#and verbalizing it effectively

[cdfreak]

im not saying anything new here theres probably a million like proper well written essays about this out there but the deep intense self-centeredness white people (especially american white people) carry is innnnnsane. everything has to be about Me everything has to somehow relate back to how it would affect Me and how Eye am the victim here. we claim self defense when committing violence against people of color, hold an iron grip on positions of power culturally and politically, are made uncomfortable when shown movies that arent about us. even when engaging with discussions about racism it has to be about us and our guilt. you see it all the time in white queer circles, we find out about harmful homophobic or transphobic legislation in the global south and dont spare a thought for our brothers and sisters living there - the conversation becomes instead about us and how this could hypothetically affect our lives. See a homeless man suffering, think instead about how it makes us uncomfortable or scared instead of feeling for him and what he is going through. im kind of just rambling but this pattern pops up literally everywhere once you start noticing it and its very very eye opening to see how white supremacy rewards and reinforces these behaviors in us and how in turn we reinforce white supremacy in day to day life

[buboloboogie]

HAPPY LATE 420 TO THE SUCKER BOYS !!!

bro is about to be highlo for the next 48 hours

[bruhstation]

special thanks to these pez dispensers for accompanying me during my stay at the hospital. glory to canada

[fonmythenmetz]

Literally the final fight in the Dune book

Gurney: I wanna fight a Harkonnen! You promised me a Harkonnen, my lord!

Paul: Of course, Gurney, and you shall have it.

Emperor: *orders his guards to hide Feyd* We do not have any.

Feyd: *breaks through the guards to reveal himself* I WILL fight

Paul: *sees Feyd* *pushes Gurney away* No one touch him, I’M gonna handle him

Gurney: But you promised!!

Paul: FORGET WHAT I SAID THIS ONE IS FOR ME

[chloecherrysip]

As much as I mourn all the lines that appeared in mario movie trailers but for some reason, didn't make it to the finished product (RIP "I'm not afraid! I'd do anything for my brother!" YOU LIVE ON IN MY HEART ALWAYS AND FOREVER), I've been thinking about "I hope you told your brother how much you love him, because you're probably never gonna see him again" and the rest of that whole dialogue exchange in particular from this specific trailer and how much I wish we'd gotten that moment because I think it would have helped spotlight a vital aspect of Mario's character that the movie already does a REALLY good job with getting across in the first place: the way he communicates how he feels through action and acts of service instead of words!

(more under the cut because this got too long, haha)

Mario is usually a very quiet protagonist so this tracks with the games too, obviously, but even movie!Mario seems like someone who isn't overly verbose or who's especially eager to enter into heavy, feelings-based conversations (at least not without a struggle). Talking about his feelings might not come easy to him, and he maybe even forgets to say things outloud that to him, seem obvious. (Meanwhile, I think Luigi is always up for gushing about his favorite people (see the interrogation scene lol) and probably ends every phone call/text message exchange ever with "love you!" to Mario and his parents, to the point that he might accidentally say it to acquaintances and customers too on occasion, LOL).

So thinking about this exchange with Toad and how, even if the movie didn't acknowledge it past that point, this idea would be hanging over Mario throughout his journey hits harder because you can imagine him thinking: hey, when WAS the last time he told Luigi outright that he loved him that wasn't a distracted "yeah, me too" response to Luigi saying it first? Maybe it's been a long time. Too long. So long it's genuinely upsetting for him to realize! What if his brother doesn't actually know how much Mario loves him, because he does, he does so much, and he's been an idiot for going so long without saying the actual words and now he can't, he CAN'T and he would give anything in the world to go back and do things differently!

And of course, all this panic is totally unwarranted and even silly because I think Luigi knows like his own name how much Mario loves him. Because the audience watching this movie knows how much Mario loves his brother by that point! Mario never says the actual words - in fact, he never says anything particularly positive about Luigi, other than "you were great!" regarding the commercial in the very beginning - and yet it couldn't be any clearer!!! I think it's pretty impossible to come out of this movie (if you were paying attention in the least) not seeing that love plain as day in everything Mario does, down to the littlest things, because he is a man of action and that's how he expresses himself best!

You see it in how he shifts from mildly embarrassed to immediately Intense and Ready To Throw Down on a dime when Spike insults Luigi, you see it in how he pauses to open doors and create paths for Luigi to safely follow him through the construction site as he's parkouring, you see it when the dog becomes aggressive and Mario is just entirely focused on keeping Luigi behind him, pushing him out of harm's way, getting the dog's attention so it will attack him instead, etc. You see it in the warp pipe when his entire demeanor changes the second he realizes Luigi is in trouble, how he desperately paddles to reach him and grab his hand and comfort him about the situation. You see it in how his brother is front of mind for him at every point in his adventure and that's why he fights so hard to talk to Peach, why he agrees to the fight with DK, why he keeps trying even when things seem hopeless and no one believes he can do it. You see it written all over Mario's face during the reunion, every single little way he touches Luigi and brings him closer and checks in on him with crystal-clear relief and joy and gentleness!!! The "show, don't tell" aspect is just OFF THE CHARTS IN THE BEST WAY POSSIBLE because that's how Mario is. He's not so good at words and remembering to say them. When he loves someone, he wears that feeling, he lives that feeling in so much of what he chooses to do and how he interacts with the world, and while it's always good to say these things outloud now and then just to be clear everyone's on the same page (and I'm sure he does after the movie, haha), it doesn't make it any less meaningful. :)

[martyrbat]

fully supportive of cass learning sign language and the fanon that she uses it more than spoken language but also. so many of you act as if its a lesser version of communication and she'll automatically be a pro/not struggle with it. its still a complex language that has structure, grammar, vocabulary and syntax. theres so many different factors for it, even within just one region - different signing styles, dialects, slang, as well as actual variations (asl, pse, see)

just because you rely on verbal communication doesnt mean nonverbal or alternative versions of communication is a lesser version than your normal

sign language, writing, variant types of aac devices and resources. its all methods of communication. it all deserves to be treated with the respect and regard that vocal languages are treated with

[lenabloggingthingy]

being an exaltant ruidusborn gives you access to an exclusive very special spell, it's called gaslight gatekeep girlboss

[scintillatingshortgirl19]

as much as i despise john house tbh i wish we'd gotten more episodes with him . . . partly for more of that sweet sweet Daddy Issues content but also. because there are so few scenes with this man i have to do so much fucking guesswork when writing him

[inamindfarfaraway]

I can perfectly picture a Batman: Wayne Family Adventures two-partner that properly introduces Harvey Dent, Two-Face, their relationships with Bruce and vice versa. But I can't draw in the slightest. So I'm going to script it and you'll have to use your imagination. It’s a little longer than the average WFA two-parter. But given how many thoughts and feelings I have about Harvey, I’d say it’s impressively concise. For me. If you like how I write Harvey, I recommend my fanfic spotlighting him as a teenager, compared to which I must warn you this script is positively fluffy. Read it on AO3 here! If you want to draw any of this, please tell me in advance and use the updated original post or the AO3 fic, not necessarily your reblog.

A Second Opinion

Part 1

[Panel one. Vertical rectangle, full screen. Nighttime. The exterior of an abandoned building that is notably more decrepit on the right side, Two-Face's current base of operations, from a distance and high angle. The Batmobile is parked outside. Bruce as Batman is seen on the rooftop from behind, striding stiffly toward the skylight. A speech bubble floats in the air above him.]

Barbara: Are you sure you don't want backup?

[Panel two. Barbara as Oracle watches with a frown of wary concern at her desk in the Clocktower.]

I know these confrontations are very personal for you -

[Panel three. Bruce leans over the skylight seen from below it, about to kick it in. His fists and jaw are clenched, teeth gritted and eyes narrowed sharply; even for Batman on a mission, he's in a bad mood.]

Bruce: I'm fine. I have him right where I want him.

[A speech bubble floats in the space below the panel.]

Harvey: I have him right where I want him!

[Panel four. Fade into a flashback. In stark contrast to the dull and dark blues, greys and blacks of the present scene, the flashback panels are full of light, saturated and warm colours. Harvey Dent stands at a round red table outside a café on a sunny day, beaming. He's a handsome, sturdy man with neat, short black hair, a semi-formal brown suit and wide brown eyes. He was seated, but has risen and slammed his palms down on the table in his enthusiuam. Slightly low angle, like the camera is on the table, and to the right so we have a better view of his left side. A gold wedding ring gleams on his finger. His introduction box reads: ‘Harvey Dent, District Attorney. Gotham’s best lawyer, technically and morally.’.]

And think of the implications! If the Salvatore Maroni can face justice, so can anyone.

[Panel five. He paces a little behind his chair, gesturing animatedly. Motion lines trail and curve around the other way behind him. His right side is now in profile. Same angle, but pulled back to see over the shoulder of a younger Bruce wearing a nondescript black shirt.]

If his empire can crumble, so can any criminal organization or corrupt institution, no matter how powerful. This trial could be a beacon of hope for Gotham. Proof that the law can actually help people, that the spirit of it is alive.

[Panel six. Opposite Harvey, Bruce is sitting comfortably. He has notable eyebags and less light in his eyes than Harvey, but smiles in earnest admiration.]

Bruce: I think you're right. Maroni used to own the city, but ever since you, Jim and Batman started working together...

[Panel seven. Side shot of both of them from Bruce's right and Harvey's left, showing them down to their legs. Bruce leans forward. Harvey has sat back down. In the background, their memories conjure a vision of Batman and Harvey shaking hands before the Bat-Signal. The figures' lower halves fade to translucent above and behind their real counterpart's heads. That Harvey is smiling too and the one leaning forward, while Batman's mouth is a flat line but his eyes are soft.]

things have changed more than I could have imagined.

Harvey: I just hope we can keep it up. Maybe in a few years, Gotham won't need a Batman.

[Panel eight. Close-up on the right half of Bruce's face, a narrow vertical box in the upper left section of the screen. His expression is of shock and vulnerability, although he isn’t offended. He has simply never considered being able to end his crusade before. Panel nine. A bigger square containing his entire face and taking up the rest of the screen.]

Bruce: Do you really believe that?

[Panel ten. Closer front shot of Harvey at eye-level. We can now see that he actually does have bags under his eyes. He's more pensive and his smile drops.]

Harvey: Yeah. I mean, Bats is a great guy. I don't want him to just disappear. But his methods...

[Panel eleven. Deep shot. Two petty crooks run through an alleyway at night while Batman looms behind them atop a ledge, a huge, hulking silhouette crouched animalistically with piercing white eyes and clawed fingers raised to pounce. The scene is somewhat abstracted to highlight the criminals' emotions. The alley walls seem to be closing in on them and Batman's curling cape flows into the surrounding darkness. Angle is above the very small-looking criminals, but below Batman such that his striking, soulless eyes glare right at the reader. Harvey's speech bubbles are in the top left and bottom right corners, framed by the blackness.]

fighting violence with violence and terror with terror... they're hardly ideal, are they?

[Panel eleven. Harvey places his right hand on Bruce's left arm in pride, who is too busy processing to return his smaller, softer smile of personal affection. Side shot from Harvey's left and Bruce's right that cuts them off at the torso.]

In my opinion, the work you're doing with the Wayne Foundation does better at lowering crime rates in the long run.

[Panel twelve. Over-the-shoulder shot again, Harvey's this time to show Bruce full of love, relaxing and leaning into the touch.]

Bruce: Well, in my opinion, you're a better person than me or Batman.

[His second speech bubble descends into the empty space.]

And I’d love to see the day Batman can retire.

[Panel thirteen and fourteen occupy different vertical halves of the screen and the same horizontal space for half of their lengths, the former higher, the second lower. The first shows Harvey from the right cut off at the thighs, in a courtroom, delivering some kind of unwritten passionate declaration; on his left and in the background, the defendant, the aforementioned crime boss Maroni in a nice black suit, holds an opaque bottle labelled as cough medicine and smirks viciously. The second is a close-up of Harvey’s head on the floor. Only the right half of his face is visible, the left turned away, and he is howling in unfathomable agony, tears streaming down his cheek. The stem of his speech bubble reaches down to the top of panel fifteen. This is a straightforward frontal shot of Bruce in the present. He stands tense and grim, poised to throw a Batarang with his right arm. Silver moonbeams shine through the broken skylight. Layered in front of the panel’s top border and behind Bruce, Harvey’s scream appears to ring through the cowl’s bat ears and extends continuously offscreen in extra large, blood-red lettering. The bubble fades around it to make it stand against the background.]

Harvey: ARGHHHHHHHHHHHHHHHHHHHHHH

Bruce: Two-Face.

[Panel sixteen. Same angle of Harvey and Two-Face. The left half of their face is ravaged by raw, pink chemical burn scars and has a bloodshot eye with burned lids; even their right eye is sunken and shadowed with a menacing glint; their hair is the same on the right, but bleached white, longer and wild on the left; they wear an angular, elegant suit divided vertically in alternating black and white. They’re smiling smugly, posture calm, confident and commanding. Their right hand aims a pistol at Bruce, and the camera. The other hand, bereft of a ring, holds their two-headed coin. Their introduction box reads: ‘Harvey Dent & Two-Face. All the drive. Fractional sanity. Half the morals, or less.’. The outlines of their speech bubbles are smooth as usual on the right and rough and scribbled on the left when both alters in the system are in relative cooperation - a dual consciousness referred to as ‘H/TF’ in the script - completely smooth when the still goodhearted, but deeply troubled Harvey is speaking alone, and completely irregular for the much more merciless, callous Two-Face personality alone.]

H/TF: Bats! Let us guess: you didn’t bring any backup because you have a self-righteous hero complex about us in particular?

[Panel seventeen. Closer frontal shot of Bruce scowling and hunching his shoulders in shameful concession.]

Two-Face: Good. Those Robins are nothing but trouble.

[Panel eighteen. Long rectangle panning down the room. Bruce and H/TF are in the background as H/TF gesture with their left arm to two men dressed like high-level businessmen in the foreground, tied to chairs with a gun pressed to each of their heads by H/TF's identical twin henchmen. The captives are bruised, cut and slumped in exhaustion.]

H/TF: Now, take one step toward us and the hostages get it. Don't go feeling sorry for them. They work for Oswald Cobblepot. His reform is fake -

H/TF and Bruce: Obviously.

H/TF: And they've already told us everything.

[Panel nineteen. Horizontal side shot from Bruce's left and H/TF's right, to frame the hostages between them.]

H/TF: But if you go after us, you'll lose your best lead on his criminal activities.

Bruce: And people will be dead.

H/TF: Yeah, whatever.

[Panel twenty. Close shot of H/TF from the left. They look left, contemplating their coin in their open hand. One face is corroded and blackened by acid, the other shiny and clean, both visible as it's drawn in a motion frame while spinning.]

You say that making our decisions based on chance is irrational and unhealthy, but believing in free will isn't all roses either. So many tough choices.

[Panel twenty-one is small box in the middle of the screen capturing the impact of the Batarang knocking the gun out of one of the henchmen's hand. H/TF's speech bubble floats in the space below it.]

There's never a win-win, is there?

[Panel twenty-two, a vertical rectangle. In the lower foreground and to the right, a gleeful H/TF bolt to the slight right of the camera, relishing both their escape and how unhappy their enemy is. In the background, Bruce restrains the armed henchman with a bolas while knocking the unarmed one out behind him with a backhanded blow. His cape billows with his rapid movement.]

At least the coin lets us be unpredictable!

[Panel twenty-three. Angle is essentially Bruce's POV. H/TF glance over their right shoulder, showing their unscarred features twisted in mockery, and sarcastically wave with their gun. They're just beyond the doorway.]

By the way, we're very good at getting two things done at once. You might wanna check your car.

[Panel twenty-four. Outside. Bruce's shadow falls from below the border diagonally over the Batmobile. Its tyres are slashed. Its fuel is leaking out into a puddle underneath it. In the next panel, we see him at eye height past the front end of the car. He has fallen to his knees, head hung.]

Bruce: Oracle? You were right. I need help.

[The black sheen of the Batmobile fades into a flat black background below. But then, within the darkness, floats a speech bubble.]

Barbara: You've already got it.

[Panel twenty-six. The first two sentences are in a bubble at the top, connected to the final sentence’s one dead in the middle. She's viewed from behind at a low angle looking up at her computer monitor. Her shoulders are assertively squared. Her security camera footage is split in two; Bruce and the crippled Batmobile are in the left window and H/TF's getaway car (also black on one side and white on the other) racing along a road in the right.]

We've been gathering intel. We know where Two-Face will strike next - and you know him as well as he knows you. Let's make a plan B.

Part 2

[Panel one. Distant establishing shot of a brightly lit black-tie gala in a vast, ornate hall, the tasteful decor dominated by white, light blues and silver. A caption informs us that this is 'The Cobblepot 'Charity' Gala'. Oswald Cobblepot is in the heart of the crowd, shaking hands with some official. Bruce Wayne is within earshot, but nearer the double doors. Panel two is a lower, tighter horizontal rectangle where Oswald and his guests are staring at the camera with tiny black dots for eyes in alarm at the doors slamming open. H/TF’s shadow falls over the floor. Panel three shows that Harvey and Two-Face have invited themselves, holding an assault rifle in both hands. Three smaller vertical panels on alternating sides of the screen show the doors being locked by pairs of Two-Face's minions in contrasting, complemetary outfits and wielding guns. The bird’s eye view of panel seven makes it clear that the guests are surrounded and trapped. Panel eight cuts back to H/TF.]

H/TF: Good evening, scum and enablers. We're -

[Panel nine takes us closer to focus on their - or rather, Harvey's - surprise.]

Harvey: Bruce? What are you doing here?

[Panel ten is a frontal shot of Bruce, like the camera's been reversed in the same position. His confusion is an act, but his concern is real.]

Bruce: I'm the richest man in Gotham and this is a high-society gala. What are you doing here?

[Panel eleven. Side shot that doesn’t show the scarring. Harvey lowers the gun, eyes softening as Bruce reaches out to him.]

I thought we agreed that you still needed treatment.

Harvey: I…

[Panel twelve. Frontal short. Remembering his mission, Harvey loses a degree of control and the two embittered alters lightly push Bruce away and point the gun straight ahead at Oswald with a glare. Motion lines trail from their arm.]

H/TF: That doesn’t matter! What matters is taking down the Penguin!

[Panel thirteen. Oswald presses a hand to his chest, somehow at once mortified and supercilious. You can hear the melodramatic sad violin. Beside him, his associates are cowering and aghast.]

Oswald: Why, everyone knows that I’m reformed. Attacking me when I’m doing good just proves how far you’ve fallen.

[Panel fourteen. H/TF snap at him furiously, and their speech bubble is large, spiky (still with the different texturing) and has a red outline for emphasis. Their eyes are stylized as flames; their right eye’s flame is orange and the left’s blue. Bruce is giving Oswald an intense sidelong glare. His lettering is smaller and his bubble's outline dashed to indicate that he's speaking under his breath.]

H/TF: SHUT UP!

Bruce: Shut up.

[Panel fifteen. Wide low angle shot up into the shadowy rafters. Damian, Dick and Tim are hiding in their vigilante identities and watching the scene below intently, at the ready. Their speech bubbles are dashed as they’re whispering. Damian is tense like a coiled spring, hand is on the hilt of his sword. Dick’s facial expression is blatantly disdainful of the villain in question, but his position and body language are calmer. Tim is all business.]

Damian: Shouldn’t we -

Tim: Not until the signal, remember? We don’t want to escalate and endanger the civilians.

[Panel sixteen. Close-up profile shot of Dick.]

Dick: Yeah, I hate Two-Face, but Bruce has got through to Harvey before.

[Panel seventeen. H/TF aim their gun with their right hand as their left reaches into their pocket to take out their coin. Their jaw is tight in composed ire. Diagonal angle to show Bruce on their right, overlaid by the gun. HT/F's speech bubble is near their head, but Harvey's is under the panel-dividing horizontal line of the gun.]

H/TF: You have the right to remain silent, forever.

Harvey: Bruce, get out of here.

[Panel eighteen, a square. Bruce is alone in the frame. He folds his arms, Batman's stern, steely presence creeping into his expression and posture.]

Bruce: Whatever you're willing to do to those people, you can do to me.

[Panel ninteen. Same composition with H/TF. They frown, the unscarred features looking regretful while the scarred ones look annoyed and disdainful.]

H/TF: Fine. Just stay out of our way.

[Panel twenty. Close up as they flip their coin. We get the blurring motion displaying both sides again. The next panel is a repeat shot where Bruce’s right hand snatches the coin in midair.]

H/TF: HEY! Give it back!

[Panel twenty-one. Extreme close-up, narrow horizontal parallelogram focused on Bruce's defiant stare. His speech bubble floats close underneath.]

Bruce: No.

[Panel twenty-two. He holds the coin out of reach. The camera is angled over and to the side of Bruce's left shoulder, to put as much visual distance between his outstretched right hand and H/TF as possible, Bruce's body in between them. H/TF’s left hand is balled into fist around the lowered gun while their right gestures like they’re arguing a case in a courtroom. They look resentful, but also coldly resigned. The speech bubbles can extend out of the panel. In the backgroud, some of the guests are depicted as simplified, featureless figures.]

H/TF: They aren’t worth sticking your neck out for. Nobody in Gotham is -

Harvey: I learned that the hard way.

Bruce: And I’ve learned otherwise. This won’t make things better, Harvey.

[Panel twenty-three. Two-Face fixes the gun on Bruce with a sadistic, unhinged snarl that’s distinctly his own.]

Two-Face: Listen, Wayne, I don’t care for you a bit. Give us our coin back or I’ll -

[Panel twenty-four. Bruce raises an eyebrow.]

Bruce: But what if it’s good heads?

[Panel twenty-five. Two-Face freezes. A ‘Twitch’ sound effect is at the corner of his right eye. Panel twenty-seven. A henchman aims his own gun with nervous eagerness.]

Henchman: I'll get your coin for you, boss!

[Panel twenty-six. The vigilantes leap down from the rafters. Dick's already thrown a Wingding to disarm him that flies downward rotating and seems to cut the shape of the panel, which has a tapering lower end.]

Dick: No!

[Large red 'BANG!' sound effect between panels. Panel twenty-seven is a small box in the middle of the screen showing the Wingding knocking the smoking gun away a split-second too late. Panel twenty-eight. Bruce and Harvey in the background and the bullet in the foreground are centred. Harvey slams into Bruce and knocks him down with his full weight, briefly putting himself in the path of the bullet.]

Harvey: Bruce!

[Panel twenty-nine. Long, vertical rectangle panning down from above the vigilantes standing in dramatic heroic landing poses at the top of the frame, wearing varyingly emotive expressions of shock, to Bruce lying propped up by his elbow and Harvey on his hands and knees at the bottom. The discarded assault rifle hits the floor between Harvey and the vigilantes with a 'Clatter' sound effect in yellow, uneven text. The coin slips out of Bruce's hand with a motion line to rest between him and Harvey. Panel thirty. Angle at eye level with Bruce and Harvey. Bruce sits up. He stares at Harvey with shining eyes and the beginnings of a smile as he processes what just happened, and what didn’t precede it.]

Bruce: You saved my life.

[Panel thirty-one. Angle is behind Bruce’s head. Harvey avoids eye contact, showing Bruce his unscarred profile. He’s solemn and though he too has a relieved hint of a smile, it doesn’t reach his eyes.]

Harvey: You never stop trying to save me. It was the least I could do.

[Panel thirty-two. Harvey’s POV. Low angle, tilted up at Bruce on his feet, offering his hand to help him up. We can tell that it’s Harvey’s perspective with both eyes because the left half of the image is dim and blurry due to the damage the acid did to his left eye. The speech bubbles are exclusively on the right.]

Bruce: It isn’t too late, Harvey. You can still heal. You can get better, be better.

[Panel thirty-three. Close-up on the right half of Harvey’s face, a narrow vertical box in the upper left section of the screen. His expression is of tentative, wary hope and raw vulnerability. He has wanted to end his crusade throughout its duration, but never been able to. Panel thirty-four. A bigger square containing his entire face and taking up the rest of the screen.]

Harvey: Do you really believe that?

[Panel thirty-five. Side shot that now only shows the side shot of Harvey’s face. Bruce kneels down be closer to eye level with him.]

Bruce: Yes. Always, I’ve been where you are. Feeling like you can never be more than all your pain and anger. But if you want a second opinion, I think you’re a better person than you know.

[Panel thirty-four. A square in the middle of the screen. Harvey’s right hand reaches out to Bruce’s waiting one, but lingers, tense and trembling, above the coin. Panel thirty-five. Vertical rectangle. Harvey shrinks in on himself, hunched over with his face buried in his arms and hands clutching his hair; perhaps he doesn’t trust himself not to pick up the coin and give Two-Face a means to make harmful decisions, just can’t make another choice of his own or both. Around him blackness with spiky, scribbled inner edges consume the screen like reality is fracturing or dissolving, or some all-consuming destructive force is coming for him.]

Harvey: Just… just take us to Arkham. We deserve it. We need help.

[The black extends, replacing the white background. But then, within the darkness, floats a speech bubble.]

Bruce: You’ve already got it.

[Fade into panel thirty-six. Horizontal rectangle. Distant, high angle. The black lightens to purple and becomes the night sky, which is warming to pink at the first moment of dawn. Harvey is handcuffed, about to enter a police car on his right. A cop is escorting him. However, Bruce has his left arm around his shoulders and they’re both in relatively good moods, similar to how they were in the flashback.]

Harvey: When did you get so optimistic, Mr Gothic McBrooding?

Bruce: Someone has to be. And hey, I had a good teacher.

[journey-to-the-attic]

idk exactly how old ik is in the ddvd au but i had the thought: you know how most babies' first words are 'ma' or similar. mammon hears ik making the noise and he INSISTS that her first word must therefore have been HIS name, cementing his place as BEST uncle forever

then asmo's like "nonono, she could have been going asMO" and then a fistfight ensues

i think in my head, ik's nearly two when zhao first appears in the devildom, but she's at this weird developmental stage where she's simultaneously extremely dependent on her father, but also weirdly independent for certain aspects of her routine. she can walk, and will toddle off to do her own mysterious business for some periods of time, but most of the time she prefers to have her dad carry her around everywhere

she's also mostly non-verbal for the first few months - she mostly communicates by patting her dad's arm and then pointing at things - but she has spoken, so she's said "爸爸" (baba) before, but she only ever says it aloud in moments of extreme distress

but she would eventually start saying other words too, and it feels just as monumental as first words would to the demons, so i could totally see the mammon vs asmo debate happening then

but also, funny scenario: i imagine ik starts picking up words super fast once she DOES start speaking clearly, so while asmo and mammon are arguing over who she was addressing, satan sneaks over and gets her to say the clearest "uncle satan" they've ever heard

rip satan... it was all worth it though!

[bullagit]

actually while im in soup mode i do think its very interesting having this season that seems very very geared towards the talking it through and sharing traumas and healing through that... and the balance between owning that your actions can cause great harm to others and that while explaining what contributed to those actions can be helpful, it doesn't take away that the harm was done...

and stede bonnet is, once again, encouraging all that in everyone around him and stepping into accountability himself, but also not actually sharing any of the trauma that shaped him or contributed to his hoofing it back to barbados at the end of s1

like hmmmmmmmmmm

[sophsun1]

This gifset I made of Joan and Jack Kinney's perception that Brian was a carbon copy of his father a lone wolf and selfish man vs Justin knowing that was the furthest thing from the truth hits even harder when you flashback to 1.02 where Brian has such a visceral reaction to Ted yelling at Michael "Where do people get off thinking I'm not a kind person? I happen to be very kind, very loving/ My only responsibility is to myself I don't owe anybody a goddamn thing."

Selfish is such a prominent word in his life. We hear it from many of his so called friends. He's selfish and can't or won't love anyone or anything. Yet his actions towards them even when they don't deserve it show the complete opposite. You can sort of see why it cuts so deep when he hears these words "selfish and responsibility" in the context of the scenes with his parents.

We have Joan in church telling Brian he reminds her of Jack, he's equally as selfish always letting her down and mocking her love for God. How she took Jack's abuse and beatings to protect him though we the audience know Brian had his own share of abuse from him both physical and emotional along with his mother's neglect and alcoholism. He denies this but she won't hear of it. Adding on to her previously telling him her new priest has been like a son to her and now Brian has the power to destroy her entire world view and he doesn't. There's also a weird sort of parallel where now instead of her biological son being like her husband, her surrogate son is just like the son she rejects and is ashamed of.

Jack proudly announcing he's a chip off the old block not made to be a family man, Brian agreeing. Throw in the bombshell that if it was up to him, Brian wouldn't even exist. This man who shirked all responsibilities as a husband, a father and role model to his children telling his son who he wished was never born that he is just like him. Imagine the mind fuck. His line about not letting the ladies tie him down, Brian knowing he would never be accepted if he ever came out to him. Then buttering him up for cold hard cash, even though Brian had it ready and waiting because he knew that's all he's worth to him. Which leads me to the anger I feel towards Mel and Lindsey who immediately jump on Brian about his financial responsibility to Gus. Wanting him to sign a life insurance policy because his "lifestyle" according to Mel makes him more of a risk factor. They don't want him to be fully physically involved but they'll take his money. Here comes the theme of death once more, his father didn't want him to exist but he'll take his money. Mel and Lindsey, pointing out if he dies it doesn't matter as long as Gus profits. Yet he fought so hard for Lindsey in the custody battle for J.R, funding it all when he never got that same unwavering support when it came to Gus. Wanting so steadfastly to take care of Justin financially when they were together and apart because that's how he has been made to feel with Gus and his father. So many layers. Sonny boy indeed.

Is it any wonder? Brian Kinney never believed in love and thought it only lead to bitterness and resentment, and settling down meant settling into a toxic environment where hatred flourished. Especially as your parents are your first example of love and family. You literally are the product of that union in most cases, it's a fundamental part of your childhood and has a deep effect on you ergo why therapists always lead with "So tell me about your relationship with your mother/father."

WHICH IS WHY WE SHOULD HAVE HAD A SEASON DEDICATED TO THIS ASPECT!

Ultimately people are always wanting a piece of Brian. The raw, unfiltered Brian Kinney that Justin sees and accepts and loves is not good enough for them. Sure they have their moments and he's by no means perfect but Justin doesn't want to intrinsically change him, he encourages him to be better and we see Brian respond to this. They blow hot and cold, his Peter Pan complex is embarrassing it's time to grow up! Brian tries to change, no this isn't the Brian we know and love, we prefer the old version of him come back! With his friends he's made to feel responsible for their mistakes and fuck ups, to be a support to them, to help rescue them even to his own detriment at times. To feel guilt at his existence in their lives and how it affects them, as financial support or simply telling him how to react/feel to really major emotional life events. Debbie insisting he "owed" his father his coming out, telling Joan he had cancer. Michael at his father's death, that regardless of what he did he was still his dad. The amount of pressure that was placed on him was insane the "responsibility" never ends. It goes to the -> I don't owe anybody a goddamn thing! He got himself out of his terrible upbringing, worked hard and got an amazing loft with a job in a career he excels at. No one gave him a hand out. Technically even when they did in the concerned citizens for truth era he paid them back plus extra. He hates feeling indebted to people, or in need, and yes part of that is pride but also because he's the one that is always on standby to be that for others, so where is his room to fail?

[legofemme]

Honestly the problem w darkfics is that these new writers/young writers wholly believe that writing something shocking or 'edgy' is the same as writing something good, so they rely on ableist talking points to try and convince an audience of fellow new/young readers that what theyre reading is super good. Even tho thats literally not how writing works?

And im sorry to say it but if people cant keep an audience without leaning back on demonizing psychotic people then maybe they shouldnt be writing. This isnt 2012. You cant win internet fame by writing 'psycho killer' aus of your fandoms. If youre a teenager and you write this stuff u need to seriously think about if people would read your work if you removed the ableism, and if the answer is no then it Isnt Good.

[twosdaywhensday]

Nobody has ever handcuffed and unhandcuffed a man on a major cable network as sensually as Matthew did Will in s2e5

[aeide-thea]

have been reading fic & thinking abt my relationship to fic, which is of course also among other things a mirror of my relationship to my own psyche, and like—i think all the discourse abt its being ~internalized misogyny~ to mostly/entirely read m/m is not ultimately, whatever the truth of it, all that helpful, either to readers or to Women! but of course that doesn't stop me from feeling weird guilt abt the fact that i don't read more f/f than i do, because if there's anything i love to do, it's feel unhelpfully bad abt myself on the slimmest of pretexts…

however! i did end up reading some f/f earlier, specifically transfem f/f, and it got me thinking—basically what i'm usually mostly reading fic for is the romance/sex, right? like, don't get me wrong, i love when a fic gives me a gorgeous double helix of, like, casefic and romance twisted together, that's ideal, but fundamentally most of the time the feeling up is what i sat down at the table to eat. so in a complex aegosexual way it's a fantasy i'm—not projecting onto, exactly, i don't want to be one of the people in it; but, like, lurking in the wings of with eyes big love-crumbs, to steal a phrase from a relevantly-named poet. :) and so it's no wonder that mostly i don't want to read cisfemme4cisfemme stuff, because that's not a dynamic that feels like it has any room for me, or even like i'm particularly welcome in the room. but like. if it's trans women? i'm there, i love that for them and for me. if there's a butch? i might get tripped up by our differing lenses on gender feelings and stub my toe a little but even so i'm probably here for it. (thinking here abt that one butch/femme geraskier ~cisswap which is, like, a gorgeous bruise i keep periodically pressing. <3)

so really it's just like. shocker: i'm not personally moved by fantasies abt romance which feature conventionally feminine cis women whom i don't personally find relatable or sexually desirable! and when i put it like that, it really instantly dissolves the weird useless discourse-induced guiltgunk. like. give me a woman who's, idk, tall and charismatic and strong and clever and talented at something (though honestly it's like that siken revised tweet, a lot of those characteristics are ultimately negotiable!), like women i've historically crushed on irl, and then give me a pairing for her that's like. another woman who's also enough of those things, or a man who's—honestly the kind of m/f i'm open to would be its own whole post bc holy shit am i fussy, it very much does exist but for now let's just stick a pin in that one—or somebody nonbinary, which… idk that i've ever actually seen nb/f in fic? i'm sure it exists! but i'm not sure it exists in any fandoms i've been into. pondering the question did get me really thirsty for a good 'farmgirl (of the luke skywalker variety) is absolutely stunned-and-ringing-like-a-struck-bell captivated by confident flamboyantly genderqueer love interest (example wanted)' dynamic, though…

[bigcats-birds-and-books]

shocked and appalled that Blorbo Rotissere-ing* is a barometer for mental health

*(no blorbo = oh we're Struggling huh)