#my favourite singular moments are the jokers last laugh ones

[sporkberries]

What are your favorite Tim and Helena moments in the comics?

IM GLAD YOU ASKED. There are a few moments i really like but here is a whole short semi-reading guide because i am incredibly annoying about them!

Their first interactions are in Robin III: Cry Of the Huntress. It’s a pretty cute and fun mini that establishes their relationship and snarky banter. Also this is where Ariana(one of tim’s ongoing love interests)is introduced!

After this there is the Benedictions short story which is in Dc Showcase 1994 # 5, Robin(1993), Showcase #6. They just team up to defeat a one time baddie, also AzBat is running around doing AzBat things

After this theres the Batman:Legacy storyline which is a sequel to Batman: Contagion. They don’t interact a ton here but they do work together to sneak onto Ra’s al ghul’s ship. Helena fights talia a bit but they’re mainly separated as Tim is creating a backdoor for Babs into Ra’s computer

Robin(1993) #33

Tim blew up ra’s property( this will not be the last time)

A fun little short story contained in Robin(1993) #34 has them interacting out of uniform- with Tim tripping out hoping she doesnt recognize him

After this read Robin Annual #6 it is cute and tim and helena are cowboys and i love it so much

After this is Joker’s Last Laugh. This is the story where Helena thinks Tim is dead and beats the shit out of Killer Croc(also where Nightwing kills the joker to avenge Tim) the Tim and Helena stuff is mainly in Joker’s Last Laugh #5, Robin(1993) #95, and Joker’s Last Laugh #6. Helena is very concerned for Tim and the Scene where she discovers his “death” is brutal.

Sadly they dont get a big reunion but thats okay because steph and tim were having a moment

I also of course Recommend Batman/Huntress: Cry For Blood. It’s my favourite Helena story and in it Tim not only annoys her in his little brother fashion but with Babs, works hard to clear Helena’s name.

One of my all time favorite Tim and Helena moments is when Helena while drugged literally hallucinates Tim as her dead little brother… yeah. Gotham Knights #38

Holy shit.

After this they stop interacting as much bc OYL is awful and then shit just kept happening and then the universe reset and Tim and Helena as we knew them were erased.

Anyways i really love them a lot. Tim clearly respects Helena enough to not rat her out to Batman but also to go out of his way to help and support her. Likewise Helena also cares for Tim and wants to protect him, again seeing him as a little brother(which hurts a lot when you think about what happened to her actual brother)

They might also interact in some of Helena’s JLA stuff but i have… not read any of that so i can’t speak on it

[joealwyndaily]

Man About Town interview with Joe Alwyn

Fresh off the back of a star turn in Kasi Lemmons’ Harriet, we catch up with British superstar Joe Alwyn about getting into an evil mindset, playing the long-game in his career, and his upcoming role in Steven Knight’s A Christmas Carol.

words by Francesco Loy Bell

It’s an unnerving experience, having to ask an actor to fill you in on the ending of the film you’re supposed to be interviewing them about, but it’s a testament to Joe Alwyn’s charm and down-to-earth manner that he duly obliges, happily relaying the final ten minutes of Kasi Lemmons’ Harriet with an infectious enthusiasm only someone with genuine passion for a project could muster. I had been most of the way through Lemmons’ bold new offering, centred around American historical icon and slave-turned-abolitionist Harriet Tubman, when the fire alarm sounded, resulting in a hoard of shell-shocked journalists being quickly ushered out of the building, only to be told that we would not be able to watch the last 25 minutes of the film. Fast-forward 24 hours, and I can’t help but pause to reflect on the surreality of sitting across from the films horrifying antagonist as he casually explains his fate to me over coffee. More on that later, however. 

Despite being the only actor in his immediate family, it’s fair to say Alwyn inherited some of the requisite DNA to pursue a career in film, his father, a documentary-maker and his mother, a therapist. Alwyn sees both as formative, instilling him with the “curiosity for looking into people’s lives, observing, and listening to stories” that had possessed him from an early age. “I always liked going to the cinema,” he explains, “sitting in big dark rooms, watching stories. It was kind of a way to disappear.” Though he cannot pinpoint the exact ‘light bulb’ moment in which he decided to become a professional actor, he does attribute seeing Ben Whishaw as Hamlet at the Old Vic when he was 12 or 13 as foundational, and “one of those moments that stick with you, where I thought: ‘I would really like to do that’.” That feeling soon blossomed, Alwyn taking numerous shows to the Edinburgh Fringe while at school and university, shows he can now jokingly admit “should not have been seen by anyone!”

Drama school naturally beckoned, the then-graduate enrolling himself into The Royal Central School of Speech and Drama, an experience he looks back on fondly, his eyes lighting up as he recalls some of the more eccentric aspects of his time there. “A lot of rolling around on the floor, a lot of tight black clothing. And lots of trees, I was a brilliant tree,” he laughs, before informing me, in sudden deadpan: “you’re also looking at a llama.”

Alwyn probably wouldn’t have expected such a swift re-entry into the dynamic absurdity of drama school so soon after leaving, but then he probably wouldn’t have expected to be working with director Yorgos Lanthimos only a couple of years later either. Having shot his first job — Ang Lee’s reverse-engineered war film Billy Lynn’s Long Halftime Walk — just after he graduated in 2015, Alwyn was sent the script of a then still in development The Favourite soon afterwards. “It felt like a special script. I mean, at that point, I hadn’t read that many scripts. I still was” — he catches himself, as his eyes widen in momentary wonder — “well, I still am new to this. But yeah, it was just... such a good script. I knew of Yorgos; I knew of his films. And those two things kind of narrowed together: this twisted take on a genre that can be quite conventional and stuffy, and his very unique, singular mind. It was exciting.”

A skype session with Lanthimos soon followed (“we talked about everything probably apart from The Favourite” Alwyn laughs), and the rest is history, the actor landing the role of Samuel Masham, a young baron in the court of Olivia Colman’s Queen Ann. Though his turn in the film is punctuated by exaggerated physicality — the court dancing scene with Rachel Weisz a particularly memorable example — Alwyn tells me that it was only when he got on set that Lanthimos’ true, bonkers vision began to come to life. 

“I didn’t know that it was going to become one of those moments,” he says of the dance scene and others like it. “Because in the script it just said ‘they dance’, or, ‘he chases her’.” He can’t help but smile when speaking about Lanthimos: “He is hilarious. And confusing. He doesn’t really say anything to you about conventional direction; there was no discussion of period, or etiquette, or character, or history — which I think we’d expected to a degree, just because of the nature of the film. We had two weeks of ridiculous exercises and rehearsals, where I’d be playing Olivia’s part, and Olivia would be playing Nick [Hoult]’s part, and you’d sing the lines, and you’re chasing each other, and... you don’t know what you’re doing, or why you’re doing it. And Yorgos doesn’t say anything. And then he’d get on set, and just kind of say ‘Mmm... louder, faster, quieter’.”

The profound respect Alwyn holds for Lanthimos is tangible — he responds “Yorgos again” in a flash when I ask him who he’d love to work with — and he largely credits the director’s vision for the success the film has since garnered. “He made it weird and wacky and bawdy and irreverent, and it’s just not what you’re used to seeing,” he gushes. One particular on-set tale gives some insight into the energetic nature of Lanthimos’ sets, Alwyn recollecting a close-shave experience during a flirtatious forest scene with Emma Stone which resulted in the actress being taken to hospital. “The woods scene; the rugby tackling scene. We — or I — got maybe a little too carried away in the rugby aspect of it, and Emma took a fall... which was completely my fault. She knocked herself on the root of a tree and hurt her head; the paramedics came, she had to go to hospital, and we had to stop filming for the day.” The sheer panic still momentary lingers on Alwyn’s face as he recounts the story: “She’d just won an Oscar [...] I was cowering in the corner thinking I’d just killed Emma Stone.”

Alwyn’s latest project, Harriet, is a stark departure from The Favourite, the actor trading in Masham’s comic fluidity for the chilling rigidity of Gideon Brodess, the vengeful and sickeningly violent son of Harriet’s owner. As aforementioned, it is difficult to reconcile the man sitting opposite me sipping his coffee with the evil he portrays on screen, and I’m curious as to Alwyn’s process for getting into such a poisonous mindset. “It’s tricky, because what he stands for is abhorrent, and obviously unrelatable,” he explains. “What him and his family did, and the idea of slavery, is repulsive. But I suppose with those kinds of characters you try to find some kind of humanity within them — which suits the time they were living in — to hold onto. And in Gideon’s case, it’s probably some kind of deep, repressed, buried feelings of love. Maybe love for Harriet? I don’t think he necessarily has a language for it, or even understands what it is. But he’s deeply tangled and confused inside. And you try and connect with those sides of him. But, in terms of who they are and what they stand for... it’s hard to find a way in. It’s near impossible.”

Alwyn gives a brutal performance in the film, deftly showcasing Gideon’s skin-crawling internal struggle between racist disgust, and Lima Syndrome-style  lust of Harriet, and his antagonistic villainy is the perfect foil to fellow Brit Cynthia Erivo’s stunning performance as the eponymous emancipator, Alwyn extolling her “formidable” work ethic and on-screen generosity as hugely motivational in his preparation. The story of Harriet Tubman, though well known, is perhaps not as staple a piece of knowledge in the American psyche as her actions demand, and Alwyn hopes that the film will help to give her the wider historical credit she deserves, both in the States and beyond. “Growing up in the UK,” he explains, “I didn’t know who she was, really. I’d seen her name; I’d seen the older iconic images of her. But I didn’t know her story. You hope that films like this will make it more accessible, and bring people in to learn about her and the story of what she did, what she achieved.”

As the politics of division take hold around the world, there has been an intensified focus on the debate surrounding story-telling, and the potential impact or consequence a story can have in the current climate; Todd Phillips’ Joker, for example, has faced significant criticism for potentially giving encouragement to white terrorism and racism. In this vein, the telling of stories like Tubman’s seems more necessary than ever, and this is not lost on Alwyn. “If you go on Twitter and read down on the news, there’s endless stories of division and racism, bigotry, families being torn apart at the borders. Without putting too much on it, if there was someone who represents a fight in the face of that, Harriet Tubman seems to shine pretty strong. And you’d hope that someone like her would become a part of a global curriculum at school.” Alwyn is hopeful that giving figures like Tubman their due historical credit — at least in terms of film — will universalise her all-too-recent struggle, and help unite people in the face of societal partition.

Alwyn’s next project will see him return to London, albeit a dark, Dickensian version of the city, as he takes on the role of Bob Cratchit — Ebenezer Scrooge’s much-abused clerk — in Steven Knight’s upcoming rendition of A Christmas Carol. Though he cannot give too much away, he promises the miniseries will be much darker and truer to Dickens’ sordid portrayal of London than previous versions. “It’s very much more in that kind of gritty, darker, slightly twisted world,” he explains. “It’s not as sanitised, perhaps, as most other versions are [...] it really goes into Scrooge’s own pain and why he is the way he is in quite an unpleasant way. And definitely in a way that hasn’t been seen before.”

Alwyn speaks with a soft, magnetic enthusiasm that almost makes me forget that this is indeed an interview, and I am disappointed to look down at my dictaphone and discover that our allotted time slot is drawing to a close. Characteristically, however, he laughs off any time constraint, and I am afforded some final questions. At 28 years old, the actor is arguably slightly older than some of the other industry ‘up-and-comers’ one might bracket him alongside, and I ask whether he thinks the hyper-visibility of fame elicited by social media is in part to blame for an increasing tendency to link the validity of success with being in your early 20s. Alwyn, despite having an instagram page and being in a relationship with one of the biggest musicians in the world, is notably more private than many others in his position, and he quotes a piece of advice given to him by Ang Lee on set of Billy Lynn in his response.

“It’s not a sprint,” he decides, after some deliberation. “Everyone has different ways of going. I’m still at an early stage in my career. I left Central in 2015, the first film I was in came out at the end of 2016. It doesn’t feel too long ago. I don’t think there is any right way to do it, but [...] I do think it’s an interesting point about social media and the idea of instant visibility, an instant attainment... it’s a dangerous thing to play into. And something that would be dangerous to get hooked on because I don’t think it’s real. You know, social media is [a facade]. And if you buy into that being a reality — or that’s what you go after — it’s not healthy.”

I am struck by how refreshing Alwyn’s attitude to fame is, though by the end of our conversation, I am hardly surprised. This is someone for whom the work is clearly a far superior motivational factor than fame or recognition, and this passion for his craft is evident in every project he touches. Ang Lee was right, it is a marathon rather than a sprint, but Joe Alwyn certainly seems ahead of the curve as he enters what promises to be a vastly exciting new chapter in his career. I, for one, can’t wait to see what he does next.

[news-mashable-yahoopartner-blog]

Out-of-context Twitter accounts keep your favorite shows alive online

The joy of Parks and Recreation will never leave me, not even in the dark corners of Twitter. It’s a strange yet reaffirming thought for me and the other 166,000 people who follow the "out of context parks" account.

As its name suggests, the account takes scenes from the beloved NBC comedy and posts them without any context, leaving it up to the reader to interpret the meaning. 

pic.twitter.com/J9LiNdUEFj

— out of context parks (@nocontextpawnee) January 30, 2019

While not affiliated with the network or the show officially, it is still part of a burgeoning trend on the social media platform. Pop culture-based out-of-context accounts have been popping up all over the place in the last few years. 

From iconic TV shows like Buffy the Vampire Slayer to critical faves like The Good Place, from Marvel movies to recent Oscar nominee The Favourite, there are out-of-context pages devoted to all kinds of entertainment.

SEE ALSO: Crush Twitter proves that sometimes subtweets can be good

The basic principle boils down to the same thing: posting close captioned screenshots without additional comment. The jokes really just needs to be taken at face value and are actually the perfect buffer from a sullen cycle of bad news and bad tweets. 

Why wouldn’t I want to be interrupted by Leslie Knope and Ben Wyatt in the middle of my mindless Twitter scroll? As a lover of obscure board games and Adam Scott being nerdy, Cones of Dunshire will always warrant my attention.

pic.twitter.com/sH1CZswCsx

— out of context parks (@nocontextpawnee) January 15, 2019

Kaysi Long created the Parks account in the summer of 2017. She told Mashable she was inspired by a similar account dedicated to cult favorite Buffy. 

"I thought it'd be fun to do the same thing for a TV show I love," she shared via email. She noticed the engagement started picking up heavily within the first 6 months. 

Long binged the show and took several screen caps along the way. "I have a ton saved up now so I haven’t had to spend too much time watching it again and again. How I decide what to post is usually pretty random," she said. The exception is when there's really something timely to share. 

pic.twitter.com/2Tr7K4xzys

— out of context parks (@nocontextpawnee) January 22, 2019

The allure of out-of-contexts as they pertain to movies, TV, games, comic books or even people (who can say no to even more ways of taking in John Mulaney's humor) stems from the need to consume content repeatedly and quickly.

It's also the simplest form of a throwback. 

When I discovered the out-of-context account for The Office, another all-time favorite, I spent a joyous 15 minutes laughing as I recalled the specific details of every post. This post got me so much that I immediately felt the need to revisit the opening of Season 4's "Money" and listen to the opening music, which is indeed very cheerful. 

pic.twitter.com/1XQxBykdqn

— out of context the office (@officecontexts) January 10, 2019

The concept of sharing a singular moment of dialogue goes way back. First it was posting quotes or even lyrics without any context on AIM or Facebook, and now it's as Instagram captions. It's ~cool~ and fun. 

Twitter out-of-context humor is a whole other ballgame. It can be fleeting and varied, taking the most basic lines and proclaiming them to be entertaining.

For example, @NYTMinusContext tweeted nothing but random verbatim phrases from various New York Times articles. It amassed 205,000 followers in it's almost 5 years of existence. It's easy to see why. 

seriously, I will tear my hair out and eat it. HA-HA-HA

— NYT Minus Context (@NYTMinusContext) February 23, 2018

everything on planet Earth is falling apart

— NYT Minus Context (@NYTMinusContext) March 10, 2018

In its more recent wave, this format gets a visual and cultural makeover. The image elevates the comedy, and it speaks to our need of dissecting pop culture at a minute level.

Twitter provides the means to do this easily. 

A scene stripped down to its barest form will still come off as amusing. Emma Stone's maniacal "Fuck! fuck! fuck! fuck!" is a real mood, regardless of whether or not you've seen The Favourite. 

pic.twitter.com/gsr7aaBRdx

— the favourite out of context (@tongueinsideme) February 14, 2019

Out-of-context accounts indirectly share a purpose: to reel you in. I started following "out of context bojack horseman" early last year without having ever seen BoJack Horseman. After liking enough tweets, I knew I had to prioritize checking this comedy off of my Netflix queue. 

If just the screenshots were enough to crack me up, the entire show would definitely win me over, right? Reader, it did. 

pic.twitter.com/h0Dgid7Cp7

— out of context bojack horseman (@nobojackcontext) October 13, 2018

It proves out-of-context humor can please anyone and doubles as a great way to lure you into learning more about its original source. 

This formula even got an official Netflix stamp of approval. To promote its original witty teen drama Sex Education, the streaming platform created a verified no context account for this extremely quotable show. 

They wanted the scenes to resonate with fans and to make the people who hadn't seen the show feel the FOMO. It's a great way to keep the fandom growing, as the account's 98,000 followers show.

I WAS W A I T I N G FOR THIS QUOTE URGHH ICONIC

— Anna ❤️💍 Charlie (@zahartovana_) February 4, 2019

Famed comic book writer Gail Simone, known for her work with Deadpool and Birds of Prey, is a Twitter aficionado who has created several "ridiculous" conversation-starter pop culture hashtags, including #lackofcontexttheater in 2017. 

"I love that you say something absurd, and soon, hundreds, maybe thousands of people who get the joke jump in and add to it," she told Mashable.

In this case, she wanted to point out the weird writing of comic books that, devoid of contextual panels around it, sometimes hint at mysterious psychosexual horrors and kinks. "There’s an entire 1940’s story where Batman and the Joker spend the entire issue talking about boners, and you can’t help but laugh."

@GailSimone can't forget this legend #lackofcontexttheater pic.twitter.com/L71O9hC66e

— jodi❗️❗️ (@AbyssalOdin) January 8, 2017

@GailSimone #LackOfContextTheater I don't think this scene will make it into Homecoming. pic.twitter.com/VFiB5ktVII

— Tomb Svalborg (@tombness) January 8, 2017

@GailSimone Found another good one for #LackofContextTheater pic.twitter.com/610TR8Dcu1

— Juan Carmona (@JDCarmona91) January 10, 2017

Simone didn't think her hashtag would blow up the way it did but even after a couple of years, the underlying trend holds up. "I went back and read all of the tweets and they made me laugh all over again," she shared. 

"It’s simply a matter of seeing something familiar and wholesome and imagining there's more to it." 

It is funny to imagine an unseen world where Batman is really obsessed with Joker’s constant boners. That's why folks are so involved with the hashtag. And that's why they're so involved with the entire trend of pop culture out-of-context accounts.  

Everyone gets to be in on and enjoy the joke, even if they're not fully familiar with its genesis.

WATCH: Alexandria Ocasio-Cortez is giving Twitter classes to fellow Democrats