#he seemed to be having the best time playing snyder

[i-didnt-do-1t]

‘Live music by our in house singer Crutchie’ 😭

[thesixenthusiast]

ruby – eddie roundtree

part two (part one, part three, part four)

pairing: eddie rountree x fem!oc (may change to x reader) warnings: drinking/drugs (billy/daisy's addictions) word count: 1.5k author's note: please bear with me in this, if there's a few time mix ups just with the order of things, please do let me know but i'm trying to find an equal balance between the book and show and it's a little difficult lol

BILLY DUNNE: At one of our gigs we were talking to Rod Reyes, he gave us some pointers, told us what to do and what not to do, and then he told us to go west. We were all out of school by then and decided maybe it was the best option for us.

ROD REYES (tour manager, The Six): The band had the look they needed, Billy was a natural born rockstar, the long hair, the deep voice, that deadpan look when he doesn’t get his way. Juliet had the rockstar look down, she had this long hair, big hair too, and dark makeup that she never really learned how to use properly.​​ The girls wanted to be her and the guys wanted to sleep with her. And her voice.. she had this raspy voice that she never seemed to tire out. I told Billy, I told him, get her out from behind you, get her out of singing back up, sing a song or two with her, mix things up, people’ll get bored of just hearing you. Most importantly, I told them to get the fuck out of Pittsburgh.

GRAHAM DUNNE: The six of us decided to move out to L.A..

–

The Six settled into life in Los Angeles, renting a house in the hills of Topanga Canyon. They prepared to begin recording their debut album. Teddy, along with a team of technicians, including lead engineer Artie Snyder, set up shop at Sound City Studios, a recording studio in Van Nuys, California.

The band, Camila alongside, started getting their name out there. They played gigs at clubs and bars, doing near-anything to make a name for themselves on the Sunset Strip. Not too long after, they decided to record an album.

“I feel fully content with my decision to not take your bedroom, Warren,” Juliet hummed in response to Warren’s bragging over having the only bedroom with a bathroom, “Very few people would consider a stray toilet in the corner of your room to be a bathroom, I am proudly not one of those people.” Eddie waltzed into the kitchen, where the group was situated getting ready for the day.

“I’ve been thinking,” he started, taking a seat next to Juliet, leaning forward with his elbows on his knees, “We need a new name, The Dunne Brothers isn’t cutting it for us.”

“Thank you!” Karen yelled, propping herself up against the counter to face the rest of the group.

“I agree, but let’s be realistic,” Juliet reasoned, “you’re never going to get six people to agree on a name.” She leaned against Warren’s shoulder, who was contributing little to the conversation due to how stoned he was.

“We could take the easy way out,” Graham piped in, “The Six.”

“The Six,” Warren hummed, nodding blissfully at the suggestion.

–

JULIET OPAL: The Six. [Smiles] Warren admitted later that he only liked it because it sounded similar to “The Sex,” I don’t think that was a big part of it for anyone else.

EDDIE ROUNDTREE: Julie really liked the name, that was a big part of it for me.

GRAHAM DUNNE: We finished the album, we were going on tour, we needed a real name, it felt right. Plus it was kinda my idea. [Smiles]

–

Karen and Juliet were draped across the living room carpet, attempting to escape the California heat as the fan that was weakly shackled to the ceiling rotated above them. The girls were taken out of their silent daze with a yelling and laughter radiating from the porch as the rest of the group made their way inside mumbling something about a wedding.

The girls sat up, exhaustion dissipating from their bodies when Camila announced that she was pregnant and her and Billy were getting married that night. They jumped up, Juliet hoisting Karen up from the rug and her sleep deprivation-ridden state, and ran over to congratulate the couple, pulling Camila away from the group and to her closet to pick out her dress.

Later that afternoon, Juliet stood in the dimly-lit backyard, and strung pieces of aluminum foil through the various trees and rosemary bushes speckled across the yard. Eddie crept up behind her, grabbing her wrist, which ultimately led to her dropping the wad of foil into the grass, and spinning her around to face him.

“Eddie!” She looked down at her spilt decorations with a lackluster expression, though a grin was pulling on the corners of her mouth, Eddie made sure not to miss that.

“No, eyes up here,” he lifted up her chin with his other hand and smiled at her, grabbing her other hand and intertwining their fingers as he started to dance with her, “I need practice for tonight, don’t want to make a fool of myself on the dance floor. What time is the minister getting here?”

“I’d hardly call it a dance floor, it’s the same bed of grass you passed out on last week and Warren puked on yesterday,” he laughed, spinning her and then pulling her closer as they continued to dance, “He’s supposed to be here in 40 minutes, but it’s L.A., no one is ever on time, it’s anyone’s guess.”

“Well,” he licked his lips and cleared his throat before continuing to speak, “then you have plenty of time to finish decorating once we’re finished.”

“Nuh uh, I need to help get Camila ready too, pre-wedding jitters. You’ll understand someday,” she leaned her face in closer to his before whispering, “that poor woman.”

“You wound me, Julie, you really do. But alas, a woman’s job is never done,” he stopped moving and let go of her hands, “I’ll finish up here, make her feel real pretty.” He smiled, she quickly ducked down and scooped up the mass of foil and handed it to him, before scurrying inside.

–

INTERVIEWER: What can you tell me about that night?

EDDIE ROUNDTREE: [Smiles]

JULIET OPAL: Oh, I don’t know. What’s the maturity rating on this?

–

“Smile for me,” Warren teased, positioning himself for the perfect shot of Camila and Billy, “I need a nice big smile, Billy, knock off the frown, it’s the happiest day of your life!”

“Your lens cap is on!” Camila leaned forward, pulling it off and tossing it to Juliet, who caught it with one hand and handed it to Warren, who stuffed it inside of his pocket and immediately returned to trying to get the couple to pose.

–

WARREN ROJAS: Mescaline is a powerful drug.

–

Juliet laughed as she watched the numerous failed attempts at photographing the wedding and muttered something about how maybe Warren should stick to music, before she was tapped on the shoulder. She turned around and was greeted with Eddie smiling at her, his hand extended towards her.

“May I have this dance?” He smirked, raising one eyebrow at her.

“Oh, of course,” she took his hand, tilting her head to the side and smiling, “if not all of your practice will have been for nothing.”

He pulled her away and the two of them found a position only a few dozen feet away from the rest of the group, who was still struggling to take photos. They danced, her head resting on his right shoulder and his hands around her waist, before one of them got the courage to break the comfortable silence.

“I can’t believe they’re gonna be parents,” she marveled, “I still feel like I’m new here and my biggest concern is trying to make him like me. When did we stop being little asshole kids who bummed garages off our parents for practicing space?”

“I’d like to think when we left Pittsburgh, but I think we still are,” she laughed, leaning her head into him.

“Do you think you’ll ever be like that?” He raised an eyebrow at her, “I mean like, ready to settle down? If we get to where we want to be, if we’re as big as we came out here hoping to be, is it even in the cards for us?”

“I think it’ll be tricky, but it always is, whether you’re leaving for a 30 city tour the morning after you get married, or if you just don’t know if you can do it with the kid staying in one piece.”

“I guess so,” she got quiet, swaying to the humming of the music until Eddie eventually decided it was time to rejoin everyone else.

The next morning, Juliet loaded her bag into the van, crawling into the passenger seat next to Eddie behind the wheel. After finalizing her spot, she climbed out and walked over to Camila, throwing her arms around her and leaning into her ear.

“Don’t be a stranger,” she looked at the tears welling up in her eyes before continuing to speak, “I’ll watch out for him for you. Call me if you need anything, I’m serious. I’ll drive back to California from Boston to bring you orange juice if you run out, I’m here.”

Camila hugged her back and Juliet shielded her from the group as she wiped the tears from her eyes, then she climbed back into the van, a stoic expression taking over her face. Eddie noticed and placed his hand over hers on the console, bringing her attention to his face. He nodded and gave her a weak lipped smile. As the group piled into the car, the energy lightened and Eddie let out a “alright, let’s get out of here,” before pulling onto the road.

–

JULIET OPAL: And then we were off.

[youaintnothinbuta]

race x reader where reader (fem preferably, but could be gn) is a brooklyn newsie, she’s spot’s best friend. race catches her eye at the rally (is that the right word lol) at medda’s theatre and he finds her after. you can pick what happens next. thank you!

Thank you so much for the request!! <3

“You always this distractible, Race?”

Summary: You and Race meet for the first time after Medda Larkin’s show, after not being able to take your eyes off him during the performance.

Pairing: Fem!Reader x Racetrack Higgins

Word count: 920

Warnings: none. Fluff. Probably typos/bad grammar, u know the drill <33

Request something here !

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You and Spot began the long journey through the streets of Brooklyn to Manhattan and eventually Medda Larkin’s theatre, where the crowd was growing quickly. You wandered inside, looking around, Spot nudging you to look in the direction where he’d Just spotted Jack Kelly.

“Jack!” He called out.

Jack turned toward the pair of you, his eyes lighting up as he saw you and Spot. With a boyish grin, he made his way over to you, giving Spot a pound hug and you a real hug. “Well, if it ain't the pride of Brooklyn,” he smiled, “And her loyal sidekick.” He teased Spot, lightly punching his chest.

Medda Larkin herself wandered over to Jack, with him introducing the two of you to her.

“Are you two hiding too? Jack’s got a whole litter with him tonight.” Medda joked, teasing Jack.

“Goons. You know how it is.” Jack shrugged. He did indeed have quite a few of the boys hiding out at the theatre with him that night, after they all had a run-in with Snyder that was a little too close for comfort.

“Consider yourselves my special guests tonight,” Medda smiled, her usual twinkle in her eye. Just then, she got called on stage, and the lights in the theatre began to dim, everyone in the audience getting settled in their seats. Jack headed back over to his group, which comprised of about 6 or so of the Manhattan newsies. You and Spot found seats by the side of the stage, just as the curtains drew back, revealing Medda standing centre stage, her voice resonating through the theatre as she began her performance.

Spot seemed quite taken with Medda’s performance, his eyes adhered to her entirely. You on the other hand, kept finding yourself distracted. Sitting on the other side of the theatre, you watched as Jack seemed to be telling off one of the boys. He took something away from him, a cigar maybe? It was hard to tell in the dimly lit theatre.

After staring for perhaps a moment too long, the boy’s eyes locked onto yours, the sudden eye contact startling you, making you avert your gaze back to Medda. You were pretty sure you knew who it was. Racetrack, you’d heard him be called. He was one that was talked about a lot, but you’d never actually met him.

Throughout the rest of the show, you found your eyes wandering off of Medda and getting stuck to Race. Strangely, he seemed to sense your attention each time, as his gaze met yours repeatedly. It was as though he could feel your eyes on him, and each time, his gaze ensnared yours.

As the theatre erupted into applause as Medda left the stage, Spot soon found himself chatting away with all the Manhattan boys who were there. You glanced outside the front doors of the theatre, and saw Race standing alone, leaning against a lamppost. His eyes met yours, and a small smile played at the corners of his lips, a small gesture inviting you to join him.

You silently excused yourself from the group. Race remained where he was, his posture relaxed as he took his cigar from his mouth.

"Racetrack Higgins, ain’t it?" You raised an eyebrow.

“Guilty as charged. So, you and Spot, huh?”

You laughed, almost snorting, shaking your head. “He pay you say that? We’re just friends.”

He raised an eyebrow, his gaze holding yours in a way that made your heart skip a beat.

“Good to know.” His voice carried a teasing tone as he took a step closer, his grin widening.

You smiled, a slight blush tingeing your cheeks. "What’d you think of the show?"

He chuckled softly, shrugging. “Don’t know. Didn’t catch much of it.”

“Oh, really now?” You quipped.

“Yeah. Some girl was givin' me the eye somethin' fierce, couldn't concentrate.” He teased you.

“Huh, wonder who that could be.” You shot back, smiling as you grabbed the cigar from his hand.

You took a drag from the cigar, puffing out a little (pathetic) smoke ring, coughing, making Race laugh. “You always this distractible, Race?”

He grinned, tipping his hat back a bit, shaking his head, “Only when there's a pretty girl around, messin' with my head.”

You rolled your eyes playfully. “Smooth talker, huh?”

“Hey, it's the truth,” he said with a nudge to your shoulder. Race's fingers brushed against yours as he took his cigar back, his touch lingering just a moment longer than necessary. Your breath caught with the feeling of touch, you felt your cheeks go pink.

You noticed the group starting to make their way over. “I'm not saying I’m expecting you, but tomorrow I might be waiting outside that little bakery with the good pies.”

Race smirked, nodding, a glint of mischief in his eyes. “I think I could find an excuse to head that way.”

Before you could say more, the group of boys wandered over to you two, Spot giving you a questioning eyebrow raise before telling you it was time to go.

With that, you headed off with Spot, en route back to Brooklyn for the night. Similarly, Race joined Jack and the other boys, who were headed to find their night’s shelter, too. As you walked away, you stole a glance over your shoulder, catching Race's eyes watching you, a smirk still playing on his lips. The feeling was mutual, and you couldn't help but smile to yourself at the thought of seeing him again.

[zahri-melitor]

Okay. I’ve started Rebirth and read the opening stories of the following titles:-

Batman

Detective Comics

Nightwing

Batgirl

Batgirl and the Birds of Prey

I’m paused JUST before Night of the Monster Men and so I haven’t added All-Star Batman yet.

My first observation? Oh what a relief. It’s not perfect. There is work to do and it’s not a straight roll back to preboot but after reading my way through n52, characters and dynamics I recognise are back. It’s like DC suddenly remembered that people enjoy characters interacting with each other. And so, as best as I can tell, the concept was to sort of scatter everyone back to team positions that would make sense if the last comic you picked up was in 2011.

There is definitely some inferred off-screen characterisation going on: both Dick/Babs and Tim/Steph are extant relationships again. Dick and Babs had been longing ‘will they’ exes for the last 5 years of writing where they kept being out of sync with each other (the last time the two were actively dating on page was in 2003; the failed engagement was 2006, and they’d been caring exes shading back to flirting from about 2010 onwards). Tim/Steph broke up in 2004 and at BEST were amicable for 2009-2011.

Batman: Rebirth #1 – this is just a really lovely little stand alone issue that’s setting up Bruce taking Duke on as an active student. It’s just tightly written, with an interesting plot, nods at traditional characterisation, a less-used but known villain – it works really well as basically a training case for Duke. Note for everyone – Duke is still just a kid learning to be a vigilante at this point in the classic Robin model.

Batman #1-6 (2016): The team here is Bruce, Duke, Henry Clover and Claire Clover. This really feels like a back-to-basics storyline. The parallels between Henry and Bruce are not subtle, and they’re not meant to be; Bruce rescuing a family in his own situation and how it plays out is a well trodden story in DC, as is characters getting powers that the use of which ends up harming them. It was almost a modernisation of a Silver Age or Bronze Age story device that we’ve all seen plenty of times – which I guess makes sense for a Tom King story. I do have a soft spot for Claire here. This absolutely feels like a one-storyline-and-done set of characters (Gotham and Gotham Girl) who get hauled out occasionally in the future but mostly left alone. Waller seems somewhat more herself but unfortunately has still not recovered for her dieting. Every time they haul Psycho-Pirate out I wait for him to make some commentary on multiversal stuff, given he’s technically still on the shortlist of people who remember pre-Crisis, I believe?

Honestly, this storyline was mostly a relief after some of Snyder’s drama (said with full tongue in cheek over the fact it also included Bruce steering a crashing plane from the outside with cable and two rocket thrusters)

Nightwing: Rebirth #1 and Nightwing #1-4 (2016): This is very much a transitional storyline. It’s Dick’s story, but Damian, Bruce and Barbara are popping in and out of it. In terms of moving on fast from Grayson, the fact that Tim Seeley is writing this means that we don’t get a clean break (this is still basically a spy mystery story), but Dick putting back on the Nightwing suit with blue was such a moment of relief, I can’t tell you how big. He hadn’t worn that since 2009. It also unfortunately involves Court of Owls drama carried over from Batman & Robin Eternal and the 2011 Batman and Nightwing runs, but hey, Dick’s back talking to people, he sounds more like himself, he’s wearing BLUE, and he’s hanging out with Damian in a ‘I love him but he drives me up the wall’ way which is honestly not bad as characterisation. Also this line from Nightwing #2 (2016) stuck with me: “But Batman also taught me every life is worth saving. Even if it always seemed like I believed it more than he did.” While I have my quibbles over the second line (ACTUALLY Seeley that philosophy is pretty fundamental to Bruce), for Dick? At this exact moment in time? After recent events? It feels like a renewal. Every life is worth saving.

Damian here is an irritating little snot, but in the largely affectionate way he tends to get in better writing with Dick, and he’s still acting like a kid, which is always nice to see.

Detective Comics #934-#940: I’m not crying, my eyes are just watering, okay? Oh my GOD. This is Kate Kane, Tim, Cass, Steph and for some reason Basil Karlo on a team together. Okay. I see why Tynion’s run is considered a highlight. It’s not perfect, it’s in no way at all perfect, but Tynion took on an unenviable task (merging Tim, Cass and Steph into usable versions of their preboot characterisation/personalities grafted on to the existing situation of all three characters at the end of n52) and he did it in a way that spent a lot of time signalling that yes, he’s actually read their solo runs. They all had moments where they sounded like themselves and acted like themselves.

Tim still had his stupid arm computer and is at peak arrogance and at one point said “This is what happens when you give a sixteen-year-old genius who doesn’t sleep an unlimited budget” (sigh. SIGH. C’mon, Tynion) but my initial fears from the way the first issue was framed that Tim was going to be treated as less capable than Kate Kane (someone who, even in n52, Tim had spent more time as a vigilante than) were relieved by Tim slotting capably into the ‘support strategy’ role he is so good at. Of course as well then he is sort-of not-really playing around with the idea of moving on (he’s got his invite for university but you can read him as either ‘wanting to move on but trapped by Bruce inviting him back to being closer’ or as ‘Tim didn’t expect to get this, is stymied by it, and feels he’s being pushed about taking the opportunity if he lets people know’). It’s a concept he flirts with on occasion but can’t go through with. And then my sweet boy sacrifices himself and shows up Ulysses fucking Hadrian bastard Armstrong and… we get the acknowledgement that TIM IS THE GLUE. He’s just pulled this team into working together in a functional manner and we get “You were reconnecting threads that could not be reconnected. You’re so loved, so deeply intertwined. It became crucial that we take you off the field.” Which? He hasn’t been for 5 years of stories. That’s my boy, my fix-it Robin.

Steph…is sort of controlling and clearly lacking in training and has some edges to her and bickers with Tim? Which oh my god, I can see actual continuity with pre-War Games Steph here. It’s not perfect, she’s suddenly in an established relationship with Tim and quite focused on that, but I can see some Dixon in her! It’s a miracle!

Cass has had the hardest reboot of the lot and has lost 99% of her vocabulary and is back to her cryptid ways, but even there I can see Batgirl 2000 characterisation moments peeking through. She drops in the window while Tim is stripping down (Fresh Blood! FRESH BLOOD MY BELOVED. The parallels here!), she supports Tim during a fight but pushes Steph out of the way and takes over…that’s Cass’s assessment of their fighting abilities. That’s Steph overreaching her capacity and Cass dropping in to haul her out of trouble.

Kate Kane is very much Kate Kane and while I disbelieve that she and Bruce are really that close in age, this is the start of Rebirth and doing things like gently stretching back out the timeline so that we’re in Year 18 or so again, not Year 6. (Year 18 is rough back-of-the-envelope Year 3 = Graysons fall, Year 13 = ALPOD, Year 15 = NML, Year 17 = OYL to Reborn, then n52 is a single year). I like seeing her actually spend some time actively working with other Bat characters if she’s going to be fully integrated, rather than just turning up for events.

Batgirl #1-5 2016: oh Babs. While this run is winking at past Barbara characterisation (the use of Amy Beddoes as an alias! However there is no awareness that that is a name known by the Suicide Squad and Waller and not only heavily linked to Oracle, but to Barbara’s feelings about guns and Joker), it remains squarely in the ‘fluffy light storytelling that might be suitable for a 22-23 year old character but doesn’t match anything about Barbara Gordon’. I really wish this was good.

It is, I guess, an adequate tonal sequel to Burnside, and if that’s your Barbara you will probably enjoy it, but I can’t help but mentally want to slot every single one of these stories into a past history that occurred during Babs’ ORIGINAL stint at Batgirl.

The concept of Barbara going on a world training tour break isn’t bad and echoes Cass being sent off to Hong Kong (though Hong Kong is skipped over for Tokyo, Singapore, Seoul and Shanghai), but the heavy reliance on Barbara’s eidetic memory as her strong point and THEN Barbara ‘switching it off’ to be faster???

Batgirl and the Birds of Prey Rebirth & #1-6: It's Barbara, Dinah and Helena all on a team together? Miracles really do come true!

First point out of the gate: yes, I hate that this contains several take-thats at fans of Barbara as Oracle. I think they're mean spirited and exhausting to read. There is absolutely nothing wrong with fans of a team created by Oracle wanting to see it lead by ORACLE. THAT SAID, characterisationwise this is the closest I've had to my girls for a while.

Barbara is far more like Simone's n52 Batgirl than Burnside. She actually acknowledges aspects of her past, and the struggles it's brought with it and why that should have resulted in growth.

Dinah is unfortunately still running around as Dinah Drake Lance with the shitty n52 backstory retcon intact and reliance on the band stuff. Sorry, Dinah. The first run really didn't do much to recanonise anything preboot for Dinah, just outlined her new history, though Siu Jerk Jai got a few references.

Helena? Look. This is the fourth? version of Helena's origin I've read and it looks like it's most riffed off Huntress Year One, and it's sticking with Helena's mum having an affair, sigh. However, on the scale of "is this actually Helena Bertinelli", there is so much credit on the 'once again has a backstory that actually works as a Helena Bertinelli backstory' side of the ledger that I don't really care. This is about the process of rehabilitation, and Helena is not just a Bertinelli, but the first thing she does is butt heads with Barbara over their combined stubbornness and her refusal to take direction, soooo. Yeah, pretty stoked.

I will say, with this lineup of new histories, instead of being the "two cops' daughters and a mafia princess" group it's now the "Missing Mothers Who Might Be Evil Issues" team. Which is a downgrade. I wouldn't care about them bonding over their mothers so much if it wasn't stereotype missing mother hour.

Overall conclusion?

I became emotional reading Batman: Rebirth, 'Tec, and B&BOP. Even for their flaws they all were trying hard and hit me with what they were attempting to achieve.

This was in no way a complete fix, and heck DC is STILL untangling some of the threads that they started trying to fix here with Rebirth, 8 years later. But oh it is enjoyable to see writing teams actually try and act like yeah, people are allowed to like preboot characterisation.

[blind-rats]

The Quiet Misogyny of “Buffy the Vampire Slayer”

When accusations that Joss Whedon, creator of Buffy the Vampire Slayer, abused his power on multiple sets, few fans of his work seemed surprised. According to actor Charisma Carpenter, who had a recurring lead role as Cordelia Chase on Buffy and starred in its spinoff series Angel, Whedon created a toxic work environment and repeatedly harassed her on set. In a statement posted across the actress’s social media accounts, Carpenter revealed that the traumatizing experience of working with Whedon caused her anxiety and a chronic physical condition that she still struggles with today.

Carpenter’s statement comes directly on the heels of WarnerMedia’s investigation into workplace misconduct allegations levied against Whedon after he was hired as a replacement director on Justice League (2017) following Zack Snyder’s departure. In July 2020, actor Ray Fisher, who played Cyborg and worked with Whedon during post production on the film and its subsequent reshoots, wrote on Twitter, “[Whedon’s] on set treatment of the cast and crew of Justice League was gross, abusive, unprofessional, and completely unacceptable.” As a show of support for Fisher, Carpenter revealed that she had participated in WarnerMedia’s investigation, stating, “Despite my fear about its impact on my future, I can no longer remain silent. This is overdue and necessary. It is time.” 

In December 2020, WarnerMedia shared that they had concluded the investigation and claimed they had taken “remedial action.” Prior to the investigation’s conclusion, Whedon voluntarily stepped down from his role as showrunner for the upcoming WarnerMedia-owned HBO series, The Nevers, due to the pandemic, so it remains unclear what so-called remedial action was actually taken against him.

The allegations against the director and former Hollywood sweetheart—or whatever the male nerd equivalent of that is—span nearly the entirety of his onscreen career. While some fans of Whedon may struggle to understand how a man whose work has been lauded for its depiction of Strong Female CharactersTM and themes of empowerment could perpetuate the abuse he outwardly condemned, other fans were less shocked. 

In addition to accusations by Whedon’s ex-wife Kai Cole, who wrote a scathing essay for the Wrap in 2017 about her ex-husband’s faux feminism and predatory affairs, rumors have swirled for years about Carpenter’s untimely departure from Angel. However, feminists who are familiar with Whedon’s shows, including Buffy, Firefly, and Dollhouse, as well as his first two Avengers films, have long-since recognized the quiet (and not-so-quiet) misogyny directly embedded within his filmography. 

To understand Whedon’s nerdy repackaging of entitlement toward women and their bodies, one must look no further than the subtext of Buffy the Vampire Slayer, the series that initially launched him to success.

During Buffy’s seven-season run from 1997 to 2003, and even still today, comedic sidekick Xander Harris (Nicholas Brendon) became a frequent target of feminist ire. There are countless think pieces, forums, blog posts, and Reddit threads dedicated to fans’ burning hatred of the character, and the show’s insistence on framing him as morally correct when he’s quite clearly in the wrong. From the very first episode, Xander is positioned as the “nice guy” of the friend group—the wisecracking, lovable nerd who reads X-Men comics and doesn’t get a second glance from most women. 

As the everyman, Xander caters to an audience of men and boys who might relate to his average looks, inability to entice women, and his literal powerlessness up against the superpowered women he fights alongside. His friends and allies have varying degrees of usefulness in the fight to protect Sunnydale, which sits on a demon hellmouth: Buffy Summers (Sarah Michelle Gellar), Xander’s best friend and unrequited love interest, is imbued with vampire slaying abilities, and Willow Rosenberg (Alyson Hannigan), his other best friend and briefly-requited love interest, has ’90s-esque computer hacking skills and eventually becomes a powerful witch. Additionally, at any given time, he is surrounded by allies that range from friendly vampires and ex-demons to superstrong government soldiers and werewolves.

In any room he’s in, Xander is never the strongest, smartest, bravest, best looking, or even the most charming—he is utterly average in every way. In an early Season 1 episode, Xander sums up his character archetype perfectly when he says, “I laugh in the face of danger. Then I hide until it goes away.” Despite Xander’s mediocrity and inherent powerlessness in comparison to the women he surrounds himself with, one of his key character traits is his sexual entitlement. He regularly makes references to his perpetual horniness and sexualizes almost every beautiful woman he encounters. 

When he first meets Buffy, he immediately develops a crush on her, and despite her repeated rejections over the course of several seasons, he continues to wait for an opportunity to be with her. Xander pining over his best friend might not necessarily make him bad, but it’s concerning that he also harbors resentment toward every guy Buffy dates or shows interest in, occasionally even lashing out at her for daring to choose other men over him.

Worse, he views himself as a “nice guy” who is entitled to sexual and romantic relationships with the beautiful women he fawns over. Except Xander isn’t really a nice guy at all—his entire self-identification as a nice guy isn’t actually supported by his interpersonal relationships or behavior, and in fact, is often directly contradicted by them. 

Interestingly, Xander doesn’t simply act as a stand-in for sexually frustrated nerd boys in the audience who want to fuck women like Buffy; he is also, quite literally, Whedon’s self-insert character. Fans of the show had initially speculated about this, and Whedon confirmed it when he was interviewed by NPR in 2000, stating, “Xander is obviously based on me.” This was also reconfirmed during a panel at the 2011 Emerald City Comic Con when actor James Marsters, who played the vampire Spike, said, “[Xander] is Joss. That’s the way he sees himself.” As Buffy fans gain a clearer picture of Whedon’s behavior behind the scenes, it’s ironic that a man with a track record of abusing his power over women and people of color on set would align himself with a character whose primary character trait is powerlessness. 

Why does a director and showrunner who weaponizes his power over his cast members to control them—and in the case of Charisma Carpenter, attempt to literally control her body and reproductive choices by pressuring her to get an abortion—get to hide behind a fictional facade of helplessness? Because he likes comics and wasn’t popular with girls in high school? Perhaps the most unlikely indictment of Whedon comes from the series itself, in a Season 6 arc that flips the concept of the harmless nerdy misogynist on its head. In the sixth season of Buffy—which notably featured the least involvement from Whedon, as he stepped down to an executive producing role to focus on other projects—a new group of villains called the Trio is introduced. The Trio features three socially inept, Star Wars-loving and comic book-obsessed boys who attempt to neutralize Buffy and take over Sunnydale. The group of seemingly harmless nerds evolves into a major threat over the course of the season.

After creating a mindless sex robot and being dumped by his girlfriend Katrina (Amelinda Embry), Warren Mears (Adam Busch), the leader and most malicious member of the group, creates a device to render his ex-girlfriend into a state of submission so he can force her to be his sex slave. However, before he is able to rape her, the device malfunctions, and when she tries to escape, Warren hits her over the head with a champagne bottle and kills her. Later in the season, Warren also fatally shoots Tara, a fan favorite and one of the few queer women characters in the series. 

Despite their inability to adhere to a traditionally idealized version of smooth-talking and muscled masculinity, the Trio’s proximity to nerd culture does not exempt them from causing harm. In fact, their self-identification as geeky underdogs is what provides them cover and their desire to acquire social power is what fuels their violence.

In an oft-cited acceptance speech for the “Men on the Front Lines” award presented by Equality Now, Whedon recalled a common question he received from reporters: “So, why do you write these strong female characters?” In response, he said, “Because you’re still asking me that question.” 

Though the response offers an empowering sentiment and makes for a highly quotable soundbite, he betrays his real motivations for writing fictional women within the same speech. He says, “When I created Buffy, I wanted to create a female icon, but I also wanted to be very careful to surround her with men who not only had no problem with the idea of a female leader, but, were in fact, engaged and even attracted to the idea.” He then went on to “jokingly” say that he writes characters like Buffy “‘cause they’re hot.” 

Whedon’s acceptance speech unwittingly reveals the contradictions, and similarities, within both his work and interpersonal relationships. Though he may have spent decades fooling Hollywood and his fanbase with his performative brand of feminist allyship, Whedon’s public persona was always a ruse to disguise the fact that he never actually respected strong women. He simply wanted to fuck them.

[romancomicsnews]

Who should play The Flash in the new DCU?

Given Ezra Millers crimes, the disappointing box office of The Flash, and James Gunn resetting the DC Universe, a new take on the character of The Flash seems imminent.

Unlike many other DC heroes, The Flash has had a pretty good history in live action. He's had 2 shows headed up by John Wesley Shipp and Grant Gustin, and even appeared on Smallville. And while Ezra Miller is a criminal and should be tried for their crimes, they had a decent portrayal of the character, particularly in Zack Snyder's JL.

After the big three, I'd argue The Flash is DC's most iconic character. He's the most well known speedster across media, has one of the best rogues galleries, and has been a fan favorite across comics.

I believe after Batman, he will be the next big cast. Which begs the question, who will play The Scarlet Speedster?

First we gotta answer some important questions:

Which Flash?

You'll now notice in the previous paragraphs I didn't refer to any Flash by their name.

That's because there are many iconic characters who took on the mantle. Jay Garrick, Barry Allen, Wally West, Bart Allen, Avery Ho, there are a lot of choices. And with the recent casting of Nathan Fillion as Green Lantern/Guy Gardner, it's clear James Gunn isn't going to necessarily introduce these characters in comic book order.

In order to determine which Flash we should choose, we should look at what has come before to determine what we should do next.

Grant Gustin as Barry Allen

The most iconic and best interpretation of the character, Grant Gustin as Barry Allen rules. He's charming, he's funny, he's dorky, and he can nail some one liners. What I think really determines a good Flash is heart. He's not a god among men, he's not a billionaire, or an alien. He's the most regular guy on the team, which usually makes him the heart of it. Gustin nails this, and it shows in his more dramatic scenes.

Any Flash from now on will be compared to Gustin, so I think it would be beneficial to look at other characters who took on the mantle of Flash in order to differenciate.

John Wesley Shipp as Barry Allen & Jay Garrick

John Wesley Shipp is the only person on the list that has the luxury of playing the Flash twice, once as Barry and once as Jay. I am more familiar with his Jay Garrick, who is a mentor character. He is strong, he is kind, and feels classically heroic.

While he is a good actor and a fun character, it doesn't feel like Barry Allen in the same way Adam West doesn't feel like Bruce Wayne. The suit is rad though.

Ezra Miller as Barry Allen

Ezra is... annoying. Which I think isn't necessarily bad, it is partially what The Flash can be. But instead of comedic, they feel more pathetic. T

his Barry does have that heart I was talking about Grant exemplifies, and I think if we would've had more Ezra, we could've seen it more in the JL.

While it is a decent interpretation, I don't think beating it will be extremely difficult. I believe Ezra Miller will go down as a Val Kilmer Batman, solid but overall forgotten. Given that it was so recent, something fresh may be in order.

Given the three big live action versions and the characters they played, I think it's time for something a little different. A character who can give us the iconic look and feel of The Flash, but be different enough to blaze their own trail.

A fan favorite character who has been seen throughout animation but barely ever through live action:

Wally West.

Who is Wally West?

Wally West is the nephew to Barry Allen, Iris West's Nephew to be exact. After trying to recreate the experiment that gave his uncle powers, he becomes Kid Flash, The Scarlet Speedsters first sidekick.

Wally West had made several appearances in media. He was a fan favorite on Young Justice (shameless plug for my Young Justice article here) Teen Titans, and several animated DC movies.

He is also thee Flash on Justice League and Justice League Unlimited, with absolutely no mention of Barry Allen, voiced by Michael Rosenbaum. This makes him a lot of hardcore DC fans introduction to the character.

He is also given an underrated performance by one Keiynan Lonsdale in the CW's The Flash and Legends of Tomorrow. As Kid Flash, Lonsdale is funny, arrogant, a good partner to Barry. He had some of the best fight scenes and quips, plus he really rocked the look in my opinion.

How does he fit into the DCU?

In Lonsdale version of the character, he is a mix of Wally and Wallace West (don't ask comics are weird), so instead of Iris' nephew, he's her brother.

For this version, that's what I'm going to go with. It explains why he's older, and how he can recreate the experiment.

I will also go out of my way to say Barry Allen was The Flash in this universe and is now missing. He can come back in the future maybe, or not! Truly, I don't need Barry. This will not be a Kid Flash movie, this will be a Wally West Flash movie. He will be the DCU's Flash.

In the film he will recreate the experiment, try to don the costume, and eventually create his own spin on it and make being The Flash his own.

What is Wally's ethnecity?

I just want to touch on this rather briefly, because as you can see in the pictures and gifs, there's some ambiguity.

Wallace West in the comics is a person of color, but Wally West is not. When combining two ideas for characters, it's important to acknowledge this can get dicey.

In live action media now, Iris West is often portrayed as a black woman, which I think should still remain. However, one thing Fan4stic did well was trust audiences can understand the concept of adoption, and brother/sister characters don't need to be the same ethnicity.

For the time being, I am going to say either way works, as long as they fit the character of The Flash and Wally.

Are there any Other Stipulations?

Yes, a few.

Whoever is playing this character needs to feel younger than our Superman, David Corenswet, who is currently at the age of 30. The Flash being the youngest member of the team was something I did like in Justice League, and would like to remain.

I'm looking for a lanky build simple to Gustin.

He should also feel more comedically gifted than all those who came before.

I don't mind recasting someone who has done a superhero role before, but I don't prefer it.

Because The Flash is such a big character, I think we can bring in someone with a name, but who can excel at bringing out the comedy in others.

Finally, I want someone with that Heart.

My Top 3:

To be clear, I love all three of these picks, and I think any of these can absolutely nail the role.

3. Jharrel Jerome

Known for his work in Moonlight, When They See Us, I'm a Virgo, and Across the Spider-Verse, Jerome is a star on the rise.

He's been playing younger characters who are discovering themselves and their strength, and that's exactly what we need from a Wally West. And at 26, he's younger than our Superman and could be in this role for years to come.

My only concern with Jerome:

He seems pretty darn cool. Not that The Flash can't be. But much like Spider-Man, there's a dorkiness to The Flash that is key. But then again, Andrew Garfield was cool, and he proved us all wrong.

Jerome playing a superhero feels like destiny (he's got the alliteration name and everything), and is not a matter of if but when. While I can see him as a great John Stewart of Henry Irons down the line, I think his Flash would cause a lot of buzz.

2. Ncuti Gatwa

If you don't know his name, you will soon.

Known for his breakout role in Sex Education, Ncuti Gatwa has upcoming huge projects such as Barbie and most notably, Doctor Who as the 15th Doctor.

Gatwa of the three choices has the most flair and screen presence. Much like Justice League Unlimited Flash, Gatwa is a scene stealer in pretty much every episode of Sex Education. While he is a flawed character, he definitely shows heart, with his best friend Otis and boyfriend Adam.

Gatwa knows comedy, he knows sci-fi, and I think is the only one on that list that can fit that classic superhero look John Wesley Shipp did in that suit.

My main concern is age. At 30 he is on the cusp with our Superman, and with his strength he may come off as older.

And unlike our other candidates, Gatwa's got a franchise he will be leading for years to come. While he could do an incredible Flash, his focus may be else where.

1. Justice Smith

Detective Pikachu. Dungeons and Dragons. The Get Down.

Justice Smith is exactly what I'm looking for.

Smith is not only able to hold his own against big hitters like Ryan Reynolds and Chris Pine, he somehow finds a way to elevate performances as to make the whole cast funnier. He's the type of actor you want in a big ensemble piece like Justice League

Even in films I don't particularly love like Paper Towns or Fallen Kingdom, Smith always find a way to highlight his strengths.

He's got the heart of Gustin, he's got the comedy of Rosenbaum, and leading man power coupled with ensemble energy.

And at 5'10 and 27 years old, he feels young enough to be the kid of the team, old enough to be a threat.

That is Wally West. He's funnier, cockier, but at the end of the day, that same heart Barry has. Smith is the type of actor who can give us the iconic Flash we deserve on film.

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[thegroundsofbrooklyn]

jack kelly being the guy in oh the places you'll go by dr seuss

Congratulations!

Today is your day.

You're off to Great Places!

You're off and away!

You have brains in your head.

You have feet in your shoes.

You can steer yourself

any direction you choose.

You're on your own. And you know what you know.

And YOU are the guy who'll decide where to go.

jack at the beginning of the strike. he suddenly feels like he has actual, proper CONTROL over something. he feels like maybe, after so many things happening in his life that are miles out of his control, this time he'll get a say in how he lives his life.

With your head full of brains and your shoes full of feet,

you're too smart to go down any not-so-good street.

he's never really experienced the exhileration of things actually HAPPENING before. he feels like he can do anything.

Out [of town] things can happen

and frequently do

to people as brainy

and footsy as you.

And when things start to happen,

don't worry. Don't stew.

Just go right along.

You'll start happening too.

jack getting to know davey is like discovering a whole new perspective on life. things are happening, and it's so refreshing.

You won't lag behind, because you'll have the speed.

You'll pass the whole gang and you'll soon take the lead.

Wherever you fly, you'll be best of the best.

Wherever you go, you will top all the rest.

when the strike starts, they all feel like they can do anything. jack has this spark of hope, and it convinces him that they can win, because he's never felt hope like this before.

Except when you don't.

Because, sometimes, you won't.

snyder takes crutchie.

You will come to a place where the streets are not marked.

Some windows are lighted. But mostly they're darked.

A place you could sprain both your elbow and chin!

Do you dare to stay out? Do you dare to go in?

How much can you lose? How much can you win?

And IF you go in, should you turn left or right...

or right-and-three-quarters? Or, maybe, not quite?

Or go around back and sneak in from behind?

Simple it's not, I'm afraid you will find,

for a mind-maker-upper to make up his mind.

You can get so confused

that you'll start in to race

down long wiggled roads at a break-necking pace

and grind on for miles cross weirdish wild space,

headed, I fear, toward a most useless place.

The Waiting Place...

...for people just waiting.

Waiting for a train to go

or a bus to come, or a plane to go

or the mail to come, or the rain to go

or the phone to ring, or the snow to snow

or the waiting around for a Yes or No

or waiting for their hair to grow.

Everyone is just waiting.

Waiting for the fish to bite

or waiting for the wind to fly a kite

or waiting around for Friday night

or waiting, perhaps, for their Uncle Jake

or a pot to boil, or a Better Break

or a string of pearls, or a pair of pants

or a wig with curls, or Another Chance.

Everyone is just waiting.

after crutchie is taken, jack's world seems to become suspended. he can't look at anyone without thinking of his best friend, his brother. and he's panicking. he doesn't know where to go or what to do. he's lost, and he ends up just floating in stasis.

Somehow you'll escape

all that waiting and staying

You'll find the bright places

where Boom Bands are playing.

With banner flip-flapping,

once more you'll ride high!

Ready for anything under the sky.

Ready because you're that kind of a guy!

Oh, the places you'll go! There is fun to be done!

There are points to be scored. There are games to be won.

And the magical things you can do with that ball

will make you the winning-est winner of all.

Fame! You'll be as famous as famous can be,

with the whole wide world watching you win on TV.

davey convinces him that all is not lost. he leads jack out of the chaos and panic. 'somehow' is davey.

Except when they don't

Because, sometimes they won't.

I'm afraid that some times

you'll play lonely games too.

Games you can't win

'cause you'll play against you.

pulitzer backs jack into a corner. he knows he can't win. he's playing against himself because he started this, and he was foolish enough to think he could finish it. he has nobody, and nobody will know that he's doing it to protect them. davey is going to hate him.

But on you will go

though the weather be foul.

On you will go

though your enemies prowl.

On you will go

though the Hakken-Kraks howl.

Onward up many

a frightening creek,

though your arms may get sore

and your sneakers may leak.

when katherine finds his drawings, jack won't let himself believe that her plan will work. too many things have gone wrong. he knows it's a bad decision ... but he goes along with it. he HAS to. and so they continue the battle against pulitzer ...

And will you succeed?

Yes! You will, indeed!

(98 and 3/4 percent guaranteed.)

and they succeed.

KID, YOU'LL MOVE MOUNTAINS!

So...

be your name Buxbaum or Bixby or Bray

or Mordecai Ali Van Allen O'Shea,

You're off the Great Places!

Today is your day!

Your mountain is waiting.

So...get on your way!

jack knows that by winning the strike, they changed everything. he's learnt to always have hope, and to always trust that things will turn out in the end.

[popentertainment-moviereviews]

AQUAMAN AND THE LOST KINGDOM (2023)

Starring Jason Momoa, Patrick Wilson, Amber Heard, Yahya Abdul-Mateen II, Randall Park, Dolph Lundgren, Temuera Morrison, Martin Short, Nicole Kidman, Vincent Regan, Jani Zhao, Indya Moore, Pilou Asbæk, Jay McDonald, Natalia Safran, Samuel Gosrani, Jay Rincon, Jonathan Bremner, Jack Waldouck, Jonny Vaughton, Osian Roberts and Grant Huggair.

Screenplay by David Leslie Johnson-McGoldrick.

Directed by James Wan.

Distributed by Warner Bros. Pictures. 124 minutes. Rated R.

Let’s face it, it’s a bad time for Aquaman to continue his adventures in Aquaman and the Lost Kingdom. A whole tidal wave of issues are pressing against the return of the King of Atlantis.

First off, and most basic – the world at large seems to be getting a case of superhero fatigue. Aquaman and the Lost Kingdom in particular is in a precarious place, as the last remnants of the old Zack Snyder-planned DCEU of which this film is a part has come to an end, and the new James Gunn DC universe is going in a completely different direction – a direction which may or may not include Aquaman. (The appearance is that at least for now, Aquaman has no place in Gunn’s DC films.)

The last several DCEU films have been box office disappointments, including The Flash, Shazam 2 and Blue Beetle. It’s not unique to DC, who has always been the also-ran comic book cinematic universe. Even the grand poohbah of the art form, Marvel, has had recent films become severe box office disappointments. (The Marvels, Thor: Love and Thunder and Ant-Man and the Wasp: Quantumania, anyone?)

Not only that, but there have also long been rumors of an uncomfortable, strife-filled set for this film – particularly an apparent feud between star Jason Momoa and co-star Amber Heard, which is a concern, considering they are playing husband and wife. In fact, Heard’s role seems to have been cut due to Momoa’s insistence on limiting her involvement – although that limitation also may have to do with Heard being essentially cancelled after the infamous trial against her ex-husband Johnny Depp.

Still, Warner Brothers thought enough of Aquaman to toss it out in the deep end and make it a Christmas tentpole title.

I can’t say that I share their optimism. Aquaman and the Lost Kingdom is the best and the worst of modern superhero filmmaking all mixed up into a big, confusing mess. There is very little in the way of a plot here, although there is nearly constant eye-popping action which the filmmakers hope will distract you from the fact that not much of this stuff makes much (or any) sense.

Also, the attempts – mostly by Momoa, but by some other characters as well – to add some much-needed levity and humor to the film almost inevitably fall flat. (This was also a problem with the first Aquaman film.)

Aquaman and the Lost Kingdom is lost itself, a huge, shambling series of poorly edited (mostly) underwater battle sequences held together with just the barest wisp of a plot. And that little wisp of story is basically one we’ve seen over and over now, particularly in superhero movies.

The cast feels like they are on autopilot for the most part – particularly Nicole Kidman who looks like she would love to be anywhere, anywhere, but where she is. On the other hand, Randall Park steals pretty much every scene he is in as a scientist who is dragged into an evil plot.

I can sort of relate to him. Although, in fairness, Aquaman and the Lost Kingdom does have some fun action sequences, for the most part you’d have to drag me kicking and screaming into ever watching this again.

Jay S. Jacobs

Copyright ©2023 PopEntertainment.com. All rights reserved. Posted: December 21, 2023.

[bts5sosempire]

headcanon au; bodyguard

𝐂𝐨𝐧𝐭𝐞𝐧𝐭: cussing, mention of drugging and almost assault, violence; hair grabbing, one swift kick to the stomach, and choking (from the reader's end), gn! reader, dark(?), and that's about it, I guess?

𝐖𝐨𝐫𝐝𝐬: 1,058

𝐀/𝐧: well, I decided to create a headcanon where the reader gets to be a badass bodyguard. Should've mention, I kind if made it dark too sksjdijs. Not proofread either.

『The Boss: Erwin Smith, Toji Fushiguro, Gojo Satoru, Sukuna Ryomen, Ken Ryuji (Draken), Izana Kurokawa, Haitani brothers, Wakasa Imaushi, Griffith (a/n: I hate him with a passion), Lelouch, Alucard (from Hellsing), Muzan Kibutsuji, Tengen Uzui, Kokushibo, Douma, Light Yagami (a/n: kind of feel like he is and isn't at the same time lmao), Tsukasa Shishio, Stanley Snyder, Xeno H. Springfield (a/n: elon musk who?), Kuroo Tetsuro, Iwazumi Hajime, Miya Twins, Kotaro Bokuto, Akashi Seijuro』

Without warning, you kicked the door open with brute force. The wood flies off its hinges as it lands on the ground with such a heavy thud that a woman in the room lets out a yelp; they scamper off the bed with their hair and dress quite disheveled, their lipstick stain smudged at the corner of their lips.

Your eyes trail to your employer, who was sound asleep in bed, unaware they were drugged and dragged off to a bed where a potential mishap could happen. Their dress suit coat was missing along with their shoes, and even their white button-up shirt was unbuttoned. The fresh marks of red were litter all over their chest like bugs; without losing any composure, your attention was back on the woman. The seductress was wearing a reveling smirk of accomplishment, "Oh my, didn't your master teach you about being polite?"

"Polite? Didn't your parents teach you how not to be a cheap whore? I thought being a whore was for a class for low-born like me; it seems like I was wrong." You calmly say, walking over to her. The seductress's expression changed rapidly like a tidal wave; she was fuming at you for insulting her. Two can play this game, and you're always the better one to add salt to the wounds. Before she can even open her mouth, you quickly take her by surprise with a backhanded slap, and she falls to the floor in shock, knocking down a vase with her.

Seductress: "You-!"

Before she could even utter another word, the point of your shoe connected with her stomach, causing her to gasp painfully, she clutched onto her abdomen and looked up at you with pure hatred in her eyes. "You fucking bitch! I'm going to make you pay for this! I'll tell my father-"

"Daddy this, daddy that, daddy money," you give her a look of mockery and shrug your shoulders along with it. "What? Did you think that sleeping with my boss was easy? You think that they wouldn't have the best guard dog here?" Bending down, you pull her by the hair and head towards the balcony; you open the sliding door as the fantastic night breeze hits your face. The seductress struggled as she tried to ease your grip on her; she was profusely yelling at you to let her go and using every curse word that ran through her head.

"Shut up, would you?" You were annoyed that her manicured nails were starting to dig into your hand, so you lifted her by her hair, and she let out a painful yelp of help. Switching to your other hand, you gripped her throat with sheer strength, pushing her to the balcony railing as half her body was tilted over, "Keep running that useless mouth of yours, and I wouldn't hesitate to throw you off."

That got her to be quiet as fear ran through her eyes. Tears mixed with mascara and eyeliners ran down her face, taking her foundation along with it. She resorts to whimpering now, "Your daddy here owns my boss a lot of money that it's in the high billions, and for him to send his daughter to trying to sleep with my boss is quite pathetic." Tightening your grip around the seductress's delicate neck, she made a quick gasp, and you loosened it right after the second. "Maybe killing you would send a message to him, don't you think?" The second the seductress saw how the light immediately dims in your eyes and tone went colder than ice, she started to beg for you to spare her.

Seductress: "Please, anything but that! My father had an island where he stored all his vintage collections or anything valuable there! Just let me go; I have nothing to do with this!"

"You got nothing to do with this?" You rhetorically ask, "The moment your daddi-o sent you here, you're already involved. Maybe I won't kill you today if you're willing to send a message?" There was a glimmer of hope in the seductress's eyes as she repeatedly said 'yes.' "Alright, tell him that "the eyes are watching him" can you do that?" She gives another repeated word, and you let her go, removing your hand from her neck, and she takes calm breaths to keep her body from shaking in apprehension. You sidestep to the side and let her pass, and she didn't waste time getting away from you and the room.

You went back inside and eyed your boss. You give a distaste look at their pathetic form. Why are they so stupid that they got caught in one little trap? You know that they aren't this gullible.

"There's no need for you to give me that disappointed look; I was wondering when you are going to come in and save me," they spoke without opening their eyes, "you put on quite a show. I enjoy it a lot." The fact that you should've known that they're awake too slipped from your mind, so you take your word back about calling them stupid.

You only click out your tongue to nag them, "if you're awake, let's go."

"It's quite comfortable here; I think my legs are asleep too." Not even moving from their spot, they look like they're not going to budge an inch from that satin silk bed. "Come help me up." They told you in a soft accent that you stood by the foot of the bed and had a displeased look for more than ten seconds.

Moving your feet at a snail's pace, you held out your hand for them so you could slug them off the bed, only for them to pull you in bed with them that an unethical squeak made its way past your lips. You struggle to escape their death grip, far more powerful than yours. "Hey! What gives?!" Your body failed to fight your boss off, as your stature was relatively harmless from all angles by anybody who didn't know you, but you're pretty built underneath it. But in comparison, you're always second to your boss regarding physical appearances and asset.

Them: "You talk too much, when was the last time you actual rest?"

You: "None of your business."

Them: "Should I made you quieter by kissing you?"

You: "...Fuck off."

[thowawayuntilfurthernotice]

Being a DC Comics fan is nothing but pain.

You’d think I’d be used to the disappointment by now, but nope! It’s still frustrating watching WB constantly shit the bed and say they’ll do better next time.

Was the DCEU a mess? Yep, but it wasn’t without its merits.

Henry Cavill was a great Superman - sure, the materiel he had to work with wasn’t the best but he embodied the character- and it’s heartbreaking to see that he never got a proper trilogy.

Margot Robbie is Harley Quinn, I honestly cannot imagine anyone else playing the character in live action, she was just that perfect.

I really don’t understand why WB seems so hellbent on refusing to use anything that worked in the DCEU for their new shared universe, I mean for fuck’s sake, you have Marvel bringing in characters from Sony’s Spider Man and Fox’s X-Men into the MCU, but WB doesn’t wanna do the same because of the shit that went down with Snyder?

There will always be a soft spot in my heart for DC Comics, but I’m just so tired of WB’s bullshit.

[dolphs-world]

Movies

Feeling a bit tired so I'm just going to write a bit about movies. I'll write some actual analysis on Television and internet trends that annoy me next week. Would also love to talk a little bit more about Shovel Knight. But for now, movies. Starship Troopers was so good that I remembered the protagonists name, Johnny Rico. Will have to rewatch Total Recall. Heat and Once Upon a Time in America were the best of those types of films and they were still only halfway decent. I really don't get why these movies and these types of movies are beloved. Walk Hard and The Producers are the funniest films I've seen in a while and both of their songs are beautiful. Not too long either. Didn't have much actual depth for those reviews but these next 3 I do. Saw the FNaF movie with friends. They really didn't like it. I'm starting to question their opinions when it comes to these movies. One of them also didn't like the Mario movie and it seemed to be because they expected too much out of it. I loved the Mario movie, it was surprisingly funny. But the FNaF movie. It was fine. It is going to be an incredibly dated movie but for some reason that didn't annoy me as much. I don't know why it was set in the year 2000 or why there was a court subplot or really what Vanny's motivations. She seemed really muddled. But it was cool seeing such noticeable practical effects. Honestly, I think the movie would have been better if it was even more family friendly. Get rid of the onscreen murders and that whole subplot anyways, it made Mike's fears of the robots more valid. To make him seem crazy they had to have him beat someone up. Should have just outright said that Matthew Lillard was William Afton, not try and play it up as a reveal. It was funny that they casted someone from Scooby Doo as even he could have figured out this mystery without Velma's help. But yeah, if you got rid of some of this stuff you could have cleaned up the characters a bit more, made Afton a threat. Play to the child audience you know you have. The only thing that annoyed me about the movie is the reaction. Low critic scores have caused fans to try and analyse every aspect as if this movie is high art. Or maybe they just genuinely believe that. I saw threads of people explaining how the babysitter didn't want to ruin Mike's life, which was obvious. They're acting like they're peeling back the layers to a deep movie. It's called understanding emotions. Brazil, Brazil, one of Doug Walker's favourite movies. I didn't like it. I liked the look. It's crazy how people act as if the dystopia is the real world as opposed to the scenes where he was a birdman and escaped with Jill. But yeah, actually made me appreciate 1984 more. At least I understand what he thinks he's fighting against in that movie, and the last third of that book is great. You actually get to see the torture! (I felt like Zach Snyder writing that line. I get the importance and messaging of the book. I get why the characters like each other, although talk at each other as opposed to to each other, and the importance of them meeting up again later in life). But Brazil. It just didn't work. It didn't really blend reality and dreams well to make the ending a twist. You know that it's in his head. It doesn't make sense that Jill likes him back. Ian Holm's character was kind of pointless. I don't know. I don't know how to explain. I've been thinking about this film on and off again and all I can say is read 1984 and A Brave New World instead. Although I don't like 1984, only the last third is good, the second is a slog, you understand it's importance. And A Brave New World is actually good. Brazil was not.

[signalwatch]

Super Watch: Superman - The Movie (1978 - theatrical cut)

Watched:  01/06/2023

Format:  HBOmax

Viewing:  1,000,000th

Director:  Richard Donner

Superman: The Movie (1978) is the movie I've seen most of any film, enough so that I have it pretty well memorized.  At this point, I'd hesitate to say how many times I've seen the movie, but it's dozens and dozens of times.  At least 7 in the theater.  Intentionally, I haven't watched it much the past few years.  I mean, I'm trying to watch new-to-me movies, I can replay any scene in my head any time, I know the beats and jokes, and cool elements and emotions in every scene.  But I also know the plot holes, the mistakes, the dated issues with the film, where that's-a-doll, that's-how-that-shot-was-done, etc...  I even look for where extras were at a difference walking pace in various shots.  

What's probably most notable to modern film audiences is that a movie that plays it mostly straight for an hour has a hard jump in the second half to a far wackier vision of the world it establishes, moving from sci-fi epic to American Rockwell-esque pastoral to a cosmic sci-fi fantasy.  And then...  Metropolis, with hustling big-city folk, fast talking journalists, and Otis bumbling along.  And for the next 90 minutes, the movie is a mix of romance, screwball, camp and heroism.  There's something oddly Broadway-ish about that back 90 minutes - I mean, doesn't Miss Tessmacher seem like she needs an "I Want" song?  Because Lois gets one in spoken-word.

And god help us, almost everyone is doing a bit, from Perry White to the crook in the alley to the cops in the station talking about "big red boots".  We are not done yet with superheroes needing an absurd world around them for an audience to digest them, even after we just spent an hour with tragedy and heartbreak on planetary and personal scales.  

What that first hour accomplishes, though, is reminding us that Superman himself is not an absurdity.  He's the child of unspeakable tragedy, a product of America's heartland and humanity's most sincere beliefs of fair play and decency, but he is also an orphan in search of an identity.  And with the identity resolved, when he joins humanity in the guise of Clark Kent, he's fitting in while also being the space-god with laser eyes and a knowledge of the human heart and the 28 known galaxies.  He's not just some fop in a funny suit. 

But I'd also point out - Marvel has always known they need to wink a bit where DC has struggled with the idea since Snyder took over, and even Birds of Prey with Harley at the center doesn't quite get how to make this funny.  YMMV on Gunn's take, but he may have the best notion of how to balance comedy and tragedy, realism vs absurdism (or, at least, one with internal logic).   

I don't think any of this makes Superman: The Movie a failure or less-than, but I do get how it will make the film harder for newer audiences to access the movie.  Why is everyone acting weird, like an old-timey movie?  Cinema verite this ain't.  For a movie that shouts at the audience "this ain't your 1950's Superman, this is a modern Superman" with it's opening salvo, it's terribly dated to its period of release with fashion alone, and FX 15 years before a dinosaur would amble across a screen.

And, of course, it fails the nerd test of repeated viewings.  There's clearly stuff in the film that just doesn't make sense, like Lex telling Superman "You were great in your day, Superman. But it just stands to reason, when it came time to cash in your chips, this old… diseased… maniac would be your banker."  Well... no.  Superman has never met Lex, and he just showed up.  This is the speech a legacy villain gives Superman.  Superman's day is just now happening.  What draft of the script did this come from?  

But these were things we didn't notice as much in ye olde days of only seeing movies in the theater.  And certainly echoes the assumption that between radio and TV series, 40 years of comics, and overall pop culture saturation, Superman was already a known commodity, a pre-existing IP that would automatically fill in gaps for the audience even when things make no sense (why on earth would Lex think Kryptonite would be radioactive to Superman?).  

That's comic book stuff, and I'm not shocked it's given little attention - because what director Richard Donner cares about is the human side to Superman, the one that he devotes a whole sky-dance sequence to.  I'll be honest - I'm beyond judging the film for containing this sequence, but it is... weird.  It's not 1000% necessary to move the story forward, and I've spent a couple of decades now watching older movies to figure out if Donner took inspiration from somewhere for this sequence, but nothing has ever really presented itself.  From a story-telling logic, I 100% get it.  Lois needs to experience the wonder of Superman up close, feel she can trust him, understand he'll be there to protect her if she slips...  But.  Man.  For a 2-minute bit in a long, long film, it feels like the longest two minutes to a lot of folks.

I can talk about the stuff I like about this film all day, and have.  To anyone who would listen.  For decades.  So don't think I've turned on it.  But I also have the relationship with the movie you only have with a movie you've seen so many times, you've  known the names of the two cops who pursue Otis.  But I don't think it hurts to be honest about the movie.  I may love it and I'll defend it, but if you watch a movie this many times and you don't notice the rough spots, are you really loving something?  

Anyway, it was great to revisit for the first time in a while.  Especially post Superheroes Everyday's journey through the film.    

We'll rewatch eventually and say all the nice things you've come to expect, but this is not that post.  We'll do one on John Ratzenberger's characters in Superman 1 and 2 and try to figure out if this more than one character or a set of hard-luck twins.

https://ift.tt/3rDaiKm

from The Signal Watch https://ift.tt/S4UpyxE

[daniel306gaming]

¿What if Superman lived in Batman v Superman Dawn of Justice?

To: Zack Snyder, James Gunn, Peter Safran, Henry Cavill, Ben Affleck and DC Films

                                                              Intro

What if events went differently in the DCEU? What if Superman lived in Batman v Superman Dawn of Justice? In today’s fan fiction we’re going to be exploring what would have happened if Superman survived his fight with Doomsday in Batman v Superman Dawn of Justice. ¿How can this affect Justice League and the Snyder Cut going forward? This is an original what if created by me taking inspiration from the 2018-19 The Death of Superman and Reign of the Supermen animated movies with elements from the 2013 2-part animated adaptation of The Dark Knight Returns and adding some details from the 2007 Superman Doomsday film while following the mythology of Batman and Superman and the timeline of the DCEU. Without wasting any more time sit back and relax and enjoy the fan fiction.                  

                                                      Act 1      

The events of Batman v Superman were playing out the same as in our universe. Superman, Batman and Wonder Woman were fighting against Doomsday. However, he seemed to be a very formidable foe. Batman threw the kryptonite sword at Superman and stabbed it into Doomsday. Our fan fiction begins here when Doomsday stabbed Superman but in this universe the stab didn’t kill him but rather injure him. Doomsday then obliterated killing himself for good. Superman was then taking to the hospital where they managed to operate on him. Later on Superman woke up and asked Lois if Doomsday was gone to which Lois responds with a yes telling him that he’s gone and that Luthor has been arrested for his crimes against Batman and Superman. Clark then returned home to Smallville where Bruce Wayne and Diana Prince were at. Lois then told Clark that she was pregnant. Clark went into tears as they embrace each other. Bruce, Diana and Martha Kent congratulated Lois and Clark and told them that they will be the best parents.

                                                      Act 2                              

2 years have passed since Doomsday’s defeat and Lex Luthor was put in jail. Lois has given birth to a baby boy named Jordan Kent who’s currently 2 years old. Wonder Woman and Bruce Wayne went to Clark’s apartment and told him of the threat of Darkseid who was coming to Earth. Superman has heard the stories of Darkseid including how the Amazons, Atlanteans, Old Gods and humanity itself along with the Lantern Corps had defeated Darkseid and his armies. Bruce and Diana planned to form a team of metahumans to which Superman agreed. They then heard a voice saying that he will join this team. It was none other than the Martian Manhunter himself who said that he knows of someone under the Green Lantern name who calls himself Hal Jordan but that he’s currently off world at the moment. The team then divided with Batman finding Aquaman and the Flash with the former denying and the latter joining, Wonder Woman finding Cyborg who also denied and Martian Manhunter will find Green Lantern with Superman staying on Earth while they were gone.

                                                  Act 3

Martian Manhunter arrived at the planet Oa which was the Lantern Corps’s residence. He came across Hal Jordan and Martian Manhunter asked him what was he doing here and the Martian told him that there was a being known as Superman who was forming a team of heroes known as the Justice League on Earth. Hal accepted the offer and told him that he would do anything to protect both sector 2814 and Earth which was where his lover Carol Ferris was at. Later on Wonder Woman received a message from the Amazons telling him that Darkseid has obtained the Mother Box. He immediately tells Superman about it to which he says that the team must regroup at Gotham City. At Atlantis the same situation happened with Mera and Nuidis Vulko warning Arthur Curry about the situation. Cyborg sensed the anomalies and they all regrouped in Gotham City and met with Commissioner Gordon. Batman told him that an alien invasion was approaching and that they have to be ready. Cyborg said that the last mother box has been obtained by Darkseid and that he was heading to the Russian city to activate it. The Justice League headed to Russia to prepare for the final battle against Darkseid and his armies with the team wearing new armored suits filled with kryptonite to defeat him.

                                                        Final act

Meanwhile, in the Russian city Darkseid, Steppenwolf, Dessad, Granny Goodness, Big Barda and the rest of the armies were activating the Mother Boxes when the Justice League arrived and Steppenwolf along with Dessad and the furies began fighting with the Justice League while Cyborg worked on separating the Mother Boxes and Superman fought with Darkseid. The Justice League managed to kill the furies and Cyborg managed to separate the Mother Boxes. However, Superman had a hard time taking down Darkseid with the rest of the Justice League helping out but they were easily defeated. Superman then hit the ground incapacitating Darkseid. Superman then shot a laser beam at him weakening him. Superman said that his plans have failed and that there’s nothing that they can do about it. Darkseid called in the paradooms. However since they had armored kryptonite suits they managed to wipe out the paradooms as well. Superman then shot the final laser beam at Darkseid killing him for good. The Justice League have won and decided to put the Mother Boxes back to their respective places on Earth. The world began to celebrate and honor the Justice League.

                                                     Epilogue

5 years have passed since Darkseid’s defeat and the Justice League have made a headquarters of their own which was the former Wayne Manor and was beneath the Bat-cave. Hal and Carol have married, Cyborg became guardian of the Earthly Mother Box, Barry and Iris have been dating for some time, Arthur became king of Atlantis and Martian Manhunter and Diana have become the founders of the Justice League with Bruce serving as the leader. Meanwhile, in the Kent house Jordan is now 7 years old and he has now begun to show signs of his father’s kryptonite powers. Clark and Lois were shocked to see this and Clark revealed his identity to Jordan as Superman and told him that he will train him so that he gain control over his powers. Up in space a green alien said that soon the Earth will be destroyed under the wraith of none other than Brainiac himself…

                                                            THE END!

And that is going to be it for what if Superman lived in Batman v Superman. We saw how the entire Justice League movie itself changed completely as with Superman and Green Lantern around they were able to defeat Darkseid and his armies. Plus in the end we saw how Jordan Kent started to have powers like his dad with Clark training him to become Superboy and Brainiac was also introduced at the end of this fan fiction. Do make sure to be in the lookout for more what ifs coming soon. Take care guys and have a fantastic day. Peace out!

[themovieblogonline]

Zack Snyder's Rebel Moon Filming is Finished

Zack Snyder has wrapped principle photogrpahy on his new movie Rebel Moon for Netflix. Zack Snyder is a popular director and we tend to cover just about everything he works on. His new project for Netflix, Rebel Moon, is wrapped in mystery but we do have clues about what we might expect. Rebel Moon was born from the ashes of a pitch for a Star Wars movie that Disney did not move forward with. Zack took the elements of this story to Netflix and is creating something original for the streamer. So far we have only seen one image of actor Djimon Honsou and a some cool set footage showing off a massive spaceship. The cast for Rebel Moon includes some really remarkable names including Djimon Honsou, Charlie Hunnam, Anthony Hopkins, Ray Fisher, Jena Malone and more. Zack announced the completion of filming on his Vero account with the following:   "Thank you to everyone who worked on shooting Rebel Moon. I am humbled by your artistry, dedication, your incredible hard work, and your friendship. Without you there simply would be no movie. So again, I thank you! That's a wrap on principal photography!!!!" The official synopsis for the movie reads as follows:  "A peaceful colony on the edge of the galaxy is threatened by the armies of a tyrannical regent named Balisarius. The desperate civilians dispatch a young woman who has a mysterious past to seek out warriors from nearby planets to help them challenge the regent." Now that we know that filming has wrapped we should expect more details about he film soon.  I would love for Netflix to be able to put out a trailer or teaser in time for Superbowl, which is when a lot of studios release trailers. The very idea of this movie seems really exciting because I would love to see Zack Snyder play around in the world of Star Wars. This may not be Star Wars but this glimpse feels like the next best thing. Read the full article

[sunshinecoastqldnews]

Boston Celtics to honor Invoice Russell with ceremonial jerseys

BOSTON, MA – NOVEMBER 01: Boston Celtics Legend Invoice Russell attends the statue unveiling in his honor at Boston Metropolis Corridor Plaza by artist Ann Hirsch on November 1, 2013 in Boston, Massachusetts. (Picture by Paul Marotta/Getty Photographs) 3 causes to be excited concerning the Philadelphia 76ers for the 2022-23 season by Rucker Haringey NFL sponsors $200M in Titans domed stadium deal after Dan Snyder deal for Commanders falls aside by Aryanna Prasad The Boston Celtics will open the 2022-23 season with a ceremonial jersey as a tribute to the late nice Invoice Russell.  Coming off an NBA Finals look, the Boston Celtics enter 2022 with the reminiscence of the legendary Invoice Russell on their minds and their uniforms. The franchise introduced Monday that they’d be sporting a ceremonial jersey of their rotation as a tribute to Russell’s reminiscence and the 11 championships he received whereas with the group. FIRST LOOK: The Boston Celtics will start the NBA season in jerseys honoring Invoice Russell. The brand new “Metropolis Version” uniforms had been designed with Invoice’s involvement over a yr in the past, and have 11 gold diamonds down a parquet panel, honoring Russell’s league-record 11 championships. pic.twitter.com/rOBqYSJgEU — Nick DePaula (@NickDePaula) October 17, 2022 The brand new “Metropolis Version” uniforms had been created with Russell enjoying a big half within the design. Naturally, the Twitter world had quite a bit to say about this design, some even calling it the same look to the Milwaukee Bucks. Bro, am I trippin, or did Russell play within the Bucks? These seem like jerey’s of Milwaukee Celtics. Nonetheless tho — Filip Turzyński (@FTurzynskIIi) October 17, 2022 Trying just like the Milwaukee Celtics on the market this yr — Brocks in 6 (@BrockSobieski2) October 17, 2022 https://twitter.com/FoodGod05978239/standing/1582025638567108608?s=20&t=Px_GQKbJq3OTYwTb6SLoCQ The Boston Celtics will honor Invoice Russell’s reminiscence with a ceremonial tribute jersey Though it’s disappointing that Invoice Russell couldn’t see one other Boston Celtics title earlier than he handed, he was current for the 2008 championship and has seen all the nice reminiscences the franchise has had over time and endured a lot on and off the court docket throughout his enjoying tenure. Invoice Russell’s impression on the sport of basketball and the nation must be without end recommended. Although some will soar to the excessive heavens to name out Boston for his or her tributes now after the therapy they gave him at factors throughout his tenure, that’s up to now and this can be a approach to reveal how a lot he really means to this group. The Celtics are doing the appropriate factor they usually have a staff that Mr. Russell would undoubtedly be pleased with. There are shooters and hard-nosed defensive gamers keen to exit and carry out at their peak each evening. One of the best ways to honor Invoice Russell could be to win the NBA Championship and proper the wrongs of the earlier yr. Originally published at Sunshine Coast QLD News

[thevindicativevordan]

Why isn't Nightwing a bigger deal? He has all of Batman's skills and Superman's faith in humanity and is arguably the most beloved hero in the DCU, but most people seem to know him either as the leader of the N̶o̶t̶ ̶J̶L̶ Teen Ttians or just Robin.

Thank you for asking me about Nightwing, I've been wanting to write a piece about him for a while now. The short version is that everyone who claims Dick becoming Nightwing was him "moving out of Batman's shadow and becoming his own man" is completely wrong.

Dick Grayson is a fantastic character, someone who saved Bruce Wayne in-universe both by forcing Batman to grow up a bit, and the countless times he saved Batman's life as his partner whether as Robin or Nightwing. Dick saved Batman in the real world as well, hard to believe but Batman was actually in danger of being cancelled due to poor sales early on. Enter Robin, a young daredevil audience stand in the creators hoped would get kids interested in reading Batman. And it worked! Sales on Batman doubled once Robin showed up which is crazy to think about, but Dick Grayson has always been a popular character. Cartoons like Teen Titans, Batman: The Animated Series, and The Batman only helped grow his audience.

Character-wise, Dick Grayson really does fill a number of crucial roles in the DCU. For Batman, Dick is proof that Batman is a positive force. Meeting Batman helped change Dick for the better, helped him heal after his parents died. With Dick, Batman can take comfort in knowing that yes, he has made a difference in the world for at least one orphan boy, which is all he wanted when he lost his parents himself. To the wider DCU, Dick is a friendly face who convinces others that Batman is competent and not a complete asshole. He took this kid in, trained him to be one of the best heroes the DCU has seen, and did it all out of the kindness of his heart. That someone like Dick can confront the evils of Gotham and not break means there's still hope for that city. As Robin, Dick has led the Titans and is an icon in his own right as The Sidekick, the original, the one every other Robin is built around copying or contrasting. The one all other superhero sidekicks are drawing on as a basis. As Robin Dick Grayson is very much on Batman's level.

Just not as Nightwing. As Nightwing, Dick has been a second rate Daredevil which means he's a third rate Batman (fully prepared to get hate for this but I've read and enjoyed the Miller and Bendis DD runs so I feel entitled to my opinion). A typical Nightwing run tends to go like this: Moving to Bludhaven (which is Gotham... but WORSE!), Dick Grayson usually enrolls in a pointless job we don't care about in order to provide some meaningless soap opera drama that doesn't go anywhere. Patrolling the city as Nightwing, he fights a variety of bad guys who are usually rather lame and unthreatening, with his big bad being a Kingpin knockoff called Blockbuster. Villains are fought, long running plotlines are set up, then everything is abandoned because it's Batfamily event time, and Dick has to run back to Gotham in order to play sidekick again. Usually his involvement is completely superfluous and it would've been better if the writer had gotten to opt out. By the time we finally get back to Nightwing's solo plotlines, the audience has usually ceased to care and the run gets cut short.

That's how Nightwing has been since the New 52 at least. Anyone who thinks that's "becoming their own man" is out of their mind. Dick is so thoroughly in Batman's shadow that he got shot in the head and spent a longer time as "Ric" which everyone fucking hated and sold like shit, than he did as Agent Grayson which was extremely well-received. Reiterating: Ric went on longer than Grayson because of a fucking Batman plotpoint Tom King wanted where Bruce was sad and cut off from the Batfamily because of Dick getting shot. Not just calling out King either, how many times was Kyle Higgins Nightwing run derailed because of Scott Snyder's crossovers? Or how about that entire run getting dumped to the side because Johns wanted to out Dick during Forever Evil, a Justice League/Lex Luthor story? DC has repeatedly made their contempt for Nightwing clear, he's Batman's sidekick still in their eyes, and he serves whatever story role the Batman writer wants.

Hell his best stories tend to have been the ones where he's not Nightwing. He was Robin in a good chunk of the Wolfman/Perez New Teen Titans run. Morrison really showcased his depth as a character when they wrote him as Batman, their time with Dick under the cowl was actually one of the first Batman runs I ever read, and no Nightwing run has ever matched it in terms of quality in my humble opinion. Scott Snyder's work with DickBats also was a high point for the character, showing Dick as competent and examining his relationship with Gotham and the Gordons. King and Seeley gave him one of the best comic runs with Grayson, a series where he wasn't even a "superhero" technically! When it comes to actual pre-New 52 Nightwing runs that are highly recommended where he *is* Nightwing, there's Chuck Dixon and uhhhhhhh... Tomasi's brief run before Dick became Batman? It's not exactly an overwhelming list.

Look there has been good work done with Nightwing, I'm not claiming there hasn't been. Tim Seeley wrote a great run with Nightwing Rebirth. Seeley fleshed out Dick's Rogues Gallery with cool new ones like Raptor, he brought back old foes like Dr. Hurt (why oh why couldn't you have brought back Flamingo too?), he gave Dick's world some character it solely needed. Bludhaven under Seeley is pretty much the only time I've really felt like it lived up to being Dick's city.

The problem with fictional cities is you have to put in the work to give them the character of real cities. You have to make the cities feel like characters in their own right. Gotham is the best example of this, it's a character all it's own, one that tells you a lot about Batman and his cast. In contrast Bludhaven is usually one of the worst. Any place that wants to claim to be worse than the city that is built over the gate to hell and gets wrecked every other month by the Arkham freaks has to really put in the work to compete. Simply put, Bludhaven typically fails utterly. There's nothing about it that makes you really buy it's worse than Gotham, I mean does anyone really think Nightwing's Rogues wouldn't get their lunches eaten by Batman's? No, no one genuinely buys that. When Bludhaven claims to be worse, it just comes across as tryhard, an attribute that does end up telling you about Nightwing in unintentional ways.

So Seeley didn't do that. Instead he created a city built for a hero like Dick Grayson. Someone who is bright and flashy, but does have an element of darkness to him. Someone who loves the spotlight, but often uses it to obscure. Seeley turned Bludhaven into Las Vegas, and that was the fucking best concept for Bludhaven I have ever seen, it makes so much sense. Las Vegas is the "Entertainment Capital of the World" and isn't that the perfect city for a hero who got their start working in the circus? Isn't the aesthetics of the gleaming casinos, the glamorous sex appeal of the performers, and the spectacle of the shows, all being used to cover up the seediness of mob bosses meeting backstage perfect for Nightwing? It's so utterly unlike New York City, yet Las Vegas is still dangerous, it's got a crime culture all it's own. Seeley used it to great effect, as did Humphries during his brief run, and I will always be pissed that DC didn't continue to use it. That should have stuck around and been the definitive look for Bludhaven.

How Seeley's take on Bludhaven was treated feels like a small scale version of how Nightwing in general gets treated. Whenever creators pitched ideas for him, if editorial thought there was potential to break big, they asked for those ideas to be repurposed for Batman instead. Anything big or good gets repurposed for Batman or tossed to the side so Nightwing can go back to his default: having irrelevant adventures in a city that is supposedly worse than Gotham but can't live up to it. Just like how Nightwing is supposedly better than Batman but never gets to show it. Goddamn it's so frustrating seeing his potential get wasted like that.

The Nightwing book should be one of DC's most ambitious books in terms of storytelling. You can go from traditional superhero stories, to romantic soap opera, to spy stories, to crime noir, to horror, to cosmic adventures, and ALL of them would fit because Nightwing is someone who has a foot in both Gotham and Metropolis. He's got friends everywhere on every team, and has been a hero longer than most Leaguers have at this point. No reason DC should still be afraid to let him loose and insisting on hewing close to what Dixon established almost over 30 years ago is only holding him back. At the very least get him some better Rogues, why the hell didn't he get to keep Professor Pyg? That's Dick's villain not Bruce's! Bullshit that they didn't let Dick keep him. Hopefully Flamingo comes back, with a slight revamp I think he'd make a great reoccurring Nightwing Rogue.

Luckily it does look somewhat like Nightwing fans have reason to be optimistic. While Taylor isn't to my taste, DC clearly views him as a "big" writer, and that they put him on Nightwing says a lot. Taylor has been selling well so far, so hopefully he gets to tell his story, hilarious that even he lampshaded having to write Dick running over to Gotham for another tie-in after Taylor's big opening arc was all about Dick committing himself and his money to Bludhaven. Scott Snyder is apparently working on a Black Label Nightwing book which will explore how he's a different detective than Bruce. The Gotham Knights video game has him as one of the main stars, and while Titans is... controversial, it's one of the most popular streaming shows and Dick is the main character. There's a lot of content coming that features him in the starring role, and that will only help his star rise further.

For the first time in, well, ever it feels like DC may be serious about elevating him. Time will tell if it pays off, but I for one choose to be optimistic that the 2020s will be a turning point for Dick Grayson where Nightwing becomes hugely popular in his own right. Not just as Batman's sidekick.