I'm the one who posted about if I'm too old for long hair and growing it out at 40 going on 41. The first pic is a bob , this was several years ago. I would love my hair to be one length like this but longer. My hair is so layered and I have bangs now so I wouldn't be able to get it right now have to grow it out. The second pic is me now taken today..I hate the bangs I cut them and did a terrible job so I just push them back. Got heavy choppy layers in December by the Supercuts scissor happy lady. The pic w the white skirt and yellow top is me at 22 w decently growing hair and my hair was a lot thicker and healthier back then (I was young) but it's just for reference of how I look with longer hair The last two are in 2017 my hair thinning out didn't happen til 2021 after catching covid the first time

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As Reddit doesn't allow posts to exceed 40,000 characters, Eastwood's edition had to be split into two parts because his whole career cannot be ignored. The second part will be posted tomorrow.

Here's a new edition of "Directors at the Box Office", which seeks to explore the directors' trajectory at the box office and analyze their hits and bombs. I already talked about a few, and as I promised, it's Clint Eastwood's turn.
Eastwood was a troublemaker at school, and he had a bunch of odd jobs such as lifeguard, paper carrier, grocery clerk, forest firefighter, and golf caddy. In 1951, he was drafted into the United States Army during the Korean War and was discharged two years later. Through this, he got into contact with a Hollywood representative, who got him into acting classes and started his acting career. He got his start by starring in the hit show Rawhide, but he said he was exhausted by the experience. This caught the attention of some film producers and he decided to act in films directed by the then-unknown Sergio Leone. His career was on the rise, and then he got the chance to make his directorial debut.
From a box office perspective, how reliable was he to deliver a box office hit?
That's the point of this post. To analyze his career.

It should be noted that as he started his career in the 1970s, some of the domestic grosses here will be adjusted by inflation. The table with his highest grossing films, however, will be left in its unadjusted form, as the worldwide grosses are more difficult to adjust.

Play Misty for Me (1971)

"The scream you hear may be your own!"
His directorial debut. It stars Eastwood, Jessica Walter and Donna Mills, and follows a radio disc jockey being stalked by an obsessed female fan.
Before his colleague Irving Leonard died, he and Eastwood had discussed the idea of producing a film that was to give Eastwood the artistic control he desired, and his debut as a director. Eastwood said he was ready, "I stored away all the mistakes I made and saved up all the good things I learned, and now I know enough to control my own projects and get what I want out of actors."
The film was a huge success for Eastwood, and it also received positive reviews. So far, his directorial career was off to a great start.

• Budget: $950,000.
  
• Domestic gross: $10,600,000. ($81.7 million adjusted)
  
• Worldwide gross: $10,600,000.
  

High Plains Drifter (1973)

"They'd never forget the day he drifted into town."
His second film. The film stars Eastwood, Verna Bloom and Mariana Hill, and follows a mysterious stranger who metes out justice in a corrupt frontier mining town.
Eastwood reportedly liked the offbeat quality of the film's original nine-page proposal and approached Universal with the idea of directing it, which would make it his first directed Western. The screenplay was inspired by the real-life murder of Kitty Genovese in Queens in 1964, which eyewitnesses reportedly stood by and watched. Holes in the plot were filled in with black humor and allegory, influenced by Sergio Leone.
It was well received, and the film even surpassed Play Misty for Me at the box office. Eastwood was just going up.

• Budget: $5,500,000.
  
• Domestic gross: $15,700,000. ($110.4 million adjusted)
  
• Worldwide gross: $15,700,000.
  

Breezy (1973)

"Her name is Breezy."
His third film. It stars William Holden and Kay Lenz, and follows the relationship between a middle-aged real estate agent and a young hitchhiker.
This was his first directed film without starring on it. And his lack of presence certainly hurt the film; it received mixed reviews and flopped at the box office.

• Budget: $750,000.
  
• Domestic gross: $200,000. ($1.4 million adjusted)
  
• Worldwide gross: $217,753.
  

The Eiger Sanction (1975)

"His lifeline, held by the assassin he hunted."
His fourth film. Based on the novel by Trevanian, the film stars Eastwood, George Kennedy, Vonetta McGee, and Jack Cassidy. It follows Jonathan Hemlock, an art history professor, mountain climber, and former assassin once employed by a secret government agency, who is blackmailed into returning to his deadly profession for one last mission.
The film received mixed reactions for its writing, and it wasn't a box office success either.

• Budget: $9,000,000.
  
• Domestic gross: $14,200,000. ($82.4 million adjusted)
  
• Worldwide gross: $14,200,000.
  

The Outlaw Josey Wales (1976)

"An army of one."
His fifth film. Based on the novel Gone to Texas by Forrest Carter, it stars Eastwood, Chief Dan George, Sondra Locke, Bill McKinney and John Vernon. The film tells the story of Josey Wales, a Missouri farmer whose family is murdered by Union militia during the Civil War. Driven to revenge, Wales joins a Confederate guerrilla band and makes a name for himself as a feared gunfighter. After the war, all the fighters in Wales' group except for him surrender to Union soldiers, but the Confederates end up being massacred. Wales becomes an outlaw and is pursued by bounty hunters and Union soldiers as he tries to make a new life for himself.
Eastwood was fascinated by the novel and he bought the film rights, hoping to star on the film. He got Philip Kaufman involved as screenwriter and possible director, but left after disagreeing with Eastwood in the material adapted to the screen. Kaufman insisted on filming with a meticulous attention to detail, which caused disagreements with Eastwood, not to mention the attraction the two shared towards Locke and apparent jealousy on Kaufman's part in regard to their emerging relationship. This caused Eastwood to take over as the director. Kaufman's firing angered the DGA, as he did most of the pre-production, and sanctioning a $60,000 fine. This resulted in the Director's Guild passing a new rule, known as "the Eastwood Rule", which prohibits an actor or producer from firing the director and then personally taking on the director's role.
The film received critical acclaim, and in subsequent years, is ranked among Eastwood's greatest films. It was also a huge success at the box office, doubling his previous highest grossing film. It was also one of the few Western films to receive critical and commercial success in the 1970s at a time when the Western was thought to be dying as a major genre in Hollywood.

• Budget: $3,700,000.
  
• Domestic gross: $31,800,000. ($174.5 million adjusted)
  
• Worldwide gross: $31,800,000.
  

The Gauntlet (1977)

"The man in the middle of..."
His sixth film. It stars Eastwood, Sondra Locke, Pat Hingle, William Prince, Bill McKinney, and Mara Corday. It follows a down-and-out cop who falls in love with a prostitute, to whom he is assigned to escort from Las Vegas to Phoenix for her to testify against the mob.
While it received mixed reviews, it became another box office success for Eastwood, becoming his now highest grossing film.

• Budget: $5,500,000.
  
• Domestic gross: $35,400,000. ($182.4 million adjusted)
  
• Worldwide gross: $35,400,000.
  

Bronco Billy (1980)

"The most outrageous of 'em all."
His seventh film. The film stars Eastwood and Sondra Locke, and focuses on the financially-struggling owner of a traditional Wild West show and his new assistant.
It became another critical and commercial success for Eastwood, who referred to the film as one of his most affable shoots of his career.

• Budget: $6,500,000.
  
• Domestic gross: $24,265,659. ($91.9 million adjusted)
  
• Worldwide gross: $24,265,659.
  

Firefox (1982)

"The most devastating killing machine ever built... his job... steal it!"
His eighth film. Based on the novel by Craig Thomas, it stars Eastwood, Freddie Jones and David Huffman. The Soviets have developed a revolutionary new jet fighter, called "Firefox". Naturally, the British are worried that the jet will be used as a first-strike weapon, as rumors say that the jet is undetectable on radar. They send ex-Vietnam War pilot Mitchell Gant on a covert mission into the Soviet Union to steal the Firefox.
The film received mixed reviews, but it earned almost $47 million, becoming Eastwood's highest grossing title as director.

• Budget: $21,000,000.
  
• Domestic gross: $46,708,276. ($151.1 million adjusted)
  
• Worldwide gross: $46,708,276.
  

Honkytonk Man (1982)

"The boy is on his way to becoming a man. The man is on his way to becoming a legend."
His ninth film. It's based on the novel by Clancy Carlile, and it stars Eastwood and his son Kyle. It follows Red Stovall, a country music singer and composer. With his nephew Whit by his side, he travels to Nashville to perform at the Grand Ole Opry in the backdrop of the Great Depression.
While the film received acclaim, it earned just $4.4 million, becoming his second worst performer.

• Budget: $2,000,000.
  
• Domestic gross: $4,484,991. ($14.5 million adjusted)
  
• Worldwide gross: $4,484,991.
  

Sudden Impact (1983)

"Dirty Harry is at it again."
His tenth film. The fourth installment in the Dirty Harry series, directed, it stars Eastwood and Sondra Locke. The film tells the story of a gang rape victim who decides to seek revenge on her rapists 10 years after the attack by killing them one by one. Inspector Harry Callahan, famous for his unconventional and often brutal crime-fighting tactics, is tasked with tracking down the serial killer.
The film received mixed reviews from critics, but it earned over $150 million worldwide, Eastwood's first film to pass that milestone. It's also very popular for including the iconic catchphrase, "Go ahead, make my day."

• Budget: $22,000,000.
  
• Domestic gross: $67,642,693. ($212.1 million adjusted)
  
• Worldwide gross: $150,642,693.
  

Pale Rider (1985)

"...And Hell followed with him."
His 11th film. It stars Eastwood, Michael Moriarty and Carrie Snodgress. A couple and their daughter, along with a few others, are driven out of Lahood, California, by goons working for a mining baron. However, a stranger enters their life to assist them in their fight.
There was no stopping Eastwood: another critical and commercial success.

• Budget: $6,900,000.
  
• Domestic gross: $41,410,568. ($120.2 million adjusted)
  
• Worldwide gross: $41,410,568.
  

Heartbreak Ridge (1986)

"The scars run deep."
His 12th film. It stars Eastwood, Marsha Mason, Everett McGill, and Mario Van Peebles. The story centers on a U.S. Marine nearing retirement who gets a platoon of undisciplined Marines into shape and leads them during the American invasion of Grenada in 1983.
The film was inspired by an account of American paratroopers of the 82nd Airborne Division using a pay telephone and a credit card to call in fire support during the invasion of Grenada, and fashioned a script of a Korean War veteran career Army non-commissioned officer passing on his values to a new generation of soldiers. Eastwood was interested in the script and asked his producer, Fritz Manes, to contact the US Army with a view of filming the movie at Fort Bragg. However, the Army read the script and refused to participate, due to Highway being portrayed as a hard drinker, divorced from his wife, and using unapproved motivational methods to his troops, an image the Army did not want.
It received mixed reviews, with some deeming the film as "imperialist propaganda". But it was still another box office success.

• Budget: $15,000,000.
  
• Domestic gross: $42,724,017. ($121.7 million adjusted)
  
• Worldwide gross: $121,700,000.
  

Bird (1988)

"There are no second acts in American lives."
His 13th film. The film stars Forest Whitaker and Diane Venora. It is constructed as a montage of scenes from saxophonist Charlie Parker's life, from his childhood in Kansas City, through his early death at the age of 34.
Eastwood, a lifelong fan of jazz, had been fascinated by Parker ever since seeing him perform live in Oakland in 1946. He approached Chan Parker, Bird's common-law wife on whose memoirs the script was based, for input, and she lent Eastwood and arranger Lennie Niehaus a collection of recordings from her private collection Before Eastwood was involved, Richard Pryor was originally cast as Parker.
Despitive positive reviews, it performed poorly, earning just $2.2 million in North America.

• Budget: $14,000,000.
  
• Domestic gross: $2,181,286. ($5.7 million adjusted)
  
• Worldwide gross: $2,181,286.
  

White Hunter Black Heart (1990)

"An adventure in obsession."
His 14th film. Based on the novel by Peter Viertel, it stars Eastwood, Jeff Fahey, George Dzundza, Alun Armstrong and Marisa Berenson. It follows a famous movie director, John Wilson, who goes to Africa to make his next movie. He is an obstinate, contrary director who'd rather hunt elephants than take care of his crew or movie. He has become obsessed with one particular elephant and cares for nothing else.
Despite positive reviews, it made just $2.3 million domestically, not even 10% of the budget.

• Budget: $24,000,000.
  
• Domestic gross: $2,319,124. ($5.5 million adjusted)
  
• Worldwide gross: $2,319,124.
  

The Rookie (1990)

His 15th film. The film stars Eastwood, Charlie Sheen, Raul Julia, Sônia Braga, Lara Flynn Boyle, and Tom Skerritt. It follows a veteran police officer teamed up with a younger detective, whose intent is to take down a German crime lord in downtown Los Angeles, following months of investigation into an exotic car theft ring.
It received negative reviews for its acting and story, and it became another flop for Eastwood. That's three bombs in a row. Ouch.

• Budget: $30,000,000.
  
• Domestic gross: $21,633,874. ($51.6 million adjusted)
  
• Worldwide gross: $21,633,874.
  

Unforgiven (1992)

"Some legends will never be forgotten. Some wrongs can never be forgiven."
His 16th film. It stars Eastwood, Gene Hackman, Richard Harris and Morgan Freeman. It follows William Munny, a widower with two young kids, who was once a very vicious gunfighter who gave up everything after marriage. Now, a man named Schofield Kid brings him an offer that he cannot refuse, forcing him to come out of retirement for one last job.
David Webb Peoples wrote the script all the way back to 1976, and it was optioned by Francis Ford Coppola, but he lacked the funds needed to helm it. By Eastwood's own recollection, he was given the script in the "early 80s" although he did not immediately pursue it, because, according to him, "I thought I should do some other things first". Eastwood has long asserted that the film would be his last traditional Western, concerned that any future projects would simply rehash previous plotlines or imitate someone else's work. He dedicated the film to his close friends and mentors Sergio Leone and Don Siegel. Hackman initially refused to participate as his daughters were upset that he was starring in too many violent films, but he became fascinated by the script that he agreed.
It opened with $15 million and it legged all the way to $100 million after playing for almost one year, closing with $159 million worldwide, his now highest grossing film. The film received Eastwood's best reviews of his career, with many considering the film as his magnum opus as director. It received 9 Oscar nominations, and won four: Best Picture and Best Director for Eastwood, Best Supporting Actor for Hackman, and Best Film Editing. So Eastwood, on top of being a reliable box office draw, was now a 2-time Oscar winner.

• Budget: $14,400,000.
  
• Domestic gross: $101,167,799. ($225.2 million adjusted)
  
• Worldwide gross: $159,167,799.
  

A Perfect World (1993)

His 17th film. Kevin Costner, Eastwood and Laura Dern, and follows an escaped convict who takes a young boy hostage and attempts to escape on the road with the child, while being pursued by a Texas Ranger.
The film received critical acclaim, and has appeared as one of Eastwood's best films. The film disappointed in North America, but it earned up to $100 million overseas (Eastwood's first film to gross that much) and ended with $135 million worldwide.

• Budget: $30,000,000.
  
• Domestic gross: $31,130,999. ($67.2 million adjusted)
  
• Worldwide gross: $135,130,999.
  

The Bridges of Madison County (1995)

"The human heart has a way of making itself large again even after it's been broken into a million pieces."
His 18th film. Based on the novel by Robert James Waller, it stars Eastwood and Meryl Streep. The film is set in 1965, following a war bride, Francesca Johnson, who lives with her husband and two children on their Iowa farm. That year she meets National Geographic photojournalist, Robert Kincaid, who comes to Madison County, Iowa to photograph its historic covered bridges. With Francesca's family away for a short trip, the couple have an intense, four-day love affair.
It received more critical acclaim, and made over $180 million worldwide, becoming his highest grossing film. For her performance, Streep was nominated for an Oscar for Best Actress.

• Budget: $22,000,000.
  
• Domestic gross: $71,516,617. ($146.5 million adjusted)
  
• Worldwide gross: $182,016,617.
  

Absolute Power (1997)

His 19th film. Based on the novel by David Baldacci, it stars Eastwood, Gene Hackman, Ed Harris, Laura Linney, Judy Davis, Scott Glenn, Dennis Haysbert, and Richard Jenkins. It follows a master jewel thief who witnesses the killing of a woman by Secret Service agents.
It received mixed reviews, and disappointed at the box office.

• Budget: $50,000,000.
  
• Domestic gross: $50,068,310. ($97.4 million adjusted)
  
• Worldwide gross: $92,768,310.
  

Midnight in the Garden of Good and Evil (1997)

"Welcome to Savannah, Georgia. A Ccty of hot nights and cold blooded murder."
His 20th film. Based on the book by John Berendt, it stars John Cusack and Kevin Spacey. It follows the story of antiques dealer Jim Williams, on trial for the killing of a male prostitute who was his lover. The multiple trials depicted in Berendt's book are combined into one trial for the film.
It received mediocre reviews, and flopped at the box office.

• Budget: $30,000,000.
  
• Domestic gross: $25,105,255. ($48.8 million adjusted)
  
• Worldwide gross: $25,105,255.
  

True Crime (1999)

His 21st film. Based on the novel by Andrew Klavan, it stars Eastwood, Isaiah Washington, Denis Leary, LisaGay Hamilton and James Woods. It follows a journalist covering the execution of a death row inmate, only to discover that the convict may actually be innocent.
This was another project that received mediocre reviews and flopped at the box office.

• Budget: $55,000,000.
  
• Domestic gross: $16,649,768. ($31.2 million adjusted)
  
• Worldwide gross: $16,649,768.
  

Space Cowboys (2000)

"Boys will be boys."
His 22nd film. It stars Eastwood, Tommy Lee Jones, Donald Sutherland, and James Garner as four aging former test pilots who are sent into space to repair an old Soviet satellite.
It received very positive reviews, and earned over $128 million worldwide.

• Budget: $60,000,000.
  
• Domestic gross: $90,464,773. ($164 million adjusted)
  
• Worldwide gross: $128,884,132.
  

Blood Work (2002)

"He's a heartbeat away from catching the killer."
His 23rd film. Based on the novel by Michael Connelly, it stars Eastwood, Jeff Daniels, Wanda De Jesús, and Anjelica Huston. It follows a retired FBI agent who recently had a heart transplant but still takes up the job to nab a killer.
It was another film with mediocre reviews and flop status.

• Budget: $50,000,000.
  
• Domestic gross: $26,235,081. ($45.5 million adjusted)
  
• Worldwide gross: $31,794,718.
  

Mystic River (2003)

"We bury our sins, we wash them clean."
His 24th film. Based on the novel by Dennis Lehane, it stars Sean Penn, Tim Robbins, Kevin Bacon, Laurence Fishburne, Marcia Gay Harden, and Laura Linney. It follows three childhood friends who are reunited 25 years later when one of them suffers a family tragedy.
Michael Keaton was originally cast in the role of Det. Sean Devine, and did several script readings with the cast, as well as his own research into the practices of the Massachusetts Police Department. However, creative differences between Keaton and Eastwood led to Keaton leaving the production. He was replaced by Kevin Bacon. This was the first film in which Eastwood would be credited as composer.
The film had a slow roll-out, but it was aided by strong word of mouth, closing with a wonderful $156 million worldwide. It also received acclaim, and was named as one of Eastwood's greatest films. Sean Penn received universal acclaim for his performance, with some naming it among the best acting of the century, particularly for one scene (if you watched it, you definitely know which scene). It received 6 Oscar nominations, including Best Picture and Best Director for Eastwood. It won two: Best Actor for Penn and Best Supporting Actor for Robbins.

• Budget: $25,000,000.
  
• Domestic gross: $90,135,191. ($153 million adjusted)
  
• Worldwide gross: $156,595,191.
  

Come back tomorrow for Part 2

Don't suggest directors for the next edition here. Save it for tomorrow.

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Marinette has made a lot of huge mistakes that have been thoroughly analyzed in the fandom, but here are some smaller moments that really made me judge her character and integrity as the face of heroism in Paris (as Ladybug).
https://preview.redd.it/2enjmmj6z71d1.png?width=1580&format=png&auto=webp&s=cbbf7c212855cbab27a1ed215558803bccf7398b

1. Throwing Chat Noir in the trash out of anger, then immediately using him as practice for confessing to Adrien in Glaciator 2.

I've made a rant-comment about this before, but this little instance completely changed my view of Marinette after this. Yes, she did this in another identity, so Chat would not have known it was her, but it feels absolutely scummy and flat-out WRONG to be this inconsiderate of someone's feelings. Chat Noir WAS being super annoying earlier in the episode and making comments that he should have known by SEASON 4 would frustrate and anger Ladybug after she clearly showed that she was not a fan of these during battles. He kind of DID deserve to be thrown in the trash (which is totally harmless to him as a hero) so she could get her job done, especially after she was overwhelmed and uncomfortable with the couple of the year imagery surrounding her.
But the issue is that she left angry, while Chat Noir started to look pretty upset instead of maybe taking a minute to recharge with him, calm down, and communicate so both leave feeling better. Now here she is as Marinette, having found him CATACLYSMING BILLBOARDS! Could she not have at least realized he was still super upset (as reiterated even further by his first few replies to her after she calls him over)? She would have noticed the billboard since it was the one she was literally calling the company to remove!
Next, after calling him over and seeing he is upset, could she not have maybe asked him what was wrong instead of ignoring his problems in favor of her own goals? Why did her classmate (who had already gone home and would not feel better by her confession anyway) matter more than the partner that is right in front of her, known for making impulsive decisions like giving up his miraculous when he is mad at ladybug, and is super upset by something that happened between them like an hour ago?
And then, knowing that he is upset by the state of his love life and partner, Marinette asks Chat Noir to help her practice confessing, in the most convoluted and unclear way possible. Who says boyfriend-who-is-not-my-boyfriend-yet when referring to someone that has no idea of her feelings for them, and does not have any romantic history with them yet, and has made no indication that he has feelings for her? Seems quite possessive, especially coming from the person that has schedules and hundreds of gifts for them (including one she JUST handed to him).
This incident kind of derails the slow and steady progress Marinette had been making for months to take Adrien off the pedestal she had him on, and see him as a normal, kind person that she wanted to try a relationship with. She was just starting to be able to talk to him, and here comes the writers, erasing her character development for a few cheap laughs.
Maybe Chat Noir doesn't know it was Marinette that threw him in the trash earlier that day, but he probably would feel pretty hurt if he ever did realize.

1. Being a hypocrite by losing Tikki at least TWICE for several hours, yet being annoyed at Chat Noir about being careful with his kwami

Marinette didn't have Tikki for a really long time in Princess Fragrance, letting CHLOE take her, then lost her AND THE EARRINGS in Shanghai (a city she is not familiar with) for pretty much a full day.
Yet she is still annoyed at Chat Noir about Plagg "roaming around for miles" to get the cheese in Kwamibuster. (WHILE TIKKI WAS CAUGHT TOO).
She never did really talk to Chat Noir about leaving him to protect civilians alone for a while (till he finally got hit and brainwashed too, might I add) while she was trying to get Tikki back in Princess Fragrance.

1. Stealing phones multiple times to fix various mistakes she makes, and often having very little regard for boundaries.

Marinette doesn't really understand that her personal embarrassment with leaving an awkward voice message does NOT outweigh crossing the boundaries of breaking into a classmate's locker, stealing personal property for however long it would take her to delete the message, unlocking someone's phone without their knowledge (a celebrity's phone, that would have contact info and private info of other famous people), and deleting the voice message they were left. I'm sorry but how is this more redeemable than the crazy fans that stole the Gorilla's phone to call Gabriel in Gorizilla?
And she does this to Alya too in The Mime, even though her plan involved a huge identity risk if she left the second video and Alya realized they were clearly different? (And she still gets on to chat noir about his identity even though his is probably one of the safest?
She also tends to eavesdrop and hide behind objects to watch other people, especially Adrien (a celebrity, so it would look a lot creepier for her if she had other intentions?) Why does someone being out in public or talking to someone in public make it okay for Marinette to watch them without their knowledge?
Marinette even low-key broke into his house in Party Crasher to spy on him. Can he not just do things with their shared friends without her?
I think what gets me is when she abuses her powers for personal gain, yet chastises CN when he does it like she's so much more mature and responsible than him. How many akumas has Adrien/CN directly caused compared to Marinette again? (It doesn't count when someone is akumatized for merely liking Adrien, like Kagami. He has no control over that).

1. Telling Soqueline Adrien's personal business for no reason.

She literally told a stranger that somewhat idolizes Adrien about how she helped him confront his father. What right does Soqueline have to know that??? I would feel so violated and backstabbed if someone I confided private details to blabbed that to a stranger? Did she not have the basic understanding that personal information like that isn't for everyone to know, even when it wasn't explicitly labeled as not to be shared? Especially when a huge part of Adrien and his family's brand relies on a clean image???? If Soqueline went to the press with that, she could have impacted the Gabriel brand's reputation and therefore earnings???
I understand maybe telling classmates that know Adrien about it, if for GOOD REASON, but to drop that to someone that has no connection to it out of the blue? Adrien is already going to learn in season 6 that a ton of people know his family's dirty laundry more than he does (including Marinette the blabbermouth), and the only secret he really has to himself is Chat Noir (Which Luka found out without him knowing, so he doesn't even have that), so was this necessary?

1. Fumbling the ball with Volpina.

This is just a personal gripe and I don't blame or judge Marinette for this, but I am frustrated that the great strategist Marinette immediately showed her anger at Lila about lying instead of creating a plan that outs Lila without singling herself and making an enemy out of her? Marinette even had the trump card of being Ladybug to out the best friend claims, yet only does it in front of Adrien (one person that was already suspicious and clearly put off) instead of maybe the class? And maybe instead of having Ladybug completely anger someone that is unstable, why couldn't Ladybug just have calmly not recognized her?
Great job Marinette, you just made Ladybug look super immature and petty in front of your crush (who is also the one person that likes Ladybug!). You also just made a powerful enemy that hates you on both sides of the mask. I don't know how Adrien didn't get an ick from Ladybug doing that tbh.

1. Glaciator

I know Marinette was already kind of upset and overwhelmed with Adrien not showing up, Andre pressuring her and Ivan trying to figure out who her crush was, but there was still no reason to completely ruin the outing of all your friends over a boy (that is known for not often being able to come to events due to his father). She was even surprised when Chat Noir was mad at Ladybug not showing up to the special surprise like she didn't just cause an akuma over Adrien not showing up for HER outing.
(also, what was up with Chat Noir getting mad at someone that didn't go to something they said they might not go to. Also, he could have just moved the surprise to a day she WAS available. maybe I should make a similar rant over Adrien's small actions.)

1. Troublemaker

This whole episode was hard to watch, honestly. I don't know why Alya isn't more concerned about her having a healthy relationship with crushes instead of just throwing her at Adrien every single day. (might do a similar rant on Alya too)

1. Gorizilla

This is more about her communication issues as a superhero, and it isn't entirely on her either. In her eyes, Chat Noir left her out to dry and almost got a civilian brutally killed, falling off a building by not coming in time. Why on earth did she never have a conversation about this? She trusts Chat Noir so much that she doesn't check in with him at moments like these and doesn't get concerned when he disappears, yet is so deeply distrusting of him (somewhat bc of Chat Blanc) that she later does not tell him anything at all. If they were a real couple, I don't think they'd last hours without breaking up from the utter lack of communication between them.

1. Sapotis

I will never know why she didn't let Chat Noir know Rena's identity (and the other temporary's) from the very start. Almost all the temporary holders started at battles that were personally relevant to them, so there's no risk of Ladybug's identity being compromised. She could have avoided so many problems down the line, removed so much pressure on herself, AND uplifted Chat Noir as an equal partner with this.

1. Weredad.

She makes a small comment about Chat Noir being "a boy that changes his mind" or something like that which really annoyed me. Isn't she the one that crushed on Adrien while in a relationship with Luka, while flirting back occasionally with Chat Noir, while almost instantly getting feelings for Cat Walker? The hypocrisy is astounding. She literally responded well to a confession from Luka in Silencer ONE EPISODE LATER!

1. Miraculer
   Her partner BARELY ABLE TO WALK from the pain of getting CATACLYSMED IN THE RIBS is asked to find Chloe and give her the bee miraculous. Nice that she trusted him to hand out a miraculous, bad that she asked him to do it while he was in pain, more bad to only ask him because that was the only identity he knows, even worse because she never even told him that one- Chloe revealed herself. She also just never told Chloe she wouldn't get her miraculous again until forced to.
   

This is getting too long, lol.