to feel emotions like love for the first time in centuries. How will she handle these new emotions? What happens when she gives birth? Will she once again lose her soul?
Then there is Phoebe from Friends, who has her brother’s babies. Already, that’s an above-average pregnancy storyline because the explanation without context can lead to several comical encounters, but there are two other great aspects at play here.
First is the way it handles the classic “food cravings” plot. It’s not very interesting to watch the dad go get the mom pickles and ice cream cause “man, isn’t pregnancy whacky?” But it IS interesting to watch Phoebe, a strict vegetarian who loves animals, suddenly start craving meat. How is she going to handle this situation? How is she going to deal with the desire and guilt? What if she eats meat and ends up loving it?
Second, the babies leave. Admittedly, part of this is just me being glad that the babies are removed from the storyline, but it’s also because of the emotional impact this has on Phoebe. She carried these children for 9 months for her brother and sister-in-law, but developed an attachment to them and doesn’t want to let them go. She’s a caring person and despite being generous enough to lend her uterus out to her family, she’s struggling with the thought of giving up the children she nurtured. It’s a complex emotional scenario, and it’s great. And also the babies leave.
Now, I understand that there is also an emotional attachment to the onscreen babies that parents are going to keep, but there is a major difference. For most on-screen couples, having a child is a joy; it’s a wonderful wondrous feeling and the peak of their happiness, and that’s the problem.
Normally, if we witness the peak of a character’s happiness, it is at the end of their story when they’ve earned it or at the beginning of their story right before they lose it all. This is because, no matter what it says about human nature, suffering and adversity make for more compelling narratives. Babies provide that peak happiness but the story doesn’t end, so what now? If the couple starts to suffer again because of the baby what message does that send? Do the parents spite their child? This route likely makes your characters less likable (or I suppose more relatable, depending on your point of view), and so it’s a route rarely chosen outside of intense dramas. Babies have to cause problems, but not big problems, lest they ruin the structure or dynamic of the show.
By nature, though, babies are disruptive. That’s their entire schtick. They need attention, a lot of it, and demand you to put off your life to help nurture theirs. That’s fine for real-life (depending on your point of view), but not for a television series. It’s invasive, which is why so many shows soften the impact a child has or stick to the most common and least consequential stories, AKA Baby gets lost (and found!), Baby won’t sleep (until that one unexpected person holds them!), Baby says a word (something comical or inappropriate!) and everyone gets excited.
Except it’s not exciting. It’s dreadful. How many shows really need this? Shows themselves seem to refute the very idea of baby narratives by constantly sidestepping them. If a show finds itself creating excuses to keep a baby offscreen or trying to soften the disruption the child will have on any existing dynamics, then don’t write in a baby.
I am terrified for Brooklyn Nine-Nine. They already had Amy’s mood swing episode with “Ding Dong” and her part in it was everything I dread. The series may be winding down soon and I’d personally much prefer to see Jake and Amy wrap up their relationships with Holt, Boyle, Rosa, and Terry than start a new one with an unidentifiable humanoid blob. I hope that they can at least make Amy’s pregnancy unique to her and create personal conflict through it instead of relying on the standard pregnant jokes, jabs, and joylessness.
Maybe it’ll prove me wrong. Maybe Brooklyn Nine-Nine will have the greatest baby storyline ever. That would be awesome! I won’t get my hopes up, though. Babies aren’t naturally suitable material for interesting stories due to their lack of character, dependence on others, and their dangerous influence over characters’ actions and the audience reception of those actions. And anything that carries that much ammunition to disrupt a narrative is, well…
Am I being a baby about baby storylines? Does anyone have any examples of good baby storylines to share? Tell me your rebuttals in the comments below or on social media @CraveYouTV!
This is a story about a girl named Caroline Forbes.
Caroline is not the same woman she was when The Vampire Diaries first premiered in 2009.
In terms of character growth, the vapid perfectionist — brought to life by the impeccable Candice King — underwent the biggest evolution in the show’s eight-season run.
Though she was introduced as a shallow, oftentimes insufferable teen, with time, she blossomed into a strong-willed and impressive young woman who knew what she stood for and always stuck up for her friends.
Most of all, she grew into a fiercely independent.
She was no longer the girl that needed a man to feel a sense of worth — a stark contrast from the Caroline we met on The Vampire Diaries Season 1, who looked for love in all the wrong places.
In those early episodes, Caroline was a control freak who took on as many extracurriculars she could squeeze into her schedule (head cheerleader, in charge of dance committees, town activities, and more) to be the best.
Deep down, however, she was insecure and sought validation from the opposite sex, and then blamed herself when she didn’t get it. Not being “the best” made her feel worthless.
We saw that on full display on The Vampire Diaries Season 1 Episode 1, we saw that a smitten Caroline tried to date brooding newbie Stefan Salvatore. When he told her it would never happen and chose Elena instead, Caroline was heartbroken and drowned her sorrows.
“How come the guys I want never want me?” she asked Bonnie before wallowing in self-pity and emphasizing that she was never good enough.
Teenage Caroline was a bit neurotic and even downright mean, as she lashed out at everyone around her, including her closest friends. Her toxic behavior was mostly fueled by insecurity and jealousy.
While these characteristics undoubtedly gave the character substance, they also gave her something much more important — room to grow. And that growth was wonderful to watch over the years.
Elena was always put on a pedestal, but Caroline was a constant work in progress, which leaned in her favor as it allowed her to flourish and surpass her story arc.
On the road to becoming your best-self, hardships are unavoidable, and Caroline went through her fair share.
Her eventual complexity, good nature, and thoughtfulness made her a far better lead than Elena. Upon Nina Dobrev’s departure, she (along with Bonnie, who also deserved better) carried the series.
Since Caroline’s self-esteem was effectively shot, she became the perfect target for any man who would give her even a smidge of attention.
Damon Salvatore was the first to prey on and manipulate Caroline for selfish reasons.
And it didn’t stop at Damon. In those early seasons, Caroline dated nearly every single man in Mystic Falls — Tyler, Matt, Klaus, Stefan, and Alaric, along with supporting characters like Liam and Jesse.
While the relationships usually progressed naturally, it was obvious that Caroline was trying to find herself and fill a void.
That strength was always within her; she needed help finding it.
Caroline was “revamped” — pun intended — when she turned into a vampire. Again, she was the victim of someone else’s selfish games, but it was a turning point for her and, quite honestly, the best thing that could have happened to her character.
Her transition wasn’t wasted or used simply for plot development as she found both physical and mental strength while gaining a new outlook on life.
Since The Mandalorian picked up steam in 2019, Baby Yoda has been all the rage. Some might even say that the force is strong with this little green one.
Fans have been waiting for Baby Yoda merch since the premiere, but since the alien, known as The Child, who bears a striking resemblance to a young Yoda thus earning him the name, was such a huge secret, merch hasn’t been available until now!
We may be in quarantine, but at least you can re-watch the series in your Mandalorian swag!
Or, if you have a big fan in your life, you can buy them something from this list to cheer them up!
Check it out below… and if you can’t wait for season 2, here’s everything we already know about the upcoming season!
Disclosure: We may get a commission from retail offers.
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Okay, so Baby Yoda might not be on the bedding per se, but if you’re a fan or have a child that is, how can you resist this spread? Let the force be with you day, night, and when you take a nappie. Get the bedding now!
Take Baby Yoda wherever you go with this slick backpack that’s ready for any adventure! Grab the backpack now!
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These Lego Brickheadz give you Baby Yoda and The Mandalorian. You’ll be able to create an authentic display complete with signature weapons! Get your Brickheadz now!
Okay, so this one isn’t for kids, but hear us out — Baby Yoda is technically 50, so a whiskey glass dooooes sort of make sense. Buy it now
Hasbro has several different Baby Yoda figurines with various poses including reaching (for the radio controls), eating a frog, sipping his tea, and more. The release date is May 25! Find out how to purchase
There’s nothing more enjoyable during quarantine than doing a jigsaw puzzle with a Baby Yoda smiling back at you. Grab your puzzle now
This T-shirt isn’t joking, you’ve got precious cargo in your pocket… it’s Baby Yoda! Grab the tee now
Virgin River season 2 ended on a jaw-dropping cliffhanger. For a quiet, scenic town, there’s sure a lot of danger lurking in those woods.
If you’ve watched the season finale, then you know that Jack’s life is hanging in the balance.
In the last few moments of the episode, Mel arrived at Jack’s bar and found him bleeding out from an apparent gunshot wound.
This begs the question: who shot Jack? And why?
There’s a few theories floating around on the internet, and we’ll get to those in a moment, but Martin Henderson, who plays Jack, told TV Line that he thinks the prime suspect isn’t the most obvious one. “I always joke that it’s most likely Charmaine. It does pop into your mind!”
Let’s break down some potential theories:
Charmaine is definitely one of the top suspects considering her big fight with Jack. Charmaine was pretty crazy throughout the season as she went through a series of mood swings. You just never knew what you were going to get with her. The pregnancy hormones likely played a role, but Charmaine’s been a pretty unstable character even before the pregnancy. And maybe after the constant back-and-forth with Jack, her jealousy over Mel, and finally realizing that they’d never be together romantically, she finally snapped. This wouldn’t be the first time Charmaine tried to “get revenge.” Let’s not forget she spread rumors about Mel being a home-wrecker and straight-up told Jack she wouldn’t allow him to be the father of their twins. We don’t know what a woman that’s been hurt is capable of. Hopefully, we’re all just misjudging Charmaine because I think if she can truly accept that Jack doesn’t love her in that way, they could make great co-parents. Otherwise, she’ll be in prison and Jack will be raising those babies with Mel!
Calvin and/or Jimmy.
Calvin (or one of his right-hand men like Jimmy) is the go-to suspect since he has plenty beef with Jack! It’s also the most obvious choice, so we have to consider if Virgin River is the kind of show that wants amp up the shock factor or take a more predictable route. The war with Calvin and Jack has been brewing for most of the second season with Jack meddling in his business and trying to stop him from expanding his fentanyl enterprise. We know Calvin isn’t above killing a man who has gotten in his way, but he’s also had plenty of chances to do it before. Why now? Maybe the LAPD shut down Calvin’s operation after Spencer testified and one of Calvin’s men acted out of loyalty since they knew Jack had a hand in it. Getting involved with Calvin, especially by trying to sabotage his business, is a recipe for danger and disaster.
Brady is also a potential suspect, but I just don’t see him going through it. Despite his fallout with Jack, he respects him. Not to mention, he went out of his way to help Spencer get out of town, which allowed him to testify against Calvin’s “lumber” business. Brady may have been motivated by money at first, but when he realized what was going on, he realized he had to do the right thing even if it meant going to prison. So, while Brady could’ve shot Jack because he botched up his investment, I just don’t see it panning out. And if it turns out to be him, color me shocked!
A Random Druggie Looking to Score?
We’ve seen our fair share of those in Virgin River this season, so maybe it wasn’t a planned shooting? Slim chances here, but you never know who might waltz into a bar in the middle of the night looking for trouble.
Again, super slim chances. Actually, the chances are nearly non-existent because Ricky is a good guy who has simply been struggling to make the right decisions because of his love for bad gal Lizzie. He may have exchanged some words with Jack previously, but there’s no chance he has it in him to shoot the guy who has given him a job and supported him!
Who do you think the culprit is? Hopefully, Netflix will renew the show for a third season soon so we can get #JusticeforJackSheridan!
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