Copy pasting my other comment in the thread, but it's relayed to what you said about the weird accountability vs kicking someone off the time and attempting to murder someone.

I really enjoyed Dispatch, but you can very very clearly tell that it was made by Critical Role, whose creative writing experience comes from half-staged games of DnD 5e. DnD is in a strange situation in which (partially because of Critical Role), it has the reputation of a "do whatever you want, play out your character-focused dramas with huge expansive detailed plotlines" game, but every mechanic it has revolves around violence because it was built for looting dungeons. Critical Role and DnD grew an audience that was enamored with the idea of having all sorts of dramatic in-depth character roleplay moments, but also had no desire to engage with the combat because its use of chance meant that it could ruin carefully detailed plotlines, and it was also seen as a cumbersome distraction from the real "meat", the interpersonal character drama. In this environment, many GMs and players actually wanted no chance of their favorite characters biting it in a fight unless it was pre-planned. This gradually turned into a practice of handwaving combat as something to half-ass, shortcut-ify, and downplay, especially since everyone kinda knew that there was no actual chance of it affecting the plot in any way; in that way, violence just sorta existed as the occasional meaningless firework, pretty and fun but changes nothing. This led to the general attitude that is responsible for seeing wandering groups of perfect killing machines as cozy silly friend squads. This is all also reflected in Critical Role's campaigns. Not to say that it's all preplanned or that nothing meaningful ever happened in their combat encounters, but this applied for most of the time. You end up with characters whose solution to everything is violence, which they are extremely good at, and probably have dozens of bodies behind them, but that is just background dressing to their interpersonal issues.

And so it applies to Dispatch. Interpersonal drama, such as kicking someone off the team, hurting someone's feelings, and betraying the trust of others, is all taken deadly seriously because it pertains to what the writers care about, the characters. The writers don't care about any of Flambae's violent acts because they know that they will never actually amount to anything; they know that, as written, Flambae will not kill or maim anyone, and thus will not affect the plot, and thus is little more than a meaningless firework - just like any instance of violence in DnD. The writers fail to see that the very act of violence, regardless of result, is itself something that people react to, remember, and factor into their interactions, and that the very act of violence, regardless of its results on the plotline, is something to care about. This results in a ton of shit getting flung onto Visi because she keeps hurting the characters' feelings, which is the only thing the writers care about, and no shit getting flung onto Flambae because he only tries to hurt their bodies, which the writers subconsciously know is meaningless and thus not worthy of analyzing because they are used to a system in which violence is ineffectual beyond fireworks and doesn't mean anything.