#Daphne Wayne

[cofradia-thg]

[confusedhostage]

Dev art of Scooby Doo gang

from their newsletter - thought others might want to see it if unsubscribed. (I find the matchups funny) - Art by Abby Howard of Black Tabby Games.

[why-i-love-comics]

The Batman & Scooby-Doo Mysteries #5 - "A Game of Hyde and Seek!" (2024)

written by Matthew Cody art by Puste

[nightmarettd]

In conclusion I’m a mix of chaos

[littlefankingdom]

Velma: Actually, there's one remaining mystery that we've finally solved.

Fred: The biggest question of them all: "Who is the Batman?"

Daphne: And we finally figured out the answer.

Black Canary: Oh, this should be good.

Daphne: Batman is the warmest, kindest, most big-hearted soul we've ever met. A great big teddy bat.

Plastic Man: Awww...

Batman: Then I hope you'll keep that to yourselves.

~ Scooby-Doo and Batman: The Brave and the Bold

I'm screaming, they really went "Batman's secret identity? He's the biggest softie ever." Nice to see DC admit that their "moody angsty dark" bat is a softie with big heart. Can they do it in their content targetting adults now?

[irena-dubrovnaa]

talia kane except in a daphne blake inspired fit because im obsessed with her

[evilhorse]

Batman and Scooby-Doo Mysteries (Volume 3) # 7

[detectivereads]

The Batman & Scooby-Doo! Mysteries #9 by Matthew Cody

4/5

This post is for fan entertainment, I am not being paid.

Hi everyone,

Ok this issue we have the Annual Hero’s Gala for Gotham City being thrown at Wayne Enterprise, to celebrate the heroes that keep the city’s streets safe from the villains like Scarecrow and Joker. However, Batman and Co. had to cancel other obligations that they had to deal with.

(Gotham City Comic-Con was the same night and Nightwing and Batman were there instead.) So, as prefect stand in for the Batfamily why not have another group of heroes that also helped to keep Gotham City safe.

Mystery Inc. comes in to have a good time, but the fun is cut short when the villain Kite-Man has come to rob the Gotham City elites of their money. This doesn’t go too well because lying hidden in the crowd is another villain: The Weather Wizard.

Ok I had no idea who this villain was I thought it was an OC from the author but the ever-faithful Alfred Pennyworth clarified that Weather Wizard is a villain of The Flash. Alfred states that he is really powerful when he is holding his wand. 

(Sorry, I don’t know too much about The Flash or his villains so I will take Alfred for his word that this guy is bad news.)

It does make me feel sympathetic towards Kite-Man that no one seriously.

However, I did like the ending where a very unlikely hero saves the day and it’s not Batman.

Reading this issue, I think I might have to dabble in some other heroes as well. To at least get a understanding of who they are and what their powers and back story are.

[derpyavocado]

canon because i said so teehee 🤭😝

[rokishimizu4]

A very Spooky Halloween

(Velma in Gotham City for a important meeting) (Everyone is an adult in this, except Robin- he is in his middle teens)

‘I can’t believe Batman invited us back to Gotham. This case must be a difficult one if the world’s greatest detective needs our help again.’ Velma thought as she closely follows her friends into one of the most fanciest hotels she has ever seen.

‘Thank goodness for the Blake stubbornness.’

Velma keeps an eye out for any of the local villains or even a mugger, but everyone was too busy preparing for Halloween, or for the next super villian attack, to pay attention to others.

“Ok gang! Let’s get unpacked and start searching for clues!” Fred, ever the leader, says as his friends easily follow up behind him, after Daphne got everyone checked in and room cards handed out.

It took less than an hour for everyone to unpack and heading out to meet up with Batman, when Velma got an alert on her phone from a close ally. She waited until her friends were busy with their own theories about why they were called down, before she quietly checked the coded message from her latest experiment.

“Jinkies..” She forced herself to whisper as she reads and re-reads the results. She was seeing years of research and risking her own health to finally get the results she was hopping to give to Batman and the City of Gotham.

“Lma? Velma? Hey Velma!” A scream cut her off from her excitement, and she quickly puts her phone back into her skirt pocket and turns her attention towards her friends, who were climbing out of the Mystery Machine and heading towards the secret hideout of the Mystery Analyst of Gotham.

“Coming!” Velma quickly gathers her bag, which holds her computer, notebook, and other necessities for surviving in Gotham.

Once she makes it to her friends, Fred sticks the card in the scanner and they are let in.

However, they are only met with a group of familiar that they only saw very little of in the news.

“Jinkies! It’s Nightwing, Spoiler, Orphan, Red Robin, and Robin!” Velma gushes as she instantly recognized Batman’s family of Bats, at least what she knew from theories and news reports that came straight from Gotham.

“And you must be the Scooby gang! It’s great to finally meet the gang that managed to solve Batman’s greatest mystery!” Nightwing, in his black and blue spandex wearing glory, welcomes them with open arms as the rest of the Superheroes take a seat at the meeting table.

“So glad you could make it! Bat’s been telling us all about you!”

“Jeepers! Really?” Daphne exclaims with excitement, trying to keep her body from jumping up and down at the thought of Batman sharing his approval of them to others.

A sharp jab to the side of Spoiler’s side from Red Robin and Robin easily told Velma that either Spoiler was sharing too much information or simply that Batman hasn’t been telling others about the Mystery Inc gang like Daphne hoped.

“Tch, Spoiler. We are here to discuss the facts, not some fantasy.” Robin, easily recognized by his red and green spandex suit and black eye mask.

“The Joker and Scarecrow, right?” Velma interrupts as she takes out her computer from her bag, opens it and quickly finds the news article about a recent attack in Gotham that left several hundred people severely sick with some unknown Joker venom or Scarecrow Fear toxic that had put everyone that comes in contact with it in the hospital or worse.

“People have been calling it ‘one of the worst attacks in the history of Gotham’. However, neither the Joker nor Scarecrow claims to be behind the attack. And the victims all claim to have seen the same thing before they were attacked.” Red Robin answers her question as he stands next to her to point out a number of key differences between the villains’ attacks and the new villain’s.

“Jinkies” “Jeepers” “Zoinks”

“Batman has put us in charge of this new development and asked for the Mystery Inc.’s expertise in finding the truth.” Red Robin continues as he has Velma follow him to the table and set her computer down on the table, easily hooking it up to the big computer.

Velma quickly sits down and starts pulling up all the information she could find about the attack, and some secret interviews she was able to get her hands on.

A sudden chill races up her back as she and her friends rewatch one interview of a family member who was there at the time.

“At first there was just the normal Gotham fog, but then my dog started to freak out. Like full on panicking. I thought it was the Joker or someone, so I was ready to take off, but then I heard someone singing. Then more singing, and drums, and lights.”

“Creepy, that doesn’t sound like any of the Gotham rouges.” Daphne shivers and curls closer to Fred for protection.

The video continues as the interviewee takes a deep breath.

“Then I heard someone whispering in my ear. It was asking me if I wanted to join something, but I took off before it could finish. Me and Bella just took off, then hours later I heard about the attack….”

Velma hits pause on her computer and turns to look at her friends and the Bat family. “The victims all claim to have seen a marching group of people and a smiling ghost before passing out. The victims’ have similar symptoms of being hit with a mix of Joker venom and fear toxin together, but neither shows up in their lab works.

“Well gang, looks like we have another mystery on our hands!” Fred exclaims with a big smile on his face, and he begins to talk to Nightwing and Robin about what they know.

Velma and Red Robin, who are soon joined by someone named Oracle, begin to compare notes.

After a few hours of researching, hacking traffic cams from that night, and theories flying around left and right, Nightwing called it a night after receiving an alert about Riddler.

Before the Bat family left tho, Velma carefully gave them two small steel box and a nervous smile.

“Batman wanted me to investigate a cure for Joker’s venom and Scarecrow’s fear toxin. I’ve already sent him the test results and my notes. I hope this can make headway for an actual cure.”

The Bat family froze as Nightwing and Red Robin each took a box, before pulling her into a hug.

“Thank you. You have no idea what this will mean for the people of Gotham and all of the families of the victims.” Nightwing sniffled as he turns away, trying to keep his mask on through the tears.

“No, I have no idea. But, I’ve seen some of the aftermath on the news. The sooner that Joker can be stopped, the sooner the victims can be safe and happy.” Velma swallows her tears as she pulls away from the hug, breathing a sigh of relief when she was let go.

“I would love to visit Gotham without it being about business.” She finishes as she turns away from the Bat family and makes her way back towards her friends.

Her thoughts circling on the mystery, so much so that she never heard the sly comment from Orphan.

“Adoption papers?”

[unpopularwiththepopulace]

Propelled chiefly by last year’s London production, I have written a (rather) long form piece to do with Rebecca the Musical. Though focusing mainly on this eventual and heavily expectant premiere of the English production of the musical, discussion relates also to the original and other iterations of the show, and musicals more generally, too.

The piece is anchored by the central theme of insatiability while looking in turn at:

the process of tracing the evasive histories of character representations and theatrical productions over many decades – including also flickered and largely forgotten records of the play and opera forms of Rebecca, and the “apparitional”, equivocal lens that queer female sexuality is handled with across large spans of time

decoding evidence of sparse, if periodically rather dire, female queerness in theatrical, musical contexts – guided by the disciples of dykeish dissatisfaction in the musical’s character of Mrs Danvers or the story’s primary author of Daphne du Maurier herself

considering what it means to exist as an audience member responding in situ to (principally female) performers with thrilling voices, both in and outside an auditorium, and the delicate but frequently under-discussed predicament of queer female diva devotion.

Take a look if you're interested!

In further expansion of photographic documentation of each of the examined stage-based, theatrical iterations of Rebecca, more images are presented below.

Discussion originates from the existence of the 2023 English premiere production of Rebecca the Musical at the Charing Cross Theatre in London, where cast principals included Kara Lane as Mrs Danvers (alternated by Melanie Bright), Lauren Jones as I (the new Mrs de Winter), and Richard Carson as Maxim. Photos by myself.

The first stage production of Rebecca arose much earlier, concerning the 1939 play by the same name at the Queen’s Theatre on Shaftesbury Avenue (now The Sondheim Theatre). Daphne du Maurier herself wrote its script. Margaret Rutherford played Mrs Danvers, Celia Johnson was the new Mrs de Winter, Owen Nares appeared as Maxim. The Queen’s Theatre was bombed in 1940 during WWII at the time of Rebecca’s occupancy, becoming the first theatre in London to be hit by a wartime bomb, and bringing to an immediate premature close the show’s successful run - and highlighting earlier associations of this story's connection to tumultuous tales and dramatic events in histories of it's staging, as the attempted primary stagings of the English musical iteration would later return to.

Photos from this first theatrical, London production include those by Angus McBean from a periodical spread entitled ‘Mystery and Murder in Stately Cornish Home - Dramatic Moments of Du Maurier’s “Rebecca.”’, published in The Sketch (vol. 190), May 1940.

The play also then appeared on the road in America, and subsequently on Broadway in 1945 at the Ethel Barrymore Theatre for a fleeting 20 performances; and of this entity, record remains even more scarce. Cast principals included: Florence Reed (Mrs Danvers), Diana Barrymore (the new Mrs de Winter), Bramwell Fletcher (Maxim).

The next and last distinct adaptation of Rebecca to appear on stage before the musical was the 1983 opera production devised for Opera North, with music by Wilfred Josephs and libretto by Edward Marsh. It toured the UK before being revived briefly in 1988 and never seen again. Cast principals included: Ann Howard as Mrs Danvers, with Gillian Sullivan and later Anne Williams-King as the new Mrs de Winter, and Peter Knapp as Maxim.

Finding these few, historic photographs in obscure newspapers or consulting original scripts and librettos, for instance, in libraries and archives during this effortful and active treasure-hunting felt special and rewarding. But possible reconstruction of these stage iterations in the present day is only incompletely possible, because of reduced ease of access to or apparent remaining visceral evidence of a visceral art form.

The frustration in trying to seek out these apparitional traces not only foregrounds the importance of maintaining accessible, comprehensive primary records within the theatre, but mirrors also the act of trying to seek out records of queer female sexuality across history in works of literature, cinema or theatre, as a process typified by a similarly effortful navigation of apparitional erasure. This facet connects with the notion that consideration around Rebecca entangles with a web of insatiability or dykeish dissatisfaction, a web that stretches from this erasure and liminality of representation, to character constructions within the work – including of its infamous housekeeper, Mrs Danvers, to contextual backgrounds like those of the story’s primary author itself, Daphne du Maurier.

The entity of Rebecca, then, across its many themes, productions and decades, is uniquely useful in the way it can in turn encompass and facilitate explorations of these many facets – being capable of simultaneously holding consideration of these expansive webs of documentation, erasure or dykeish dissatisfaction that can be found lurking in historical margins, as well as also the contrasting luminous energy that can be produced in the present in association with the musical, as physical audiences interact with and respond to the material of the show and its performers within theatres in real time. These considerations have transferrable applicability beyond this singular context of this particular show to more general notions of theatrical pieces and the practice of theatregoing, too, as they foreground the question of how audience members respond to, process, and interact with shows; and, as a matter of far less common discussion or scholarly writing on the subject of diva devotion, how female fans specifically navigate the complex predicament of queer, female, performance-driven high regard.

[kstarlitchaotics]

The ONE time he's brave 🤦‍♀️

Scooby Doo Team Up

[ghostlyhostly]

Scooby-Doo Team-Up Volume 1 (2015)

A collection of some of my favourite moments from it

[why-i-love-comics]

The Batman & Scooby-Doo Mysteries #7 - "Night of the Scaredy-Bat!" (2024)

written by Ivan Cohen art by Puste & Carrie Strachan

[booasaur]

The Company You Keep (2023) - 1x02

[catostrofiqu]

The fact that the mystery gang have met not once but multiple times with batman does infact live rent free in my head