#lois & kon SO important to me. the potential... | Explore Tumblr Posts and Blogs

aion-rsa · 3 years

Text

Superman & Lois Season 2: What to Expect When the Show Returns

https://ift.tt/3xZHqMm

This article contains Superman & Lois spoilers.

The first season of Superman & Lois has come to a close, and what an absolute joyride it was from start to finish. Are you left craving more? Do you need to spend more time in Smallville ASAP? Well, we’ve got good news for you, because Superman & Lois Season 2 has already been confirmed by The CW, and the first episode has already been written!

We spoke with showrunner Todd Helbing to try and get some details about what to expect from Superman & Lois Season 2.

Superman & Lois Season 2 Villains

Superman & Lois has already given us multiple Kryptonians for Superman to have super-powered brawls and trade heat vision blasts with. There’s always an instinct to just give Supes someone he can hit, but the first season managed to do that while also telling a pretty nuanced, even tragic, story for its central villain. But that just means it’s going to be a little trickier to follow up Tal-Rho with someone equally compelling.

“From the earliest days that Greg Berlanti and I talked about this show, the question was always, ‘okay, if we’re going to do this, how are we going to make it different?’” Helbing says. “And if you go through any of the movies, I think the natural tendency is, you have to have somebody as strong and powerful as Superman, or he would never lose. The story engine that we have though, and what’s really important is the family of it. So once you become a father, once Superman became a father, he has weaknesses that he never had before, his thoughts about Lois, about the boys. That family aspect makes him a weaker in a lot of ways, because he loves more. But it also makes him a better hero, because he has something to fight for.”

It doesn’t seem like Helbing thinks power levels are as important to building a Superman threat as others do.

“It doesn’t have to be somebody that can punch as hard as Superman,” Helbing says. “I think of the end of episode 14, when he came back and he had to tell his wife that he can’t find Jordan. There’s a look on Tyler’s face, like he doesn’t know what to do. Those are the situations we want to put Superman in. Because I think to all of us, writers, actors, producers, that’s the most important and what really works on our show.”

Lex Luthor?

And everybody knows that if there’s one villain who definitely can’t “punch as hard as Superman,” it’s Lex Luthor, who has been brought brilliantly to life on Supergirl over the last few seasons by Jon Cryer. But with Superman & Lois determined to forge its own path, it may be awhile before we get to see Lex show up in Smallville.

Superman & Lois: Inside the Season’s Big Twists and that Finale Ending

By Mike Cecchini

Movies

Lex Luthor: Jerk Of All Trades

By Mike Cecchini

“Look, I think Jon was awesome as Lex, so I’m certainly open to anything,” Helbing says. “I think we’d have to find the right story where it would work. Lex Luthor is such an iconic character, so it might be a bit, you know what I mean? There are some other characters that we want to explore. If we’re going to make our own stamp here and try to carve out our own story in Superman history, let’s tell some fresh new versions of this.”

Will There Be More Flashback Episodes?

One of the highlights of the season was the flashback episode, which told us big pieces of Lois and Clark’s history together before the boys were born, and showed us Clark’s first adventures in Metropolis as Superman (in that cool Fleischer-inspired costume).

“We’re not going to make the show into Lost,” Helbing jokes. “We’ll certainly have flashbacks if it’s going to help tell the story and help the audience understand where a character is and where they came from so it really lands emotionally, then yeah, we’ll do it.”

Still, that doesn’t mean that a flashback episode is automatically baked into the plans for Superman & Lois Season 2 just yet.

“We don’t necessarily have a format that we’re trying to follow per episode,” Helbing says. “Not having the typical sort of heroic television formula is really, I think, allowed us to approach stories from a different point of view and aspect, and not maybe worry about stuff that I would have worried about on The Flash.”

Will There Be Crossovers With Other DC TV Arrowverse Shows?

The pandemic put the kibosh on all DC TV crossovers this year, although in fairness, those were always expected to be smaller in scale after the massive Crisis on Infinite Earths in 2019. As for what characters or shows Superman & Lois Season 2 could potentially crossover with, Helbing isn’t talking yet.

“I think our sort of north star is just, it’s not any particular character, it’s just whatever benefits the story the best,” he says. “Honestly, it could be anybody right now. I think we’re under the assumption right now that things are going to kind of get back to how they were pre-pandemic, but I’m still a little hesitant to do that. And not just me. I think everybody is a little cautious, and we just want to be safe first and make sure everybody’s protected. We’ll see how it all plays out. I’m optimistic. I would love to do what we can.”

Helbing also teases more information about where Superman & Lois sits in relation to the other Arrowverse shows airing.

“There’s been a lot of talk and questions about how all the shows interact now and are related post-Crisis,” he says. “I think in season two, the audience will get a lot more answers about that.”

Natalie Irons and Steel

Helbing is keeping quiet on all the implications about Natalie Irons arriving from her corner of the multiverse to surprise her father, John Henry Irons, and the Kent family.

“We knew Nat was going to show up, and we knew we wanted her in the show, because we want to explore a new family dynamic,” he says. “I’ll just say, in season two, there’s a lot that everybody is dealing with, having to get used to new members of a family, I’ll just put it that way.”

Yes, we have to imagine she won’t be thrilled to see that her mother on this world is married to the man who murdered her on their world, for starters.

Will Reign of the Supermen Happen?

Look, you can’t blame us for speculating on this. Superman & Lois introduced John Henry Irons, and even gave him his Steel armor and hammer. They introduced the Eradicator, both as a piece of Kryptonian tech and also as the living embodiment of that tech with a mission to make Earth more like Krypton.

And in a sense, it also gave us Superboy. No, not the half-clone of Superman who eventually adopts the moniker of Kon-El (and then Conner Kent) but the actual biological son of Clark Kent and Lois Lane, Jordan Kent. For Superman fans, this is 3/4ths of a set of “replacement Supermen,” the heroes who rose after Superman’s “death” at the spiky hands of Doomsday in the famed Death and Return of Superman comic book story.

Helbing admits that they’ve talked about things, but certainly won’t commit to the possibility, either.

“We talk,” he says. “We kick all that stuff around, and it’s … I won’t say no, but I won’t say yes either, because we already wrote the first episode of season two. There’s some really cool stuff coming.”

And since Supergirl already did a version of Hank Henshaw, the infamous Cyborg Superman, and with all the other love for Superman comic book lore already on display in Superman & Lois, is any of this ever being discussed by the writers?

“I think one of the things that we want to do is we want to stay away from any of the villains that Supergirl did for the most part, unless we’re going to completely reinvent them like Morgan Edge. So we’re trying to find some deep dives and bring those stories out in our show. And I think so far, I’m really excited about season two.”

Superman & Lois Season 2 Release Date

At the moment, all we know is that Superman & Lois Season 2 will arrive in early 2022. The first season arrived in February, so that might be a good spot to pencil in for now.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

What do you want to see from Superman & Lois Season 2? Let us know in the comments!

The post Superman & Lois Season 2: What to Expect When the Show Returns appeared first on Den of Geek.

from Den of Geek https://ift.tt/3zaX2ON

#aion-rsa #Den of Geek

1 note · View note

dweemeister · 4 years

Text

2020 Movie Odyssey Awards

Because the 2020 Movie Odyssey Award for Best Original Song final was extended, the 2020 Movie Odyssey Awards themselves are late once more - and all because of me this time out (oops). As you may know, this is the annual awards ceremony to recognize a year of films that I saw for the first time in their entirety in the calendar year. All films featured - with the exception of those in the Worst Picture category - are worth seeing.

The full list of every single film I saw as part of the 2020 Movie Odyssey can be seen in this link.

Best Pictures (I name ten winners, none of which are distinguished above the other nine)

The African Queen (1951)

The Haunting (1963)

The Irishman (2019)

A Letter to Three Wives (1949)

Mädchen in Uniform (1931, Germany)

Once Upon a Time in America (1984)

Ordet (1955, Denmark)

Parasite (2019, South Korea)

The Shop on Main Street (1965, Czechoslovakia)

The Trial (1962)

Seven of these films received 10/10 ratings. The others received 9.5/10 ratings. This Best Picture lineup were the ten best films I saw in all of 2020. The African Queen is a rollicking adventure film with Humphrey Bogart and Katharine Hepburn that took me by surprise (I was long put off from the film because of its reputation). It displays some of the most charming moments that only Golden Age Hollywood can offer. Golden Age Hollywood horror may not be scary to viewers; but what it lacks in elicited screams, it makes up in goosebumps. The Haunting is one of the great haunted house movies of all time with its thick atmosphere, fantastic production design, and spectral ambiguity. Watch it in the dark, if you dare.

Two gangster epics with a mournful disposition are also here in Martin Scorsese’s The Irishman and Sergio Leone’s Once Upon a Time in America. The former sees Robert De Niro seeking absolution despite personally not being fully regretful; the latter sees a regretful Robert De Niro seeking not absolution, but peace.

Made in Weimar Germany in the years just before the Nazi takeover is a classic of queer cinema, Mädchen in Uniform. Beyond its LGBTQ themes, it is a tale of young women finding friendship amongst each other. On the other side of Europe after its Nazi takeover is The Shop on Main Street - which switches gears between drama to lighthearted comedy to tragedy so nimbly. Another film exemplifying mastery in tonal shifts was the headline-grabber Parasite - an explosive, justly historic movie.

Joseph L. Mankiewicz’s A Letter to Three Wives is a suburban feminist ensemble piece, reflecting on the martial anxieties of women questioning their spousal bliss. The ending there, though not quite storybook, is poignant. Questions of faith, too, are asked in Carl Theodor Dreyer’s Ordet - not in others, but in God. The film, one of the greatest films ever made about religious faith, ends impossibly, provocatively.

Best Comedy

The Battle of the Century (1927 short)

Best in Show (2000)

Elmer, the Great (1933)

It Happened on Fifth Avenue (1947)

Klaus (2019)

One Hour with You (1932)

The Princess and the Pirate (1944)

Road to Utopia (1945)

Soul (2020)

Three Little Girls in Blue (1946)

Now I typically give this category to the film that elicits the most belly laughs from me. None of these comedies did that for me this year. So I went with Ernst Lubitsch’s One Hour with You - starring Lubitsch regular Maurice Chevalier and Jeanette MacDonald. It is what some folks might call a sophisticated comedy. But if you read between the lines, this pre-Code romantic comedy was probably one of the raunchiest things I saw all year.

For example:

POLICE OFFICER: Come on, come on. Where do you think you are? What are you doing? What’s going on here? ANDRE BERTIER: The French Revolution! [resumes kissing Colette] POLICE OFFICER: Hey, you can’t make love in public. ANDRE BERTIER: I can make love anywhere! POLICE OFFICER: No, you can’t! COLETTE BERTIER: Oh, but officer, he can! ANDRE BERTIER (joyously): Darling!

Otherwise, runners-up included It Happened on Fifth Avenue and Best in Show.

Best Musical

Blue Hawaii (1961)

Flower Drum Song (1961)

Hamilton (2020)

The Magic Flute (1975, Sweden)

My Dream Is Yours (1949)

New Orleans (1947)

New York, New York (1977)

One Hour with You

The Shocking Miss Pilgrim (1947)

Three Little Girls in Blue (1946)

You know, if Hamilton was an original musical and not a filmed version of the original Broadway run, it would certainly threaten in this category. Instead, it rounds things out. Martin Scorsese’s New York, New York - as a deconstruction of the mid-century MGM musical - wins out not only its strong soundtrack, but glossy aesthetic that one would not associate with Scorsese. Runners-up are Flower Drum Song (the last movie with at least a majority Asian-American cast until The Joy Luck Club thirty years later and Crazy Rich Asians after that) and Bergman’s adaptation of Mozart’s opera The Magic Flute.

Best Animated Feature

I Lost My Body (2019, France)

Klaus (2019)

The Last Unicorn (1982)

Mad Monster Party? (1967)

Marona’s Fantastic Tale (2019, France)

Melody Time (1948)

Saludos Amigos (1942)

Soul

Weathering with You (2019, Japan)

Wolfwalkers (2020)

Perhaps the least known animated feature of these nominees takes the prize. Anca Damian’s Marona’s Fantastic Tale is gorgeously animated, attempting to tell its story through the point of view of its small canine protagonist. The film appears as a dog might understand the confusing mess that is humanity. Close behind is Cartoon Saloon’s Wolfwalkers and Pixar’s Soul.

Best Documentary

Crisis: Behind a Presidential Commitment (1963)

Diego Maradona (2019, United Kingdom)

Elvis: That’s the Way It Is (1970)

The Eyes of Orson Welles (2018)

The Great Buster: A Celebration (2018)

I Am Not Your Negro (2016)

I Am Somebody (1970 short)

The River (1938 short)

The T.A.M.I. Show (1964)

Tokyo Olympiad (1965, Japan)

This was the best year for documentaries in a year’s Movie Odyssey for a long, long while. As a part of the tradition of Olympic films, Kon Ichikawa’s Tokyo Olympiad is a chronicle of the 1964 Summer Olympics in Tokyo. The film resembled nothing like the Olympic documentaries before it - choosing not to concentrate on just gold medalists and reportage, but a story of Japan’s reintroduction to the Western world and the pains of the many also-rans in any Olympics. I also considered Crisis: Behind a Presidential Commitment (a JFK/RFK real-time documentary on the racial integration of the University of Alabama system), Elvis: That’s the Way It Is, The River (a New Deal-funded documentary short about the importance of the Mississippi River - narrated in free verse!), and The T.A.M.I. Show as potential winners, but nothing could eclipse Ichikawa’s monumental effort.

Best Non-English Language Film

The Cave of the Yellow Dog (2005), Mongolia

Emitaï (1971), Senegal

Kaagaz Ke Phool (1959), India

Olivia (1951), France

Ordet, Denmark

Parasite, South Korea

Persona, Sweden

The Shop on Main Street, Czechoslovakia

Sleepwalking Land (2008), Mozambique

Tokyo Olympiad, Japan

My god, this is always a stacked category. So why do I even bother? Because non-English language films - though they shouldn’t be ghettoized and considered a specialty - are nevertheless ghettoized and considered a specialty in America. This sort of category also gives some attention to a few films that don’t make much of an impression in other categories (namely the wondrous Sleepwalking Land and stunning The Cave of the Yellow Dog). But it is Ordet the reigns supreme here, edging out The Shop on Main Street, Parasite, and Kaagaz Ke Phool for this prize.

Best Silent Film

The Battle of the Century

Body and Soul (1925)

Bumping into Broadway (1919 short)

The Dragon Painter (1919)

I Do (1921 short)

Next Aisle Over (1919 short)

Ramona (1928)

The Scar of Shame (1927)

Shoes (1916)

Young Mr. Jazz (1919 short)

Lois Weber was as instrumental to shaping early American cinema as D.W. Griffith or Cecil B. DeMille. And in Shoes, she brings her sense of social righteousness and cinematic innovation to the fore. It is one of her best feature films, and its release came at the height of America’s Progressive Era - a time of greater awareness of industrialization and unregulated capitalism’s ill effects. Distant runners-up are new National Film Registry inductee The Battle of the Century (a Laurel and Hardy film with one of the best pie fights you will see) and Body and Soul (Paul Robeson’s theatrical debut).

Personal Favorite Film

The African Queen

The Cave of the Yellow Dog

The Haunting

A Letter to Three Wives

Marona’s Fantastic Tale

McFarland, USA (2015)

Murder Most Foul (1964)

Stars in My Crown (1950)

Three Little Girls in Blue

The Trial

An understated but nevertheless eloquent screenplay, light humor, and careful attention to all three of its lead actresses roles define A Letter to Three Wives. It is one of the best exercises of empathy I saw all year, amid its tremulous and anxious narrative backdrop. We like to deride post-WWII American film as depicting an idyllic suburbia that never existed... but not here. Byambasuren Davaa’s The Cave of the Yellow Dog captured my heart, too. The film, from Mongolia, was one of the gentlest movies I’ve had the pleasure to see in the longest time. McFarland, USA revived memories in me of high school cross country days; Murder Most Foul was a Ms. Marple whodunit that cements Margaret Rutherford as one of my favorite actresses; the homespun Stars in My Crown is Americana at its finest.

Best Director

Ingmar Bergman, Persona (1961, Sweden)

Carl Theodor Dreyer, Ordet

Guru Dutt, Kaagaz Ke Phool

John Huston, The African Queen

Kon Ichikawa, Tokyo Oympiad

Sergio Leone, Once Upon a Time in America

Joseph L. Mankiewicz, A Letter to Three Wives

Leontine Sagan, Mädchen in Uniform

Ousmane Sembène, Emitaï

Orson Welles, The Trial

Dreyer is in command of the film’s mise en scene from the beginning - culminating in breathtaking scene set-ups for conversations spoken in hushed tones. The style is never oppressive, never showy, and just right for a deeply introspective movie of tried and troubled faith.

Best Acting Ensemble

Edge of the City (1957)

Gosford Park (2001)

The Irishman

A Letter to Three Wives

Little Women (2019)

Marriage Story (2019)

Once Upon a Time in America

Ordet

Parasite

Stars in My Crown

Subtract any one actor from Parasite and the film cannot work as well as it does. Perhaps Song Kang-ho has the best performance in the movie, but that isn’t possible without his fellow cast members putting out the incredible turns that they offer. Ordet is a close second. Behind by a country mile are Gosford Park, A Letter to Three WIves, and Little Women.

Best Actor

Humphrey Bogart, The African Queen

Maurice Chevalier, One Hour with You

Guru Dutt, Kaagaz Ke Phool

Jozef Kroner, The Shop on Main Street

Alan Ladd, This Gun for Hire (1942)

Joel McCrea, Stars in My Crown

Paul Robeson, Body and Soul

Howard Vernon, Le Silence de la mer (1949, France)

Jon Voight, Deliverance (1972)

Denzel Washington, Malcolm X (1992)

Arguably Denzel’s finest. He inhabits Malcolm X - the bravura, the attitude, the pastor-like (and occasionally incendiary) rhetorical devices, the early rage, the standoffishness. It is a magnificent performance. Just behind is Bogart and the irresistible Chevalier.

Best Actress

Bibi Andersson, Persona

Edwige Feuillère, Olivia

Helen Hayes, The Sin of Madelon Claudet (1931)

Katharine Hepburn, The African Queen

Scarlett Johansson, Marriage Story

Ida Kamińska, The Shop on Main Street

Liza Minnelli, New York, New York

Lucia Lynn Moses, The Scar of Shame

Madhabi Mukherjee, The Big City (1963, India)

Waheeda Rehman, Kaagaz Ke Phool

As Ms. Lautmannová, Kamińska - in the autumn of her career - gives us a portrait of devout religiosity, elderly naivete, and otherworldly trust. She and co-star Jozef Kroner play off the other’s performance, one benefitting from the other. It is a delicate, heartbreaking performance. Some ways away are our two Indian actresses, Madhabi Mukherjee and Waheeda Rehman, as well as Bibi Andersson in the dizzying Persona.

Best Supporting Actor

Stephen Boyd, The Man Who Never Was (1956)

Haren Chatterjee, The Big City

James Edwards, The Steel Helmet (1951)

Moses Gunn, Aaron Loves Angela (1975)

Victor McLaglen, The Princess and the Pirate (1944)

Victor Moore, It Happened on Fifth Avenue

Sidney Poitier, Edge of the City

Song Kang-ho, Parasite

Richard Widmark, Kiss of Death (1947)

James Woods, Once Upon a Time in America

For the sixth straight year, Best Supporting Actor - a category almost always filled to the brim with villains - goes to an actor playing a menacing villain. That smirk, that creepy laugh. Holy crap. Widmark knocks it out of the park as the psychopathic Tommy Udo in his debut role. The role, taken by some the wrong way, inspired Tommy Udo frats in American colleges and universities (their central premise: male chauvinism and anti-feminist beliefs). Who else did I consider for a win here? Victor Moore, Sidney Poitier, Song Kang-ho, and James Woods (before he became a twitter conspiracy theorist).

Best Supporting Actress

Tsuru Aoki, The Dragon Painter

Ethel Barrymore, Pinky (1949)

Ruby Dee, Edge of the City

Laura Dern, Marriage Story

Nancy Kwan, Flower Drum Song

Maggie Smith, Gosford Park

Genevieve Tobin, One Hour with You

Emilia Unda, Mädchen in Uniform

Ethel Waters, Pinky

Dorothea Wieck, Mädchen in Uniform

Emilia Unda beats out fellow co-star Dorothea Wieck as the headmistress of the boarding school featured in Mädchen in Uniform. As the strict, uptight disciplinarian, one can see hints behind the facade she displays in front of the girls at the school. Nevertheless, yet another antagonist takes home this award. Also contending are Nancy Kwan and Ethel Waters.

Best Adapted Screenplay

John Huston, James Agee, Peter Viertel, and John Collier, The African Queen

Ladislav Grosman, Ján Kadár, and Elmar Klos, The Shop on Main Street

Steven Zaillian, The Irishman

Joseph L. Mankiewicz and Vera Caspary, A Letter to Three Wives

Christa Winsloe and Friedrich Dammann, Mädchen in Uniform

Leonardo Benvenuti, Piero De Bernardi, Enrico Medioli, Franco Arcalli, Franco Ferrini, and Sergio Leone, Once Upon a Time in America

Samson Raphaelson, One Hour with You

Carl Theodor Dreyer, Ordet

Teresa Prata, Sleepwalking Land

Orson Welles, The Trial

And unlike the mistake the Academy made in just giving the Oscar to Mankiewicz back in the day, the award also goes to his co-screenwriter, Vera Caspary.

Best Original Screenplay

Juan Antonio Bardem, Death of a Cyclist (1955, Spain)

Ousmane Sembène, Emitaï

Julian Fellowes, Gosford Park

Jérémy Clapin and Guillaume Laurant, I Lost My Body

Everett Freeman, Vick Knight, and Ben Markson, It Happened on Fifth Avenue

Bong Joon-ho and Han Jin-won, Parasite

Ingmar Bergman, Persona

Melvin Frank and Norman Panama, Road to Utopia

David Starkman, The Scar of Shame

Delphine Girard, A Sister (2018 short, Belgium)

This is Sembène’s first Movie Odyssey Award, and I think he was probably one of the most overdue. As one of the fathers of African cinema, Sembène’s movies are colored by politics, specifically anti-colonialism, racism, tribal relations, and the destruction of traditional Senegalese life. His biting work to Emitaï is an excoriating piece, and essential to anyone seriously wanting to learn more about movies. No real challengers, in my mind, but the next ones up would have been Bergman and Bong Joon-ho and Han Jin-won.

Best Cinematography

David Schoenauer, The Cave of the Yellow Dog

Michel Remaudeau, Emitaï

Davis Boulton, The Haunting

Rodrigo Prieto, The Irishman

V.K. Murthy, Kaagaz Ke Phool

Norbert Brodine, Kiss of Death

László Kovács, New York, New York

Tonino Delli Colli, Once Upon a Time in America

Kazuo Miyagawa, Shigeo Murata, Shigeichi Nagano, Kenji Nakamura, and Tadashi Tanaka, Tokyo Olympiad

Edmond Richard, The Trial

The Trial unfolds and is shot as if it was a nightmare, albeit a nightmare without any dreamlike elements. With Dutch angles and unconventional use of focus, it is a remarkable film to look at. Having the soon-to-be Orsay Museum as an interior certainly helps. The Cave of the Yellow Dog, The Haunting, Kaagaz Ke Phool, Once Upon a Time in America, and even Tokyo Olympiad would have been worthy winners too.

Best Film Editing

Don Deacon, Born Free (1966)

De Nosworthy and Nicholas T. Proferes, Crisis: Behind a Presidential Commitment

Tom Priestly, Deliverance

Ernest Waller, The Haunting

Barry Alexander Brown, Malcolm X

Nino Baragli, Once Upon a Time in America

Yang Jin-mo, Parasite

Ulla Ryghe, Persona

Tatsuji Nakashizu, Tokyo Olympiad

Yvonne Martin and Frederic Muller, The Trial

Best Adaptation or Musical Score

S.D. Burman, Kaagaz Ke Phool

José Feliciano and Janna Merlyn Feliciano, Aaron Loves Angela

Nat W. Finston, Woody Herman, Louis Alter, and Edgar De Lange, New Orleans

W. Franke Harling, Oscar Straus, Rudolph G. Kopp, and John Leipold, One Hour with You

Maury Laws and Jules Bass, Mad Monster Party?

Joseph J. Lilley, Don Robertson, Hal Blair, George David Weiss, Hugo Peretti, Luigi Creatore, Sid Tepper, and Roy C. Bennett, Blue Hawaii

Alfred Newman, Flower Drum Song

Edward H. Plumb, Paul J. Smith, and Charles Wolcott, Saludos Amigos

David Raksin, George Gershwin, and Ira Gershwin, The Shocking Miss Pilgrim

Harry Warren, Ralph Blane, and Howard Jackson, My Dream Is Yours

Oh geez what a line-up. But this category favors original musicals above all. And though some might hesitate to call it a musical, Kaagaz Ke Phool’s soundtrack - in its melding of dramatics and music - is as cinematic as they come. As opposed to the let’s-just-put-a-song-here-to-kill-free time attitude of some of these musicals, Kaagaz Ke Phool uses its songs purposefully. In other words, with feeling. Alfred Newman’s adaptation of Flower Drum Song was probably up next.

Best Original Score

John Barry, Born Free

Elmer Bernstein, The Comancheros (1961)

Akira Ifukube, Destroy All Monsters (1968, Japan)

Zdeněk Liška, The Shop on Main Street

Toshiro Mayuzumi, Tokyo Olympiad

Ennio Morricone, Once Upon a Time in America

Alfred Newman, The Greatest Story Ever Told (1965)

Leonard Rosenman, Edge of the City

Virgil Thomson, The River

John Williams, Empire of the Sun (1987)

This is not a sympathy prize for the recently-departed Italian composer. The key cue is the second one featured, "Deborah's Theme" and, when you listen to it, I think it tells you all you need to know about this movie. It's deeply expressive. And in the movie, it's allowed to be prominent. I've seen people say the late Morricone considered this his best score, but I can't find any official word of that anywhere. It is tremendous work, with Bernstein, Newman, and Thomson just behind.

Best Original Song

“Angela”, music and lyrics by José Feliciano and Janna Merlyn Feliciano, Aaron Loves Angela

“Can’t Help Falling in Love”, music and lyrics by Hugo Peretti, Luigi Creatore, and George David Weiss, Blue Hawaii (1961)

“Dekhi Zamaane Ki Yaari / Bichhde Sabhi Baari Baari”, music by S.D. Burman, lyrics by Kaifi Azmi, Kaagaz Ke Phool

“(Do You Know What It Means to Miss) New Orleans”, music by Louis Alter, lyrics by Edgar De Lange, New Orleans

“Farewell to Storyville", music by Louis Alter, lyrics by Edgar De Lange, New Orleans

“Happy Endings", music by John Kander, lyrics by Fred Ebb, New York, New York

“Here They Come (From All Over the World)", music and lyrics by P.F. Sloan and Steve Barri, The T.A.M.I. Show

“Is There Still Anything That Love Can Do?", music and lyrics by Yôjirô Noda, Weathering with You

“Theme from New York, New York”, music by John Kander, lyrics by Fred Ebb, New York, New York

“Waqt Ne Kiya Kya Haseen Sitam”, music and lyrics by S.D. Burman, Kaagaz Ke Phool

Thank you to all of those who participated in the 2020 Movie Odyssey Award for Best Original Song!

Best Costume Design

Uncredited, The Duke Is Tops (1938)

Irene Sharaff, Flower Drum Song

Jenny Beavan, Gosford Park

Jacqueline Durran, Little Women

Henry Noremark and Karin Erskine, The Magic Flute

Ruth E. Carter, Malcolm X

Marcelles Desvignes and Mireille Leydet, Olivia

Gabriella Pescucci, Once Upon a Time in America

Travis Banton, One Hour with You

Bonnie Cashin, Three Little Girls in Blue

Best Makeup and Hairstyling

Daniel C. Striepeke, John Chambers, Verne Langdon, Jack Barron, Mary Babcock, and Jan Van Uchelen, Escape from the Planet of the Apes (1971)

Sallie Jaye and Jan Archibald, Gosford Park

Judy Chin and Fríða Aradóttir. Little Women

Uncredited, Lone Wolf and Cub: Sword of Vengeance (1972)

Uncredited, The Magic Flute

Marietta Carter-Narcisse and John James, Malcolm X

Michael Westmore, Christina Smith, Mary Keats, June Miggins, and Sydney Guilaroff, New York, New York

Carmen Brel, Simone Knapp, Jean Lalaurette, and Maguy Vernadet, Olivia

Ben Nye, The Shocking Miss Pilgrim

Ben Nye, Three Little Girls in Blue

Best Production Design

Norman Reynolds and Harry Cordwell, Empire of the Sun

Alexander Golitzen, Joseph C. Wright, and Howard Bristol, Flower Drum Song

Stephen Altman and Anna Pinnock, Gosford Park

Elliot Scott and John Jarvis, The Haunting

Bob Shaw and Regina Graves, The Irishman

M.R. Achrekar, Kaagaz Ke Phool

Henny Noremark, Anna-Lena Hansen, and Emilio Moliner, The Magic Flute

Harry Kemm, Robert De Vestel, and Ruby R. Levitt, New York, New York

Dennis Gassner and Lee Sandales, 1917 (2019)

Carlo Simi, Once Upon a Time in America

The production design, or the haunted house, was a character. Nothing else in this category could compare.

Achievement in Visual Effects (all are winners because it would be unfair to compare the visuals of 1917 against When Worlds Collide)

Babe: Pig in the City (1998)

Destroy All Monsters

The Irishman

1917

Red Dawn (1984)

Plymouth Adventure (1952)

War of the Worlds (2005)

When Worlds Collide (1951)

Worst Picture

Age 13 (1955 short)

Fireman, Save My Child! (1932)

Frankie and Johnny (1966)

The Greatest Story Ever Told

Red Dawn

Jurassic World: Fallen Kingdom (2018)

Fuck Fallen Kingdom.

Honorary Awards:

Colored Players Film Corporation, for its thematically courageous race films, tackling issues neglected by Hollywood

Harold Michelson, for his contributions as an illustrator and storyboard artist (posthumous)

Lillian Michelson, for her dedication as a film researcher and archivist

Tadahito Mochinaga, for achievements in stop-motion animation with Rankin/Bass

Floyd Norman, for his pioneering career in cinematic animation

FILMS WITH MULTIPLE NOMINATIONS (excluding Worst Picture... 57)

Ten: Once Upon a Time in America Nine: Kaagaz Ke Phool Seven: New York, New York; One Hour with You Six: The African Queen; Gosford Park; The Irishman; Parasite; The Shop on Main Street; The Trial Five: Flower Drum Song; The Haunting; A Letter to Three Wives; Mädchen in Uniform; Ordet; Persona; Three Little Girls in Blue; Tokyo Olympiad Four: Edge of the City; Emitaï; The Magic Flute; Malcolm X; New Orleans; Olivia Three: Aaron Loves Angela; Blue Hawaii; The Cave of the Yellow Dog; It Happened on Fifth Avenue; Marriage Story; The Scar of Shame; The Shocking Miss Pilgrim; Stars in My Crown Two: The Battle of the Century; The Big City; Body and Soul; Born Free; Crisis: Behind a Presidential Commitment; Deliverance; Destroy All Monsters; The Dragon Painter; The Greatest Story Ever Told; I Lost My Body; Kiss of Death; Klaus; Mad Monster Party?; Marona’s Fantastic Tale; My Dream is Yours; 1917; Pinky; The Princess and the Pirate; The River; Road to Utopia; Saludos Amigos; Sleepwalking Land; Soul; The T.A.M.I. Show; Weathering with You

WINNERS (excluding honorary awards and Worst Picture; 28) 3 wins: A Letter to Three Wives; Ordet 2 wins: The Haunting; Mädchen in Uniform; Once Upon a Time in America; Parasite; The Shop on Main Street; The Trial 1 win: The African Queen; Babe: Pig in the City; Blue Hawaii; Destroy All Monsters; Emitaï; Gosford Park; The Irishman; Kaagaz Ke Phool; Kiss of Death; Malcolm X; Marona’s Fantastic Tale; New York, New York; 1917; One Hour with You; Red Dawn; Persona; Plymouth Adventure; The Shocking Miss Pilgrim; Shoes; Tokyo Olympiad; War of the Worlds; When Worlds Collide

92 films were nominated in 26 categories.

#2020 Movie Odyssey Awards #My Movie Odyssey

5 notes · View notes

raven-whisperer · 6 years

Note

Who are your favorite characters of DC? What are your favorite ships?

Its 1:30am - Let’s dive into this can of worms shall we?

First and foremost:

My sweet, precious, angel. I’ve loved everything about Raven’s character since I watched Teen Titans as a little kid (fun fact: the tooth fairy left me all five seasons of Teen Titans in exchange for five teeth!) I read every comic of hers I can get my hands on.

My edgy, hilarious, and super nerdy bad boy. I fell in love with Jason while reading memes for the batfmaily on my friend’s tumblr dash. To understand the characters, I of course, had to read their wikipedia pages. The more I read about them and saw memes, the more I thirsted to read about the walking gift to mankind myself. Jason Todd is literally the reason I read comics.

My badass, beautiful, and bitchy queen! God bless the creators of Dr. Kimiyo Hoshi. Single-mom heroes are such an underused well of potential. What I love about Dr. Light is that she takes no shit and she works her ASS OFF every day for her kids and for the betterment of the world. Give me more Dr. Light DC. NOW.

I just... I just fucking love her so much. (Also do NOT ship her with Carter. Let her be happy with someone decent. Thanks.)

Initially I didn’t want to include Babs because she’s OG batgirl and EVERYONE’s favorite, but I can’t help but be excited with every cameo she makes. Every time Barbara fucking breathes I WANT TO SCREAM FROM EXCITEMENT. I can’t deny the absolute love I feel for this amazing woman.

This might be a surprise, but Damian is actually a decent character when writer’s go beyond the “iamthebloodsonandi’mbetterthanallofyou” mentallity he was first introduced with. Prelude to the Wedding: Robin vs. Ras al Ghul was one of the best issues I’ve ever read from DC. It showed Damian as he continues to struggle with his identity and place in the family, despite already being accepted and loved. His conversation with Selina was such a deep and important moment to understand that Damian is not just a brat. He’s a confused kid trying to learn to be better.

While I absolutely adore Cassandra Cain and every graceful move she makes, I can’t help but love Stephanie more. There’s just something about how she won’t take shit from Batman and how incredibly intelligent she is that I can’t help but drool over. She’s so amazing (and funny!) which makes it impossible to ever have enough Stephanie. She’s worn three mantles with pride and absolutely deserves all of them.

Okay, going into ships now. When I was younger I was really into shipping, and now I care FAR less who ends up with who except for a few key ships listed below:

Bruce Wayne - Selina Kyle

Dick Grayson - Princess Koriand’r

Dr. Pamela Isley - Dr. Harleen Quinzel

Luke Fox - Barbara Gordon (weird ship, I know, but I think it works)

Kate Kane - Renee Montoya, Maggie Sawyer, Diana Prince, or Helena Bertineli

Kon-El - M’gann Morzz

Clark Kent - Lois Lane (not a thing I really pine for, but I want Jon to be born so.)

Steve Trevor - Diana Prince

Midnighter/Apollo (legit don’t know much about them except they’re a perfect couple)

I think that sums up all my 1:50am thoughts on my favorite DC characters and ships. Let me know if you have any more questions! And as always, thank you SO MUCH for the ask.

18 notes · View notes

supcrson · 3 years

Photo

intro --- long bio --- headcanons

( froy gutierrez. 21. he/they. demi-guy. ) are you a HERO ? something tells me that mud-stained untied converse, the glow of the stars at night, a well-worn farmhouse make you who you are, JONATHAN KENT. with the powers of KRYPTONIAN-HUMAN HYBRID PHYSIOLOGY, you’re sure to have an optimistic, insecure personality — and you definitely belong to UNAFFILIATED. were you listening to HEY LOOK MA, I MADE IT by PANIC! AT THE DISCO on your way to the subway? it suits you. we can’t wait to see what you do next! ( claire. 23. she/her. gmt. )

character name: jonathan samuel “jon” kent / superboy age: 21 faceclaim: froy gutierrez voiceclaim: also froy gutierrez (have u heard this little dude speak it’s adorable highly recommend) skill set: kryptonian-human hybrid physiology: (solar radiation absorption, invulnerability, accelerated healing); superhuman strength, speed, hearing, smell, & stamina; flight; enhanced visual perception (x-ray vision, heat vision); super-breath; empathic solar flare; can read & process information very very fast; really good at mariokart affiliations: super sons, superman & co, would like to be part of the titans but they keep rejecting him!!!! let jon join the team titans family: clark kent (father), lois lane (mother), conner kent (brother?? it’s complicated), martha kent (adoptive grandmother), jonathan kent (adoptive grandfather), kara zor-el (cousin), jor-el (grandfather, deceased) zodiac: capricorn (december 25 wiki link: jonathan samuel kent light of my life

was your character “blipped” out? if so, what did they return to and how is it affecting them? if not, who important to them was blipped out, and what has it felt like after those five years have passed? ( if your character is a dc muse: what were they doing when they passed through the portal? )

Jon was out taking Krypto for a walk (or a fly) when the portal opened! Krypto saw a Friend through the other side (hi, Lucky), and rushed. Jon chased him through (and thought, maybe, the dog on the other side was in trouble and needed rescuing, too!). It wasn’t until he was on the other side that he realized what had happened. It was too late.

where are they living? are they living with anyone?

In a shitty, poorly-decorated frat house of an apartment with Kon. No parental supervision, just Superboys, yeah buddy !!!

why is your character affiliated with who they’re affiliated with?

Jon was born into a Very Powerful family with Very Powerful allegiances, Very Powerful morals, and Very Powerful connections, and was raised into them. He and Damian Wayne have been best friends and a dream team since they were kids, and the Titans have refused to let Jon join their team several times because they were “too young” or “Superman’s kid” or someshit. Generally, Jon’s on the side of the inarguable moral good. Except for Damian, who is a work in progress.

who are their major friends, allies, and foes?

friends: Damian Wayne (best friend, only friend, scares off all of Jon’s other potential friends), also Krypto the Superdog

allies: the Supers! the Bats, sort of, on account of Damian

foes: General Bad Guys, his father’s inherited rogues gallery

whose hands do they believe the country should be in?

Good people! People who believe in a better tomorrow! People who don’t do human rights violations! Not giant corporations! (Can you tell his dad is Superman is it obvious)

what’s their current mental state at? their physical state?

Jon’s fine I guess? A little confused, and misses the farm and his parents, but mostly just vibing. They’ve been struggling to get out of their father’s shadow, but there’s an added level of anonymity to this world that he appreciates. There’s a chance to just be Jon Kent here, whoever that is, whatever that means.

#reshielded:intro

0 notes

lopithecusfanfiction · 8 years

Text

A Life So Changed: Chapter Eighteen

Author: Lopithecus Pairing: Clark Kent/Bruce Wayne Rating: Explicit Word Count: 2595 Alternate: AO3, fanfiction.net Author's Note: N/A

Chapter Eighteen:

Bruce knocks on Dick’s door, one hand trying to button up his white shirt that he is going to be wearing under the suit jacket during his dinner with Oliver. He might have to get a different one seeing as this one is a little tight and does nothing to hide the bulge of his stomach. He walks into the room when he is given permission. “Can I talk to-” Bruce stops in his tracks when he notices what Dick is doing. He is packing. “What are you doing?”

“Hmm? Oh, I’m going back to Blüdhaven for a few days,” Dick says, patting down some clothes that are thrown messily into a suitcase.

“Why?” The panic bubbles up in Bruce unexpectedly and his heart beat speeds up.

Dick’s eyes widen as he watches Bruce. “Hey, don’t worry. It’s only for a few days, I swear. One of the guys I put away before coming here escaped last night. I need to go and catch him again.”

“What about Batman?”

Dick shrugs. “Jason, Tim, Damian, and Barbara have it handled. Look, Bruce, I won’t be gone long, I promise.”

“Is this because of yesterday?” he asks, trying to hide the panic that he is feeling from the fact that one of his sons is leaving him. He’s never had this feeling before, at least not this intense.

Dick sighs and sits down on the bed. “Look, Bruce, I’m sorry for yesterday. I didn’t mean to snap at you. I just… Wally and I didn’t want anyone to know what we were doing. Especially since he’s part of the main Justice League now. I know what I’m doing is wrong but I swear it means nothing… for both of us.”

“Are you sure?”

“Of course, I do. What do you mean?”

“Are you sure it means nothing to Wally?” Dick doesn’t say anything. “It meant nothing to Clark when we slept together but to me-” Bruce cuts himself off. It’s getting too personal, too much emotion involved.

Dick sighs again. “Mine and Wally’s situation is different.” Bruce avoids eye contact. “Wally has a crush on Linda anyways.” He’s silent for a few seconds before he sags and his shoulders hunch. “Shit.” Dick rubs his face roughly with one hand. “He hasn’t mentioned Linda in a while actually.” He then groans, rubbing his face more raggedly. “Bruce, I can’t deal with this right now. I have to go to Blüdhaven.” He gets up and closes the suitcase. “I’ll deal with this when I get back.” Bruce nods, deciding to drop the subject for now. After all, he’s not exactly an expert on what to do when a mate cheats on another, no matter what situation he is currently in himself. Dick looks him up and down. “What are you all dressed up for?”

“I’m having dinner with Oliver.”

One of Dick’s eyebrows raises. “Really?” He grazes his eyes up Bruce’s body again, making Bruce feel uncomfortable. “Well, you might want to change your shirt. That one doesn’t fit.”

Bruce looks down at himself and at the strain of the buttons. “I’ve noticed.”

Dick picks up his suitcase and carries it over as he approaches Bruce. “Try the blue one. That’s always been a bit big on you.” He then gives Bruce’s shoulder a few pats as he walks by. “I’ll see you in a few days, Bruce. Oh, and, uh, don’t mention anything to Wally about what we just talked about. Okay?”

“Okay.” Bruce watches him go, trying to breathe through the panic. He knows it’s just his instincts, he knows this and he can control it. With a sigh he heads back to his room. He peals the white shirt off of himself and goes into his closet, looking at all the blue button ups he has. He doesn’t know which one Dick was talking about so he just grabs a random one and starts pulling it on as he steps out of his closet.

“What are you doing?” Bruce turns and sees Tim in the doorway. His heat had ended early this morning, just like Kon had predicted. Since then, Tim has just been sleeping and by the looks of him, has just gotten up. He’s wearing a t-shirt that is much too big for him with a red S in the middle of the chest. Kon’s shirt. Tim isn’t wearing any pants as far as Bruce can tell and his hair is in a disarray.

Bruce sniffs the air and wrinkles his nose. Tim also stinks. “You should take a shower. You know better.”

Tim shrugs, entering the room and sitting down on Bruce’s bed. “I will but I’m hungry.”

“Conner fed you?”

“Everything Alfred gave him. You didn’t answer my question. What are you doing?”

“Getting sick, that’s what I’m doing.”

Tim looks down at himself, smelling the air. He then looks up sheepishly. “Sorry, I forgot with you being pregnant that your sense of smell would be stronger.”

Bruce backs up a pace or two, trying to get away from Tim’s smell. His stomach is starting to do somersaults. “I’m getting ready to go to dinner with Oliver.”

“Oh, yeah. I heard about what happened to you. That you fainted. You all right now?”

“I won’t be if you keep stinking up my room. Get off my bed.” Tim stands. “Go take a shower.”

“Can I use yours?”

Bruce stares at him and blinks. “What’s going on with you?” Tim shrugs and Bruce rolls his eyes. Omega instincts it is then. He motions ungracefully towards his bathroom with one hand and with a smile, Tim gets up and practically skips to it. Bruce waits until he hears the shower going before he goes over to his bed and starts to strip it of its blankets and sheets. They smell now.

“So, why are you going to dinner with Oliver?” Tim calls from the bathroom.

Bruce throws the sheets and blankets out into the hall and closes his bedroom door. “He asked me.”

“So it’s a date?”

“No.”

“Then what is it?”

“Just dinner.” Bruce pulls the button up shirt tightly over his stomach and starts to button it up.

“Doesn’t sound like it,” Tim calls. “Jeez, I’m starving.”

“Are you sure Conner fed you?” Bruce picks up his pants and starts to pull them on. Even these have gotten a little tight on him.

“Positive.”

“And the birth control?”

There’s a pause and then, “I think so. I mean, there weren’t any in the package when I woke up.”

“Did he tell you?”

“I didn’t ask.”

“You should have.”

“Bruce, I’m not going to ask Kon as soon as I wake up if he used birth control,” Tim sounds annoyed.

“These things are important Tim.”

“Bruce.” The water shutting off punctuates Tim’s annoyance with him. He steps out of the bathroom, towel wrapped tightly around his waist. “I trust Kon and you gave us permission. You need to trust him too.”

The silence that follows is deafening as the two stare at each other. That is, until a button pops off of the shirt Bruce is wearing and bounces noisily against the wall. “Fuck!” Bruce yells, turning back to his bed and roughly taking the shirt off, more buttons popping off. He throws the shirt onto the bed. “Fuck, fuck, fuck! I couldn’t have gotten that much bigger since yesterday.”

“Bruce…”

“Why am I doing this? Why do I think this is a good idea?”

“Bruce, calm down.” Tim walks up to him, placing a hand on Bruce’s shoulder. “You just need a bigger shirt, that’s all. That one has always been a little small on you anyways. I’m surprised Alfred hasn’t gotten rid of it yet.” Tim then goes and walks into Bruce’s closet and Bruce stares after him, wondering how his children know the difference between the clothes he wears when he can’t. Tim reappears with a different blue button up and hands it to Bruce. “Here, try this one. This one has always been a bit big on you and it’s about the same size Alfred had you dress in yesterday.”

With a sigh, Bruce grabs the shirt and starts putting it on. Tim goes and picks up the discarded shirt, mumbling something under his breath about it fitting Dick perfectly fine. “This is still a stupid idea.”

Tim starts going around, picking up the buttons. “Do you want my honest opinion?”

“Not really.”

“Well, you’re going to get it.” Tim places the buttons by the shirt on the bed. “I think going on this date with Oliver will do you some good.”

“It’s not a date.”

“I think it’ll help you forget about Clark for a while,” Tim continues, ignoring Bruce. “Forget about the baby and reality. Just enjoy Oliver’s company and, who knows, maybe you’ll find in him a potential mate that Clark can’t be.”

“I don’t want…”

“What? Someone new? Bruce, you can’t pine after Clark forever. Especially now that you’re pregnant with his child. I’m sorry, this is going to sound harsh, but if he didn’t leave Lois for you just because of the baby, then he’s never going to leave her.” Tim’s right. It’s harsh and it hurts. But Bruce knows Tim’s right. He just doesn’t want to believe it. Bruce doesn’t notice that he has finished buttoning the shirt until Tim comments. “See, that one fits much better.” He then turns and starts to walk away, the other shirt and buttons in his hands.

“Tim?” Bruce calls after him but when Tim turns around, Bruce avoids eye contact. “Conner didn’t bite you.”

“I didn’t want him to.” With that, Tim leaves the room, leaving Bruce to finish getting dressed.

He grabs a suit jacket and pulls it on, buttoning the two buttons on it and then looks at himself in the mirror. His stomach is hidden better than it was yesterday which calms Bruce down some. With a deep breath and a shake of his head, he makes his way down to Alfred and then the two of them make their way to the limo. Alfred drives him to the restaurant of Oliver’s choosing and then, once there and inside the building, has the hostess walk him to the table Oliver reserved. Bruce swallows thickly as he sees Oliver already sitting there.

When he gets closer, Oliver stands and smooths out his suit jacket. He leans in, kissing Bruce’s cheek. “Hey, Bruce.”

“Ollie.” They both sit. “I’m not late am I?”

“No, you’re right on time.” He gives him a smile. “I was early actually. Nervous.”

“I didn’t know you got nervous.”

“I could say the same about you,” Oliver teases and the waiter comes over to take their drink order. “We’ll have some red wine, please.”

“Actually,” Bruce says quickly, getting the waiter’s attention. “I would like some water instead.”

Oliver eyes him and when the waiter walks away, he asks, “Water?”

“The baby might be half Kryptonian, Ollie, but…” he trails off.

Oliver fills in the rest. “You don’t know how invulnerable the baby is yet. I’m sorry, Bruce, that completely slipped my mind. Right now you don’t… look pregnant and you don’t smell it either. Did you dampen again?”

Bruce nods. “I can’t go out in public and have alphas and omegas smelling me and then telling the press.”

“When do you plan on revealing it?”

“When I can’t hide it anymore.” Bruce thinks about earlier with the shirts. “And that might actually have to be soon.”

Oliver nods in understanding. “Well, my lips are sealed. After all, I know how it feels to have the press find out about something that I really wasn’t ready for them to know.” He clicks his tongue. “What about the board of directors to Wayne Enterprises?”

“They don’t know either.”

“Shit, Bruce, they are not going to be happy about this.”

“I know and I’ll handle it when the time comes.” The waiter comes back with Oliver’s wine and Bruce’s water. He then takes their food order, Oliver ordering a steak and Bruce ordering a chicken salad.

“Do you even have a plan for how you’ll handle it?” Oliver asks, taking a sip of his wine. Bruce shakes his head in the negative. “Shit. Well, if you need any help when that time does come, just let me know and I’ll help with anything. All you have to do is ask.”

Bruce gives him a small smile. “Thank you Ollie.”

They talk idly as they wait for their food and when it comes, they start to eat. Bruce finds himself surprisingly hungry and so eats vigorously. Oliver watches with a raised eyebrow. “Hungry?”

“I’m starving, actually. Wish I had some chocolate syrup though.” Oliver chuckles and cuts into his steak. “You should have seen me at the beginning of this pregnancy. I put chocolate syrup on everything.”

Oliver chuckles some more and smiles at him. “I’m just glad you’re eating.”

“I have been. Or at least trying to since I fainted. It’s hard when I’m not hungry.”

“Well, I’m glad my presence has made it possible for you to become hungry.” Bruce laughs to his own surprise. Oliver’s eyes widen. “Oh wow, I don’t think I’ve ever heard you genuinely laugh before.”

Bruce playfully narrows his eyes. “That’s because I’m the night and the night doesn’t laugh.” He narrows his eyes even more. “You better not tell anyone.”

They both start laughing then and Bruce finds himself enjoying himself. They continue throughout the dinner talking about the League and their companies and about anything else that comes up. They flirt back and forth and laugh and Bruce is honestly surprised to realize that he is having a good time and enjoying Oliver’s company. When they finish their meal, Oliver leans back in the chair with a stretch. “This was nice, Bruce. It’s fun catching up with each other.”

Bruce nods. “I do have to admit, Ollie, that it was nice.” Oliver gives him a smug grin and Bruce shakes his head in amusement. “Ollie, I was thinking. If you want, we can consider this a date.”

Oliver’s eyes light up. “Really?”

“Yes.”

“Does that mean I can ask you on another one?”

Bruce chuckles at Oliver’s excitement. “Yes, but it might have to be at my place. I’m starting to not be able to hide the baby bump all that well.”

This doesn’t seem to deter Oliver in the slightest. “I’ll take it, Bruce.” When the bill arrives, Oliver insists on paying it and then pulls Bruce’s chair out for him. They walk outside side by side and then turn to each other when they reach Bruce’s limo. “I guess I’ll see you later then.” Oliver leans in like he did when Bruce first arrived and places a warm, soft kiss to his lips. “Goodnight, Bruce.”

“Goodnight, Ollie.” Oliver winks and then walks away, hands in his pockets. Alfred clears his throat, startling Bruce. Bruce looks at the beta, feeling his cheeks heat up in embarrassment. “Let’s go home Alfred.”

“Very well, Sir.” Bruce gets into the limo and relaxes as Alfred drives. When they get home, Bruce heads straight up to his room to get out of his clothes. They have started to become uncomfortable and all Bruce wants to do is change into some baggy clothes and read a book. Except when he opens his bedroom door and steps in, there’s someone already waiting there for him.

Bruce’s heart sinks as he stares at Clark as Clark says, “We need to talk.”

A/N: Thanks for reading!

#DC Comics #SuperBat #Superman #Batman #Clark Kent #Kal El #Bruce Wayne #A Life So Changed #My Fanfiction #sfw

10 notes · View notes