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Todd In The Shadows / Tropes D to F

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This page covers tropes in Todd in the Shadows.

Tropes A to C | Tropes D to F | Tropes G to I | Tropes J to M | Tropes N to P | Tropes Q to S | Tropes T to V | Tropes W to Z

  • Damned by Faint Praise:
    • In his "Turn Up The Music" review, he says that "As a singer, Chris Brown is a really good dancer."
    • He gives Taylor Swift's "We Are Never, Ever Getting Back Together" his prestigious Not That Bad Award. "I'm sure she's honored."
    • The nicest thing that Todd can say about Gregory Abbott is that he has "a singing voice so good that he might be able to place ninth on a bad season of American Idol."
    • While Phil Collins, Bryan Adams, and Richard Marx are acceptable, the only thing Michael Bolton has in his defense is that "I probably would stand up for Michael Bolton before I stuck up for Peter Cetera."
      • In his "Worst Hits of 1991" countdown, he subverts his constant Bolton bashing by taking account of his recent "full-on charm offensive" and then, after evaluating his many hits that year, declares Bryan Adams to be worse.note 
        Todd: Fight the real enemy.
    • This sometimes occurs in his "Did he/she/they deserve better?" summations in his One Hit Wonderland series. A few examples...
      • Jars of Clay:
        Todd: So I will give Jars of Clay the highest praise I will ever give a Christian music group: I could almost mistake them for a real band.
      • OK Go:
        Todd: OK Go have carved out a unique place in entertainment, and found a level of success that I think fits them.
    • In his review of "Drive By", he gives Train credit for keeping adult alternative rock interesting by writing lyrics so bafflingly bad that it makes you wonder whether they've gone insane.
    • In "Like a G6", he praises Far East Movement for defying stereotypes; specifically, they're Asians who are not intelligent, respectable, or good at music.
    • In "Yummy," Todd says the only thing nice he can say about the song is that it didn't make him wait to let him know that it sucks.
      Todd: If I can say one nice thing about this song, I like that it doesn't lead you on. Like, we were all expecting the worst, right? And three seconds in, it immediately confirms it. No long intros, no verse, no waiting for the hook. We could have been sitting there in dread for upwards of two minutes, but Justin ripped off the Band-Aid right away.
    • In his review of S-Club 7's only hit in America he gets onto the topic of the British traidition of charity records. He concludes that the British must be a very giving generous people — because there's no way they're buying charity records for their musical content.
  • Dance Sensation: One of the reasons why "Monster Mash" became so popular in 1962 was because it was riding on the heels of a massive dance sensation that swept across pop music at the time. Todd comments that this was generally described as a "dark time" in pop music because many songs were just outright silly. The Beatles came along and helped end it.
  • Darker and Edgier:
    • Trainwreckords is easily the darkest series that Todd has done: while One Hit Wonderland and Cinemadonna can dip into depressing territory, Trainwreckords often delves deeply into issues like mental health, bleak real-world politics, bands falling apart, or the general nature of celebrity. Robin Thicke’s Paula and Lauryn Hill’s MTV Unplugged 2.0 are particularly difficult watches.
    • He feels that this trope and Katy Perry do not mix well at all, feeling that she's at her best when singing upbeat songs like "Hot 'n' Cold" and "Teenage Dream". Her divorce from Russell Brand led Todd to dread listening to the songs that came out of it.
  • Dead Horse Genre: Invoked. One of his biggest problems with the remake of "We Are The World" is that the "Mega Crossover for charity" genre has passed the point of parody. He also points out that many of the contributors had already spoofed the genre, with emphasis on Josh Groban.
    • He also considers club anthems to be heading in this direction. When LMFAO used a Zombie Apocalypse theme in one of their videos, he claimed a zombie was a perfect analogy for the genre; technically dead, but still moving.
  • Deadpan Snarker: He's pretty dry, but he gets animated at times.
  • Demonization: "Peter Cetera is a war criminal. Peter Cetera caused the stock market crash. Peter Cetera killed my dog."
  • Department of Redundancy Department:
    • "Because that's not even a joke even!"
    • "... the biggest pop songs of the year were all pretty much the same thing - club dance songs about dancing in clubs to club dance songs."
    • "The original title was "Your Drugs Are My Drug", I'm guessing."
    • "Pedicure on our toes, toes".
      Todd: Now that I think about it, it's probably a good thing that she cleared up where she got the pedicures. Because I'm starting to get the feeling that she's the type of girl that if someone doesn't clarify that for her, she'll try to get pedicures on her eyeballs or something.
    • Calling the Pittsburgh Steelers "Losing losers of losingness"
  • Description Cut: Three in the "Firework/Born this Way" review.
    • He says due to his life he has no need to listen to inspirational music. Cut to a flashback where Todd drinks and puts a gun to his head.
    • Todd calls JesuOtaku fat, and proceeds to discuss how Jesu is affected and is taking it hard... while Jesu just stares at him.
    • At the end, Todd expects to see how Katy Perry and Lady Gaga do in their new, down-to-Earth way. Cut to their next singles, "E.T." and "Judas", which are about said artists "boinking monsters".
    • And in the most awful moments of Rattle and Hum, he claims U2 never embarrassed themselves after said movie... before cutting to them dressed as the Village People in "Discothéque".
    • In "Give Me Everything", he sees a rock band in the top 10 of the Hot 100, and asks to hear the song as it might be a break from the constant party songs. Too bad that song was 'Tonight, Tonight' by Hot Chelle Rae, yet another dance song.
    • In "Lighters", he asks for the song to begin expecting an angry song like Eminem used to do... only for the opening to be Bruno Mars in his piano.
    • In "5 O'Clock", Todd says he knows how to party all night long. Cut to him playing video games.
    • In "Drive By", he can't believe anyone could be turned on by Pat Monahan comparing his love to garbage. Cut to a clip from Trash Humpers.
    • He claims the success of Gotye and fun. (#1 and #2 at the Billboard 200) shows the general public wants songs with feeling. Then we see #3 to #5 is "Payphone" (Maroon 5 Featuring Wiz Khalifa), "Call Me Maybe" (Carly Rae Jepsen) and "Wild Ones" (Flo Rida) - two of which where reviewed by him later, and one was brought up reviewing "Titanium"...
    • "Treat You Better" leads Todd to ask if there is a Distaff Counterpart for "I'm a better option than your current significant other". Cue "You Belong With Me".
      Todd: So, shouldn't we all just nail Taylor Swift for this one too?
      • Then subverted, as he notes that while "You Belong With Me" does have some problematic subtext, "Treat You Better" is much worse in a number of ways.
  • Designated Hero:invoked He and the Rap Critic call out Mac of Mac & Devin Go To High School as one of these. He is repeatedly held back in school, only avoids expulsion by sleeping with the principal, and essentially ruins Devin's future in a manner that begs comparisons to Training Day. The only thing he does that is portrayed positively is supplying pot... and the value of that is a debate of its own.
  • Designated Villain: He calls attention to the Hannah Montana: The Movie's villain being this, as all he wants to do is build a mall in an empty field that isn't being used for anything. That said, much later on in his "I Love College" review, he does admit that, given the subsequent crash in the popularity of malls, it would've been a very bad investment.invoked
  • Despair Event Horizon:
    • Nearly crossed in his review of "Blah Blah Blah".
    • Crossed in his Lady Gaga reviews.
      Todd: She is a demon from hell!
    • Yet again during his review for "3" when Britney Spears caused him to imagine Peter, Paul and Mary having a threesome.
    • Miley Cyrus' "Hoedown Throwdown" sent Todd into a horrible depression to the point where he threatened to end it all but was stopped when the song ended.
    • The 2011 MTV VMAs prompted Todd to do an 18-minute, unscripted video in which he bemoans the bloated and decayed Franchise Zombie MTV has become.
  • Digging Yourself Deeper: While reviewing Ariana Grande's part on "Bang Bang", Todd struggles to describe her without sounding like a pervert (specially as she begun her career in her teens). Eventually the captions surrounding him read "Live: Todd digging hole even deeper."
  • Disco Sucks: Has discussed the anti-disco backlash in a number of One Hit Wonderland episodes covering disco, or songs in related genres. He admits to being fascinated with disco, not so much the music itself as how it's been treated in pop culture, specifically its invoked swings in popularity from "the only music being made" in the late '70s to "the worst music ever made" in the '80s to its reevaluation in the 2010s. He notes that there was a lot of ugly bigotry surrounding the "disco sucks" movement, but at the same time, he feels that disco really had gotten overexposed by 1979, and that the record industry deserves most of the blame for how badly they milked the genre dry.
  • Dissimile: He points out that "Head to Toe" by Lisa Lisa and Cult Jam (no. 6 on his list of worst hit songs of 1987), which is said to resemble Motown, isn't anything like Motown! He compares "Head to Toe" to an actual Motown song (more specifically, The Isley Brothers' "This Old Heart of Mine") and claims that "Head To Toe" is exactly like Motown... except without the tight musicianship, the soulful singing, or the longevity.
    • Lesser example: he discusses that "The Lazy Song" is a "white guy with an acoustic guitar" song despite Bruno Mars not being white... and possibly not a guy.
    • "Eminem with his rabid legion of angry white guys! I was one of them... except I was not angry... and I'm not white" (As far as you know)
    • Claimed that Everything but the Girl deserved more than their one hit "like the deserts deserve the rain. (Beat) Do deserts deserve rain?"
  • Distaff Counterpart: He identifies "white chick with piano" as the distaff counterpart to "white guy with acoustic guitar."
  • Dodgy Toupee: The Hannah Montana wig he wears in "Whip My Hair" and the crossover with The Rap Critic (in the commentary for the former, Todd mentions it barely fit his head, and if he headbanged a little harder it'd fall).
  • Don't Explain the Joke: "Only Sixteen", a hit by Sam Cooke that was later covered by Dr. Hook & The Medicine Show, is about a guy who fell in love with a 16-year-old. That's far too young for him, because he's SEVENTEEN! A-hyuck, a-hyuck, a-hyuck!
    • When Todd comments that he knows next to nothing about Flo Rida's backstory, he says:
      Todd: If I had to guess, I'd say he's probably from Miami... Partly because his name is Flo Rida. You know, Florida, Flo Rida, Florida... You get it? It's clever.
  • Don't Shoot the Message: invoked
    • The reason why he put "Victoria's Secret" by Jax on his worst of 2022 list. While the Victoria's Secret lingerie company is an easy target for a very good reason and has been responsible for a ludicrous number of eating disorders and body image issues, that doesn't change the fact it is a ludicrously easy target that people have made fun of for decades, that it's far from the only company that exclusively seemed to hire stick figures with giant boobs as models, and that it's trying to be better even if only to survive increasing awareness of the dangerous issues such hiring practices caused. It also doesn't make the song any less of a clumsily written Author Tract with no insight beyond the well-known fact of its longtime former CEO being a Dirty Old Man with no understanding of women's anatomy, a problem Todd suggests Jax might have rectified had she been able to watch Victoria's Secret: Angels and Demons beforehand. In addition, as some commenters point out, the song falls into the trap of overcorrecting for fatphobic beauty standards by demeaning genuinely healthy slim women who are not responsible for perverts turning their body type into the stereotypical beauty standard.
    • This was his biggest problem with "Rich Men North of Richmond", and why he put it on his worst of 2023 list. Oliver Anthony may have tried to write a populist anthem criticizing wealthy plutocrats with a pro-working-class message that transcended politics, but Todd felt that he undermined it with lyrics directed against the poor that relied on "welfare queen" tropes and other Lower-Class Lout stereotypes, which not only pigeonholed it as a right-wing song but also served to pit working-class people against one another. As a result, he found Anthony's attempts to characterize the song as apolitical to be disingenuous. Add on some other scattershot lyrics and the fact that the song is directed specifically to the listener with the frequent use of "you" in the lyrics, and to Todd, it came across as pandering. The only nice thing he could say about it was that it was better than Jason Aldean's "Try That in a Small Town", as Anthony at least meant well and merely stumbled into a Clueless Aesop.
      Todd: It's not, like, one line, it's most of the second verse in a song that only has two verses, and it's just so ugly. Even if I try not to object to the politics, the "fudge rounds" thing is still a big, giant stake in the heart of the song, 'cause it's just bad songwriting. It's unfocused. Like, did you not notice the name of your own goddamn song? Y'know, "Rich Men"?
  • Double Entendre: Defied by Todd in "Carry Out," in which he calls out a line, which doesn't even fit under a Single Entendre, but rather under a .3 Entendre.
  • Double Standard / The Unfair Sex: His primary objection to Beyonce and her music. He really tears into her when he talks about "If I Were A Boy", calling out women for being just as guilty of everything she accuses men of being.
  • Double Take: Many lyrics have Todd listening to them twice before giving a reaction.
  • Downer Ending:
    • He thinks the Hannah Montana movie has one of these.
    • One Hit Wonderland can sometimes go this route, particularly when the musicians in question died an early death, like Falco. His episode on Rick Derringer is particularly notable, as it goes from talking about how he had an incredibly broad, influential career that worked with artists like Bonnie Tyler and "Weird Al" Yankovic to bemoaning his hard turn into right-wing nationalist politics and appearance on Alex Jones' radio show.
    • Trainwreckords can also go this route, especially when the contested album becomes a Creator Killer and permanently breaks up the band without a chance of reforming, such as Creedence Clearwater Revival.
  • Do Wrong, Right:
    • In "Top Ten Songs About Mediocre Romance", Todd accuses the couple in "Escape (The Piña Colada Song")" of being so bad at romance, they can't even cheat on each other properly.
    • In his One Hit Wonderland episode on "The Rhythm of the Night", he says that Lee Marrow knew so little about Shanghai that he tried to portray them as reductive stereotypes in his early songs and failed even at that.
  • Dramatic Irony: Starting with the intro to The Black Eyed Peas cover of "Time Of Your Life", he decided he was being too negative and could still enjoy the song "unaware" of the approaching "dirty bit" change.
  • Driven to Suicide: Frequently, in early episodes of the series:
    • He asphyxiated himself with a grocery bag at the end of "BedRock".
    • He strangled himself with his microphone cord during his cameo in Y Ruler of Time's review of Soulja Boy's "Anime".
    • He beat himself to death with a book at the end of "Whatcha Say". (and stated that it hurt as he shot 8 takes, and the book was one hell of a Door Stopper)
    • He commits seppuku with a machete not three minutes into "Like a G6".
    • He puts a gun to his head at the end of "Hannah Montana Pop Tour Guitar Game."
    • He attempts to blow his brains out both on "Imma Be" and "Firework/Born This Way," only to fail, as the gun was a plastic toy.
    • Subverted with "Hoedown Throwdown" from the Hannah Montana: The Movie, which was driving him into a depression making him question why he's even doing this. Fortunately, the song ended.
      Todd: I'm sad all the time. I can't sleep at night. I— (sobs) I have all these horrible thoughts in my head and I can't fight them off! And— (sobs) You know, what's the point? What's the point of anything?! What I'm even doing here!?! Why am I— I— Why don't I just go ahead and k— (song ends) Oh, wait, it's over. Thank God! (snaps out of it) Sorry; that song sends me to some weird places.
    • He did however stop doing this gimmick fairly quickly, and it has not featured in any of his reviews since about 2011, except when he smothered himself with his own hands during Jason Derulo's "Wiggle".
  • Drowning My Sorrows: He had a damn good reason to get drunk a the end of "Your Love Is My Drug".
  • Dubstep:
    • Just when Todd thought Pitbull's "Back In Time" song couldn't have anything less to do with Men in Black, he points out how well adding dubstep into a 1950s rock song blends so well together.
    • Todd speculates that with the direction Taylor Swift's music has already changed, her future musical stylings will be nothing but dubstep and autotune.
    • He also discusses how Alex Clare's "Too Close" helped him understand the possible merit of dubstep in a pop context, and then doing a Mood Whiplash to proclaim the song in question to be "garbage".
    • Todd comes around to appreciating dubstep in a mainstream context due to Skrillex's production on Justin Bieber's "Sorry," praising its riff and percussion track. However, Bieber's persistent brattiness causes him to reconsider.
      Todd: I salute you, Skrillex. You may look like Danzig's embarrassing teenage son, but I'll give you this: You actually got me to like a Justin Bieber song...for a couple weeks.
  • Dude, Not Funny!: invoked
    • When Todd wakes up from a hangover in "Your Love Is My Drug", he asks for something to brush his teeth with. He's handed a bottle of Jack Daniel's and responds with this.
    • Also when he receives the Hannah Montana game for his birthday.
    • Discussed in his review of "Freaky Friday". He states that while criticising comedy is extremely important, it's also completely unenjoyable for everybody involved.
  • Dull Surprise: Criticizes Selena Gomez for sounding "without giving off even the slightest hint of desire, excitement, eagerness or any emotion whatsoever" in "Come and Get It" (which he attributes to her only romantic experience having involved Justin Bieber).
  • Dumbass DJ: Has few kind words to say about Rick Dees, or DJs in general.
  • Ear Worm:
    • Referenced by name in "Deuces". However, he calls the song an "Ear Snail" because it's slow, boring, and completely forgettable.
    • He says in "E.T." that he likes his pop songs catchy. And said song doesn't fit, with a beat so minimalistic he compares it to "We Will Rock You".
    • Flo Rida's "Whistle" fits the standard definition, to the point that he has to beat it out of his own head with a bat.
    • He INVOKES this upon Linkara by dialing him up, asking him what day it is, then gently singing Rebecca Black's "Friday" before hanging up.
      Linkara: (Goes back to reading his comic, and starts humming "Friday" before finally realizing what just happened) ... OH GODDAMMIT, TODD!
    • Discussed again in "Scream and Shout", with Todd stating that will.i.am gets the inspiration for his musical compositions from "awful, clattering, obnoxious sound[s]" such as "car alarms, jackhammers, vacuum cleaners, your neighbors having sex, [and] the dripping faucet that keeps you awake at night".
    • "Little Things" by One Direction is so generic and forgettable that Todd admits he finds it impossible to keep the song in his head as soon as it stops playing. In fact, he keeps getting other songs stuck in his head while he's listening to it.
    • Discusses this with the well-known beat to "Funky Town", stating one could get it stuck in their head for weeks.
      Todd: And by the way, you're welcome!
    • Curiously, he also describes "Green-Tinted Sixties Mind" - Mr. Big's 'failed followup' of "To Be With You" on One Hit Wonderland - as such.
      Todd: An ode to the sixties that sounds nothing like the sixties. Hear it three times, it's in your head forever.
    • He calls Nicki Minaj's "Anaconda" an "ear piranha'... it digs itself into your brain and eats it from the inside out."
    • Another One Hit Wonderland episode has That Dude in the Suede noting how in New Zealand, "How Bizarre" "was already a very common phrase, and now whenever you said it, you start to hear a Spanish guitar in your head."
    • This is the only way he can rationalize Donna Lewis's "I Love You Always Forever" making it to #2 in the very nonpop year of 1996: an incessantly cheerful chorus that got stuck in his head for weeks from the moment the song was requested by a patron. Complete with editing to achieve the full effect.
  • Early-Bird Cameo: Sometimes a song will be referenced in one video before getting a spot in a top-ten countdown or even a full review.
    • "Scream and Shout" by Will.I.Am and Britney Spears actually made it into a top-ten countdown and then got a full review.
    • "Fuck It (I Don't Want You Back)" by Eamon was the end-credits song for the Want U Back review, then got its own spot in the Top Ten Worst Hit Songs of 2004.
    • He brings up Michael Sembello in the One Hit Wonderland episode about "Rico Suave," mentioning that he hoped to cover him someday. Sure enough, "Maniac" was the subject of the 2014 Halloween episode.
    • He discussed Rockwell's "Somebody's Watching Me" briefly when talking about LMFAO's "Party Rock Anthem", mostly about the nepotism involved in their success. He then fleshed out the details and dispelled a few misconceptions for the former in a One Hit Wonderland episode two years later.
    • He uses "I Don't Fuck With You" by Big Sean as his transition music for the Top 10 Worst Hit Songs of 2015. It then shows up as number seven on that year's Best Of list.
  • Early-Installment Weirdness: Todd's earlier videos tended to involve him affecting a relatively over-the-top persona and doing things like pretending to commit suicide regularly and shouting about being in physical pain from the awful music he reviews, while also having skits and cameos from other Channel Awesome members. These elements all more or less disappeared from his later videos (particularly after the implosion of Channel Awesome itself meant he didn't have to do cross-overs), and the comedy present now comes almost entirely from Todd's snark as he's adopted a more subdued, analytical style. He now also does fewer straight pop song reviews, which were all he did at the start - whereas One Hit Wonderland and Trainwreckords were originally side projects, they now make up a more even portion of his uploads. (he even mentioned once "If you're gonna start a pop song review show, do it in 2009", saying new music is not as worth a Caustic Critic look)
  • Earn Your Happy Ending: 2014 starts off with him having to make his Worst Hit Songs of 2013 video, a year he considered at the time (as well as many others) the worst for pop music in recent memory. Then as the charts end up slow and frozen for a while with a lot of the same hits not going away and hardly having anything to say, it goes From Bad to Worse in late spring with "Wiggle" by Jason Derulo, which he declared the worst song of the decade. The charts are then inert again in the summer, and come the end he declared 2014 even worse than 2013. But then the shining light came in the form of "Uptown Funk" by Mark Ronson and Bruno Mars, which not only took the #1 spot of his best list that year, but was #1 on Billboard and gave him great hope for 2015, which in the end was fulfilled.
  • Earth-Shattering Kaboom: His reaction to the video for "Sexy and I Know It".
  • 11th-Hour Ranger: In One Hit Wonderland, a few of his subjects have been noted particularly as being victims of getting in late on a dying genre. These include Mr. Big (80s hair metal), EMF (Madchester/baggy), and Kyper (90s pop rap).
  • Eleventy Zillion: He has "seventy three bajillion dollars" in student loans to pay off yet.
  • Elmuh Fudd Syndwome: On Twitter, he believes Ariana Grande suffers from this.
    @ShadowTodd: "Ariana Grande: pipes like Mariah Carey, diction like Elmer Fudd"
  • The End Is Nigh: "Repent now or perish in the fourth circle of Hell... where "Like A G6" plays for eternity."
  • End of an Age: Frequently discussed.
    • The "Nirvana Killed My Career" gag is primarily used to explain why 80's hair metal or New Wave acts either couldn't survive in the 90's or felt the need to change their sound (usually unsuccessfully, as they were no longer playing to their original strengths).
    • Several One Hit Wonderland episodes chronicle one of the last new acts in a given genre to sneak a hit song onto the Top 40 just before that genre lost its popularity, such as Lipps Inc.'s "Funkytown" for disco or Mr. Big's "Be With You" for hair metal, and Todd will explain the respective genre's demise for context. The "Flagpole Sitta" episode, in particular, suggests that the song indicates how alternative rock by the end of the 90's had lost not only its relevance but also its purpose, largely due to overpolishing and overexposure. While grunge's early hits were serious, raw expressions of genuine anger and pain that often struggled to express themselves, "Flagpole Sitta" is a sarcastic joke filled with clever wordplay.
      Todd: But if it's arch and snotty, like, it's earned. Like, who could take this kind of music seriously anymore? Cobain took it seriously - he's dead. And Pearl Jam ran from the limelight, and Smashing Pumpkins were collapsing. You can't pretend this shit is still deep and meaningful.
  • Epic Fail:
    • His description of "Hey, Soul Sister" by Train after he learns that it is apparently their idea of a tribute to INXS.
      Todd: You were trying to sound like this [clip from "New Sensation"] and instead you sound like this [clip from "Hey Soul Sister"]. My god... That's like if you try to make scrambled eggs... and instead you caught syphilis!
    • In his "Drive By" review, Todd theorizes that Train tried to make a boring song and somehow failed (not that the song was good, though).
    • He says that "Cooler Than Me" by Mike Posner fails utterly because it's meant to be bitching about a girl, but it never actually explains why this girl is bad or anything she has done wrong, besides rejecting the narrator, instead only mentioning her attire (one point of which he mimics himself in the video!). He also points out that while Posner spends the entire song whining about how she rejected him and how much she sucks, the song itself is a last-ditch effort at picking her up.
    • In his "Deuces" review:
      Todd: And even if you do wanna be happy that you dropped a bad relationship, there are classier ways to do it. In fact, there's a song on the radio right now that does it better.
      Jason Derulo: I'm so sorry that it didn't work out / I'm solo, I'm riding solo, I'm riding solo, I'm riding solo
      Todd: Dude, what are you doing with your voice? When you're being outclassed by a no-talent like Jason Derulo, reconsider your artistic decisions.
    • He complains that "Get Up and Boogie" by the Silver Convention fails to make you want to dance because it's a request rather than a command, contrasting it with C & C Music Factory's "Gonna Make You Sweat", and it lacks energy. It also doesn't help that the lyrics consist of six words (get, up, and, boogie, that's, right), the same amount of words as their other hit "Fly Robin Fly" (fly, robin, up, to, the, sky). He also notes that he rarely comments on the video footage he finds for songs, but he had to mention how absolutely bored the audience members looked in the TV performance clip he found for "Get Up and Boogie".
    • He also says Kanye West ruins any guest spot he's offered.
    • Cher Lloyd somehow proved herself to be even WORSE than Kesha by ripping her off at the end of "Want U Back."
      Cher: Just sound like a helicopta! BRBRBRBRBRBRBRBRBRBR!
      Todd: You mean "Here's the sound of you ripping off Ke$ha?" (I like your beard!) YOU SUCK!!!
    • In the "Turn Down For What" review, Todd tries to crotch slam his piano. It does not end well.
  • Epic Rocking: Discussed in two episodes of Trainwreckords.
    • One of his biggest criticisms regarding Oasis' Be Here Now, particularly for not being "prog rock multi-part suites with different sections" but just repetitions of a chorus. The 9 minute long "All Around the World" earns quite the enraged response.
    • Todd mentions how part of the reason why Metallica's 8-and-a-half minute "Master of Puppets" is digestible is because it splits its runtime into distinct parts, thus making it feel closer to multiple related songs chained together. By comparison, he finds the songs on St. Anger (which range between 5 minutes and almost 9) too repetitive and one-note to tolerate.
    Todd: How long is this? [consults Spotify, which put it at 8:46] Eight minutes, huh? [the track continues to play for a bit] You know what, why don't we just skip this too?
  • Erotic Eating: Todd points out the ridiculous food comparisons in "Carry Out" might be some poorly done version of this.
    Todd: Ba-da-ba-ba-ba! I'm humpin' it!
  • Escapist Character: Discusses this trope in his review of Hannah Montana Pop Tour Guitar Video Game. invoked
  • "Eureka!" Moment: At the end of his review of "Call Me Maybe", he wondered exactly how and where internet culture became so entranced with girliness and Japanese-style cuteness... followed by a clip of My Little Pony: Friendship Is Magic.
    "It all makes sense now."
  • Even the Guys Want Him: Considers waking up with The Burger King to be hot.
  • Even the Subtitler Is Stumped:
    • The opening to Lady Gaga's "Bad Romance".
    • The line "Peter, Paul and Mary" from Britney Spears's "3" is interpreted as "Peedapayuwrmnr???eee".
    • Becomes the set-up to a funny Shout-Out on "Whatcha say."
    • He can't decipher the Gratuitous Italian in "Born This Way".
    • He stops to ponder what Kanye West is actually saying in "E.T." (and is baffled at the actual words).
    • When Todd points out that Michael Stipe from R.E.M. is frequently quite difficult to understand, we get this attempt at transcribing the lyrics to "So. Central Rain (I'm Sorry)":
      Subtitles: Used to know mountain good party frog/ Limes are down the wise men boo...note 
    • "Come On, Eileen" by Dexys Midnight Runners:
      Subtitles: "Poor old Johnnie Ray. Shada na na do do do na na na something something."note 
      Todd: Ok, the lyrics were not what this song was known for...
    • "Fire In the Hole" by Van Halen:
      Subtitles: You got a mind full of decavities (???)note 
    • "Sweet Hitch-Hiker" by Creedence Clearwater Revival:
      Subtitles: Won't ya ?? my ?? ?????note 
    • The captions are confused about which song is which in the St. Anger episode:
      Caption: ??? is this even a different song? idk
    • Flo Rida's guest verse in "Got Me Runnin' Round" by Nickelback:
      Subtitles: I ain't goin' nowhere, ??? where? That's what she syeah ...? hyeahnote 
  • Everyone Has Standards:
    • In his "Club Can't Handle Me" review, Todd points out that even Ke$ha thinks Flo Rida is deadly dull, since she asked not to be credited for her part in "Right Round" because she thought being associated with Flo Rida would hurt her career.
    • In his "Beds Are Burning" episode of One Hit Wonderland, Todd says that Midnight Oil is so political that even Rage Against the Machine would tell them to talk about something else.
    • In his "Girls Like You" review, Todd mentions how in the music video, even Ellen DeGeneres couldn't bring herself to try to dance to the song.
    • Todd himself has a few examples:
      • He lists soft rockers that unlike Peter Cetera don't disturb him... but stops short before Michael Bolton (though with a Damned by Faint Praise sentence).
        Todd: I don't have this reaction to any other soft-rocker in the universe. Phil Collins? Fine. Bryan Adams? Fine. Richard Marx? Fine. Mi...heh...but you know what? I probably would stand up for Michael Bolton before I stuck up for Peter Cetera.
      • In the prelude for his review of "The Lazy Song", he says that although he hates the vocals and especially lyrics in Train's "Hey, Soul Sister" more than Jason Mraz's "I'm Yours", he still says the former is not worse, as being in love fits Pat Monahan's high pitched squealing than it does Jason Mraz's scatting.
      • When reviewing "Scream and Shout", he bumps it up a few positions in his Worst of 2012 list from its original spot at #5, but doesn't find it bad enough to surpass "Drive By" (which was #2).
      • In the "Wrecking Ball" review, he complains on how the radio is filled with boring songs and asks for the return of his "old enemies" Lil Wayne and Kesha... but not Chris Brown.
      • Subverted in his "Ghetto Supastar" OHW when he calls Pras the worst actor he has ever seen, and then starts to bring up Tommy Wiseau... and then reasserts his earlier statement.
      • In his Trolling Chris Brown Tumblr, Todd notes that he refrains from using pictures of Rihanna's bruised and bloodied face on that Tumblr and his videos because as a comedic reviewer, it isn't that funny.
  • Everyone Is Jesus in Purgatory:
    • DEEP LYRICAL ANALYSIS. invoked
    • Now extended to Beetle Bailey strips on Twitter as well.
  • Everyone Is Satan in Hell: When Todd discovers the Number of the Beast in "Like A G6", he becomes convinced that "This song isn't just stupid, it's actively brainwashing the masses in service of The Dark Lord!" invoked
    • He considers but ultimately refuses to make the same claims about "Party Rock Anthem" based on its music video.
  • Everything Sounds Sexier in French:
    • Todd's guess as to why part of "Bad Romance" is in French.
    • He makes the same conclusion as to why "Despacito" became so successful in the US. The lyrics are a lot less romantic and a lot filthier when translated, but Luis Fonsi's delivery of those lyrics makes him sound like a Latin Lover, and the fact that most Americans don't speak Spanish means that they are blissfully unaware of what the song is actually about. Todd contrasted it with Ed Sheeran's "Shape of You", which just came across as goofy.
  • Exact Words: Todd explicitly tweeted that "Cool for the Summer" by Demi Lovato wouldn't be #1 on his best of 2015 list. Many people thought he was joking and it wouldn't be on the list at all. Instead it was #2.
  • Executive Meddling: In-universe.
    • Played for Laughs at the end of "S&M". And kinda appears in "Club Can't Handle Me".
    • Wild Cherry had two options to take in order to follow up "Play That Funky Music". They could either define themselves with their own original sound and try to find their own audience and the potential success it may bring, or they could do what the execs wanted them to do, and ride the sound of their number 1 single for as much as they could. The result was "Baby Don't You Know", which was pretty much the exact same song. Band founder and lead singer Rob Parissi acknowledged that this was a bad decision to make, but to his defense, he was highly pressured into doing it.
  • Explain, Explain... Oh, Crap!:
    • Happens to him twice in his review of "Best Song Ever", first as he starts to realize that his criticisms of One Direction for trying to sound like The Who aren't really landing because it's a legitimately good inspiration for a band, and second when he starts to realize that he actually likes the song.
    • In his One Hit Wonderland episode on "Face Down" by The Red Jumpsuit Apparatus, his question as to why the song isn't more widely remembered despite it being a big hit is seemingly answered as he lists the Billboard charts that it climbed:
      Todd: I mean, look at this. #24 on the Hot 100, #3 on the alt-rock charts, and #1 on the... uh... <song's status at #1 on the U.S. Christian Rock chart is circled> ...what? ... Y'know, that explains why I saw so many people wearing their T-shirts when I was living in the Bible Belt.
  • Face Framed in Shadow: He even calls himself a "professional silhouette".
  • The Faceless: A prominent example, due to his propensity to wear a hoodie and sit in a darkened room, never showing his full face on camera.
    • He also discusses the trope in his One Hit Wonderland episode for "You Get What You Give" by the New Radicals, while commenting on singer Gregg Alexander's propensity to cover his eyes with a bucket hat while performing, citing Sia and Daft Punk as two other examples:
      Todd: If you're a music artist and you don't show your eyes, it's for one reason: you don't want to be famous.
  • Face Palm: While reviewing "Break Up" by Mario, Sean Garrett and Gucci Mane:
    Song: Do anything for you, why would you wanna break up?/See I be driving through your hood/Why would you wanna break up?
    Todd: Oh, you charmer, you. I was gonna leave, but then I found out that you were driving through my hood. Oh baby, I just can't let you go. (facepalms)
    • His reaction on Kanye West's lyrics in "E.T.".
    • Hey Todd, what's the name of LMFAO's album, again?
      Todd: See, it starts out with them going into comas from too much... *facepalms* ....party rockin'.
    • And reacting to "But I'm an American Idol, gettin' money like Seacrest" in "Give Me Everything". Complete with elbowing the keyboard!
    • LMFAO again, reacting to "Wiggle, wiggle, wiggle, wiggle!"
  • Failed a Spot Check: When criticizing "7 Years" by Lukas Graham for his #1 spot on his Worst Hit Songs of 2016, Todd brings attention to Lukas' other hit "You're Not There", where he sings about his late father not being around to see what kind of man he became. Upon hearing the lyrics "You're not there, to share in my success" Todd immediately dismisses the song as rubbish because he thinks he's just complaining about how there's one less person to praise and worship him. What Todd didn't mention, however, was the fact that the full line in that song was actually "You're not there, to share in my success and mistakes," meaning his frustration towards the lyric is mostly misplaced.
  • Failed Future Forecast: He's nicknamed himself "Todstradamus" because of his inability to predict music trends. He's decided against reviewing certain songs, reasoning that they're going to disappear before he can get a video up, only to have them top the charts for weeks. Conversely, he's predicted that an uptick in popularity of a certain genre or style of music means we'll be seeing a lot more in the future, only to have them completely vanish.
  • Fan Disservice: LMFAO's "Sexy and I Know It" video, which even makes Oancitizen call Todd out for refusing to continue the review because it features ugly men in speedos ("I sat through a whole film where people had sex with garbage!").
    Todd: The overriding theme of "Sexy and I Know It" is not physical attractiveness of the male body, but the diametric opposite.
    • Also referenced in his review of "Blurred Lines", specifically the alternate version of the video where the women are topless. He says that while the original with the clothed women suggested that something might happen the topless version just makes the women look like bored strippers who know they aren't getting paid and loses any appeal instantly.
  • Fan Hater: Has a nuanced approach to this. He doesn't mind people liking the music of Chris Brown... the music, full stop. It's people who admire Brown so much they deny or even defend his bad behavior that Todd hates. To drive the point home, he notes how he hated what Phil Spector did - committing murder - but won't stop liking the guy's musical output, arguing that you can indeed separate the music from the person in all cases. To top it off, he admits he likes a Chris Brown song or two unironically.
  • Fanon Discontinuity: There is no such thing as a pornographic E.T. adaptation. invoked
    • His episode on Cut the Crap notes research was hard because basically all media documenting The Clash chooses not to discuss this period or downright say it doesn't count.
  • Fantastic Racism: After Film Brain begs Todd not to knife him, he accuses Film Brain of being a Hoodist.
  • Felony Misdemeanor: In "Club Can't Handle Me"".
    Todd: We need someone down there right now. Also we've got an additional report that this is the same guy who recorded "Right Round," so, um...lethal force is authorized.
  • Fetish: "The stuff I am into is a lot weirder than [S&M]. A trombone is involved." The review closes with him playing one and saying "Oh, yeaaahh" suggestively.
  • Fetish Retardant: invoked
    • Lady Gaga does this for him.
      Todd: [...] Gaga will spend this video, oh let's see, being thrown into women's prison, being stripped naked, making out with another woman; and boy oh boy oh boy, I can't tell you how not turned on I am by any of this. Truly, Lady Gaga has mastered the art of being sexual without being even remotely sexy.
    • E.T. the Extra-Terrestrial. He mentions that "There's no way someone can be turned on by ET. If there was, only if with a porno version of ET. And if it existed, I would have heard of it by now." (one of his co-workers reviewed "E.T. the Porno"; after the Beat, he even mentions his comments section will be flooded if such a work exists).
    • In the video for Robin Thicke's "Blurred Lines", the women having "the dead-eyed faces of strippers mad they won't get tipped", as well as the unrated version which has them topless, therefore going against the invokedTheiss Titillation Theory: if the girls are dressed, you can imagine them taking it off and that leading to sex, but if they're already naked and sex still isn't happening...
    • He says that Miley Cyrus' attempts at Hotter and Sexier end up as this, given she looks like "someone Photoshopped boobs on Justin Bieber".
    • In his review of "Gorilla" by Bruno Mars, he mentions that comparing yourself and your sexual prowess to a gorilla is not a good idea. He even explains why it's a bit of an Analogy Backfire.
    • In his review of Body of Evidence, he says the supposed "sex and lies" film is so inept that he has trouble figuring out why the protagonist is attracted to Madonna.
  • Filth: He calls out Britney Spears and Rihanna on this.
  • First and Foremost: invokedWhen discussing Blue Swede's "Hooked On A Feeling", he recounts when he too had a cassette tape of the song that he always listened to, and will never be able to forget its distinctive opening... of electric sitar, because he fell in love with the B.J. Thomas song.
  • Flat "What": Commonly.
  • Flowery Elizabethan English: "How dare thy stain mine good lady's name! Her, the most sexiest of all beotches!"
  • Follow the Leader: invoked
    • On "Replay", he mentions Iyaz is just one in a line of Akon knockoffs.
    • On "Deuces", he discusses on Chris Brown's absence leading to similar artists appearing... and eventually bringing this on Brown himself: "But why settle for a bunch of second-string, washout Usher-wannabes, when you can have the original Usher-wannabe?"
    • On "Moves Like Jagger", he says the song incorporates two things popular at the moment, whistling and gratuitous usage of Mick Jagger's name (especially considering how Jagger actually dances...).
    • Todd himself admits in the first video of Cinemadonna, a long-term, ambitious spin-off series, was at least partly inspired by wanting to have his own version of The History of Power Rangers.
  • Foreshadowing:
    • At the end of his "Your Love is My Drug" review, it is revealed that Lady Gaga's "Alejandro" is what drove him to drink.
    • In Bennett the Sage's "Top 5 Best/Worst Cover Songs", Todd asks him to make a song countdown while he escaped from LMFAO. Guess what was his following review?
    • Also, during the From Justin to Kelly crossover he has trouble doing a review on Gotye and fun. His next review covered both.
    • When putting "Young, Wild & Free" on the list of the Best Songs of 2012, he notes that the video revolves around a movie he's not sure even exists, Mac & Devin Go To High School. "Doesn't really sound like a great movie to be honest. But this song makes such a good case for it, I kinda wanna see it anyway. Hope I don't regret saying that." One week later...
    • This may be unintentional, but in his review of "Tonight Tonight" he briefly namechecks "whoever did A Story Of A Girl". 3 years later, he analyses "whoever did A Story Of A Girl"note  as part of One Hit Wonderland.
    • In his review of "Rude", he briefly showed a clip of "Informer" by Snow as an example of how Canadian Reggae doesn't have a proud legacy. The next video turns out to be a One Hit Wonderland retrospective of the said song.
    • In his "Worst Hit Songs of 2014" video, he points out in Jason Derulo's "Trumpets" that Katy Perry has yet to release a song about her own boobs...only for "Birthday," a song that is just that, to be featured on the year's best list.
    • His Twitter always drops clues on his next video.
    • In "The Top Ten Worst Hit Songs of 1991", Todd says that he had trouble finding any information on the artists Timmy Tnote  and Stevie Bnote , even after checking their profiles on AllMusic. Todd's #1 spot goes to "(Everything I Do) I Do It For You" and includes an extended rant about the legal action Bryan Adams took against AllMusic to remove him from their database.
    • In the "Sweetest Pie" review, Todd mentions how the 2022 Academy Awards convinced him to finish the review because "the craziest thing happened, besides the other thing"note . The very next episode would be a Trainwreckords episode about someone involved in "the other thing".
  • Forgot the Disability: In the One Hit Wonderland on Michael Sembello's "Maniac", when discussing his session work with Stevie Wonder, he states that "Stevie must've hired this guy for some supreme guitar skills, because he sure wasn't hired for his looks.". As the comments were quick to point out, this would be a given.
  • For Science!: At one point on "Hey Soul Sister" he raises a theory concerning Pat Monahan's sudden pitch range.
    Todd: Gentlemen, the operation was a complete success! We have taken this man's vocal cords and successfully replaced them with a squeaking rubber ducky!
    ...Why did we do that?
  • Formula-Breaking Episode:
    • He decided to take a stab at movie reviewing with Hannah Montana: The Movie. He didn't like it. And followed it with the Guitar Video Game.
    • Ironically, his "Club Can't Handle Me" review opens with him admitting that he was enjoying reviewing movies and video games...while the Critic forces him back into music reviews.
    • He does it again for "The Top 5 Most Awful Moments in U2's Rattle and Hum" (it opens at his keyboard, then he invites the viewer to come watch a movie).
    • Glitter is similar. Todd is at his keyboard, says he likes Mariah Carey and follows with some exposition on her before going to the TV to watch it.
    • His alleged "review" of Chris Brown's "Turn Up The Music" is actually an episode-long rant about his public image. Todd even admits that "this is gonna be a different episode for me". He spends about 15 seconds critiquing the song in question.
    • Claiming writer's block, he puts out "Top Ten Groin Shots in Movies".
    • His Trainwreckords episode on Two the Hard Way by Gregg Allman and Cher, which was not a career-killer for either performer, but was a relationship killer for Allman and Cher as a couple.
    • Similar to "Turn Up the Music," his review of Tekashi 6ix9ine and Nicki Minaj's Trollz is more about mapping out Tekashi's career than the actual song.
    • Similar to the "Top Ten Groin Shots" episode, the episode "The Top Ten '90s Buses" is entirely different from the rest of his work, chronicling the top ten buses of the 1990s.
    • A few One Hit Wonderland episodes qualify for this, due to the artist falling under a dubious definition of "One-Hit Wonder"
      • His Hanson video is this, for the simple reason that the band is not a One-Hit Wonder - "The Failed Follow-Up" title card even has "failed" striken through it.
      • His video on The Waitresses, while focused and titled after "I Know What Boys Like", also spends just as much time covering their christmas song, "Christmas Wrapping", which had grown to be even bigger than their ostensible one-hit. It even has its own segment with a title card reading "The... the hit? Kind of? I don't know"
      • His episode on S Club 7's "Never Had A Dream Come True" opens by discussing his reluctance on covering acts who were superstars in Britain (citing Blur, Cliff Richard, Take That, and T. Rex) even if they qualify as One-Hit Wonders in the US, before stating that "We're gonna make an exception today." As such, while it does cover their one hit, it focuses much more on their overall career in the UK as the biggest pop stars in the country, in addition to their popular (and rather influential) TV show.
      • Todd also uses the S Club 7 defense to explain why it took so long for him to do an episode about Mike Oldfield and Tubular Bells, acknowledging that the single edit was released and became a subsequent hit in the United States without Oldfield's permission only after its use in The Exorcist, while the album became of the biggest sellers in his native United Kingdom. Todd also goes on to explain that while Oldfield's early follow-up albums did not lend easily to marketable singles, he did have a successful run of pop hits in the UK and Continental Europe once he started putting effort into writing those kinds of songs.
  • The Four Chords of Pop: Todd makes a Running Gag of pointing these out. Each time he does so, he gets a little more annoyed:
  • Franchise Original Sin: invoked
    • He regards the country duo Big & Rich, and the associated MuzikMafia clique of country artists with similar sensibilities, as this for Country Music, having laid the groundwork in the '00s for the monstrosity called bro-country that would emerge in the '10s.
    • In the Trainwreckords episode on Lauryn Hill's MTV Unplugged 2.0 album, Todd brings up a fairly glaring lyric that disparages bisexuality, before pulling back and pointing out that her previous record, The Miseducation of Lauryn Hill had a conservative bent to that, too, but had better writing and music.
    • In his Trainwreckords episode on Katy Perry's Witness, Todd offers the argument that the true beginning of Katy's decline was Prism, noting that its biggest hits were inferior follow-ups to the hits from Teenage Dream, but nobody noticed because Katy was so hyped that Prism sold well before people recognized or acknowledged the flaws that would continue in Witness.
    • Discussed twofold in regards to Metallica's St. Anger. He goes on a long rant about the album's poor mixing and infamous snare drums, then notes that ...And Justice for All is one of the most beloved metal albums of all time "despite the fact that it famously sounds like total butt" and that the comeback album, Death Magnetic, was mixed so poorly that the Guitar Hero mixes of the songs sounded better. He also heavily criticizes the album's hockey, poor lyrics, then notes that Metallica's lyrics have largely been awful and often incomprehensible anyway. In both cases, the main distinction was simply that the songs rocked hard enough for fans to forgive it, and the problems became a lot more obvious when the music itself wasn't there.
  • "Freaky Friday" Flip: Invoked in his dual review of OneRepublic's "Counting Stars" and Imagine Dragons's "Demons", where he is convinced that they somehow switched with each other. Each song sounded exactly the way he thought the other song would sound like.
  • The Friend Nobody Likes: In his and The Nostalgia Chick's review of From Justin to Kelly, he wonders why girls always have a "token evil friend."
    Kaya: Why are we friends with her again?
    Todd: That's a good question!
  • Fridge Brilliance: invoked
    • In his review of the Hannah Montana video game, he wonders how, with all of the songs being centered around Hannah/Miley's double life, none of her in-show fans have figured out that Hannah and Miley are the same person... and then he says that he came up with the following idea: none of her fans imagine that Hannah would have/need a double life, so they don't suspect her of having one.
    • "I just realized. Will and Jada named their kids Willow and Jaden."
  • Fridge Horror:invoked Strikes him right in the face when he finally deciphers the lyrics to "3".
    • In "We Can't Stop" he concludes from the drug references that what Miley Cyrus can't stop doing isn't partying, but taking drugs. It's called chemical dependency.
  • Fridge Logic: invoked
    • One of his many issues with Hannah Montana: The Movie.
    • His response to Willow Smith's suggestion to whip your hair even if you don't have long hair.
    • At a certain point of "Grenade", he points out that "On our first kiss, had your eyes wide open, why were they open?" is paradoxical.
    • He asks on Rihanna singing about how "she likes to be tied up and beaten", when... you know. (it gets even more uncomfortable when she goes "make my body say ah ah ah.")
    • Directly invoked in his review of MAGIC!'s "Rude". He finishes a relatively positive review, goes back to his usual routine, and then suddenly realizes several things that make the song fall apart for him.
  • From Bad to Worse: Todd hoped that Justin Bieber's Christmas song might actually be listenable, but prepares himself that it might be as bad as his other songs. He was not prepared for a White Guy With Acoustic Guitar Song.
  • Funny Background Event / Freeze-Frame Bonus: Todd has made a point that whenever you see him on the computer there's always something embarrassing or silly on screen.
    • In "Hey Soul Sister", his monitor flashes Pushing Up Roses' website.
    • In the "Like a G6" review, as a Call-Back, his desktop picture consists entirely of pictures of Lupa.
    • In "S&M", his desktop is Fatty Bear (from a game he played with Roses) in a "No" sign.
    • In "Scream and Shout", as unlike Todd expected the song is still on the charts, he scratches it from a list of predictions including "Battleship sweeps Oscars, Grammys, Nobels" and "Mayan Apocalypse happens 2 months late".
    • During his appearance in the "Moulin Rouge" review, you an see that he has a wide array of web browsers on his desktop, including Internet Explorer, Firefox, Chrome, Safari, Opera, and Netscape Navigator, of all things.
  • Fun with Acronyms:
    • Todd In The Shadows. Heh. Surprisingly averted on the acronym-happy and sometimes gaffe-prone Channel Awesome main site, where he is known as "TODD", "ShadowTodd" or TIS instead.
    • When a poster pointed this out to him on his subforum, he jokingly said he would change his name to Nick Under The Shadows to save face.
    • Overwhelming Marital Grief.
    • In "WAP", he ends the review by eating his lunch, which he describes as "Wonderful Ass Pasta".
  • Fun with Subtitles: The "hidden meanings" in "Sexy Chick".
    • A variation in his "Blurred Lines" review, parodying the hashtag followed by big red all caps text that's all over the music video. The video ends with the subtitles/red text asking him if he wants to go to for lunch.

Alternative Title(s): D To F

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