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v88sy · 3 months ago

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There are some blogs optimistic about Tommy back at some point, what are your thoughts about it?

I don't want to get too optimistic, because that's how we got ourselves here in the first place. Let's be honest. This was always a possibility and was even laid out as a possibility in the articles/interviews, we just chose to get too high on the hope. We were treating it as a sure thing and that was never the case. We duped ourselves a little on this one, and yes, I'm absolutely including myself.

Now, as many have pointed out (which I absolutely agree with) if you were to be completely oblivious about the articles and/or what they said, the breakup very much looks like it's open ended. It looks like something that's unresolved or meant to be resolved at a later date. They made it something that could be resolved. Something like moving away or wanting completely different things in life is a lot harder to work through and more definative. They clearly both want to be with each other. Tommy said he wanted to be Buck's last. He said he wouldn't be able to deal with the (what he thought was inevitable) heartbreak. You only get hurt that deep when you lose something you wanted that bad.

This is honestly the first time we ever heard Buck even utter the words "engaged" or "married" to any of his SOs. I do think it's something he wanted down the road, I just don't think he was there yet, and that's absolutely fine. The relationship was still very new. There was clearly a lot they didn't know about each other yet.

It was far too soon to make the commitment of moving in, and Tommy was just trying to stop things from getting any further before he got too deep (too late, me thinks.)

If you remove the clear bias of the journalists writing these "exit interviews" (is that even a thing in television?) they start to sound much like your run of the mill interview they do with every main after they have a major storyline play out on screen. Look at the direct quotes, not what the journalists are inferring for themselves.

All that being said, I'm not getting my hopes up, and I'm not planning on watching live again until I have a definite as to where the storyline is going, and if that takes until the final episode ever, so be it. I will get back to it eventually. Until then, I'll be keeping tabs on what's going on through Tumblr.

Now, this is just a little thought in my brain that has absolutely nothing to back it up whatsoever. I think maybe either Lou needed this break to get away from the bs and finish his role on SWAT, or they gave it to him and he's taking it.

We know he was surprised, but what he was surprised about was how soon it happened. Tells me that at least a temporary break was planned, just not until further down. Or maybe he only meant the disagreement.

We very much know Tim likes to plan out his story about 5 seconds in advance, there could be a tentative plan to maybe bring Tommy back down the road, say, after the midseason hiatus. Could even be the "project that may or may not be happening" that Lou had mentioned.

Buck is my favorite character, but I'm not interested in seeing him regress or go through the same storyline for the millionth time. If he doesn't at least try and fight for Tommy or talk things out with him, it's just more of the same season 5 Buck. I love 99% of the other characters too, but they also suffer from the Groundhog's Day writing and I'm just old and tired.

#one thing you can always count on me for is a long winded answer that you probably didn't want #but thanks all the same! i love interacting with y'all!#hope for the best but expect the worst basically #bucktommy #911 abc #tv shows #asked and answered #anon #and yes if we don't see some type of resolution one way or the other then that's just piss poor writing

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dawnbreakersgaze · 5 months ago

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10/10 funniest moment in LnDS by far

The look of surprise on his face when MC catches him on his laptop and he whips around with his hands off that keyboard so fast it might as well have been lava 🤣

My man KNEW he was in trouble

Zayne knows better than to tango with Linkon's Best Hunter lmao

#The wide eyed expression TOOK ME OUT lmaooooooo #he was “OH SHITTTTT” HAHAHAH #and then her threatening gesture and him asking the intern to VC instead 🤣🤣🤣🤣#like yeah the cute romantic moments were great but this??? THIS???#this is the kinda stuff that makes a real relationship #ive been married 17 years y'all and this is the real shit that makes married life so fun and real and connective lol #its these moments where you're at your wits end caring for one another bc they keep pushing themselves #like uh... like when they keep using their hands even when they hurt and they should uh... probably be resting them.... 🫣#lnds #love and deepspace #zayne #lads #l&ds #love & deepspace #zayne love and deepspace

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echosong971 · 11 months ago

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Do you have a headcannon of P?

I have quite a few actually haha! I'll give you just a couple of 'em tho <3

(Disclaimer: most of these are in regards to High Humanity P unless stated otherwise)

He could always feel pain since he woke up. Pain is a sensation after all, not an emotion, and it's important for him to know what might be internally broken while fighting (even if it's...unpleasant)

Becoming FRUSTRATED by that pain, however, came later after he gained some more humanity:

Just because he's quiet and stoic doesn't mean he isn't mischievous in his own way ("Looks like you inherited Carlo's mischievous personality instead of his memories"). This is the character of PINOCCHIO we're talking about after all, a puppet who's infamous for being tricksy. He's just...less boisterous and loud about it like Carlo probably was

On occasion, P enjoys using the perceptions people have of him to his advantage, sometimes pretending he's still that wide eyed, aloof puppet who walked into the Hotel for the first time just to mess with people/pull one over on them (or maybe to get away with flustering them because oops it looks like he "forgot" he needs to wear a shirt around the hotel again!)

Following that train of thought, he likes to flex his ability to lie at times with his friends, it helps him feel a little more human sometimes. Usually his fibs are about harmless things to pull little pranks on them, not usually about anything important (unless he feels it's necessary):

He doesn't normally talk unless he has to, preferring to converse with body language/signals if he can get away with it. He may indulge in the occasional ramble though if you're someone he really trusts/knows, i.e. Gemini

He may have just been "born" very recently, but he's always had the mental capacity of a fully grown adult, even as he stumbled his way through discovering his newfound humanity (i.e. he's more-so inexperienced, rather than innocent). The concept of a "childhood" fascinates him, having never really experienced one himself

I have some more headcanons I def plan to make into comics at some point haha, but if y'all want more lil posts like this, lemmie know! ^v^

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good-to-drive · 4 months ago

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Abuse, Silence, And Why Kevin Can Fuck Himself

I recently finished watching Kevin Can Fuck Himself on Netflix, and, aside from being the most brutally honest portrayal of domestic abuse I have ever seen, I discovered a beautifully written examination of narrative as power and silence as abuse and how this manifests in our larger culture.

Without going into too much detail, the show is filmed in two distinct styles that are interleaved throughout each episode to tell a cohesive story. Allison and Kevin’s relationship as seen by the rest of the world is told through a multi-cam, laugh-track sitcom that depicts a very typical “goofy husband, shrewish wife” mainstream comedy. Allison’s life through her own eyes is told through a single-cam drama/thriller about Allison planning to murder Kevin to escape his abuse.

It’s an absolute masterclass in screenwriting, but more than that, every episode explores the difference between truth, fact, and reality, and how none of these things are quite as much or as little as story. But while the process of transforming the chaotic and plotless reality of life into a story is as involuntary and essential as breathing, misogyny and the degradation of women is just as ubiquitous in our society, and a story that exists at the expense of another person’s lived reality is a refutation of their humanity.

It's also just a great show for anyone who likes to engage with history (or reality TV or true crime or “real life stories” in general), because while we have to tell ourselves stories about her own lives, we have to tell ourselves stories about other people as well. Eternal silence is narrative death, and the perpetual silence of an unspoken narrative is often the last death we can visit on someone whose story we’d rather ignore.

I also pulled up some books – Lolita and Disgrace – that dealt with similar themes, but from the perspective of the abuser. And what strikes me the most is that, across three beautifully written stories about narrative and silence within a culture that normalizes abuse, Allison, who began her story within a state of narrative death, was the only point-of-view character who had any chance of surviving.

One of the main themes of Kevin is that a compelling story is often a story that reinforces what we already believe or like to believe, and while the story may be factual and true it often also exists at the expense of someone's lived reality. The exact same series of events can be a silly joke or a harrowing tale of abuse depending on the lens through which we view it, but historically we've only been willing to see the multicam, laugh track, sitcom perspective on unbalanced relationships.

The alchemical process of turning a series of disjoint facts and experiences into a narrative creates something new and compelling, and erases much of what previously existed. In this way, it’s entirely irreversible. We spin our experiences into a very thin thread, a story we can tell ourselves that elicits something within us, something we need in order to live with the complex, uncertain, and unsatisfying reality of life. In think in many ways the thing we elicit in ourselves is truth. But truth is both more and less than fact, often more a reflection of our own beliefs and desires than the events of our lives. And in telling that truth we may never stray from the facts, but we almost by definition cannot give voice to another person’s reality.

There's a scene in season 2 of Kevin when Allison is hit by a door – a la the classic excuse – because of Kevin’s carelessness. And while he absolutely did not hit her, the way it's written is such an incredible allegory for how Kevin has curated their story and curated their friends' and family’s perceptions of their story such that even if she tells everyone the exact, unvarnished truth of what's happening to her and begs for help, they will only be capable of seeing the laugh-track, sitcom, “Kevin is a harmless goofball and his wife is a total shrew” perspective on the events of their lives.

As so often happens with abuse, their friends and family saw Allison being hurt because of Kevin. But the alchemy of creating a narrative around Kevin and Allison is irreversible, and the series of events they witness can only be spun together to a joke, an accident, a silly, childish mistake. Allison’s reality, Allison’s pain and fear, is completely elided. Like a lost sound in the middle of a sentence, her experience goes silent, and their larger understanding of her relationship never has to change. And you feel so acutely how Allison lives her entire life in that silence.

Storytelling is human, it’s essential, there’s no other way to engage with our own lives. And it’s not lying. It’s never lying to tell the truth. But it doesn’t reflect every reality, either, because another person’s reality can’t be reflected within our own narrative, because that’s what it means to be another person. To spin two different threads.

And because narrative is the essential process by which we understand our reality, denying someone their own narrative, or denying that this narrative be heard, is inherently abusive. To allow someone a voice is to give them humanity, and to suppress it is to strip that humanity away.

Disgrace, by J.M. Coetzee, follows the story of a professor, David, who rapes a student and then fails to protect his daughter, Lucy, from being raped by intruders in their home. He destroys his daughter’s life – not through failing to protect her, but through twisting her rape into a story about why the rape of his student wasn’t wrong. The main theme of the book is generally considered to be exploitation, but Coetzee doesn’t deal with the exploitation of the rape. That’s too direct, too immediate, too easy for the reader to understand as misogynistic and wrong. Rather, Coetzee delves into “the innocuous-seeming use of another person to fill one's gentler emotional needs” (Ruden).

The rape is how we understand David as a fundamentally exploitative person, a person who denies others their humanity by converting them into a vessel for his own desires, who erases their voice in order to speak through them and give himself the things he needs. And that’s how we recognize that the way he absorbs and claims the stories of his daughter and his student is another kind of violation of their humanity. Another way of turning women into vessels for men’s pain and fear and need.

What’s fascinating is that David's student finds her voice – files a complaint against him – and is eventually able to continue with her life. The woman he raped is less damaged by him than his own daughter, because she was the woman he couldn’t permanently silence.

In Lolita, another brilliant novel about abuse, dehumanization, and storytelling, Humbert turns to the reader at the end and says, “Imagine us, reader, for we don’t really exist if you don’t.”

It’s not that Humbert knew he was fictional, but that he knew everyone was fictional. Believed the entire world only truly existed in his own mind, because anything beyond that was irrelevant to his needs. He coped with the collapse of his ability to dehumanize Dolores (who he called Lolita) by demanding that his voice be resurrected. Demanding immortality. Demanding his narrative exist in another person’s world, and thereby be given the existence and humanity that Allison and Dolores and Lucy and David’s student were denied.

Pushing his needs, finally, onto the reader, because we are the only person he has left, and a person like him can only exist through the use of another. In that way, Humbert was powerless. In that way, Kevin and David were powerless, too.

In Disgrace, David’s dream is to write an opera, and at the end of the book he realizes he’ll never finish his magnum opus. He’ll never be able to terminate the process of converting himself, his world, into a story. But he does learn to decenter himself in that narrative. And it’s when he loses all fear of death, and any conception of the self, that he gains the ability to give dogs – who he generally equates to women – a voice within his opera, his life’s work.

It’s in death that we discover our true unimportance as human beings, that we learn to let go of vanity and our conception of the self entirely. And David had degraded women so thoroughly in order to justify how he used them to meet his own emotional needs that it was only in losing all value for his own life that he could gain the ability to see them as equal voices. To actually put those voices into his own life story. It's at the cost of himself that he allows other people to truly exist, in the death of the self that he finally allows the world to exist outside of himself. It’s almost a positive character arc. Almost.

When Kevin finally loses the ability to abuse Allison, he, like many abusers, loses all desire to live. His world was built on a structure of superiority and inferiority, on beings and vessels, on the inherent value of men and the inherent meaninglessness of women’s lives. The system on which he based his entire reality has been destroyed by Allison’s declaration of the self. And, if he was a being because she was a vessel, then in losing the ability to treat her as a vessel, to fully and completely dehumanize her, he has lost his own humanity.

It may be perfectly summed up here: “Become major. Live like a hero. That's what the classics teach us. Be a main character. Otherwise, what is life for?” (Coetzee).

If you’re not to be a main character, if there indeed is no split between major and minor characters, between people and the paper dolls that populate their story, between living beings and the vessels into which they pour their need – what is life for?

Nothing. At least, not for people whose narrative must exist at the expense of another.

And that’s why I say that only a narrator like Allison could survive this kind of story. Despite beginning her story trapped in eternal silence, her reality fully elided no matter how immediate and obvious it became, Allison was the only point-of-view character of any of these three stories who didn’t establish her power through the degradation of another. Who didn’t conceptualize the world via being and vessels. Whose narrative didn’t exist, by necessity, at the expense of another person’s humanity. Whose thread could exist in a larger tapestry without destroying her sense of self.

Don’t get me wrong, she’s not generally a likable character. She’s misogynistic, cruel, selfish, jealous, desperate, afraid, and in pain. Like anyone in an abusive relationship, she’s not at her best, and she’s often pushed to do things that are ugly and disturbing because she’s simply been pushed too far.

But, for me, the power in her character is in how her last scene never felt like a final scene. Her story didn’t have to be killed, her conception of the self didn’t have to be killed, in order to reveal the brutal reality of stories twisting and intertwining without any inherently superior truth or narrative among them. Allison’s story was one of declaring herself. And that’s why it didn’t feel like it ended at the end. Instead, this felt like a beginning.

#this is probably the most egregious 'post that no one asked for' that I've ever written #but man this show HIT me y'all #and then I went back and reread parts of disgrace and that hit me too #it also made me reconsider my online presence and how I myself engage with narrative in the very small little world I'm a part of #I caught some shit a while ago and made a conscious decision to never comment on the narrative around mental health #and to be clear I was just talking about a general narrative in society at large I wasn't bringing up anything specific or attacking people #more how larger social narratives filter into and sometimes come to define individual stories #but it was upsetting to people and I figured instead I can just try to express a compassionate perspective on the mentally ill myself #but now I wonder if I've gone too far #idk without naming any names I'm getting unblocked by people who should definitely still find my mindset intolerable to their worldview #and I don't blame them because we all have reasons for the things we believe and we're all just doing our best #but it's a canary in the coal mine #it makes me think I've become so focused on not ruffling feathers that I'm tacitly approving some disturbing beliefs #and I think I could have happily ignored that if I hadn't just watched this show #posts that no one asked for #kevin can fuck himself #kevin can f*** himself #op #longer rambles

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johnslittlespoon · 10 months ago

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Thinking about the exquisite imagery of Bucky shaving his mustache, while in contrast Buck let’s his scruff grow in. I can see it so clearly: Bucky shaves the ‘stach when they’re in the POW camp as a result of losing a bet (it’s highly probable he lost of purpose because he wants to give the men an opportunity to laugh it up). But it totally goes sideways once it becomes clear how young he looks without it. Buck on the other hand is stressing over this new change enough to forget to shave for a few weeks straight. Is this brain rot due to me thinking about Callum’s look in the Green Room combined with Austin’s look in the Bikeriders? Yes. Please send help.

in case anyone needs a lovely visual! (ʘ‿ʘ✿)

okay, while i PERSONALLY am in love with bucky's stache and feel like shaving it even in fiction would be an absolute travesty, i see the vision and i agree, i could totally see something like that happening.

john does it as a joke/for a bet and figures that hey, they're all gonna be stuck in the camp for a while anyway, chances are it'll grow back by the time it really matters. no big deal, and it gets laughs in a place where those are increasingly rare, even if he has to suffer through relentless teasing about his baby face for a few weeks.

gale does not deal with it nearly as well, however; it throws off any routine he's built and it feels ridiculous because it's just facial hair but it's such a big change after the monotony of day–to–day behind the fence that it's enough to rattle his brain. and letting his own facial hair grow out probably isn't even a conscious choice, almost like a mindless way of falling back into sync with john as both of theirs grows back.

if buckbucky is an established thing in this verse, we all know damn well john would be obsessed with gale's scruff, rubbing his own cheek up against it like a cat, thirsting over it and ogling him 24/7.

and the way it feels against his thighs, stubble burn leaving the sensitive skin a pretty pink when gale's face is between his legs...

john would be devastated and pouty when it comes time for him to finally shave it, but gale would promise him "when we get out, i'll let it grow back for a bit, yeah?" and that would perk him right up. <3

#i've actually been toying with an AU with gale and john but how they look in the bikeriders and green room/the only living boy in new york #and i have many Thoughts but i need to flesh it out more #and i probably won't ever do anything with it because i have too many things i want to write but it's a nice (hot) concept <3 #also have y'all watched 'leaving' with callum turner bc good lord.#john looking like that pretty twink and crushing on intimidating bikeriders!gale??? the daddy issues vibes?? helllooooo meow LMFAOOO #buck x bucky #buckbucky #johnslittlespoon asks #johnslittlespoon brainrot #johnslittlespoon spicy

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sassypantsjaxon · 8 months ago

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Nobody asked about my soulmate's scar au that I'm bringing back for one piece, but I'm telling you anyway. Like any good soulmate au, there's an identifier to let people know who their soulmate is. In this case, it's the first time someone touches their soulmate it causes a scar. So casual touch is little more taboo, and sometimes people will wear gloves if they're not ready to meet their soulmate. Other than that, things are pretty much the same.

Luffy is still the same overly excited, physically affectionate idiot. He has no concept of personal space and often forgets other people might not want to be touched.

It's just another thing that Dadan and Makino and the Mayor get to scold Luffy for as he's growing up. Shanks probably thinks it's hilarious

Zoro's the same old Zoro. He doesn't care. If he meets his soulmate, it's fine. If he doesn't, that's fine too

Nami wears gloves and gets kinda weird about people touching her

Usopp has his soulmate by the time he sets out to sea. Everything's fine with her, but he regrets leaving before realizing they were soulmates

Sanji wears gloves. Constantly. While he's working. Fighting. Eating. He has a pair he wears while he's sleeping. He never bathes with the other guys but there's a (mostly) joking bet about if he even undresses for that

Nami still dresses in her t shirts and shorts, so the gloves are really the only signifier that she doesn't want any physical contact, whereas Sanji is fully covered in his three piece suits. He is not taking any chances.

After Arlong Park, once Nami realizes that having friends and letting people care about her is a thing she's allowed to do, she stops wearing her gloves.

Vivi is wearing gloves when they meet her, because if she's going to find her soulmate, she doesn't want it to be while she's working for Baroque Works

She joins the Straw Hats, and she still wears them usually, but she's not quite as rigid as Nami was with hers

Chopper is a reindeer and animals don't have soulmates like that, but with the human human fruit, he really has no idea if that's changed anything for him? he's not really interested in having a soulmate anyway, so he'll cross that bridge if it ever comes up

Robin doesn't really like being touched, but there's no point in her wearing gloves when they wouldn't carry over to all the extra hands she can grow. She doesn't even know if touching her soulmate with her extra hands would be able to create a scar

She doesn't really believe she has a soulmate anyway, so...

Franky also doesn't know how finding his soulmate will work since so much of his body is artificial. Can his prosthetics leave a scar? Can his skin be scarred? He has no idea

Brook doesn't need to worry about finding his soulmate since he doesn't even have skin to scar (skeleton joke!)

For real though, he never talks about if he found his soulmate in his first life, and they don't ask him about it

Jimbei also doesn't talk about soulmates and, again, the rest of them don't pry

They meet Law at Punk Hazard and he is just as serious about keeping himself covered as Sanji is.

Somewhere between Punk Haz and Dressrosa someone asks them if this is some North Blue thing. They both immediately say yes. They are both lying through their teeth and are now wondering what the other one gains from covering for them

Neither of them are gaining anything, they're just both really weird about the idea of meeting their soulmates

#one piece #soulmate au #long post #straw hat pirates #i kept this post pretty gen but rest assured this au is #zosan #lawlu #frobin #usokaya #and probably also #namivivi #i'm not tagging all the characters #too much work #my original au for this a few fandoms back was this grand epic fantasy that i'm still quite fond of #but now i'm just adapting the soulmate part of it because i'm a sucker for soulmate aus and also men in gloves #also i can't tag this as soulmates scar because that would just lead back to the original cardverse au so!#suit and gloves au #(y'all can ask me more about it if you want)

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wolfsbanesparks · 1 month ago

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Could you elaborate more on marvel family insecurities and their transformations??pls more about Mary 🙏?

-Same anon that ask about freddy/capt marvel junior appearance

Hi anon! I'd be happy to elaborate!

Let's go one by one shall we?

Billy:

So Billy, in basically every iteration, receives his powers when he's at his lowest point--homeless, orphaned, alone, with a history of bring hurt by people that should have protected him. His Captain Marvel body is not just who he wished he could be/an idealized version of himself, but also takes on a form (in most versions at least) similar or identical to his dad.

The reason (in my interpretation of things) that Billy's Cap form is an adult is because he was at a point where he was very insecure about being a kid on his own. He felt powerless for a long time, forced to just deal with whatever life threw at him. He was old enough to know that people don't respect kids they way they do adults and they don't trust them the same way either. If he wanted to be a hero that was respected, that people could trust to take care of them, then he had to look the part--and to Billy that meant looking like an adult, the one he loved and respected the most aka his dad.

For all that Billy and Cap are a wish fulfillment fantasy, Billy is a kid constantly growing up too fast, being more responsible than any kid his age should have to be. Being Cap lets him indulge certain childish things without losing the respect he'd fought so hard for.

It's also partly wanting to look powerful so no one tried to mess with him (Billy gets beat up and bullied all the time but people would think twice about doing that to someone like Captain Marvel). His Cap form is almost like a protective shield between him and the people who hurt him.

Also because I love my trans Billy headcanon, I think that having such a grown up, hypermasculine looking idealized self reflects a lot of trans kids who can't imagine how their transition will go, but know what they wished the end result would look like. Billy wants people to look at him and see a man, not a girl.

Freddy:

So I touched a bit on this in your first ask, but in most iterations of the character Freddy's ideal self is just who he was before the accident that disabled him. Across iterations, Freddy has always been very confident in himself, very self assured, very comfortable with his looks and his place in the world. That is until he becomes disabled and suddenly he can't do the things he used to, he's constantly in pain, and he feels weak/like a burden to those around him.

He essentially wants to turn back the clock and be fully able-bodied again.

This works best when it's about a Freddy who is recently disabled and is struggling with that, especially the sudden new rejection/prejudice he has to face, but it can also worked for a Freddy that has been disabled for most of his life as well, who largely sees his disability as the primary obstacle to becoming who he wants to be.

Barring the most recent comics, he's always been depicted as a teen while powered up, showing he doesn't have the same hang ups about being a kid vs adult that Billy does. He knows that if he proves he's capable then people will love and respect him despite his age.

Mary:

Mary is an interesting case because unlike the boys her interpretations have been more evenly split--some depicting her as a teen and others as an adult. The current run has her basically looking the same age as she is, but because she's older (18-19 since she's a college freshman) she straddles that line.

Earliest versions of Mary have her being a teen. So much like Freddy, those versions of Mary don't have hang ups about needing to be an adult to be respected and powerful. Which makes sense because she was rich and smart and talented at everything she did--her parents never stifled her and people rarely told her no (not even Billy could tell her no) She had as much power as a girl her age could have and she delighted in proving she was just as strong and capable as any boy, she didn't need to change her appearance to do that. (People have even joked that despite having the Beauty of Aphrodite as a power she still looked the same--she was already as beautiful as she wanted to be)

Now some versions have her looking like an adult to match Billy's Captain Marvel and in those versions she's often said to look like their mother, which i think is crucial. Taking Power of Shazam Mary as the main example, she has amnesia and has forgotten her birth family so looking like her birth mother gives her a really solid connection to that part of her family that she desperately doesn't want to forget again. She can't forget her mom's face if she has the exact same one now can she? (I imagine she is deeply insecure about her own memory because of the amnesia)

But she is also, on some level trying to consciously match Billy's Cap--he's her blueprint in a way. She looks older in part because he looks older, if she wants to keep up with him/become the same caliber of hero as he is then she needs to look the part.

Now current Mary, who is an older teen and looks roughly the same while powered up, often feels caught between two worlds (kid and adult, magic vs normal, hero vs civilian) and is afraid she won't live up to Billy's legacy despite being the one he entrusted powers to. But being older won't help her the same way it does her younger foster siblings--she's already technically an adult, she doesn't need magic to make her one.

I can definitely flesh out these ideas some more, but that's the basic gist of my interpretations! I'd love to hear what everyone else has to say about it!

#ask me whatever you want y'all #shazam #billy batson #dc captain marvel #mary bromfield #mary batson #mary marvel #freddy freeman #captain marvel jr #magic transformations as short hand for fixing insecurities #we're getting meta over here #do i think the writers thought about all of this when they made their designs?#probably not but it's a cool thought exercise nonetheless

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