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In the landscape of Young Adult (YA) fantasy adaptations, romantic subplots often fall prey to predictable tropes: the love triangle, the fated mates, or the redemption-via-romance narrative. Netflix’s The Bastard Son & The Devil Himself (adapted from Sally Green’s Half Bad trilogy) offers a subversive counterpoint through the character of Katrina Most. This paper argues that Katrina’s romantic relationships—specifically her dynamic with Gabriel Boutin and her adversarial-turned-complex tension with Nathan Byrn—represent a radical departure from conventional YA storytelling. By analyzing her agency, her rejection of the “healing female” archetype, and the narrative’s deliberate deconstruction of the love triangle, this paper demonstrates how Katrina Most’s storylines achieve originality through emotional realism, moral ambiguity, and a prioritization of self-determination over romantic destiny.
A crisis forces them to choose. An accident leaves Elias in a situation where he is drowning in the chaotic emotions of a crowd. Katrina has two choices: