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sunnybeescos · 6 years ago

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Nothing Like You

Fangs Fogarty

Chapter 2

Word Count: 1533

Warnings: Cussing

Lyra stared at the back of the boy’s head as he took his seat in their booth smirking over at her. Lyra quickly turned back to Kevin and looked at him with a questioning glance. “Who?” Was all that she was able to say. She was surely flustered by the boy she made eye contact with. Kevin laughed looking at the boy in leather and said “ That’s Jughead Jones and his friends. They are serpents.” Kevin said as he glanced at Jug and his friends across the diner. With a confused face, Lyra looked at Kevin “Serpent? What do you mean?”She asked still confused over all of it. “ The serpent's run the southside of Riverdale, whereas the Bulldogs run the northside”. Kevin said as he sighed dreamily. “There is this Bulldog named Moose and oh my lord! He is a big hunk of man!” He said with dreamy eyes as he leaned forward on the table. Lyra leaned closer and said, “ But what I want to know is who is the shorter brown eyed hunk with him, Kevin?” Kevin turned to look at the group only to turn seconds later and shrug “Don’t know them only Jughead because he is dating Betty Cooper” Kevin said with a shrug. “Oh okay, that makes sense seeing as there aren’t any southside kids at Riverdale High.” Nodding Kevin said, “ Why don’t we go look around Riverdale a little more?” He suggested, “Sure why not,” Lyra says getting only to turn and bump into what felt like a solid wall. Lyra’s face was a bright red as she saw the thumb tattoo of the wall she slammed into. Feeling a cold sensation down her shirt she realized that the person she bumped into was holding a drink. Looking up to meet the intense angry expression of one of jughead’s friend, “What the hell?!?! Can you northsiders watch where the hell you are going?” He exclaimed as his face glowed a bright red “Oh my god! I’m so sorry, I didn’t see you walking behind.” Turning around quickly Lyra grabbed some napkins to help clean off his shirt. Frustrated the big skyscraper of a boy said: “Stop you will just make it worse”. Looking around to see what she should do she locked eyes with the same guy from earlier, Kevin walked over gently grabbing her and saying “I think we need to leave before this gets worse” Kevin and Lyra leave pops to look around Riverdale some more. They spent the next hour driving around and talking about Riverdale and all the gossip Kevin could scavenge up to tell her.

The next day was her first day and her mind wouldn’t stop racing. She was happy that she at least had one friend there. She hopped in her truck and drove to school passing over the train tracks on her way. Lyra parked her truck and sighed as she stared at the huge building in front of her. She grabbed her book bag swinging it over her shoulder as she gets out slamming and locking her car in the process. She started walking to the front door, stopping suddenly as she hears her name being called out from behind her. She turned around seeing Kevin with three other people. A gorgeous girl with a blond ponytail in a pink sweater, and a guy with surprisingly bright red hair in a letterman jacket holding hand with a girl in what Lyra was guessing a cape. Kevin jogged up to her with his books in his hand. “Hey guys, this is the new girl I was talking about yesterday. Lyra, this is Betty, Archie, and his girlfriend Veronica.” He says pointing at each one of them when he calls out their names. Lyra smiled at all of them “So you’re the one dating Jughead. I see when he likes you.” She says looking over at Betty. Betty gave her a questioning look. “How do you know about Jug?” she asked as she looked over at Kevin. Lyra sighed as she turned around towards the school with them. “Kevin and I went to Pop’s and I kind of ran into him and some of his friends.” She said before Kevin spoke up “Yeah sure if that's what you call spilling his drink on him.” Lyra looked down embarrassed “No way that’s too funny.” Betty said while laughing. The group of five walking into Riverdale high talking about what happened yesterday.

Later on that same week Archie walked up to Lyra “Hey Lyra I have a question?” Looking at Archie, Lyra said, “Sure what up?” “I wanted to know if you could help me on a project of mine?” asked Archie “ Yeah sure what is the project?” She asked with a hint of curiosity in her voice “Its a secret I'll fill you in later” He said before turning around walking away“Okay?” She said before heading to her truck and going home. She got home and was working on some class work before she goes to help Archie with his project. She got a text as she hopped on her motorcycle, she looked down and it was Archie giving her an address to meet him at. It was right down the street from her place at the corner of Fox and 3rd st. She parked her bike at the convenience store right there as she saw Archie standing there in all black with a backpack on. “We can go back to my place to work on this project of yours. I live right down the street Arch.” She said as Archie shook his head and started walking to a building. “This is a different type of project Ly.” Lyra shrugged and followed him as he stopped at a spot on the wall that didn’t have graffiti on it. He opened his bag and handed her a can of red spray. “Im putting out a warning to those jackass serpents down here. Help me make a big red circle Ly.” He says as he grabs a can for himself and starts at the top of the circle. “Archie, what the hell? Why are you doing this?” She asks very confused and frustrated. Archie stopped and glared at her. “Betty thinks the Black Hood is a southsider. I’m leaving him a warning.” He says as he gets back to drawing the circle.

Lyra stands there looking around as a couple boys come out of the store at the corner laughing. Lyra tensed up not knowing what to do as the same guys from Pop’s came over to Archie pushing him away from the wall. “Hey! What the hell do you think you are doing man?” The tall one asked firious as Archie stood his ground against him. The guy still towering over him. “Back off. I’m not here for you.” He said as he tried to go back to tagging the building the main guy pushed him away again. “Oh yeah! Then who’s this message for? Aw, hell, don’t tell me it’s for the black hood.” He says as he turns back to his goons “And people say we’re the troublemakers.” Lyra steps closer to Archie trying to hide her face from the guys as she grabs Archie’s arm. “I think we should go Arch.” She says quietly before Archie brushes her hand off. He slings his bag over his shoulder as he tries to walk in between the two guys as Lyra walks beside him. The gorgeous boy smirking as grabbing onto her waist before they got anywhere.The tall guy stoppe Archie with a push, “Whoa, Southside’s Serpent country. You can’t come here and tag our turf.” He says as he looks down at the girl next to hist friend. He laughs harshly looking back at Archie. “And you seriously brought this clumsy northie with you too? Wow that’s presious.” He said as he steps closer to Archie. Lyra looked at the boy holding onto her waist and then back at Archie with a pleading look. “Archie, we should just go…” She says trying not to freak out. The guy nods and glares at Archie “Yeah, listen to the girl and get your asses back to the northside before someone gets hurt.” He says with a devilish grin on his face. Archie just glares right back at him before pulling Lyra away from the snake and pushes her behind him. “Get out of my way, or someone will get hurt.” He says without hesitation. The tall one pulls out a switchblade as he clenched his jaw. “You just made a big mistake.” Lyra starts to panic as she tugs at Archie’s sleeve and tries to push him away from the guy with the blade. “I’m so sorry we did that. I doubt he really mean it so out of the goodness of your hearts, just let us pass by.” She says but no one expect the cute guy hear her. She glares at him as he tries not to laugh at her. Archie steps forward and pulls out a gun yelling “Who made a mistake?” as the boys run off and Lyra glares at him.

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Taglist: @serpentqueensworld @imacrystalclod-1205 @spookske1999

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mindsmade · 6 years ago

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𝑪𝑯𝑨𝑹𝑨𝑪𝑻𝑬𝑹 𝑺𝑯𝑬𝑬𝑻

repost, don’t reblog !

𝐛𝐚𝐬𝐢𝐜𝐬 !

FULL NAME. alicia florrick PRONUNCIATION. ah-lee-sha flor-rick NICKNAME. saint alicia GENDER. cis female HEIGHT. 1.68 metres AGE. ranges from 42 to 49 in the show ZODIAC. virgo SPOKEN LANGUAGES. english, basic latin and greek ( mainly law-related ) and some basic french

𝐩𝐡𝐲𝐬𝐢𝐜𝐚𝐥 𝐜𝐡𝐚𝐫𝐚𝐜𝐭𝐞𝐫𝐢𝐬𝐭𝐢𝐜𝐬 !

HAIR COLOR. brown with a slight maroon shine to it EYE COLOR. hazel SKIN TONE. peachy? BODY TYPE. quite sinewy, especially after she passes the age of 50 ACCENT. 'inland northern american english’ according to wikipedia, lmao VOICE. url ( i’m still laughin about it djsfiosj ) DOMINANT HAND. left! POSTURE. it changes throughout the series, mainly in the season. she goes from appearing to want to be ‘small’ to standing upright. after a while, you won’t catch her slouching even in her time off. her shoulders are pulled back and her chin’s slightly raised when around others. SCARS. ehhh, nothing too visible. perhaps a random scrap here and there or a leftover smallpox vaccine scar ( img ). TATTOOS. — BIRTHMARKS. — MOST NOTICEABLE FEATURE(S). her generally formal but simple style of dress / dark hair/eyebrows/eyes on pale skin.

𝐜𝐡𝐢𝐥𝐝𝐡𝐨𝐨𝐝 !

PLACE OF BIRTH. Chicago, Illinois. HOMETOWN. ^ BIRTH WEIGHT. ? BIRTH HEIGHT. ? MANNER OF BIRTH. natural FIRST WORDS. uhhh ... ‘dink’ maybe. like ‘drink’ lmao SIBLINGS. owen cavanaugh ( younger brother ) PARENTS. veronica loy and roger cavanaugh PARENTAL INVOLVEMENT. o boy, lol. neither of her parents afforded alicia much emotional involvement. her father especially was simply never given the chance to ( i’m assuming he wasn’t even present or if he was, not to a great extent ), whereas her mother just ... apparently had ‘more important’ things to do than bonding with her children and raising them? 🙃

𝐚𝐝𝐮𝐥𝐭 𝐥𝐢𝐟𝐞 !

OCCUPATION. Attorney at law / Cook County state's attorney for like a hot second CURRENT RESIDENCE. a 4 bedroom apartment in downtown chicago. CLOSE FRIENDS. kalinda sharma, lucca quinn, diane lockhart, cary agos. RELATIONSHIP STATUS. aka the crux of the show? A Mess. until the very end of the series, she’s married to peter florrick ( cook county’s state’s attorney / governor of illinois ). they unofficially separate, agreeing only to keep up appearances to support his political ambitions with the falsehood of their ‘thriving marriage’. in the meantime, alicia becomes involved with a few men to various extents, most prominently will gardner and later on jason crouse, whom ( according to the writers ) she ends up with after the show. for the sake of rping, i’m sticking with her marriage to peter as written, but an affair isn’t off the table. FINANCIAL STATUS. generally quite well off — but there are times in which she struggles to get by. she’s never shown to be completely ‘broke’, though DRIVER’S LICENSE. yes CRIMINAL RECORD. no — but some people sure fuckin wish they would’ve been able to get her one LMAO VICES. increases throughout the seasons as she evolves from a victim to a victimiser: infidelity ( though, lbr, peter started it and they did agree before long that their marriage was only a formality/a front ); alcoholism ( especially after will’s death ); does absolute ruthlessness count? because it’s a Big Thing around season 6 / 7.

𝐬𝐞𝐱 & 𝐫𝐨𝐦𝐚𝐧𝐜𝐞 !

SEXUAL ORIENTATION. portrayed as heterosexual but ... i’m leaning into bisexuality here tbh ROMANTIC ORIENTATION. heteroromantic? but the above might go here as well 👈🏼😌👈🏼 PREFERRED EMOTIONAL ROLE. submissive | dominant | switch. PREFERRED SEXUAL ROLE. submissive | dominant | switch. LIBIDO. varies ( with her use of sex as a coping mechanism, it increases when times are hard ) TURN ON’S. intelligence, courage, cunning, dedication, a good argument, tailored suits tbh TURN OFF’S. hypocrisy, idleness, disloyalty, dishonesty LOVE LANGUAGE. alicia will include you in activities that matter to her ( not peter’s stupid grand events, but rather a fun though lowkey night out at her favourite bar, for instance ); she’ll pop into your office or give you a call between cases to check in on you; she’ll gently grab your hand and give it a soft squeeze, or brush a lost strand of hair out of your face; she’ll argue with you about things that are important to her; and if you’ve really gotten under her skin, she’ll let you see her vulnerable, see her cry and crumble and seek out your shoulder to lean on. RELATIONSHIP TENDENCIES. she craves emotional involvement and yet she avoids it before she’ll go back on her decision and chase it instead. she’s generally very emotionally withdrawn and that paints her relationships, platonic and romantic alike. nevertheless, she often realises she’s begun caring for someone only when it’s too late to withdraw without grieving a loss. emotional involvement therefore often catches her off-guard. only with jason was it a fairly conscious choice to drop the ‘i just want your body’ attitude in favour of chasing him for his mind and heart, too. either way, once you’re in her heart, she’ll fight tooth and nail for you — until you cross her. then she’ll drop you like a hot potato with no thought for forgiveness. that doesn’t mean it’s impossible for her to forgive, however. it just takes a while for her to get there under the gentle pressure of someone who perseveres despite her circumstantial iciness.

𝐦𝐢𝐬𝐜𝐞𝐥𝐥𝐚𝐧𝐞𝐨𝐮𝐬 !

CHARACTER’S THEME SONG. no one’s more happy than you ( url ) HOBBIES TO PASS TIME. drinking wine, reading, later on she even starts gaming ( a true halo hero — thanks @ marissa gold, ur a real pal ). MENTAL ILLNESSES. alcohol use disorder ( alcoholism ) PHYSICAL ILLNESSES. — LEFT OR RIGHT BRAINED. this is too deeply rooted in pop psychology for a psych major to entertain, man FEARS. in the end, i think it all boils down to a loss of self / sight of herself. as she progresses up the social and professional ladder, this fear does come true: she didn’t realise she’d become the very thing she was once beaten down by until diane confronted her with it through a single slap to her face. anyway, on a less profound level? she doesn’t fear failure per se, but she does despise it. a fear of negative change is another. SELF CONFIDENCE LEVEL. rather high. she has her moments of self-doubt, of course, but her self-confidence isn’t easily undermined. VULNERABILITIES. her loyalty to peter; her loyalty to the firm ( mainly will and diane ); her love for her children; her growing craving for alcohol, if you think about it; last but not least, her own ambition

TAGGED BY: @afraidofchange ( thank you!! ) TAGGING: @viindicia ( lucca or liz ) / @multimentium ( nix ) / @sheoccult / @aglaecan ( jack ) / honestly it’s massive lmao so whoever has the energy to do this ... DO IT

#❛ about / alicia florrick.#long post //#fuck me this is long jgoisdjfs

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bbcbreakingnews · 4 years ago

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RuPaul’s Drag Race UK season 2 spoiler-free review: God Save The Queens with strongest line-up ever?

God save the queens (Picture: BBC)

RuPaul’s Drag Race UK is back in for another round in all its wonderfully bonkers glory – just when we needed something fabulous to fill our evenings with.

While the OG US series continues on with its 13th season simultaneously, the World Of Wonder team were taking a risk running the two shows at the same time.

We would be lying if we didn’t worry about the risk of over-dragging things out, with so many queens to be keeping track of between the two seasons.

But thankfully, Drag Race UK doesn’t only remind us just how much we love this show, it’s also providing one of the strongest line-ups in the franchise ever at the same time.

There is no major weak link in the 12 queens that arrive for Drag Race UK. While queens like Joe Black and A’Whorea are more polished, others – like Bimini Bon Boulash and Veronica Green – have so much charisma you don’t really care about their looks being less than 100.

Some, like Lawrence Chaney and Tayce, are there to win and their determination shines, while others (Tia Kofi and Cherry Valentine) are just having so much fun that you are dragged along for the ride with them.

Wimbled-hun is our new fave sport (Picture: BBC)

Similar to last year, after intros the queens are given a photoshoot challenge – this time inspired by Wimbledon – and all the ball gags write themselves as our Wimbled-huns are thrown onto the court with a racket and two pants-clad members of the Pit Crew.

As Liz Hurley joins the judging panel as this week’s extra special guest judge, each queen has to leave their mark with two looks – a gay icon outfit, and a performance representing their hometown.

It’s a real shame that the only thing up for grabs for the winners remains the RuPeter badges, as these performers are way up there in everything that makes Drag Race so beautifully Drag Race.

The show has stepped its p***y up (Picture: BBC)

The camp is turned up to 11, the comedy is shovelled in and there’s beauty found even in the most hodge-podge of moments and queens.

This season has launched in a way that’s much betta than season one – and seeing as that was incredible, we cannot even begin to tell you how excited we are for the upcoming episodes.

Key Moments:

RuPaul’s rainbow dress is just pure *chef’s kiss*

We need more Liz Hurley in things. She’s fabulous and has far more cheeky charm than we were expecting.

Is there any way we can keep all the queens forever?

We’re sensing some serious shadiness brewing though, we can’t wait to see how this plays out…

Verdict:

Maybe it’s our home country bias but RuPaul’s Drag Race UK may have just brought the best line-up of queens ever to the franchise.

While some may be a little bit more seasoned than others, there is fight and charm, charisma, uniqueness, nerve and talent in all of them to the point you don’t actually want anyone going home.

It’s going to be a seriously tough season, we can feel it. And we cannot wait for all the drama to come onto our screens.

RuPaul’s Drag Race UK launches Thursday at 7pm on BBCiPlayer and WOW Presents Plus.

Got A Story?

If you’ve got a celebrity story, video or pictures get in touch with the Metro.co.uk entertainment team by emailing us [email protected] calling 020 3615 2145 or by visiting our Submit Stuff page – we’d love to hear from you.

MORE: RuPaul’s Drag Race: The fatal flaw queens make in Snatch Game choices

MORE: TV guide: From It’s A Sin to Drag Race UK – the best shows coming your way in lockdown 3

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source https://bbcbreakingnews.com/2021/01/09/rupauls-drag-race-uk-season-2-spoiler-free-review-god-save-the-queens-with-strongest-line-up-ever/

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dccomicsnews · 7 years ago

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DC Comics News has compiled a list of DC Comics titles and collectibles shipping to comic shops for November 1, 2017.

Check back every Friday with the DC Comics News Pull Box to see all the cool new DC Comics titles and collectibles that will be available at your favorite local comic shop! So, what titles or collectibles will you be picking up this Wednesday? You can sound off in the comments section below! Click on Comic shop Locator to find the comic shop nearest to you!

COMICS

BANE CONQUEST #7 (OF 12) $3.99 BATMAN #34 $2.99 BATMAN THE DEVASTATOR #1 (METAL) $3.99 BATMAN WHITE KNIGHT #1 (OF 8) 2ND PTG $3.99 BATMAN WHITE KNIGHT #2 (OF 8) $3.99 BLACK LIGHTNING COLD DEAD HANDS #1 (OF 6) $3.99 BOMBSHELLS UNITED #5 $2.99 CYBORG #18 $3.99 DASTARDLY AND MUTTLEY #3 (OF 6) $3.99 DEADMAN #1 (OF 6) (glow in the dark edition) $4.99 DEADMAN #1 (OF 6) (standard edition) $3.99 DEATHSTROKE #25 $3.99 GREEN ARROW #34 $3.99 GREEN LANTERNS #34 $2.99 HARLEY & IVY MEET BETTY & VERONICA #2 (OF 6) $3.99 INJUSTICE 2 #13 $2.99 JETSONS #1 (OF 6) $3.99 JUSTICE LEAGUE #32 METAL $2.99 NIGHTWING #32 $2.99 SUPERMAN #34 $2.99

DYNAMITE

SHADOW BATMAN #2 (OF 6)(Tony S. Daniel) $3.99 SHADOW BATMAN #2 (OF 6)(Brandon Peterson) $3.99 SHADOW BATMAN #2 (OF 6)(Artyom Trakhanov) $3.99 SHADOW BATMAN #2 (OF 6)(Philip Tan) $3.99 SHADOW BATMAN #2 (OF 6)(Timpano subscription variant) $3.99

DCN Pull Box Triple Spotlight

BATMAN THE DEVASTATOR #1 (METAL) $3.99

Frank Tieri (A) Tony S. Daniel (CA) Jason Fabok

As the events of DARK NIGHTS: METAL rock the DC Universe, the creatures of the Dark Multiverse stand ready to invade our world! How can the World’s Greatest Heroes stop a horde of deadly beings that appear to be powerful nightmare versions of familiar figures? Find out in these special tie-in issues!

BATMAN WHITE KNIGHT #2 (OF 8) $3.99

Sean Murphy (A/CA) Sean Murphy

Public support for Batman dwindles and Gotham City’s 99 percent rally around ex-Joker Jack Napier’s crusade to expose decades of corruption within the GCPD. A proposition inspires new revelations about Harley and The Joker’s past; and as Jack transforms into a hero of the middle class and takes extreme measures to mobilize a revolutionary army of super-villains, Bruce struggles to stay focused on engineering a technological breakthrough to save Alfred.

BERNIE WRIGHTSON ARTIFACT ED HC CVR A $125.00

Bernie Wrightson (A/CA) Bernie Wrightson

Bernie Wrightson began his career in the late 1960s, just barely out of his teens, and within a decade rose to prominence as the preeminent horror artist of his generation. This loving tribute to comics’ Master of the Macabre will showcase Wrightson’s ground breaking work in the DC Comics Mystery books and his legendary artistic turn on Swamp Thing. Additionally, we have assemble a number of rarely seen and completely (until now) unseen treasures.

Variant Covers

Note: Variant Prices To Be Determined By Retailer

BATMAN #34 (Tony S. Daniel variant) $2.99 BATMAN WHITE KNIGHT #2 (Sean Murphy variant) $3.99 BLACK LIGHTNING COLD DEAD HANDS #1 (Ken Lashley variant) $3.99 CYBORG #18 (Dustin Nguyen variant) $3.99 DASTARDLY AND MUTTLEY #3 (John McRea variant) $3.99 DEATHSTROKE #25 (Ryan Sook variant) $3.99 GREEN ARROW #34 (Mike Grell variant) $3.99 GREEN LANTERNS #34 (Brandon Peterson variant) $2.99 HARLEY & IVY MEET BETTY & VERONICA #2 (Dan Parent variant) $3.99 JETSONS #1 (Dave Johnson variant) $3.99 JUSTICE LEAGUE #32 (Howard Porter variant) $2.99 NIGHTWING #32 (Yasmine Putri variant)$2.99 SUPERMAN #34 (Tony S. Daniel 800 variant) $2.99

GRAPHIC NOVEL

ABS JUSTICE LEAGUE WORLDS GREATEST SUPERHEROES HC $75.00 AQUAMAN THE ATLANTIS CHRONICLES DLX ED HC $49.99 BATMAN DETECTIVE REBIRTH DLX COLL HC BOOK 01 $34.99 BATMAN THE DARK PRINCE CHARMING HC BOOK 01 $12.99 DC GREATEST HITS BOX SET $39.96 JUSTICE LEAGUE TP VOL 04 ENDLESS (REBIRTH) $16.99 SUPERMAN ACTION COMICS TP VOL 04 THE NEW WORLD (REBIRTH) $19.99 TWO FACE A CELEBRATION OF 75 YEARS HC $39.99 VERY DC UNIVERSE REBIRTH HOLIDAY TP $16.99

IDW

BERNIE WRIGHTSON ARTIFACT ED HC CVR A $125.00 BERNIE WRIGHTSON ARTIFACT ED HC CVR B $125.00

BOOKS

ARROW MMPB GENERATION OF VIPERS $7.99 ART OF HARLEY QUINN HC $45.00

MAGAZINES

ALTER EGO #149 $9.95

Showcasing Gil Kane, one of the Silver Age’s greatest artists-with gleaming Golden Age roots in the Simon & Kirby shop! Incisive and free-wheeling Kane interview conducted in the 1990s by Daniel Herman for his 2001 book Gil Kane: The Art of the Comics-plus Gil’s incisive article from the Spring 1974 issue of the Harvard Journal of Pictorial Fiction, and other surprise features centered around the artistic co-creator of the Silver Age Green Lantern and The Atom! And beginning the autobiography of Golden/Silver Age Flash/GL scripter John Broome!

MERCHANDISE/COLLECTIBLES

BATMAN CORE 16OZ TRITAN SLIDE TUMBLER $10.99 DC COMICS BATMAN GREY GRIP DISH DIVIDED PLATE $16.99 DC COMICS PX DECAL 4-PACK $8.00 DC HEROES BATGIRL CHARACTER APRON $29.99 DC HEROES FLASH CERAMIC SCULPTED MUG $11.99 DC HEROES HARLEY QUINN CERAMIC SCULPTED MUG $11.99 DC HEROES HARLEY QUINN CHARACTER APRON $29.99 DC HEROES JOKER CERAMIC SCULPTED MUG $11.99 DC HEROES SUPERGIRL CHARACTER APRON $29.99 DC WONDER WOMAN LOGO W/ LASSO PEWTER KEY RING $5.99 HARRY POTTER SER 3 LASER CUT FIG KEYRING 24PC BMB DS $5.99 HARRY POTTER SUNSTACHES GLASSES $9.99 HERO PLUSHIES JUSTICE LEAGUE MOVIE 9PC PLUSH DISP $10.99 HP DEATH EATER WAND PEWTER KEYRING $6.99 HP HARRY POTTER KAWAII SOFT TOUCH PVC FIGURAL KEYRING $6.99 HP HERMIONE KAWAII SOFT TOUCH PVC FIGURAL KEYRING $6.99 HP RON WEASLEY KAWAII SOFT TOUCH PVC FIGURAL KEYRING $6.99 JUSTICE LEAGUE MOVIE LASER CUT FIG KEYRING 24PC BMB DS $5.99

ACTION FIGURES/STATUES

DC COMICS PLAY ARTS KAI THE JOKER AF TETSUYA NOMURA VER $299.99 DCTV LEGENDS OF TOMORROW ATOM AF $28.00 DCTV LEGENDS OF TOMORROW WHITE CANARY AF $28.00 DCTV THE FLASH KID FLASH AF $28.00 FLASH TV FLASH TRAINING W/OLIVER POLYSTONE BUST $65.00 JUSTICE LEAGUE MOVIE BATMAN STATUE $150.00

CLOTHING

JUSTICE LEAGUE FLASH 5950 FITTED CAP 7 1/8 $55.00 JUSTICE LEAGUE FLASH 5950 FITTED CAP 7 5/8 $55.00 WONDER WOMAN RUGGED MINI 9TWENTY DAD CAP $22.00

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DC Comics Pull Box For 11-1-17 (New Comics and Merchandise) DC Comics News has compiled a list of DC Comics titles and collectibles shipping to comic shops for November 1, 2017.

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project-casting · 7 years ago

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Carrie Fisher’s Dog Gary Emotionally Reacted to Seeing Fisher in ‘The Last Jedi’

Carrie Fisher’s beloved dog Gary had an emotional reaction while in attendance for a Los Angeles for a screening of Star Wars: The Last Jedi. Based on how Gary reacted to seeing the movie, you may have reacted the same way too. Gary caught the movie on the lap of Fisher’s former assistant. According to ABC 7’s Veronica Miracle, Gary’s ears perked up whenever Fisher’s General Leia appeared in the…

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#Carrie Fisher #Star Wars #Star Wars: The Last Jedi

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jerepars · 7 years ago

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We’re Getting a Divorce, You Keep the Diner Story Notes

Hyperlinks appear in blue (underlined on mobile). The story is posted here.

> When she heard that damn ringtone, her mind was a vacuum of just two questions. What now? Who next?

> Betty heard it everywhere. She heard it as the soundtrack to her nightmares, in the halls of Riverdale High when the bell rang, and even as the purr of motorcycle engines whenever a Serpent peeled out of the parking lot at Pop’s. But none of that compared to really hearing it, in the stillness of the night in her bedroom when the tinny voice on the other end of the line would demand something new. When she would have to rip out someone else’s heart and drive over it with an ice cream truck.

Big shout-out to @diokomen for the ice cream truck line! It was something she mentioned in the comments in my post when I was hopeful that someone, anyone, would talk me out of writing this. I'd already mentioned a banana split in the very first paragraph of the story and when I saw what she said, I knew it had to be included somehow.

> Betty sat staring at the layout for the next issue of The Blue & Gold on the ancient computer in front of her in the school newspaper office, the only computer that could be used to format and collate the pages properly. She was so tired of thinking of the right ways for self-sabotage. At the get together where she blew up at Veronica, while everyone was doing Jingle Jangle, she’d sat brewing over the right words to use, to hit Veronica right where it hurt.

> You and I are the same, the Black Hood had told her.

> Betty feared that all of her thinking and plotting for the perfect demise of her relationships made him right. She was good at it, too. She didn’t need anyone else’s help to sabotage herself—she was sufficient at it all on her own. The Black Hood claimed he was doing right by Riverdale by attempting the lives of those he deemed to be sinners. Betty knew she was doing right, protecting the lives of her sister and her friends, by burning her emotional ties to ash.

A little bit of my own previously shared meta got incorporated here. In my opinion, the Black Hood chose Betty because she's the strongest out of all the kids on the show (if we find out that he's really Hal or Chic, that would be a reason, too). She's capable all on her own, with only her own methods to cut the people she loves out of her life.

The lines about sabotage were inspired by the bridge in Paramore's "Caught in the Middle": No, I don't need no help. I can sabotage me by myself. I don't need no one else. I can sabotage me by myself. There's also a part in the first verse that goes can't look back, can't look too far ahead / you got the point, you got the message. Betty spends nearly the entire auto shop scene trying to convey her message to Jughead, so I thought it was fitting.

> Betty unzipped her backpack and began gathering her belongings in size order. First her Pre-Calculus textbook, then her Chemistry binder and spiral notebooks. She grouped the loose leaves of paper on the desk together and tucked them into the flap of her homework folder. When she lifted the folder from the surface, the item that was revealed underneath it caused her pause. It was the book she’d checked out at the library with Jughead to decipher the Black Hood’s message, The Nancy Drew Secret-Code Activity Book. Amid all of the self-sabotage he’d had her do, Betty had forgotten to return it to the library.

One of my favorite things from 2x04 was that it was an actual Nancy Drew book that contained the cipher.

Also, to know me is to know how much I love the PBS show Arthur. Probably even more as an adult than a kid (I have this theory that so much of the humor is adult humor that I didn't pick up on as a kid, which has only made it better with age). Both times during the episode that Jughead was in the library, I wanted to start singing the library card song from Arthur. I doubt Betty was having any fun though. I don't think I could be bothered to return a library book either if I had a phone stalker threatening to hurt my broody gangbanger boyfriend.

> Jughead’s head lifted and he turned around. Before he could say anything, a gasp left Betty’s lips and her seaglass eyes went wide to doe-like proportions.

> “Juggie,” she couldn’t help the affectionate way his name tumbled out of her mouth. “What happened to you?”

> His lip was busted. An eye was blackened. His cheek was crimsoned with a bruise. There were small cuts on his nose, his forehead, and his chin.

Okay, I know that in the promo images for 2x06, it looks like Jughead's injuries from initiation have healed up. So there could be a time jump in canon. That's just...not the direction I went with here. Sorry, I guess.

From that "making it work" picture we got way back when, all I could tell was that Betty and Jughead were in a shop of some sort. For my purpose, I decided that they would be in the auto shop (classroom? Is the shop for auto shop considered to be a classroom?) at Riverdale High. I figured that between Riverdale High and Southside High, Riverdale would be more likely to have an auto shop on campus. I also figured that Reggie wouldn't be able to drive his car all the way over to the south side (the high school or anywhere else) and be back all before football practice. Logistics are a thing. Thanks so much to @somethinglikegumption for doing a little digging and confirming that, at least in the Archie comic world, Riverdale High has an auto shop class!

> Jughead shrugged off his jacket and tossed it off to the side. He’d come prepared. Rather than one of his many ‘S’ t-shirts, he wore a mechanic’s work shirt, likely something of FP’s from the trailer, Betty decided, over a white undershirt. She wanted to ask Jughead jokingly if he was going to dye his hair blond à la Jackson Teller now that he was both in a motorcycle gang and a less than mediocre mechanic, but given the very real life situation of dueling gangs and the Black Hood threatening lives in their small town, she didn’t think he’d find the parallels very funny.

In Sons of Anarchy, Jackson Teller's "honest" job is as a mechanic at Teller-Morrow, the family-owned shop:

I swear there's an episode of SOA where Jax says something about being an average or mediocre mechanic. Something like that.

> “I hope…” Betty’s voice cracked for the first time. “I hope they took care of you after whatever it was you had to do to prove yourself. I hope they’re taking care of you now.”

> “Just Toni,” Jughead said shortly. “She kissed me.”

> Betty’s heart took a nosedive down to her stomach. Toni kissed him. Toni kissed him. Toni kissed him.

> On the verge of new tears, Betty choked out, “How’d that go?”

> She wasn’t sure if the hurt she felt over his haste confession was as bad as the hurt she’d sent to him. She was angry and jealous, even more so because he’d done nothing wrong. She was the one who sent Archie to end things for her. As far as an eye for an eye went, Jughead wasn’t even close to even with her.

> “Like a snake bit me.” Jughead chose his words carefully when he replied. “Numbing.”

Unpopular opinion (do I have any other kind?): I just don't think Betty has the right to be mad or upset with Jughead over this kiss that's been making waves. If she's hurt by it, fine, she can be hurt. I just see all these suggestions that Betty will be justified in being mad when she eventually finds out about it. I disagree. Even if she ended things with Jughead (or rather, had Archie end things with Jughead for her) under threat from the Black Hood, she still did it. Their breakup goes a long way in bringing Jughead to a very low place.

So I had this idea that he would tell Betty bluntly--he wouldn't hide it or wait until later to tell her--but he would also let her know how he felt about it. I don't really think that Jughead needs to do anything to redeem himself because of the kiss, yet even still, he does.

> Betty unhooked the lamp from the top of the hood interior and held it out to Jughead. She was ready to check out the car and begin conveying her message. “Hold the light.”

I definitely meant for this piece of dialogue to mean more than just Betty telling Jughead to direct the lamp where she's going to poke around. Earlier in the story, when Betty is in the newspaper office, there's a line about Jughead being her clarity in the eye of a storm. A common thing that comes up in this fandom is how Betty brings the light into the darkness of Jughead's life. I've alluded to this in other stories before (Heartthrob and Lionheart), that I think Jughead acts as light for Betty, too. So it's doublespeak. She needs him to hold the light here in more than one way.

> “So who keeps the diner?”

> “What?”

> “If we’re really doing this, if everything between us is through,” Jughead elaborated with his jaw clenched, “whose territory is Pop Tate’s?”

> “Are you serious right now, Jughead?”

> “Damn right I am,” Jughead said emphatically. “Pop’s was our place. So is it mine, because it’s the last place on this side of town that hasn’t turned its back on me? Or is it yours because you saved it?”

> “This isn’t a divorce and the diner isn’t our child that we’re battling for full custody over.” Betty shook her head as she inspected the fluid levels of Reggie’s car. “We can share it.”

Imagine me writing a Bughead story that didn't make a single reference to The Gaslight Anthem. Just imagine it. Because by now, it's like...required referencing, haha.

The title of the story is taken from their song, "We're Getting a Divorce, You Keep the Diner". Ever since I started writing Bughead stuff in the summer, I wanted to write a story based on that title. I always thought it would be a fluffy fic where they sit in a booth at Pop's and in light of a recent breakup (not an actual divorce, the term 'divorce' would be used symbolically) would have to decide whose territory Pop's is. They'd have a back and forth of cheeky banter where, in the end, no one would solely claim it, because they would get back together instead.

...but then 2x05 happened and it became the perfect time to revist and revise that idea.

> The whole reason she’d gotten so worked up, so indignant over the Chock’lit Shoppe almost shutting down was because of him. Because of them, really. Pop’s symbolized more than a nice childhood and meeting new friends. Jughead was right about that. Pop’s was their safe haven. It was where they’d sat in a booth, on the night he turned sixteen, and been completely vulnerable to each other for the first time. It was where she found him after the big blow up at Homecoming, after FP’s arrest. It was where, just a week ago, they held hands for the last time and he talked about running away on his motorcycle and a single tear rolled down her face when she mentioned Romeo and Juliet.

> No. She’d already resolved that. It wouldn’t be the last time. And they wouldn’t be a couple of star-crossed dead teenagers. The magnificent dreamers that they were, they wouldn’t fall down by the wayside. They would have their own happily ever after. They would walk it back.

Truth be told, I've always been iffy on the idea of Betty and Jughead being like Romeo and Juliet, because the play isn't called Romeo and Juliet. It's called The Tragedy of Romeo and Juliet and they die. That's not the outcome I want for my OTP, so I would really rather they not be mentioned in the same breath at all. So I was glad that in the diner scene from 2x05, Betty's response to Jughead's wish about getting out of town is Romeo and Juliet except they live happily ever after. But I couldn't just leave it at that. I still had to mention the star-crossed dead teenagers.

For the second quoted part, I wanted to incorporate parts of "We're Getting a Divorce, You Keep the Diner" into the story in my own way and not just have it as the title. The opening lyric of the song is we were the magnificent dreamers. Then later in the song, a question posed is did they fall down by the wayside?

> Jughead hooked the lamp back onto the hood of the car and his gaze met hers again. He still looked at her with those heart eyes, like she hung the moon and was the most precious thing he’d ever seen in his life. He swallowed, Adam’s apple bobbing in his throat, and came out and asked the questions that were a continous downpour in his mind, “Was what Archie said true? You wanted to break up for weeks?”

> Betty knew what the answer had to be. Just a simple ‘yes’. But that short answer seemed so much more cruel than what Archie had told Jughead. She didn’t bother telling Archie that his delivery was cruel when they talked about it after the fact. Betty knew him better than he knew himself, and Archie had acted the way he would if the scenario was repeated a hundred times over. She didn’t blame him for his delivery, either, because she couldn’t bare the thought of being the one to tell Jughead face to face that it was over, so she sent Archie—an act just slightly less awful. It couldn’t have been any worse for either of her fellow musketeers.

> Archie always let his emotions get the best of him. He didn’t sit in silence and think things through deliberately like Betty (or the Black Hood), and yet he managed to give the message to Jughead in the worst way possible anyway. He hadn’t meant for the words to come out the way they did. He’d even mulled over what Betty asked him to do all day and dreaded it. But when he got to the trailer and saw Jughead with the Serpents, saw Jughead joining the Serpents, he was overcome. What he said was fueled by how angry and how scared he was for Jughead.

Another unpopular opinion: I don't think Archie went to the trailer wanting to hurt Jughead. In earlier scences of 2x05, I think that we see Archie conflicted, and I think breaking up with Jughead for Betty is really something he didn't want to do specifically because he didn't want to hurt Jughead either. I don't even think Archie knew what he was going to say when he got there. It was seeing the Serpents that prompted him to deliver the message in the way that he did. That's just Archie. He acts on his emotions. I'm not saying that excuses the hurtful things he said in order to tell Jughead that Betty was breaking up with him. I just think that that's who he is and that's what he does in all instances.

> “Betty?” Jughead broke her from her thoughts and repeated, “Is it true?”

> She couldn’t help the tears that glassed over her eyes and threatened to fall. She believed in Jughead. She believed in them. So she had to believe that he could read her cues and understand what she really meant.

I think this applies much more to season 1 than what we're currently getting on season 2, but I've always considered Jughead's diction to be very specific. When Archie gives his little breakup speech, Jughead's reply is, "Tell Betty I got the message." The episode goes on and it was shown pretty clearly that he didn't mean anything else other than he got the message. But that moment made me take pause and think about Jughead visiting FP in 1x12, when he does get his message.

It got me thinking about how we think of Bughead as our OTP and endgame. It got me thinking about what is about them that we love so much: the special connection that they have. It's what prompted me to this weird writing excerise. Because if they are what we think they are, then Jughead should be able to get the message.

There's this part from Virginia Woolf's To The Lighthouse that I've always come back to:

>> But she could not do it; she could not say it. Then, knowing that he was watching her, instead of saying anything she turned, holding her stocking, and looked at him. And as she looked at him she began to smile, for though she had not said a word, he knew, of course he knew, that she loved him…she knew she had triumphed again. She had not said it: yet he knew.

As much as I rely on words in writing something, I think there's a lot to be discerned in the communication between characters in what isn't said. In many instances across many different genres, it's all in the implications.

If Jughead can read Betty as well as she hopes that he can, which he does in this story, maybe that's pretty romantic? Maybe that's the ultimate testament of their connection? I don't know. Like I said, this whole thing just turned out to be a weird writing exercise.

> It was all she could say in warning. She still didn’t know where the Black Hood had his eyes and ears. She could send Jughead secret glances and put her faith in him to pick up on them, but getting close to him was a bad idea, lest she reach out for him and touch him. She didn’t want to make the mistake of letting all her emotions bubble up to the surface.

> But Betty lost that war when Jughead reached behind her and settled his hand on the back of her arm. She trembled at the contact, needing his comfort and needing him to get as far away from her as possible all the same.

Quick reference to "Lost That War" by Jimmy Robbins & Alexz Johnson.

> “Juggie.” Betty couldn’t help the tears that fell from her eyes as she struggled to keep herself in check. “Let go.”

> It was the final warning she could give him, telling him to walk away but silently pleading for him to understand and hold her in his heart until it was safe. Those words were the opposite of what he’d told her not so long ago in The Blue & Gold office when he’d told her how strong she was and hugged her against his gray knit sweater, the same one she’d been wearing to bed since she was forced to break up with him.

> Jughead let go of her arm and took a step back. The look he gave her was sullen but his answer was the same as hers had been back then, “I won’t.”

When I decided that Jughead was going to pick up on the message and that he would be able to relay to Betty that he'd gotten it, I also very quickly got the idea that the right way to get that done was to tinker with the end of the Blue & Gold office dialogue (2:44 to 3:54) in 1x09, a moment about crisis and falling apart that they both would have remembered.

Also, I think that the costume department should choose more cable-knit sweaters for Jughead, even if he is a Serpent now.

> Months later, Betty’s lungs burned as she ran to where she knew Jughead would be. No longer was there a threat on her family or her friends or her love. She’d done it. She caught the Black Hood. As soon as the door of Sheriff Keller’s squad car shut with him inside, Betty had taken off running.

I thought that this was the appropriate transition to the last part of the story but...Betty. Girl. As if you could trust that Sheriff Keller would be reliable enough to handle a murderer.

> Betty pulled the hair tie from her low ponytail and shook out her hair. She combed the blonde tresses with her fingers and re-did the ponytail tight and higher up on her head, where it belonged. Even that was muscle memory that she’d missed.

I'm with Kevin. To me, Betty's ponytail is iconic and beyond reproach. A tight, high ponytail is where Betty's hair should be for her every day look. So with everything said and done, I wanted Betty to consciously bring it back to its right place.

> No words were said between them until the tears stopped flowing and the sobs ebbed into hiccups and ragged breathing. Finally, Betty didn’t have to speak in code or deliver a silent message. She could be honest. She’d been hell bent on deliverance of all the privileges of being with him again for far too long.

I almost changed my mind and named this story after the Crime in Stereo song "...but you are vast". But no, I'm still saving it for a story I'll never write. There's a part near the end of the song that goes Hell bent on deliverance of all the privileges of being with you, Heaven sent I crane my neck. I thought it was fitting for the final section so I worked the lyrics into the above paragraph instead.

And there we have it. This was a strange story to write, and probably a little strange to read, but the idea wouldn't leave me until I was done with it. So now I can tuck it into the corner and...not think about it. Or think about it a lot. It's a toss up.

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texasborderbusiness · 6 years ago

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Cuellar, McCaul Congratulate Members Appointed to the U.S.-Mexico Interparliamentary Group (IPG)

L-R: Rep. Henry Cuellar (D-TX), Chairman; Rep. Michael McCaul (TX), Lead Republican; Rep. Sean Duffy (R-WI), Rep. Will Hurd (R-TX), Rep. Michael Cloud (R-TX), and Rep. Ross Spano (R-FL). Bottom L-R: Rep. Lou Correa (D-CA), Rep. Vicente Gonzalez (D-TX), Rep. Sheila Jackson Lee (D-TX), Rep. Veronica Escobar (D-TX), Rep. Zoe Lofgren (D-CA), and Rep. Salud Carbajal (D-CA)

Texas Border Business

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#Congressman Henry Cuellar (TX-28)#Interparliamentary Group #U.S.-Mexico

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snarktheater · 8 years ago

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Comic Book review — Wonder Woman Rebirth

Happy Wonder Woman Day! I wish I could be talking about the new Wonder Woman movie, but since I'm not getting it in theaters for a couple more weeks, I have to resort to a back-up solution.

Luckily, I mentioned at the end of last year that I'd been reading a lot of comics, especially Wonder Woman comics. And with the completion of the fourth story arc in the Wonder Woman run since the DC Rebirth started, I feel like it's a pretty good time to look back at what the comic has been about, what it's done, and why I love it so much.

First of all: I'm still far from a massive comic book aficionado. I know about comics because I basically live on the Internet (and also, let's face it, because of Linkara), but I'm not really following either the evolution of the DC Universe or the Marvel comic universe. So I'm always happier to catch a series as it starts, especially if it starts anew.

The Wonder Woman Rebirth fits that bill. Part of the DC Rebirth initiative that started a year ago, which didn't fully reboot the universe but did force a clean slate (and some retcons) on most of the properties, it's a series that clearly has roots somewhere, but is written to be accessible to new readers. Like me. Well, kind of. I did read part of the Gaile Simone run before this one, but there's been a universe reboot between the two, so I think it doesn't count anyway.

Another thing: I said it's the fourth story arc, but the comic was actually published with two parallel story arcs at once until now, and all four have built up towards a single storyline.

So we have four story arcs. On the present-day side of things, we have the aptly-named "The Lies" and "The Truth". And in the past, we have "Year One" and "Godwatch". The present-day storylines are more intricately tied together, while the past storyline are independent from each other and mostly connect to the concurrently-running story…to an extent.

The Lies and The Truth are, as the naming scheme implies, two facets of the same story. Diana realizes that something's wrong as her past and memories become confused as a result of the DC Rebirth events, and her investigation leads her to uncover…well, a lie. A pretty big one. Then comes The Truth, where she tries to uncover…well, what the truth really is. Wow, am I being vague with this recap. But really, there's little way of explaining it beyond that.

Year One, meanwhile, follows Diana's first year as Wonder Woman, complete with Steve Trevor crashing on Themyscira and Diana leaving to the "world of men" with him, knowing that she can never return. Of course she does this with a reason: signs have appeared that Ares, the god of war, had escaped from his prison, and Diana must stop him.

Godwatch, finally, follows the backstory of, well, Godwatch, an antagonistic organization that appears near the end of The Lies and is our primary villain throughout The Truth. The comics still feature Diana, of course, but she's not aware of who's pulling the strings of the fights she's involved in. This may make this story arc seem trivial, but it it not.

Why do I love this four-part, twenty-four issues story? Well, on the surface, it's just really well-crafted. The plots intertwine, setups are made that pay off long afterwards and feel natural and no element feels out of place in hindsight. The world surrounding the Amazons is built with precision and with a fresh take that divorces them from Greek culture specifically and gives them a more universal edge. The main characters are fleshed-out and well-rounded, featuring Diana and Steve, naturally, but also Etta Candy, reimagined from Steve's assistant with an unrequited crush to his superior officer (on top of being a black woman, which I understand is the case since the New 52 reboot), Barbara Ann Minerva, the villainous "Cheetah" being now a scientist with a fascination for the myth of the Amazons and a feminist streak…

…and Veronica Cale, the head of Godwatch, who has a troubled past of her own and is really just trying her best. Plus, a few more characters to round out the cast (and of course, a bunch of Amazons in the early issues who stay very relevant afterwards, in spite of everything).

But it's not just that it's a well-crafted story. This run has themes, and they're good, and I want to talk about them. And I'll split it in two broad categories for the sake of structure

Queer and feminist themes

I'll start with this one because…well, it's more incidental. Although it's really important too, don't get me wrong. But it's more…there, rather than something the story is trying to make a point about.

And really, it's long overdue. Diana comes from a society of only women. She's the most famous superheroine in existence. If anyone's story should primarily focus on women (and it does, if you look at my list of protagonists) and feature some pretty major queer women, it's this one.

And this series delivers on that front, too. Queen Hippolyta of the Amazons calls her general Philippus "my love", Etta Candy and Barbara Ann "Cheetah" Minerva are implied to be a couple when the latter isn't busy being a monstrous demigod, villain Veronica Cale and her associate Adrianna are definitely intimate and Veronica's daughter Isadore "has no father"…it's all there. And of course, there is Diana herself:

Diana of Themyscira is canon bi in this series. And I do mean bi, since she also has a thing with Steve Trevor and apparently a romantic past with Superman, although that one I think is due to earlier comics that we get the sense the writers here would have happily done away with.

And the greatest thing (especially considering the writer is male) is that all this representation of queer women is done without a single objectifying scene of any of these women. The one more thing I could ask for at this point are trans Amazons, really. But still, that's some giant steps forward.

It's not just queer representation. The story, as I mentioned, is focused primarily on women. Diana's gang includes herself, Steve, Etta and Barbara Ann, and the latter is the first she can even talk to outside of Themyscira, while Etta is definitely her closest friend. The first antagonist of The Lies is Urzkartaga, the god who cursed Barbara Ann to be Cheetah, and he's a literal misogynistic god with a cult of literal misogynists. So that's one obvious message there.

Also—and I'd be remiss to mention it—that head of that cult, Cadulo, gives us my favorite Steve Trevor moment.

So, you know, no big deal. Let's just have every single protagonist in the series denounce aspects of the patriarchy and fight literal misogynists.

The bigger antagonist of the entire story arc, Veronica Cale, is on the opposite end, in that she's humanized thanks to the Godwatch prequel stories and given motive for standing against Wonder Woman (spoiler: she's more or less coerced). Bonus point since, when the coercion is lifted, she immediately stands down instead of going on being evil for no reason, which I almost expected to happen but never did.

And you also have some racial inclusiveness. On top of Etta, as I mentioned, the Amazons are moved out of Greece and are now multicultural, and a few prominent figures (like Philippus, whom I already mentioned, and a woman who appears to be the Amazons' chief scientist). I'm not going to say it's the most balanced ratio I've seen (because…it's not), but considering how many "iconic" characters we're dealing with here, I think the books are faring remarkably.

Truth and compassion

Linkara defines Wonder Woman as the "spirit of Truth", and I think that's the best way to describe her. I realize that sounds like a meaningless, pompous title, but it actually captures what she's about fairly well.

Outside of the obvious (her lasso makes people tell the truth), the idea of Wonder Woman as the spirit of truth is also well explained in her post-Crisis on Infinite Earth backstory (which is also shown in that video I just linked), where one of the powers she received is to "open men's hearts". Which, no, isn't about romance—I think.

It's truth, but it's also all that derives from it. Above all, something I think is best explained in the recent annual issue of this very series:

Understanding. And with it, empathy and compassion. Which defines Wonder Woman's heroism. To me, the Big Three of DC's universe, at their best-written, convey very identifiable and humanist messages (in the classic sense of the word, not in the "shouldn't feminism be called humanism if it's about equality?" nonsense).

Batman is the heroism humanity can achieve (and note that I'm not talking about edgelord Batman here like in Batman v Superman, I'm talking about the guy who adopts a whole gaggle of children because he can't see anyone else grow up alone like he did), through wits and resourcefulness (and, admittedly, money). Superman is the value of humanity; what makes a god-like being like him heroic is that he is human and understands humans (again, not something we see in the Snyderverse much), and cares about them. And Wonder Woman is the in-between, the demigod (not necessarily in-universe) who embodies the best values of what humanity can be.

There's obviously some intersection, and probably also better ways to phrase it (let's be real, there's probably an essay's worth of discussion in what I just said in a paragraph), but that's the gist of it.

A few very popular frames from Wonder Woman are the one that shows Batman could never identify a weakness for her, and another where she says she doesn't have a rogue's gallery like Batman and Superman because "when I deal with them, I deal with them". Both of these are cool and badass, but they omit the reason why both of these things are true (in theory if not always in execution, because, again, inconsistent writers): her primary weapon is compassion and understanding. At her best, she solves the problem that drove her villains to villainy in the first place (which is exactly what she does in this series with Barbara Ann as Cheetah), and only resorts to force as the final resort, like with Urzkartaga. And that brings us to the resolution of this story.

Minor spoilers in the next few paragraphs.

It turns out that the big villain behind everything Diana had faced throughout this story wasn't Ares as she thought—he never even left his prison on Themyscira. Instead, it's his sons, Deimos and Phobos (terror and panic), who want to usurp Ares as the god of war. See, when Ares was bound to his prison, he was allowed to see the madness that war brings, so he doesn't really want to be released.

So Diana has to stop Phobos and Deimos, literal gods, from killing their dads. How does she do that?

Yup.

End of the spoilers.

It's the same thing with Veronica Cale, though I won't go into details over why. Diana deals with her enemies by understanding them. Even Urzkartaga is defeated through Diana's empathy, not for him, but for his victims.

On a greater level, the final battle of the story sends a powerful message: that truth, understanding and compassion are greater than fear, anger and violence. They are far more powerful tools to solve a problem. And that's a pretty powerful message to send, especially in a superhero comic.

And that's what Wonder Woman being the spirit of Truth means to me, why I love this comic series, and incidentally, why she's my favorite superhero across the board. Oh, yeah, did I mention that she's my favorite superhero? I might have wanted to start with that.

Happy Wonder Woman day, everyone. And now I'll go back to anxiously waiting until I can see the movie, while hoping very, very hard that I won't be disappointed by it. But if I am, I'll know I can go back to these comics to find the heroine I love.

Also, if you're interested in checking these out for yourselves (and you absolutely should), Comixology is currently having a Wonder Woman Day sale until June 5, which includes the first seven issues of this series, so go take advantage of that!

#wonder woman #wonder woman rebirth #comics #dc rebirth #greg rucka #dc comics #wonder woman: the lies #wonder woman: the truth #wonder woman: year one #wonder woman: godwatch #wonder woman: rebirth #comic books #comic book review #comic book reviews #reviews #review #st: book reviews #st: liked books

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13thfloornz · 7 years ago

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Former Genesis guitarist Steve Hackett brought his “Genesis Revisited” show to Auckland last night. Incredibly, after over 40 years and countless albums, this was Hackett’s first foray into New Zealand.

While the turnout at the Town Hall was somewhat sparse, the venue itself proved to be perfect. The towering, ornate pipe organ that fills up the rear of the stage made for a rather spectacular backdrop for Hackett’s brand of prog-rock.

Though the turnout was low, the enthusiasm was high as one fan shouted out for Supper’s Ready as he marched down the centre of the hall just after the set had started.

Steve Hackett made good on his promise to play the epic Genesis classic, but not after first treating the crowd to a few of his solo offerings, beginning with Every Day, from 1979’s Spectral Mornings (one of my faves of his solo work).

Then we heard three tunes from his latest album, The Night Siren.

Hackett, himself, proved to be a gracious host, apologizing for taking “67 years to get here”. When someone hollered, “Welcome back!”, he replied that he’s never been here before.

After a brief instrument, it was all Genesis material…clearly what the crowd came to see.

While Hackett had been singing his own material, he brought out Nad Sylvan to handle the Genesis songs. Dressed in what looked like a medieval waistcoat and sporting long, blonde hair, Sylvan looked like a cross between Billy Connolly and Robert Plant. Vocally, he was right in the Peter Gabriel/Phil Collins range.

The remainder of the band consisted of Roger King (keyboards), Rob Townsend (woodwinds), Gary O’Toole (drums & vocals) and Nick Beggs (bass).

Steve Hackett and the band seemed like they came to play, and play they did, performing over two hours of Genesis classics.

They began with Squonk, from 1976’s A Trick Of The Tail, the first album the band recorded without Gabriel, and I was reminded of how delicate and melodic the band was at that time. For me, tunes from Trick and the following album, Wind & Wuthering were the standouts for the evening, particularly the lovely Afterglow, which garnered the first of several standing ovations.

As the show progressed, the band stretched out, with the songs getting longer and more complex.

Both Firth Of Fifth and The Musical Box clocked in at over 10 minutes, with set closer Supper’s Ready taking 26 minutes to come to its conclusion.

No one seemed bored or impatient. In fact, audience members appeared to be glowing after the two and half hour show, no doubt hearing songs they thought they’d never experience live.

Hackett’s guitar playing was impeccable, full of little melodic twists and Rob Townsend’s contributions on soprano sax and flute offered the perfect counterpoint to Hackett’s guitar.

Another standout was drummer Gary O’Toole’s lead vocal during Fly On A Windshield.

Other than a full-blown Genesis reunion (the Peter Gabriel version), I can’t imagine a better treat for the long-suffering Genesis fan.

Marty Duda

Click on any image to view a photo gallery by Veronica McLaughlin:

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Steve Hackett set list:

Every Day

El Nino

In The Skeleton Gallery

Behind The Smoke

Instrumental

Squonk

Selling England By The Pound

Fly On A Windshield

Carpet Crawlers

Eleventh Earl Of Mar

Afterglow

Dance On A Volcano

Firth Of Fifth

The Musical Box

Supper’s Ready

Medley/Los Endos

Steve Hackett – Auckland Town Hall July 28, 2017 Former Genesis guitarist Steve Hackett brought his “Genesis Revisited” show to Auckland last night. Incredibly, after over 40 years and countless albums, this was Hackett’s first foray into New Zealand.

#13th floor #Auckland #concert review #marty duda #NZ #Photos #Steve Hackett #Town Hall #Veronica McLaughlin

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pangeanews · 6 years ago

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Per salvare la letteratura italiana bisogna fare come Mina, andare in quarantena. Pubblichiamo solo i “classici”: gli scrittori di oggi sono incapaci di toccare le vette di Nabokov e di Thomas Mann e noi non abbiamo tempo da perdere con la mediocrità

In questo articolo Mina balla insieme a Thomas Mann.

Il 29 ottobre del 1948, settant’anni fa, Orville Prescott, il ‘cecchino’ delle recensioni librarie, così costante, affettato, affidabile, scrive del Doctor Faustus di Thomas Mann sul New York Times. “Strane le opere di Thomas Mann e strana la mente che le ha evocate. Nessuno scrittore in questo secolo ha una tale ambizione universale e nessuno è più degno di averla. La sua erudizione è straordinaria, enormi i suoi risultati”. Va bene: più che una recensione è un tappeto rosso. Prendete in mano Doctor Faustus, stampa Mondadori, traduzione di Luca Crescenzi. Un libro-mondo, il libro per la vita, un libro come va scritto: ambizioso, tortuoso, tormentato, difficile, certo. Ciò che è accessibile non è letteratura, in letteratura si accede verso l’eccesso.

Citate il libro di uno scrittore italiano di cui si parla sulle prime pagine dei giornali che abbia i caratteri ruvidi dell’ambizione universale e dell’erudizione straordinaria. Proprio così. Oggi i libri si scrivono per non offendere l’ignoranza dei pallidi recensori.

Dieci anni dopo, stessa testata, quel cacasotto di Orville ha l’ardire di scrivere che Lolita di Nabokov è “noioso, noioso, noioso in modo pretenzioso, fatuo, florido”. Insomma: settant’anni fa, sulle massime testate statunitensi si parlava di Doctor Faustus; sessant’anni fa di Lolita. Nel 1948, su queste sacre sponde, lo Strega andava a Vincenzo Cardarelli con un libro dimenticato, Villa Tarantola; dieci anni dopo lo Strega va a Dino Buzzati per i Sessanta racconti, ed è uno degli Strega meglio affibbiati.

Fate leggere Doctor Faustus o Lolita – due facce della stessa medaglia, due protagonisti corrotti dal medesimo demone – a un neomaggiorenne. Non è in grado di capirlo. Non ne capisce le ironie e i forbiti balocchi retorici. Non ce la fa. Analfabetismo dilagante. Mi domando, tuttavia, quale scrittore italiano, oggi, si confronti con quei giganti, Thomas Mann e Vladimir Nabokov – attenzione, attenzione: non ho detto Malcolm Lowry e Hermann Broch, non ho detto autori per natura romanzesca ‘impossibili, ho citato due autori complessi ma narrativamente leggibili. Stando a quello che pubblicano le major editoriali, quasi nessuno.

Su il Giornale, spaparanzato su due pagine, Andrea Caterini tenta di rispondere a una domanda amletica, indocile, dolente: Esiste una nuova letteratura italiana? A un certo punto del ragionamento, Caterini dice una cosa importante. “Leggo sempre con scetticismo tutti quei libri, e sono molti, che non hanno nulla da dire ma tanto da raccontare; quelli che fingono che il romanzo moderno e il Novecento non siano mai esistiti, e con un balzo tanto ingenuo quanto demente, aderiscono a un modello che non gli appartiene, ma che reputano molto più utile ai loro scopi. È il modello di derivazione statunitense che si è capillarizzato attraverso la ‘Scuola Holden’. Romanzi identici l’uno all’altro. Ne hai letto uno e li hai letti tutti”. Semplifico la questione: che ragionamento si sta producendo, ora, oggi, intorno alla ‘forma’ narrativa? Che labirinti formali si adottano per rendere un libro imperiale, vertiginoso, degno di lettura?

Faccio esempi meno aulici. La storia della matita di Peter Handke – recentemente riportato in libreria da Guanda – e I testamenti traditi di Milan Kundera. Due libri sufficientemente recenti (il primo del 1982, l’altro del 1992) di due autori europei viventi. Che libri sono? Romanzi, aforismi, confessioni, saggi? La riflessione sulla forma – che non significa andare a discapito della ‘leggibilità’ – è tutto, in quei libri. Semplifico ancora: che lingua porta Maurizio de Giovanni rispetto a Georges Simenon; che narrativa impone Helena Janeczek rispetto ad Agota Kristof; perché devo leggere Giuseppe Catozzella se non ho finito di capire William T. Vollmann; cosa portano in più – o di altro – Marco Missiroli, Marco Balzano, Paolo Di Paolo, Paolo Cognetti, Silvia Avallone, Veronica Raimo rispetto a Dave Eggers; perché devo ciucciarmi Roberto Saviano se Martin Amis è molto più bravo di lui?

La dico in altro modo. Gli americani trovano le formule più ardite per narrare; gli europei decostruiscono la forma, diluiscono la narrazione, la sfasciano. Se non abbiamo capito questo, inutile leggere. La letteratura europea nasce con Don Chisciotte, che è la finzione di una finzione; in Moby Dick, invece, evaporato il biblismo, conta la caccia, la realtà della bestia, lo spermaceti, la concreta bellezza della balena. Chisciotte vede i draghi nei mulini a vento, i balenieri vedono denaro nel capodoglio. Ma quale scrittore italiano, oggi, si confronta con Cervantes e con Melville? Di solito lo scrittore A fa la sviolinata allo scrittore B, e insieme si dicono in coro quanto è bravo lo scrittore C e tutti e tre prendo lo spritz con l’editor della grande casa editrice che li pubblica in massa. Che pena.

Bisogna guardare la notte con occhi ispirati e disperati, bisogna cavare l’acqua dalla pietra, bisogna ricondurre il mondo a un verbo, scavalcare le giunture della terra con una barbarica manciata di aggettivi. Invece. La letteratura è mero mercato – il successo si commisura dalla virilità della vendita – lo scrittore è allevato in batteria, sparso sui quotidiani nazionali, per bonificare le masse con pensieri liofilizzati, di buon gusto e di buon senso, che pena.

Eppure. Fino a poco fa erano possibili romanzi formalmente arditi – e non per questo impossibili. Esempi. Il Natale del 1833 di Mario Pomilio – che nel 1983 si pappò lo Strega – Il terzo aspetto di Giorgio Saviane, Seminario sulla gioventù di Aldo Busi, Diceria dell’untore di Gesualdo Bufalino, Cima delle nobildonne di Stefano D’Arrigo. Non cito capolavori, ma tentativi. Radiosi, bellissimi.

Non voglio dire che il mondo letterario italiano invecchia peggiorando, però, qui siamo passati dalle parole crociate alla lallazione infantile, dal discorso sulla forma agli scrittori a braghe calate, piegati ai voleri del mercato – anzi, neppure a quello, perché manca una autentica ‘volontà, lo scrittore vegeta nella propria insipienza, giocando a fare le moine, razza di faine.

Che c’entra Mina? Mina è il nostro Salinger. Quarant’anni fa si ritira dalle scene – e non è mai stata così presente come da quando è assente. Mina è l’emblema del potere: l’invisibilità ne decuplica la forza. Mina non esiste – Mina è già mito. Mina si tocca attraverso la sua voce – come la parola della Madonna, della divinità – Mina non appare, va venerata. Non esistendo in carne, può elaborare, con infinita raffinatezza, la sua immagine fittizia – l’artista lavora per perfezionare l’immaginario, non per essere schiavo dell’immagine. L’arte che si libera dell’artista, cannibalizzandolo. Eccola, la soluzione ai mali della letteratura italiana. Quarantena. Ritirare dalle scene editoriali gli scrittori viventi. Pubblicare, per un po’, soltanto i morti, i classici, i grandi libri. Per rifondare il gusto e vincere il perbenismo letterario vigente. E i poveri scrittori come fanno a vivere? Borse di studio. Quelli con il progetto romanzesco più convincente vincono due anni di borsa per studiare, viaggiare, prepararsi. Poi almeno un anno per scrivere. E un altro anno per corrggere. Ci rivediamo tra quattro anni. Con i grandi capolavori della letteratura italiana di domani. (d.b.)

L'articolo Per salvare la letteratura italiana bisogna fare come Mina, andare in quarantena. Pubblichiamo solo i “classici”: gli scrittori di oggi sono incapaci di toccare le vette di Nabokov e di Thomas Mann e noi non abbiamo tempo da perdere con la mediocrità proviene da Pangea.

from pangea.news https://ift.tt/2wqDYww

#L'Editoriale #Aldo Busi #Andrea Caterini #Cervantes #Chisciotte #Dave Eggers #denaro #Dio #Don Chisc

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dccomicsnews · 7 years ago

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DC Comics News has compiled a list of DC Comics titles and collectibles shipping to comic shops for October 10, 2017.

COMICS

ALL STAR BATMAN #14 $4.99 BANE CONQUEST #6 (OF 12) $3.99 BATMAN #32 $2.99 BATMAN THE DAWNBREAKER #1 (METAL) $3.99 BATMAN THE DAWNBREAKER PROMO PINS (BAG OF 25) $PI BATMAN WHITE KNIGHT #1 (OF 7) $3.99 CYBORG #17 $3.99 DASTARDLY AND MUTTLEY #2 (OF 6) $3.99 DEATHSTROKE #24 $3.99 GREEN ARROW #32 (METAL) $2.99 GREEN LANTERNS #32 $2.99 HARLEY & IVY MEET BETTY & VERONICA #1 (OF 6) $3.99 HARLEY QUINN #29 $2.99 INJUSTICE 2 #11 $2.99 JUSTICE LEAGUE #30 $2.99 NIGHTWING #30 $2.99 SAVAGE THINGS #8 (OF 8) $3.99 SUPERMAN #32 $2.99

DCN Pull Box Triple Spotlight

BATMAN THE DAWNBREAKER #1 (METAL) $3.99

Sam Humphries (A) Ethan Van Sciver (CA) Jason Fabok

As the events of DARK NIGHTS: METAL rock the DC Universe, the creatures of the Dark Multiverse stand ready to invade our world! How can even the World’s Greatest Heroes stop a horde of deadly beings that appear to be powerful, nightmare versions of familiar figures? Find out in these special tie-in issues!

HARLEY & IVY MEET BETTY & VERONICA #1 (OF 6) $3.99

Paul Dini, Marc Andreyko (A) Laura Braga (CA) Amanda Conner

Free college tuition for all Riverdale residents?! That’s the plan-after the town drains the wetlands that lie between it and Gotham City and then builds a new campus. The only snag? A certain botany-obsessed super-villain. When Poison Ivy enlists her bestie, Harley, to kidnap both Veronica Lodge, daughter of Riverdale’s most important citizen, and her friend Betty, she’s counting on some assistance-and the mayhem that ensues will probably work as well! DC Comics and Archie are proud to present the adventure of a lifetime for all these best pals. Their hijinks are brought to you by the real-life team-up of Paul Dini (HARLEY QUINN) and Marc Andreyko (WONDER WOMAN ’77), with art by Laura Braga (DC BOMBSHELLS)!

BATMAN WHITE KNIGHT #1 (OF 7) $3.99

Sean Murphy (A/CA) Sean Murphy

In a world where Batman has gone too far, The Joker must save Gotham City. He’s been called a maniac, a killer and the “Clown Prince of Crime” but “white knight”? Never. Until now… Set in a world where the Joker is cured of his insanity and homicidal tendencies, The Joker, now known as “Jack,” sets about trying to right his wrongs. First he plans to reconcile with Harley Quinn, and then he’ll try to save the city from the one person who he thinks is truly Gotham City’s greatest villain: Batman! Superstar writer and artist Sean Murphy (PUNK ROCK JESUS, THE WAKE) presents a seven-issue miniseries of a twisted Gotham City with a massive cast of heroes and villains that, at its heart, is a tragic story of a hero and a villain: Batman and The Joker. But which is the hero-and which the villain?

Variant Covers

Note: Variant Prices To Be Determined By Retailer

ALL STAR BATMAN #14 (Rafael Albuquerque variant) $4.99 ALL STAR BATMAN #14 (Sebastian Fiumara variant) $4.99 BATMAN #32 (Olivier Coipel variant) $2.99 BATMAN WHITE KNIGHT #1 (OF 7)(Sean Murphy variant) $3.99 CYBORG #17 (Carlos D’Anda variant) $3.99 DASTARDLY AND MUTTLEY #2 (OF 6)(Emanuela Luppachino variant)$3.99 DEATHSTROKE #24 (Shane Davis variant) $3.99 GREEN ARROW #32 (Mike Grell variant) $2.99 GREEN LANTERNS #32 (Brandon Peterson variant) $2.99 HARLEY & IVY MEET BETTY & VERONICA #1 (OF 6)(blank variant) $3.99 HARLEY & IVY MEET BETTY & VERONICA #1 (OF 6)(Adam Hughes variant) $3.99 HARLEY QUINN #29 (Frank Cho variant) $2.99 JUSTICE LEAGUE #30 (Guillem March variant) $2.99 NIGHTWING #30 (Casey Jones variant) $2.99 SUPERMAN #32 (Jonboy Myers variant) $2.99

GRAPHIC NOVEL

BATMAN DETECTIVE TP VOL 03 LEAGUE (REBIRTH) $19.99 FLINTSTONES TP VOL 02 $16.99 GREEN LANTERN KYLE RAYNER TP VOL 01 $29.99 JUSTICE LEAGUE BY GEOFF JOHNS BOX SET VOL 01 $49.99 JUSTICE LEAGUE THEIR GREATEST TRIUMPHS TP $9.99 NEW SUPER MAN TP VOL 02 COMING TO AMERICA (REBIRTH) $16.99 RED HOOD & THE OUTLAWS TP VOL 02 WHO IS ARTEMIS (REBIRTH) $14.99 SUPERGIRL BY PETER DAVID TP BOOK 03 $29.99 SWAMP THING THE BRONZE AGE OMNIBUS HC $99.99 WONDER WOMAN & THE JUSTICE LEAGUE AMERICA TP VOL 02 $24.99 WONDER WOMAN REBIRTH DLX COLL HC BOOK 01 $34.99

MERCHANDISE/COLLECTIBLES

DC COMICS BATMAN 3PK REUSABLE SNACK BAG SET $16.99 DC COMICS EMOJI 144PC BUTTON ASST $PI DC COMICS SUPERMAN 3PK REUSABLE SNACK BAG SET $16.99 DC COMICS WONDER WOMAN 3PK REUSABLE SNACK BAG SET $16.99 HARRY POTTER MARAUDERS MAP JOURNAL $14.95 HCF 2017 DC SUPER HERO GIRLS SPEC ED $PI JUSTICE LEAGUE MOVIE 12IN AF 2PK BATTLE BOX CS $22. WONDER WOMAN CERAMIC LARGE CAN MUG $7.99 WONDER WOMAN CLASSIC 16 OZ GLASS TUMBLER 2PC WINDOW BOX $11.99 WONDER WOMAN MOVIE 25 OZ TRITAN BOTTLE WITH STRAW $10.99

ACTION FIGURES/STATUES

ARROW TV SERIES GREEN ARROW ARTFX+ STATUE $74.99 BATMAN 66 BATGIRL 5.5IN BENDABLE FIGURE $8.99 BATMAN 66 BATMAN 5.5IN BENDABLE FIGURE $8.99 BATMAN 66 CATWOMAN 5.5IN BENDABLE FIGURE $8.99 BATMAN 66 JOKER 5.5IN BENDABLE FIGURE $8.99 BATMAN 66 PENGUIN 5.5IN BENDABLE FIGURE $8.99 BATMAN 66 ROBIN 5.5IN BENDABLE FIGURE $8.99 DC BATMAN RETRO 8IN AF ASST SERIES 5 $29.99 DC BATMAN TV SERIES BEST OF HERO 8IN AF ASST $29.99 DC BATMAN TV SERIES BEST OF VILLAINS 8IN AF ASST (Net) $29.99 DC COVER GIRLS DEATH STATUE BY STANLEY LAU $100.00 DC FLASH 8IN AF ASST SERIES 1 $29.99 DC ICONS BATMAN REBIRTH AF $28.00 DC ICONS SUPERMAN REBIRTH AF $28.00 DC SHAZAM 8IN AF ASST SERIES 2 $29.99 DC SUPERFRIENDS 8IN AF ASST SERIES 6 $29.99 DC TEEN TITANS 8IN AF ASST SERIES 2 $29.99 DC UNIVERSE BATMAN FAMILY 8PC BMB RUBBER CHARM DIS $6.99 HANNA BARBERA JOHNNY QUEST 8IN AF ASST SERIES 1 $29.99 HANNA BARBERA SCOOBY DOO 8IN AF ASST SERIES 1 $29.99 HANNA BARBERA SPACE GHOST FIGURE 8IN AF CS (Net) $29.99 JUSTICE LEAGUE MOVIE 12IN AF 2PK BATTLE BOX CS $22.99 JUSTICE LEAGUE MOVIE 12IN BASIC AF ASST $12.99 JUSTICE LEAGUE MOVIE MULTIVERSE 6IN AF ASST $22.99 JUSTICE LEAGUE MOVIE THE FLASH STATUE $150.00

CLOTHING

AQUAMAN SYMBOL WASHED TRUCKER SNAP BACK CAP $23.99 BATMAN SYMBOL WASHED TRUCKER SNAP BACK CAP $23.99 DC COMICS THE FLASH CAPED SUPERBIB $9.99 DK III WONDER WOMAN T/S LG $19.95 DK III WONDER WOMAN T/S MED $19.95 DK III WONDER WOMAN T/S SM $19.95 DK III WONDER WOMAN T/S XL $19.95 DK III WONDER WOMAN T/S XXL $22.95 HARLEY QUINN POWER GIRL II T/S LG $19.95 HARLEY QUINN POWER GIRL II T/S MED $19.95 HARLEY QUINN POWER GIRL II T/S SM $19.95 HARLEY QUINN POWER GIRL II T/S XL $19.95 HARLEY QUINN POWER GIRL II T/S XXL $22.95 HARLEY QUINN POWER GIRL II WOMENS T/S LG $19.95 HARLEY QUINN POWER GIRL II WOMENS T/S MED $19.95 HARLEY QUINN POWER GIRL II WOMENS T/S SM $19.95 HARLEY QUINN POWER GIRL II WOMENS T/S XL $19.95 JUSTICE LEAGUE JL UNITE T/S LG $19.95 JUSTICE LEAGUE JL UNITE T/S MED $19.95 JUSTICE LEAGUE JL UNITE T/S SM $19.95 JUSTICE LEAGUE JL UNITE T/S XL $19.95 JUSTICE LEAGUE JL UNITE T/S XXL $22.95 KAMANDI T/S LG $19.95 KAMANDI T/S MED $19.95 KAMANDI T/S SM $19.95 KAMANDI T/S XL $19.95 KAMANDI T/S XXL $22.95 SUPERMAN SYMBOL WASHED TRUCKER SNAP BACK CAP $23.99 SWAMP THING HOS #92 T/S LG $19.95 SWAMP THING HOS #92 T/S MED $19.95 SWAMP THING HOS #92 T/S SM $19.95 SWAMP THING HOS #92 T/S XL $19.95 SWAMP THING HOS #92 T/S XXL $22.95 WONDER WOMAN FADE SYMBOL T/S LG $19.95 WONDER WOMAN FADE SYMBOL T/S MED $19.95 WONDER WOMAN FADE SYMBOL T/S SM $19.95 WONDER WOMAN FADE SYMBOL T/S XL $19.95 WONDER WOMAN FADE SYMBOL T/S XXL $22.95 WONDER WOMAN FADE SYMBOL WOMENS T/S LG $19.95 WONDER WOMAN FADE SYMBOL WOMENS T/S MED $19.95 WONDER WOMAN FADE SYMBOL WOMENS T/S SM $19.95 WONDER WOMAN FADE SYMBOL WOMENS T/S XL $19.95

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DC Comics Pull Box For 10-4-17 (New Comics and Merchandise) DC Comics News has compiled a list of DC Comics titles and collectibles shipping to comic shops for October 10, 2017.

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cometcomicsca · 8 years ago

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Here’s what’s new for Wednesday, March 15, 2017! Contact us to reserve or join our mailing list!

Marvel Comics

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**Amazing Spider-Man #25

Amazing Spider-Man #25 Classic Var

Avengers Initiative Complete Collection Tp Vol 01

Black Panther World Of Wakanda #5

Captain America Sam Wilson #20

Daredevil #18

Deadpool Classic Tp Vol 17 Headcanon

Deadpool The Duck #5 (Of 5)

Excalibur Epic Collection Tp Sword Is Drawn

Great Lakes Avengers #6

Guardians Of Galaxy #18

Mighty Thor #17

Monsters Unleashed #5 (Of 5)

Monsters Unleashed #5 (Of 5) Francavilla 50S Movie

Ms Marvel #16

Patsy Walker Aka Hellcat #16

Punisher #10

Spider-Man #14

Star Wars Poe Dameron #12

Star Wars Poe Dameron #12 Yu Star Wars 40Th Anniv

Star-Lord #4

Totally Awesome Hulk #17

Unbelievable Gwenpool Tp Vol 02 Head Of Modok

Uncanny Avengers #21

Uncanny X-Men #19

Us Avengers #4

Venom #5

Wolverine Vs Marvel Universe Tp

Women Of Power Standee Punch Out Book Hc

DC Comics

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All Star Batman #8

All Star Batman #8 Camuncoli Var Ed

All Star Batman #8 Francavilla Var Ed

Aquaman #19

Aquaman #19 Var Ed

Batman #19

Batman #19 Var Ed

Batman & Superman In Worlds Finest Tp Vol 01 The S

Batman Ego And Other Tails Dlx Ed Hc

**Batwoman #1

Batwoman #1 Blank Var Ed

Batwoman #1 Var Ed

Cave Carson Has A Cybernetic Eye #6 (Mr)

Dc Comics Bombshells #24

Dc Comics Bombshells Tp Vol 03 Uprising

Green Arrow #19

Green Arrow #19 Var Ed

Green Lanterns #19

Green Lanterns #19 Var Ed

Harley Quinn #16

Harley Quinn Tp Vol 01 Die Laughing (Rebirth)

He Man Thundercats #6 (Of 6)

Injustice Ground Zero #8

Jsa The Golden Age Deluxe Ed Hc (Res)

Justice League #17

Justice League #17 Var Ed

Justice League Of America Power & Glory Hc

Lucifer #16 (Mr)

Mr Punch 20Th Anniversary Ed Tp (Mr)

Nightwing #17

Nightwing #17 Var Ed

Odyssey Of The Amazons #3 (Of 6)

Scooby Doo Where Are You #79

Super Sons #2

Super Sons #2 Var Ed

Superman #19

Superman #19 Var Ed

Titans #9 Var Ed

Trinity #7

Trinity #7 Var Ed

Wild Storm #2

Wild Storm #2 Jim Lee Var Ed

Wild Storm #2 Richardson Var Ed

Dark Horse Comics

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Angel Season 11 #3 Main Fischer Cvr

Angel Season 11 #3 Var Dekal Cvr

**Bounty Tp Vol 01

Dark Horse Presents #32

Ether #5

Harrow County #21

Neil Gaiman American Gods Shadows #1 (Mr)

Neil Gaiman American Gods Shadows #1 Mack Var Cvr

Neil Gaiman American Gods Shadows #1 Mckean Var Cv

IDW Comics

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Box Office Poison Color Comics #3

Darkness Visible #2

Darkness Visible #2 Subscription Var

Gi Joe (2016) #3

Haunted Love Hc Vol 01

Highlander American Dream #2

Highlander American Dream #2 Subscription Var

Mask Mobile Armored Strike Kommand Annual #1

Mickey Mouse #18

Revolutionaries #3

Star Trek Deviations

Starstruck Old Proldiers Never Die #2 (Of 6)

Tmnt 100 Project Tp

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jerepars · 7 years ago

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The Con Extended Chapter Notes

Hyperlinks appear in blue (underlined on mobile). The story is posted here. Direct link to this chapter is here.

The official theme song for this chapter is Kanye West and Chris Martin's "Homecoming", which pays tribute to Chicago. Not interested in any Kanye/Taylor drama, only interested in the line: Baby, do you remember when, fireworks at Lake Michigan?

> For the last few years, the very last ovation to summer happened on a boat. My friend Veronica, fellow dance academy survivor and Chicago socialite, threw an annual party on a yacht rented out by her father on the Saturday of Labor Day weekend, the last night that the Navy Pier fireworks would grace the sky over Lake Michigan. Veronica’s party was like an expensive, exclusive booze cruise that left at 9 o’clock on the dot and docked at Burnham Harbor just before midnight. Canapés were floated around on silver platters by cater waiters dressed in all white and a buffet spread was set up on the lower deck, with guests free to choose where on the boat they wanted to eat. The exterior of the boat was lit up by tea lights and paper lanterns. A DJ was spinning an eclectic set and a section of the open-air upper deck served as a makeshift dance floor.

I saw these promotions for private chartered yachts in Chicago and I knew immediately that Veronica's party had to be on a boat. Those views of the skyline look incredible. I used the layout of the "Chicago Elite" yacht, with a lower deck, main deck, and upper deck, but I think it would need to be a bigger boat to accomodate both the sitting area and dance floor that are described in this chapter. It's Veronica. Of course it would be bigger.

Also, getting obsessive over the little details, I was trying to figure out how long these cruise yachts typically are (lengthwise, not timewise), so I could choose the appropriate harbor to dock at (seriously, who even thinks about this stuff?), but I couldn't find anything, so I just went with Burnham Harbor, the biggest one, which supposedly can accomodate fleet up to 100 feet in length.

> The party was exclusive, but as one of Veronica’s closest friends, I was allowed to bring anyone I wanted. The season-ending fireworks were much more enjoyable surrounded by drunk people that Veronica had hand-selected rather than bumping shoulders with college kids sipping Pabst Blue Ribbon wrapped in brown paper bags on the pier or on the Grant Park lawn. Chic had attended the party with me the year before with the girl he’d been trying to impress, Tomoko, his now-girlfriend. It had been his first Veronica Lodge party, something he’d said he could get used to. So he was down to attend before I even asked if he wanted to. Jughead had never been much of a partygoer but Chic only had to tell him about the buffet spread and he was in, claiming he could suffer through rich kids and “Despacito” if it meant the Kobe beef was free.

The Navy Pier fireworks in Chicago are twice every week (Wednesday and Saturday), all summer, from Memorial Day to Labor Day.

I found a helpful list of good places around town to watch the fireworks, but it seemed to me like they would all be crowded, yet another reason for the yacht party.

Also, it looks like I've repurposed Tomoko Yoshida as Chic's girlfriend in this story.

> All grown up though, Jellybean had just acquired more layers. She still loved listening to Pink Floyd and had an Alkaline Trio tattoo. She’d moved on from Meet the Press to C-SPAN. But she also read French Vogue (hence her bobbed haircut) and followed the original LiveJournal version of TMZ: Oh No They Didn’t! Being the socialite that she was, Veronica was an ‘it girl’, Instagram famous, someone Jellybean already followed. Jellybean said she’d be happy to go to the party.

I think JB's Alkaline Trio tattoo could be the classic heartskull logo:

...or any of these sailor tattoo ideas inspired by Good Mourning:

It's probably just the logo because I doubt Betty listens to Alkaline Trio on a regular basis, so she wouldn't know the specifics of a conceptual tattoo. BUT, Alkaline Trio are From McHenry, Illinois, which is less than two hours from Chicago, and I think Alkaline Trio are usually classified as a Chicago band. So it's not entirely out of the realm of possibility that Betty could understand an album reference.

Anyway, I've been listening to a lot of songs that are about Chicago or mention Chicago, and bands that are from Chicago and the midwest. The song "Mercy Me" has been on heavy rotation because of the lines: It's been a long day living with this / It's been a long time since I felt so sick / I took a long walk straight back home / I could've walked back to Chicago. The chorus also goes oh, mercy me, God bless catastrophe. Mentions of "disaster" and "catastrophe" in songs are really working for me in this story. I originally intended for this to be the song that Jellybean and Jughead dance to, but I didn't want it to be overkill with mention of the tattoo and actually the one I ended up going with, I think, just works better.

The celebrity gossip page oh no they didn't, on LiveJournal, is in fact, still alive and active. Seems to me that if JB were to be into any form of pop culture she'd get it from that kind of source instead of tabloids and Entertainment Tonight.

> Archie leaned in close to me so his lips were near my ear when the song was about half over. He was laughing as he yelled, “This song is kinda raunchy.”

> And he was right. It was. The song was basically four minutes chalk full of innuendos, a duet of the singers telling their partner to please just go harder during sex without ever using those words directly. The beat was easy to groove to though.

> “Yeah, you’re nothing but bad,” I yelled back, speaking not of our dancing but with innuendo.

The song I had in mind that Archie and Betty were dancing to is "Love Me Harder" by Ariana Grande and The Weeknd. It doesn't have to be the same song in your mind. I think the description Betty gives could be about a lot of songs. Actually, in the Shell Games version of the story, the characters were at a club doing a late 90's/early 00's theme night and the song I used was "Too Close" by Next, which is like 4 minutes of a guy singing about his erection, haha. This chapter is vastly different from that one, but if there's anything I regret not being able to carry over, it's that I couldn't keep the theme night. Current "club bangers" just aren't the same as that late 90's R&B sound.

> He eyed me skeptically. I showed him what to do, swinging my own hips from side to side. I guided his movement with my hands, trying to get him to mirror what I was doing. It wasn’t all bad once he loosened up. Archie wasn’t the ‘uncoordinated doofus’ that Jughead claimed him to be a few nights back. He didn’t have two left feet. I put one of my hands on his wrist and tapped the beat he should be grooving to. Maybe not in the most fluid of fashion—he wasn’t a natural—but he caught on. When he trusted me (and himself) enough that he was dancing properly, I stopped the metronome on his arm and rested my hand on his back, just under his shoulder blade.

Remember when I was writing Lionheart and the furthest I got away from hardcore punk was, like, pop punk. Ha. Nope. We are no longer in that territory. Because it's Justin Bieber's "Company" that I imagined was playing while Betty taught Archie to dance. Speaking of the late 90s, I think the reason I like this song is because when the beat drops, it makes me think of those 90's Max Martin-produced songs. I can't be the only one who thinks of "Quit Playing Games (With My Heart)" when they hear "Company", right?

Also, I'm now realizing that Quit Playing Games (With My Heart) could be a good alternative title to this story.

> It did remind me of ballet pas de deux. Pas de deux was, of course, about form and technique, but it was also about trust and connection. I had to trust that my partner was going to lift and catch me, and ease my spinning instead of breaking my momentum during pirouettes, when it was required. He had to trust that I would put myself in the right position for him to support me throughout. A big part of the reason I’d gotten a solo role in the Joffrey Ballet’s upcoming production of Giselle was because my current partner, Trev, and I danced so well together.

When I originally did the research for this story, I read and watched a lot about pas de deuxs but it didn’t make sense for me to have more than this in the chapter. Anyway, the coolest thing that I saw was a mini documentary simply called Pas de Deux, featuring two principal dancers from New York City Ballet (I swear I'm not trying to use footage from NYCB exclusively, they just seem to be the most prominent). The film shows POV angles as they are dancing the wedding pas de deux from The Sleeping Beauty. The rehearsal is voiced over by the dancers and they describe what it’s like to be part of a pas de deux. Betty’s line about “spinning instead of breaking my momentum during pirouettes” is a reference to the documentary.

> Kevin, Veronica, and I landed in different places after high school, after the academy, transitioning to where we thought we belonged. Kevin loved dance and figured out that his passion was in choreography, not just ballet, but all kinds, mostly modern. He’d gone to LA the summer after graduation for an intensive camp at one of the big Hollywood dance studios where their faculty of choreographers got hired to compose for music videos and world tours. At the end of the camp he ended up as a backup dancer at the VMAs and, subsequently, he kept lining up more work, so he never came home. His latest project was as a backup dancer for a Top 40 radio artist making the rounds on late night talk shows. I was only teasing Kevin, and I was proud of him for making it in LA. I knew that his work was freelance-based. I knew how hard he had to hustle for his dreams.

The real story behind Kevin's career is that I'm addicted to watching dance choreography videos on YouTube. Here's one done to "Believer" from a dance studio in South Korea! Since I just mentioned it, here's one to "Company" from Millennium Dance Complex, in the LA area. Millennium is what I was thinking for Kevin. If you look into who the choreographers are for music videos, tours, and even those dance movies, I think you will find that they have taught classes at Millennium at some point in time.

> “That’s Chic’s best friend, right?” Kevin answered for me. “Tall, dark, and broody over there.”

> Kevin nodded in Jughead’s direction. It appeared that Archie hadn’t made his way back over to where Jughead was sitting. He was probably still in line at the cocktail lounge. It was an open bar, so it was sure to be busy. The expression on Jughead’s face was a somber scowl as he spoke to Jellybean and popped a spanakopita hors d’oeuvre in his mouth.

> Veronica followed Kevin’s line of vision. “Well, excuse me. Are the sleeves of his button down rolled up? How very East of Eden.”

Here's James Dean on the set of East of Eden, with cuffed sleeves:

> I chuckled at Veronica’s reference. Personally, I thought Jughead’s look for the night was more Marlon Brando in A Streetcar Named Desire than James Dean, but that was neither here nor there. If Jughead had his say, he would probably comment on the literary value of the original works before launching into his approvals and qualms with the film adaptations.

Here's Marlon Brando in A Streetcar Named Desire:

He doesn't have the rolled-up sleeves, but he does have the white undershirt and suspenders (as opposed to overalls), which are closer to Jughead's look in this chapter.

> My honest thoughts were that whether or not doom and gloom—as Kevin had put it—was still a thing, I was attracted to Jughead, and not just because of his looks. “I think Juggie would scowl and say,” I cleared my throat and did my best impression of Jughead’s voice, “‘Poverty isn’t an aesthetic, Veronica.’”

I wanted to write a Bughead story where it's Veronica's sweet 16 and she decides it's going to be a big bash and everyone has to get involved. And it's Jughead hipster hobo look, with suspenders fastened in place over shoulders, that she decides to use to dress the boys. But I don't even have any real plot ideas for that story. It lives and dies entirely on that phrase, of Jughead saying, "Poverty isn't an aesthetic, Veronica." I wanted to be able to use it somewhere, so I figured why not here, with Betty impersonating him? If by some miracle I do end up writing that story in the future, I guess it will just be in two places.

> “Anyway,” Veronica patted my arm as she finished off her drink. “Introduce me later, B? I think my channel could benefit from the hipster 90’s grunge demographic that aspires to teach Jordan Catalano how to read.”

This is a reference to the cult teen 90's show My So-Called Life, where there is a lot of flannel and sheeplined jackets, much like Jughead's wardrobe just...baggier. Jordan Catalano wears a lot of them. One of my favorite scences from the show is in episode 1x07 "Why Jordan Can't Read", when Angela is grilling Jordan about why he wouldn't read a love letter addressed to him if he found it and it was addressed to him. He had trouble reading it, only read parts of it, because he's dyslexic. I don't think I'm part of the "hipster 90's grunge demographic" but I do wish I could teach Jordan Catalano how to read.

> When I reached the seating area where our group had earlier staked claim, Jellybean was sitting by herself. I saw that Chic and Tomoko had taken to the dance floor, like many of the partygoers had, hands up and crooning along to a song about exactly what we would be witnessing soon: Lake Michigan fireworks. Jughead had moved to the port side. He was smoking a cigarette, profile illuminated by the moonlight, looking back at the city lights of the skyscrapers behind us.

> I waited until I was close enough that I didn’t have to yell to speak to Jellybean. “Alone again?”

> She flashed me an intentionally haughty smile and upturned her palms in the air. “Naturally.”

Here's the point in the story where "Homecoming" is actually referenced, talking about the fireworks at Lake Michigan. I always thought the line was fireworks up Lake Michigan, not "at", and I think I liked it better when I thought it was "up". Maybe I'll just live in denial.

The exchange of dialogue between Betty and JB here is doubly a reference to Gilbert O'Sullivan's "Alone Again (Naturally)" and Veronica Mars. It's what Logan and Veronica say to each other at the beginning of one of the most iconic moments of the show, the "epic" moment.

> Through it all, it was only Jughead that FP didn’t lose. There’d been a time when it got so bad, after Gladys and Jellybean left, that a 15-year-old Jughead would have rather made himself homeless than stay at the trailer. When Chic found out that Jughead was sleeping in the projection booth of the Twilight Drive-In, that was when he’d begged our parents to let Jughead stay with us. But even when Jughead wasn’t under his father’s roof, it never meant that FP had lost his son. Jughead was the only one who could really get through to FP. When Jughead begged and argued and said he was done, FP would stay sober for a few weeks at a time, as long as he could stand before he relaxed and relapsed. Jughead would stay at Sunnyside until FP fell off the wagon, and they would start the cycle anew.

With this being a party/dance chapter, I spent a lot of time listening to music that I considered to have a dance vibe when I was younger. I listened to Panic! at the Disco's debut album and what I thought was the best song on that album, "Camisado". I even looked up the demo version, "Relax, Relapse", which I remember downloading from like Purevolume.com way back in the day, which I might even still like better than the final album version. But anyway, I came to the conclusion that "Camisado" is my favorite P!ATD song that they ever put out and for a big chunk of writing about FP I played it on repeat. The lyrics to the song actually seemed really appropriate for the backstory I built for Jughead and FP's relationship, so I'm pleased that I was able to work that "relaxed and relapsed" part into this paragraph.

> It wasn’t the Mega Millions Powerball jackpot, because he’d only gotten the first 5 numbers. It was a small prize—relative to the grand prize—less than a million dollars after taxes. None of the crimes he’d been arrested or incarcerated for had ever been gambling or laundering related, so he got to keep the money. Being the man of extremes that he was, and prison having done a number on him, he gave Jughead power of attorney over his money. He said Jughead was the only person he trusted to do the right thing with that kind of money. He couldn’t make up for the years of not being a good father, couldn’t make up for the things Jughead had to go through, but it was what he could offer to make amends. True to his nature of extremes, it took prison and winning the lottery to set FP straight; three years sober and counting, the longest of Jughead’s life.

When I decided the story would take place in Chicago, I looked up every single MFA program in Creative Writing and every MA in English in that area. When I saw SAIC's writing program, I thought that would be a really cool option, to have Jughead at art school, because isn't that what novelists do, make art? Then when I saw SAIC's tuition, I thought that even with scholarships and financial aid, it would be out of reach. My exact words were, "well shit, he would have to win the lottery for that to happen."

Instead of going back to the drawing board to find another program at another school, that became my eureka moment. It became what if after what if after what if. Maybe I'm crazy (is that even up for debate? hasn't that long been established already?) and I have taken it too far this time with what I've conjured up. But my ideas have always been pretty alternative so I stuck to my gut and went with it. If people don't like it, it's okay, I accept that.

If FP went to prison for 18 months, then whether or not he wanted to, he'd sober up. And I think he'd turn to playing card games and small time gambling, like mentioned in the chapter. Also mentioned, he's a man of extremes, so it's an environment of prison and forced sobriety that would break him, that would be able to turn his life around for the better. Once on the outside, sober, I don't think he would be a heavy gambler, but yeah, I think he'd buy the occasional lottery ticket. And what if one of those tickets turns out to be a new extreme--FP winning at something for once. I think that the term "winning the lottery" would have multiple meanings for FP, not just the money.

This whole thing had me searching things on Google like misdemeanor jail time and jail vs prison and repeat offense sentence and can criminals win the lottery after release from prison. Do ISPs monitor Google searches? Because mine are all over the place for all of this research.

Did anyone else know that the prize for getting the first 5 numbers but not the powerball number for the Mega Millions lottery is $1 million (less after taxes, of course)? I thought it could be feasible for FP to win a (relatively) small amount of money. Definitely not the grand prize. I had to look that up.

Getting specific to the quoted paragraph though, I think it's both a strength and a flaw of Jughead's that he can't seem to completely abandon FP and give up on him. That's part of Jughead from canon that I wanted to keep.

> “I think you and Ju—you and him—” Jellybean corrected herself, stopping the blunder of saying her brother’s name out loud. The music had just cut out and people were shuffling to find a place to sit or stand, which meant the fireworks were due to start any minute. She rephrased, “I think you’d be good for him. But he uses sarcasm and anger as a way of keeping people from getting too close to him, so he doesn’t have to deal with how he really feels. And that means he can be kind of a dick sometimes. Be careful.”

Another nod to Veronica Mars. At the dance in 2x17, Gia says to Logan (0:05 to 0:20), "I think you use sarcasm and anger as a way of keeping people from getting too close to you."

> The crew, as I’d referred to them, settled into the lounge chairs for the show of fireworks. Jellybean and I stayed beside each other, while Archie took to my other side, Jughead took to hers, and Chic and Tomoko sat beside him. I glanced at Jellybean nervously a few times, in between colorful explosions in the sky, but she never looked back at me. She snuggled into her brother’s side, blue eyes bright as she watched streams of light shoot up into the sky and change color as they exploded high above the Ferris wheel and reflected on the water. She looked just like she did when she was six years old, eyes wide and full of wonder, in the bed of FP’s old mint green truck at the Twilight Drive-In.

Lots of music references here. Another option for the song Jellybean and Jughead dance to would have been "Say I Won't (Recognize)" by The Gaslight Anthem, because apparently I can't go a single story without making reference to their music. The Navy Pier Ferris wheel (it can be seen in the second picture at the top of the notes) always makes me think of this song because of the line meet on the warm sand and waltz out the twilight, and watch the carnival lights explode. I really like the instrumental post-rock band Explosions in the Sky and, well, that's what fireworks are, so of course I had Betty say that.

I've rediscovered and listened to the band Stars a lot lately, and they have a song called "Lights Changing Colour", so in my own roundabout way I referred to that, too.

> Jellybean managed to get the DJ to play a song by The Cure. Well, it was a more danceable cover of a song by The Cure, but it got her on the floor. It also meant that Jughead was dragged to join us, unable to say no to Jellybean’s pouty lip and her come on, please, Juggie? since they wouldn’t see each other again until Thanksgiving. He looked cute and awkward, shuffling his feet and bouncing at his knees but very clearly not into it. A few times, he twirled Jellybean and gave her a dip, which made both of them laugh. It was nice to see him that way, not so guarded. His genuine smiles could set off fireworks in the pit of my stomach. They made my insides feel like butter on a summer day. But it was so much more than his looks that had made me like him for so long. If it were only his appearance that attracted me, I would have gotten over my crush years ago.

The song by The Cure (because you know JB definitely listens to The Cure) that I chose is "Close to Me". Or, more specifically, the cover I chose is The Get Up Kids' version of "Close to Me". If you have strong feelings about The Cure, it might not be your cup of tea, but I don't have strong feelings about The Cure, and, admittedly, I really like this cover because I'm a big fan of The Get Up Kids. They're from the midwest and that fits in with my theme of listening to a lot of midwestern/Chicago bands while writing this story.

I thought that Betty's line about butter on a summer day was a good description of how Jughead's smiles make her feel and also appropriate since it's at the very end of summer at this point in the story. The line is taken from the opening of "Megan" by Smoking Popes: Butter on a summer day when she's around. Actually the version I always listen to is the acoustic cover by Bayside, featuring Josh Caterer (who is the vocalist for Smoking Popes). Smoking Popes are from the suburbs of Chicago, of course.

I guess this paragraph was very cover inspired. Didn't think about that until I wrote this out.

> Even after everything, he was quick to say that his father’s money wasn’t his money. When people found out how the Joneses had gotten the money to keep up with the Joneses, so to speak, and they asked Jughead in a condescending tone what it was like to become rich overnight, he shot them down. He would say that he’d gotten money to pay off his student loans and he was given money for grad school and a place to live, but it wasn’t his. He would say that graduating from the University of Michigan had been a good thing for him. He would say that moving to Toledo to be in the same city as his sister and supporting himself without eating Top Ramen for every meal was a step up from his teenage years. Because those were his; that was what he’d done for himself, that was what it was like.

One of the first things that struck me during my first time watching Riverdale was the irony that it is the Jones family who are most unable to abide by the idea of "keeping up with the Joneses". Because, you know, they are the Joneses. I've been looking for a place to insert this since I starting writing about Bughead, and I finally found the right spot.

> Jellybean’s song request ended and transitioned into a mid-tempo Drake song. Since Kevin and I were dancing beside the Joneses, I saw her roll her eyes. I giggled and she caught my gaze. I saw the glint of mischief form in her eyes right before she reached out to grab me.

I'm mentioning Drake directly in the story, what? And maybe it seems like it's "Passionfruit" that I'm talking about, especially because I've loved the cover by Paramore all summer long. But it's actually "Controlla" that I envision Betty and Jughead dancing to. If you compare "Passionfruit" and "Controlla", the latter is slower, and there are a few different beats that you can pick out, including one layer that's actually quite slow. The lyrics even sort of work. And this one's on Views ("Passionfruit" is not), which maybe somehow plays into the story later on. Don't ask me how Drake wound his way into my stupid story twice. Underneath it all he's still just Jimmy from Degrassi, right?

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