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Tear Jerker / Todd in the Shadows

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  • In the "Mr. Awesome Goes to Washington" video, Todd's voice breaks slightly as he explains what the Channel Awesome site means to him, and how SOPA could severely damage it.
  • His drunken breakdown at the start of the Best of 2013 vid. He starts playing The Monster on his piano, but it degenerates until he starts smashing random keys and eventually headdesks on his keyboard. When Kyle and Paw try and cheer him up, he takes out a huge bottle and starts drinking.
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  • His reflection on how "Eve of Destruction" isn't nearly as dated as it appears at first glance, as the Middle East is still a powder keg, racism is still just as ugly, and Superman is even killing people. And yes, he actually does manage to make that last one just as somber as the rest, as an illustration of the kind of world that could create such a story.
  • In his "I Took A Pill In Ibiza" review, Todd scoffs at the idea that Mike Posner could make him feel sorry for him. Then he hears the opening linesnote , then immediately takes that back. The aftermath of these lines is shown as a montage of Todd falling into depression, complete with sad piano music. Later on in the review, Todd realizes that he's always felt sorry for Mike.
    • The review is even sadder in hindsight when one remembers that Avicii took his own life the year after “I Took a Pill in Ibiza” hit big.
  • His feelings of being off trends in regards to most of 2016's hits during the "7 Years" review, especially given how much he liked 2015.
  • Any time the One Hit Wonderland story of an artist ends in their premature deaths, such as Pauly Fuemana of OMC, Chrissy Amphlett of the Divynls, Falco, Scatman John, and Van McCoy.
    • The Scatman John video hits particularly hard. His career turned out to be a very inspirational story about a vocalist who'd battled a disability with singing/scatting (John Larkin had a significant stutter his whole life), and sang songs about making the world a better, more tolerant place. But after Todd talks about how he was Big in Japan, it turned out that John Larkin died of lung cancer at the end of 1999. Comments on the video are often something to the effect of "I didn't expect to cry at the end of this!" Todd turns it into a Heartwarming Moment though.
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  • His discussing the very bleak topic of Midnight Oil's "Beds Are Burning"; namely, the Australian military's incredibly poor treatment of Aboriginals.
  • After reviewing "Rock and Roll Hoochie Koo" and spending a review where he marveled at Rick Derringer singing his favorite 70s rock song, working with Weird Al in the 80s, and writing and singing Hulk Hogan's WWF theme song "Real American", Todd was dismayed to find out Rick Derringer got involved in a lot of right-wing causes and even re-wrote "Real American" for the Alex Jones show. The disappointment is so painful.
    I'm sorry, the wind just went out of my sails.
  • The whole concept of "Trainwreckords" often takes this tone, since the main criteria is that the album was so badly received that the artist or band never recovered, either critically or commercially.
  • The S Club 7 episode of One Hit Wonderland gets a bit harrowing towards the end, when Todd talked about how Simon Fuller over-worked the band and tried to launch a kids' version of the group with S Club 8. It just makes it extra sad that their one hit in America (especially since the whole point of their TV show was becoming big in America) was a boring, mid-tempo ballad that wasn't indicative of their overall sound.
    Todd: All of this just served to remind me how mercenary this all was. S Club 7 were not a band. They were a franchise.
    • It gets even sadder when Todd talks about the numerous problems the band had after they broke up (drugs, health problems, money problems, arguments online, etc).
    Todd: So, did they deserve better? Yes. The same way every child star deserves better than to be ground up and spit out by the pop machine.
  • His Trainwreckords episode about Madonna's American Life, which clearly shows Madonna feeling Lonely at the Top and feeling bitter about her failed attempts at a Hollywood career, which Todd has covered at length. That'd be sad enough, except it was supposed to be a record protesting the Iraq War, so she just came off as an unsympathetic narcissist.
    "How do you keep making songs when you view your entire back catalog as vapid and corrupt?"
  • The Trainwreckords episode about Robin Thicke's Paula is perhaps his most serious yet, managing to have some sympathy for the man while also finding him pathetic, manipulative, and off-putting. He compared it to Ben Affleck's performance in Gone Girl; a man thrust into the public eye with plenty of skeletons in his closet and everyone just waiting for him slip up and fail. It's extra harrowing seeing the awkward live performances while Thicke promoted the album, with the audience either dead silent or laughing at his brazen attempts to put his now ex-wife on the spot, which were All for Nothing as she very much did not come back to him and the album was a massive flop.
    "He just...seemed like a douchebag..."
  • The Clash's Cut The Crap is rightfully forgotten by the band and their fans, consisting of awfully produced songs that boil down to Joe Strummer and a drum machine. What footage of the time Todd manages to find though, it's clear Strummer's statements are just a put-on and he's just going through the motions. Indeed, halfway through recording Cut The Crap, he realized what a huge mistake he'd made letting their manager fire Mick Jones. He and Mick eventually reconciled after the band broke up, but The Clash would never play again, and thanks to Joe's premature death it never will. Such an ignoble end to arguably the greatest punk band ever.

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