#me running from my problems

[ghouljams]

I just want Gaz. Any Gaz. I don’t care about the AU. He’s just so pretty and could fix me

Also König and Ghost are two flavors of crazy I just don’t wanna try in real life.

How about some medieval!Gaz?

Gaz who follows you down dimly lit corridors, places only the servants know about, and presses you against the stone wall with a hand over your mouth. He shushes you when you make a flinch and shove at him, and when your eyes widen in recognition he lets you go. His fingers linger against your jaw though, and you tell him he has an awful way of greeting people, which he hardly listens to. His eyes are so much deeper, darker, in the low light. They catch the flicker of the candles and trap their heat. That must be why his gaze makes you feel hot.

"I didn't see you last night," he tells you. You make a face. "After the kitchen," he says it like it's painful, like you're the dumb one for not knowing what he's talking about.

"I had to help cleaning up, I left the tonic in your room." You remind him. He looks away from you with a shake of his head, and knocks his fist against the wall over your shoulder. His fingers tighten on your jaw, holding you from following the movement. Your eyes dart to the end of the passage. He must see something with how tight his jaw is clenched.

"Do you-" he starts, exasperation clear before he stops again.

"Do I...?" You raise your brows at him, trying to coax out his point. Your leading tone seems to draw his attention back, his eyes heavier on you. Heavy enough to male your breath stop short.

"Do you have any idea what you do to me?" He asks, growls, the sound dripping molten between your legs. His thumb presses against your lips, as he takes a step closer. "God, if you did you wouldn' look at me like that."

You grip his bicep, unsure if you want to push his hand away or pull him closer. All you do know is his eyes hold you fast in place. Gaz crowds you closer against the wall. You've been here before, not with Gaz but others. People closer to your social standing, people with less to lose than the king's favorite advisor. You should resist pressing closer, staring back at him and wondering if he didn't grab you for some other reason. If you aren't his favorite for some other reason.

He's solid. Finely dressed and hiding his strength. You can feel it even through the fancy clothes, the raw strength of him, the heat. You press closer, aching to feel more. His biceps flexes under your hand, his fingers dragging from your face to rest against your neck. Just so gently scraping the underside of your jaw as you tip your head to keep eye contact. Gaz leans close, hardly moving a muscle but to bow his head for you.

"You can't press against me like that doll, and not expect a reaction," he breathes, his lips just ghosting over yours. Your eyes flutter closed, feeling the way he tilts his head, the brush of his nose against yours. You can almost feel the short hairs of his stubble starting to tickle your skin, when a voice calls down the passage and Gaz pulls away from you.

All the air in the tunnel rushes back at you and goosebumps break over your skin. You smack a hand over you lips, and take a few short steps away from Gaz. You shouldn't be here, not with him, not like this. Not when you know better.

"No, doll, wait," he tries, reaching for your hand. You pull it close against your chest.

"I'm not your toy," you tell him quickly, backstepping towards the other side, "and I have work to do," You finish before taking off in a sprint away from him.

Gaz drags a hand down his face watching you leave. You are pretty when you go. Too bad you're making such a habit out of it. What is he going to have to do to make you stay? Marry you?

He was hoping to court you first, but if you want a guarantee he's happy to provide it. He just has to talk to your family. He's sure they'll be thrilled.

[cartoonpigeon]

if i was a hazbin fan would you guys still love meeee (/j lmao)

anyways, here's my hazbin redesigns :3 hopefully tumblr doesn't destroy the resolution so the text is still readable, but either way there'll be a transcription of it under the cut :3

the text around Husk reads:

simplified his design quite a bit - i feel like the clutter didn't really match his character and personality

tried to keep the yellows of his suspender buttons in the buttons of his shirt and fly

kept his colour pallet v. similar to the show - just shifted it sightly darker - I feel it fits him well already

I feel like he'd wear more old-fashioned clothing (and clothing in general) than he does in the show - I also feel like the magician type fit doesnt really match husk's character?

PUT THOSE GRIPPERS AWAY!! /j, but I didn't add shoes because i find it funny & I like drawing paws

the text around Angel reads:

more kinky looking choker than a fabric one

was wearing his rosary when he OD'd - either a heritage rosary or a cheap one b/c although he could afford it now, he couldn't then (idk how much they cost in 1910s-40s NY, but in the Vatican city and Roma they go for around (euro sign (I don't have one on my puters keyboard)) 100<) - he still wears it despite no longer practicing since he was 20ish (he doesnt wear it while working tho)

didn't simplify his design like i did with husk - i feel the cluttered look fits him better

fashion kinda based around "office siren" & alt accetics - I feel like he would continue to change his fashion choices & clothing as fashion progressed rather than sitting with 1930s/40s fashion that he wore when he was alive (unlike Husk or Alastor) - I think this is also in part influenced by Val's need to constantly shift in order to get more money

[next to the the right mini drawing] lil mockup for figuring his design out lmao

[next to the left mini drawing] casual clothes mockup

[chaos-bringer-13]

Jazz's little. Her parents are super cool. They're ghost hunters! It sounds like something from a movie about future and scientists and supernatural beings and cool-looking tech. They have cool-looking tech at home. It's even cooler than tech in the movies.

Jazz also has a little brother. He's stupid but he's hers, and she will protect him from anything. Her brother is very small, he needs someone to protect him and teach him about the world.

She knows about the world. She understands their parents much better than him, and she can tell her brother when they shouldn't be distracted. She knows when they're upset and irritable, and she knows when they're too excited and being near them is dangerous because of all the inventions.

Jazz does a very good job keeping her little brother safe.

---

Jazz goes to school. Her teachers say that she's very smart, the best student in class, and very mature. Her parents are proud of her - when she manages to distract them from ghosts. Her brother is still kinda stupid and doesn't know how to properly fight food, but she's always there to protect him, because that's what older sisters do.

Her classmates seem to think that she's weird though. Some of them say mean things and call her a teacher's pet and a show-off. Jazz isn't sure why they think so because she's always trying to be friendly but maybe she's doing something wrong. She goes to the school library and finds a book about people and their communication.

It's a very interesting book.

---

Jazz is almost a teen. She's gotten better at communicating with people. The school library ran out of psychology books, and Jazz now has to go to the city library but that's fine. Human brain fascinates her.

She's been feeling like something is wrong about her though. She even thought that she was going crazy for a little bit. That probably wasn't true because she didn't match any symptoms but she was still worried.

Someone told her that being so good at lying and faking face expressions is not okay. That's probably not true, Jazz is pretty sure almost everyone can do that. Or maybe she's just being a prodigy again. It's a very good thing to be able to do after all. She can hide her emotions from her family when she's feeling sad. She wouldn't want to worry them, would she?

She'll have to research it.

---

Jazz is a teen. She now knows that her parents aren't actually that good. It's something that was really hard to accept but it did explain everything. Her parents are kinda bad at being parents, and they also don't really listen when she tries to explain it to them.

It's okay. She's almost an adult and Danny has her. She can take care of herself and her brother.

She learns everything she can about being a parent and a therapist and tries to use her knowledge. It's hard, but she's a Fenton, which means that she's very smart and determined. She pushes through, and trains on her classmates and herself.

In the evening she writes about her feelings in a journal. It's very important to be aware of her feelings because that's the first step to dealing with them.

She's experiencing sadness. And anger, actually, even though she doesn't like to admit that.

She writes "this family is a fucking mess" in her journal and then covers the paper with ink until the sentence is absolutely unreadable.

---

Jazz is sixteen, and her stupid parents opened the stupid portal, which means that they're even worse than usual. It's pretty much okay when they're just stuck in their stupid lab, making some stupid weapons. It's not that okay when they're out of the stupid lab, because they get their stupid inventions all over the stupid house, and stupid food comes to life, and she has to protect Danny from both their stupid weapons and stupid hotdogs, and oh god everything is so stupid.

She's experiencing anger.

She's also acting perfectly calm and almost cheerfully.

Jazz hates how perfect her fake smile is in the mirror.

---

Jazz is seventeen. She wants to put her headphones on and listen to some loud music. Jazz can't do that, because she gets anxious if she can't hear what's happening around her. She needs to be fully aware of her surroundings because she needs to be able to protect herself and her brother if weapons against ghosts become weapons against children again.

She thinks that it's not okay.

The house smells of ectoplasm, so she'll be extra careful when opening the fridge.

She thinks that she shouldn't know how ectoplasm smells.

Jazz should probably also warn Danny: her little brother's gotten better at fighting food but doesn't notice the smell of ectoplasm. Funny, considering his ghost sense.

Funny, considering that her brother is a half-ghost.

That her brother died.

That she failed at protecting him after all.

Jazz stops breathing to prevent herself from crying, and doesn't need oxygen for a few minutes too long.

Maybe she failed at protecting herself too.

---

Jazz is turning eighteen next month. Her parents are all of a sudden more attentive and caring, as if that can change their almost-absence during her whole life. She doesn't like their attention because she doesn't know how to deal with it. She doesn't even really think of them as parents anymore.

She thinks of them as a threat.

Once she's eighteen, she's gonna try to move out, and she's going to take Danny with her because it's not safe to leave him here. Maybe after she gets a good job and saves some money, she'll even get into therapy.

Jazz thinks that she needs therapy.

She's been having Bad Thoughts lately, and she doesn't write them down in her journal. Jazz stopped writing anything in there ever since she found out that Danny is a ghost. She just couldn't risk anyone finding that journal.

Jazz isn't sure if she should call those Bad Thoughts intrusive. They scare her, and they're Bad, but it could be just her normal thought process.

It's still definitely not normal.

---

Jazz is eighteen. Her parents are very excited, whispering to each other about how they found a perfect present for her, some surprise that she's gonna love.

She doesn't care.

Her little brother is late from school, and it's weird, because he was also super excited about giving her his present.

She's worried.

Her parents brush off her concern, say that Danny probably just got distracted talking with his friends. They don't listen when she says that Danny wouldn't get distracted like that on her birthday because he's not them, he actually cares about her, he doesn't forget her birthdays, and something has to be wrong for him to be that late.

They don't listen to her at all.

She's angry.

Her parents are excited and talk loudly about how they wanted to find a perfect gift for their favourite daughter, and how they managed to do it because they love her so much. She hates when they're excited. It only leads to problems.

They bring her to the lab because of course they do, why would they make a gift that is normal and isn't kept in the lab, right? They usher her in, so obviously proud of themselves.

She hates them.

And she hates them much, much more the next second, because the gift is her little brother in his ghost form, strapped to a table, unconscious and injured, and the smell of ectoplasm is strong in the lab because of his green blood dripping on the floor.

There's a cold part of her that analyses her feelings and tells her what emotions she's experiencing, and that part is very aware of thick black smoke of wrath twirling and twisting under her skin. It's suffocating, and she stops breathing as it invisibly fills her lungs, scared of letting it out.

There's a perfectly fake part of her that keeps the smile on her face as her parents gush about how hard it was to catch the ecto-scum, and what they can do to it - together with Jazz because they wanted to share this with their amazing daughter.

Jazz is black smoke of rage under perfect glass of calmness when she grabs Fenton anti-creep stick. The smile she learned to fake under any circumstances doesn't falter when Jazz brings the baseball bat down on her father's head. It grows a little bit wider when she hits her mother, because Jazz learned to smile brighter when she's hurt or sad or scared or angry - experiencing any "bad" emotion actually.

Jazz is angry when she grabs her weapon.

Jazz is furious when she kills her parents.

Jazz is worried when she checks her brother's wounds.

Jazz feels nothing when she rigs the portal to blow, walks out of the house and presses the button.

She is her parents' genius daughter after all, and she did listen when they were telling her about their inventions. Maybe it would have taken longer to do, but she had Bad Thoughts, and they probably weren't just intrusive after all, because she did what they told her and made it very easy to make a bomb out of a portal. Just in case. Her parents were a threat, and Jazz was smart enough to prepare to dealing with threats, and she was smart enough to make it look like the threats dealt with themselves.

She really hoped she wouldn't have to use that button though.

---

Jazz is nineteen. Her sort-of-friends at uni offer to go to a restaurant, and she tells them that she doesn't celebrate her birthdays. There's a noise of all of them saying that maybe she should try, noise that she really should have expected, because humans are always so excited about any holidays, it's hard for them to understand that someone might not like them. It's not hard to stop that noise though. They shut up very quickly when Jazz says that she had "a very traumatic event" on her birthday.

Good. She doesn't like loud people.

Jazz goes home to her little brother. He's sad because his parents died in an awful explosion a year ago. He's still trying to smile because it's also her birthday, and Jazz is very happy that he's bad at faking a smile.

It means that he won't end up like her.

Jazz hugs her little brother, and he gives her a little present that she adores, and then they sit in silence and eat some takeout. It's very nice.

She never tells Danny that their parents died before the explosion, and that the explosion wasn't an accident, and that their ghosts did form after that because of all the ecto-contamination they had, but she made sure this wouldn't become a problem. She never tells him what she's done, because that would hurt her little brother, and she would never let anything hurt him.

Jazz will protect her little brother from anything.

[feline-evil]

Hiding my shirt that says 'i am not normal about narratives that imply an inanimate inhabited structure is a living breathing organism' as i walk into a board room and pitch my idea that we should make more horror revolving around living architecture

[blujayonthewing]

pitched battle inside my brain between the part of me that's desperately shaking myself by the shoulders going "YOU HAVE GOT TO ACTUALLY LIVE THE KIND OF LIFE YOU IMAGINE INSTEAD OF JUST SITTING AROUND IMAGINING IT UNTIL YOU DIE!!" and the part of me that's clutching my face going "is this allowed? is this allowed?? is this allowed???"

[thatonebirdwrites]

DEO: Department of Extra-normal Operations

This will be an essay that looks into the ethical problems of the DEO. For the purpose of this essay, I am not concerned about the showrunners reasons for their decisions for how the show presents the DEO. I care only about examining the worldbuilding and stories inherent within the world created. So let's dig into some philosophy and theory. Whee! [Minor spoilers]

To start, this department was first created within the Superman/Supergirl universe in order to analyze alien activities after Superman reveals himself on Earth. It's made in retaliation to the appearance of powerful aliens that those in power deem possible threats. Already, the DEO's beginnings are rooted not in true protection but in stopping and eradicating what those in power deem a threat. It's roots start with dubious ethics.

Let's examine it's history:

It was led by Hank Henshaw, who is vehemently anti-alien. Henshaw is also slated to have ties to Cadmus, which experimented on aliens and attempted several rather horrific and genocidal attacks on aliens. (Note that in Supergirl: Season 2, Kara and Lena thwart Cadmus' activities. Lena Luthor saves the day by modifying an alien killing virus to be harmless to all living creatures. Bits and pieces of the worldbuilding around Cadmus showed that the aliens experimented on came from DEO facilities.)

Henshaw dies when Jeremiah Danvers "kills" him when saving J'onn J'ozz, who then takes Henshaw's place until exposed. He recruits Alex sometime before his exposure (Season 1). After J'onn is exposed in Season 1, Lucy Lane takes control. Then after J'onn helps Supergirl defeat the murderous Kryptonian Non, J'onn received a presidential pardon and was reinstated as director. He kept Henshaw's guise for publicity sake.

The show makes it clear that J'onn choses to be the Director to change the DEO. Yet, what evidence is there that this actually happens?

So that's the basic history.

We have a clandestine agency that has unethical procedures that doesn't change under a new director.

The DEO picks up aliens and throws them in a cell to never be seen or heard from again. This would likely terrorize the alien neighborhoods. This is never truly address in any meaningful manner by the Superfriends or Kara.

In fact, if anything, the show positions the DEO as being Good if Alex, J'onn, or Lucy are in charge (Kara, ironically is not in charge of the DEO at any point). However, the DEO becomes Bad if Lex Luthor or Lauren Haley or the real Hank Henshaw are in charge.

This creates a rather large ethical problem.

First of all, the worldbuilding builds up the argument that certain people are good and certain people are bad. The person we see skirting between those two extremes, and living in a morally grey area the most, is Lena Luhor. For the purposes of this essay, I'll put a pin into Lena's characterization and focus only on the DEO.

Secondly, we are told again and again what Kara/Supergirl's ethics are: justice and truth. Yet when we examine Kara's actions within the context of her DEO Supergirl duties, we are confronted with the following:

She must hide her identity, even from her best friend Lena, and thus deceives regularly. Her reasons for not telling Lena are rooted in the pressure from those at the DEO to not tell Lena but also in Kara's intense fear of loss. However, Kara will demand truth from others despite her hypocritical actions. This doesn't seem to fit solidly in the "good" category.

Her "justice" is defeating criminals. Humans go to the police to eventually have a fair trial. However, aliens are not afforded that same right. Her justice for aliens becomes judge and jury. Since she professes to "not kill," she at least doesn't extend that to executioner. This again doesn't fit solidly in the "good" category.

Thus, by examining Kara/Supergirl's actions, we see a disconnect with what the show claims is "good:" truth and justice. Yet, there is no true justice for the aliens fought and captured; their rights are rescinded (if they had any at all).

This is why the show must tell us who is "good" and who is "bad," because people's actions do not fit the show's claims of what "goodness" is versus what "badness" is. Thus the worldbuilding ends up defining Kara's actions as always "good" even if those actions cause harm to those around her.

[Side note: This isn't to say that Kara is "bad." It is to say that the binary within the show's worldbuilding lacks nuance for the complexity within Kara's understanding of the world and how she acts within that understanding. This binary simply cannot allow for such a complex examination as there is no room for it.

Because of this binary, the show actually butchers Kara's character to make her past "not good" actions as somehow "right" and "good" in the end. We see this with how Kara's harmful actions toward Lena (the lying, duplicity, deception etc) is turned into "I did just one mistake" when it wasn't one mistake. It was years of harm, but because the show paints Kara as "good," Kara is not allowed growth.

This binary of good versus bad is already nonsensical in the worldbuilding since Lena Luthor's very existence throws this entire frame out the window. Her actions, always with the intention to do the least harm and try to improve the world, don't fit neatly into the binary. The story often punishes her for this. (She breaks the binary too much I suppose.)

Yet when other people's actions fail to fit neatly into the binary, the show whispers: "Hush, don't look or think, believe us when we say this person is good and this person is bad.']

To reiterate: It's okay to capture aliens and disappear them without any right to trial If the Superfriends are doing it. This good/bad definition collapses ethics into meaningless words since the activities and procedures of both the "good" people and "bad" people don't differ in terms of impact on alien communities. This lack of differentiation is why we must be told who is good. Otherwise, how would we know?

To dig a little deeper, in Season 4, when Kara is on the most wanted list, she learns very little about the true plight of aliens. During this time, the DEO becomes "bad" under the control of Lauren Haley. Lena Luthor and Alex Danvers, who are both working with the DEO still, also work against the DEO but only to clear Kara's name. So justice is done for Kara's sake but not for the other impacted alien communities.

Once Kara's reputation is restored and she's no longer deemed an "enemy of the state," Kara returns to working with the DEO, as it is now labeled as "good" again because Alex is back in charge.

Ironically, the only person in Kara's friendgroup that questions the DEO is Lena Luthor. (Who in Season 5 will have her 'villain arc' only to be redeemed to the good side again at the end of Season 5. She's the only character, who is labeled a villain at one point, that is allowed true redemption.)

We learn very little about what alien communities actually think about the DEO and about Supergirl in particular. The most we get is the Children of Liberty plot line of Season 4; however, this plot line doesn't ever give us a solid viewpoint from impacted alien communities. Instead, we are confronted with:

We are told what alien communities are like and how lacking in rights they are. Very little of this is shown directly outside of "criminal aliens." Or the brief glimpses within Manchester's arc. However, Manchester is viewed as 'in need of redemption' despite having very real grievances with the state of things. The show then tells us that Manchester is 'bad' and the 'good' J'onn and friends must stop him.

The second time we see alien daily lives is Nia's return to her hometown, which is attacked by supercharged humans. This blended town of aliens and humans serve as an outlier. Nia actually admits that the town is unique and not representative to most aliens' experiences. So again, we don't see a direct experience of alien life in National City or other major cities.

Aliens either have significant powers that humans can justifiably find scary or they are human-like with little to no powers. Both are treated the same for the sake of the Children of Liberty plot line, which serves as an immigrant allegory. @fazedlight and @sideguitars did excellent analysis on this and the problems of these allegories based on the worldbuilding and story itself. (Note: thank you to fazedlight for finding the post in question! Click here o read their analysis.)

This makes it easier for the show to pretend that the DEO is "good" when the Superfriends are in charge. Since we don't meet alien families harmed by the DEO's actions, we never truly get an alternate perspective. Even Lena Luthor's critique of DEO is spat upon by the story, where her alien friends fail to truly counter her valid points. Instead, it's presented in the good/bad binary, which erases all nuance and ethical considerations.

Let's also consider the start of the Supergirl career. Kara is captured by the DEO 12 years after her initial appearance on Earth. However, prior to this moment, we had learned that Kara had nearly been taken by the government -- specifically Henshaw's control of the DEO. Jeremiah Danvers agrees to work for the government in exchange for Kara's freedom from being a government asset.

However, her saving Alex's flight puts her in the crosshairs of DEO, and eventually she is captured. Upon which she learns J'onn is in charge (not the original Henshaw), and J'onn's goals are revealed. He allows Kara to fight her first alien fights as Supergirl. Here we see that J'onn's methods have not actually changed anything about the DEO. The alien fight results in that alien being captured. Supergirl/Kara never hears what happens to the alien she fought and captured. No thought is given to the rights of that alien or if a fair trial will be given. Instead, we are told the alien is a "criminal' as if that somehow justifies the brutal treatment.

After Alex reveals she's an agent with the DEO, Kara fully trusts the agency.

So Jeremiah gave up his life to make sure Kara wasn't being used by the government, only for Kara later on working for the DEO, which is part of the government. Thus Kara ends up used by the government after all. The irony here.

Kara's blind spot here is:

she's privileged. A white-passing, human-passing alien. It's easier for her to hide as a human and not be clocked as an alien. Also, she's white, so less likely to deal with the complications of racism. The most she has to deal with is sexism and the DEO's procedures. This means she doesn't experience the worst the DEO and the systems that uphold it dish out to aliens.

Kara hasn't really interacted with aliens outside her friend group. She's relatively sheltered since coming to Earth due to Kal placing her with the Danvers and having to hide herself. She has no real knowledge of how aliens survive on Earth. This means she has nothing in which to compare the DEO's claims.

She blindly trusts Alex when it comes to DEO.

We don't see Kara questioning what happens to aliens until Season 3 (if it happens in season 1, I apologize as that season is a bit hazy for me). Here Psi saves Kara's life during a perilous mission. Kara then asks about her accommodations and finds out she has no window in her cell. She then demands Psi be given a cell with a window.

However, notice who Kara takes with her on that Season 3 mission: LiveWire (human but due to an accident became Livewire, so she's not an alien but a meta-human) and Psi (who is labeled a meta-human). So the two incarcerated people that Kara chooses are meta-humans and not actual aliens.

So again, we never see Kara interact with aliens outside her friend group unless she is interrogating them. Once the DEO is done with interrogations and the case "closed," those aliens disappear into these windowless cells. Which, need I remind that solitary confinement is labeled as torture for a reason?

Yet that is where aliens that are dubbed "too dangerous" end up by those with power. No rights given; left trapped in solitary confinement with (likely) no windows to never see the light of day again. Of course, because we are told the "good" people do this, it is thus "okay," despite it not differing in methodology with what the "bad" people did.

2. DEO's procedures don't match law. This is especially true when alien amnesty is put into law.

DEO changes NOTHING about their procedures after alien amnesty is put into law. This means that although aliens now have a legal right to a trial, the DEO does not provide this for them. No captured alien is given this right.

This means the DEO doesn't operate within the law.

So if the DEO can disregard laws if they so desire, then what is to stop them from terrorizing any citizen regardless of whether that citizen or alien or human?

What exactly is the ethics of the DEO?

Is the ethics dependent on who is in charge? But if one compares the tenure of the directors: Henshaw, J'onn, Lucy, Alex, Lauren, and Lex -- we see no difference in how the DEO acts.

They all target aliens and give them no rights. The aliens vanish into the cells never to be seen again. This includes some meta-aliens.

Some will claim that while the Superfriends are in charge only criminal aliens are thrown into solitary cells with no hope of release.

But that begs the question: Why do the Superfriends get to be judge and jury and/or executioner? What makes their decisions good but Lauren Haley's or Lex's or the original Hank Henshaw's decisions bad?

Why do the Superfriends get to decide that criminals get no right to a fair trial? Why do they not interrogate what is causing the criminal behaviors in order to change the conditions to avoid aliens resorting to "criminality" as defined by them?

In the end, it does not matter why an alien or meta-human engages in what the state has deemed "criminal" behavior; the methods used in capture and the end result is the same regardless.

The families of captured aliens see the same results regardless of whether "good" people or "bad" people are in charge of the DEO.

While alien amnesty is in law, the DEO, who is under Superfriend control at the time, does not alter their procedures to give the aliens they capture any rights. We never see the aliens or meta-humans captured ever given a fair trial. Nor do we see any programs to reform "criminals" or give them any chance at parole or redemption.

The only method for dealing with aliens and meta-humans uses a carceral prison system that is based in solitary confinement torture. Even the interrogation procedures used have elements of torture to them. In fact, many of the "interrogation" procedures use leading questions to entrap and force a confession under duress. None of these methods are conducive toward reform or fixing a system that deprives those captured of all rights.

Alternate systems for dealing with criminals are never explored. We never see transformative or restorative justice utilized. Both systems would require extensive dialogue with the communities harmed by the "criminals," and if there is one thing the DEO fail at consistently is dialogue with the impacted communities. Instead, their approach is top down, where their ideas of what is right and best is pushed down upon the communities they claim to serve.

Part of this lies with the fact the Superfriends can't engage in dialogue as long as they adhere to the oppressive methodology and practices of the DEO. Reform has failed to alter the ethical violations within the DEO. Alex Vidale wrote an excellent book called The End of Policing, which digs into the attempted reforms for police and how they have consistently failed. Vidale writes:

“At root, they [reformers] fail to appreciate that the basic nature of the law and the police, since its earliest origins, is to be a tool for managing inequality and maintaining the status quo. Police reforms that fail to directly address this reality are doomed to reproduce it.”

The DEO at its root was created to manage the inequality inherent between human rights and the lack of any rights for aliens. It was also created to control aliens and maintain a human status quo. The Superfriends attempt at reform fails to address this reality, and thus were doomed to repeat it.

Vidale continues:

“Police argue that residents in high-crime communities often demand police action. What is left out is that these communities also ask for better schools, parks, libraries, and jobs, but these services are rarely provided.”

Services to better the conditions of so-called "high-crime" communities are not shown to be rendered in the Supergirl world, while the Superfriends are in control of the DEO. It is not more policing that is needed, but more services which do not get provided for most of the show's story and worldbuilding. Thus, the communities that struggle with survival, who often must resort to "illegal" or "criminal" ways end up with only punitive measures that continue the cycle.

It's only in Season 6 when the Superfriends are no longer with the DEO that we start to see them engage in dialogue with the community in general (Kelly's arcs in particular touch on this for the lower income area that she tries to help, which is shown to be a mixture of nonwhite humans and some aliens).

If J'onn and others truly are seeking to reform the DEO, then that requires them to be in dialogue with the affected communities and to put forth new procedures that provide rights to those impacted. This is never done.

3. The DEO suffers no consequences for its actions.

The "Bad things" that happen under the "Bad" directors -- original Henshaw, Lauren Haley, Lex -- aren't ever addressed. Nothing really changes; instead the "Good" guys get back in control and things continue.

Was any reparations made for those harmed by the bad actors? Are the families impacted ever given compensation? We see some aliens rescued from Cadmus in Season 2 and Lex's Power Plant in Season 4, but what of the families of those murdered by Lex and Henshaw? The show fails to address this.

Instead, we are told that the "good" people are now in charge again and only "criminals" are being taken and incarcerated with no rights.

The concept of "criminality" depends entirely on who is in a position of power to dictate what constitutes "criminal" acts. One of the biggest problems with "criminality" as a concept is that it fails to interrogate the why these behaviors happen. What led to the "criminal act?" Are the people engaging in the act just "bad" people?

Often when basic needs are not being met, people may engage in acts of desperation to meet those needs. These actions may fall under what that society deems as "criminal." However, if the people's needs were met, then they wouldn't need to engage in desperate acts to meet their needs.

Another reason for "criminal" behavior stems from people who lack rights in a society. The oppressed will often fight against their oppressors using a mixture of methods (sometimes nonviolent, sometimes violent) in order to win their rights and transform society for the better. Until they win that fight, their actions are labeled as "criminal" by those in power.

Some rarer individuals may engage in acts of harm because they enjoy it such as Lex. However, this is actually very rare. Property crime and burglary is far, far more common. Yet, even those engaging in horrific violent crimes are still afforded a fair trial. Something aliens in the Supergirl universe are never given.

There's quite a few scenes where the aliens fought by Supergirl are engaging in robberies/burglaries or other property crimes. Those that seek to violently mass murder is actually rarer, and often the big villain of the season. At no point does anyone in the show reckon with the reasons someone may choose to engage in "criminal" behavior. Instead, all "criminals" are painted as "bad" regardless.

J'onn professes to be "reforming" the DEO to stop its reign of terror among alien communities. Yet, the most crucial components in changing an oppressive system? We don't really see him utilize them until Season 4, but by then the DEO is in the hands of Alex, who continues the procedures put into place by J'onn,

Paulo Freire writes in Pedagogy of the Oppressed concerning the "radical" as in the person seeking to end an oppressive system:

"The radical, committed to [human] liberation, does not become the prisoner of a 'circle of certainty' within which reality is also imprisoned. On the contrary, the more radical the person is, the more fully he or she enters into reality so that, knowing it better, he or she can transform it. This individual is not afraid to confront, to listen, to see the world unveiled. This person is not afraid to meet the people or to enter into a dialogue with them."

J'onn recognizes that the DEO's methods are wrong and unethical. When he takes over and poses as Henshaw, he wishes to transform the system. Except, this is where he fails, because he justifies his changes by claiming that now the DEO only locks away forever criminal aliens.

No thought is given as to why these aliens are making these decisions. What pushed them to rob a store? What pushed them to attack? Did they feel like they had no other choice? Was there no opportunities other than to rob for what they needed? Or to fight against a system that they deem is harming them and their communities?

These questions are not analyzed at all by J'onn or the Superfriends. They do not listen to those most impacted by the DEO. The only time we see J'onn seem to listen is when he is trying to work with Manchester in Season 4, but that results in Manchester being presented as bad in the end, while J'onn is shown to be good. Where he tried to redeem Manchester.

Yet Manchester had valid points about the treatment of aliens. His methodology in fighting back against what he saw as oppressive system is problematic, but he listens far more than Kara and the Superfriends to those being harmed by the systems that created the DEO.

So J'onn and the other Superfriends are failing to engage in dialogue with those harmed by the DEO. They fail to unveil what is truly horrifying with the DEO: incarcerating aliens in solitary confinement with no fair trial and no hope of ever seeing the light of day again.

The justification that because they are "criminals" this is somehow okay erases all the contributing factors that may make up the circumstances that lead to the "criminal" behavior. Nothing is truly done to remedy the situations that may drive someone to what the state labels as "criminal" behavior. It also unveils a horrible truth. Any alien (or meta-human or even human) can be marked an "enemy of the state" and thus a "criminal," where all rights they had prior be rescinded. We see this happen to Supergirl in Season 4. The only reason she isn't locked away in a cell with no windows is because Alex and Lena don't allow it. Unlike most aliens the DEO fights to find and capture, Kara has people fighting for her. But what about every other alien? Who is actually fighting for them?

J'onn's attempt to reform the DEO falls into the biggest trap for all radical liberators: it is all too easy to become complicit with the system at be and justify this than it is to actually change it from within.

As Paulo Freire puts so succinctly:

“Oppression is domesticating. The gravest obstacle to the achievement of liberation is that oppressive reality absorbs those within it, and thereby acts to submerge human beings' consciousness.”

Thus the DEO fails to be reformed. It's reign of terror in alien communities is not truly diminished. Nor does those fighting to "reform" the DEO engage in any dialogue with those communities to determine their needs or ways to improve conditions to decrease the need to resort to "criminal" activities.

In the end, the DEO stays an oppressive, clandestine agency that has no transparency, answers to apparently no one, takes away the rights of those they catch, and disregards laws as they please.

What the Superfriends have failed to learn and understand is that oppression cannot be defeated by reforming the system that causes the oppression. In other words, liberation cannot be achieved be reform alone.

This is why the destruction of the DEO in Season 6 is perhaps the best result at least within the rules of the Supergirl world. The Superfriends could not reform it from the inside, and by trying to do so, they ended up complicit to a harmful system. As long as they were tied to the DEO, the Superfriends would never be able to live out justice and uplift the rights of aliens and humans alike.

ADDENDUM: However, the Superfriends decision to go full vigilante is a whole other can of worms. They do attempt to be transparent in their actions for the communities they serve, but is there a way for people to hold them accountable? That isn't fully addressed. However, that would require a full essay, and this essay is only about the DEO.

[mistycmice]

A sudden thought that came to me

[hellenhighwater]

I'm just gonna answer this separately because it's easier to explain with pictures.

A "composite photo" is either one of two things--a single image made by merging multiple photos together, often in cool artsy ways to make it look like something impossible is happening, or, in professional and academic contexts, a collection of portraits of a class or group of people.

This is a composite of the Wayne State Department of Mortuary Science, class of 1958. I got it at a thrift store.

Sorority composites are those, typically including all the members in a given year, or all the graduating seniors. I have a bunch, because I was in an undergraduate sorority and then two graduate fraternities. And I also have composites from my graduating classes in both undergrad and grad school.

They're weird things to have, honestly, because I've never met anyone who displayed them at home or in their office outside academia. I just sort of have them forever, sandwiched between pieces of cardboard and napped on by Malice.

[eebie]

i cant keep it hidden any longer

[tsuchinokoroyale]

Well, now that Dec. 25th is over and we’re slowly marching to the end of the year, I have a confession to make.

I, in fact, DO have incredible calves 😔

[moeblob]

Just casually dropping relationship statuses after Azure Gleam or something.

(I really should play more SB but hhhhhh)

[alarrylarrie]

Just a thought… that quote about Louis disappearing and Satellite…

Anon. I want you think very carefully about what you’ve just done. Go to your room. How dare.

[qualityrain]

heres ur scheduled low quality shitposting

[hungerofhadarr]

What flipped the switch in my brain to make me think about The Witcher . Anyways . Um . Witcher au Giilvas and Wyll , Wyll is an Eagle Witcher and Giilvas is a Bear Witcher who mainly hung around Wolf Witchers and picked up their fighting style and for their first few run ins Wyll is trying to guess what school Giilvas is from ( bc he also hides his medallion so Wyll doesn’ t even have that One Bit of visual information ) . Um . They meet everyone else thru a series of contracts that they both keep picking up and doing at the same time ( Omg Destiny ) and they all end up travelling together … sorry I blacked out what was this post about

[maxgicalgirl]

Carlos is the kind of autistic I am and Cecil is the kind of autistic I want to be

[shimmeringweeds]

Pondering the thematic decision to rip the hope from our hands in the season one finale. The show begins soft and balanced. Then emotion comes crashing down hard before the expectation of hope rises again. Up and up and up and up......! just to be snatched away at the literal last minute.

Chasing elusive hope is a major theme of this story. So here I want to explore: how does hope relate to these character's fates?

To play with some thematic personification here, let’s reintroduce the Triple Star Warriors: Courage, obliterating fear (represented by Lu Guang); Justice, rekindling hope (represented by Cheng Xiaoshi); Wisdom, light the way (represented by Qiao Ling.) Do you remember what strongest attack of the Warrior of Justice is? "It's the heart of hope! Give me the power of Justice!"

Season two’s finale showed "Courage” desperately trying to defend "Justice," who is in danger of being lost. Meanwhile "Wisdom" is trapped in thought, keeping her light dim while desperately trying to find the justice, the truth, buried under hard facts.

Desperately. The word "desperation" comes from the Latin "de"-without, and "spes"- hope. 绝望 - the mandarin word for despair, also means “to give up hope.” Falling into despair means you have lost hope. To pick yourself back up out of that bleak darkness, that hole, takes courage. We say, "the only way out is up." But when you have the power to go back in time, accompanied by grief and regrets, how do you know what direction that is?

The hole of despair has multiple paths. Perhaps the only thing you can do by yourself is pick one direction and stubbornly stick to it. You're not wandering. You have a path, and with a little hope, you believe you've picked the right direction.

But actually, every path leads to an exit, good or bad, though all will be difficult to travel. Some are dark and ridden with traps and setbacks to prevent you from moving on. Many twist and turn, going up and down, connecting with other dangerous paths along the way. A few paths are safe but endless and steep. You pick one and you walk, you run, you fall, you get thrown back; but you've come so far you can't possibly start over. You're chasing this hope, specifically, and you want it. The thought of turning around and finding new hope is too much. So you persist. Is this persistence out of courage, or is it out of fear?

Which choice truly overcomes fear? Persisting desperately down a path of traps, facing regrets head on towards the hope and light you chose? or turning away, making peace, and beginning the steep, bittersweet climb towards a new life?

And how many carrots of hope will be dangled and snatched away in the process? How many times are you willing try? Won't giving up and turning around just drive you deeper and deeper into despair?

"The heart of hope. Give me the power of justice." If Cheng Xiaoshi is "Justice," then who is his heart of hope? and vice versa? You know, no one said you had to escape the hole of despair and regrets alone. Sometimes a friend or two jumps down after you.

To pursue justice takes courage. To side with justice takes more courage. In an unjust world, justice cannot exist without courage. Fear prevents justice from acting.

It's a good thing, then, that Courage is dead set on this path to protect Justice. Even better, Justice stands as a heart of hope on one side of Courage, while Wisdom lights the way on his other.

..... but, Justice will always follow the righteous path. Courage cannot determine what that is. Wisdom will always choose to shine her light on Justice and those who choose to follow him, wherever he may go. "Fear" can still guide Courage to look away from Wisdom's light, and betray what Justice stands for.

Justice rekindles hope. And Courage must face whatever hope Justice is want to bring.