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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


  • Name McAdjective: He gave Chris Brown the nickname Captain McPunchesAGirl during his review of "I Can Transform Ya".
  • Narm:invoked
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  • Narm Charm:invoked Most of the "Scatman" episode of One Hit Wonderland has him referring to Scatman John's work as cheesy, but sincere enough to be enjoyable.
  • Name's the Same:invoked He calls out Hot Chelle Rae about calling a song "Tonight Tonight" when The Smashing Pumpkins have already done so.
  • Neoclassical Punk Zydeco Rockabilly: He thinks "Hoedown Throwdown" is a conglomerate of the worst elements of five genres at once.
  • Nepotism: He blames it for the existence of Willow and Jaden Smith, Rockwell, LMFAO, and Hot Chelle Rae's careers.
    • In an unstated example, when discussing LMFAO, he tries to draw an analogy between them, the Black Eyed Peas, and various hair metal bands before settling on LMFAO as Nelson. Nelson was also arguably a case of nepotism, being the twin sons of Ricky Nelson and by extension grandsons of Ozzie and Harriet.
    • In "Best of 2015," he reminds viewers that Elle King is the daughter of Rob Schneider.
  • Never Live It Down: 'Tonight...' and 'The Lazy Song' have permanently changed his image of Enrique Iglesias and Bruno Mars for the worse in his eyes. invoked
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    • However, as of his Top Ten Best Songs of 2012, Bruno may have saved himself with "Locked Out of Heaven"and later again in "Top 10 Best Songs of 2013" with "Treasure".
    • He mentions how A Flock of Seagulls is remembered not only for being a One-Hit Wonder, but the Anime Hair of the lead singer.
  • Nice Guy: He's repeatedly mentioned that he can't actually hate One Direction because they seem to be genuinely nice people, even if their music doesn't always reflect it.
  • No Pronunciation Guide: Several examples:
    • At a certain point, he starts asking how "Iyaz" is supposed to be pronounced.
    • Gotye. Go-tiya? Got-Yee? Goat-yeh? Go-tee-yee? Goa-Tee? He finally pronounces it correctly (Go-Tee-Yay) at the end of his "We Are Young"/"Somebody That I Used To Know" double review.
    • He stumbles through pronouncing "Canada" as "Can-Na-Duh". For laughs, of course.
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    • He mispronounces "Keith Follesé" in the "Tonight Tonight" review (it's "foh-luh-SAY", for the record).
  • Non-Indicative Name: One of the recurring themes of "One-Hit Wonderland" are that many so-called one-hit wonders technically aren'tnote , which he will point out in discussing their later career:
    • A-Ha: Their second-biggest hit, "The Sun Always Shines On TV", charted at #20 in the US and actually placed higher than "Take On Me" in several countries, including the UK.
    • Men Without Hats: Also reached #20 with "Pop Goes the World", which Todd even comments is fairly well-remembered as far as "second singles by one-hit wonders" go. (It actually did better in their native Canada than "Safety Dance" did).
    • Billy Ray Cyrus: Notes that, as a country artist, being a "one-hit wonder" on those charts is basically impossible - and, indeed, Cyrus charted many times throughout The '90s. His duet with daughter Miley, "Ready, Set, Don't Go", is mentioned in passing as his first Top 10 (Country) hit in a decade, but Todd neglects to inform the viewers that it actually reached the Top 40 on the Pop charts - technically making Billy Ray Cyrus a one-hit wonder no longer.
    • Eddie Murphy: Claims that Murphy scored a "near-hit" with the lead single off his second album, "Put Your Mouth On Me", which reached #27 on the charts (and therefore actually is a hit - though a minor one).
    • The Weather Girls: "It's Raining Men", the so-called "hit", actually does not qualify as such, because it only reached #46 on the Pop charts (though it went to #1 on the Dance charts).
    • A Flock of Seagulls had not one, but two Top 40 hits outside of "I Ran (So Far Away)"; they were "Space Age Love Song" (peaked at #30) and "Wishing (If I Had a Photograph of You)" (peaked at #26).
    • Mr. Big, like A Flock of Seagulls, also had two additional Top 40 hits: "Just Take My Heart", and a cover of Cat Stevens' "Wild World".
    • Discussed when reviewing Blue Swede, as while they had a second Top 10 hit with a cover of the Association's "Never My Love", they are still a one-hit wonder to him because the song had no lasting appeal and is remembered by almost no one. He compares it to PSY's "Gentleman" in that regard. Meanwhile, he maintains that this does not apply to less famous yet still remembered songs like Rick Astley's "Together Forever" and such.
    • Sir Mix-a-Lot's first album, which was released four years before "Baby Got Back," went platinum.
    • In some cases, it's the opposite, with the hit not even charting in the top 40. Wall of Voodoo's "Mexican Radio" peaked at #58 in the U.S., but is still well-remembered as a one-hit wonder.
    • Falco's "Vienna Calling" reached #18 on the Hot 100.
    • "Grandma Got Run Over by a Reindeer" only got to #87 on the Hot 100... in 1997, long after its initial release.
  • Noodle Incident: "I am not having any bottles broken over anyone's head in this room. Not after the DL incident. I'll tell you about it sometime. *shudder* So much blood..." He would later explain it on Twitter, even later in "Grenade."
    • Also, the "Lupa Fiasco".
    • "I haven't had to deal with this many girls on fire since I accidentally set the..."
  • Noodle Implements: Something more twisted than S&M, and involving a trombone.
    • Also part of the Lupa Fiasco.
      Lupa: What am I supposed to do with all these geese?!
  • Not Distracted by the Sexy: When putting "Cool for the Summer" at #2 on his lists of the best songs of 2015, he didn't even realize at first that it was a song about a lesbian fling, such was the effect that its raw power had on him. Upon examining the lyrics...
    Todd: ...whoosh. I'd have never noticed! If it is, it's certainly better than "Girl Crush".
  • Not Hyperbole: Whenever he makes a statement like "'The Time' is the worst Black Eyed Peas song. Worst than 'Imma Be'. Worst than 'My Humps'" and "'The Lazy Song' is so far my least favorite song of 2011, a year that includes a song called 'Tonight (I'm Fucking You)'".
    • The latter of which actually does turn out to be hyperbole, as 'Tonight (I'm Fucking You)' ranks much higher on his "Worst Songs of 2011" list than 'The Lazy Song' does. He admits that 'The Lazy Song' grew on him, but he still feels the need to punch Bruno Mars in the face when he hears it.
  • "Not Making This Up" Disclaimer:
    • Todd claims that people indeed discussed "Baby Got Back"'s deeper meaning back in the day.
    • In "Break Up", after the line "Don't I make your earlobe freeze?" he puts a caption reading "Seriously, I didn't make that up."
    • "... so I felt obligated to listen to their latest single, "Carry Out", which consists entirely of fast-food-related double entendres. [beat] Seriously."
    • Also, on the "BedRock" review, when he lists the members of Young Money.
      Mack Maine... Jae Millz... Lil Chuckee... Lil' Twist... T Streets... and a bunch of other names that sound like I'm just making them up, though I swear to God I'm not.
    • In the "Worst Songs Of 1987" video, he has to clarify that yes, Starship's "Nothing's Gonna Stop Us Now" is one of his favourite songs of the 80s.
    • Todd makes sure to point out he didn't add the Blades of Glory clip in "Niggas in Paris" (just after Kanye West quoted the movie), it's in the actual video!
    • In the OHW for Mr. Big's "To Be with You", he can barely believe that the long list of Hair Metal bands he compiled are real.
  • Not So Different: He states in the review of the "Cruise" remix that, in the last ten years, mainstream Country Music has essentially become the "white" version of Glam Rap in its lyrical themes, and has taken on a growing number of stylistic cues from hip-hop. He goes so far as to claim that the video for "Cruise" is essentially a rap video with white chicks.
  • Not That There's Anything Wrong with That: The chorus for Pitbull's "Back In Time" provokes Todd to thinking this, though the way he says it makes it come off more like Ho Yay.
    My sweet baby? You're the one? What the living crap does this have to do with Men in Black? Do Agent J and K fall in love in this movie? ...Not that I'm opposed to watching that.
  • Nothing but Hits: Todd's criteria for including a song on his Best or Worst Hit Songs list is that the song in question must either be on the Billboard Year-End Hot 100 for that year or peak in the Top 20 sometime during that year.
  • No True Scotsman: As explained on his review of "#selfie", he's reluctant to review EDM songs because every time he tries Todd get a flood of complaints claiming said song isn't real EDM.
  • N-Word Privileges: Todd doesn't have them, and as such has to rely on the subtitles when he has to mention 'Niggas in Paris' by name. And even those are censored.
    • Double Subversion near the end of the review, when the subtitles censor the word "Paris" instead of the usual, making it look like it might say "Niggas in Penis".
    • Then in his Top Ten Best Hit Songs of 2012 review, he ends a long string of "-izzle" words with "...ma nizzle! Am I allowed to say 'nizzle'?"
    • He doesn't consider Rednex (a Swedish group) to have this for caricaturing Southerners.
  • Odd Friendship: In the "Niggas in Paris" review, he discusses how weird it is that Kanye West and Jay-Z are friends and collaborate on music, considering their contrasting personalities.
  • Offscreen Teleportation: He displays this in the Bad Movie Beatdown review of Sunday School Musical. (see also Stealth Hi/Bye)
    Film Brain: Todd, I'm curious. How did you get in here?
    Todd: I move in the space between spaces.
  • Older Than They Look:
    • He's shocked that Carly Rae Jepsen is 26, and how she is "an adult [that] successfully sound[s] like an eighth grader trying to sound like a grown-up".
    • He's even more shocked on Kimberly Perry being 28, but appearing 16 in If I Die Young.
    • His main problem with Ariana Grande's attempts at a "sexy" image is that she looks like a 9-year-old wearing make-up.
  • Once an Episode: He starts every episode by playing the song he's about to discuss on his piano. Subverted occasionally:
    • His review of Chumbawumba's "Tubthumping", where he plays the song's intro, then stops in order to shout the song's famous "I GET KNOCKED DOWN!"
    • His One Hit Wonderland episode on "Tic Tac Toe" by Kyper has Todd instead play the song's Owner Of A Lonely Heart sample instead of Tic Tac Toe itself.
    • His review of LMFAO's "Sexy and I Know It" saw him flat-out refusing to play the song. The captions start off by displaying the name of the song and artists as usual, but instead of "A pop song review", the next caption is "Play the song, Todd." to which Todd responds "NO!"
    • For Willow Smith's "Whip My Hair," he has to listen to the song clip twice first—and stave off the title text with "No, no, I got this."
    • For his recap of the best songs of 2013, he tries to play Rihanna's verse from "The Monster" by Eminem, but breaks down and just starts banging on random piano keys due to how bad a year for pop music he felt 2013 was. Then he pours himself some bourbon.
    • His "#selfie" review begins with him sighing heavily, pushing a button for a pre-made beat on his keyboard, and playing the song's hook very off-beat, with just one finger. By contrast, his review of "Turn Down For What"—a song he enjoys that could be played in a similar way—has him actually playing a more complete piano version.
    • He's also starting to sign off his reviews in the same way: "I'm Todd in the Shadows, and ________." The blank is either filled with "I'm out" or a joke - often a Call-Back - related to the song. Like from his "Scream and Shout" video:
      Todd: I'm Todd in the Shadows, saying "AAAAAAAAAAAAAAAAAAAAAAGGGGHHHH!!!!"
    • And right after that, most of the time the review ends with the last brief moment/lines of the music video of the song he's reviewing.
    • At the end of episodes, he plays a snippet from some song that contrasts ironically with the one he reviewed. Examples: "Watch Me (Whip/Nae Nae)", which is about dancing, gets Genesis's "I Can't Dance", while Justin Bieber's "Sorry" ends with OneRepublic informing us that it's too late to apologise.
    • Every worst-of list of a year uses a song clip from that year for the countdown that is not on his list, yet has a suitably derogatory title. Examples to date include "I Hate This Part", "Bad", "Fuck You", "Silly Love Songs", "Blow", "Sorry 2004", "Blow Me", "I Knew You Were Trouble" and "Break Free" (more for the lyric - "this is, the part where I say I don't wanna..."). Best-of lists use DJ Earworm's "United States of Pop" mash-up for that year, or a suitable substitute. He was forced to change this for the 2013 lists due to copyright rules, though; he had to hastily reedit the worst-of list to swap in a generic tune for "I Knew You Were Trouble", while the best-of list used a one-second sample of "Treasure" that was deemed acceptable.
    • This ended up affecting the best list at least once: In the "Best of 2014" list, he mentions using "I Don't Fuck With You" as a bumper song in the worst of that year...and it grew on him enough to put it at #7 on the best list.
  • One-Hit Wonder: The point of One-Hit Wonderland, obviously. Occasionally discussed outside of it: invoked
    • He mentions how Mike Posner and the Far East Movement still managed to get a second hit, and asks for Hot Chelle Rae to not reach this. Then he says that despite the failure of LMFAO's follow-up single, they managed to still get a second hit with an even worse song.
    • While talking about "Put It Down On Me", he stated he was adding Jeremih to "...the growing list of one-hit wonders who technically have a second hit."
      • This gets even funnier as of 2014, now that Jeremih has a third hit with "Don't Tell 'Em".
  • The One Thing I Don't Hate About You: Todd commends Lukas Graham for using actual instruments in an age of increasingly electronic and synthesized music, as well as having lyrics about something other than clubbing and/or sex - and then immediately tears into their biggest hit, "7 Years", which would also be his #1 worst song of 2016.
  • Origins Episode: "Play That Funky Music" by Wild Cherry literally describes exactly how the band came into popularity in the first place. Some audience member really did shout "Play that funky music, white boy" during one of their gigs.
  • Orphaned Punchline: "...WASHING MACHINE!"
  • ...Or So I Heard:
    • In the From Justin to Kelly review:
      Todd: Your average Disney Channel sitcom gets raunchier than this. (Beat) Not that I watch those.
    • Todd repeatedly states that most of the opinions he's formed for PSY's "Gangnam Style" is based off of simply what he's read up on the internet.
      Or so I've read.
    • Played With in the Mac And Devin Go To High School review. Rap Critic, who has previously announced that he's never smoked weed, seems to be incredibly knowledgeable about how it effects about what it does.
      Rap Critic: Is this what's suppose to happen when you're high on weed? Ca-Cause that's not what happens. What happens is stuff becomes funnier and music slightly speeds up. Chemically, the effects of weed are kind of mundane.
      Todd: Wait a minute, since when do you know so much about getting high?
      Rap Critic: What are you, a cop?
  • Out of the Ghetto: invoked In his review of "Turn Down For What", he stated that he thinks Daft Punk transcends the EDM genre, which he otherwise has little time for. However, he had a hard time explaining precisely why without, in his words, sounding like the racist white kid in Do the Right Thing trying to explain why he likes Michael Jordan.
  • Overly Long Gag: His comparison of Hot Chelle Rae's brand of partying to high school all-night grad parties.
  • Overly Narrow Superlative: He does this to "Best Song Ever" in "Top 10 Hit Songs of 2013"
    And we danced all night to the 6th best hit song of 2013
  • Pandering to the Base:invokedHe questions about this in "Alejandro".
    Todd: Ok. Even if you are one of Gaga's many gay fans, at what point do you feel pandered to? Like, when do you reach the point where even you have to look back and say: "Ok, this is getting kinda gay."
    • Double subverted in his review of "Born This Way", when he wonders which heavily marginalized group's self esteem the song intends to boost.
      Lady Gaga: Just put your paws up.
      Todd: Furries. Also I guess gay people.
    • Also says "Mistletoe" is this, since it's "using Christmas as an excuse for kissing Bieber fantasies."
  • People Fall Off Chairs: Todd in the "Drive By" review when he hears the "my love for you went viral" line.
  • Pokémon Speak: Once Todd figures out that along with "7 Years" showing Lukas Graham is a huge egomaniac and both his releases are Self Titled Albums, he says he's surprised the lyrics aren't "Lukas, Lukas Graham, Lukas Graham..."
  • Political Correctness Gone Mad: He was accused of homophobia when he said that "Born This Way" felt like pandering and racism when he asked "How am I supposed to tell [three members of Young Money] apart?" in reference to their respective styles.
  • Poor Man's Substitute: invoked He considers Jessie J to be the poor man's substitute to Katy Perry, just as flexible (and fake) in personality and her stage persona but not as enjoyable.
  • Pop-Culture Isolation:invoked An apparent in-work example in his list of the 10 worst songs of 1976. He chooses "Convoy" by C. W. McCall in part because he doesn't understand how trucking was so popular as to inspire a hit song, and "Convoy" does nothing towards its case.
  • Periphery Demographic:invoked He admits to liking the One Direction song "Best Song Ever" even if it has some bad moments.
  • Pet-Peeve Trope: All in-universe.
  • Person as Verb: In his review of "Feel This Moment" by Pitbull featuring Christina Aguilera, He mentions how it's the same usual song as always, with Pitbull being Pitbull, and Christina Aguilera Christina Aguilera-ing like she always does.
  • Pokémon Speak: He doesn't like when singers say their own name in their songs. But he is particularly hard on Jason Derulo for this.
  • The Power of Hate: Todd decided to take a different route when LMFAO told him to "STOP! HATIN'S BAD!" and look at the song from a more loving point of view. Not hating music almost erased him out of existence.
  • Precision F-Strike:
    • A fairly enraged one in the beginning of the "Deuces" review, especially jarring because up to that point there had barely been any strong language in his videos at all.
    • There was also this bit, though he wasn't in character at the time.
      Todd: As soon as you turn that camera off, I'm beating the shit out of you.
    • Something of a Tactical F Campaign throughout the "Tonight..." review.
    • His response to anyone who might not like Cee-Lo's "Fuck You" is... guess it.
    • In his Worst Hit Songs of 2004 list, he discusses how this can be done well ("Fuck You"), badly ("Tonight..."), or really badly (Eamon's "Fuck It").
    • Todd introduces the "Worst of 2013" retrospect with "Good fucking riddance!! No, seriously, 2013 can go screw itself."
    • Once Meghan Trainor sings "Dear future husband\Make time for me, don't leave me lonely\And no we'll never see your family more than mine", Todd's response is "ARE YOU FUCKING KIDDING ME?!"
    • At the end of his Worst Hits of 1991 video, he delivers a point-blank "Fuck you, Bryan Adams, you censoring dick!" after discovering he'd used legal standovers to have his information removed from AllMusic, an impartial reference publication.
  • Previously On…: Double-subverted:
    Todd: Previously on Todd In The Shadows: Your Mom! Hah! Also, on my show, this happened.
  • Punctuated! For! Emphasis!: FINISH. THE. RHYME!
  • Pungeon Master: He points out in "The Safety Dance" that Men Without Hats should not be confused with the Australian pop band Men At Work (both of whom reached popularity at exactly the same time), but says that they both should have combined bands a few years later to become Men Without Work. He also says that shortly after releasing "The Safety Dance", Men Without Hats became Men Without Hits. He stops himself before he goes any further.

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