The Loose Canon episode on 9/11. Unsurprisingly, Lindsay delves into heavy territory regarding a terror attack that claimed 3000 lives and set up many other wide-reaching and destructive events in the years following. It's made worse by the fact that Lindsay is a New Yorker herself and recently experienced a release of suppressed emotions she didn't even know she held back when visiting a museum about 9/11. It's not entirely mournful, but the tragedy of the attack definitely shows.
To really drive the point home, she closes the video by intercutting "La Vie Boheme" - in which characters loudly celebrate how hip and avant-garde they are - with Larry Kramer's enraged "We are in the middle of a fucking plague!" rant from the documentary How To Survive a Plague.
Her little rant towards the end seems to be the most genuinely angry she's been in one of these videos, and for good reason, as she drops a bit of truth on our "heroes".
Lindsay: A light, user-friendly sort of anarchy does not work in a narrative about the AIDS crisis, because there is nothing noble in extolling the virtues of quietly giving into your disease when there is a system right there that CAN help, and is actively even aggressively failing you but you rejected it because "fuck the man!" I'm not a part of your system! I don't need your protease inhibitors! And that is what "RENT The Movie" ends up being: Sympathetic to an underclass that was violently screwed by the system, but ultimately the embodiment of the voice of the ruling class. That is why a story about homelessness and the AIDS crisis ends up being about "not selling out". It advocates for no revolution, other than the revolution that makes you—as an individual—feel good. It reinforces a worldview that in which the only way to rebel against the system is to reject it, and it might feel good to throw it on the ground, and throw the rest of the cake too. It gives you a sense of power in a world that makes you feel powerless, but in reality the only thing it fosters is actual powerlessness, because in rejecting the system, you are not only failing to take it down, you are also forfeiting any voice within it. RENTtakes an inherently political issueand depoliticizes it to create something comforting and consumable.RENTlooks pretty,and does as little as possible.
In her "Framing Megan Fox" video, when discussing the sudden replacement of Mikaela with Rosie Huntington-Whitley's Carly after Megan Fox was fired from the franchise when Transformers: Dark of the Moon was almost finished, Lindsay points out that the writing, which gave Huntington-Whitley's character all the plot beats that Mikaela was supposed to have, essentially makes it seem as if the women are not just interchangeable "hood ornaments" to the writers, but to the protagonist. So the conclusion of Mikaela's arc is...coming to realize that her boyfriend doesn't really love her and is just like all the other shitty men she's had to put up with and breaking up with him offscreen. Since she starts the video by explaining that Mikaela is a good character undermined by the camera's relentless sexualization of her, who grows and self-actualizes during the first movie, that's kind of a Downer Ending.
In her video on Guardians of the Galaxy Vol. 2, Lindsay talks about how this movie affected her, comparing the death of her own father with the death of Yondu.
Part 1 of "The Hobbit: A Long-Expected Autopsy" ends as this, with Lindsay summarizing how disappointing and disillusioning The Hobbit trilogy was, especially heartbreaking since The Lord of the Rings trilogy — which was made by much of the same people — was such a massive inspiration to her. She doesn't even really get angry at it, she just feels nothing, making her wonder what even led her to loving The Lord of the Rings and the works of J. R. R. Tolkien in the first place.
It then turns into happy tears when Nella shows up as Lindsay is about to leave for New Zealand, echoing the last scene from The Fellowship of the Ring.
And then there's the ending of part 3, "The Desolation of Warners", where Lindsay returns home after learning about the exploitation of New Zealand labor that contributed to the making of the Hobbit trilogy. At the very end, she says "Well, I'm back," and stares blankly at her room. It alludes to the ending of The Return of the King, but while that scene was (mostly) uplifting, this one is anything but.
The interview with John Callen (actor of Óin in all three films) is also pretty somber. He recalls that while filming the first movie, all the actors had a sense of camaraderie and friendship and looked forward to the rest of the experience. But slowly, as production continued, they realized that the younger characters (most likely Kili, Thorin, Bilbo, etc., though he does not name them) would get more focus above the others. He even states at some point that the rest of the Company actors had become "high-paid extras" at some point.
The Reality Subtext of the whole three part analysis is about examining the way that learning, as an adult, about the difficulties from behind the scenes - exploitation, corruption, and just general shittiness - that happened with the things you loved as a child (or really any age) leads to hurt, as if this thing that you loved and considered formative has betrayed you. It's a hard lesson for anyone to learn and take to heart, because, as pointed out, entertainment leads to trusting the creators with their emotions.
Then there's the fact that the #ChangeTheChannel document was released around the same time, which ended up being an uncanny mirror to the same situation being spoken about in the analysis.
The ending of "How Aladdin Changed Animation (by Screwing Over Robin Williams)" serves as a tribute to the man and the pure heart, not the money or the bankability, that went into his role as the Genie.