#anti-Tom

[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

[aezran]

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

You know what that means?

happy pride

[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.

[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.

[alieninyourroom]

okay so i saw this post :

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

[godofstory]

on this episode of keeping up with the Targaryens..

team green

team Black

[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)

[trexiejan]

Friendly reminder that DC and Dickbabs writers are gaslighting you into thinking Dickbabs are childhood sweethearts that are always in love with each other since day 1.

Dickbabs is the most superficial manufactured by retcons ship.

Babs was deaged for this crap to work.

Here is Original Barbara Gordon working as a congresswoman in the Senate when Dick was just the little kid Robin.

She was much closer to Bruce and Clark's age than Dick's.

Barbara refers to Dick as a "kid" and "little brother.

Dick had a small puppy crush on her but it was seen as a precocious crush. It was controversial when they first kiss (to make Dick shut up) because it involved a grown ass woman kissing a teenager.

Dickbabs was hated the same way modern Brucebabs is hated today.

Even the writer of that book admitted he never intended for them to become a couple.

Babs was more into older guys.

- she was viewed as an equal love interest to Batman

- she went out on a date with Superman

- then got engaged to her coworker Jason Bard.

Dickbabs shippers always try to deny that Babs was deaged and her history was altered for dickbabs in an effort to defend their ship.

They say it's not true because according to them Babs has been deaged before dickbabs became a couple.

Here's the thing though:

Babs has been deaged twice.

Just because she wasn't deaged to be with Dick in her 1st deaging doesn't change the fact that she was deaged to be the same age as him in her 2nd deaging which happened in dickbabs content.

The 1st time she was deaged was in Crisis on Infinite Earths, it was so Jim could be younger but they only decreased her age slightly because she's still written as older than Dick, here is a panel from Secret Origins #20 that was published in 1986 exactly 1 year after she was first deaged in Crisis on infinite earths (1985) she said Dick is too young for her and that batman is always the one on her mind. So Dickbabs during this time still couldn't work because they still have that age gap and Babs was still into Bruce.

The 2nd time she was deaged is in dickbabs comics and tv shows where she was finally made the same age as Dick so dickbabs can finally work as romantic pairing.

Instead of being older she's now written as a part of Dick's generation.

From a congresswoman to someone who went to highschool prom with Dick.

Even Tom Taylor had the two first met when they were young little kids so he can also portray them as childhood sweethearts in his run.

Tom Taylor claims Barbara still has a law degree but isn't it sad how instead of using that degree to find an actual job, she wasted her time following Dick around like a dog in Bludhaven ?

She has no job of her own, no friends of her own, no hobbies of her own outside of Dick.

She's just Dick's clingy lovesick girlfriend who is a total standby for him in his solo books.

Dickbabs shippers who deny this and get mad at people who point this out are the people who don't care about Barbara Gordon as an individual.

They don't care that Barbara lost her PHD degree, lost her own career, lost her own agency, lost her history, lost her self identity for the sake of shipping.

Their only concern is defending dickbabs and making it look better.

Because if they like Barbara separately from Dick, all these valid anti-dickbabs criticisms wouldn't bother them.

What's even funnier is that they are the very same people who accuse Starfire of being nothing but just Dick's love interest despite the fact that Starfire hasn't been in a relationship with Dick in the comics for 20+ years due to the fact that dickkory's history was ignored and erased in favor of dickbabs. NASTY HYPOCRITES.

At least Starfire wasn't deaged to fit Dick and you can never see Starfire following Dick around like a dog in his solo books 💀

[mxmads]

[gyumils]

isnt it crazy how one day we will al shift and all these years of trying will be worth it

[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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[julezo]

not to be insane but in a realistic tomarry/harrymort fic with good characterization it’s very difficult for them to not change one another.

a good fic acknowledges that harry only survives their canon interactions (and overall, his many different in-story challenges) from being tricky and clever. like it or not, harry is much weaker in magic, strength, mind, and political influence than voldemort.

so when he’s getting out of the third task, he doesn’t win, he cheats. when he’s getting out of malfoy manor, he doesn’t win, he calls dobby and gets out though a minor oversight. he doesn’t defeat umbridge in a dual, he instead helps run a covert defense club and repeatedly goes under her nose to do what he wants!! he doesn’t save sirius in book 3 because he fought peter and won, he used a time turner (albeit with help), broke ministry rules without anyone else knowing (bar hermione and dumbledore) and saved him.

that’s so slytherin!!!

it is my belief that Voldemort thus inadvertently pushes Harry to be more cunning. Harry is at his most slytherin during his daring but clever escapes from Voldemort and the indirect issues caused by Voldemort.

though it has less text evidence, i would also go so far to throw out that because of how pissed off Harry makes voldemort, it’s the same in reverse. Harry pushes Voldemort to be more reckless and daring in his effort to capture/kill him, as if a gryffindor.

i guess there’s a lot of poetry there. the more polarized they get from one another, the more alike they become. as they clash, they transform themselves into the other.

idk

[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.