#Superhero cookie cutters

[delicatedarknight]

Secret Santa at Wayne Manor ft.Superfam

Jason:[fuming] Who thought giving a toy gun in an Xbox pack was a good idea. whoever it is you better start praying. Kon:[ugly sweater but with bad kon pics] HA!? which one of you did this? Jason:[snorting] lmao..you totally deserve it 10/10 to whoever did it. Dick: WOAH!! NO WAY! Thanks to which one of you who gifted me these beautiful customized escrima sticks. I love you. Tim: Aww thanks for this beautiful bracelet and chocolates Jon:[amazed] It's the superhero-themed blanket that I wanted. thank you so much. Damian:[touched] Whoever thought of giving me this precious matte black finish grappling hook bad boy. thank you from the bottom o my heart

Alfred:[wiping away his tears] I want to extend my heartfelt gratitude for this 20-inch pie mould with these complimentary unicorn cookie cutter Martha: thanks to my Secret Santa for these beautiful spice-scented candles. Bruce:[wrapped in new handwoven superman themed scarf] Thank you Martha: what about you Clark? what did you get? Clark:[hiding away the sexy batman body pillow] just some socks, ma.

[cassandrva]

the spiderverse movies, especially across the spiderverse, are perfect stories to analyze through a metafictional lens (for context: metafiction is when a story deliberately draws the audience's attention to its status as a story)

it's almost inevitable for a spider-man story set in a multiverse to build commentary on what it means to be a spider-man story. itsv certainly does it, but atsv doubles down on it tenfold.

throughout all of the film we see characters imposing a narrative on miles, telling him not only what to do but also how to present and even think about himself and his place in the world. they want him to distort his story, make it palatable, to conform to the beats and tropes everyone expects from him both as miles morales and as spider-man.

his guidance counselor wants him to be poster boy for the stereotypical american dream "poor child of immigrants pulls himself up by his bootstraps to become a great scientist" narrative

miguel insists on subjecting every single spider-person to the same traumatic tropes— sorry, "canon events" that (according to his algorithm) define the very nature of a spider-man story. he's like the comics authority of this spider-verse. any divergence miles attempts from the standardized narratives that are thrust upon him is heavily policed and disciplined

both the counselor and miguel are essentially saying the same thing: being who miles is is about sacrifice, and it's about suffering. to prevent that suffering or to acknowledge its absence means erasing his identity respectively as an afrolatino young man and as a superhero

and he is having none of it. this is not a spider-man narrative, this is his spider-man narrative. he's not going to reduce himself to fit into a nice cookie cutter generic marketable version of his own life

and in his literal main character moment he graduates from guy who is doomed by the narrative to Guy Who Dooms The Narrative. he's taken control of his own story. bet in the next movie he's gonna make the whole canon theory unravel. bet he's gonna break canon so hard it explodes.

[suzukiblu]

Day four of fic NaNoWriMo, obligatory sugar daddy Tim/sugar baby Kon AU.

"Dead," Tim says, because it's not like it's a secret in the community or anything. "Joker happened to him."

And a lot of other things. Sheila Haywood and Felipe Garzonas and Bruce's eternal control-freak paranoia and constant inability to just talk, to name a few. But Joker, in the end.

Still, Tim can't help thinking about the chances to have avoided what happened to Jason. Especially when thinking about what's currently happening to Kon.

If Kon gets taken advantage of or hurt or killed because no one's paying enough attention . . .

Tim takes another drink.

"That sucks," Kon says with a grimace. "No wonder Batman goes all weird mama Bat on you all the time."

Tim chokes on an incredulous laugh and also a mouthful of soda, because Bruce is definitely not that and this isn't something to make light of either, but–

But also, he thinks about how no one ever goes "weird mama Bat" on Kon. No one ever has, as far as he knows.

No one takes care of him at all.

Tim really, really doesn't like that. Kon shouldn't have to rely on working for people who think they can build custom-designed personal-use superheroes based off of stolen dead bodies and are constantly making clones that are just inhuman-looking enough to not be able to blend into society outside the lab, and therefore don't have a choice about where they live or what they do with their lives.

Maybe it's not as bad as it sounds, or at least not as malicious as it sounds, but it's still the results of what Cadmus is doing either way. Kon has the option of being a superhero, at least, but he also has a custom-designed face that looks exactly like the face of one of the most famous heroes in the sector and was given absolutely no idea how to either establish or support a civilian life, so that's just about his only option.

Aside from, again, just working for Cadmus for the rest of his life.

Tim definitely hates the world.

"Please don't call it 'going mama Bat'," he says to distract himself.

"Please tell me what else you'd call it," Kon says.

"Micromanaging," Tim replies matter-of-factly, and Kon chokes on a laugh of his own.

"What, is being Robin your after-school job?" he teases. Technically it is, Tim supposes, but he doesn't exactly think of it that way.

"I consider it more of an unpaid internship," he says, since explaining the whole "emotional support sidekick" thing would probably damage Bruce's Bat-mystique, and if he tells Kon the full story there he's basically telling all of Young Justice. Kon barely seems to understand the concept of secrets, much less the concept of keeping them. "Like I get an expense account but not a paycheck, you know? And sometimes we get cookies in the Batcave."

"Cookies. In the Batcave," Kon echoes, his eyebrows shooting up. "Are they bat-shaped?"

"Wouldn't you like to know," Tim replies with a pleasant smile. Alfred doesn't usually bother with anything quite that on the nose, but according to Dick there are Halloween cookie cutters in the kitchen that he's not above bringing out when Bruce has been being especially ridiculous, so . . .

"Oh my god," Kon says delightedly. "Does he make them himself? Is there a Bat-apron? A Bat-oven? Or does he just order them special from the Bat-bakery?"

"There is not a Bat-bakery," Tim says, trying not to laugh again. Goddammit, Kon shouldn't be so fucking funny all the time. He's not even that funny, objectively; Tim is just a smitten idiot.

"So there is a Bat-apron?" Kon says with a smirk.

"I plead the fifth," Tim says, since explaining the novelty Halloween apron Jason bought Alfred when he was thirteen is not actually on the table. Details compromise identities, loose lips sink ships; all that.

"Listen, man, Cadmus doesn't have a bakery unless you count the test tubes they cook us up in," Kon says with a snigger, grabbing himself another slice. Tim thinks thoughts about incendiary devices. "They buy our cookies frozen or just get the industrial-sized pudding cans. Or make bread pudding, the bastards. So you gotta tell me about the Bat-cookies."

Tim winces at the thought of industrial-sized pudding cans and bread pudding, because that sounds absolutely horrifying and he never, ever wants to taste industrial pudding. Ever.

"Well, they're definitely not frozen," he says. "But Nightwing started being Robin a lot younger than I did and the last Robin started younger than me too, so I think I'm just reaping the benefits of younger kids needing after-patrol snacks and everyone else getting in the habit of it."

"I could get into that habit," Kon says musingly as he tears a bite off his newest slice. Tim immediately resolves to order takeout after every possible Young Justice mission that he can. Or they could go get ice cream or something, he doesn't know. "What do you think, wanna make me Bat-cookies sometime, Rob?"

Every weekend for the rest of their respective lives, although Tim would never actually say that. He's not even a good baker. He doesn't even like to bake.

This crush is definitely a problem.

"You're not Gothamite enough to handle Bat-baking, Kon," Tim says dryly, and Kon sniggers.

He also ducks his head a little, looking . . . oddly soft, for a moment. Tim doesn't understand why, until he realizes–oh. It's because he just called him "Kon", isn't it. He wasn't even thinking about it; just did it reflexively.

Tim is pretty sure he needs to ruin the credit of every single "responsible" adult in Kon's life for not naming him sooner. Well–Dubbilex can have a pass, considering he was also made by Cadmus and his own name is Dubbilex, so it probably never occurred to him that "Superboy" wasn't a perfectly acceptable name. And also he probably doesn't have credit either. But all the rest of them, definitely and for sure.

Superman is getting an envelope of powdered Kryptonite in his fucking mailbox, to start. Or maybe Tim could aerosolize it and pepper-spray him with it. That might work.

"You don't know, I could be," Kon huffs, putting on a mock-offended expression. "I was born and raised in a lab, I'm way tougher than the average guy."

"A Metropolis lab," Tim says pityingly. "Might as well be a kindergarten science class."

"Oh fuck you, Batboy!" Kon protests with a laugh. "Tell that to the next alien invasion."

"Aliens know better than to invade Gotham," Tim says. Kon laughs again. It's–weirdly nice, honestly. Usually Kon's too busy trying to act cool in front of whatever "audience" he thinks they have to actually, like . . . just talk all that much or anything. And also usually he gets offended really easily or starts being annoying about something he doesn't know as much as he thinks he does about or just . . . something.

Tim admittedly is less and less annoyed and more and more endeared by that kind of stupid behavior these days, but still. It's the usual pattern their interactions follow.

He guesses they're actually just, like, hanging out right now. It's not like there's a bad guy or a crisis or even any teammates around or training to do, so . . .

Yeah. He guesses they're just hanging out.

Kon decimates the pizza and wings, Tim pretends to be helping and takes a few mental notes on how much Kon is eating and what that may or may not say about his required caloric intake, and they just kind of keep . . . hanging out, really. And they talk, at least as much as Tim lightly interrogating Kon and subtly evading providing any personal identifying information counts as "talking".

Tim really doesn't know if the guys at school or Young Justice are more authentically his "friends", at this point, but at least Young Justice knows there are things they don't know. Everyone from school . . .

Not so much, with them. They all only know Tim Drake, and none of them have any reason to suspect the existence of Robin. Young Justice only knows Robin, but at least they know there is a Tim Drake somewhere, whether they know him or not.

Maybe they are the ones who are more his friends, thinking of it that way.

It'd explain why things never really go anywhere with civilians and he's developed this stupid inadvisable crush on Kon, at least. Though not why things fizzled with Steph, since she knows Robin better than anyone in Young Justice. If he should be having a stupid inadvisable crush on anyone, at least it could've been someone with an equally stupid and inadvisable crush on him.

Unfortunately, he and Steph have officially friend-zoned each other and also Kon exists, so Tim is having his stupid inadvisable crush on an alien hybrid metahuman clone in a terrible living situation with stupid taste in sunglasses and a mysteriously infinite-seeming supply of leather jackets. So now Tim is in this situation and his supervillain timeline needs recalculated, and also he's going to be buying Young Justice so much takeout to make sure Kon gets to eat something that isn't cafeteria food in a way he won't get offended by.

Hopefully, anyway.

"Well, I'm glad the new job's working out," Tim comments eventually, after some very careful conversational maneuvering, and Kon . . . pauses.

"I guess," he says after a moment, picking olives off the remains of his current slice and not quite looking at him as he says it. Tim resists the urge to absolutely pounce on the blood in the water and makes himself wait. "I mean, it's fine, it's not like it's bad there. Like, I don't love that it's my only real option and I don't love the same lab that made me out of DNA that it literally got out of a literal grave being in charge of me, but it's not like Westfield's still running the place or anything. So like, could be worse."

Tim hates the world. All of it. Seriously. Alfred's snickerdoodles get an exception and that's it. Nothing else.

"I'm sure it'll all work out," he says, because yeah, he officially needs to actually do something about this. He doesn't know what something, but something. If he doesn't, who else is going to?

Kon puts on a fake grin and says something stupid and easy in reply, the comment lighthearted and dismissive and a screamingly obvious coping strategy from someone who doesn't see any way out of their current situation but through, and Tim . . .

Tim finishes his Zesti and starts to think.

[sassylittlecanary]

I am so freaking angry about how DC has treated disabled characters in recent years.

Many people have pointed out all the negatives of making Babs into Batgirl again — taking away her character development, de-aging her, casting aside two other Batgirls, using comic book science to “”cure”” her, etc, all for the sake of nostalgia. Oracle was an icon and an inspiration to many, and that was taken from us. Some great meta on this here and here.

But what I don’t hear anyone talking about is how this was also done with Joey Wilson/Jericho of the Teen Titans, albeit in a slightly different way.

In the post-52 DCU, he doesn’t use sign language anymore (he’s mute) and instead uses technology to speak.

First of all, artists drawing Joey signing shows loving detail and care toward representation for that form of communication (which is frequently overlooked by able-bodied people). Joey using ASL is such incredibly important representation for everyone, and taking that away from him feels like an easy way out so artists don’t have to draw ASL and writers can give him typical dialogue. It reminds me of stories about deaf people (especially kids) who were disappointed when Hawkeye didn’t experience hearing loss in the MCU. There’s a lot of people who see themselves in different kinds of characters, and when you take that diversity away, you lose something important. I hate these cop-outs to fit differently abled characters into the cookie cutter superhero mold. Superheroes aren’t defined by their abilities — they’re defined by their heroism! Characters like Oracle and Jericho, among others, have reminded all kinds of people that anyone can be a hero so long as you care about helping others. That’s literally the point of superheroes. The superhero genre should always have room for diversity and representation of all kinds. Minimizing or erasing disability does a massive disservice to that legacy.

[sharonisthebettercarter]

billy butcher and addiction--

felt there's a need for a good and proper analysis for this fucker (as well as i can manage, maybe throw in a bit of a rant on poor fandom etiquette, 'three laws of fandom' are an oldie but a goodie lol) so here we go i guess--

i wanna start by saying this is a full scope character deep dive (sortaish?? best i can do take it or leave it--lol i might go further in depth on specific scenes or whatnot later, i'm longwinded but i'm tryin' to condense as best i can for this, aaaaaaaaaaand long long post ahead--) that def includes elements solidly confirmed in dear becky and probably leans more on comics billy overall, but def does intertwine and interlock with show billy (as they are essentially the same, garth ennis' own words went something like 'he's a perfect billy butcher' lol)

i'll try to avoid spoilers (??) for the most part like dear becky, but there are some things that may need more context (there is quite a bit of in the show that works well enough to represent anyway but i guess we'll see how this goes, i may end up talking more about the show elements and how they parallel with comics billy anyway)

i also think it's worth mentioning that there's a lot to billy (especially in the comic) i feel fandom either ignores, dismisses or doesn't want to acknowledge, or just doesn't notice.

whether from personal bias/prejudice, desire (fitting billy into that 'alpha's alpha' toxic masculinity 'dom top' fever dream 'mold' so to speak, probably--no, definitely the *worst* way to interpret and easiest way bungle up his character, it completely misses the fact that billy has built *that* 'daddy approved' version of himself as a *facade* to *hide* his own shame and insecurity, and he is *so* much more complex than that nonsense (and genuinely uncomfortable and unhappy being that way-beyond the subtle guilt of a constant high). can we talk about the ways in which fandoms promote and perpetuate toxic masculinity--what, no time we'll be here all week?? oh, okay. jesus fucking christ that is exactly as bad if not worse than the maga chud interpretation and unironic worship of homelander--), lack of personal experience/familiarity, understanding--fuck it, even lack of education in media analysis or reading comprehension (if not both), and *especially* being pro-censorship/americentric/*stuck* with purity culture blinders (or even some part of them lingering)

all of those can def make media (and characters like billy) that isn't 'cookie cutter america-approved' fairly difficult to understand or accept (i guess??)

i've seen so much listed to hell and back in attempts to describe comics billy. 'he's a piece of shit' *YES*. 'he's just wish fulfillment for the author's hatred of superheroes' *no*??? let me not get into the complete hypocrisy of someone who writes or enjoys fanfic--the epitome of *wish fulfilment*--unironically complaining about other authors doing this and thinking it's a legit complaint. how does *anyone* read the entire story and come to *that* conclusion???

did you even bother reading the comic? no, i don't mean glossing over it with a completely closed mind while actively ignoring and dismissing everything important put in front of you and designed to make you think because the blood and guts or other is too distracting apparently, i mean *actually* reading it thoroughly and making an effort to think about what's being presented and why, waiting for the drop *instead* of jumping to judge (as is the american way)

and to some degree, i get it. i wouldn't say this comic is the easiest to digest (especially if completely unfamiliar with many of the themes presented, even the show has sparked some ass takes and interpretations) there's also plenty of common misconceptions, one in particular about garth ennis 'hating' superheroes. this is actually not true, what he hates is how the superhero *genre* has bottlenecked the comics industry and what is more likely to see success in it (and as a fellow creative, i completely understand how frustrating that would be, his main interest is actually war stories)

it's def one thing to say, 'nah, i don't vibe with the style' or 'it's not really for me/my taste but it's fine if others like it', i get that, satire and horror aren't for everyone. honest critique is fair even.

but it is a whole 'nother thing entirely to pretend your own personal tastes are *the only 'correct' creative law* and then *vehemently* oppose or hate something an artist created and denounce, harass, or fuck--dehumanize the people who enjoy it, if not the artists who work(ed) on it.

i'm sorry, this is a tangent cause it's def not limited to the hate the boys comics or ennis gets *at all*, it's especially prevalent in *literal* kids media like teen titans go where the thing in question is simply put--*NOT MADE FOR THE SHITHEADS NONSTOP COMPLAINING ABOUT IT* when they can literally, *LITERALLY* just *accept* that they weren't the *target audience* and move the fuck on with their day, happy as can be. *instead* of shitting on something *or the people who like it* to make literal *children* or other people feel bad about liking it.

it's one thing to try and educate people or have discourse and discussion, it is another entirely to *bully* them over something so *stupid* as *fiction*.

i especially have a problem with this shit when i have *several* artists tell me that they don't feel *safe* or *welcome* being themselves, liking or creating what *they* want to make in a fandom *because* of the fandom attitude and normalization of *hate* within that fandom.

i *thought* fandoms were supposed to be about *love* so what the fuck is this human tribalist false dichotomy bullshit??

and of course, that's not always the case. there is also an unbelievable level of respect that is given to fanartists and fanfiction writers, and that is *beautiful*. 'don't like, don't read'. *PERFECT*. curate your own content, complain or rant in your own spaces--you're entitled to an opinion, but *accept* that it still has a right to exist and other people still have a right to love it (and aren't wrong for that, opinions cannot be objective), *even if you don't like it*. just don't engage then, it's that simple.

now extend that level of courtesy to the people, artists and writers in the industry.

no, i'm not trying to shut down criticism of media, proper critique is how we learn and grow and understand better and in turn *create* better. yes, they can fumble the fucking bag too, especially when adapting something from a source material and--like *some* fanfic writers out there--think they can do it 'way better'.

but the people in the industry? who bend over backwards, going on strike in some cases, breaking their necks to work on and create the things that we *love* and latch onto?

they're people too. and whether the thing they make goes *exactly* how we want or not, however you feel about the money in the entertainment industry (which they see barely a dime of if those fucking strikes and constant mistreatment are any indication), they don't deserve to be treated like scabs.

that mentality of 'not my personal taste = universally bad' and 'anyone who disagrees with my opinion is wrong' is fucking gross and *extremely elitist*, just straight up announcing how pretentious, obtuse, willfully arrogant and ignorant, and *lacking in self awareness*--the number one easiest way to be the *shittiest* kind of artist/writer/critic--you are. it is *exactly* like cishet white men complaining about something being 'bad' because it's 'woke' or has anything *besides* a cishet white man for the protagonist.

*god forbid something isn't tailor made specifically for them.*

swear to gawd, i got a list of different bullshit and circle jerking i've seen all across different fandoms for different reasons. no i'm not mad at any one person in particular, just a little salty from recurring problems and gatekeeping (ghoulfucking-GHOULFUCKING OF ALL THINGS I--I CANNOT) if not straight up bullying (does it really make a bitch feel *so* much better to try and hurt other people for liking what they, and let's be honest, are not willing to give the time of day?) in fandoms. (the complete audacity of people to complain about a media being 'childish' or 'bad' because 'insert nonsensical trivial bullshit here that holds no weight because it's personal taste if not flat out wrong and not actual critique' and then turn around and throw the biggest fucking tantrums about it--let me not get into the whole sharon carter debacle jesus christ--)

same shit. different pile.

also, fuck me. i keep *forgetting* that genuinely valid critique (*not* personal taste/opinion, proper critique pertains to things like techniques used, composition, narrative consistency and plot holes, goals of the artist/writer, accomplishments of those goals, etc.) is something that needs proper education and understanding all on its own which not a whole ton of people get or even know, which just goes to show--i'm a dumbass too. (but i won't deny that plenty of 'critics' are full of shit and *know* this but use their 'personal taste' as 'critique' *anyway* because... they enjoy being complete assholes and discouraging other artists i guess.)

y'all, take a class or two in art critique and literature analysis. you'll learn all the cool lingo (to later forget if you're like me~), and maybe (hopefully) walk out with a bit more of an open mind wanting to encourage more art in the world, even if you don't personally like it. take a moment to *listen* to differing opinions in their *entirety* and you might even gain a new perspective.

*no one* should be ashamed to ask questions or admit they don't know or understand something and fuck the people that would make you feel that way. *we can and should help each other.*

but stagnant or hostile fandoms with no self awareness and perpetuated elitism circle jerks? *really* fucking shameful, regardless of the form or where they are.

ANYWHO--

ugh, fuck. okay. i think i'm done with that tangent, back on topic--

BILLY BEAN~<3

and i want to reiterate that *again*, dear becky *does* confirm pretty much everything i'm going to discuss here tho technically speaking, nothing is spoiled here as it's just reiterating what is implicit (if not stated outright) throughout the series.

as far as dear becky goes, it's a good final gut-wrenching piece to the series and i loved it, but it definitely leaned on more of 'tell' instead of 'show, don't tell' (no duh in context, but probably because the rest of the comic did the 'show'--very well imo but it still flew over peoples' heads and made them misplace their brains--i'm sorry, i've just lost so much patience for the lack of reading comprehension and media literacy, but honestly? ennis is genuinely too good at knowing how to spark a strong emotional reaction in readers. and can we talk about the dense mofos that *make* authors have to 'tell' just to confirm something that is heavily implied--what, no time? oh, fuck, fine.)

OKAY--

addiction.

what about it, and why am i mentioning it. well. because if it's not clear by now, william butcher is an addict.

and it is one of, if not the core element that drives him to do what he does.

not becky or becca. not justice.

addiction.

and i don't mean traditional substance abuse (though he admits there has been as much in his life, especially with alcohol, his drug of choice is a bit more complex and maybe not so easy to spot on the surface for those unfamiliar with addiction).

in the show, we even see him mention that he's 'done 'em all' and there's *nothing* like temp v--and it's because temp v *amplifies* his *addiction* to the highest level it could exist on.

something else to note, there's a ton of stigma and widespread (ableist) misconception surrounding addiction still (which may be part of why people may not want to recognize it in billy), but it is absolutely a clinical mental disorder and people who suffer from it should be treated as *medical patients*, not reduced to violent criminals and scumbags. (fuck you drug war and prohibition, you are the root of organized crime and you're racist as shit.) it's also possible to become addicted to *anything*. and i mean *anything*.

if you can repeat a behavior and your brain no longer cares whether or not that behavior is causing you harm because there is a *compulsive* urge for that *repetition* or a specific result from it? that is addiction. money, anger, pain, violence, self harm, attention, love...

you'd think the last one might be okay, but it's not. it's an easy way to get caught in the infinite loop of an abusive relationship, just with promise of it. no delivery necessary.

but it doesn't have to be drugs that cause addiction. hell, gambling addiction is a thing all it's own that can get *incredibly* severe.

and listen, too much of *anything* can be horrible for you. fucking coconut will give you the runs if you eat too much that shit is *not* fun pun intended--

i digress.

in billy's case? he's actually addicted to two i just listed.

violence. and self harm.

i mentioned before that what drives billy has next to nothing to do with what happened to becky or becca.

there's a common misconception that, at the end of the day, billy does have some level of good intent behind his actions, and to a degree this is true in the *complete reverse* of what people often assume, and this is proven repeatedly in both the show (with just what we have seen) and comic (where its laid out too heavily to ignore).

setting aside the fact that there's *never* a good 'rEaSoN' to commit or even attempt *genocide* (EVER. i have ZERO patience for the constant apologism of this bullshit, SWEAR TO GAWD FANDUMB--) and billy's genocidal tendencies on their own, the idea that 'he goes after homelander for becca' or 'justice' has been completely debunked.

'justice is not vengeance'

something to always keep in mind.

but... in the first season? hughie called him out on this.

butcher calls him a 'disgrace to robin's memory', and hughie--bless his little heart, responds with 'i think i'm doing this *for* her.'

it's an interesting response, because hughie is essentially saying--

'you'll *die* for this woman, but that's not what she would have wanted. i'm going to *live* for robin, and for *annie*, because *that's* what she would have wanted.'

and he's absolutely right. billy loved becca, would have died for her. but he refuses to listen and *live* for her.

the group therapist too even before hughie. she literally laid it all out, front and center in the clearest way possible, 'it's a defense mechanism', and then butcher had his little meltdown just before telling hughie about becca, everything he can, including *using* other peoples tragedies and his own *specifically* to manipulate hughie and try and make sure *starlight* can't *save* him from what butcher is trying to turn him into.

*so that hughie stays stuck on his reason to die, instead of finding one to live.*

in the second season, *becca* herself calls him out on this, multiple times.

'you put me on this pedestal but i never knew how to save you'.

'--i didn't come to you, i went to vought--.'

and that's just it, becca (and becky in the comic) is *intimately* familiar with billy's *addiction* and the underlying mental health issues he *wouldn't address*. she didn't tell him what happened even after the shock of it because she *knew* that it would just become a reason for billy to *give in* and be his worst self to a degree where she would *lose him* regardless of what she felt or asked for from him.

she felt she had to *suffer in silence* to *protect him* from *himself*, something that ends up *destroying* her.

becca wanted to *save* billy, but more importantly, she wanted *him* to *save himself* because she *believed in him*, *so much*.

'i never wanted that for you.'

she doesn't want billy to drown and suffer or cause harm in his own hatred and addictions. she *loved* him so much so, that she was willing to *drown herself* if it meant she could save *him*. she loved him *too much*.

billy's mum too, even tries to help in her own way. (she is much less aware of billy's activity in the comic, but we'll come back to her. for the show, this was likely in response to seeing the news about *stillwell*, something his dad fucking *praised* him for)

'--that he wouldn't have this hold on you--'

billy's actions are almost entirely driven by the *addiction* his father forced on him. on doing the things that would make his 'daddy' *proud*. and the thing is, he's *fully aware* of this.

he constantly *says* that *becca* is his 'reason', that she was his *cure*, but she's the *excuse*. his *new addiction* and *self medication* (also billy, you fucking cunt you *know* what you do and have no leg to stand on when it comes to self medicating--)

both in the worst of what he does and his rejection of addressing his own traumas, and she is *unwilling* in this endeavor. she never wanted this hate to consume him, she never wanted all of this death with her name as the signature, *she never wanted billy to be his father*, much less be something much worse.

he even admits as much in the third season when he hallucinates lenny who tells him his actions would 'break becca's heart'

billy responds something along the lines of 'becca's dead, it doesn't matter what she thinks'. (a line presented in the comic even more harshly, but it drives the point home perfectly.)

when he sees lenny again in his nightmare--

'i'm not that bastard--.'

'come off it billy, you always have been. cause anyone who's ever loved you, you end up gettin' 'em killed, don't ya--.'

'--the last person on god's green earth tryin' to stop you from bein' a monster, and what do you do? drag him down to your level... when he dies... and he will... then no can stop you.'

OOF OUCH OWIE--. the lenny stuff hits so damn hard but it represents *perfectly* what butcher's own *internalized beliefs* are.

mallory calls him out on it literally every season.

'--but billy! not the others!'

'it's like asking a cockroach to not be a cockroach--'

'--because it wouldn't stop with just homelander--'

'this was never about ryan or becca, it was always selfish. the hate inside that you want to let loose on the world.'

'--i was wrong... you are your father, always have been...'

and then there's billy's subsequent impulsive reaction to push ryan away, and *be his father*.

but hell, even in gen v when mallory is speaking to shetty.

and truthfully, billy was even showing *withdrawal* symptoms at the beginning of the third season.

billy himself, even *self punishes*, picking fights he knows he *won't* win as a way to counterbalance *and* satisfy his own addiction, infinite loop. vicious cycle.. (ooh i will def be coming back to the big one here--), and we see this in one *HUGE* way, and in many many smaller ways, but even in the more literal sense of going to bars, starting trouble, and laughing or smiling when he's getting beat the fuck up or *losing*.

it's even highlighted in the show, billy *seeking out violence* and conflict whether he should or not, *especially* when unnecessary. getting his own face busted up and smiling because of it is something that happens multiple times in the comic (even on accident in one instance), and is def given a place in the show. it's easy to pass off as billy simply being a masochist (which is def true lmao he does admit as much), but there's also more to it than that and it goes hand in hand with his *addiction* and--

what he thinks he deserves.

billy *hates himself* so *severely* that he actually *does not believe* that he is capable of the *good* that others, such as lenny, becca, his mum, and hughie are willing to *see* in him. he *completely* believes it when others say that 'he is his father' (internalizes it, struggles with it, and frequently acts on it).

he puts on a show. bravado, posture, and 'confidence'. and he's so good at putting on that front, that he can fool himself, even for a moment. and those that believe it will even *enable* him. and the people he feels *nothing* for? again, he maintains the front. he lives his life *masking*, *faking it*--so fucking hard. homelander could never--

and it's not even necessarily the result of toxic masculinity. don't get me wrong, he def has some issues with that lingering (y'all, if you have *say* you're an 'alpha' and posture out your sweet little ass off 24/7, you're def *not* an 'alpha' lmfao), but it's more so his own *trauma* that forces him to *cling* to that.

but when he *loves*, and he loves *deeply*, he completely rolls over and shows his belly like a kitten<3... when he was with becky, he was happy and comfortable, and all of that *ridiculousness* just melted away completely... he didn't feel any need for it because he felt *safe*, because this constant *insecurity* and feeling of being *threatened* all the damn time looming overhead had suddenly cleared up with becky there.

it's not even so much that billy doesn't feel fear. he might not traditionally (at all if his amygdala is damaged), but considering the fight or flight response, billy's *default* setting literally *is* that *fight* response. he's the way he is because he is *always* afraid and he's been conditioned for it to manifest itself as *rage*.

we see bits of his love come through in a few moments he has with people he has genuine care for. (the way he loves his mum and she instantly calms him down is genuinely so sweet.)

but it's always gonna come back down to 'daddy dearest'.

because of him, *billy is afraid of living*.

and--

his father. *is proud of him*.

billy is *just like him* or *everything he wanted to be* as a *man*, or at least is compelled to *project* this on the surface. and everything in *billy* that *is* his father, *just like him*, is *everything* that billy *hates*. so it manifests into an *intense* self loathing and spiraled addiction that magnifies the worst of what his father *forced* on him.

he *doesn't want* to be *his father*, but he feels, and fully believes that *he already is*. his self hatred is another form of *hating his father*, because *he is that man's legacy*.

so *billy* doesn't *believe* that he deserves love or goodness or care from other people (a parallel we see in homelander, presented a bit differently.) so he 'doesn't care'. makes excuses to not care (about people in general, if not just the very *prominent* antisocial tendencies), or leave, or push them away, lashing out to give *them* the excuse to leave him, because he is *afraid* and in his own mind, *unworthy*.

he's *afraid* of being loved, of *losing* that love, of *hurting* those he loves. he is *afraid* of being his own father.

but it's all he's ever known, all he's ever been *conditioned* to be. intoxicated, ever present, it's this terrible thing that destroys him but he *can't* stop. *addiction*.

and what better way to protect those he loves than to keep himself as *far* away from them as possible? than to *make* them hate him. than to do the *wrong* thing, to *disappoint* them. self sabotage. self punishment.

he can't stop himself. he deserves it.

lather, rinse, repeat.

so what does that mean for homelander, or even the reason he goes after homelander? the *real* reason.

'there must be *some* good in him because homelander 'must be' this 'ultimate evil that *must* be stopped', right?

not really. he's a symptom of a much greater evil, but he was never the root of it. if billy really wanted to solve the problems at hand and get *justice*, he'd go after *vought*, NOT homelander.

homelander is not even the real villain in *billy's* mind, in all actuality.

what homelander *is*?

temptation.

he is... the *ultimate* final high for billy. in terms of addiction to both *violence* and *self punishment*.

he doesn't actually go after homelander because he wants to 'stop him' or even kill him. not really. there are times billy starts a fight *expecting* to *lose*, *wanting* it. homelander *is* one of those times to the most intense degree that billy could find. and he even senses this when they first meet--unnecessarily, privately insulting the man because why?

because he feels *threatened*. because he feels *insecure*. because if homelander is *truly good*, even with *all that power*--

then billy has no fucking excuse--

it is, in essence, the same exact reaction that lex luthor has to superman. forcing himself to *challenge* him because of a *constant* sense of *fear*. (except lex *is* afraid of dying, so 1000% a huge coward lmao--)

but~, when he finds out homelander is *bad*?

homelander is billy's *failsafe*

to stop the person he feels is the most terrible evil of all *and* to set the world on fire in the process. a way for billy to kill two birds with one stone. compelled by his addiction to *chase* this ideation relentlessly.

homelander is to billy--his ultimate end, self punishment, a death wish, a *suicide attempt*.

and a way to *unleash his hatred onto the rest of the world*, *to make it burn*, even after his death. (this would be why despite many many MANY warnings to *not* push homelander *because of the catastrophe this will ultimately instigate and the loss of life this is bound to result in*--billy does not give a shit about the potential consequences. he welcomes them--)

if homelander were a *nuke*, billy would want to *launch* him. right now, homie is more like the *demon core*, incredibly dangerous and in some instances lethal, but not *yet* explosive.

billy *wants* the *warhead*.

it was why he got *so excited* at the *chance* of homelander offering him 'scorched earth'.

the man read billy like an open fucking book, and set the bait--

y'all, in other words, homie straight up went to billy's house and offered *crack* to the *crack addict*--fuck yeah he's gonna take that offer!

homelander never actually perceives billy as a real threat *at all* (safe to say, this is the main reason he doesn't kill him. there's a bit of personal complex combined with the deals/blackmail/request involved, but this would also be why he doesn't *hesitate* to 'kill' billy at herogasm. he genuinely gives no fucks about this poor man or his many anal complexes and daddy issues beyond the mild entertainment he gets from him and just how *easy* it is to read billy or rile him up. maybe a *dash* of novelty being found in billy's obsession with him. i'll go into the homie side of things in depth maybe someday soon lol but for now--)

and here's the thing, homelander isn't the *only* failsafe. he is simply the *ultimate failsafe*

included in all the possible bad habits billy has is pawning off his *responsibility* and personal accountability, even his *will to do good* onto others.

i mentioned before that becca (becky) was like a new addiction for him. and she was. in a sense, billy was using her to self medicate. she loved him, gave him love and made him feel good, no pain, no shame--but also no pause to think about that pain, self hatred and self doubt and actively address it. she was a way to not worry about his own *goodness* because she was an *easy* reason for him to *want* to be good.

and something important to note?

billy feels that he has *cheated* on becca/becky *since* the day she left/died. (there's a whole ass deliciously intricate story there but i'm trying to avoid the spoilers lmao. kind of a freebie hint i guess.)

lenny and hughie similarly make an effort to *hold butcher back* and reach out to him. (everyone does honestly, but not everyone is so successful with it). and butcher lets them, but *also* removes the agency of his own choice in the matter.

he doesn't just *let them* make him *good*, he doesn't believe he's capable of stopping himself on his own--but he believes in *them* because they *are* good, *truly good*.

hughie all on his own is *another kind of failsafe* and lo and behold, even calls butcher out on this by the end of the third season (theme is prevalent in the comic a lil different but again spoilers lol):

'i don't think you want to do this. i think you want me to stop you.'

*ding*ding*ding*!

nail on the head, hughie... butcher does not believe he can stop himself. so he sets up *failsafes* to do as much.

and let me just say, it is *unbelievably* shitty of him to do that, to pawn off the responsibility of his own behavior, whether good or pure evil onto other people. but i get it. and it fucking breaks my heart for him.

because *that* is addiction. it feels like mind control. aggressive compulsion. you feel ashamed, and hate yourself, and don't care if you hurt yourself or even others. but you keep *hoping*, *wishing*, *leaving a breadcrumb trail* so that *someone*, *anyone*, will come along and--

*save you. from you.*

and when you stop believing in yourself, in your own willpower to fight against this *thing* that just completely *destroys* you from the inside out... without *anyone* on your side, what else is left to do but to numb the pain?

i was able to recognize billy's addiction right off the bat because i've *been* to a lot of the places he has been. including the addiction. and he makes me so *fucking* mad because it's like seeing a version of myself *still stuck*, *still lost*, *still trapped* by my own issues and self loathing, and all of the abuse i've gone through--

and the biggest fuck up, the biggest *abuser* is me.

i can't *escape* me. *no one* can escape *themself*.

that fucker breaks my heart to pieces because *i have been there*, and i know just how fucking hard it is to *be* there, just how much harder it is to *get out* and start to *learn*--*who is it you really wanna be? who are you without this drug?*

and something he even says in the comics on a few occasions is--

'i'm not really here, i'm somewhere else watching this happen'

asserting that he *truly* believes that he has *no control* over *what* he is. (in contrast with homelander, who feels the weight of something similar but more literally in some regard, and in relation to so many other aspects in his life with the world around him.)

billy butcher *is* the *true villain* of *his own story*

of his own making.

he's not after homelander or even vought. he doesn't blame society or even his father at this point. he blames himself. and he's *given up* entirely on fighting himself. he's looking for his *overdose*.

*that's homelander*

ain't that a kick in the head...

it's part of what makes their relationship and dynamic so incredibly electric and titillating. it's got nothing to do with becca or becky.

butcher sees homelander as an easy way out. as a way to control the narrative, *maintain his own*, and *stop the bad guy* without bringing someone *good*, like *hughie*, down to his level.

he *sees* the parallels, a kindred spirit. he *knows* the potential. and he wants to be the *spark* to light all that *gasoline*.

because then it won't be his fault anymore. his *guilt*. he'll have passed on his *curse*.

likewise, he actually goes after supes in general for a similar enough reason, and it ties in with why he *doesn't* go after vought directly.

billy actually *likes* the status quo. to a degree, *needs* it, *needs vought*

because *vought* is the *creator* of his *supply*, feeding this addiction. and we hear billy say this in both the comic and show--

'with great power comes the absolute certainty that you'll turn into a right cunt.'

and billy actually believes this--about himself.

when he says it about other supes and even his intense hatred of them, it is a *projection* of his own issues and what he believes to be true for himself (that he would do the absolute worst thing imaginable given the opportunity). and in a way, going after them is in some ways a metaphor for stopping and destroying himself, hating himself, as much as it is a way to maintain his addiction.

and--

maintain the narrative he has built--that he is the true villain.

and if that's the case, well... it takes a *hero* to stop a *villain*, right?

but also--y'all remember that scene in the suicide squad where polkadot man imagines everyone as his mum? how he imagines starro as his mum?

yeah, that.

that's basically billy. every fucking supe, including starlight, and kimiko, and let's *really* not talk about what this means about him sleeping with maeve in context with his 'supe=daddy' issues, but even the person he sees in the mirror. *all of them* are *his father*.

listen, i'm not kidding. billy's daddy issues are seriously severe, so fucking bad, i--

his actions aren't for becca or becky or ryan or justice. even he *knows* that's bullshit and admits as much (which just makes fandom denying it that much more fucked). but they're not even *just because* or because he's genocidal, antisocial, or anything else. he *does* want someone to stop him. he's sane enough to recognize his actions for what they truly are *behind* the mask.

billy's actions are a volatile and violent *cry for help*, because he never learned how to *ask*, or even how to *believe in himself*.

he never truly learned that *he never had to be his father*, and he didn't *need* becky or becca, lenny or hughie to *be good*.

i actually think billy's greatest magic trick is convincing even the audience and readers that he is a *total*, complete piece of shit. and don't get me wrong, he is *def* a huge, massive, incredibly rank and ripe piece of shit--.

and y'all, i'm sorry if you believed him and got played like a damn fiddle, him and homie def throwin' in some hard balls--

but he's also still human. he also still needs just as much if, honestly? maybe even more, fucking *help* than homelander. which kind of draws back into their parallels. the tomfoolery of fandom might have you believe that billy is less complex or more put together than homelander, but their situations go hand in hand and the evidence suggests (if not confirms) something quite different.

billy's plight and even goal in some sense is *convincing the rest of his world that he is a monster*. driven by the addiction his father gave him. enabled by the world around him.

homelander's? it's actually the complete opposite. his struggle is with *his world convincing him that he is a monster*, and in turn, against his own instincts, *growing* into that role. when in reality, he never got the chance to decide for himself, it was decided *for* him a long long time ago.

'i think, therefore i am.'

'i can, therefore i must.'

however, *our actions cannot define who we are, because we can choose our actions*. good or bad are not something you inherently *are*, they are something you *choose to do*.

it paints what in turn becomes quite the brutal and tragic picture when these two forces meet. homelander and billy are both of the mindset that they *don't have a choice*.

and this bit is a bit more of a personal thought, but regarding billy's mum, she was *becky*. she was sweet, and kind, and cared for her family more than anything. *it didn't matter what she suffered, she was willing to drown if it meant saving the people she loved*.

as much as i adore how cute becca and billy were, i don't think she would have saved him.

i think the implication is that she would have either 'drowned' trying and become his mum, history repeating itself in a vicious cycle as billy spread his disease to any child they could have.

or that she would have lost her mind. and in turn *become* the person billy spread his disease to, if not another enabler for him. if not billy's choice of drug, maybe she would have taken up something else and eventually overdosed. i would even say the show implies this outcome with both becca and hughie, as the more butcher pushes--the more worn down they get.

if you put enough pressure on someone--they break.

becca was *good* for him. but billy was so, so fucking *bad* for her.

it begs the question of whether or not billy *is* right, if he really is this monster, *fated* to become his father in the worse of ways. of whether or not it's too late for him.

he's certainly not 'normal' or 'right' or 'good' or even an 'anti-hero'. at best, you could maybe call him an 'anti-villain', he is meant to be the deuterantagonist.

it def doesn't help that every time he has the *chance* to do the right thing, *someone* goes and enables him, gives him a reason to do the *wrong* thing.

fucking maeve in that last episode of the third season. but she's def not the only one, and def not the only time. (and yes, if it wasn't clear enough, being completely fucking indifferent to killing *thousands* of people to go after *one* fucking guy is in fact, the *wrong* thing to do.)

butt.

rewatching the scenes with lenny and billy's reaction, and even the final fight, showed something of a *possible* silver lining.

billy *enjoys* rejecting his father. actually pretty fucking greatly if we're being honest. generally speaking, it's when he *rejects* his father and everything that man represents that billy is at his *happiest* (lmao the epitome of an unfulfilled submissive sweetheart and bratty bossy bottom~<3<3<3)

there's a moment, where soldier boy says something along the lines of--

'--fuck you. you're weaker than he is.'

in regards to homelander. it's sort of glossed over, but this is billy's reaction to essentially being called a 'disgrace' so to speak by a toxic 'alpha male'.

y'all see that? it's a smile. lmao a smirk.

this is a moment where billy is protecting *ryan* and keeping his promise to becca. it's a moment where billy is *doing the right thing*, all on *his own* (mostly lol i'm sure there's a roundabout way to justify it in his head). and i think that's key.

it's not just a moment he's proud of himself and has a legitimate fucking reason to be proud of himself, (oh btw, we shoulda *all* been proud of billy in this moment), it's a moment he's *breaking through what his father made him* and his own *addiction*.

and he's doing it *selflessly* and--*without setting that responsibility on another person*.

so we *know* he has it in him, he always has. even becky *in the comic* kept trying to convince billy that *he is capable of good without her*. and again, we actually saw this in the second season when becca and ryan were reunited and billy *changed* his plans, *for becca*, instead of doing the selfish thing and selling ryan back to vought.

but if billy doesn't believe it himself...

i don't think billy is right about himself. but it is very *very* difficult for someone to *correct course* so to speak, once they have their *core beliefs*, lay out their own destiny and start along a *self fulfilling prophecy*, something him and homelander *both* do.

enter ryan.

and suddenly (lol probably in part due to reading dear becky lol), there was a bit of... not so much new, as *confirmed* perspective in play after that rewatch, something to *look* for and ponder in regards to *why* ryan may have been added for this story, a question in mind--

'would it be wrong of *ryan* to want to save his father?'

was it wrong of becca or becky, hughie or lenny, even his mum, to want to save billy?

how would *billy* even begin to answer such questions?

a different answer for the two would be a clear hypocritical bias (which lol i would not put past billy, but i also wouldn't be surprised if he maintained consistent thinking by answering *yes* to both)

. . .

y'all...

i still can't say i'm particularly optimistic about things turning out alright for either gent or ryan, butt~<3

garth ennis literally made the saddest, most pathetic, deliciously sweet, perfectly precious, extra emo tsun tsun baby boi ever, and put him right under our noses.

some a y'all fucking sneezing all over him, straight up sleepin' on all his *best* bits. how are we not utilizing billy butcher *properly~<3<3<3*????

;)))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))

[atalana]

also, across the spider verse was everything awesome tumblr said it was, but something that really stood out to me that i haven't seen mentioned here yet is the amount of body diversity among the spider people at hq?

like. this is just from the one scene i can find on youtube just now, it's about 10 seconds of footage, it by no means covers everyone we see in the movie, but as an example

the sheer amount of fat spider people? almost made me cry, like yeah the first movie made its message anyone can wear the mask, but you're not supposed to believe that stuff if you're a fat person, society does not want you to

except all of these people are the spiderman of their own universe! and spiderman is a hero known for crazy athleticism/gymnastics, and this movie is explicitly saying that all these people with all these body types are the crazy gymnast superhero of their universe!

and it's not just a fat/thin cookie cutter pair of body types either, look at how many different ways there are to be fat or thin or anywhere in between represented here. the way fat and muscle accumulate differently on different people (and also they're all allowed to wear skintight suits bc that's what spiderman does, and no one is seen as gross for doing it)

even if it was just one face in the crowd, this movie basically guaranteed everyone could find their body type on a spider person somewhere

and that goes a lot farther than any spoken message towards saying no seriously, the hero can look just like you

[a-jaded-mirage]

Blue Beetle and El Paso

I would be lying if I said that I was not disappointed by the canonical home of Jaime Reyes being changed both in the movie and in recent comics. However, I would also be lying if I said that I absolutely detested the movie for whatever reason. I enjoyed the movie for what it was and what it meant to the Hispanic and Latinx communities. It is a huge deal, and I think it was done well. Going back to my original point, it is hard to be disappointed when it feels as though I am not missing out on much when Blue Beetle's relationship with El Paso was never done true justice anyway.

The West Texan Mexican-American experience is hard to fully encapsulate into one solid thought or idea. I can confidently say that the approach DC had in most iterations of the comics, cartoons, recent movie, and other forms of media always toned the experience down and made it a duller aspect of his story. I can not recall even a single time when El Paso was brought up or portrayed in a way that was recognizable to an El Pasoan across any of the aforementioned media. It always felt disconnected and out of touch, but I still held it close to my heart because it was something alluding to home.

In a way, I am happy that Blue Beetle is now from the fictional (emphasis on that) Palmera City, because it reiterates that heroes can only be super in Hollywood when they are superficially placed in a cookie-cutter big and flashy city. All I really have to say to that is, good for them. They did what they needed to in order to reach a wider audience. I am sure that the payoff for the corporate powerhouses at the end was worth it even at the cost of individuality. Come to think of it, my mind cannot really conjure up any mainstream superheroes that operate in any desert long term. Any time spent in the less "glamorous" parts of the Southwest is almost always smaller plot-driving settings that act as a stepping stone for bigger heroes and not as a home.

Anyway, all of this is to say that I understand why they did what they did with the setting. I even still happen to think the entire production team did a great job, but that does not stop me from wondering what could have been at any point in Blue Beetle's recent history if someone had used the beauty, culture, and complexity found uniquely in Sun City far more productively. There was so much more potential than the oftentimes vague and noncommittal nods given to the setting. It just was not utilized to its fullest potential, and if that would have been a continuous theme, then I am glad that they are no longer working with it.

Shifting to something less ranty, I absolutely suck at drawing. I am a STEM person through and through, but that did not stop me from visualizing all of the things I would have loved to have seen portrayed in a Blue Beetle story while experiencing being a teenager in El Paso. He was my absolute favorite superhero because he was one that I saw every single day in my hometown, and there were several things I felt he would have enjoyed doing.

For example, we have a ton of high schools. If I had to narrow down the ones I think Jaime Reyes would have attended, I would probably say my top three picks would be: El Paso High School, Bowie High School, or Austin High School. An interesting custom that schools in El Paso have is placing the first initial of a myriad of our high schools on the mountains. They are huge and visible, as well as a testament to our school spirit and pride. The Top 10 percent of most of our graduating classes wear different colored gowns at graduation than the rest of their peers, which is something I was told was not a common occurrence in most other states.

Homecoming is a huge deal, and people will buy, make, or sell Mums and corsages. It is kind of difficult to explain to people from around the states who may not be entirely familiar with what it is, but it is an old Texan tradition that is typically shared between sweethearts (dates) on the last day of Homecoming spirit week. It is something that a lot of people go all out for, and plenty of pictures exist on the internet of the various ways that they can be customized. I always thought it would be cool to see what Jaime Reyes would do for his Mum.

Prom is pretty much Prom wherever you are in the States for the most part, and ours are held at some great venues in the city, so there is not much more to say about that part of the high school experience. As far as colleges go, some of the most popular for teenagers at El Paso high schools to apply to are UTEP, EPCC, TTU, Texas A&M, and any of the other UTs (UT Austin, UT Dallas, and UT San Antonio to name a few). There are even several private universities like Rice, Baylor, and Trinity to name a few more. Hell, a lot of us even go to schools like NMSU in what is essentially our sister city of Las Cruces, there is also UNM, ASU, U of A, and CU. There are so many different choices for universities that are realistic and in the general area that Jaime absolutely could have chosen to apply to and attend. I think that seeing him initially as a Junior or Senior in an El Paso high school, and subsequently watching his transition into a college student in the city or elsewhere while grappling with his powers and responsibilities as Blue Beetle would have been so fascinating.

As far as places that it would have been nice to see him interact with at some point, it would be easier to just give a general list of my favorites. I wish that the following places could have been incorporated into the Blue Beetle story at some point long past: Chico's Tacos, Franklin Mountains State Park, Transmountain Road, Downtown, The Plaza Theater, Cielo Vista, The Fountains at Farah, Sunland Park, the Outlet Shoppes, Rosa's Cantina, Southwest University Park, Don Haskins Center, Concordia Cemetery, Scenic Drive-Overlook, the El Paso Star, Hueco Tanks, San Jacinto Plaza, St. Patrick Cathedral, any farmer's market or swap meet, any of our museums (Art, History, Archeology, Border Patrol, Science, Chamizal), the Coliseum, Ardovino's, Orange Cow, Burrito House, Bowie Bakery, Lucy's Cafe, any of our dulcerias, as well as literally any of our regional and national recreational chains. Obviously, there is so much more, but all of what I listed could have definitely been used for something whether it be a fight with a villain of the week, or opportunities to flesh out Jaime's character more socially and individually. That, and it tickles my funny bone to imagine the Teen Titans trying something like Chico's Tacos for the first time.

Unrelated, Jaime would totally listen to Khalid.

Naturally, there are so many other locations in surrounding cities and states that easily could have been used as well for any plot points that would have added even more Southwestern charm. I mean, part of New Mexico's tourism schtick is literally aliens (Roswell), and the scarab is in fact an alien now. However, for the purposes of this, I focused on El Paso. That is really all I have to say about all of this, if you stayed for my entire rant I appreciate it. If not, I totally understand, and I really just wanted to put my thoughts out into the world and write this love letter to my home city.

I love that Blue Beetle is now further into the general public's eye, and that his character means something for the entire extended community. He now has room to change, grow, and evolve from what he was before in a way that is far more defined by the expectations for a mainstream hero. Even if the El Pasoan Jaime Reyes can only exist truly in my mind, it is an okay price to pay for a narrative that touches my heart specifically. I am most certainly not a writer, so I hope that the next time we have a hero from El Paso, some of my city's charm can truly be done justice. After all, the only person who can characterize an El Pasoan correctly is an El Pasoan.

[highlordofkrypton]

re: my last post about james gunn's... same character everywhere

I hate this because it limits creativity; one of the great things about comics is different writers putting in their flavours and style. (And hello, multiverse?) It may not always work, but Gunn’s method above forces you to only have ONE version across ALL media… what if you don’t like any of it? You run out of places to find reprieve…

I don’t necessarily want the SAME thing out of my video games, animation and films… it just feels like DC is chasing Marvel Cinematic Universe YET again without considering how it has caused superhero fatigue. Everything is cookie cutter, and now you have to chase multiple media to follow the storylines.

I also generally dislike when one showrunner, or whatever you call it, places themselves as the word and law above all—like their version is the absolute improvement. It’s giving me Netflix Witcher flashbacks. That was supposed to be an 'improvement' on existing Witcher media and I couldn't get past the first season, not to mention whatever Blood Origins was.

Maybe everything I’ve read so far are rumours and sound bites, but this new era is STRESSIN’ me out.

If Superman & Lois got cancelled not to compete with James Gunn’s Superman, does this mean My Adventures with Superman is at risk too? Because both versions of Lois sure as hell aren’t the same.

What happened to the multiverse he proposed? We were supposed to get multiple versions of Batman, no?

My favourite comics storylines are the one off, off-beat ones because I'm tired of more or less the same thing.

[theerurishipper]

I remember people said the scene in Transmission, where Ladynoir renounce their Miraculous and "seemingly" not thinking about each other are mean to be a plot hole, not character inconsistency.

Bt for me, if the character NOT even make a slight uncomfort gesture/expression when they see Scarabella and Black Minette out there instead of their team mate, then it's not a plot hole, it's character inconsistency.

"Plot hole" excuse only work if Adrinette make any comment/looks surprised/make any reaction upon seeing the new duo but the aired time won't let the show do more than that. But the show doesn't let them react negatively which resulting people interpret it as "Yeah I don't care about my team mate, I already got my gf/bf anyway" which is not plot hole at all.

It's 100% character inconsistency. Plot holes are when the plot is wonky, and some logic doesn't logic. When a character acts OOC, it is character inconsistency. Adrien and Marinette have both become wildly OOC since the second Adrienette became canon on this show. They don't care about superheroing anymore, they don't care about each other as Ladybug and Chat Noir anymore. Outside of like, one line about "I hope Ladybug/Chat Noir are okay" (which is quickly overshadowed by some Adrienette, cause we sure do need more of that when we're talking about the late Ladynoir), they just don't give a fuck.

Actually, this isn't even character inconsistency anymore, this is a whole character overhaul a la whatever happened to Felix Fathom. Cause Adrienette only works if you change significant aspects of their characters. What about Chat Noir meaning freedom and a means of escape for Adrien, what about Ladybug being the narrative opposite of his abusive father who gives him unconditional love and acceptance? Fuck that, what he really needs is to start centering his identity around his classmate (with whom he isn't even that close because she thinks he's perfect) and defining himself based on her needs. And what of Chat Noir being the only one who can understand Marinette's struggles? Chat Noir being her special partner whom she can always lean on? Nah, fuck that shit lmao, here's Marinette trying to tell Adrien something he already knows and Marinette trying to hold Adrien's hand even though she's done that before without a problem!

Anyway, like I was saying, they had to change their characters up so that Adrienette could make sense, because it sure wouldn't make sense if it became canon in the show that devoted the bulk of its development to Ladynoir, now would it? So that's why we get episodes like Determination, where Adrien is suddenly head over heels for Marinette out of fucking nowhere, right after the Jubilation dream sequence where they had those cabbage patch kids, and Ladybug initiated a kiss even though they realized this was a dream, and they were clearly having some complicated feelings about the whole thing at the end of the episode. Cause fuck Ladynoir, amirite? Like, why would we waste time on the relationship we spent 5 seasons developing when we could focus on some cookie cutter high school romance with retcons galore and multiple, I tell you, multiple scenes featuring Marinette suddenly having the inability to do things she's done before with no problem, and apparently, it's all Chloe's fault, like what a fucking shocker, who could have seen that coming.

And lets not get into the actual plot holes in Transmission too, cause those also exist? How does Adrien Agreste know and proudly state Scarabella's name when no civilian knows she exists? How does this not make Marinette question why he knows? Why does Marinette expect that someone else becoming Ladybug means she's free when she's still the Guardian? Make it make sense, please.

Anyway, that's all I got. I'm sorry for using your ask as a venting post, anon. I just rewatched Gamer today, and god, Adrienette are so cute and adorable in Season 1. Like, they actually have chemistry and fun interactions and it's the lucky charm debut episode! I will never forgive this show for taking that Adrienette away from me and replacing it with... whatever Season 5 coughed up.

Thank you for your ask!

[thepsychologicalpeacock]

✨ Remember, my fabulous friends, to see people for the dazzling wonders they truly are, not some cookie-cutter stereotype! The universe isn’t just a serious, intentional place—it’s your personal glitter-filled playground where principles aren’t stuck in the past; they’re shining bright with your unique flair! 💫 So step up, superheroes of your own story! 🌟 If not you, then who? If not now, then when? You’re not just crashing the party; you’re the life of it, maintaining it all with a sprinkle of sass and a whole lot of glitter! 🎉💃🕺

[destinyc1020]

You know what's funny? Before Tom was cast as Spidey he had a classic indie actor resumé: starting in a Spanish movie with Naomi Watts and Ewan McGregor, voicing a Studio Ghibli beloved animation, voicing the son of Tom Hardy in an experimental movie (Locke), starring in a dystopian movie with Saoirse Ronan, doing a tragic movie set in a desolate Canadian winter landscape (Edge of Winter), starring in an acclaimed BBC historical miniseries opposite Mark Rylance (Wolf Hall), starring in a movie where he speaks ancient Gaelic (Pilgrimage). Then he was cast as the most popular s superhero globally (based on merchandise sold) and did 6 movies as that character, 5 of which made more than $1B and the other more than $800M. And because of that he started to be viewed as an actor that was not serious about his craft. Tom has talked about that pre-Spidey period as one full of uncertainty, fearful that offers would dry up, so much so that his parents sent him to learn carpentry apprenticeship. Spidey allowed him to finally achieve financial security. I think that some of the choices he made in this period were not the best, but people have to experience life and learn to deal with the consequences. I think that in this period his best performance has been in TDATT because he worked with a director that gets great dramatic performances from his actors. That's why I'm so excited with R+J because he will be working with a great minimalist director that really focuses on truthful emotion and not decoration. And I hope that he gets to work with Paul King because he's creatively amazing but also a really great person. Everybody has to follow their own path. There's no cookie cutter approach towards success

You know what, this is all a very good point Anon! 👍🏾

Tom really was an Indie King himself before he got the Spiderman role. He and Timmy actually had somewhat similar starts in their career. Timmy just stayed doing indie films a little longer before branching out to do more commercial, big films. But they BOTH have an indie background!

I wouldn't say that for Tom the offers weren't coming in, I just think Nikki didn't want him to have NOTHING to fall back on. The work of an actor can be VERY hit or miss. You're only as good as your last job. It's kind of like being a freelancer or contractor almost? Once the contract is up, and the job is done, that's it! 🤷🏾‍♀️

It can be kinda scary for sure, especially if you're trying to make a living. And MOST actors never even make it to the top 2% that we see on the red carpet in Hollywood. Most are struggling to make ends meet, or to book roles, and even when booking roles, they might not make as much as they need.

You REALLY have to enjoy acting, and it really has to be your PASSION if you're going to stick with it under those circumstances.

I'm excited to see Tom working with Paul King and to see him in R&J as well Anon! 😁👏🏾🥰 I can't wait!

We're fortunate that Tom is in a financial situation where he CAN afford to take risks and take long breaks, etc. 🤷🏾‍♀️

Tom HAS been going back to his indie roots actually. It's just that some haven't really liked his choices.... or, they feel like the projects he's chosen aren't well-written, or widely accepted by the critics etc.

But Tom has actually been going back to his roots for a while now.

[fayraje]

Miraculous maybe a heavily flawed show, but it has character. Marinette is pretty distinct, not just a cookie cutter female protagonist. While yes she’s unhealthily obsessed with Adrien, it’s a version of Paris with supervillain, evil teenagers, and an established heroes day. You can’t expect normal behavior from a cartoon.

I don’t get why everyone is complaining about the outfits being the same everyday. Or being outdated. Fashion is completely subjective and fluid, if someone wants to wear hideous clothes, that’s their right.

People only like the pv as a concept. They’d have criticized pv Felix even more than adrien, but since he doesn’t really exist except in their heads, they can make him whatever they please.

As for Chloe, she might be a product of her circumstances, but that only explain her behavior and she still needs to be held accountable. She doesn’t need everyone catering to her whims. She is consistently shown to be cruel and is only nice to get something she wants, whether it be adrien’s forgiveness or being a superhero. She doesn’t even do that well.

People ask for a flawed protagonist and when they get one, all they do is bash her. Marinette consistently makes mistakes, and pays for them heavily. But she tries to do better. She actually apologizes

And of course Adrien. Adrien isn’t at fault for never standing up to his father. Or for Kagami breaking up with him or ‘friend zoning marinette.’ He had every right to be mad in syren. He was useless, so there was no difference in giving up the ring. Ladybug was prioritizing keeping secrets from him over saving Paris. It was not a tantrum, but it was kinda suicidal, which is more worrying. Plus, If you’re risking your life for something, you deserve to know the details of that situation. He was at fault for the way he acted in glaciator and frozen but he worked on that.

[towritecomicsonherarms]

TEN NEW COMICS YOU SHOULD PROBABLY CHECK OUT BECAUSE OF REASONS

Click the links for more info! 

Briar

What if Sleeping Beauty never got her happily ever after... and instead had to save herself? Set in a brutal fantasy world that time forgot, this isn't the fairy tale you know!

Vanish

Oliver Harrison was a mythical hero who slayed the greatest threat to his realm before even hitting puberty. But that was then. As an adult, Oliver leads an average cookie-cutter suburban life-aside from the fact that he's mentally unstable, massively paranoid, smokes like a chimney, and gets blackout drunk every night to hide from his horrific nightmares. Will the arrival of a superhero team called the Prestige prove the madness isn't all in Oliver's head? And what about all the epic fantasy crap from his childhood? 

The Roadie

More than thirty-five years after his heyday, a former heavy metal roadie must return to the backroads of America to do a job he thought he'd retired from: exorcist. But this time, he's not saving groupies and drunk bassists. He's trying to save his daughter. 

Earthdivers

The year is 2112, and it's the apocalypse exactly as expected: rivers receding, oceans rising, civilization crumbling. Humanity has given up hope, except for a group of outcast Indigenous survivors who have discovered a time travel portal in a cave in the middle of the desert and figured out where the world took a sharp turn for the worst: America. Convinced that the only way to save the world is to rewrite its past, they send one of their own on a bloody, one-way mission back to 1492 to kill Christopher Columbus before he reaches the so-called New World. 

Flawed

Frasier meets The Punisher! 

Maskerade

Felicia Dance is hiding in plain sight. The provocative social media star and shock TV sensation has one of the most recognizable faces in the world-so she can't capture and kill the butchers who murdered her little brother and experimented on Felicia like a lab rat when she was a child. Not unless she looks like someone else. 

Old Dog

Jack Lynch was a once-promising CIA operative. On the eve of retirement, looking back at a failed career, he is tasked with one final mission...that goes horribly wrong. He wakes years later to a changed world and deeper changes within him. When a shadow group offers Lynch a second chance at a life of adventure, he's paired with the last person he could ever imagine. In order to adjust, this old dog will have to learn some new tricks... 

Star Trek: Lower Decks

Soon after leading her crew on a planetary expedition aimed at building bridges and advancing Federation technology, Captain Freeman begins to suspect that the planet and its people are not all what they seem... Meanwhile, the crew in the lower decks take to the holodeck, enjoying some much-needed recreational time-until a bloodthirsty visitor decides to join in on their games! 

Creepshow

Each issue of CREEPSHOW will feature different creative teams with uniquely horrifying standalone stories. 

Shock Shop

a brand-new horror anthology flip comic taking place in a haunted comic book shop with a twisted retailer filled with tales of terror sure to leave you with the lights on.

[yeetspacecomics]

The Titular Bitchular, PRISMATIC, a Teen hero who is on his maiden voyage, coming across a very quick and harsh reality, and not the sappy cookie cutter superhero backstory kind, this shit's dangerous and he's deeply in over his head. Though the line's cliché, he has a lot to learn, being exactly what he's gotten himself into. He's got green lantern powers, but each construct is a different color, and he has yet to successfully fly. His homemade costume DEFINITELY isn't a mostly comprised of a nearly unmodified clown Halloween costume.

[wehavethem]

Narumi vs Shuriri, Nabaku vs Shuriri, Nabaku vs Narumi

Stop fighting & let’s address the real enemy here:

Anti-shippers.

They are so annoying & condescending.

Shipping never bothered them before, heck they ship every superhero with their comic book canon love interest & don’t bat an eye. It’s because it’s a black female lead film where the romance isn’t treated like a subplot but an integral part of the conflict. All marvel heroes treat their romances as secondary stuff that isn’t important to the plot

Shipping is a valid way of analysing media & often shows that we are in-fact thinking about the character’s & relationship’s(which is what film is all about) deeply. But it’s mocked because women predominantly engage in it.

Nashuri stans are literally STUDYING the different mythology their relationship dynamic was inspired by, studying the film & their scenes & discussing how their relationship mirrors the politics between their countries. But Namuri/Nashuri stans get accused of self inserting. Even worse, they are accusing the black women here specifically, ignoring the hoards of support from Asian & Latino stans(WE LOVE Y’ALL🥰😍😘)

They deny Namuri because they are so used to Marvel handing them a cookie cutter romance straight out of a comic book that they can’t see the romance blossoming between Namor & Shuri so they’d rather say it’s not there & gaslight Narumi shippers & tell them shipping is dumb

[soleminisanction]

for the ask game, 1 and 11 >:3c

1. You have to make one Robin not exist permanently and have never existed. Choose which.

Steph. No question, didn't even have to think about it. She adds nothing to the mythos that other, more interesting characters don't do better and making her Robin (and making it such a huge frickin marketing deal) was one of the biggest mistakes DC ever made.

11. Kill someone off permanently (not the Joker).

I am also in the "Barry and Hal should've stayed dead" camp. Hal was more interesting dead and the obsession with him as the One True Green Lantern distracts from all the more interesting parts of that mythos, and Barry's a lot like Jason in being a powerful symbol for the rest of the fam while he was dead and just plain not that interesting while he's alive. Wally, Kyle and the other Earth-Lanterns are just full on better defined characters and the Silver Age fanboys should've gotten over it.

Plus their resurrection was absolutely the moment when DC's forward momentum in terms of their story and legacy characters ground to a halt. It really spoiled a good thing, for the sake of two cookie cutter white guys who are barely more developed now than they were back when all superheroes were basically the same two action figures in different costumes and wigs.