#anti-Tom

[enbydindjarin]

Here’s a Tom-free triple frontier poster for all my fellow Tom haters 🥰

[forgetcakes]

If you want your daughter on the throne that much then don't fucking remarry and don't produce other children you dumb cunt

[hotdaemondtargaryen]

one of the things that bothers me this season, is that they used jaehaerys' death for the daemon targaryen character arc.

rather than to show aegon's full rage potential, helaena's awakening to the power of her dreams or aemond's reaction.

[aezran]

Slytherins are written to be the opposite of what jkr considers “good” and “appropriate”.

You know what that means?

happy pride

[lovely-pixie]

I literally cannot make this shit up. Sophia Di Martino has obliterated the 'canon' ship. It has sank deeper than the titanic I'm afraid.

She called it "weird", "same person". The kiss was not romantic, meaning she just wanted to "go through with her plan" of killing He Who Remains.

"It's been fun, dude...so see ya" LMAOOO

I would be so embarrassed if Tom said that about Mobius💀

[shyjusticewarrior]

Tom King is so full of shit

[serymn31]

It's funny how HotD's attempts to make Aegon a pathetic lil loser sort of backfire. Make him greasy and ugly? Sorry, Tom's too beautiful, it negates it. Make him an incompetent dragon rider who can't speak High Valyrian fluently? His bond with Sunfyre is so strong they don't even need words. Girl.

[graysoncritic]

A (Negative) Analysis of Tom Taylor's Nightwing Run - Introduction

Introduction Who is Dick Grayson? What Went Wrong? Dick's Characterization What Went Wrong? Barbara Gordon What Went Wrong? Bludhaven (Part 1, Part 2) What Went Wrong? Melinda Lin Grayson What Went Wrong? Bea Bennett What Went Wrong? Villains Conclusion Bibliography

I want to start this essay by admitting I’m actually embarrassed by its length. Why did I spend so much time on something I dislike? The truth is, I did not begin this with the intention of creating such an extensive, formal study of the Tom Taylor and Bruno Redondo’s Nightwing run and how it reflects the wider problems with DC’s handling of one of their most iconic characters. I was just trying to organize the thoughts that came up during discussions with other Dick Grayson fans. Before I knew it, I had enough material, enough desire to challenge myself, and enough frustrations to vent to properly create this monstrosity.

I did not begin this Nightwing run determined to hate it. In fact, I was ready to love it. As Taylor promoted the run before the first issue was officially released, I was so excited for it. As I read short interviews where he discussed Heartless, I could not wait to have a new, incredible villain. Foolishly, I believed Taylor when he said he loved Dick Grayson. 

Needless to say, I was disappointed. Then frustrated. Then angry. The beginning of any story is a period where writer and reader form an indirect bond, and as the story progresses, so do the highs and the lows of said relationship. As such, a reader’s tolerance for negative factors will either increase or decrease depending on their experience up until that point.

In other words, if the writer fails to earn the reader’s trust and instead takes their attention for granted, even seemingly insignificant details become irritating in a way they would not be if presented in a better story. In such scenarios, the reader can no longer overlook those minor moments because there’s little good to balance them out with. It is a death by a thousand cuts. 

In the case of Taylor and Redondo’s run, along with those thousand cuts are also broken bones, internal bleeding, head trauma, and severed limbs. A weak plot, simplistic morality that undermines the story’s stated themes, and, most importantly, a careless disregard for Dick Grayson and everything he stands for utterly destroyed my enjoyment of this series. 

It is still too early to tell what sort of impact Taylor’s (as of time of writing, still unfinished) run will have on Dick Grayson’s future portrayals. But just because we cannot predict its long term significance, it does not mean we cannot critique it. Currently, we simply lack the benefit of hindsight. 

If this essay were to have a thesis, then it is this: Tom Taylor and Bruno Redondo’s Nightwing not only fails to tell a compelling Nightwing story, but it also exemplifies a cynical, self-serving, and shallow approach to storytelling that prioritizes creating hollow viral moments to boost the creators’ own online popularity over crafting a good story, honoring the character in their care, and respecting his fans – fans who have, historically, often been women, queer folk, and other individuals who felt othered by a cisheteronormative patriarchal society. Taylor and Redondo’s thoughtless and superficial narrative not only undermine the socially progressive ideals they supposedly care for by propagating a cisheteronormative patriarchal worldview, but they also demonstrate a lack of love and understanding for the character in their care. At best, Taylor and Redondo have no interest in getting to know Dick Grayson, nor any respect for their predecessor and their contributions to this character. At worst, they despise Dick so much that they wish to reinvent him into something completely different, tossing away everything that was special to his fans in order to appeal to a readership that never cared about Dick Grayson. 

I structured this essay so that, hopefully, each part will build on the ones that came prior. Naturally, because all aspects of a story are interlaced, there will be overlaps between each of the sections. As it may have become obvious from this introduction, I’ll be focusing primarily on the writing of this run. That is not to say that I will not address the art, but writing is the field I know most about, and so it feels only fair to focus my critique on that. 

I hope that by the end of this essay, I will have successfully proved that this run’s mishandling of different narrative elements betray a cynical appropriation of progressive ideology and a disregard and disinterest in what makes Dick Grayson so special to so many people. This is an attitude that is present within DC Comics’ current ethos as a whole.

Now, who is this essay for? Honestly, it’s probably not for Tom Taylor fans. I do not believe I’ll be persuading anyone with my writing, and, to be quite honest, neither would I say I wish to do so. Taylor and Redondo’s run has won numerous awards and has many dedicated fans who adore it for what it is. If that is you, then I’m glad. I wish I could be among your numbers. I wish more than anything that I could love this story. But I do not, and I know many others agree with me, and it is to them, I think, that I’m speaking to. As Taylor’s run is praised to heaven and back, I needed a safe space to voice my thoughts. This essay became this safe space. And to others who also feel unseen by the constant praise this run is getting, I think this could speak to you, as well. To be cliche and cringe, this will hopefully let you know that you are not alone. 

Finally, I want to acknowledge some people whose thoughts greatly contributed to the creation of this essay. For around three years now I’ve been having wonderful interactions with other Dick Grayson’s fans, and those discussions were not only incredibly fun and cathartic, but also provided great insight into what needed to be included in this essay. My best friend especially gave me a space to vent when I got frustrated, and my original outline borrowed a lot from the messages I sent her, as well as notes I took for our discussions.  

I’ll also be directly quoting four different Dick Grayson fans (identified as Dick Grayson Fans A, B, and C in order to allow them to keep their anonymity). Their analyses were so critical to the formation of my thesis and for a lot of what will be addressed in this essay that I actually feel like they deserve co-credit in this essay. Dick Grayson Fan B especially deserves a shoutout in helping me track down a couple of pages used as supporting evidence, as I knew what pages I was looking for but was having a hard time remembering in which issue they were located. I’m quoting them with permission, and crediting their ideas and contributions whenever relevant. 

Now, without any further ado, let’s get started. 

[regforeman]

The doctor being against AI art (1979)

[godofstory]

on this episode of keeping up with the Targaryens..

team green

team Black

[mxmads]

[alieninyourroom]

okay so i saw this post :

and can someone go in depth with this?? thank you!!

[rise-my-angel]

Listen, I'm just saying, if the show wanted me to view Aegon as the bad guy during the brothel scene with Aemond, then someone probably should've told Tom Glynn-Carney not to play Aegon as so charmingly hilariously when hes drunk.

[iamnmbr3]

I find it incredibly creepy how Dumbledore views Riddle as being this sort of inherently seductive 'femme fatale' type. In book 6 he implies that Tom used his looks to endear himself to his teachers when he started school and hide his supposedly inherently evil and corrupt nature.

Like. Albus. DUDE. Tom was ELEVEN. Why would you assume that teachers would be swayed by or even paying attention to the attractiveness of an eleven year old?! WTAF?

And then he portrays the Hepzibah Smith memory as another example of Tom using his seductive charms for evil. But although he does bring her flowers he doesn't do anything else to encourage her and in fact seems uncomfortable and determined to keep the conversation focused on work.

She is actually the one who is being creepy here given the power differential between them. I mean, yes, Tom is putting up with her because it suits his designs for the moment and could and would kill her in a second if provoked. But even though we know that she certainly doesn't. As far as she knows she's creeping on this young store clerk without wealth or connections whose job depends on keeping her happy.

And certainly while she enjoys his looks and his attention she also seems quite happy with the persona he puts on where he addresses her in a highly respectful manner, not as an equal. She's certainly not complaining about how he calls her Miss Hepzibah or asking him to drop the honorific. She likes that. She likes that he addresses her not much differently than how her House Elf does. She likes his whole "I am only a poor assistant, madam, who must do as he is told" thing. And as far as she knows he is just that, with no particular special power or talent other than his good looks which she evidently appreciates. This is not him leading on and taking advantage of an innocent sweet old lady.

And yes he brings her flowers, presumably to keep her happy, but other than that he tries to keep the conversation professional and steer the discussion towards the purpose of his visit. He doesn't say anything overtly flirtatious or even try to prolong their discussion by asking to see some of her other things.

She brings that up on her own. Nor is there any indication that he is the one that decided to move their relationship in this direction. It seems more like she saw a young and good looking man, apparently far below her in terms of station and magical power, and made her move. He probably isn't the first.

The way she casually touches him is just so creepy to me. And though he tolerates it, he did nothing to encourage or solicit it. Riddle is someone who is in general quite averse to touch. We only see him voluntarily touch one person in 7 books and that's when he touches Harry, just for a second in book 4, just to show that he can. I don't think he enjoys this kind of attention. He was probably glad to kill her for more than just the purpose of getting the cup and the locket.

And yet none of her creepiness is acknowledged. Instead, Dumbledore draws our attention to how Riddle cruelly seduced and murdered a nice old lady whose affections he sought and then betrayed:

[lovely-pixie]

The ending scene was them pining for each other.

Mobius' echo of "let time pass" reaching Loki and making him tear up confirming he was watching over Mobius.

Mobius leaving the TVA because Loki isn't there anymore.

Mobius being completely miserable whereas Sylvie is seen happy and care free and time hopping with only a "it's weird that Loki's not here, isn't it?"

Loki going to seek Mobius first for comfort when faced with the moral dilemma of choosing who lives and dies.

Loki staring at his hand wistfully, with tears in his eyes while he watches Mobius slip away.

Mobius being the first to notice something was wrong when Loki started walking towards the loom.

The fact that Mobius was present when Loki said "I know what kind of god i need to be... for you" means the director(s) and writer(s) are seeing him as a possible romance arc in the future for Loki that's why they put him there with Sylvie to claim plausible deniability.

The season one kiss being retconed.

Loki not killing Sylvie (which he contemplated at first) means he wants to give her the chance to go write her own story like she's always wanted without running. And we can see her being happy (without Loki) at the end because she's finally free.

At the end, Sylvie is comforting Mobius because he's hurting more and evidently more miserable.

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[batwingsrosa]

Snape and what a victim is supposed to look like.

Or: The reason you all hate him so much while making up excuses for other characters!

Would he still be so despised by the fandom, if he had been portrayed as weaker? As more emotional?

No, i don’t think so.

Others have said this before and i have to agree with what they said:

Y‘all are angry, because he is not the perfect victim.

He is not what you would expect a victim of abuse and bullying to look like.

He is confident.

He is strong.

He is sharp.

And he is bitter.

He is so, so bitter.

he harbours resentment.

He does not forgive those who wronged him.

When that is exactly what you would expect from a victim, is it not??

A victim is supposed to look weak and behave weak and to suck it up.

And to forgive.

When you tell people they have to forgive their tormentors, do you really tell them that so that they can heal?

Or…. so you don‘t have to deal with the mess?

Maybe, so you don‘t have to adjust your world view?

People are not obligated to forgive their tormentors.

It doesn‘t matter if they have changed.

What matters is how they made the victim feel.

And if the victim feels if they can forgive them.

And if they chose not to forgive, they turn in something else in your eyes.

They turn into the hater, the bully, the bad guy.

Bacause the victim is supposed to forgive and forget and let it go and not be bitter about it.

A victim is supposed to turn into a good person.

To learn from their experiences to be kinder to others.

To not treat others like they have been treated.

They are not supposed to not be able to let it go.

And if they are not able to do that, well then there‘s something wrong with them.

If a victim doesn‘t turn out the way they wanted them too, well - then they had it coming from the beginning and they probaly deserved what happened to them because they would have turned out bad either way!

Snape is the opposite of what a victim is supposed to be like.

Severus turned into a resentful and bitter adult.

He was never able to move on and heal from his trauma.

And at the same time, he knows who he is and what and doesn‘t make up excuses for his behaviour and instead just accepts himself the way he is.

And that is what makes you so fucking mad.

He turns into an asshole and is not sorry about it.

He is openly resentful and at times hateful.

And he is not fucking sorry about it.

And it makes all of you mad because that is not what is supposed to happen.

And let‘s not lie to yourselves- if he didn‘t have greasy hair and a hooked nose- you would look at him from an entirely different angle.

Like you do with Tom Riddle, or Regulus Black or Draco Malfoy.