#and with max Continues

[xxplastic-cubexx]

Ok, for me, Erik is the one who does the housework.

Imagine him wearing a chef's apron (strictly magenta), rubber gloves for washing dishes and a headband to hold up his magnificent hair.

domestic erik save me.......

[sleepytownzzz]

to you, i wanna say you’re my thing ᡣ𐭩

[shotmrmiller]

pretend boyfriend but it's in a time where roads are nothing more than muddy tracks, making travel slow and cumbersome. the town's buildings are a mix of weathered wood and crumbling brick, faded paint peeling off their facades. wanted posters, yellow and tattered, are plastered on every available surface, faces of outlaws and fugitives who roam the countryside depicted in greyish ink.

the townsfolk go about their lives with a wary eye, and you go about yours with a sharp one, in search of opportunity: a cowboy too drunk off his wits to know his right from his left. the humble borough of blackthorn doesn't need any more working girls, no more ladies with hair down to their corseted waists beautifying the arms of both bounty hunters and farm hands alike.

that's fine, you reckon. you've always had a knack for survival. your deft fingers have made a living out of slipping into pockets and relieving men of their hard earned coin pouches when they lose themselves in drink and laughter. its not an easier life than that of the ladies in the saloon but it's yours, and you've learned to navigate it with equal cunning and charm.

but as people say, anything that can go wrong, will and tonight nothing seems to go right for you. just as you'd been slipping the stolen bills from your latest mark in between the swell of your breasts, he stirs from his drunken sleep, bedsheet tangled in his spurs as he struggles to rise onto unsteady feet. his movements are sluggish, muddy brown eyes blinking against the dim light of the quaint room.

you don't wait for him to ask any inane questions, you know when you've been caught with your hand in the cookie jar. you run out the door on bare feet, fisting the rough fabric of your dress to lift it above your ankles as you barrel down the stairs.

your shoulders ache from bumping into patrons as you try to quickly weave your way toward the door, your breath coming in ragged, panicked gasps. the saloon is a blur or faces and noise, the jaunty tune coming from the piano as fast paced as the galloping of your heart.

just as you reach the swinging doors, you glance outside through the dusty window panes and see someone right across the street in the patio of the drugstore.

the star on his chest gleaming even in the flickering light of the shop is distinctive. your heart sinks like a stone dropped into a well, the weight of the situation leaden over your puffed shoulders.

but you haven't made it this far while skirting around law and order without a sharp mind. your thoughts swirl in your mind as you run through options. a horse loosely tied to the hitching post out front, sleeping roll behind the saddle. you could take it but risk getting roped off by someone. slipping out the windows would draw too much attention. using the back door near the kitchen would have the owner on your arse.

shit. shit-

then you spot him. sitting alone at a table is a hulking, beast of a man. (his broad shoulders and burly frame makes him resemble more mountain than man tbh.) a small shot glass rests on the scratched surface before him, the only delicate item in his vicinity. the wide-brimmed hat he wears casts a shadow over his face but the glint in his eyes is unmistakable. maybe that's why even the other patrons have given him a wide berth. (the knotted scar that runs from the corner of his cheek pulling his lips into a permanent, twisted sneer makes the hair on the nape of your neck stand on end.)

desperation fuels your next move.

your hand trembles when you place it on the the exposed skin of his forearm that's covered in a fine layer of grime, as does your voice when you speak.

"hey-" you don't get to finish your sentence, feeling the words crumble into ash on your tongue when you realize you're out of time. the drunken idiot from upstairs is storming straight towards you, his nostrils flared, white etched on his knuckles. panic surges through you and so you move.

coming to stand behind the seated stranger, your arms cradle his large head, clammy palms flat on the sweat stained fabric of his union shirt. his body tenses under your touch, muscles cooling like a spring, but you muster all the bravado you can.

"if ya got a problem with me," your voice is steady despite the fear that's settled at the base of your spine, "take it up with my husband."

the drunk comes to an abrupt halt, his anger momentarily replaced by confusion, uncertainty, as he glances between you and the human(?) shield you're clinging to.

the room has fallen silent, all eyes on the unfolding drama. they watch with bated breaths, even the bartender had paused mid-polish, his hand frozen on the glass.

the man wavers, his resolve crumbling like freshly tilled dirt before you. but the final nail in the coffin is when your 'husband' grabs onto your arm and leads you to sit onto his lap, both your legs fitting on top of his one, feeling the tarnished buckle of his leather belt even through the couple of layers of your dress on your arsecheek, his arm cinching tightly around your waist.

his skin feels rough, scarred, yet warm, beneath your hand. (embarrassing that this surprises you.)

you can feel his voice vibrate from his chest and sink into your bones when he aids you in this mess you've created. "ya 'eard m'wife. piss off 'fore i make you."

his mouth twists into an ugly line but concedes defeat, telling your 'husband' to "keep his wh-wife on a tighter leash unless she's keen on ending up on a missing poster alongside the wanted ones."

when you turn in his lap to look outside the window, watching the drunk unsteadily get on his horse and leave, you give the man you're on a muted thanks and move to get up only-

the arm around your waist feels more like an iron band. you're can't get up. you can't leave. your feet don't even touch the wooden floorboards of the saloon. you turn your wide eyes toward him, lips parted in surprise.

he doesn't seem as surprised as you.

"wha'? thought you could jus' up and go 'bout your way?"

you open your mouth wider, to scream maybe, you aren't sure but he cuts you off with a sharp suck of his teeth.

"make trouble and there will be trouble. i'll drag your pretty arse to the sheriffs office by the hair."

the realization of what he is keeps you utterly frozen in place, any fight you'd had bleeding out of you.

a bloody bounty hunter. no wonder everyone had kept their distance.

"i'm gonna be finishin' this bottle and you'll be a good wife and draw me a bath in our hotel room."

(he plucks the dirty money from where you'd kept it and tosses it on the bar top, carrying you straight to where he'd hitched his horse and plops you in front, your back to his barrel of a chest. "youll bathe with me, gotta have you clean for our consummation.")

[laundrybiscuits]

The officer leans close, jabbing a finger into Steve’s chest. “You’re damn lucky it ain’t ten years ago or one state over,” he growls. “You could be looking at a felony charge, serving 15 to life. We didn’t stand for this kind of thing in Hawkins when I joined the force.”

Steve just folds his arms and gives the officer a bored look. “Okay,” he says. “Good talk. Can I see my boyfriend now?”

The officer sneers, but he steps aside to let Steve through. They’ve got Eddie cuffed to the hospital bed with another gun-toting guard in the corner. 

“Jesus christ,” snaps Steve. “He’s not gonna escape, he can’t even walk right now. Why don’t you clear out and give us a little privacy, huh?”

“Sorry,” says the guard, not sounding all that sorry. “It’s for his own protection.”

Fuck. He’s gonna have to hope Eddie can follow his lead. All that practice pretending to be a wizard or whatever has to be good for something, right?

He perches on the side of Eddie’s bed and takes his hand. He can do this. “Hey, gorgeous. How’re you feeling?” 

“Uh,” says Eddie, eyebrows doing something hilarious. “Steve?”

“It’s okay,” says Steve. He rubs his thumb over Eddie’s knuckles. This is the most they’ve ever touched, he thinks—the most that was just skin, no layers of denim or leather in between. Not even a layer of blood and dirt. 

He swallows and keeps going, willing Eddie to develop freaky mind-reading powers all of a sudden. “I know you didn’t want to tell anyone about us, but I had to, baby. I’m sorry. I had to tell them you were, y’know, with me when…when Jason killed Chrissy.”

“You didn’t have to tell them about us,” says Eddie slowly. He’s giving Steve kind of an intense look. “Honey-pie. I’m sure there’s gotta be another way. One without as many consequences for you that you might not have thought all the way through.”

“There really isn’t,” Steve says. Thank god Eddie’s so quick on the uptake. Sure, he’s being a stubborn dick about it, but at least it doesn’t seem like he’s going to let anything slip. 

“Fucking hell,” sighs Eddie. “Don’t suppose we can put that pesky little cat back in the bag. Okay. Darling angel, light of my life, corndog of my soul, who else knows?”

Corndog of my soul, Steve mouths to himself. “Just the cops. And Robin and Nancy, obviously. And—oh, remember Hopper?”

“Do I remember Hopper, he asks. Oh, pudding-pop. The late Chief Hopper and I spent so, so much quality time together over the years; he was practically a father figure to me. And just as with my actual dear old dad, his departure was cause for great rejoicing in Casa Munson.”

“Sorry to break the bad news, then. Hop’s alive, and he—uh, he knows everything.” Steve tries to communicate the scope of everything by kind of tilting his head back and forth. “He’s been…helping.”

“Huh. No shit,” says Eddie. Steve can’t tell whether or not he’s getting it. To be fair, there’s a lot to get. “Okay, gallant knight errant of mine, any news on whether or not I’m getting sprung from this charmingly appointed dungeon?”

“We’re…Hopper’s working on it. That’s why I’m. Y’know. Here. To tell you that they know about us.” 

“Cool, right, understood.” Eddie closes his eyes, leaning back on his pillow. It’s so strange to see him in nothing but a hospital gown against white sheets. He looks like a wrung-out dishtowel. 

There’s a commotion from outside, raised voices saying something like you let him what and haven’t even interrogated the Munson kid yet and not a legal status you fuckin—

“Time’s up, sweetheart,” says Eddie, mouth quirking up into the ghost of a smile. “Anything else you wanna say before they decide to upgrade my security?”

“Uh,” says Steve. He’d mostly been focusing on getting the basics of Eddie’s alibi across in a convincing way, and he can’t remember if there were any other details Eddie should know. 

He hears the door slam open behind him, and panics. “Love you, bye,” he says, and ducks in to brush a quick kiss across Eddie’s chapped lips. The last thing he sees as he’s hauled bodily out of the room by a pissed-off detective is Eddie with his eyes gone enormous and shocked, lifting his uncuffed hand to his mouth, looking and looking at Steve like something is always going to be different from now on, forever.

(ETA: small continuation here!)

[damienkarras73]

An essay on Furiosa, the politics of the Wasteland, Arthurian literature and realistic vs. formalistic CGI

Mad Max: Fury Road absolutely enraptured me when it came out nearly a decade ago, and I will cop to seeing it four times at the theatre. For me (and many others who saw the light of George Miller) it set new standards for action filmmaking, storytelling and worldbuilding, and I could pop in its Blu Ray at any time and never get tired of it. Perhaps not surprisingly, I was deeply apprehensive about the announced prequel for Fury Road's actual main character, Furiosa, even if Miller was still writing and directing. We didn't need backstory for Furiosa—hell, Fury Road is told in such a way that NOTHING in it requires explicit backstory. And since it focuses on the Yung Furiosa, it meant Charlize Theron couldn't return with another career-defining performance. Plus, look at all that CGI in the trailer, it can't be as good as Fury Road.

Turns out I was silly to doubt George Miller, M.D., A.O., writer and director of Babe: Pig in the City and Happy Feet One & Two.

Furiosa: A Mad Max Saga is excellent, and I needn't have worried about it not being as good as Fury Road because it is not remotely trying to be Fury Road. Fury Road is a lean, mean machine with no fat on it, nothing extraneous, operating with constant forward momentum and only occasionally letting up to let you breathe a little; Furiosa is a classical epic, sprawling in scope, scale and structure, and more than happy to let the audience simmer in a quiet, almost painfully still moment. If its opening spoken word sequence by that Gandalf of the Wastes himself, the First History Man, didn't already clue you in, it unfolds like something out of myth, a tale told over and over again and whose possible embellishments are called attention to in the dialogue itself. Where Fury Road scratched the action nerd itch in my head like you wouldn't believe, Furiosa was the equivalent of Miller giving the undulating folds of my English major brain a deep tissue massage. That's great! I, for one, love when sequels/prequels endeavour to be fundamentally different movies from what they're succeeding/preceding, operating in different modes, formats and even genres, and more filmmakers should aim for it when building on an existing series.

This movie has been on my mind so much in the past week that I've ended up dedicating several cognitive processes to keeping track of all of the different ponderings it's spawned. Thankfully, Furiosa is divided into chapters (fun fact: putting chapter cards in your movie is a quick way to my heart), so it only seems fitting that I break up all of these cascading thoughts accordingly.

1. The Pole of Inaccessibility

Furiosa herself actually isn't the protagonist for the first chapter of her own movie, instead occupying the role of a (very crafty and resourceful) damsel in distress for those initial 30-40 minutes. The real hero of the opening act, which plays out like a game of cat and mouse, is Furiosa's mother Mary Jabassa, who rides out into the wasteland first on horseback and then astride a motorcycle to track down the band of raiders that has stolen away her daughter. Mary's brought to life by Miller and Nico Lathouris' economical writing and a magnetic performance by newcomer Charlee Fraser, who radiates so much screen presence in such relatively little time and with one of those instant "who is SHE??" faces. She doesn't have many lines, but who needs them when Fraser can convey volumes about Mary with just a flash of her eyes or the effortless way she swaps out one of her motorcycle's wheels for another. To be quite candid, I'm not sure of the last time I fell in love with a character so quickly.

You notice a neat aesthetic contrast between mother and daughter in retrospect: Mary Jabassa darts into the desert barefoot, clad in a simple yet elegant dress, her wolf cut immaculate, only briefly disguising herself with the ugly armour of a raider she just sniped, and when she attacks it's almost with grace, like some Greek goddess set loose in the post-apocalyptic Aussie outback with just her wits and a bolt-action rifle; we track Furiosa's growth over the years by how much of her initially conventional beauty she has shed, quite literally in one case (hair buzzed, severed arm augmented with a chunky mechanical prosthesis, smeared in grease and dirt from head to toe, growling her lines at a lower octave), and by how she loses her mother's graceful approach to movement and violence, eventually carrying herself like a blunt instrument. Yet I have zero doubt the former raised the latter, both angels of different feathers but with the same steel and resolve. Of fucking course this woman is Furiosa's mother, and in the short time we know her we quickly understand exactly why Furiosa has the drive and morals she does without needing to resort to didactic exposition.

Anyway, I was tearing up by the end of the first chapter. Great start!

2. Lessons from the Wasteland

Most movies—most stories, really—don't actually tell the entire narrative from A to Z. Perhaps the real meat of the thing is found from H to T, and A-G or U-Z are unnecessary for conveying the key narrative and themes. So many prequels fail by insisting on telling the A-G part of the story, explaining how the hero earned a certain nickname or met their memorable sidekick—but if that stuff was actually interesting, they likely would have included it in the original work. The greatest thing a prequel can actually do is recontextualize, putting iconic characters or moments in a new light, allowing you to appreciate them from a different angle. All of season 2 of Fargo serves to explain why Molly Solverson's dad is appropriately wary when Lorne Malvo enters his diner for a SINGLE SCENE in the show's first season. David's arc from the Alien prequels Prometheus and Covenant—polarizing as those entries are—adds another layer to why Ash is so protective of the creature in the first movie. Andor gives you a sense of what it's like for a normal, non-Jedi person to live under the boot of the Empire and why so many of them would join up with the Rebel Alliance—or why they would desire to wear that boot, or even just crave the chance to lick it.

Furiosa is one of those rare great prequels because it makes us take a step back and consider the established world with a little more nuance, even if it's still all so absurd. In Fury Road, Immortan Joe is an awesome, endlessly quotable villain, completely irredeemable, and basically a cartoon. He works perfectly as the antagonist of that breakneck, Road Runner and Wile E. Coyote-ass movie, but if you step outside of its adrenaline-pumping narrative for even a moment you risk questioning why nobody in the Citadel or its surrounding settlements has risen up against him before. Hell, why would Furiosa even work for him to begin with? But then you see Dementus and company tear-assing around the wasteland, seizing settlements and running them into the ground, and you realize Joe and his consortium offer something that Dementus reasonably can't: stability—granted, an unwavering, unchangeable stability weighted in favour of Joe's own brutal caste system, but stability nonetheless. It really makes you wonder, how badly does a guy have to suck to make IMMORTAN JOE of all people look like a sane, competent and reasonable ruler by comparison?!?

…and then they open the door to the vault where he keeps his wives, and in a flash you're reminded just how awful Joe is and why Furiosa will risk her life to help some of these women flee from him years later. This new context enriches Joe and makes it more believable that he could maintain power for so long, but it doesn't make him any less of a monster, and it says a lot about Furiosa's hate for Dementus that she could grit her teeth and work for this sick old tyrant.

3. The Stowaway

Here's another wild bit of trivia about this movie: you don't actually see top-billed actress Anya Taylor-Joy pop up on screen until roughly halfway through, once Furiosa is in her late teens/early twenties. Up until this point she's been played by Alyla Browne, who through the use of some seamless and honestly really impressive CGI has been given Anya's distinctive bug eyes [complimentary]. It's one of those bold choices that really works because Miller commits to it so hard, though it does make me wish Browne's name was up on the poster next to Taylor-Joy's.

Speaking of CGI, I should talk about what seems to be a sticking point for quite a few people: if there's been one consistent criticism of Furiosa so far, it's that it doesn't look nearly as practical or grounded as Fury Road, with more obvious greenscreen and compositing, and what previously would've been physical stunt performers and pyrotechnics have been replaced with their digital equivalents for many shots. Simply put, it doesn't look as real! For a lot of people, that practicality was one of Fury Road's primary draws, so I won't try to quibble if they're let down by Furiosa's overt artificiality, but to be honest I'm actually quite fine with it. It helps that this visual discrepancy doesn't sneak up on you but is incredibly apparent right from the aerial zoom-down into Australia in the very first scene, so I didn't feel misled or duped.

Fury Road never asks you to suspend your disbelief because it all looks so believable; Furiosa jovially prods you to suspend that disbelief from the get-go and tune into it on a different wavelength. It's a classical epic, and like the classical epics of the 1950s and 60s it has a lot of actors standing in front of what clearly are matte paintings. It feels right! We're not watching fact, we're watching myth. I'm willing to concede there might be a little bit of post-hoc rationalization on my part because I simply love this movie so much, but I'm not holding the effects in Furiosa to the same standard as those in Fury Road because I simply don't believe Miller and his crew are attempting to replicate that approach. Without the extensive CGI, we don't get that impressive long, panning take where a stranded Furiosa scans the empty, dust-and-sun-scoured wasteland (75% Sergio Leone, 25% Andrei Tarkovsky), or the Octoboss and his parasailing goons. For the sake of intellectual exercise I did try imagining them filming the Octoboss/war rig sequence with the same immersive practical approach they used for Fury Road's stunts, however I just kept picturing dead stunt performers, so perhaps the tradeoff was worth it!

4. Homeward

Around the same time we meet the Taylor-Joy-pilled Furiosa in Chapter 3, we're introduced to Praetorian Jack, the chief driver for the convoys running between the Citadel and its allied settlements. Jack's played by Tom Burke, who pulled off a very good Orson Welles in Mank! and who I should really check out in The Souvenir one of these days. He's also a cool dude! Here are some facts about Praetorian Jack:

He's decked out in road leathers with a pauldron stitched to one shoulder

He's stoic and wary, but still more or less personable and can carry on a conversation

Professes to a certain cynicism, to quote Special Agent Albert Rosenfield, but ultimately has a capacity for kindness and will do the right thing

Shoots a gun real good

Can drive like nobody's business

So in other words, Jack is Mad Max. But also, no, he clearly isn't! He looks and dresses like Mad Max (particularly Mel Gibson's) and does a lot of the same things "Mad" Max Rockatansky does, but he's also very explicitly a distinct character. It's a choice that seems inexplicable and perhaps even lazy on its face, except this is a George Miller movie, so of course this parallel is extremely purposeful. Miller has gone on record saying he avoids any kind of strict chronology or continuity for his Mad Max movies, compared to the rigid canons for Star Trek and Star Wars, and bless him for doing so. It's more fun viewing each Mad Max entry as a new revision or elaboration on a story being told again and again generations after the fall, mutating in style, structure and focus with every iteration, becoming less grounded as its core narrative is passed from elder to youth, community to community, genre to genre, until it becomes myth. (At least, my English major brain thinks it's more fun.) In fact there's actually something Arthurian to it, where at first King Arthur was mentioned in several Welsh legends before Geoffrey of Monmouth crafted an actual narrative around him, then Chrétien de Troyes added elements like Lancelot and infused the stories with more romance, and then with Le Morte d'Arthur Thomas Malory whipped the whole cycle together into one volume, which T.H. White would chop and screw and deconstruct with The Once and Future King centuries later.

All this to say: maybe Praetorian Jack looks and sounds and acts like Max because he sorta kinda basically is, being just one of many men driving back and forth across the wasteland, lending a hand on occasion, who'll be conflated into a single, legendary "Mad Max" at some point down the line in a different History Man's retelling of Furiosa's odyssey. Sometimes that Max rips across the desert in his V8 Interceptor, other times driving a big rig. Perhaps there's a dog tagging along and/or a scraggly and at first aggravating ally played by Bruce Spence or Nicholas Hoult. Usually he has a shotgun. But so long as you aren't trying to kill him, he'll help you out.

5. Beyond Vengeance

The Mad Max movies have incredibly iconic villains—Immortan Joe! Toecutter! the Lord Humongous!—but they are exactly that, capital V Villains devoid of humanizing qualities who you can't wait to watch bad things happen to. Furiosa appears to continue this trend by giving us a villain who in fact has a mustache long enough that he could reasonably twirl it if he so wanted, but ironically Dementus ends up being the most layered antagonist in the entire series, even moreso than the late Tina Turner's comparatively benevolent Aunty Entity from Beyond Thunderdome. And because he's played by Chris Hemsworth, whose comedic delivery rivals his stupidly handsome looks, you lock in every time he's on screen.

Something so fascinating about Dementus is that, for a main antagonist, he's NOT all-powerful, and in fact quite the opposite: he's more conman than warlord, looking for the next hustle, the next gullible crowd he can preach to and dupe—though never for long. For all his bluster, at every turn he finds himself in way over his head and writing cheques he can't cash, and this self-induced Sisyphean torment makes him riveting to watch. You're tempted to pity Dementus but it's also quite difficult to spare sympathy for someone who's so quick to channel their rage and hurt and ego into thoughtless, burn-it-all-down destruction. When you're not laughing at him, you're hating his guts, and it's indisputably the best work of Chris Hemsworth's career.

It's in this final chapter that everything naturally comes to a head: Furiosa's final evolution into the character we meet at the start of Fury Road, the predictable toppling of Dementus' precariously built house of cards, and the mythmaking that has been teased since the very first scene becoming diagetic text, the last of which allows the movie to thoroughly explore the themes of vengeance it's been building to. A brief war begins, is summarized and is over in the span of roughly a minute, and on its face it's a baffling narrative choice that most other filmmakers would have botched. But our man Miller's smart enough to recognize that the result of this war is the most foregone of conclusions if you've been paying even the slightest bit of attention, so he effectively brushes past it to get to the emotional heart of the climax and an incredible "Oh shit!" payoff that cements Miller as one of mainstream cinema's greatest sickos.

Fury Road remains the greatest Mad Max film, but Furiosa might be the best thing George Miller has ever made. If not his magnum opus, it does at least feel like his dissertation, and it makes me wish Warner Bros. puts enough trust in him despite Furiosa's poor box office performance that he's able to make The Wasteland. Absolutely ridiculous that a man just short of his 80th birthday was able to pull this off, and with it I feel confident calling him one of my favourite directors.

[hyacinthsdiamonds]

I'm sorry but the irony of Nico calling Max unprofessional is sending me so bad like sir there's an entire garage full of people, who were literally in the trenches trying to survive the Brocedes fallout while just doing their jobs, who might have a few things to say about your (& Lewis') level of professionalism at that time 😭✋️

[wildguarneres]

F1 vs. my favorite posts on the internet (part 1, maybe)

[netflix]

Dead Boy Detectives Extra Sprite Time

Here's Caitlin Reilly and Max Jenkin's "full" interview with tumblr person @overchers. More questions, polls, and ghosts from the Dead Boy Detective Answer Time here.

[saltpepperbeard]

listening to rhys talk about ofmd's cancellation on that podcast has me like

[slutforpringles]

VerstappenCOM: 🔙 Who did it better: Max or Daniel? Throwback to their Capoeira session before the 2017 #BrazilGP 🇧🇷

[whathappeninglestappen]

Charles won today because he knows Max so well (also cause he did amazing stints and had great pace) He knew what moves Max was going to make on Lando, and he knew where to place himself to pass.

If that isn’t soulmate shit then I don’t what is

[thissying]

post-qualifying, GP Belgium, 2024

Max: And drove a lot in the rain last week here at Spa in the sim so…Yes, the sim is not so bad!

Chiel: Nothing wrong with it, right?

Max: Even though most people whine about it but screw them all!

[brekwrites]

D

Do you think the reason Solar’s Moon never warmed up to him and continued to hate him was because Solar was the embodiment of the code he tried to leave behind to be better for Sun and then ended up being a good person despite being spawned from the killcode, forming a bond with Sun and caring for Sun, which proved that it was never the code itself that was the problem and it was just that Moon refused to change? Do you?

[starry-bi-sky]

tales of the passerine - danny fenton being bruce wayne's first kid

okay okay. so this is like a continuation/elaboration of my oneshot/prompt i wrote about the idea that Danny was the first batkid. We have a lot of aus where he joins the family after the rest of the bats do, right? So hey! Lets shake things up a bit. Danny is the first to be adopted by Bruce Wayne.

Danny's parents and unfortunately Jazz die shortly after the events of TUE -- how so? I was gonna say an ecto-filter explosion, that would call back to the TUE explosion and trauma behind that. But lets do something new! Carbon-monoxide poisoning.

It's not too unexpected for something to break in the Fenton house, especially with the Fenton parents' questionable understanding of proper weapon handling and lab safety. The water heater broke from a stray shot by one of the weapons, and was promptly MacGyver'd incorrectly. Danny went to stay with Tucker for a guys' night, and came back to a dead silent house.

(Danny's neighbors got a very unfortunate shock when he ran to the next house over in hysterics.)

There was a lot of shuffling around with CPS, the police. People had to be called in to handle the equipment in the lab, and the GIW was rumoring to show up in aid to clearing the scene. When Danny heard of that, he immediately went and dismantled the ghost portal to the best of his abilities. He burned the physical blueprints of all his parents' inventions, their blueprints on the ghost portal, and their most dangerous weapons were destroyed beyond recognition. Anything to prevent the GIW from getting their hands on his parents' tech.

It opened up another investigation, but he was not under the list of suspects. He was placed in the care of Vlad Masters, where they then went back to the rebuilt castle mansion in Wisconsin. Danny, terrified of the future that has once passed and may do so again, shuts down in his grief. Inadvertently, he ends up somewhat repressing his ghost half. Something Vlad, who is grieving Madeline but relishing in Jack's demise and his custody of Daniel, is not very happy with.

Vlad's... gone into a bit of a mental health spiral. He's becoming increasingly possessive over Daniel, the final remnants of his friends and a liminal being like him. He doesn't like that Danny's repressing his ghost half -- both out of genuine concern as a ghost, but also because of his desire to control Danny and groom him into the perfect son. If you ever had a phase where you read Dark SBI found family fics, first off; me too bro, and second off; those are the vibes I'm thinking of.

Danny's mentally shut down from grief! And fear. He's dropped into a bad depressive state -- paralyzed with grief and the terror of the inevitable. Clockwork saved his parents because he believes in second chances, but what's the point of that when his family ended up dead anyways? Danny doesn't wanna believe that he's destined to become evil, and he's holding out onto that hope, but it's a thin line, and he feels utterly hopeless and trapped. He hasn't used his powers or ghost form since he trashed the lab, and Vlad has alarms set up to prevent him from trying to escape.

He's also unintentionally cut off Sam and Tucker -- both of whom are so scared and concerned for Danny too, and are trying their damndest to reach out to him. He keeps ignoring their texts. Danny basically haunts Vlad's manor. He goes out to eat if he has to, attends parties Vlad drags him to, and stays in his room all day if he can.

At parties, Vlad doesn't allow Danny to leave his side, or really talk to anyone -- not that Danny wants to. A product of Vlad's increasing possessiveness. Well, he almost doesn't let Danny leave his side. Danny has a habit of slipping off to hide somewhere for the parties whenever he can, and Vlad reluctantly allows it so long as he stays alone.

This becomes an advantage when eventually, Bruce Wayne returns to Gotham after missing for years, and holds a bright charity ball to celebrate the return. Vlad has been chomping at the bits to get his hands on Wayne Industries, and with the return of its owner there is no better opportunity to wipe out his rival. He goes, and he as normal, brings Daniel with him.

Vlad thinks Wayne will bleed his little heart out for Daniel's poor orphan sob story -- he's a fellow orphan himself, after all. He's not wrong; Wayne's little heart will bleed, just not in the way that benefits him.

Bruce sees Vlad and Danny approaching before they're even close enough to introduce themselves - and like with many of the children he will soon come to care for, it's like someone set a mirror into the past right in front of him.

Danny Fenton's suit is tailor-made for him, and despite the fact that it's his perfect size, the sag in his shoulders, the ducked down head, and the way he hunches into himself all pictures the image of a child in shoes too big for him. There's a far away, glazed over look in his eyes and grief marble-cut into the lines of his face. There's not enough makeup in the world that will hide the dark circles under his eyes.

("My nephew, Daniel Fenton." Vlad's hands are possessive on Danny's shoulders. Bruce immediately notices the way the boy tenses under his touch. "His parents passed recently, and as his godfather I was designated his guardian.") ("I'm so sorry, the loss must've been terrible.") ("Yes, carbon-monoxide poisoning caused it. Daniel was out with friends, when he came home... they had already passed.") (Bruce immediately dislikes that Vlad shared the details of their death unprompted -- he likes it even less when Danny flinches at the reminder and hunches into himself.)

Danny runs off at some point earlier into the charity. At this point, parties are still being held at Wayne Manor (because iirc google search mentioned that was a thing at first before it was changed), so he disappears and hides in one of the empty rooms nearby. It just so happens to be the same room Bruce Wayne hides in when he needs a break from all of the socialization.

Thus begins a long, long process of trust. Bruce can't reveal his hand as being smarter than he looks, but he can be compassionate. Kindness needs no measure of intelligence. He keeps Danny company for as long as he can before he runs the risk of being found.

Rinse and repeat. Vlad insistently wants Wayne Industries, and he'll go to as many Wayne parties as he can to get his hooks into the man. The problem is that Bruce Wayne is never alone, and getting him alone is impossible. Finding him too. It's like the man never stops moving. Always talking to someone, always circling somewhere. He orbits around the room as if he isn't the sun of the Gotham Elite's solar system.

Danny's had such repetitive behavior that Vlad never thinks to believe that Bruce Wayne is disappearing to go talk to him. That "Vlad's" son is even interacting with him at all. Danny never gives him a reason to think so, and neither does Bruce.

Danny doesn't actually acknowledge Bruce until a handful of parties in, where he hands Bruce a small slip of paper he smuggled in that says; "don't trust Vlad". Danny's face stays carefully blank, but he's so tense that his hands are trembling, and he's purposely looking away from him. Bruce plasters a smile onto his face, slips the paper into his pocket, and tells him "okay".

(he's been busy with his own goals with the mafia, but he sets aside time to investigate Vlad Masters. He was holding off. Until now.)

Danny does eventually start speaking to Bruce, he's starting to really like the guy. He's starting to see a little hope, even as Vlad is starting to get more and more agitated with him the more he refuses to use his powers.

He reaches out to Sam and Tucker again, and starts trying to reconnect with them. Vlad has spyware on his phone, and he limits the amount of times he can talk to them. A weird parental control lock of some sort that leaves a time limit on how long he can talk to them for. 30 minutes. Danny doesn't tell them anything about Mr. Wayne.

Danny, slowly, wants out of here, and he's slowly gathering the motivation to do it. Vlad is genuinely scaring him -- and Danny wonders just how truthful the past-future Vlad was when he told him that Danny wanted his ghost half separate. He starts trying to come up with an escape plan.

Vlad has anti-ghost wards everywhere around the mansion, and while they're always on, they boost to full power at sunset. The doors and windows are always locked, all main exits have alarms set on them. The only reason it's not super extensive is because Danny hasn't tried leaving at all yet, so Vlad hasn't had to tighten anything.

At night, Vlad locks the door to his room and puts up an anti-ghost ward around the room. The mansion is on the outside westward side of Madison, more entrenched in rural Wisconsin. The closest town is a four-way stop sign with one house on three corners, and an open bar on the fourth. Not much to go.

He refuses to go to Sam and Tucker; Vlad would look there first. It's too dangerous. Vlad would sound alarm bells and have a manhunt looking for him, Danny can't risk going just anywhere. Too much risk of being found, sold out, or caught. There's really nowhere for him to hide.

Until there is. Bruce is telling Danny about the history of Wayne Manor, and says, as casually as saying the weather; "The manor has dozens of empty rooms, I'm sure Alfred wouldn't mind filling another one if he could." And quietly, hesitantly, Bruce places a careful hand on Danny's shoulder, unrestrictive and gentle; "He wouldn't mind getting one ready for you if you need one."

And there it is. There's his out.

Danny, just as quietly, replies; "I'll keep that in mind."

The ball starts rolling.

Now I've been trying to summarize this au as much as possible for length convenience, but Vlad has been steadily growing more and more controlling. More emotionally manipulative. More agitated at Danny for not using his powers.

He wants Wayne Industries under his thumb but he's been steadily growing more and more concerned with Danny. He's started grabbing him, yanking him around, shaking him; trying to goad him into using his powers. He gets angry when Danny doesn't react, or tells him he doesn't want to use his powers. He hasn't outright attacked him, but he's getting there. This has been happening over the time it takes for Bruce to indirectly offer Danny sanctuary at his home.

It all comes to a head when Vlad stops going to parties at all -- something Danny has to pretend he isn't upset about -- because Vlad doesn't want him around other people anymore. Vlad rarely goes now without him, and only leaves to go to a Wayne function or to handle something at VladCo.

Danny can't wait for Vlad to leave long enough to escape. So he leaves during the night of a big storm. Vlad's locked him in his room, but Danny doesn't bother trying to go for it; he goes to the alarmed window instead. Danny's been repressing his ghost half so long that he can't access his powers immediately anymore -- he can feel it, he knows its there, but he can't quite reach it.

He breaks the lock by hand.

Immediately the alarm goes off through the entire castle, filling the room with red, and he scrambles for the rope the Wisconsin Ghost left for him a few months back. Danny's already out and climbing down the side of the castle before Vlad even reaches his door -- the only good thing about the entire room being ghost-proof is that Vlad can't get in that way.

The rope ends before it reaches the bottom, and he's still twenty feet in the air. It won't kill him if he lands it right. Danny takes his chances, and drops. He breaks his ankle, but he survives.

And he fucking books it to the back garden. He hears Vlad shrieking over the thunder and rain.

I'll save the full experience for a future oneshot, but Danny makes it out into the nearby woods and forcibly experiences what it's like to be in a horror game, trying to hide from the thing that's hunting you. There's only one thing going through his mind; "i'm going to die"

I have this mental image for this scene. Very stereotypical horror imo. Where Danny is hiding behind a tree, with a hand over his mouth, and Vlad is a few feet away from him, glowing ominously red through the trees, trying to search for him.

Danny doesn't get away from this unscathed, but he does get away alive. That's all he could ask for. He gets away by getting his ghost half awakened long enough to transform into Phantom and fly to Gotham.

But he gets to Wayne Manor, he gets to Bruce. Or, at least, Alfred answers the door from his insistent pounding. Danny's just in tears and Alfred gets him in the living room, wrapped in a towel, with ice on his swollen leg before he has to step out and alert Bruce.

Bruce already breaks multiple traffic laws on a nightly basis. And that's just with the sheer existence of the batmobile itself, not including the speeding and military artillery attached. He breaks double the amount trying to speed back to the cave and get out of the suit.

Right off the bat: Bruce will know, at least before Dick enters the picture, about danny's powers. He'll figure out something considering the fact that Danny traveled from Wisconsin to New York in a single night. That'll be a bit of complicated affair, but I've already got something in mind.

Actually it'll probably be very soon after Danny joins the family, because Bruce tries to offer to fight for custody for Danny - the state Danny was in at arrival is clear enough evidence for a trial. But Danny immediately shuts it down, says it's not going to work and then Vlad will know Danny's with him and he won't be safe. He tells him that Vlad cannot know Danny was with Bruce.

Danny's biggest regret was not telling his parents he was a halfa, and while he doesn't want to tell mister wayne (yet), he does tell him about Vlad being one. He needs to know why Danny can't be seen with Bruce. So he tells him, and Danny's current plan is to just hide out from Vlad until he turns 18. That way, he has no more legal jurisdiction over him. After that? He's not sure.

And to wrap this up, since this has already gotten very long and I can make more posts about this au later; I've thought about it, and I'm going to say that Danny does become a vigilante before Dick enters the scene. He goes by, as you probably guessed; Nightingale. "Gale" for short.

[crunchchute]

Shotgun wedding

Inspo from a Mac Conner artwork; uncropped under the cut - slight blood cw

[fabbyf1]

Gobble Me, Swallow Me (Drip Down The Side Of Me)

“Here’s to the winner,” Oscar said, winking at him and holding his glass up. 

“The fastest man on track,” Max added, grinning at him. 

“The best ass in the place,” Oscar tacked on. 

“And with a mouth that could—” 

“Okay, okay, okay!” Charles laughed loudly, cutting them off before they got themselves in trouble. OR: Why limit yourself to one boyfriend when you can have two? (The last installment of the lestappen+guest series and the long-awaited return of lestapstri. Charles wins in Monaco and in life.)

Charles Leclerc/Max Verstappen/Oscar Piastri | 26k | Read on AO3