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longwuzhere · 2 years ago

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Some cool Easter eggs I caught watching My Adventures with Superman that I want to show to people so they can be in on it with comic book readers pt2

Episode 1 of My Adventures with Superman Easter Eggs and references is here

Episode 3 of My Adventures with Superman Easter Eggs and references is here

Episode 4 of My Adventures with Superman Easter Eggs and references is here

Episode 5 of My Adventures with Superman Easter Eggs and references is here

Episode 6 of My Adventures with Superman Easter Eggs and references is here

Episode 7 of My Adventures with Superman Easter Eggs and references is here and here

Episode 8 of My Adventures with Superman Easter Eggs and references is here

Episode 9 of My Adventure with Superman Easter Eggs and references is here

Episode 10 of My Adventures with Superman Easter Eggs and references is here

My Easter eggs and references in My Adventures with Superman comic issue 1 post is here

My Easter eggs and references in My Adventures with Superman comic issue 2 post is here

My Easter eggs and references for My Adventures with Superman comic issue 3 post is here

(SPOILERS obviously):

An obvious one, but a classic, the "up in the sky! It's a bird! It's a plane! It's Superman!" line reference. This one never gets old.

Jimmy next name drops Flamebird. in the comics Nightwing and Flamebird were Kryptonian superheroes adopting their names from a species of Kryptonian birds. This is where Dick Grayson gets his Nightwing identity from. The page here is from Who's Who: The Definitive Directory of the DC Universe #17 (1986) drawn by Curt Swan and Karl Kesel.

At the climatic battle of part 2 of Adventures of a Normal Man, we see Leslie Willis become blue and look more like her traditional Livewire look. Her first appearance was in Superman the Animated Series, season 2 episode 5 "Livewire" where she was voiced by Lori Petty, a.k.a. Tank Girl. In the show Leslie was a shock jock radio DJ slinging hot takes live on air knocking down Superman a peg or two

Obviously MAwS took Leslie in a whole different direction, design choice, and occupation change, but I am excited to see what happens next for her.

Before we see Clark battle Leslie we see this guy. White hair, wears orange and black, its Slade Wilson a.k.a. Deathstroke. This fool here in like 20 to 25 years will have his life spiral out of control and get his ass kicked by a bunch of colorfully dressed teenagers.

Deathstroke makes his first appearance in New Teen Titans #2 (1980) (W: Marv Wolfman and George Perez, P: George Perez, I: Romeo Tanghal, C: Adrienne Roy, L: Ben Oda) where he is hired by H.I.V.E. to kill the Teen Titans. In the comics he's a major piece of shit, but a damn good assassin.

After the fight we see Supes clean up and he picks up a billboard that reads Amazotech.

This is a good reference to Professor Anthony Ivo, a mad scientist of the DC Universe who built the Amazo robot who could adapt and replicate any power that the Justice League has and weaknesses. Both Ivo and the Amazo robot make their first appearances here in Brave and the Bold #30 (1960) with the cover art done by Mike Sekowsky and Murphy Anderson.

At the end of the episode Slade name drops Task Force X better known as the Suicide Squad. The name "Suicide Squad" is from the Brave and the Bold #25 where it was the name of Rick Flag's unit in the military. The Suicide Squad pop culture knows first debuted in Legends #3 (1987) as seen below (W: John Ostrander and Len Wein, P: John Byrne, I: Karl Kesel, C: Tom Ziuko, L: Steve Haynie).

The team at this time was composed of Rick Flag, Bronze Tiger, Captain Boomerang, Deadshot, Enchantress, and Blockbuster. The team members have changed out with each new Task Force X/Suicide Squad iteration.

Behind Slade, here is Amanda Waller, the most fearsome woman in the DC universe. She's ruthless, politically powerful, and will not hesitate to blow up anyone in the Suicide Squad if they screw up. She makes her first appearance in Legends #1 (1987) same comic series in the previous picture. Very excited to see where My Adventures with Superman goes with this cuz you don't see Superman interact with Deathstroke or Suicide Squad all the often.

Link to Episode 1 of My Adventures of Superman Easter Eggs and references is here

Link to Episode 3 of My Adventures with Superman Easter Eggs and references is here

Link to Episode 4 of My Adventures with Superman Easter Eggs and references is here

Link to Episode 5 of My Adventures with Superman Easter Eggs and references is here

Link to Episode 6 of My Adventures with Superman Easter Eggs and references is here

Link to Episode 7 of My Adventures with Superman Easter Eggs and references is here and here

Link to Episode 8 of My Adventures with Superman Easter Eggs and references is here

Link to Episode 9 of My Adventures with Superman Easter Eggs and references is here

Link to Episode 10 of My Adventures with Superman Easter Eggs and references is here

My Easter eggs and references in My Adventures with Superman comic issue 1 post is here

My Easter eggs and references in My Adventures with Superman comic issue 2 post is here

My Easter eggs and references for My Adventures with Superman comic issue 3 post is here

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teaforthotxxx · 10 months ago

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Lori Danvers-Luthor. My supercorp love child.

I love you and I lowkey think you should be besties with Damien and Jon. Also, i am so delusional that I also imagine her being besties with Lian (Roy and Cheshire’s daughter).

#dc comics #supercorp #lena luthor #kara danvers #lian harper #lori luthor #supergirl #jondami #damien wayne #jonathan kent #jon kent #supersons #dc next generation

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mask131 · 6 months ago

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The myth of Medea (2)

Next article, following a chronological order, is “Medea, from the 16th to the 18th centuries”, written by Patrick Werly.

During the Middle-Ages, Medea is depicted in several tales. Benoît de Sainte-Maure’s Roman de Troie, in the middle of the 12th century; Guillaume de Loris and Jean de Meng’s Roman de la Rose, in the 13th century; the anonymous Moralized Ovid of the 14th century ; the Jugement du Roy de Navarre by Guillaume de Machaut in the 14th century, etc…

Between the 16th and 18th centuries, Medea was mostly encountered on theater stages and within operas, in works that are more inspired by the tragedies of Seneca and Euripides, rather than by the Metamorphoses of Ovid. However, there was an effort of appropriation to be made: indeed, the myth of Medea the Scythian, of Medea the Barbarian, part of the classical works of Antiquity, was at risk of ruining the moral values and the aesthetic system that Europe had imposed upon itself. As such, a “displacement” of the figure was required. Three main authors have to be considered: Calderon de la Barca, Pierre Corneille, and Thomas Corneille as the librettist of Marc Antoine Charpentier.

I/ The allegorical reading

The authors of the 17th century mostly found their sources in a mythology manual that had been published in 1552 by Noël Conti (or Noël le Comte, in Latin Natalis Comes, 1520-1582), and which was titled: “Mythology, or the explanation of fables, containing the genealogies of the gods, the ceremonies of their sacrifices, their deeds, their adventures, their loves, and almost all of the principles of the natural and moral philosophy”. Corneille used it to write his Conquête de la Toison d’Or, Caderon also probably used it for his El divino Jason. The seventh chapter of the sixth book is dedicated to Medea: after retelling the myth, Noël Conti presents the “physical mythology”, then the “moral mythology”. In both cases, the process it to try to use the myth for the moral edification of the reader, through mean of the allegory. As such, the reason behind the “dissection and death of Medea’s brothers and children” is because she wanted to put behind her appetite and concupiscence: “if someone let themselves we trapped by the slimy nets of unreasonable pleasures of the flesh, of greed, of cruelty; then it is to no surprise that good advice and counsel climbs on its chariot and flies away in the sky with winged dragon”. According to the etymology offered by Noël Conti, and that Calderon will reuse, Medea is “the advice”, “the counsel”, that is to say, the scholastic tradition, the wise decision, the choice made after a deliberation. The mythographer is aware of the negative image of Medea: but it does not matter if she is good or evil for, in the tradition of the Moralized Ovid, Medea needs to have a usefulness for the moral and religious domains. “Whether we take Medea to be advice and prudence, or to be a very wicked and malevolent woman, the Ancients, through this Fable, intended to shape us and lead us to probity, and to the integrity of the mores”. This is the moral lesson we must keep: the violence of the myth is transposed for the benefit of virtue.

This allegory can be found in the self-sacramental El divino Jason, composed in 1634 by Calderon de la Barca (1600-1681). In this play, the allegory is explicitly Christian since Jason is the Christ, Hercules saint Peter, Orpheus saint John the Baptist, etc… The fleece represents the soul, the one of a lost sheep which fled from the herd of the Christ and that Jason is thus looking for. But the quest of Jason is a dual one, because the soul is also depicted by Medea, which is also the allegory for Gentilism. Jason says of her: “Medea, who means / Advisor and Knowledgeable in all / was once the Gentilism / which offered itself to the superstitious rites / of magic / and to its idols which are but air / smoke, dust and nothingness”. The task of Jason is to bring Medea with him on the Argo ship to take her away from the land of Colchis, but also to free her from the influence of Idolatry, an actual character of the play, which embodies the religion and the pagan wisdom of the Antiquity.

When Medea encounters Jason for the first time, on the shores of Colchis, she decides to simulate her love (“Amor le pienso fingir”), but Jason tells her he only came here to love her (“Vengo a amarte”), and then Medea is caught by her own trap, and falls in love truly (“Pensaba fingir amores / y va verdaderos son”). When she offers herself to Jason, she also offers at the same time the Fleece that he came here to seek (“Digo que de amores muero ; / tuyo sera el vellocino / que buscas, Jason divino”).

Follows a strange scene in which Theseus (here, saint Andre) pronounces a long, poetic speech filled with proper names (those of the Argonauts, of Medea, of Idolatry), with names of flowers, of colors, of virtues. Each, when they hear their name, or the name of their flower, color, virtue, answers Theseus. Medea chose the clover (a leaf without a flower, which makes a beautiful border for others’ bouquets), the color green, and the virtue of Hope. In this long passage, a baroque chorus presents the union of Medea to Jason as her union to Christianity, as well as her rejection of Idolatry (“No quiero / seguirte mas, fero monstruo / Oh, como y ate aborezeo!”)

Jason, to redeem the mistakes of Medea, will undergo the trial of taking the Golden Fleece away from its tree (which is also the Tree of Adam). At the top, he replaces the Fleece with a Lamb which bleeds, and whose light blinds and strikes down Idolatry, while Hell opens up below her. Calderon did not stage in any way the magical powers of Medea: here, she is only a sorceress by reputation. Magic is only due to the characters of the Idolatry, and of the King (which represents the World), but it is powerless against the Argonauts led by Jason. What replaces magic in terms of supernatural effects, is the miracle, the one that Jason accomplishes. In the dramaturgy of the play, the actions that go beyond the power of man are not those of magic, but those of religion, the one to which Medea converts herself. In this allegory, the barbarian, the wizardess, abandons all of her attributes to follow the pastor-Jason. The sheep found back its flock, the soul now belongs to the Church.

II/Medea as a victim

Médée is the first tragedy of Pierre Corneille, which was played during the season of 1634-1635. The play is already a work part of the classical canon (the author tries to respect the unicity of location, time and action), but it does not respect the rule of “bienséance”, since we see dying on stage the king and the princess. Corneille, in his letter-preface to his play, explains that poetry often makes “beautiful imitations of actions we should not imitate”, and he plays on the two meanings of the verb “imitate”. But it is also a trick of Corneille to keep the moral safe. Indeed, the actions of Medea can be explained by the fact that she is victim of a political conspiracy; it is an explanation that allows to rationalize her actions, and thus judge them by the light of “common reason”. Jason, the man that she loves, presents himself as such: “Thus I am not one of those vulgar lovers / I adjust my flame to the good of my businesses / And under whichever climate fate would throw me / I will be in love by State maxim” (I,1). And Creon, the king, talks about Egeus, who originally had to marry Creusa before she was promised to Jason: “Whichever reasons of State might satisfy him” (II,3). Marriage is thus placed under the sign of the “reason of the State”, of which Medea is the victim. She pleads her cause by herself in these words: “Anyone who condemns a criminal without hearing them / Even if they deserved a thousand times their punishment / Turns a just sentence into an injustice” (II,2).

Corneille thus introduced a judiciary dimension to his play: Medea was condemned to exile for the murder of Pelias, but she was not properly put on trial. She becomes the victim of Creon’s tyranny. But beyond her, it is all of her family, an entire dynastic branch that is victim of a tyrannical power. Indeed, Medea is the grand-daughter of the Sun, and if Jason marries Creusa, their children will dishonor the dynasty: “You will mingle, impious one, and put on the same rank / The nephews of Sisyphus and those of the Sun! / […] / I will gladly prevent this odious mixing, / Which dishonors together my family and my gods” (III,3). As such, the series of crimes is explained: Creusa’s death prevents the misalliance, while the death of the children both suppresses radically the cause of the dynastic troubles while also hurting Jason. Medea answers to the conspiracy created “by reason of State” by what was called in the 17th century a “coup d’Etat”, a premeditated act conceived in secret and that goes beyond common law. This coup d’Etat is here placed on the mythological terrain of magic, as Louis Marin analyzed. Pierre Corneille seems to be so far the only author to have turned the murder of Medea into a political act – the 20th century also made the myth politic, but in a different context.

Corneille wrote another play which features Medea: La Conquête de la Toison d’or (1660). Medea the sorceress is here also a garden architect: the setting of the first act is a French-style garden, seen in perspective, and the character of Absyrte reveals that it was conceived by Medea’s art, the only one able to create such a beauty in a savage and hostile nature. Magic is here linked to the laws of geometry ; but it can be vanquished by the laws of love, such as in the twelfth Héroïde of Ovid, or to be more precise by the superior power of love. Medea says to Jason that she cannot help but love him despite his treachery: “Are you in my art a greater master than me?” (II,2). This art, she later says to her brother Absyrte, “if it has on all else an absolute power / Far from charming hearts, it doesn’t see anything in them” (IV, 1). Thus, the tragedy exposes the limits of the power of Medea: we are far away from the supreme power of the 1635 tragedy.

III / Medea in the opera: the embodiment of division

In their 1693 lyrical tragedy Médée, Marc-Antoine Charpentier and Thomas Corneille use, just like Pierre Corneille did before them, Seneca as their main source, but their opera is not concerned with the political dimension of the tragedy. What is rather important here is to gather around the character of the sorceress the most spectacular elements. We see Medea, helped by demons, by Vengeance, and by Jealousy, preparing in a cauldron the poison that will kill her rival (III,7). We see the guards of the king trying to seize Medea, but turning their weapons against each other before seizing Creon, and finally leaving to pursue “ghosts with the shape of pleasant women” (IV, 7). At the end of the fourth act, the earth opens below Creon, and he sees Medea in the waters of the Styx, while the orchestra is divided into two very distinctive groups of instruments. A same motif recurs in those scenes, like a choreography: the idea of division and separation. The guards are divided by fighting against each other, then they turn against the king they receive order froms, then the earth splits open… Medea is the one who separates, she is the creator of strife and discord. In III, 4, she says about herself and Jason “And may the crime separate us / As the crime joined us”. In the final scene, after killing her children, she claims to Jason: “Unfaithful! After your betrayal / Should I have seen my sons in the sons of Jason?”, a sentence in which the “us” disappears for the “you”, and where Medea dissociates herself from her children.

But Medea herself is divided. As the king kills himself, she is herself fractured. In the scenes IV, 5 and V, 1, she deliberates about the murder of her children, and this deliberation (in a typical 17th century fashion) is divided, as much on a semantic level as on a musical one. When the oscillation of the wizardess’ mind makes her regret her decision, we hear a slow, deep, internal music of cord instruments ; but when she is resolved to commit her crime, the tempo becomes faster and the clavecin dominates. The two rhythm finally converge when she takes her decision, because her doubts are only there for a theatrical effct. Medea is still Medea (“When you boast of being king / Remember that I am Medea”, IV, 6), as she was with Seneca (Nunc sum Medea) and as she was with Corneille (“Madam, I am queen / - And I am Medea, Conquête, III, 4).

In the genre of the opera, other pieces of note include Il Giasone (1649) of Pier Francesco Cavalli, and Medea (1797) by Luigi Cherubini, on a French booklet by François Benoît Hoffmann, where Medea switches between supplications and threats, in a role that was made famous in the 20th century by Maria Callas.

IV/ Medea in paintings and drawings

Jean-François de Troy (1679-1752) painted, for an Histoire de Jason in seven pieces by the Gobelin manufacture, a Médée enlevée sur son char après avoir tué ses enfants (1746). This is an episode taken from the seventh book of Ovid’s Metamorphoses, and Ovid will indeed be the main source of painters, rather than Euripides or Seneca. Medea, on her chariot pulled by two winged dragons, has a cold, hateful stare. In one hand she holds her magic wand, with the other she points towards the body of her two dead children. Jason is trying to pull out his sword while a soldier restrains him. In the background, Corinth and Creon’s palace are burning. Two small Cupids are behind the chariot. One is breaking his bow with his knee, the other is ripping off his blindfold. This detail explains the meaning of the scene, its allegory: the two little gods of love refuse their own power, upon seeing the devastation of love when it turns into a jealousy-fueled hatred. Or maybe should we understand the message as: if such a disaster is to be avoided, love must stop to be blind. All in all, the depiction of the myth of Medea must have a moral purpose: love must be much more aware and conscious, and it should be treated with logic and reason.

To find back the tragedy and the violence of the antique myth, we must look at two drawings of Poussin from around 1645, the second being a cleaner variation of the first. The scene depicts Medea killing her second child: she holds the child naked, by the leg, his head upside-down, and she raises her arm to hit his heart with a dagger. The first child is dead on the floor, and a terrorized woman, crumpled near his body, turns herself towards Medea to stop her. A bit above, separated by a balcony, unable to stop her, Jason points his arms towards Medea while Creusa lifts her hands towards the heavens. On the second drawing, a statue of Minerva also lifts her arms to the sky, using her shield as a protection not to see what is about to happen. All the violence of the scene can be read in the way the hands are organized in this drawing – and this violence, rarely depicted in such a direct way during the 17th century, is the one of Seneca’s tragedy.

#the myth of medea #medea #renaissance #french theater #theater #corneille #greek myths

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zahri-melitor · 6 months ago

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Newish Comics:

Batman: The Brave and the Bold #14: I am largely uncompelled by this set, but I was amused that they had to specify "look! This Barry/Iris story takes place before we break them up! Because we want fluffy Barry/Iris!"

Also charmed that in the Black and White story at the end with flashbacks to previous events there's Bruce as Tengu in KnightsEnd! That's a bit of a deep cut I wasn't expecting.

Green Arrow #13: Williamson please learn to pace a story at some point. That said, I was very fond of seeing Roy and Lian snuggled up together, and Connor and Mia hanging out together. Also Williamson finally acknowledged Sin's existence for the first time? I think? in this comic.

I also note Williamson is on team "we like Jade" rather than on team "Jade's a villain who's done a bunch of irredeemable things" (Which. Both positions are perfectly acceptable, but does give me a bit of an 'of course you're like that' for a guy with a known tendency to prioritise biological relationships)

The plot is ridiculous but it's editorially mandated, everyone is about to go into their Stupid Eras for the next two-three months.

The Flash #10: speaking of editorially mandated storylines...I was snorting at 'make Ollie and Barry punch each other', in terms of Ollie was doing everything but shouting what his name was and Barry was going ??? mystery guy who is not Bruce.

Jai is great in this issue. Wally is busy ascending into a higher plane of existence, still, and I am waiting until his brain comes back online and the various creepy higher dimensional beings stop trying to brain wipe him and use him as conduit, as they will not enjoy him handing them their asses.

Please get Bart into a room with his friends so he can notice they're also young adults over 18 and stop reverse aging himself, he's drawn younger than Jai in this. Or actually address the plot point that Bart's currently making himself be the age he was when Max was his guardian, and what that means about their relationship.

Zatanna: Bring Down the House #1: oh this is fun. It's functioning as a Zatanna origin story, and a good reminder that Zatara is in hell.

And now a look at everyone losing their minds for the Event:

Suicide Squad Dream Team #1-4: super reluctantly reading this as lead in for Absolute Power.

I'm not sure if I'm more mad over how Amanda Waller is being villainised here or how they're characterising Lori Zechlin. Lori, what have they done to you?

As I scrutinise this, it's written by the actor who originated Nia Nal, and uh...it could use being less Nia's perspective v general Squad attitudes. It just feels very very righteous v Waller Being Evil For No Reason.

I dunno. I don't think Nicole Maines has enough experience or practice in writing for a shared property. Her Nia stuff on its own has been fine so far, but managing to write decent team dynamics for the SUICIDE SQUAD is something that takes a lot of skill and experience (given the number of strong personalities involved). It probably shouldn’t be handed to a writer who’s effectively never written a comic that doesn’t star the character she played on TV.

Absolute Power: Ground Zero #1: sigh.

This is not going to be a particularly compelling event to me.

Like hmmmmm part of me wants to point out that under a different storyline, Waller living out 20 years of peace in a virtual reality as a mother figure would be something that would affect her a lot, given her history.

Unfortunately, we are no longer in Suicide Squad 1987.

The Warlord #58: this week in Skartaris we don't see Travis at ALL. Guy who's cosplaying Travis is doing a terrible job of it, and pissing off Tara, who has been driven back into finding her childhood sweetheart Graemore attractive. We get a full retrospective of their childhood growing up together: Graemore was the son of a blacksmith and a tailor whose family were captured in warfare by Tara's father. Graemore played with Tara while his mother made swords for Shamballah and his father educated Tara. It's a very cute 'they grew up together' teen love story.

While all of this is going on Darvin the Thief goes to try and extort more money from the people on council paying him to hold Travis prisoner, and he suddenly realises where he's seen Joshua's weird bracelet before...on Tara's arm!

Surely this can only end well.

In the Arion backup, I am very slowly starting to get my head around how to fit Skartaris's ancient Atlanteans, Earth's ancient Atlanteans and modern Atlantis together. They do all come from the same group (which is what I expected) but it's definitely interesting in terms of the various interactions between magic and advanced technology.

(Now I actually need to read some more Aquaman to confirm my understanding, as it's still pretty vibes based right now)

#newish comics #z canon read throughs #reading absolute power

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bluejaysandblackbats · 1 year ago

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Bloody Valentines

Fandom: DC Comics, Batfam, Young Justice 98, Titans, GL Corps, Legion of Super Heroes, Flashfam, New Gods

Summary: 90s vampire slasher AU

Chapters: 1/?

Characters: Dick Grayson, Joseph Wilson, Jason Todd, Charley Parker, Zatanna, Eddie Bloomberg, Daniel Cassidy, Chester Williams DC, Guy Gardner, Kyle Rayner, Lilith Clay, Raven Roth, Kole Weathers, Bette Kane, Donna Troy, Roy Harper, Jenni Ognats, Bart Allen, Virgil Hawkins, Richie Foley, Ayla Ranzz, Zoe Saugin, Rol Purtha, Darla Aquista, Lori Zechlin, Hal Jordan, Helen Jordan II, Orion DC, Lightray DC

Relationships: DickJoey, Daniel Cassidy/Zatanna, Jenni Ognats/Virgil Hawkins, Raven/Lilith Clay

Additional Tags: POV First Person, Unreliable Narrator(s), Vampires, No Capes AU, 90s Slasher AU, Homoeroticism, Horror, Slasher

Chapter One: The Flesh (Dick's POV)

The flesh was soft and warm. I could feel the tha-thump of his heart beating against my lips, and I bared my teeth. I wanted to devour him whole. I'd never felt desire like that. It was so much deeper than lust, and he could feel it too. He shivered when I touched him. It ran through our veins, pulling us together. Magnetic debris in the very fiber of our being. It would never have been enough to fuck him. No. Something inside me burned to be part of him in an impossible way. I needed him. I pressed my lips against his chest. Pressing and traveling, pressing and traveling, pressing and traveling until our lips met. He was intoxicating.

He made three gasping breaths when our lips parted the first time. I wanted him so badly that it made my head spin. I pressed my forehead against his shoulder and lost my nerve. I couldn't fuck him. I didn't want to sully his perfectly freckled skin with cum. It would've been like shattering a stained glass window or dragging a dagger through a Monet. His cock bobbed up and down against his belly, begging to be noticed and touched, but I couldn't do it. He opened his eyes and glanced down at me lazily. I raised my head and looked into his eyes. He knew I wouldn't be able to do it, but it didn't stop him from forming a satisfied grin.

Instead of talking, he turned on his side and kissed my neck and throat, tracing my jawline with his fingers. Then my neck. My shoulders. He slid a hand down my pants, and I gasped as I held my hand over the front of my jeans. I felt the heat of his mouth against my neck and at the bottom of my ear. I kicked and writhed beneath his smooth and capable hands. An artist's hands. He pulled his hand away, and I offered a look of desperate betrayal, and he chuckled, tasting his fingers before returning his hand to its rightful place. I trembled as he ran his thumb over my head, dabbing at my precum. The whimper that escaped my throat frightened us, and he covered my mouth. His thumb was still wet on my cheek as he held back a laugh. He hid his face in the pillow to suppress his laughter.

He got up and pulled my clothes off, throwing them to the side before rubbing his body against mine. Our cocks touched, and the friction of his frenetic grinding made me sweat. I rolled my hips to make up for the moments of space between our bodies. He kissed my neck, shoulders, cheeks, and lips as I clutched his sheets, pushing against his weight with desperate craving and open mouth. It was dizzying. Hips, shoulders, neck, mouth, chests. Fuck.. I wished I could make noise. I wished I could speak. I would've told him how beautiful he looked. It was the fiercest he'd ever been, and I imagined he was devouring me whole.

He rolled off of me, cock drooling and bobbing against his stomach. I opened and closed my fists, holding onto his sheets as I tried to stave off my orgasm. I was so close I could taste it. He went through his drawer, poured oil into his palm, slathered it over his body, and returned to me. The oil heated up as our bodies collided. His hips crashed against mine. He gasped and made a soft noise as he shook his head at me. He rolled off of me to take a breath, and I returned to kissing his neck and chest, and stomach until my bottom lip brushed his head. He raked his fingers through my hair and held my bangs out of my face. I wouldn't let fear overpower me this time. I touched his tip against my lips and took his cock in my mouth.

He raised one of his knees, and I gagged. I pulled up for air and drooled onto his cock. I'd never done that before, but I wanted to taste him. I bobbed up and down until I could take his full length. I choked, and my eyes watered as I tried to look into his eyes. I hoped he would open his eyes and smile at me. I came up for air and went down on him a third time.

He lifted his head to look me in the eyes and gave my scalp an affectionate scratch. I could hear his soft guttural groaning. He used my hair to pull and push me down on his cock. I pulled up and gasped for air, and he sat up and wiped my mouth. I held my breath as he thumbed my bottom lip and ran his hand down my chest. He poured oil into his hand and wrapped his hand around my cock. It was so close to his face that it made my body tense. He poured more oil into his hand and applied it to my shaft and balls. I gasped at the heat of the oil as he stroked me gently. I held my breath as he kissed my hip bones. He looked up at me as if he were asking for permission. I nodded and shut my eyes as his soft lips brushed my head, and he slowly engulfed me with his mouth. He'd done this before. He'd done this with his perfect lips and tongue and throat. And tongue. And throat. Fuck. And his lips. The walls of his cheeks were softer than his hands were. I ran my rough palms up his face and into his hair, careful not to disturb his curls. He placed one hand on my hipbone to hold me steady, and I opened my eyes. We met eyes, and he looked into the deepest parts of me. Tears streamed down his cheeks, and his nose ran, but he still looked beautiful. He pulled up for air and took his t-shirt to wipe his face before he ran the point of his tongue up the seamline of my balls and up my shaft to my head, where he gently skimmed against my tip, teasing me until I thought I'd lose my mind. Then the warmth of his mouth welcomed me in once more. He held his mouth tightly around me, taking me into his throat, and as soon as I felt like thrusting, he'd pull up and suck on my balls. I shut my eyes and clenched my ass until I couldn't hold it any longer. I hadn't even realized he'd used his hands, but I went weak in the legs, rolled my eyes back, and came in his mouth. I wanted to stop cumming and apologize, but it was out of my hands. It felt so good, twitching inside his mouth as he raised up, tightening his lips around my head, sucking me dry. I couldn't open my eyes.

He didn't seem to mind. He swallowed, licked his lips, and grinned before thumbing my head. I shut my eyes and chewed my lip to keep from making noise. It was so sensitive and hurt a little, but I didn't want him to stop. I grabbed his hand to make him stop because I knew we'd be caught. I flopped next to him and caught my breath as I started to go soft, and I watched with half-open eyes as he milked himself dry. I watched as he shuddered and splattered all over his stomach. He took a tissue box and wiped himself off, and turned on his side to do the same to me.

I wanted to fall asleep there, but it wasn't safe. I got dressed and crept down the fire escape. I couldn't risk getting caught, so I rode my bike home before sunrise. I got a page from him before I got home. R U SAFE. I knew it was from him.

YES.

I climbed into my apartment through the fire escape and jumped when I saw my brother sitting on the couch. "What the fuck do you think you're doing?" I asked. He shrugged. "You can't just break and enter because we're brothers-."

"I needed to talk to you, and you weren't answering your phone... Wait... Why are you sneaking into your apartment, Dick?" Jason grinned.

"Nunya... What do you want?" I asked. I smelled my shirt as I took it off and threw it in the hamper. "And hurry up because I've been up all night." Jason poured himself a cup of coffee and dropped in a scoop of ice cream.

Jason had a strange look in his eye as if he could see something I couldn't. He always acted weird when he came to see me. It was because of something that happened to him in high school. He never talked to anyone about it, so I never thought to ask. Still, it made him seem spooky whenever he stared like that. "Jason," I called him back to the present.

"I wanted to take you up on your invitation," Jason mumbled.

I was almost afraid to ask him why. Jason rarely left Gotham, let alone Jersey, so I wondered what mysterious reason he had for joining me. "Okay... But couldn't you have just called and left me a message?" I questioned. Jason shrugged. He wouldn't look at me.

"I wanted to see you, I guess," Jason answered. A lie. Most of the time, he broke into my apartment to eat and leave cryptic notes. Threatening, cryptic notes.

I left the room and took my shower, still thinking of Joey's skin against mine. I wanted to call, but I knew I shouldn't. It was the first time we'd ever done that, but I hoped it wouldn't be the last. It took me nearly a year to work up the courage to kiss him, let alone fuck him. I lathered the soap on my body as I thought about how it felt. The warm oil dripping off his body onto mine, the smooth feeling of his cock sliding against mine, and his lips. I could've cum just from the touch of his lips against my skin. I ran my hands over my chest and shoulders, finding myself in the same intoxicated position that led me to Joey's house in the first place. I let my hand slip down to my balls and thought about how good it felt to cum in his mouth. I wished I could go back. I wanted to go back and feel his hands, mouth, and body against mine. I groaned and shot my load down the drain. "Fuck... Okay. Fuck," I whispered through my orgasm.

I rinsed my hair and skin and dressed for bed. Jason sat at my kitchen counter, watching TV as he ate a cup of noodles. "G'night," Jason muttered with a full mouth. I raised a hand in reply before falling asleep on the couch in front of the TV.

#fic #batfam #titans #bloody valentines fic #Dick Grayson #Joseph Wilson #Jason Todd #DickJoey #bird's eye dc #POV First Person #Unreliable Narrator(s)#Vampires #No Capes AU #90s Slasher AU #Homoeroticism #Horror #Slasher

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hood-ex · 1 year ago

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Lori Elton has the potential to do something so funny…

For me it's Duela Dent (pre-crisis Duela). This would be the vibe if people found out that Dick and Duela were dating. I actually unironically like them together. She's just the right type of zany to compliment Dick's performer/circus persona. She also sticks up for herself and is down to either roast someone or to call them a pompous ass *cough* sorry Roy but you kinda deserved that one *cough*

Also, it was funny when Dick and Duela were talking at Donna's wedding and he was like sooo I did the math and you're too old to be Two-Face's daughter... explain. And she was just like lol well bye Dick. Which is a great response because she once told Garth to never ask a woman about her age or weight.

#also duela is responsible for making dick fashion a mask out of paper towels so put some respect on her naaame #me when duela outsmarts dick and finds out his secret identity: queeen!! queen queen queen queen queen!!!#me when dick's sister unmasks him and reveals his secret identity: the bullshit festering in this room is rank!!#Dick Grayson #Duela Dent #anon

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unknown171204 · 4 months ago

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Starmania 1993

This is the first version of the show created without Michel Berger

Performed from 1993 to 2001 at the Théâtre Mogador, then at the Palais des Congrès to continue at the Palais des Sports and finish at the Casino de Paris, we can almost say that it is a traveling show !

The show will have a 50-50 success, part of the public will adore it while the other will simply hate it (the costumes considered ugly and a staging bordering on the psychedelic, some critics will even say that this version was a betrayal / a bad parody of the original work)

The album :

The particularity of the show was the possibility of choosing the language ! In English on Friday and French the rest of the week !

DISTRIBUTION :

Johnny Rockfort :

Bruno Pelletier (1993 - 1995)

Norman Groulx ( 1995 - 1999)

Frank Sherbourne ( 1999 - 2001)

Cristal :

Judith Bérard ( 1993 - 1996)

Edith Fortin ( 1996 - 2001)

Marie-Jeanne :

Luce Dufault ( 1993 - 1995)

Isabelle Boulay ( 1995 - 1997)

Joane Labelle ( 1998 - 1999)

Lulu Hugues ( 1999 - 2001)

Zéro Janvier :

Michel Pascal ( 1993 - 1997 and 2000- 2001)

Richard Groulx ( 1997 - 1999)

Martin Fontaine ( 1999 - 2000)

Stella Spotlight : Patsy Gallant

Ziggy :

Frank Sherbourne (1993 -1999)

Andy Cocq ( 1999 - 2001)

Sadia :

Jasmine Roy ( 1993 - 1996)

Marie Carmen (1996)

Véronique Béliveau (1997)

Kwin ( 1997 - 2001)

Liners :

Jean Ravel / Sabrina Lory / Éric Melville

youtube

Clip :

youtube

There is only one official recording of the show with the troop of 2000 , But a recording of Tycoon (probably filmed in secret by a spectator) of VERY poor quality is available :

Tycoon 1993 :

youtube

Fanmade of the 1994 French version :

youtube

The Full Show :

youtube

ANECDOTES :

For the first time Roger Roger is no longer a human character, he is now a robot with the voice of Muriel Robin in French and Tim Rice in English

...

In this version Zero Janvier murders Cristal by strangling her with his own hands !

...

For the first time the auditions for the role of Sadia were open to men !! ( We are now in 2024 and Sadia still has not had a male interpreter )

...

Andy Cocq and Eric Melville were spotted by Plamondon when they both auditioned for Notre Dame de Paris !

...

Andy Cocq is one of the big names in the world of French musicals, having played in Emilie Jolie 2002, le Soldat Rose , Doty et le magicien d'Oz , and in the French adaptations of Spamlot and the Producers ( which I had the chance to see at the Paris theater in 2022 )

...

Luce Dufault is the only performer in the history of Starmania to have performed on stage while she was 6 months pregnant !

...

Technical accident occurred at the Mogador when Bruno Pelletier's long hair was found stuck while he was suspended in the air and had to go down on stage roped up ! The show stopped and Plamondon himself came on stage to reassure the audience ; in his own words : " a black star must be able to face any eventuality ! "

...

In 1995, Stella Spotlight's slide dress hit the stage…without Patsy Gallant! The performer had gone backstage to quench her thirst and had forgotten that she had to make a short appearance on stage just before the businessman's blues …

For more Starmania or to discover other French musicals I invite you to follow the path of my main masterlist to learn more about French musicals and their stories :

#starmania #Starmania #andy cocq #Frank Sherbourne #starmania 90 #starmania 2000 #plamondon #tycoon #Стармания #comédie musicale #musicals #french musicals #Youtube

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valorums · 1 year ago

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FIVE SONGS for your muse.

i. POOR MARIONETTE / Sarah Cothran : re. DARTH SIDIOUS: ❛ You control thе way I feel and move / There is no show I wouldn't do for you / But a change of mood, a different scene / You could cause me a bitter pain ❜

ii. IRRELEVANT / P!nk. : ❛ You can call me irrelevant, insignificant / You can try to make me small / I'll be your heretic, you fucking hypocrite / I won't think of you at all ❜

iii. STRANGE TIMES, DARK DAYS / Isla June. : ❛ Scratching at the surface of an old truth / Searching for a lie, a hidden excuse / Everywhere we turn we're deceived / Is there anything left to believe? ❜

iv. HUMBLE AND KIND / Lori McKenna. : ❛ When the dreams you're dreamin' come to you / When the work you put in is realized / Let yourself feel the pride / But always stay humble and kind ❜

v. I MAKE MY OWN SUNSHINE / Alyssa Bonagura. : ❛ It don't matter if it's raining / Nothing can phase me / I make my own sunshine / And if you think you can break me / Baby you're crazy / I make my own sunshine ❜

FIVE QUOTES for your muse.

i. ❛ There’s a natural goodness built into us all. ❜ — Suzanne Collins / The Hunger Games: The Ballad of Songbirds and Snakes

ii. ❛ Forgive me, for all the things I did but mostly the ones that I did not. ❜ — Donna Tart, / The Secret History

iii. ❛ There is nothing I would not do for those who are really my friends. I have no notion of loving people by halves, it is not my nature. ❜ — Jane Austen, / Northanger Abbey

iv. ❛ In the long run, the sharpest weapon is a kind and gentle spirit. ❜ — Anne Frank, / The Diary of Anne Frank

v. ❛ Her collarbones like wings spread from the base of her throat to the ends of her shoulders. A bird held down by skin. ❜ — Arundhati Roy / The God of Small Things

ACQUIRED FROM: @vaderari

TAGGING: @alootus (Padmè), @misfittcd (Lahani), @sorehsu (Obi-Wan), @etoilebleu (Eris), @debelltio (Orson), @jeditrash (Cal), @ofpolitics (Mon), @siidious (Sidious), AND YOU.

#⠇ dashboard game ⠇ ━━━ the latest gossip in coruscant

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gacmediadaily · 7 months ago

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Great American Family is taking on the March family story.

“A Little Women’s Christmas,” the network’s first ensemble Christmas movie, is a contemporary retelling of Louisa May Alcott’s classic 1868 novel, starring Jillian Murray as Jo March, Trevor Donovan as Friedrich “Fritz” Baehr, Laura Osnes as Beth March, Jen Lilley as Meg March, Jesse Hutch as John Brooke and Julia Reilly as Amy March. Gladys Knight also stars and will perform her new original Christmas song, “Joy.”

The movie will air during the fourth annual “Great American Christmas.” Previously announced other titles for their 2024 holiday slate include “Aurora Christmas,” “A Christmas Less Traveled,” “Love at the Kettle,” “My Grown-Up Christmas Wish,” “A Royal Christmas Ball” and “A Vintage Christmas.”

“‘A Little Women’s Christmas’ is a new Christmas classic in the making, with an incredible ensemble cast and an adaptation of an original story that is one of the best I have read,” says Great American Media president and CEO Bill Abbott. “Louisa May Alcott was intentional about focusing on the culture of young women, their hopes, ambitions, and dreams, and it remains one of the most widely read and beloved stories ever written.”

The film, directed by Brandon Clark, is written by Dione Sheehan and Taylor Bird. Executive Producers include Hutch, Knight, Clark, Brian Bird, Tai Truesdell, Darin Chavez, Brian Williams, Charly White, Lori Overholt, William McDowell and Joyce Miller Roy. “A Little Women’s Christmas” is produced by Rodney Eldredge, True Brand Entertainment, Third Coast Film and Empress of Soul Productions.

“Little Women” has been frequently adapted for both stage and screen. In 1933, Katharine Hepburn led the first sound adaptation of the film, followed by the first color adaptation with Elizabeth Taylor and Janet Leigh in 1949, which landed two Academy Award nominations and one win. In 1994, Gillian Armstrong directed a large ensemble led by Winona Ryder, Kirsten Dunst, Claire Danes, Susan Sarandon, Christian Bale and others, which landed three Oscar nominationss. In 2017 (and 2018 in the U.S.), the BBC and PBS’ Masterpiece turned Alcott’s novel into a TV series, led by Maya Hawke as Jo. Then, in 2019, Greta Gerwig’s “Little Women” became a box-office sensation, and was nominated for six Academy Awards.

#great american family #great american christmas #jen lilley #trevor donovan #jesse hutch #jillian murray #laura osnes #julia reilly #gladys knight #little women christmas

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brokehorrorfan · 1 year ago

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Doctor Butcher M.D. / Zombie Holocaust will be released on 4K Ultra HD + Blu-ray on November 28 via Severin Films. The four-disc set includes both the original 1980 Italian cut and the 1982 US re-edit.

Marino Girolami directs from a script by Romano Scandariato (Emanuelle and the Last Cannibals). Ian McCulloch, Alexandra Delli Colli, Sherry Buchanan, Peter O'Neal, and Donald O'Brien star.

Both cuts have been scanned in 4K from original vault elements and are presented with Dolby Vision/HDR. It includes a slipcover (pictured below) and reversible artwork. Special features are listed below.

Disc 1 - 4K UHD:

Doctor Butcher M.D.

Theatrical trailer

Video trailer

TV spot

Disc 2 - 4K UHD:

Zombie Holocaust

Trailer

Disc 3 - Blu-ray:

Doctor Butcher M.D.

Interview with editor Jim Markovic

Interview with Aquarius Releasing's Terry Levene

Interview with Gore Gazette editor and Butcher Mobile barker Rick Sullivan

The Four Boroughs of Blood – Rue Morgue's Michael Gingold tours New York locations of Italian horror

Down on the Deuce – 42nd street tour with Temple of Shock's Chris Poggiali and filmmaker Roy Frumkes

Tales That Tore Our Heart Out – Filmmakers Frank Farel and Brendan Faulkner discuss unfinished anthology film

Roy Frumkes' segment from unfinished anthology Tales That Tore Our Heart Out with director commentary

Experiments with a Male Caucasian Brain - Visual essay by Gary Hertz

Theatrical trailer

Video trailer

TV spot

Disc 4 - Blu-ray:

Zombie Holocaust

Interview with actor Ian McCulloch

Interview with actress Sherry Buchanan

Interview with special effects artist Rosario Prestopino

Interview with special effects artist Maurizio Trani

Filmmaker Enzo G. Castellari Remembers His Father, Director Marino Girolami

New York Filming Locations: 1980 & 2015

Ian McCulloch Sings "Down By The River"

Trailer

A local Hospital in New York is plagued by missing body parts. It turns out that one of the Hospital's male nurses is a member of a Cannibal cult which is also connected to a series of gruesome murders. Dr.Chandler, together with his beautiful anthropologist assistant Lori Ridgeway, are sent for an expedition to the remote island called Kito to investigate the mysterious case further on.

Pre-order Doctor Butcher M.D. / Zombie Holocaust.

#doctor butcher md #zombie holocaust #horror #italian horror #80s horror #1980s horror #severin films #dvd #gift #ian mcculloch #80s movies #1980s movies #zombie #zombies #marino girolami

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balteren · 7 months ago

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{Manny Jacinto, 37, cismale, he/him} We are so glad to see you safe, PRINCE LORENZO TOLENTINO OF CHINA! It’s dangerous out in the world these days, but I hear that you are DEVOTED and SENTIMENTAL enough to handle it. Just don’t let your INSECURITY bring you down! Stay on your guard, because with your secret being at risk for exposure, you wouldn’t want everyone to find out YOU ASSASSINATED THE CHINESE EMPEROR.

cw: abuse, violence, murder

Name: Prince Lorenzo Tolentino Aliases: Lory, Lenzo Country: China and The Philippines Gender/Pronouns: cismale, he/him Sexual/Romantic Orientation: bisexual, biromantic Age: 37 Occupation: Prince, former navy captain Faceclaim: manny jacinto Inspiration: roman roy (succession), fleabag (fleabag), zuko (avatar: the last airbender), gonzo (the muppets) (hear me out) Loyalties: china Pets: a dapple-grey trakehner mare named farallon

tldr; At his core, Lorenzo is a kind, understanding man, so deeply desperate to be loved and liked and affirmed. He oscillates rapidly between arrogance and self-doubt, oftentimes completely blurring the two. He tries to be funny, to keep people smiling, but often neglects himself in that regard. Not great at being vulnerable or emotional, actually actively avoids it. Enjoys going out for rides, training, hunting, fishing, sailing. Incredibly soft on the inside, takes everything very personally, and is deeply guided by emotion- even if he mistakes it for logic.

backstory: “I think you know how to love better than any of us. That’s why you find it all so painful.” It is a curse to have so much you long to forget, when you remember everything so vividly. The Tolentino household was a battlefield, and from an early age, their father made it clear that there was always a winner and a loser, no matter how low the stakes. A home where affection was earned, not given freely. A home where love was a privilege that could be taken as easily as it was given. A home that turned Lorenzo and his brother into rivals, not family. A home that only felt the suffocating fog of their father lift after their mother did what Lorenzo wished he had the courage to do. Life with their new family was better, even if he found himself caught in the same cycle. He never knew why he’d always go running back to the source of his pain, as if the table scraps of affection he received from the emperor would ever be enough to feed him. Convinced he could earn the pride and love of the emperor if he could just be enough, Lorenzo joined the Chinese navy the moment he was of age. For years, he was devoted to making something of himself, and by the time he was 35, he’d seen the world, garnered respect from his fellow sailors, and become a war hero. For a moment- no matter how brief impossible- he believed he’d return home to a joyous welcome. After spending time away from the navy at Lal Qila, Lorenzo decided he’d been away from court long enough, and would seek to collect on the decades of goodwill he had been planting. Bringing his most trusted friend for support, he approached the emperor to ask if he could return home, take a job at court, have a marriage arranged, and live a life as a prince, son, and brother, not a soldier. The conversation devolved into an argument, and it wasn’t long before the emperor recognized his stepson’s seething anger, daring him to do something, fully convinced the boy he'd raised to be subservient would back down. He did not. Swords were drawn, and the two traded a few blows, but when he could have taken the deciding strike- one that would have disarmed the emperor, rather than killed him- he hesitated. Suddenly, he was a little boy, staring at his step-father, desperate for his love, physically unable to harm him. In that moment of hesitation, the emperor dealt a heavy blow to Lorenzo. Upon hearing his sword clatter to the ground, his friend stormed in, ready to defend intervene. When Lorenzo found his feet again, he realized his step-father would not stop, that someone would not be leaving the room alive. When the fight was over, he felt some relief- he had not turned into his father. He had turned into his mother. Lorenzo, horrified at what had transpired, resolved to admit his actions to the new emperor immediately. But before he could make it to Angelo’s chambers, he and his friend were caught by a frenzied guard and ushered to a safe place, told that a group of rebels had stormed the palace- an event later termed The Reckoning. In their hideaway, Lorenzo and his friend devised a story. The emperor was dead- there was no changing that- but the universe had handed them grace. Who were they to deny it? The story practically told itself: an emperor cornered but still fighting, attempting to defend himself, and struck down by the shadowy, nameless enemies. It was a story that was easy to believe after the horror of the Reckoning.

now: Lorenzo is struggling to reconcile his feelings of guilt, relief, and more surprisingly- grief. He is still desperate for love, still desperate for affection, still unsure what it means to look for those things in the darkest, most dangerous places. And though he loves his brother with every ounce of himself, he has started to recognize the look in his eyes and the games that he plays. Slowly, but surely, he is realizing the emperor is not worthy of his title. Lorenzo hasn’t acknowledged the idea as more than a passing thought, but part of him is wondering why Angelo should stay on the throne at all. Wondering why he couldn’t make a better emperor. Lorenzo is a kicked dog who has finally realized he has teeth- and they are sharp.

#1771 (lorenzo's version)#theopulent.intro #lorenzo

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