#ABSOLUTELY drives me crazy

[tattoos-and-ballgowns]

.

[mrliverboy]

A father and his son

[idontmindifuforgetme]

I love Tumblr because nothing matters here truly. There are no influencers. Having followers doesn’t mean anything. It’s just a site where people post their sporadic thoughts and rb pretty pictures. Anyone who thinks any of this matters is woefully missing the point

[bitter-hibiscus]

people keep talking about Dick killing Joker as something he did for Jason (not true) when the much more interesting conversation we could be having is that Bruce revived Joker so Dick wouldn't have to live with the weight of taking someone else's life, therefore not only taking away all of Dick's autonomy in the situation but also making him have to live with the knowledge that his anger is capable of driving him to such lengths while also being aware that his anger won't fix a goddamn thing, which in turn makes him repress his negative emotions even more

[clj-art-blog]

Equal and worthy of each other | Their Majesty Yue Zun Dongfang Qingcang and his Yue Zhu Xiaolanhua

[casscainmainly]

can you dive more into bruce’s dislike of cass’ femininity?

Sure!! To preface this, gender and Cass is a really nuanced topic that has a lot of interpretations, all equally valid. This is just my own interpretation, and is mainly situated in early Batgirl (2000). I also recommend reading my gender and sexuality posts for Cass' persepctive on her relationship with gender. But since I've gotten a couple questions about it, I'll cover specifically Bruce's evolving opinions on Cass' gender here.

Beginning

From Batgirl #1, Puckett establishes Bruce's view of Cass: she is like him. Both Barbara and Bruce (and Cass herself) acknowledge this, and it allows Bruce to understand Cass in a way Babs doesn't. This isn't gendered yet, but the seed (that Horrocks will pull on) is there - Bruce closely associates Cass with himself, meaning he focuses on the ways they're similar and ignores the ways they're different.

This similarity is comforting not just for Bruce, but for Cass as well. They are equals - they have similar fighting abilities, philosophies against killing, ways of expressing themselves, etc. She doesn't have to hold back, not with him. Both of them wanted her to be 'like him'.

Bruce does not want Cass being taken "away from [him]". "You want me to think she's like you," he tells David Cain in #5. His biggest fear is Cass being like someone else, and not like him.

The Threat of Stephanie Brown

This recurring motto - 'you're not like them, you're like me' - crops up again when Bruce talks about Stephanie in #38. I've discussed how this makes Cass think she lacks something in femininity, but for Bruce this is him drawing a line between Steph and Cass. Steph is a 'girl', treated like one by Bruce: incompetent, not to be taken seriously, belittled. But because Cass is 'like Bruce,' she can "never" be like Stephanie. Cass being like Stephanie challenges not only Bruce's views of both women, but also his own highly cherished belief that him and Cass are the same.

Steph's feminine presence threatens Bruce and Cass' relationship, kicking off a series of issues where Bruce desperately tries to suppress Cass' gender and sexuality.

Vacation

When Cass encounters Tai'Darshan (a boy love interest) and lets him go, Bruce agrees to send Babs and Cass on a vacation. His motivations are extremely murky: Babs implies it was a set-up to get Cass into action again (justified by a panel of Bruce evilly smirking), but a panel right after has Bruce looking sad:

From #40: "You don't really give a damn about Cassandra, do you?" The juxtaposition between these two panels - one with Bruce (sans mask) smirking, and the other with Batman brooding - suggests he does care about Cass, but he struggles with how. For the first time he's realising that Cass isn't like him, that she's a girl with all that girlhood entails, and it frightens him. The cowl (Batgirl) allows him to ignore what's underneath, but Cass is coming through more and more.

But when Babs mentions Kon, the struggle goes out the window.

Thi anger is funny in a girldad way, but it goes to show how much he cannot stand the thought of Cass exploring her sexuality. It's not just that he doesn't want his little girl to date - it's that somehow, Cass embodying her girlhood will separate her from him forever.

Loss

Babs explicitly points out Bruce's feelings in #42. Though she couches it in non-gendered terms ("school, a job"), it's no coincidence that it's specifically a gendered thing - "falling in love" (with a boy, Kon and/or Tai) - that Bruce is reacting to. So far Bruce has threatened Cass away from Stephanie (her first female friend), Tai/Kon (love interests), and has repeatedly expressed dissatisfaction in Babs (Cass' mother figure). He tries to limit any relationships that allow Cass either feminine solidarity or expressions of her femininity.

Bruce sees girl!Cass as fundamentally opposed to Batgirl!Cass. Batgirl is like him - Cass is not. She's "distracted. Unfocused. Unreliable..." That last adjective is super interesting, because it frames Cass' explorations of gender as an insult against him. Cass becoming more girl-like is making her "unreliable" to Bruce, making her harder to trust.

"If you've got better things to do than being Batgirl, Cass, just say so." This can be read as an ultimatum, but also as a genuine question. He's asking if she wants to be like him (Batgirl), or go her own way (Cass). When she picks Batgirl, he tells her "no more trips to Kansas." To be like him, she must give up her explorations of gender/sexuality.

Firing

In the aftermath of a trip to Tai's hometown (during which he dies), Cass grows increasingly distant to Bruce.

Bruce finally realises that Cass is not like him - that her differences, most vitally expressed in her girlhood, means she needs something different from him. "She no longer tells us what she's doing..." Bruce still associates Cass exploring her gender as disloyalty to him and his symbol, but this time he acknowledges that maybe that disloyalty is a good thing.

Then we have maybe the most interesting part:

Bruce's "I wouldn't know" is a response to Babs' second dialogue, but it's interesting to read his words as also a response to the first. Because Bruce wouldn't know what it's like to give into hormones, to "have sex, take wild risks, misbehave". Of course he's had sex, but his life is so consumed by his mission that Bruce has limited opportunities to explore his gender. In a way, Bruce's repression of Cass' femininity reflects his repression of his own gender exploration.

The Fight

In #50, Cass and Bruce get into a fight, during which Babs questions whether Cass is trying to "kill" or "kiss" Bruce. In the broader context of their gender struggles, this fight is the culmination of Cass and Bruce figuring out their gender expressions and sexualities. I'm reading this not as a romantic kiss, but as a symbol of sexual release - of defying sexual and gendered repression.

Bruce finally explicitly asks Cass who's she loyal to, and Cass points to the Bat. For Bruce, this choice symbolises that Cass is still loyal to Batgirl/Batman, but also her own person; he finally understands how Cass is like him, but also unlike him, and that her (gender) difference doesn't make her any less able to wear the symbol.

This fight is often analysed from Cass' perspective, but it was clearly important to Bruce, too. It was the turning point in his treatment and understanding of Cass - after this point, their relationship never hits the same lows again, and Bruce starts treating her like her own person (cultiminating in the Batgirl (2008) adoption). In Gabrych's run, Bruce leaves Cass alone and doesn't stop her from searching for Shiva, a huge difference from the way he previously handled her feminine relationships and soul-searching.

Ending

So I guess to say Bruce hated Cass' femininity (which I wrote in a previous post) is an oversimplification; it's not purely misogyny (though that was a part of it), but his longing for her to be exactly like him that caused him to try to repress her gender/sexuality. Her femininity was a marker of difference, a sign she was not completely subsumed in him and his symbol. However, Horrocks' run also shows how Bruce changes and grows, learning to accept Cass as his wonderful daughter.

I hope that answers your question!!

[presdestigatto]

just saw someone call charles' career 'common successes' the pole to win ratio agenda is too severe because in no way is 26 poles without a championship winning car common at ALL

every time he wins it's after ten thousand trials and tribulations and his wins this year mean so much more to me than if he had a dominant car. i said it last year and i think so doubly now that he impresses me with every race like he is him and i truly think he is the best.

[descendant-of-truth]

If I may throw my hat into the ring here, I think the source of a lot of problems in the writing of Miraculous can be boiled down to its confusion over its target demographic.

There are two very clear audiences the show is trying to cater to:

Grade school girls around 5-10

Teens/young adults around 15-20

And this results in some. unique conflicts in the show's internal logic.

Because it's a superhero show for little kids, it's full of fun, bright colors, wacky villain-of-the-week designs, and the characters are all very straightforward with exaggerated personality traits. The cheerful, clumsy, scatterbrained girl protagonist, her utterly charming and goofy (but slightly clueless) love interest, her cool best friend, her mean bully, etc.

This extends to the romance; the show is so comedic that Marinette's nervous crush and Cat Noir's flirting are played up for laughs. Their more "problematic" behaviors read as cartoon shenanigans first and foremost, which I do think was the intention - they're both shown as being more than a little ridiculous for acting this way, so they're not exactly trying to encourage people to emulate them. They're allowed to be genuinely wholesome, too, because it's nice to give the kids something to go "aww!" at, but it's not meant to be more complicated or deep than that.

And of course, it's gotta follow a sweet and simple episodic formula! A conflict in Marinette's civilian life, an inciting incident to get a side character upset enough for Hawk Moth to turn into a villain, Ladybug and Cat Noir show up, there's fun banter, Ladybug uses her Lucky Charm to figure out a wacky solution to the problem, and boom! The day is saved, Marinette and/or someone else learns a moral, and we get a cute little end screen showing all the key players of the episode.

The one aspect of the show's setup that's a little more serious is the fact that Adrien has a super controlling and distant father, but even this is something that doesn't necessarily break the kid-friendly tone for the first season or two. Superhero shows in particular like to put in some stuff that's a little more emotionally challenging for the viewers, even when they're mostly comedic, so it's not totally out of place here.

For example, while they tend to have more grounded tones overall, Spider-Man cartoons are aimed at kids and regularly keep the conflict between Harry Osborn and his father, Norman, intact; often including the plot point of Norman being the Green Goblin, a notorious villain. It's a similar deal with Adrien, and his dad secretly being Hawk Moth.

You can easily anticipate drama coming from this, but the show primes you to expect it to work out fine in the end because every other conflict so far has been wrapped up in a nice little bow once the episode's over. Though I will say, the choice to have Hawk Moth be Gabriel instead of his own, separate character is perhaps the first sign of the tone shift to come.

And, uh. it sure is a shift.

See, Miraculous does not start out with what you'd call a... plot. It vaguely alludes to there being more going on behind the scenes, but the only thing it really tries to get you invested in is the Love Square dynamic. Marinette and Adrien dancing around each other while fighting crime IS the plot, and it's clearly going to end with a cool final confrontation with Hawk Moth.

You expect it to end like... well, like the movie. Identities are revealed, Gabriel realizes the error of his ways when he finds out he's been fighting his son this whole time, and they may or may not make up but he almost definitely gets arrested. Marinette and Adrien kiss, roll credits.

This is not what happens, because the plot the writers actually had in mind is complex in a way that I would argue is meant for the same audience as YA novels. And with that plot comes a lot of darker, weightier traits to these otherwise silly characters.

Marinette isn't just scatterbrained and nervous, she has debilitating anxiety and an increasing need to be in control of everything due to the stress she's under. She has panic attacks on-screen. She's not just great at strategizing, she also knows how to manipulate people, and does so with increasing frequency - and to Cat Noir at times, no less. Her positive traits haven't gone anywhere, she's still loving and creative and sweet and doing her best to help everyone she can, she just. has all of that other stuff going on, now.

Adrien isn't just a charming, goofy, clueless love interest with a gazillion skills and a controlling father, he's like. actively being abused, and in some cases straight-up mind controlled. His tendency to heroically sacrifice himself so that Ladybug can do her Cool Protagonist Thing is gradually but unmistakably reframed as being a sign of suicidal inclinations. He has identity issues out the wazoo and he doesn't even know he's an artificially created human yet, because everyone in his life is keeping secrets from him and/or lying to his face about crucial information.

Information like, uh. how his dad died???

Yeah, so we're at a point in the story now where there was no satisfying conclusion to the Gabriel plot, no team-up, no moment where he realizes he's been fighting his son, none of that. He still has something akin to a change of heart, but he also still kind of gets what he wants - the Miraculous of the Ladybug and Black Cat, which he uses to rewrite the universe with a wish. It's just that instead of reviving his wife, he trades his life for Natalie's. Of course, he was already dying anyway, which was his own fault but he did force Cat Noir's Cataclysm onto himself, so, that's another thing poor Adrien is going to have to deal with at some point.

And because there's all these astronomically messed up things in Adrien's life, and Marinette's the one who got to learn about all of it before him, she decides that maybe it would be better if he just. didn't know about it. Which is understandable, if I was 14 and had all this information about my boyfriend's life that he didn't, I wouldn't know how to begin telling him about it, either.

But. can you see how we've maybe lost the plot, here?

Here's the thing: starting with a simple framework and gradually getting more complex and subverting the audience's expectations for how the main villain is going to be dealt with is not a bad thing. The fact that it gets darker over time is not an issue. I actually think that all these developments are, themselves, pretty cool! I'm a sucker for angst and complex character dynamics and the show is absolutely giving me those things.

The problem is that it didn't just start with a simple framework, it started with the framework for a different demographic entirely, and perhaps just as importantly, it never actually... stopped.

For as much complexity and intensity they're injecting this story with, they're still working under the logic of it being "for young kids." We still get goofy villain-of-the-week designs with equally goofy motivations, and the supporting cast is stuck remaining two-dimensional no matter their circumstances. Chloe is the most blatant example of this - she was made to be a simple bully first, so no matter what else they do with her, she has to remain straightforwardly evil.

This, I think, is the reason that Gabriel is a more nuanced and "sympathetic" antagonist than her, and why so much care goes into Adrien's character as a victim of abuse while Chloe is just a Problem Child despite suffering similar neglect; she wasn't made to be interesting, and so the show is resistant to changing that. Gabriel and Adrien, however, were already made with nuance in mind, and so they're allowed to develop as characters. And at the same time, it's a kid's show! We need to teach the kids what kind of behavior is acceptable, and Chloe's home life isn't an excuse to treat people badly, so--!

...Oh crap we're supposed to be teaching kids about acceptable behavior. Uh. Um. Quick, bring back the ice cream akuma who cares way too much about his ships so that Cat Noir can learn about consent! Uhh, but don't change his character too much afterwards, he's only marketable because of his silly flirting, and we can't lose that.

Yeah, remember when I said that the romance having problematic elements to it used to work well enough because it was clearly just exaggerated cartooniness? It wasn't free from criticism or anything, but you could see how it was intended to be endearing and silly, right? You were supposed to point and laugh at Marinette's convoluted plans to spend time with Adrien, at Cat Noir's dramatic flirting attempts that Ladybug herself fondly rolled her eyes at.

The tonal shift into deep character exploration kinda paints the previous stuff in a worse light, and to an extent, I think the writers know that. It's hard to laugh at Cat Noir being flirty all the time when he's also supposed to be taken completely seriously, and the more Ladybug rejects him, the more it turns into harassment, and it. kinda just stops being funny, even with the comedic framing.

It's also hard to laugh at Marinette's crush being so all-consuming when they try to tell us (in what I can only assume was an attempt to get people to stop complaining) that she's like this because it's fueled by an event in her past, one that made her so scared of loving the wrong person that she now needs to know Everything about them before asking them out. Her cartoon antics aren't funny under that light, it's just concerning, but they're dedicated to keeping it up anyway.

The show runs on straightforward cartoon logic where you're not supposed to think about it too hard just as much as it runs on grounded, closer-to-real-life logic where people are messy and complicated and actions have consequences. It's so divided that you can hand-pick parts of the story that are influenced by one or the other pretty easily, and depending on the episode you can find instances of both in the same 20-minute time span. Maybe even multiple times!

Neither thing they're trying to go for is bad, and neither is a better approach than the other, but forcing them into the same show makes both sides suffer.

It's not just hard to laugh at the parts I mentioned earlier, it's hard to take Gabriel seriously as a villain whenever you rewatch an episode and remember that he has a once-per-episode pun-based speech that he says so self-seriously that you can't help but laugh at. It's hard to take him seriously when you remember that he repeatedly akumatized a Literal Baby and practically threw a tantrum every time it didn't work, or when he randomly steals (and enthusiastically performs) his nephew's musical dance number, or something similar that you would only do for a cartoon villain aimed at five-year-olds.

And I can only imagine this whole show is a marketing nightmare, too. Hey, little girls, here's your cool role model! She's cute and smart and talented and powerful and can fix anything by shouting the title of the show! Hope you're having fun watching her tell her boyfriend that his newly-deceased father (who used deepfakes of him to sell merchandise that's built to enslave the population and then locked him in a solitary confinement chamber in another country) was actually a hero who sacrificed himself to stop the main villain instead of, y'know, being the main villain! Aren't you excited to watch her wrestle with the guilt of this lie for the next season or so? Doesn't it just make you want to buy her merchandise??

Like. what is even happening right now. what am I watching. how did we get here and why did we start where we did if this was what the story was going to be about

[redrobin-detective]

Sometimes I’m writing and I’ll type a metaphor or simile, use a certain description, even just putting certain words in a certain order and I’ll know, know, deep in my bones that I used that exact phrase somewhere before and it haunts me

[sapphic-boyfriend]

genuine question, how absolutely fucking stupid do you have to be to believe that vi is “the real jinx” or that the other universe was better specifically BECAUSE vi died?

[ghostdoodlen]

Like the idiot I am, I forgot to follow and subscribe and completely lost a story I liked. So I'm calling out for some help (again)

It's a DC x PD I'm 78% sure I read on Tumblr

It's Jason adopting Danny who's de-aged

I don't remember everything but I do remember

Dr. Leslie being there I think and Danny freaking out cuz she was wearing white so he runs to the attic and everyone scrambles to find him

Maybe Danny fighting the Joker or eating a piece of him??? It's blurry

I'm also pretty he also has vivisection scars and Damian is smug that he's called Uncle first

It would be greatly appreciated if someone knew what I was talking about

I think it was called Red Hood's Kid or son?? Maybe

I think it has a masterlist but I can't find it or the author anymore

------

UPDATE: Someone amazing in the comments gave me the link to what I was talking about. Thank you for your help!

Here's the link

[itsdefinitely]

hey don't cry. the jeri/rys will never be able to share simple human intimacy. they'll never get to hold hands. why are you crying louder

[katchleeifyoucan]

there’s just something about ticklish men that makes me so fucking feral and i genuinely do not know what it is

[miquella-everywhere]

The DLC seriously forgot that Miquella is supposed to Miquella the Unalloyed :(

[fluffydice]

Kusuo “I’m not easily to manage” Saiki vs. Aren “I don’t have to” Kuboyasu

[sluttyhenley]

Carmy's stuck in the walk-in? Alright. So what are we gonna do?

THE BEAR | 2x10 The Bear