#tim dennis

[tim-dennis]

Stone Bridge in the Woods

[team--charlotte]

at any given moment

[sirhinkjinks]

nightwing psa dont vape fear toxin and dont get your super friends on toxic fumes and dont throw up on my brand new gloves you ruined the circuitry timmy

[heroesriseandfall]

Dick’s role in A Lonely Place of Dying is so massively important and good, which is why it’s so sad when it gets overlooked or erased.

In the 1990 collected edition, Dennis O’Neil (Batman editor of the time) talked about why he wanted Dick to be a central part of the third Robin’s origin. Dick needed to be there to show several key points:

Tim and Dick are deeply connected to each other (their childhood meeting at the circus, which links old Robin to new)

Dick approves of and endorses Tim as Robin (he directly tells Bruce that Tim should be Robin)

Dick cannot return to being Robin, no matter how much he tries, because he has his own new role now (this is shown through the failed Batman/Nightwing teamup against Two Face)

O’Neil’s goal was to preemptively combat any potential concerns or complaints readers might have about a third Robin. He had overseen the updates to Jason’s origins and had observed the mistakes they made and which complaints they received. In particular, the new origin for Jason 2.0 gave Dick little control over leaving the Robin mantle or passing it down. This bolstered fan complaints that Jason was usurping Dick, a feeling that O’Neil did not want to continue with the third Robin.

These considerations were the foundation of how Marv Wolfman constructed Tim’s origin and character: someone with an almost fated connection to Dick, who idealized Dick and was passionate about what the dynamic duo meant as symbols, and who explicitly had Dick’s blessing to be Robin.

So, when people remove Dick from Tim’s origin, they are removing a core part of Tim’s character and how he got the mantle.

[djkerr]

BTS The Pitt 📷🎥 @shabazeez IG

[frederikvesti]

INDYCAR DRIVERS + onion headlines

[filmjunky-99]

i t, 1990 📺 dir. tommy lee wallace

[haydenthewitch]

Bobby Nash is not dead: my predictions for the rest of the season

the military does not release bobby's body to Athena grant or the 118 because of the deadly super virus and all of that. They bury him in a birch box in an unmarked grave with all of the belongings that he brought into the lab (including his cell phone) becuse 'milatry protocal' or whatever the fuck

We see the LAFD funeral procession and the 118 grieving and dealing with the loss. They put an empty official LAFD coffin in the ground. (WE NEVER SAW PETER IN THE COFFIN OR ON SET IN THE BTS. IT COULD TOTALY WORK)

We hear the 911 sound and Maddie picks up. it's bobby. He's freaking out. She's freaking out. She pings his phone and finds his location/

Maddie breaks protocol and calls Athena. She's on bereavement leave, but the second that she hears that bobby could be alive she grabs her gun and badge in order to go get her husband. She calls buck and the entire 118 and they come too.

Maddie is freaking out because bobby is describing the air getting thin; he's going to suffocate in that box and then it will all be for nothing. She asks if there is any way he can punch trough the flimsy wood. she prepares him by telling him to hold his breath and shield his eyes as much as he can; basically don't drown in dirt.

bobby makes it out alive, punching through the wood and crawling back up to the surface (a-la dean winchester season 4 epi 1) and he RUNS into Athena's arms (NO GRAVE CAN HOLD MY BODY DOWN. I'LL CRAWL HOME TO HER)

But hayden, i hear you saying. peter krause is leaving the show. how can bobby nash be alive and not the captain of the 118?

after they cure bobby of super killer very bad virus (via Chekov's lab rat) bobby tells Athena that he wants to retire. He gives a whole speech about how every day he puts on the uniform and he accepts that it's possible he's going to die in the field. He walks through fire and prays that he's going to get home to Athena every night. he tells her that in the lab, he wished it didn't have to be that way. now it feels like god has given him his second chance, and he doesn't want to go back to the possibility of dying every shift. He's going to retire, and live a long healthy life with her.

Bobby sits buck down to tell him this news. Buck is at first upset; how will the 118 thrive without their captain? but he quickly accepts and understands that it's not about him, or the 118, it's the one self-interested thing bobby is doing for himself. Bobby always puts everyone else first (including when it came to who lives and who dies) and this he is doing for himself.

Buck makes a joke about 'well i wonder what shmuck they are going to put in your place. big shoes to fill' and bobby says 'oh i wanted to talk to you about that too.' BECUSE THINK ABOUT IT. he looked at buck in his FINAL MOLMENTS and said "they are going to need you, kid." he took the time to encourage buck to LEAD. when bobby nash promotes Buck to captain, everything comes full circle. including that conversation they had about buck eventually being ready to be captain.

IN CONCLUSION, BOBBY NASH ALIVE AND BUCK BUCKLEY CAPTAIN OF THE 118

oh and buddie canon season 9

[forgetyoursingalongsandlullabies]

Jon telling Martin off for creating a new (frankly more logical) filing system for the archives: You know what, Martin? You shouldn’t be making these decisions anyway, okay? You’re not the decision making type.

Martin: Okay.

Jon: as the brains of this organization, I should’ve made the decision.

Tim: Whoa, Whoa. I’m sorry. Since when did you become the brains?

Jon: Uh, I’m sorry I’ve always been the brains.

Tim: What? What are you talking about? I thought I was the brains. What the Hell am I?

Jon: You’re the looks!

Tim: Well, yeah. Of course I’m the looks. But I always thought of myself as the brains and the looks.

Jon: No, you’re the looks. I’m the brains. Martin is the wild card.

Martin: Whoa. That’s awesome!

[havendance]

Anyway, my proposal for a run on Detective Comics where I write a series of one-shot stories showcasing all of the various supporting cast Batman has accumulated with stories, including, but not limited to:

Batman invites Nightwing to Gotham to help him solve a murder. The murder is very straightforward and they dance around the real reason Bruce invited him, until at the end, he finally admits in a constipated Bruce way that it's the anniversary of him adopting Dick and he wanted to spend time with him.

Huntress and Robin (Tim Drake) team up to investigate Killer Croc. It turns out he's turning over a new leaf in the sewers near the Marina. Huntress is dubious, but Robin convinces her to give him a chance, though she says she'll be watching him. We re-canonize Joker: Last Laugh.

Damian and Duke team up to take on a street-racing operation--a mission that naturally requires them to do some high adrenaline racing together.

The Riddler gets on social media with a plot that involves lots of puzzles and clues all over Gotham. Oracle taps into old members of "We are Robin" to take it down.

Batgirl (Stephanie Brown) and Batman end up on the same missing persons case. With the pressure on to find the missing child, they snipe at each other as tensions rise. In the end, after saving the kid, Bruce sort of kind of apologizes in a Bruce way and expresses some measure of respect for her.

Jason teams up with Ghostmaker to take on, idk, one of the Clayfaces. Does Gotham still have one of those? I haven't read any comics ghostmaker's in yet, but from I've heard it sounds like they'd have an interesting dynamic. Jason gets flashbacks to digging his way out of his grave.

Luke Fox recruites Harper Row (She does engineering stuff right? I also need to read comics she has a significant role in.) They take some new tech for a joyride and go bother the Penguin.

Batgirl (Cassandra Cain) and Azrael team up to take down Mad Hatter. He probably has some elaborate Alice in Wonderland theming going on that neither of them get. (I think neither of them should have read it.)

Batwoman and Catwoman team up to steal back some Kane family heirlooms, possibly from Jacob Kane (What's his and Kate's relationship looking like anyway?), possibly from someone else.

Gotham Girl and somebody. Me advancing my Cass & Claire agenda Possibly Oracle trying to rehabilitate her in that controlling yet well-intentioned way she has sometimes? Someday, I will get to being more up to date on what Claire's status quo in current comics is.

A handful of representatives from Gotham's various crime families get together in the backroom of a bar somewhere. They play poker and exchange stories of being busted by the various bat-affiliated vigilantes in which they are very scary and almost inhuman. It ends with Batgirl (Cass) busting in and beating them up.

Helena Bertinelli takes a gig as a substitute teacher at Gotham Academy. She teams up with Maps & other supporting cast when Mr Freeze takes the school hostage while trying to escape the police.

[tim-dennis]

Benagil Cave

[hmslusitania]

Just like life to come and teach me a lesson every time I swear I forget it

Tim has exactly zero interest in letting some playboy, very recently ex-child star, come shadow him in Gotham for some hands on method acting experiment. All so he has a better shot at a "real" acting career. No, Tim has much better things to do. Like avoid his family (badly) and be totally, perfectly fine after his most recent break up (lying). He just... probably shouldn’t have pissed off his director of social outreach before she had a chance to tell Conner Kent’s agency “no.”

Featuring CEO Tim Drake, former child star Conner Kent, and the absolutely mortifying ordeal of being known (and perhaps the euphoric experience of knowing someone else... eventually)

[sirhinkjinks]

[heroesriseandfall]

Introduction to Batman: A Lonely Place of Dying, April 1990

Introduction by Dennis O'Neil for Batman: A Lonely Place of Dying (1990 collected edition)

Transcription below the cut/readmore.

INTRODUCTION by DENNIS O'NEIL

Robin was gone. We needed a new Boy Wonder. There had been two previous Robins. The original first appeared less than a year after a new costumed hero called Batman made his debut in DETECTIVE COMICS #27, to instant success. Some time within the next eleven months, his creators, artist Bob Kane and his writer-collaborator Bill Finger, decided to give their dark, obsessed hero a kind of surrogate son, Robin, who was hailed on the cover of DETECTIVE #36 as “the sensational character-find of 1940—Robin, The Boy Wonder.” Over the next 40 years, Batman’s fortunes varied: always, however, Robin was at Batman’s side.

He served a couple of functions. If Batman were real (and it may shock some of our more avid readers to learn he isn’t), and if he were the grim, obsessed loner he is often portrayed as, Robin, with some help from Batman's faithful butler Alfred, would keep him sane; a man whose every waking hour is focused on the grimmest aspects of society, who is unable to release the effects of seeing his parents murdered, whose life is an amalgam of sudden violence and lonely vigilance, would soon skew into a nasty insanity if he did not have someone to care for, someone to maintain a link with common humanity. But Batman is, of course, not real. (My apologies to avid readers.) He isn’t exactly a fictional character—more on that shortly—but he does not and could not exist as a living, breathing human being. That doesn’t make Robin any less useful: he serves the same functions in the Batman stories as Watson served in the Sherlock Holmes canon and the gravedigger serves in Hamlet: like Holmes’s faithful doctor, Robin is a sounding board, a person with whom the hero can have dialogues and thus let the reader know how brilliantly he’s handling matters and like the gravedigger, he occasionally provides a bright note in an otherwise relentlessly morose narrative.

Which is why I was a trifle uneasy when we—the editorial staff of DC Comics—decided to let our audience decide whether he would live or die. It came to be known in our offices as the “telephone stunt.” We had a character, Robin, the readers didn’t seem terribly fond of. This wasn’t the original Robin, the “character-find of 1940”; that Robin was Dick Grayson and he had graduated from sidekick to bona fide hero who fronted a group of evil-fighting adolescents, The Teen Titans. In 1983, it was decreed that Robin should grow up and assume a crime-fighting identity of his own—become his own man, as befitted the leader of the mighty Titans. He left Batman’s world to assume the name, costume, and persona of Nightwing. Gerry Conway and Don Newton replaced him with a second Robin, Jason Todd, whose biography was virtually identical to that of Dick Grayson. Why not? Gerry and Don were not trying to innovate, they were simply filling a void. The assignment they were given was simple: Provide another Robin. Quickly and with as little fuss as possible.

In 1986, Max Allan Collins inherited the Batman writing assignment and told his editor he had an idea for an improved Jason Todd. Make him a street kid, Collins said. Make his parents criminals. Have him and Batman on opposite sides at first. Sounded fine to the editor and, since DC was in the middle of a vast, company-wide overhaul of storylines anyway, Collins was told to go ahead. I was the editor; I did the telling. And I’d do it again, today. Collins’s Robin was dramatic, did have story potential. But readers didn’t take to him. I don't know now, and will probably never know why. Jason was accepted as long as he was a Dick Grayson clone, but when he acquired a distinct and, Collins and I still believe, more interesting backstory, their affection cooled. Maybe we—me and the writers who followed Collins—should have worked harder at making Jason likeable. Or maybe, I guessed, on some subconscious level our most loyal readers felt Jason was a usurper. For whatever reason, Jason was not the favorite Dick had been. He wasn’t hated, exactly, but he wasn’t loved, either. Should we write him out of the continuity? It didn’t seem like a bad idea, and when we thought of the experiment that became the telephone stunt, Jason seemed the perfect subject for it. The mechanics were pretty simple: we put Jason in an explosion and gave the readers two telephone numbers they could call, the first to vote that Jason would survive the blast, the second to vote that he wouldn't.

It was successful—oh my, yes. We expected to generate some interest, but not the amount or intensity we got. As soon as the final vote was tallied—5271 for Jasons survival, a deciding 5343 against—the calls began. For most of three days, I talked to journalists, disc jockeys, television reporters. We got a lot of compliments. They ranged from a critic’s liking our stunt to the participatory drama of avant garde theater to the brilliant comedy team of Penn and Teller expressing mock envy that we beat them to “the kill-your-partner-900-number scam.” But then came the backlash, ugly and, to me at least, totally unexpected: one reporter claimed that the whole event had been rigged—that, in fact, we had decided on Jason’s demise ahead of time and staged an elaborate charade; a teary grandmother said that her grandchildren loved Jason and now we’d killed him; several colleagues accused us of turning our magazines into a “Roman circus.” Cynical was a word used. And exploitive. Sleazy. Dishonorable. Wait a minute, I wanted to reply. Jason Todd is just a phantom, a figment of several imaginations. No real kid died. No real anything died. It’s all just stories—

I would have been wrong. Batman, and Superman, and Wonder Woman and their supporting casts are quite a bit more than “just stories” if, by “stories,” we mean ephemeral amusements. They’ve been in continuous magazine publication for a half-century, and they’ve been in movies, and television shows, and in novels, and on cereal boxes and T-shirts and underwear and candy bars and yo-yos and games—thousands of ventures. For fifty years. Fifty years! Although the circulation of our magazines is relatively modest, these characters have been so enduring, so pervasive, they have permeated our collective consciousness. Everybody recognizes them. They are our post-industrial folklore and, as such, they mean much more to people than a few minutes’ idle amusement. They’re part of the psychic family. The public and apparently callous slaying of one of their number was, to some, a vicious attack on the special part of their souls that needs awe, magic, heroism.

We had promised to abide by the telephone poll, and we would. But within a few days, it became apparent that we’d have to begin growing another Robin. We had forgotten that Batman exists outside the pages of our comics, is not the exclusive property of DC’s editorial staff; because he is both popular and imperishable, hundreds of others have some legitimate interest in him (not the least of whom are the readers who, for one reason or another, had missed the voting.) Our medium may have kept him alive, but others have added immeasurably to his success. When we began hearing from them, the consensus was that a Batman without a Robin wasn't quite a Batman. I wasn’t surprised. Nor did I disagree, particularly. So our problem became: how to create Robin III without generating the hostility that plagued poor Jason. Dick Grayson was the answer. If, as we thought, readers felt Jason had somehow usurped Dick’s place, then we should link the new Robin to Dick—give Robin III his predecessor’s stamp of approval. One writer had done almost all of the Dick Grayson material DC had published for a decade: Marv Wolfman, co-creator (with George Pérez) of the New Teen Titans. That made Mary the first, and really only, choice to undertake the task of giving Batman a new helper. And if we were using Marv, why not have some of the story happen in the pages of THE NEW TITANS, which he was already writing, and thus be able to take advantage of the very considerable talents of Marv's collaborator on the Titans, George Pérez? George volunteered to co-plot the story with Mary and do layouts on the TITANS episodes, and editor Mike Carlin enlisted Tom Grummett and Bob McLeod to complete George's graphics work. I asked the regular BATMAN artists, Jim Aparo and Mike DeCarlo, to handle the BATMAN issues. Finally, we chose a name for Robin III—Tim Drake—and, after a couple of editorial conferences, six gifted gentlemen retired to do what they do best.

The result seemed worthy of being collected between one set of covers, to be read as a graphic novel. We decided to do that and you’re holding the result. I hope you enjoy it. But please don’t think it’s the end of the Robin III saga. Dick Grayson’s lasted 50 years, after all, and Tim Drake does have his blessing.

Dennis O’Neil

April 1990

[ahsxual]

Can someone give me some ideas to write about Matthew Lillard characters? 🥺 I want to write about Tim Laflour, Stevo Levy, Stu Macher, Doug Van Housen, Dennis Rafkin, Tim from The Curve, Jerry Conlaine, Billy Brubaker, Shaggy Rogers and obviously William Afton ✨ Maybe other Matthew's characters, if you request it? 🤭 (I think it's important to say that I only write with fem!Reader or GN!Reader <3)

[1doesnotsimplyhavejust1fandam]

Two full seasons of Hen and Karen trying their best to give that little girl a permanent home and keep her close to her brother (both of her brothers! because Denny counts!), and the payoff was a 15 second scene in a song montage in a season finale when we’ve barely even seen Mara or Denny in 8b. If you were going to write Hen and Karen struggling to add to their family across that many seasons (like were they not already agreed on trying IVF with a donor when the ladder truck exploded??? in season TWO???), the scene where they finally completed their family should’ve been paid much more attention and love than that single scene. It’s the same thing with Madney’s baby number two birth scene. Maddie, Chim, and Jee have suffered so much over this season (and since season 2 as well!!) trying to be together and heal as a family. You can’t just shove these adorable children and additions to the 118 family in our faces in 15 second scenes and expect it to feel fulfilling. If you want to have big emergencies in multiple episodes, get better at pacing so that you can show the family moments that you should know by now are the real aspect of the show that makes fans stay. The big emergencies can still be the draw without overwhelming the script and character arcs. These aren’t fulfilled storylines when you wrap things up quickly at the end of the finale’s big emergency because the time after the final commercial is not enough to give the whole firefam their rightful screen time.